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DOCUMENTATIONAudio Excerpt

https://soundcloud.com/annie-gosfield/war-of-the-worlds-5-minute-version

Short Video Documentaryhttps://youtu.be/f_O5JUg0HhE

Video on Twitter from public performance spacesSiren 2https://twitter.com/_waroftheworlds/status/931983971990118400Siren 3https://twitter.com/_waroftheworlds/status/932015722636632064Siren 1https://twitter.com/3_DIY/status/929850967830302720

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LOS ANGELES In their 1938 radio adaptation Orson Welles and his Mercury Theater troupe proved that simulated news in that case, an uncannily realistic account of an alien invasion could make for pulse-quickening, even panic-inducing entertainment.

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once-audacious prank to the stage in 2017 faces a hurdle: how to make the original broadcast once again seem surprising.

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In a speaking role, Sigourney Weaver was a crucial link between the original and this new work. -song commentary is interrupted by a

Martian invasion, Ms. Weaver introduced the opera by portraying a lightly fictionalized version of herself that is, as a marquee Hollywood name, here to lend a classical performance some glamour.

vening of planetary-theme odes by Ms. Gosfield.

the audience regular updates and facilitating question-and-answer sessions with sources outside the hall, where extraterrestrial destruction is taking place.

This inside-outside dynamic allowed Mr. Sharon, a recent winner of a MacArthur fellowship and the director of productions that have ranged over a train station and in cars throughout Los Angeles, to indulge his passion for staging operas in multiple locations simultaneously. This time

f the Los Angeles

stashed at three locations across the city, where additional crowds could attend, free of charge. (These exterior sites -era, now-defunct air raid sirens.)

Does this concept sound overstuffed? Initially, at least from inside Disney Hall, it threatened to feel disjointed. There, Ms.

alien-induced pandemonium.

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Yet the hard-as a sizzling orchestral piece. Its references to vintage big-band jazz were refracted through some piercing microtonal harmonies. And the writing for brass instruments often merged seamlessly

sampling keyboardown design, similarly prominent in some of her earlier work.

a witty modernization of a crooner-and-orchestra number the transitions came across as forced and a touch repetitive.

Martinez a witness to the panic outside the hall. The mezzo-soprano Suzanna Guzmán performed the song at one of the raid siren locations, accompanied by pizzicato bass and a lyrically swooning violin stationed nearby. The music was relayed to the crowd in Disney Hall as

being described by Mrs. Martinez. The collapse of physical distance was simple in design, perhaps, but stunning in execution.

These dizzying shifts in narrative space helped the opera seem like more than just a collection of

members not to wonder about which position confers the best possible view. Those unavoidable considerations, in turn, pull the opera away from the comparatively well-conceit, and toward a poetic way of exploring how different communities might absorb the same developing news story from different vantages and through different media.

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didactic on this point, preferring to let the question linger in the air. The opera also seems to hold out hope for a truly communal experience. The finale unites players across the three siren stations and the concert hall for one last mutual gasp even after audience members in Disney

-crushing low frequencies of Disney -site

crowds might have enjoyed a more rollicking, street-fair experience, while still hearing Ms. crowd-captured video from the

siren sites posted on social media. And there were large-scale, puppet-and-dance visualizations of the aliens that the Disney Hall crowd never saw.

Nov. 18. An enterprising spirit could sign up for a free seat at a siren location, then pay to see the show directly afterward, inside Disney Hall. The rest of us may have to root for a souped-up recorded edition, perhaps one offering different vantage points.

It would also be ideal to have production that made a virtue of stalling and redistributing the flow of music, her contributions created a steady sense of momentum, conjuring some of that 1930s excitement, if (thankfully) a bit less mass hysteria.

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!Alien singer Hila Plitmann and percussionist Matthew Howard perform with the Los Angeles Philharmonic New Music Group in Annie Gosfield's "War of the Worlds" on Sunday at Walt Disney Concert Hall. (Craig T. Mathew / Los Angeles Philharmonic)

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in Los Angeles: sunny, partly cloudy with a hint of danger in the air. How else to explain the presence of General Lansing (Hadleigh Adams) in this empty parking lot at 7th and Hill? OY!!!

Ross Steeves is telling everybody to calm down. He also asks who wants a Starbucks? Make ours a pumpkin spice latte, please.

Ngernwichit, alien choreographer Lara Helena and production designer Calder Greenwood.)

the horizon and Lansing thinks he sees something on top of the cylinder. Who knew that these WWII sirens some 276 of them to be precise have been scattered throughout

re-activated.

OMFG! Is it a bird, a plane or what? We hear that 700 armed men are closing in on the old metal

metal framework.

your seat belts, going to be a bumpy Oh, wrong movie. Apologies to Bette Davis.

Wow! Even the soldiers are freaking out.

just came out on this humdrum day to listen to some Annie Gosfield music with a libretto by Yuval Sharon.

Whee! . And much as we hate to admit it, this strange looking creature seems a bit benign and a Louise Bourgeois being powered, in any case, by silver-clad terpsichoreans. Our kind of aliens.

oldiers, including Cheryl Umana,

roused themselves and are back to giving orders.

EEK! On closer inspection, we notice that these beings (pictured here: Jessica Kittredge), only have one eye. How very Cyclopsesque! (Thanks to costume designer Jaymee Ngernwichit, alien choreographer Lara Helena and production designer Calder Greenwood.)

Sanity and peace prevail! The invasion has been halted, and we understand that the titanium of Frank Gehry Walt Disney Concert Hall t rays. Take a bow, soldiers and alien movers Myles Brewer, Jen Haley and Ottavio Taddei and let us all rejoice in the power of music, especially as performed by the stellar musicians of the Los Angeles Philharmonic. Yes!!

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New York TimesThe Week in Classical Music

That Decisive Moment

June 1, 2018

https://www.nytimes.com/2018/06/01/arts/music/classical-music-soundcloud-youtube.html

There aren’t many contemporary composers who as consistently inventive and entertaining as Annie Gosfield, who this season wrote a winning operatic adaptation of “The War of the Worlds” for the Los Angeles Philharmonic. And she’ll enjoy a wide-ranging residency at the Stone in late July. A concert on Wednesday at National Sawdust, part of John Zorn’s commissioning series there, offered a quick tour through some of her recent chamber music. The pianist Kathleen Supové and the violinist Jennifer Choi collaborated on a new piece, “Falling Stars and Cosmic Noise,” and each played a solo. Well, not quite solo; both works also involved electronic accompaniment. In the case of the violin piece, “Long Waves and Random Pulses,” Ms. Gosfield’s sources included radio-jamming sounds used during World War II as well as callbacks to Bach’s Chaconne in D Minor. Ms. Choi played the complex acoustic part with notable intensity, moving dexterously between motifs full of sumptuous feeling and more striated textures, requiring extended techniques. Another excellent performance of the work, featuring the violinist Pauline Kim Harris, can be heard on Ms. Gosfield’s Soundcloud account (which also houses some choice excerpts from that “War of the Worlds” opera). SETH COLTER WALLS

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