نيكسون في الصين (اوپرا)

For other uses, see نيكسون في الصين (توضيح).
جون أدامز
الاوپرات

نيكسون في الصين Nixon in China، هي اوپرا من ثلاثة فصول لجون أدامز، والليبرتو لأليس گودمان. استوحيت أول اوپرا لأدامز من زيارة الرئيس الأمريكي ريتشارد نيكسون للصين عام 1972. عرضت الاوپرا أول مرة في اوپرا هيوستن الكبير في 22 أكتوبر 1987، أخرجها پيتر سلارز وتصميم الرقصات لمارك موريس. عندما اقترح سلارز على أدامز فكرة الاوپرا عام 1985، تردد أدامز في البداية، لكنه قرر فجأة دراسة العمل ثم قبل المشروع. كان ليبرتو گودمان نتاجاً لبحث دقيق لزيارة نيكسون، على الرغم من تجاهلها معظم المصادر التي نشرت بعد عام 1972.


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خلفية

خلفية تاريخية

ريتشارد نيكسون (اليمين) في لقاء ماو زدونگ، فبراير 1972.

أثناء توليه الحكم، اشتهر ريتشارد نيكسون كقائد مناهض للشيوعية. بعد أن تولى الرئاسة عام 1969، بدأ في توطيدالعلاقات مع الصين والاتحاد السوڤيتي؛ وكان يأمل أن يحقق الانفراج الضغط على الڤيتناميين الشماليين لإنهاء حرب ڤيتنام، وقد يمكنه أيضاً من أن يكون قادراً على التعامل مع القوتين الشيوعيني لتحقيق النفع للولايات المتحدة.[1]

Nixon laid the groundwork for his overture to China even before he became president, writing in Foreign Affairs a year before his election: "There is no place on this small planet for a billion of its potentially most able people to live in angry isolation."[1] Assisting him in this venture was his National Security Advisor, Henry Kissinger, with whom the President worked closely, bypassing Cabinet officials. With relations between the Soviet Union and China at a nadir—border clashes between the two took place during Nixon's first year in office—Nixon sent private word to the Chinese that he desired closer relations. A breakthrough came in early 1971, when Chairman Mao invited a team of American table tennis players to visit China and play against top Chinese players. Nixon followed up by sending Kissinger to China for clandestine meetings with Chinese officials.[1]

The announcement that Nixon would visit China in 1972 made world headlines. Almost immediately, the Soviet Union also invited Nixon for a visit, and improved US-Soviet relations led to the Strategic Arms Limitation Talks (SALT). Nixon's visit to China was followed closely by many Americans, and the scenes of him there were widely aired on television.[1] Chinese Premier Chou En-lai stated that the handshake he and Nixon had shared on the airport tarmac at the beginning of the visit was "over the vastest distance in the world, 25 years of no communication".[2] Nixon's change, from virulent anti-communist to the American leader who took the first step in improving Sino-American relations, led to a new political adage, "Only Nixon could go to China."[1]

البداية

In 1983, theater and opera director Peter Sellars proposed to American composer John Adams that he write an opera about Nixon's 1972 visit to China.[3] Sellars was intrigued by Nixon's decision to make the visit, seeing it as both "a ridiculously cynical election ploy ... and a historical breakthrough".[4] Adams, who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire.[5] Sellars persisted, however, and Adams, who had interested himself in the origin of myths, came to believe the opera could show how mythic origins may be found in contemporary history.[3] Sellars invited Alice Goodman to join the project as librettist,[5] and the three met at the Kennedy Center in Washington D.C. in 1985 to begin intensive study of the six characters, three American and three Chinese, upon whom the opera would focus. The trio endeavored to go beyond the stereotypes about figures such as Nixon and Chinese Chairman Mao Tse-tung and to examine their personalities.[3]

As Adams worked on the opera, he came to see Nixon, whom he had once intensely disliked, as an "interesting character", a complicated individual who sometimes showed emotion in public.[6] Adams wanted Mao to be "the Mao of the huge posters and Great Leap Forward; I cast him as a heldentenor".[3] Mao's wife, on the other hand, was to be "not just a shrieking coloratura, but also someone who in the opera's final act can reveal her private fantasies, her erotic desires, and even a certain tragic awareness. Nixon himself is a sort of Simon Boccanegra, a self-doubting, lyrical, at times self-pitying melancholy baritone."[3]

Goodman explained her characterizations:

A writer tends to find her characters in her self, so I can tell you ... that Nixon, Pat, Mme. Mao, Kissinger and the chorus were all 'me.' And the inner lives of Mao and Chou En-Lai, who I couldn't find in myself at all, were drawn from a couple of close acquaintances.[7]

Sellars, who was engaged at the time in staging the three Mozart–Da Ponte operas, became interested in the ensembles in those works; this interest is reflected in Nixon in China's final act.[8] The director encouraged Adams and Goodman to make other allusions to classical operatic forms; thus the expectant chorus that begins the work, the heroic aria for Nixon following his entrance, and the dueling toasts in the final scene of Act 1.[8] In rehearsal, Sellars revised the staging for the final scene, changing it from a banquet hall in the aftermath of a slightly alcohol-fueled dinner to the characters' bedrooms.[9]

الأدوار

الدور[10] نوع الصوت[10] العرض
هيوستن،22 أكتوبر، 1987
(المايسترو: جون دماين)
[11][12]
ريتشارد نيكسون باريتون جيمس مادالنا
پات نيكسون سوپرانو كارولان پيدج
چو إن-لاي باريتون سانفورد سيلڤان
ماو تسه-تونگ تينور جون دويكرز
هنري كيسنجر باس توماس هامونز
چيانگ چينگ سوپرانو ترودي إلن كراني
السكرتير الأول لماو ميزو-سوپرانو ماري اوپاتز
السكرتير الثاني لماو ألتو ستافين فريدمان
السكرتير الثالث لماو كونترالتو ماريون دراي
الراقصو، الميليشيا، مواطنو پكين

ملخص الاوپرا

الزمان: فبراير 1972.
المكان: في وحول پكينگ (تعرف حالياً باسم پكين)

الفصل 1

ريتشارد وپات نيكسون على سلالم خارج سپيريت '76، 21 فبراير، 1972.

At Peking Airport, contingents of the Chinese military await the arrival of the American presidential aircraft "Spirit of '76", carrying Nixon and his party. The military chorus sings "The Three Main Rules of Discipline" and "The Eight Points of Attention". After the aircraft touches down, Nixon emerges with Pat Nixon and Henry Kissinger. The president exchanges stilted greetings with the Chinese premier, Chou En-lai, who heads the welcoming party. Nixon speaks of the historical significance of the visit, and of his hopes and fears for the encounter ("News has a kind of mystery"). The scene changes to Chairman Mao's study, where the Chairman awaits the arrival of the presidential party. Nixon and Kissinger enter with Chou, and Mao and the president converse in banalities as photographers record the scene. In the discussion that follows, the westerners are confused by Mao's gnomic and frequently impenetrable comments, which are amplified by his secretaries and often by Chou. The scene changes again, to the evening's banquet in the Great Hall of the People. Chou toasts the American visitors ("We have begun to celebrate the different ways") Nixon responds: ("I have attended many feasts"), after which the toasts continue, as the atmosphere becomes increasingly convivial. Nixon, a politician who rose to prominence on anti-communism, announces: "Everyone, listen; just let me say one thing. I opposed China, I was wrong".

الفصل 2

پات نيكسون تصل برج پكينگ، 23 فبراير 1972.

Pat Nixon is touring the city, with guides. Factory workers present her with a small model elephant which, she delightedly informs them, is the symbol of the Republican Party which her husband leads. She visits a commune where she is greeted enthusiastically, and is captivated by the children's games that she observes in the school. "I used to be a teacher many years ago", she sings, "and now I'm here to learn from you". She moves on to the Summer Palace, where in a contemplative aria ("This is prophetic") she envisages a peaceful future for the world. In the evening the presidential party, as guests of Mao's wife Chiang Ch'ing, attends the Peking Opera for a performance of a political ballet-opera "The Red Detachment of Women". This depicts the downfall of a cruel and unscrupulous landlord's agent (played by an actor who strongly resembles Kissinger) at the hands of brave women revolutionary workers. The action deeply affects the Nixons; at one point Pat rushes onstage to help a peasant girl she thinks is being whipped to death. As the stage action ends, Chiang Ch'ing, angry at the apparent misinterpretation of the piece's message, sings a harsh aria ("I am the wife of Chairman Mao"), praising the Cultural Revolution and glorifying her own part in it. A revolutionary chorus echoes her words.

الفصل 3

مشهد من باليه فصيلة النساء الحمراء الذي شاهده نيكسون وزوجته، في 22 فبراير 1972.

On the last evening of the visit, as they lie in their respective beds, the chief protagonists muse on their personal histories in a surreal series of interwoven dialogues. Nixon and Pat recall the struggles of their youth; Nixon evokes wartime memories ("Sitting round the radio"). Mao and Chiang Ch'ing dance together, as the Chairman remembers "the tasty little starlet" who came to his headquarters in the early days of the revolution. As they reminisce, Chiang Ch'ing asserts that "the revolution must not end". Chou meditates alone; the opera finishes on a thoughtful note with his aria "I am old and I cannot sleep", asking: "How much of what we did was good?" The early morning birdcalls are summoning him to resume his work, while "outside this room the chill of grace lies heavy on the morning grass".


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تاريخ العرض

عرض العمل بمشاركة اوپرا هيوستن الكبير، أكاديمية بروكلين للموسيقي، اوپرا هولندا، واوپرا واشنطن،[13] all of which were to mount early productions of the opera.[11] Fearful that the work might be challenged as defamatory or not in the public domain, Houston Grand Opera obtained insurance to cover such an eventuality.[9] Before its stage premiere, the opera was presented in concert form in May 1987 in San Francisco, with intermission discussions led by Adams. According to the Los Angeles Times review, a number of audience members left as the work proceeded.[14]

عرضت نيكسون في الصين على خشبة براون في مركز ورثام المسرحي الجديد في هيوستن في 22 أكتوبر، 1987، تحت قيادة المايسترو جون دمان.[12] عرض الرئيس السابق نيكسون لمشاهدة الاوپرا، وأرسل إليه نسخة من الليبرتو، ومع ذلك، فقد اعتذر مكتبه عن الحضور لمرض الرئيس.[15] فيما بعد أعلن ممثل الرئيس عن عدم رغبته في أن يرى نفسه في التلفزيون أو وسائل الإعلام الأخرى، وأنه لا يستهويه مشاهدة الاوپرا.[9]

The piece opened in conjunction with the annual meeting of the Music Critics Association, guaranteeing what the Houston Chronicle described as a "very discriminating audience".[16] Members of the association also attended meetings with the opera's production team.[16] When Carolann Page, originating Pat Nixon, waved to the audience in character as First Lady, many waved back at her.[17] Adams responded to complaints that the words were difficult to understand (no supertitles were provided) by indicating that it is not necessary that all the words be understood on first seeing an opera.[15] The audience's general reaction was expressed by what the Los Angeles Times termed "polite applause", the descent of the Spirit of '76 being the occasion for clapping from both the onstage chorus and from the viewers in the opera house.[18]

When the opera reached the Brooklyn Academy of Music, six weeks after the world premiere, there was again applause during the Spirit of '76's descent. Chou En-lai's toast, addressed by baritone Sanford Sylvan directly to the audience, brought what pianist and writer William R. Braun called "a shocked hush of chastened admiration".[4] The meditative Act 3 also brought silence, followed at its conclusion by a storm of applause.[4]

The Muziektheater، أمستردام، مشهد من اوپرا نيكسون في الصين، يونيو، 1988

After the opera's European premiere at the Muziektheater in Amsterdam in June 1988, it received its first German performance later that year at the Bielefeld Opera, in a production by John Dew with stage designs by Gottfried Pilz.[19] In the German production, Nixon and Mao were given putty noses in what the Los Angeles Times considered "a garish and heavy-handed satire".[9] Also in 1988 the opera received its United Kingdom premiere, at the Edinburgh International Festival in August.[20]

For the Los Angeles production in 1990, Sellars made revisions to darken the opera in the wake of the Tiananmen Square protests—such as inserting a dramatic pause after the word "hang" in Chiang Ch'ing's Act 2 aria on the line "When I appear people hang upon my words."[9] The original production had not had an intermission between Acts 2 and 3; one was inserted, and Sellars authorized supertitles, which he had forbidden in Houston.[9] Adams conducted the original cast in the French premiere, at the Maison de la Culture de Bobigny, Paris, on December 14, 1991.[21] Thereafter, performances of the opera became relatively rare; writing in the New York Times in April 1996, Alex Ross speculated on why the work had, at that time, "dropped from sight".[22]

The London premiere of the opera took place in 2000, at the London Coliseum, with Sellars producing and Paul Daniel conducting the English National Opera (ENO).[23] A revival of this production was planned for the reopening of the renovated Coliseum in 2004, but delays in the refurbishment caused the revival to be postponed until 2006.[24] The ENO productions helped to revive interest in the work, and served as the basis of the Metropolitan Opera's 2011 production.[25] Peter Gelb, the Met's general manager, had approached Adams in 2005 about staging his operas there. Gelb intended that Nixon in China be the first of such productions, but Adams chose Doctor Atomic to be the first Adams work to reach the Met.[26] However, Gelb maintained his interest in staging Nixon in China, which received its Metropolitan premiere on February 2, 2011.[27] This production became a Metropolitan Opera Live in HD transmission to movie theaters worldwide on February 12, 2011.[28]

While a number of productions have used variations on the original staging, the February 2011 production by the Canadian Opera Company used an abstract setting revived from a 2004 production by the Opera Theatre of Saint Louis.[7] Alluding to Nixon's "News" aria, the omnipresence of television news was dramatized by set designer Allen Moyer by keeping a group of televisions onstage throughout much of the action, often showing scenes from the actual visit. Instead of an airplane descending in Act 1, a number of televisions descended showing an airplane in flight.[29]

Despite a recent proliferation of performances worldwide, the opera has not yet been shown in China.[7]

نقد

مركز ورثام المسرحي، مشهد من العرض العالمي، 22 أكتوبر 1987

The original production in Houston received mixed reviews. Chicago Tribune critic John von Rhein called Nixon in China "an operatic triumph of grave and thought-provoking beauty"[7] Houston Chronicle reviewer Ann Holmes said of the work, "The music of "Nixon" catches in your ear; I find myself singing it while whizzing along the freeways."[30] Los Angeles Herald Examiner critic Mark Swed wrote that it would "bear relevance for as long as mankind cherished humanity".[7] Martin Bernheimer, writing in the Los Angeles Times, drew attention to the choreography of Morris ("the trendy enfant terrible of modern dance") in the Act 2 ballet sequences. Morris had produced "one of those classical yet militaristic Sino-Soviet ballets from the revolutionary repertory of Mme. Mao". Bernheimer also praised "the subtle civility of Alice Goodman's couplet-dominated libretto".[18]

In a more critical vein, The New York Times chief music critc Donal Henahan alluded to the publicity buildup for the opera by opening his column, headed "That was it?", by calling the work "fluff" and "a Peter Sellars variety show, worth a few giggles but hardly a strong candidate for the standard repertory".[7] New York magazine Peter G. Davis admired Maddalena's portrayal of the president, calling him "positively eerie. The tilt of his head, the jerky walk, the nervous hand movements, even the way he sits and crosses his legs are Nixon to the life".[31] However, Davis felt the opera had little chance of survival once the initial public attention ended.[31] St. Louis Post Dispatch critic James Wierzbicki called the opera "more interesting than good ... a novelty, not much more."[15] Television critic Marvin Kitman, just prior to the telecast of the original Houston production in April 1988, stated "There are only three things wrong with Nixon in China. One, the libretto; two, the music; three, the direction. Outside of that, it’s perfect."[7]

The British premiere at the 1988 Edinburgh Festival brought critical praise: "Through its sheer cleverness, wit, lyrical beauty and sense of theater, it sweeps aside most of the criticism to which it lays itself open."[32] When the work was finally performed in London, 13 years after its Houston premiere and after a long period of theatrical neglect, Tempo's critic Robert Stein responded to ENO's 2000 production enthusiastically. He particularly praised the performance of Maddalena, and concluded that "Adams's triumph ... consists really in taking a plot chock-full of talk and public gesture, and through musical characterisation ... making a satisfying and engaging piece."[23] Of the ENO revival in 2006, Erica Jeal of The Guardian wrote that "from its early visual coup with the arrival of the plane, Sellars' production is an all-too-welcome reminder of his best form". In Jeal's view, the cast met admirably the challenge of presenting the work in a non-satirical spirit.[24] Reviewing the 2008 Portland Opera production (the basis of the 2011 Canadian Opera Company presentation in Toronto), critic Patrick J. Smith concluded that "Nixon in China is a great American Opera. I suspected that it was a significant work when I saw it in 1987; I was ever more convinced of its stature when I heard it subsequently, on stage and on disc, and today I am certain that it is one of the small handful of operas that will survive."[33]

At the Met premiere in February 2011, although the audience—which included Nixon's daughter Tricia Nixon Cox—gave the work a warm reception,[25] critical approval of the production was not uniform. Robert Hofler of Variety criticized Sellars for using body microphones to amplify the singing, thus compensating for the "vocally distressed" Maddalena. He further complained that the director, known for designing unorthodox settings for the operas he has staged (Hofler mentions The Marriage of Figaro in the New York Trump Tower and Don Giovanni in an urban slum), here uses visually uninteresting, overly-realistic sets for the first two acts. Hofler felt that it was time that the opera received a fresh approach: "Having finally arrived at the Met, Nixon in China has traveled the world. It is a masterpiece, a staple of the opera repertory, and now it simply deserves a new look".[34] However, Anthony Tommasini of The New York Times, while noting that Maddalena's voice was not as strong as it had been at the world premiere, maintained that due to his long association with the role, it would have been impossible to bring the opera to the Met with anyone else as Nixon: "Maddalena inhabits the character like no other singer".[25] Tommasini also praised the performance of Robert Brubaker in the role of Mao, "captur[ing] the chairman’s authoritarian defiance and rapacious self-indulgence", and found the British soprano Janis Kelly "wonderful" as Pat Nixon.[25]

Swed recalled the opera's reception in 1987 while reviewing the Metropolitan Opera's 2011 production:

An opera that was belittled in 1987 by major New York critics – as a CNN Opera of no lasting merit when Houston Grand Opera premiered it – has clearly remained relevant. Reaching the Met for the first time, it is now hailed as a classic.[35]

الموسيقى

The opera is scored for an orchestra augmented by saxophones, pianos, and electronic synthesizer. The percussion section incorporates numerous special effects, including a wood block, sandpaper blocks, slapsticks and sleigh bells.[36] Adams' compositional technique is usually identified as "minimalist", a musical style that originated in the United States in the 1960s and is characterized by stasis and repetition in place of the melodic development associated with conventional music.[37] However, the composer's biographer, Sarah Cahill asserts that of the composers classed as minimalists, Adams is "by far the most anchored in Western classical tradition".[38] New York Times critic Allan Kozinn writes that with Nixon in China, Adams had produced a score that is both "minimalist and eclectic ... In the orchestral interludes one hears references, both passing and lingering, to everything from Wagner to Gershwin and Philip Glass."[39] In reviewing the first recording of the work, Gramophone's critic discusses the mixture of styles and concludes that "minimalist the score emphatically is not".[40] Other commentators have evoked "neo-classical Stravinsky",[41] and concocted the term "Mahler-meets-minimalism", in attempts to pinpoint the opera's idiom.[42]

The work opens with an orchestral prelude of repetitive ascending phrases, after which a chorus of the Chinese military sings solemn couplets against a subdued instrumental background. This, writes Tommasini, creates "a hypnotic, quietly intense backdrop, pierced by fractured, brassy chords like some cosmic chorale", in a manner reminiscent of Philip Glass.[25] Tommasini contrasts this with the arrival of Nixon and his entourage, when the orchestra erupts with "... big band bursts, rockish riffs and shards of fanfares: a heavy din of momentous pomp".[25] Gramophone's critic compares the sharply written exchanges between Nixon, Mao and Chou En-lai with the seemingly aimless wandering of the melodic lines in the more reflective sections of the work, concluding that the music best serves the libretto in passages of rapid dialogue.[40] Tommasini observes that Nixon's own vocal lines reflect the real-life president's personal awkwardness and social unease.[25][39]

The second act opens with warm and reflective music culminating in Pat Nixon's tender aria "This is prophetic". The main focus of the act, however, is the Chinese revolutionary opera-ballet, The Red Detachment of Women, "a riot of clashing styles" according to Tommasini, reminiscent of agitprop theatre with added elements of Strauss waltzes, blasts of jazz and 1930s Stravinsky.[25][40] The internal opera is followed by a monologue, "I am the wife of Mao Tse-tung" in which Chiang Ch'ing, Mao's wife, rails against counterrevolutionary elements in full coloratura soprano mode that culminates in a high D, appropriate for a character who in real life was a former actress given to self-dramatization.[أ] Critic Thomas May notes that, in the third act, her "pose as a power-hungry Queen of the Night gives way to wistful regret".[8] In this final, "surreal" act[44] the concluding thoughts of Chou En-lai are described by Tommasini as "deeply affecting".[25] The act incorporates a brief foxtrot episode, choreographed by Morris, illustrating Pat Nixon's memories of her youth in the 1930s.[44][ب]

Critic Robert Stein identifies Adams's particular strengths in his orchestral writing as "motoring, brassy figures and sweetly reflective string and woodwind harmonies",[23] a view echoed by Gregory Carpenter in the liner notes to the 2009 Naxos recording of the opera. Carpenter pinpoints Adams's "uncanny talent for recognising the dramatic possibilities of continually repeating melodies, harmonies and rhythms", and his ability to change the mix of these elements to reflect the onstage action.[47] The feel of the Nixon era is recreated through popular music references;[48] Sellars has observed that some of the music associated with Nixon is derived from the big band sound of the late 1930s, when the Nixons fell in love.[3] Other commentators have noted Adams's limitations as a melodist,[40] and his reliance for long stretches on what critic Donal Henahan has described as "a prosaically chanted recitative style".[49] However, Robert Hugill, reviewing the 2006 English National Opera revival, found that the sometimes tedious "endless arpeggios" are often followed by gripping music which immediately reengages the listener's interest.[50] This verdict contrasts with that of Davis after the original Houston performance; Davis commented that Adams' inexperience as an opera writer was evident in often "turgid instrumentation", and that at points where "the music must be the crucial and defining element ... Adams fails to do the job".[31]


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قائمة النعمات والمتتاليات الموسيقية

تسجيلات

Nixon in China has been recorded twice, the first time by Nonesuch Records in 1987, with the full Houston premiere cast in their original roles. In this recording, Edo de Waart conducted the Orchestra of St. Luke's and chorus. Gramophone's Good DVD Guide praised the singing, specifically mentioning James Maddalena's "aptly volatile Nixon" and Trudy Ellen Craney's admirable delivery of Chiang Ch'ing's coloratura passages.[51] This recording received a Grammy Award in 1988 for Best Contemporary Composition in the "Classical" category;[52] it was reissued in February 2011, coinciding with the opera's production at the Metropolitan Opera.[53] The second recording was issued in 2008 by Naxos. Marin Alsop conducted the Colorado Symphony Orchestra and Opera Colorado Chorus, with Robert Orth as Nixon, Maria Kanyova as Pat Nixon, Thomas Hammons as Kissinger, Chen-Ye Yuan as Chou En-lai, Marc Heller as Mao Tse-Tung and Tracy Dahl as Chiang Ch'ing.[47]

المصادر

  1. ^ "Several of the solos are direct descendants of 19th-century Italian opera archetypes: Chiang Ch'ing's bravura aria at the end of Act II ('I am the wife of Mao Tse-tung'), for example, contains coloratura runs up to a high D—a 'showpiece' aria for a character whose capacity for self-dramatization (as a former actress) was an important facet of her personality".[43]
  2. ^ As "a kind of warmup for embarking on the creation of the full opera", Adams had written an extended orchestral foxtrot, The Chairman Dances.[45] Although this was not incorporated into the opera it is performed regularly as a concert piece, and has been fashioned by choreographer Peter Martins into a ballet.[46]
هوامش
  1. ^ أ ب ت ث ج "Foreign Affairs". American President: Richard Milhous Nixon (1913–1994). Miller Center for Public Affairs, University of Virginia. Retrieved March 21, 2011.
  2. ^ Kelb, Bernard. "The week that changed the world". Metropolitan Opera. Retrieved March 21, 2011.
  3. ^ أ ب ت ث ج ح "The Myth of History". The Metropolitan Opera Playbill (Nixon in China edition): 6–10. February 9, 2011. Retrieved March 20, 2011. {{cite journal}}: Italic or bold markup not allowed in: |journal= (help)
  4. ^ أ ب ت Braun, William R. (February 2011). "The Inquiring Mind". Opera News: 20–24.
  5. ^ أ ب Park, Elena. "History in the making". John Adams's Nixon in China. Metropolitan Opera. Retrieved March 20, 2011. {{cite web}}: Italic or bold markup not allowed in: |work= (help)
  6. ^ Wakin, Daniel J. (February 2, 2011). "Adams/Nixon: A kitchen debate on portraying a president in opera". The New York Times. Retrieved March 25, 2011. {{cite news}}: More than one of |work= and |newspaper= specified (help)
  7. ^ أ ب ت ث ج ح خ Gurewitsch, Matthew (January 26, 2011). "Still Resonating From the Great Wall". The New York Times. Retrieved March 25, 2011.
  8. ^ أ ب ت May, Thomas (February 9, 2011). "Program Note". The Metropolitan Opera Playbill (Nixon in China edition): Ins1–Ins3. {{cite journal}}: Italic or bold markup not allowed in: |journal= (help)
  9. ^ أ ب ت ث ج ح Henken, John (September 2, 1990). "Rethinking Nixon in China". Los Angeles Times. Retrieved March 28, 2011. (fee for article)
  10. ^ أ ب "Nixon in China". Opera News: 38. February 2011.
  11. ^ أ ب von Rhein, John (October 30, 1987). "DeMain earns praise conducting new Nixon opera". Chicago Tribune via The Vindicator (Youngstown, Ohio). Retrieved March 25, 2011. {{cite news}}: Italic or bold markup not allowed in: |publisher= (help)
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