“X: The Life and Times of Malcolm X” at the Metropolitan Opera in New York City Shares the Transformational History of Black American Activist, Malcolm X
Will Liverman sings the title role in the Met premiere of Anthony Davis’s “X: The Life and Times of Malcolm X.” Photo: Zenith Richards / Met Opera
What do you think of when you hear “opera”? Perhaps you envision a stuffy concert hall, filled with elderly people in tuxedos and gowns listening to old classical music sung in a European language as they fall asleep. Or do you think of a dramatic romance gone wrong, as the lead singer pleads in song for his long-lost love? If you think this, you are not alone. And while maybe there are some truths to these images, the 2023-2024 season at the Metropolitan Opera in New York City begs to differ. “X: The Life and Times of Malcolm X” is anything but a dramatic love story… This opera brings forth a fresh musical score, sung in English, with young talented singers and dancers, a futuristic-modern set design, and a plot that is rooted in a not-so-long-ago history. “X” stands proudly amongst a more traditional performance schedule for the Met Opera, and the audience included an overwhelming number of students and young members. The opera was fast-paced, and engaging, and I can tell you: that not one person was sleeping by the end.
Malcolm X
Malcolm X (1925-1965), born Malcolm Little, was a Black American civil rights activist. He grew up in Omaha Nebraska with his parents, Earl and Louise Little. In 1952, Malcolm changed his name to Malcolm X after joining the Nation of Islam (NOI). He believed that Black empowerment was best accomplished through separatism. Instead of advocating for the Black community to integrate with the white community, like Dr. Martin Luther King, Malcolm argues that America was so diseased with racism, that integration would not be possible. Therefore, through self-love and self-determination, Black Americans had to build their own institutions to create a freer America. However, in 1964, Malcolm resigned from his position as spokesperson for the NOI due to issues he had with the leader, Elijah Muhammad. Then, Malcolm went on a pilgrimage to Mecca, Saudi Arabia where he changed his name one final time to, El-Hajj Malik El-Shabazz. He returned to the United States of America and established the Organization of Afro-American Unity (OAAU) where he continued to speak on human rights issues regarding Black Americans. However, his plan came to a halt, when on February 21, 1965, Malcolm X was assassinated while he was giving a speech to a crowd at the Audubon Ballroom in New York City.
X: The Life and Times of Malcolm X
X: The Life and Times of Malcolm X first premiered at the New York City Opera in 1986 and has returned to the Metropolitan Opera in New York City for the 2023-2024 season. This year the opera is enlivened by fresh young Met stars, with Baritone Will Liverman singing as Malcolm X and Kazem Abdullah conducting the orchestra. Davis’s opera highlights the transformational story of Malcolm X and takes the audience on a journey from Malcolm’s youth to his death through 12 vignettes. As we watch the opera, the use of layered polyphony and ever-changing time signatures creates a modernist musical score, but Davis’s notable use of the trumpet, reminds us of the Jazz Age in the 1920s-1930s. It is a theme that is ever clear in this opera: reimagining the past in the present.
This theme is introduced during the opening act of the opera, when Malcolm has his back to the audience, and faces out towards a spaceship-like structure hanging from the theater grid.
A scene from Anthony Davis’s “X: The Life and Times of Malcolm X.” Photo: Marty Sohl / Met Opera
This image enforces the notion of transformation through time and space, as it appears Malcolm could be embarking on a journey of remembering himself from the past and thinking of his future. The dancers on stage—clad in white—also embody this theme. Choreographer Rickey Tripp’s movements range from contemporary staccato movements to Hip-Hop, while also recalling traditional Jazz and social dances from the Harlem Renaissance, including Lindy Hop and the Charleston. Through these messages, Davis conveys the idea that “X” transcends time—that the messages from the past are as relevant then, as they are today. As highlighted in the composer’s note, librettist Thulani wrote, “You have your foot on me, always pressing!” This statement reminds us of the Black Lives Matter movement, and the tragedy of George Floyd.
Davis’s opera ends with the frantic musical score coming to a screeching halt after the assassination scene of Malcolm X. The lights fade slowly, in silence, and the opera finishes. The abrupt end conveys the unsettling reality that Malcolm’s mission has not yet concluded. The past retains its relevancy as images of the present seem to wash over the audience during the final reverberance of the last note.
“X: The Life and Times of Malcolm X”was a breath of fresh air to watch. As an audience member, I appreciated the commitment to keeping the stage busy with dancers, an impressive set design, and singers that graced the stage with movement and life. I took note of how each vignette never carried on too long, and that the plot was constantly being driven forward, without being rushed. I was also very happy to be sitting amongst other operagoers, many of whom were people of color and young students eager to learn about how a more modern opera might look on stage. When the cast finally bowed, the audience stood and applauded. Whistles and “Bravo!” were heard from every corner of the theater. In addition to a great show, the audience seemed to be cheering for something more…I believe it was their appreciation to see such a non-traditional opera being performed amongst many older operas that were to be shown that very week. There was a shared feeling among audience members that “X” will go down as one of the iconic operatic creations that will continue to be performed for years to come.