When you write music it’s like a bag of memories of the time you wrote it it’s like a diary, but it’s abstract. So when we had the opportunity to do “Harvey Milk” again, and it was clear that I would actually rewrite the whole opera, I wasn’t sure I could do it. I had to start these experiments on myself. I tried a bunch of things to try and ameliorate it, and the doctors were completely useless. For about five years I couldn’t write music, which is something I’d done since I was a child. I was on a bike, and then I woke up in an ambulance and had no idea how I’d gotten there. Has it been fulfilling to return to something you did so long ago? There’s nothing to take you away from the thrust of the narrative and the music. The bones are the same, but the meat is different it’s leaner and more fluid and more direct, with more rhythmic clarity. The music is freer now, and more organic, and yet completely recognizable as what we wrote. It can now be done by small or large companies. Louis there will be about 66 and at Opera Parallèle, about 31. At San Francisco Opera there were something like 80 or 85 players, and in St. I think the running time of the music is now an hour and 50 minutes, and it was an almost three-hour evening when we did it in the first run.
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I started to look at it with all these years of experience in between - not trying to make it more refined or sophisticated, just thinking about how to deploy the resources, and not waste any time. What exactly has changed about the opera? So that and some other things we did are in the film. But we turned the opera into a place of pilgrimage and revelation for him. Gus actually came to “Harvey Milk” in San Francisco, and he borrowed a few things from us, like “Tosca.” Which was in there because the night before Harvey Milk was murdered, he went to San Francisco Opera, and what was performed? “Tosca.” It was a very literal thing. Obviously Gus Van Sant’s 2008 film “Milk” exposed the story to many more people. When “Harvey Milk” premiered in Houston in 1995, Edward Rothstein’s review in The New York Times called it “a rambunctious combination of banality and effective drama, posturing, playfulness and polemics.” Before it went to San Francisco, the following year, Wallace and the librettist, Michael Korie, made some revisions, adding arias for the title character, adjusting some orchestrations, and paring down the whole thing. Gay men, long a fervent segment of opera’s audience, had rarely, if ever, been the subject of an opera. Philip Glass’s “Satyagraha,” about Gandhi Anthony Davis’s “X: The Life and Times of Malcolm X” and John Adams’s “Nixon in China” were still fresh in people’s ears.īut in telling the story of the gay activist and politician who was killed in 1978 by a fellow member of the San Francisco Board of Supervisors, Wallace introduced a twist.
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