If you’re looking for a delightful night of Mozart, a little 18th-century bel canto diversion, Ensemble ACJW's March 31 performance of Zaide is probably not your concert.
The first thing you’ll hear won’t even be Mozart: The
fluttering rush of orchestral color will be music that one-time New York
composer Berio (he was a Juilliard faculty member from 1965 to 1971)
wrote in 1995 to fill out the incomplete singspiel. He also wrote an
epilogue and two interludes; in all, about a third of the music is his.
Onstage, Italian text written on blackboards will remind you that
what you’re about to hear is a work of fiction, set by a young musical
visionary from the Classical period for the audiences of his time.
You'll see those blackboards a lot, and they’ll be as jarring as Berio’s
The March 31 Zaide will probably be more like walking through Jean-Claude
and Christo’s The Gates in Central Park. Interspersed throughout a
piece rich with historical resonance is a separate work, one that in its
obvious distinctiveness helps highlight the significance of both.