Gareth K Vile reviews Anais Mitchell's Hadestown at this year' Celtic Connections.
The resonances of the Orpheus myth - man fights death for love, the power of music to charm even the sternest critic, the immutable laws of nature that not even art can defeat – have ensured that it has been re-interpreted throughout the generations. It has rarely been given an explicitly political point, as in Anais Mitchell’s “folk opera” Hadestown, but Mitchell’s recognition that Hades is the god of wealth as well as the dead allows her to shift the story from ancient Greek prehistory to a mythical fusion of depression era America, post-apocalyptic future and contemporary social commentary.
Having brought together a stellar line up of folk musicians – Martin Carthy is especially skilful as the capitalist villain, who somehow has the most trenchant number that explains his philosophy and subtly critiques it at the same time – Mitchell blends various forms of Americana into a satisfying and flowing narrative. Persephone, Hades’ wife, interpreted by Ani DiFranco, becomes the owner of an illicit bar, while Orpheus remains the penniless singer, betting on art over commerce.
Mitchell’s version of Orpheus takes a few broadsides at the self-justifying, and circular, logic of totalitarianism and capitalism: although the Orpheus myth can never quite escape the classical fatalism that concludes the musician’s adventure to the underworld, the triumph of art is always in the performance of the story. By capturing everything from good time Dixie jazz through to bluegrass, Mitchell celebrates the rich heritage of the twentieth century, while identifying the way that freedom can easily become just another commodity in the land of the rich.
While Hadestown is, strictly speaking, more of an operetta than an opera – the story is moved along by a narrator, and the performances are all vocal and no acting – the combination of folk stars, ancient mythology and left wing politics is appropriate and effective. As a format to showcase the versatility of the singers, Mitchell’s own song-writing and the moods of Americana, Hadestown is a resounding success.
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