A version of ‘El Nino’ that’s a child of the times

John Adams’ “El Nino” recounts the Nativity story in texts old and new, many by Spanish female poets. It is a rapt, enchanting, profoundly moving oratorio that venerates the miracle of birth. A millennial work, it proved the perfect hopeful symbol of a new age dawning when it had its premiere in Paris at the end of 1999.

In Paris, Peter Sellars staged “El Nino” as an opera, and he compromised his vision only slightly a month later for the American premiere by the San Francisco Symphony. On that occasion, he simply transferred soloists, chorus, dancers and film onto the same stage as the orchestra. It was Sellars’ way of saying God is everywhere. Full of boundless, if confusing energy, it was a lovable mess.

But the world has changed, its optimism drained. On Thursday night, the Los Angeles Philharmonic performed “El Nino” in its fully staged version, with the orchestra in the pit, but the presentation was significantly refined and very subdued.

“This is a time in history when something generous and tender is essential,” Sellars said in a preconcert discussion, “a time when a miracle is very necessary.” The boisterousness is all but gone from the stage, and Sellars now focuses on intimate emotion and solemn ritualistic gesture, as he illuminates the smallest details in the music. Taking advantage of the original dream cast -- Dawn Upshaw, Lorraine Hunt Lieberson and Willard White -- the exceptionally well-trained Los Angeles Master Chorale and the rock-solid conducting of Esa-Pekka Salonen, Sellars asks, no, he forces the audience to look inward, unflinchingly.

That, it must also be said, is not something that symphony audiences necessarily want to do. With this production and magnificent performance, the Los Angeles Philharmonic has something important but out-of-the-ordinary to offer, daring and angering. There was an unusual buzz in the Dorothy Chandler Pavilion Thursday night and long ticket lines outside; there were also many who did not stay until the end.

The simplest way to describe “El Nino” is as a modern-day “Messiah.” As in Handel’s oratorio, the libretto Adams and Sellars fashioned is not specifically narrative. Either the soprano or mezzo-soprano soloists may be Mary; the baritone can be Joseph or Herod. At one point, three countertenors are the three wise men, but the countertenors also can be backup Marys or Josephs. Same goes for the chorus.

The texts range widely. The story is outlined with passages from biblical sources and the New Testament Apocrypha. But the characters, and Mary in particular, are examined through often startling words and insights from 17th century Mexican poet Sor Juana Ines de la Cruz, early 20th century Chilean poet Gabriela Mistral and Mexican poet Rosario Castellanos, who died in 1974. Modern imagery is used in a potently dramatic scene for soprano set to a poem by Castellanos that reflects on the brutal police put-down of a 1968 student revolt in Mexico City’s Tlatelolco Square.

Musically, “El Nino,” in proper oratorio fashion, alternates between moments of eloquent lyricism and ferocious dramatic conflict. Adams has written nothing more beautiful or tender than the quiet arias and the duet for Upshaw and Hunt Lieberson, both of whom are spellbinding performers. Although much of “El Nino” is told from a woman’s point of view, Joseph is portrayed with unusual depth and realism, and one of the most compelling aspects of the score is Joseph overcoming his anger and vulnerability and opening himself to divine influences.

Sellars presents the rich levels of emotion in “El Nino” with great sensitivity, even delicacy. The stage is sometimes bare but for a singer. The use of the three dancers -- Daniela Graca, Nora Kimball and Michael Schumacher -- has been reduced to just a few key moments, and their fluid movements and reverent arm gestures have the quality of a spiritual embrace. The three countertenors -- Daniel Bubeck, Brian Cummings and Steven Rikards -- are an angelic presence and sound.

The stage is lovely to look at. James F. Ingalls drenches it in colored light. Dunya Ramicova has provided new, elegant costumes. Upshaw no longer wears a checkered red shirt but a graceful long white dress. The Master Chorale is in muted, earth-toned street clothes. The Los Angeles Children’s Chorus, waving arms, singing of the palm tree bending to the infant Jesus at the end, lifted the spirits.

And then there is the film. Sellars’ jerky, coarse-textured scenes from Los Angeles have, from the start, received the most criticism of his production. He shows Mary as an unwed Latino teenager. Mary and Elizabeth come together in a Laundromat. The beach, with an apocalyptic-looking El Segundo power plant looming ominously in the background, is today’s manger.

Many found the film one visual layer too many. My minority view was that the film added an interesting backdrop, not something to watch continuously but just sort of there. Now the film dominates more and one tends to watch it, which adds another level of intensity. I still liked it but heard complaints at intermission.

One more thing: Mark Grey’s sound system. With singers and orchestra amplified, there is a clarity that makes most of the texts easily understandable. But there was a hint of artificiality to the orchestra sound, mainly because it came not from the pit but the stage.

“El Nino” is evolving, and more tweaks are likely as it is performed through the weekend and then next week when the Philharmonic takes it to New York. With the world situation changing as quickly as it is, the spiritual and emotional message of “El Nino” continues to take on new meaning. *

‘El Nino’

Who: Los Angeles Philharmonic

Where: Dorothy Chandler Pavilion, 135 N. Grand Ave., Los Angeles

When: Tonight, 8 p.m.; Sunday, 2:30 p.m.

Price: $14-$82

Contact: (323) 850-2000