There’s a music-making ethos that says that anybody can partake in music and compose by doing it, learn on the job as it were, regardless whether they have any music education. This is the pop, rock, folk, etc sphere—including the very DIY punk. Then there’s the classical music ethos, where music making is a matter of the written-down complex forms (the ‘musical work’), academic or communal training, perfectibility of performance.
The two kinds of ethos were expected to meet and collaborate in Tapestry Opera’s new project, Tap:Ex Metallurgy, but under one condition: each had to work in the other’s idiom. Jonah Falco from the punk band Fucked Up got to create Metallurgy A (to the libretto by the band mate Mike Haliechuk and poet David James Brock), and composer Ivan Barbotin Metallurgy B, with DJB as the librettist. As the FU explain in this video, his part was a collective effort in which conductor Jordan de Souza got the lion share of the work of notating Falco’s remarkable creation. Barbotin, in the second, much shorter work, got to use some of the pop idiom, including the drums and the electric guitar.
It was a good concert—not really an opera, not really two one-acters spliced together, but a concert. Musically, the Falco-de Souza collaboration with a small string orchestra, a piano and an electric guitar was much more interesting, if clearly the less popular one with the audience. There were no tunes, no rock rhythms and the soundscape was atmospheric and dissonant, occasionally lyrical in an austere (non-Rufus Wainwright) way. Krisztina Szabo and David Pomeroy produced some pretty awesome noise at certain junctures. The librettos, although great on the verse level, were as dramatic works bizarrely unambitious, intimate, almost banal – set within the couple in each case, a couple with a dead child in Tap A, and a couple just…er…being a couple over the years? in Tap B. The music was of greater interest in each Tap. Falco used the electronica very sparsely—was that one of the conditions?—while Barbotin used it unabashedly, together with some recognizable rock music quotes.
I expect the goal of the collaboration was to mix the two audiences more than anything—the Fucked Up’s and the Tapestry’s–and judging by the show of hands when Michael Mori asked after the first timers, the opening night did have a real mix of people. I wonder what FU connoisseurs thought about the experiment (they probably don’t analyze performances in this precious way that we in classical music do). Perhaps the project should leave the claustrophobic studio space on the third floor of a Distillery building and travel to a space where FU is likelier to perform. And perhaps it can be allowed to change each time it’s performed, in the spirit of spontaneity of a live band performance. Take the risk-taking further.
Tap:Ex continues Nov 20 (PWYC) and 21 (two performances).