PN Review Print and Online Poetry Magazine
Most Read... Rebecca WattsThe Cult of the Noble Amateur
(PN Review 239)
Mark FordLetters And So It Goes
Letters from Young Mr Grace
(aka John Ashbery)

(PN Review 239)
Henry Kingon Toby Martinez de las Rivas
(PN Review 244)
Eavan BolandA Lyric Voice at Bay
(PN Review 121)
Vahni CapildeoOn Judging Prizes, & Reading More than Six Really Good Books
(PN Review 237)
M. Wynn ThomasThe Other Side of the Hedge
(PN Review 239)
Next Issue Jason Allen-Paisant, Reclaiming Time: On Blackness and Landscape Tara Bergin, Five Poems Miles Burrows, Icelandic Journal Jonathan Hirchfeld, Against Oblivion Colm Toibin, From Vinegar Hill
Poems Articles Interviews Reports Reviews Contributors
PNR 250 Poetry Archive Banner
Monthly Carcanet Books
PN Review Blog

This report is taken from PN Review 164, Volume 31 Number 6, July - August 2005.

Letter from Nottingham Peter Davidson

It would have been worth negotiating a road system even more rebarbative than the A52 to hear the operas which I heard in Nottingham this spring. A fine performance of Dido and Aeneas was preceded by a fabulous rarity, never performed in Britain before, the opera San Francisco Xavier, composed in the remote 'reductions' or Jesuit mission towns of Spanish America.

By the determination and enterprise of the Hispanists of Nottingham University, scores were obtained, and two able and sweet-voiced Englishmen were coached in an arduous text sung entirely in Chiquitana, the Amerindian language of the region where the opera was composed. The director of the Jesuit Institute at Boston College came in person to lecture on the re-discovery of the musical riches of those distant settlements, the whole repertory of 'rainforest baroque'. Thousands of pages of score, many of them preserved in a chest of scented wood in the private rooms of the Bishop of Sucre, are being transcribed, edited and performed. The aromatic wood kept the ravages of climate and insects to some degree in check, so that after two centuries and more, it is possible to decipher the music produced in the Jesuit towns of Spanish America, those settlements into which the missionaries gathered the indigenous people to protect them from the slave-raiders, the SanPaulistas, the kidnappers who hunted on the frontiers.

The juxtaposition of the two operas, one Amerindian, one English, brought ...

Searching, please wait... animated waiting image