Jazz and Opera Come Together in ‘Fire Shut Up in My Bones’
The New York Times
Two critics discuss Terence Blanchard’s “Fire,” the Metropolitan Opera’s first work by a Black composer.
“Fire Shut Up in My Bones,” which opened the Metropolitan Opera’s season last week, was a milestone: the company’s first work by a Black composer. The music, by Terence Blanchard — a jazz trumpeter also known for his scores for Spike Lee films — has earned praise from both classical and jazz critics.
The New York Times’s chief classical critic Anthony Tommasini described “a compositional voice dominated by lushly chromatic and modal harmonic writing, spiked with jagged rhythms and tart dissonance.” The jazz writer Nate Chinen wrote for NPR that “the smooth deployment of extended jazz harmony, often in breathing, fleeting passages, marks the piece as modern — as does the work of a rhythm section nestled within the orchestra.”
The Times sent two more critics to the second performance on Friday. Seth Colter Walls, based on the classical desk, and Giovanni Russonello, who specializes in jazz, have both covered figures who cross with ease between concert halls and jazz clubs. But “Fire,” based on a 2014 memoir by the New York Times columnist Charles M. Blow, was their first night at the opera together, the spur to an extended discussion.
