- Associated Press - Sunday, August 14, 2011

JOHANNESBURG A sexy dose of jazz and the refined strains of Western opera and traditional Xhosa song drive a new opera about South Africa’s former president and anti-apartheid hero Nelson Mandela.

The range of musical styles in “Mandela Trilogy” reflects South Africa’s mix of cultures, the production’s writer and director Michael Williams said in an interview before a dress rehearsal on Friday.

After preliminary runs in the eastern coastal city of Durban and the heartland town of Bloemfontein, the Cape Town Opera’s production reached South Africa’s economic and entertainment hub Saturday.

The sweeping action of “Trilogy” moves from Mr. Mandela’s boyhood village in southeastern South Africa to the Johannesburg townships where he became a political leader and then to the prisons where he spent 27 years. Mr. Mandela is shown cheating on his wife, making political missteps and struggling with the burden of holding others’ lives in his hands.


“Mandela Trilogy” ends triumphantly, with Mr. Mandela’s 1990 release and stirring speech to a crowd in Cape Town.

The scenes in the village allow the singers to showcase the hymn-like power of African choral music. As the setting moves to Johannesburg, it’s clear that African jazz easily crossed the boundaries apartheid tried to draw between black and white, African and European. The classical sections draw on opera’s storytelling strengths, said Philisa Sibeko who sings the role of Mr. Mandela’s second wife, Winnie Madikizela-Mandela.

“It’s visual, it’s audible, and it’s got all these emotions involved,” said Miss Sibeko, who grew up in a Cape Town household led by her great-grandmother, who conducted African choirs.

South Africans have made opera their own. Miss Sibeko is the second singer to take the stage as Ms. Madikizela-Mandela this year. In April, another creative team brought “Winnie the Opera” to South Africa’s national theater in Pretoria, the capital.

A South African “Carmen” opened in New York in 2004, and a film version won an award at the Berlin Film festival the next year. A South African “Magic Flute” played London’s West End in 2008.

“There is in South Africa this incredible singing tradition,” Mr. Williams said. “We have wonderful choirs here. And opera is the next step.”

A 40-piece orchestra of Western instruments backs the singers of “Mandela Trilogy.” The music is punctuated by the clashing of the fighting sticks of the Xhosa village characters, the clanging of metal cups against prison bars, and the tapping feet of dancers performing the pantsula jazz style.

The opening scene shows Mr. Mandela in prison, but not acting like a prisoner. He meets his jailers as their equal:

“May I remind you, we are not criminals, but political prisoners, jailed for our belief in a free South Africa,” he says.

In preparing to take on Mr. Mandela as an operatic figure, Mr. Williams studied biographies and delved into the official archives at the Nelson Mandela Foundation. The set is decorated with reproductions of calendars and photographs Mr. Mandela had in prison and that now are housed at his foundation. Most in the audience won’t be able to see such details, but they show the artistic team’s determination to create a realistic atmosphere. Sets use archival footage of anti-apartheid protests and a photograph of Mr. Mandela’s Robben Island prison cell is projected on screens.

Mr. Williams also read histories of Johannesburg’s townships, discovering an obsession urban South African criminals in the 1950s developed for the 1948 Hollywood gangster movie “The Street with No Name.” Scenes from the movie play silently in the background during the jazz segments.

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