This week, L.A. Opera premieres 'In Our Daughter's Eyes,' a new one-man opera by Pulitzer Prize-winning composer Du Yun; “Everything Rises,” commissioned by the UC Santa Barbara Arts & Lectures series and featuring Davóne Tines and the violinist Jennifer Koh, also opened.
) uses projection, but it is more spare, more choreographed, more restrained. Koh and Tines take us through their parallel journeys from traditional careerism to becoming themselves. It is a slow process of illumination — sometimes angry, not always comprehensible but ever indispensable.of Koh at 17 in a phenomenal performance at the 1994 Tchaikovsky Competition, of which she was a top prize-winner.
Ken Ueno’s score is subtly chant-like, serving less to announce itself as to empower the performers on their effortful path to self-expression. When the music does stand out — as in an intrusive rhythm track on Ueno’s otherwise gripping arrangement of the Billie Holiday’s covert ode to racial justice, “Strange Fruit” — it diminishes.
As an “audience shrouded in a cloud of whiteness,” we are asked to meet their gaze and listen to their stories. Campbell Hall on the UCSB campus was not full and the audience was, as the artists anticipated, primarily white. Koh and Tines’ stories compel and help explain their sensibilities as outsiders. But the fact is, great artists are by definition outsiders whose purpose is to show us what we don’t otherwise see.
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