Podcast 52: Opera Theater of St. Louis, Opera Saratoga, Women Composers and dell’Arte Opera Ensemble

Peter, Brooke & Chuck engage in an rousing roundtable about opera productions from near and far, including Opera Theater of St. Louis, Opera Saratoga and the Mostly Mozart Festival, as well as the Recipients of the Commissioning Grants for Women Composers

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LISTEN TO EPISODE 52

NOTES

WHAT WE’VE SEEN:

Brooke
Bernstein’s MASS at Mostly Mozart Festival

Eighth Grade, a new movie by director/writer Bo Burnham

Opera America Conference 2018, St. Louis, MO
Attended panels on
Color conscious casting
Women in opera
Community Responsibility
John Adams, composer was the Keynote Speaker
Laura Kaminsky, composer participated on some panels

Opera Theatre of St. Louis
Regina by Marc Blitzstein
based on the play The Little Foxes by Lillian Hellman
James Robinson, director
Stephen Lord, conductor
Susan Graham, Regina
James Morris, Ben Hubbard
Ron Raines, Oscar Hubbard
Susanna Phillips, Birdie Hubbard

Orfeo by Gluck
(Set in a 1980’s punk neon style)
Ron Daniels, director
Katarzyna Skarpetowska, choreographer
Big Muddy Dance Company
Jennifer Johnson Cano, Orfeo
Andriana Chuchman, Euridice

An American Soldier
Huang Ruo, composer
David Henry Hwang, librettist
Andrew Stenson, Danny Chen
Mika Shigematsu, Mother Chen
Wayne Tigges, Sargent Aaron Marcum
Kathleen Kim, Josephine Young

La Traviata by Verdi (in English)
Patricia Racette, director
The Director made some distinct small changes that helped to focus and support Violetta’s story better.

Peter, Chuck, Brooke
MASS by Leonard Bernstein, (w/ additional texts by Stephen Schwartz)
Mostly Mozart Festival 2018 at David Geffen Hall
Deborah Borda, President/CEO – New York Philharmonic

Louis Langree, conductor
Elkanah Pulitzer, director
Nmon Ford, The Celebrant
He was superb throughout, but especially in the “Our Father” and the long scena “Things Get Broken”
Young People’s Chorus of New York
Elizabeth Nunez, Associate Artistic Director
Concert Chorale of New York
James Bagwell, Director
Hadleigh Adams, Michael Kelly, Street Singers

Used the original Bernstein recordings that are played along with the
live performance.
Choreography, we felt it mostly got in the way or was stilted

Jesus Christ Superstar by Andrew Lloyd Webber and Tim Rice premiered
only one year before MASS in 1970.

Chuck
MASS received a production at Carnegie Hall and United Palace Theater
in October 2008
Marin Alsop, conductor
Kevin Newbury, director
Baltimore Symphony Orchestra
Chuck feels that this was a much better production of the work, although the
Celebrant for the recent presentation was superior.

Brooke
Opera Saratoga Summer Festival 2018
Saratoga Performing Arts Center
Lawrence Edelson, Artistic & General Director
Jonathan Blalock, Devolopment & Patron Services Manager

The Merry Widow by Franz Lehar
John de los Santos, director/choreographer
Anthony Barrese, conductor

Vinkensport, or the Finch Opera
David T. Little, composer and new orchestrations
Royce Vavrek, librettist
Garrett Obrycki, Baritone (Sings aria about letting his Finch go.)
Opera is about a competitive Finch singing contest.
The characters appear to be as trapped as their encaged finches.

Rocking Horse Winner (based on a D.H. Lawrence short story)
Gareth Williams, composer
Anna Chatterton, librettist
Tyler Nelson, Tenor – sings the Rocking Horse Winner
Opera is about a boy on the autistic spectrum who while riding his rocking horse can see/predict what horse is going to win a race at the racetrack. He hopes that all this monetary wealth will make his mother happy, it doesn’t. Eventually he rides himself to death.

The Consul, by Gian Carlo Menotti
Lawrence Edelson, director
Andrew Bisantz, conductor
Meghan Kansanders, Magda Sorel
Deborah Nansteel, Mother
Jennifer Panara, The Secretary
Tyler Nelson, The Magician
Opera is about a family trying to escape from a dictatorship.
Magda’s husband is wanted by the government, but is able to escape. he sends for his wife and child, but their meeting with the Consul is constantly stalled and they don’t live to see freedom.

Opera America Commissioning Grants 2018-2019
These grants go to member opera companies to support their production of commissioned opera by a female composer.

Beth Morrison Projects
Adoration by Mary Kouyoumdjian, composer & Royce Vavrek, librettist
On Site Opera
Lady Murasaki and the Tale of Genji by Michi Wiancko, composer and Deborah Brevoort, librettist
Opera On Tap
Looking At You by Kamala Sankaram, composer & Rob Handel, librettist
Opera Philadelphia (to be produced as part of Festival 020)
Ashes by Jennifer Higdon, composer & Jerry Dye, librettist
Washington National Opera
Taking Up Serpents by Kamala Sankaram & Jerry Dye, librettist

Opera On Tap
La Cenerentola on the Playground
Kamala Sankaram played the accordion in the band

CLIP: LOOKING AT YOU by Kamala Sankaram & Rob Handel
Ethan tries to contact Dorothy through her Fitbit.
Jonathan Blalock, Ethan
Rachel Calloway, Dorothy
Rachel also sang Mother in
Sumeida’s Song by Mohammed Fairouz

Hartt School of Music
Peter Szep’s Alma Mater
Operas done while at school there:
Manon by Massanet
Susannah by Carlisle Floyd
CLIP: ZAKA by Jennifer Higdon, an instrumental chamber work
Eighth Blackbird from their album “Strange Imaginary Animals”

Blue Cathedral, orchestral work
Cold Mountain, an opera by Higdon and librettist, Gene Scheer.

The Creation by Franz Joseph Haydn – sung in German
Mostly Mozart Festival, Rose Theater, Jazz at Lincoln Center
Laurence Equilbey, conductor
Carlus Padrissa, director
La Fura dels Baus, multi-media group
Accentus – choir
Insula Orchestra
Choir and orchestra are in residence at La Seine Musicale near Paris.

This is Haydn’s take on the Creation Myth, however, it doesn’t make any mention of original sin. Named characters are the 3 Angels: Gabriel, Uriel and Raphael then adding Adam and Eve in the 3rd section all supported by a large choir. The orchestration and harmonics of this composition was ahead of it’s time because of the use of dissonance and chromaticism.

There was lot of flying of the angels via harnesses and eventually a small rolling
aquarium was brought to center stage. The choir members were dressed like refugees from Paradise, expelled because of war, or due to natural, economic, political or religious reasons.

There were problems with the supertitles note being viewable by the whole audience. Either too high up on the rolling scrim walls on stage, or the font size too small for the two screens on either side of the orchestra. The choir all were holding large white helium balloons that were used to create designs or to frame the stage action. Unfortunately, during the 3rd section when they went out into the orchestra aisles, but their balloons then blocked the view of Adam & Eve center stage for mezzanine audience.

Chuck first was introduced to the work of La Fura dels Baus at the Edinburgh International Festival for an original multi-media music theater work done in Catalan.

dell’Arte Opera Ensemble Interviews

Owen Horsley, director – Don Giovanni (by Wofgang Amadeus Mozart)
First time directing both for dell’Arte and of an opera, comes from classical theater – Royal Shakespeare Company & Cheek By Jowl in England.
Bard City is the Shakespeare training program he created.

His approach to directing has always been musical and rhythmical.

He ass’t directed on a productions of A Midsummer Night’s Dream co-created by the RSC and Garsington Opera in 2015 using all of the music that Mendelssohn composed for the play.

Chris Fecteau, Artistic Director and Co-Conductor has chosen to do present the Viennese version of Don Giovanni. Instead of the more frequently chosen ending where all the other main characters come back onstage and sing a moralistic finale number, here the opera ends with the Don being dragged down to hell by the Commendatore.

Why do we tell these classic stories now?
Owen sees this opera about relationships between genders, about seduction, but also about potential abuse. In this post #MeToo era, we need to look at this story in a different way, make it about calling out the system of hierarchal abuse.
He has set it within the construct of the entertainment business looking at the competition, the ambition and the dynamic between an aesthetic world and and ethical world. Don Giovanni represents the aesthetic, which people are drawn towards and he uses/abuses that power over them, working to get people into situations that could ruin them.
After their interactions with Giovanni, Donna Elvira and Donna Anna respond to something more ethical. Their plight is to succeed despite their past and to expose him.
The set is an abstracted hotel so we can see the difference between the private and the public; what regularly goes on behind closed doors in the entertainment industry.

There is a cast of 8 leads and an ensemble of 6, all the leads are double cast.
In auditions Owen was looking for singers who could shift their amazing vocal techniques into service of character and telling the story.
He has been working strongly with the singers to make both the recitatives and arias dramatically active. Each character is trying to effect a change in the person they are singing to or with.
Chris wanted this production to have a relentless nature to it, so that it never stops moving forward. It makes it seem like the end of an aria is crashing on top of the start of the next recitative.

Salome by Oscar Wilde
Royal Shakespeare Company
Owen Horsley, director
Matthew Tennyson, Salome
There were two major reasons that the RSC wanted to produce this
play in 2017 at Stratford on Avon.
Last year marked the 50th Anniversary of the decriminalization of
homosexuality in the U.K. and the RSC wanted to recognize that.

A man was cast as Salome, none of the personal pronouns were changed so it created a level of ambiguity throughout the play, thus recognizing the new breakdown in gender categories.

Perfume Genius, a Seattle based solo artist was approached and gave Owen permission to use his music. It was newly orchestrated and used
throughout this production of Salome.

The production broke open new conversations between audience members. It also developed a following amongst teenagers, especially young women.

Boys In the Band by Mart Crowley
Broadway Revival which has been totally cast with out gay male actors has also developed a following amongst young women.

What’s next for Owen?
May Days by David Edgar
Royal Shakespeare Company
Mischief Festivals at The Other Place

1968. A TIME OF POLITICAL UPHEAVAL THE LIKES OF WHICH HAS NOT BEEN SEEN SINCE. UNTIL – PERHAPS – NOW.
In a new age of radical leftism and global politics, this new version of David Edgar’s 1983 award-winning hit play has startling parallels to the political revolution of the Millennial Generation. Maydays tells the story of the idealistic young who came of age in 1968 and were drawn into revolutionary politics; of defection from east to west as well as from left to right. It is told through a number of interlocking stories, across three continents and 25 years of tumultuous history.

Bea Goodwin, director – La Cifra (The Code) by Antonion Salieri, USA premiere
Bea started working with dell’Arte three seasons ago as an ass’t director to Kyle Pfortmiller for La Traviata. In that same season, she directed Act One of La Rondine in the Scenes Program. She had never been an assistant before, or directed an opera.

How does the music of the opera support and propel the drama forward?
Calisto was her first experience with continuo accompanied recitative.
Co-Conductors Charles Weaver & Chris Fecteau told her that Calisto was written for actors who sing. Working in collaboration with them, she learned how everything is connected in opera.
With La Cifra she didn’t have a lot of music to start with.

Bea has a degree in theater Arts from Fairleigh Dickinson University.
Wroxton College is a division of FDU housed in a modernized 17th Century manor house in Oxfordshire, England, Students can spend a full semester abroad there.
While there, Bea was attending at least 3 shows a week to support her program concentration: Theater Through the Body.
She also received a minor in British Studies.

They were to prepare for each production by reading the play or libretto in English and then see the piece in it’s original language.
Uncle Vanya in Russian, Madame Butterfly in Italian, etc.
The goal was to see how the story was told through body language without reading the supertitles and then relate that to what they had read.

For Madame Butterfly, they read the libretto and then saw a ballet version done to the opera score by Giacomo Puccini.
Northern Ballet Company
David Nixon, OBE – Choreographer, Costume & Set designer
It began with a sequence that was not in the libretto, Butterfly’s father committing suicide. It was a stunning dance of ritualistic death, he had these long sleeves and as he sliced his stomach open, the sleeves unraveled and a full red backdrop was revealed behind him. Then, when Butterfly chooses to commit suicide she performs the same dance with the same costume/set presentation.
That was Bea’s “lightbulb” experience about what theater could support.

With the Music of La Cifra every section is so purposeful to bringing the story forward, it almost dictates what the physical blocking should be.
Chris Fecteau worked on reconstructing this score. The opera had recently been done in Europe, but there remains hardly any research materials available about the original production.
She had the libretto and the score and chose to look at this opera as if it is a new operatic work.
It is a farce that appears to be using a Commedia style story.

A man stole and hid a noble girl for a really long time in the highlands of Scotland. A Scottish nobleman comes along searching for her.
One daughter believes she is the missing girl, while the other “daughter” begins to realize that she is that girl. Meanwhile, the father is going crazy as the identities are coming clear.

The character archetypes supported her directing the opera in the Commedia dell’Arte style, as they are constantly speaking in asides to the audience and have recognizable Commedia character traits.

During the opening Symphonia, Bea has staged the ensemble to introduce the audience to the village and their place in it as they set up the space.

Speak Now Theatre Company
A devised theater group that Bea founded after graduating from University.
They receive commissions form various organizations to create pieces about relevant issues: eating disorders, drunk driving, drug rings in High School.

It was crucial in developing her as an artist and figuring out what she wanted to give to the theater world. It taught her how to portray story and bring attention to people/communities that have not been able to get their voices heard.

She has had younger university students shadow her as she created the devised theater works and has now handed over the reigns of the company to them. One student, Sierra has created a work about “sexualization in a college setting”. As part of it, she examines what books are on the required reading lists for high school students. I.E., Lolita by Nabokov is on the must read list, while A Handmaid’s Tale by Margaret Atwood is banned!
She looks at how our psyches are crafted through the books we read and discuss and what behaviors or attitudes arise from that.

WHAT WE’RE LOOKING FORWARD TO SEEING:

Chuck
Don Giovanni and La Cifra produced by dell’Arte Opera Ensemble
Mamma Mia: Here We Go Again, a new movie musical using the music
of ABBA.
Cher has a supporting role in it.
Cher has a new album out of ABBA songs.
The Cher Show just finished it’s pre-Broadway try out run in Chicago.
Bob Mackie is the costume designer.
Cher’s movie work includes:
Mask, Moonstruck, Silkwood (opposite Meryl Streep)

Brooke
Harlots, a TV show
Margaret Wells, a character whose laugh sounds like Brookes
Podcasts of interest:
My Favorite Murder, Forever 35, Cracked Media

Peter
Podcasts of interest:
On the Media; Wait, Wait, Don’t Tell Me; The Wild

Credits: Peter Szep, Chuck Sachs, Brooke Larimer, Walker Lewis, Matthew Wilson (Audio Engineer), Peter Szep (Editor)

Musical Credits

 

Opera Theater of St. Louis – with the St. Louis Symphony
Regina by Marc Blitzstein
Stephen Lord, conductor

Orfeo by Gluck

An American Soldier
Andrew Stenson, Danny Chen
Mika Shigematsu, Mother Chen

La Traviata by Verdi (in English)

 

Kamala Sankaram
Looking at you

Cast:
Dorothy- Rachel Calloway
Ethan- Jonathan Blalock

Samuel McCoy- conductor
Charity Wicks DePinto- piano
Jeff Hudgins- alto saxophone
Ed RosenBerg- tenor saxophone
Josh Sinton- baritone saxophone

Mary Kouyoumdjian, Everlastingness (from “Gorky”); Libretto by Royce Vavrek

MichiWianko
Excerpts from a song cycle (MichiWianko performed/recorded)
9 Death Haiku, based on the poetry of 17th century Buddhist monks in Japan.

Opera Saratoga,

Merry Widow

Vinkensport – Conductor David Alan Miller

Rocking Horse Winner

The Consul

Magda Sorel – Meghan Kasanders
John Sorel – Robert Wesley Mason
Mother – Deborah Nansteel
Andrew Bisantz, conductor

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