tag:blogger.com,1999:blog-18684575215658394952024-03-04T21:48:35.896-08:00BlakesBlog - Reflections on Theater, Opera and MusicA place to reflect on theater, opera and music. Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.comBlogger113125tag:blogger.com,1999:blog-1868457521565839495.post-29592892612646614212021-01-01T19:10:00.002-08:002021-01-01T19:12:28.254-08:00<p> </p><div class="separator" style="clear: both; text-align: center;"><span><a name='more'></a></span><br /></div><br /><p></p>Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com0tag:blogger.com,1999:blog-1868457521565839495.post-66292205751638738942019-12-31T15:21:00.002-08:002019-12-31T15:21:44.561-08:00My Top Operas of 2019
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<br />
<div class="MsoNormal" style="text-align: left;">
<span style="font-size: 14pt;">As
2019 draws to an end here is my run-down of my top opera (live and online),
musical and theater experiences of 2019. I will begin with live opera
performances. For me 2019 was a terrific year for live performances and I had
some of the most memorable operatic experiences of my life. This year I am
going to put the performances in the order in which I saw them. There were so
many terrific performances I am not sure I can order them. Also, please forgive
my overuse of superlatives. This is after all a list of my favorites.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoListParagraphCxSpFirst" style="margin-left: 22.5pt; mso-add-space: auto; mso-list: l1 level1 lfo1; text-indent: -22.5pt;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Pelleas et Melisande (Met 2019)</span></b><span style="font-size: 14.0pt;"> – Last January I braved the weather to go to New York
(via Delaware) to see Adrianna Lecouvrer and Pelleas. While I enjoyed Adrianna,
Pelleas was a transcendent experience. I had been studying the score and I read
the play. The best thing about this production was the Music Director Designate
on the podium. No matter what you think of him in Italian and German repertoire
his French repertoire is magnificent. The orchestra was glorious and the cast
excellent – mostly. Kyle Ketelson as Golaud, Isabel Leonard as Melisande and F.
Furlanetto as the Arkel were all excellent. As much as I like Paul Appleby I
felt that this role was not a good fit for him. The role is for a high baritone
and it lay just too low for Paul. But that was the only concern, otherwise it
was wonderful.<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7b1pcT3nGQDzDacXOk4_FaqoP_DcMJw7W5lV5s1oQrJnXfVlePAdQbGSSdhIV25L89qv4VA7wSm2m_M3_3Hc0Gc6sW8hyXGURgpk-z7-P4-hPqPRCMAal6Vq3O7uGEvUVT9Ux3M1txbBZ/s1600/pell.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7b1pcT3nGQDzDacXOk4_FaqoP_DcMJw7W5lV5s1oQrJnXfVlePAdQbGSSdhIV25L89qv4VA7wSm2m_M3_3Hc0Gc6sW8hyXGURgpk-z7-P4-hPqPRCMAal6Vq3O7uGEvUVT9Ux3M1txbBZ/s320/pell.jpg" width="320" /></a></div>
<div class="MsoListParagraphCxSpFirst" style="margin-left: 22.5pt; text-align: center; text-indent: -22.5pt;">
<span style="font-size: x-small;"><i>Isabel Leonard and Paul Appleby in the Met's "Pelleas et Melisande" </i></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; mso-add-space: auto; mso-list: l1 level1 lfo1; text-indent: -22.5pt;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Norma (Winter Opera)</span></b><span style="font-size: 14.0pt;"> – I have to mention my local companies. I have now seen Norma at the
Met and in Chicago and while certainly Winter Opera doesn’t have the resources
to put into the productions that the bigger theaters have, nevertheless they
always do a wonderful job. Their set designer is an absolute a genius and
creates some of the most effective, workable and beautiful sets I have ever
seen in a small house. Norma is not an easy opera to sing, but they did a great
job and frankly the leads were excellent and sang beautifully, and the tenor
was especially good. (I have not had good luck with the Polliones I have seen
elsewhere.) So bravo Winter Opera for another great year of opera.<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD5qyeiHYQbZtgAZ8uEBhzxbSEhiagb4B_scuJhfidbuUq4jxACtkBNawcnIl-9GwM6NGX7VvqwEUky-mVDLycNte9QBLuNC0wGFo6CQmQJR4WiqHjD1fCUpoBUrXnyumbc3qFBayUmiex/s1600/IMG_5154.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="192" data-original-width="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD5qyeiHYQbZtgAZ8uEBhzxbSEhiagb4B_scuJhfidbuUq4jxACtkBNawcnIl-9GwM6NGX7VvqwEUky-mVDLycNte9QBLuNC0wGFo6CQmQJR4WiqHjD1fCUpoBUrXnyumbc3qFBayUmiex/s1600/IMG_5154.jpg" /></a></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; text-align: center; text-indent: -22.5pt;">
<span style="font-size: x-small;"><i>Curtain Calls - Winter Opera of St. Louis' production of "Norma"</i></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; mso-add-space: auto; mso-list: l1 level1 lfo1; text-indent: -22.5pt;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Moby Dick (Chicago Opera Theater)</span></b><span style="font-size: 14.0pt;"> My friend Kathleen Crisp has been raving about Moby
Dick for as long as I have known her (on FB). As she has shared her experiences
I have really wanted to see the opera. So finally it was produced at Chicago
Opera Theater. Now I had heard it was “revised” and thought that meant it would
be a reduced orchestration, but it was not. But this was a different production
than the original that was produced in San Francisco which is the one that
Kathleen had seen. The opera is a masterpiece. Who would have ever thought that
Melville’s Moby Dick could be turned into an effective opera? The performance
and production were excellent - great cast with a strong orchestra. The only
caveat I have is that the whale chase sequence in this 2<sup>nd</sup>
production is not quite as thrilling and effective as in the 1<sup>st</sup>
production. When I watched the video afterwards I was frankly surprised they
changed that. But otherwise it was excellent.<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrTMK-a39iaQGLgMYaGYZndZIIjGOzf-cB4x5tGMAqWnG3kIltm9MOUQwZjbby4-RtCsRoZSe1YvgIZ49fHSDTTCypjcPcTiA0M3OpJIXYOa9VDQWHz1mDgZGiQ8QbBtaBORPQPvQb1xNT/s1600/IMG_5487.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="427" data-original-width="640" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrTMK-a39iaQGLgMYaGYZndZIIjGOzf-cB4x5tGMAqWnG3kIltm9MOUQwZjbby4-RtCsRoZSe1YvgIZ49fHSDTTCypjcPcTiA0M3OpJIXYOa9VDQWHz1mDgZGiQ8QbBtaBORPQPvQb1xNT/s320/IMG_5487.jpg" width="320" /></a></div>
<div style="text-align: center;">
<i><span style="font-size: x-small;">Greenhorn and Queequeg in the Crow's Nest - Moby Dick, COT</span></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHqgtJ3hDdeFXmNv1iv9jYvRl4PWc0kw0DruVOxk3WRmKsId2X7JA8YpgH4MgPReBIW3jMtaIf9kphe4GgGcwXDM2oSAeiSpVXNKTe7mEpnTFCXazU-a-S-ODKskiPEx78G-MhsSBwJlTb/s1600/IMG_5493.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="424" data-original-width="640" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHqgtJ3hDdeFXmNv1iv9jYvRl4PWc0kw0DruVOxk3WRmKsId2X7JA8YpgH4MgPReBIW3jMtaIf9kphe4GgGcwXDM2oSAeiSpVXNKTe7mEpnTFCXazU-a-S-ODKskiPEx78G-MhsSBwJlTb/s320/IMG_5493.jpg" width="320" /></a></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; text-align: center; text-indent: -22.5pt;">
<span style="font-size: x-small;"><i>The Company - Moby Dick, COT</i></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; mso-add-space: auto; mso-list: l1 level1 lfo1; text-indent: -22.5pt;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Frau ohne Schatten (Wienerstaatsoper).</span></b><span style="font-size: 14.0pt;"> After a long and (at times) tedious tour to Turkey
and Greece where I managed to injure myself rather badly and where the Greek
tour guide was so terrible that I started to distance myself from the tour as
much as I could, I flew from Athens to Vienna for a week with my wife,
Christine. We had a lovely time. We saw Magic Flute at the Volksoper and at the
Wienerstaatsoper I attended Die Frau ohne Schatten, Manon and a special concert
with Stephanie Haím, Patricia Petibon and Tim Mead. (That baroque concert was
magnificent BTW but this is an essay about opera and theater.) Christine and I
attended Manon together and it was really fun to be there in that place, but
the seats were terribly uncomfortable and the production is really poor in many
respects and I didn’t feel the leads were that strong – actually the Lescaut
was the best on stage. But Frau was amazing. This was a new production,
conducted by Christian Thielemann. And the orchestra was glorious, they played
the hell out of that score and Thielemann was incredible. Is there another
conductor who can conduct this piece as effectively? I’m not sure there is. The
cast included Camilla Nylund (Empress), Stephan Gould (Emperor), Nina Stemme
(Dyer’s Wife), Wolfgang Koch (Barak) and last but certainly not least Evelyn
Herzlitzius as the Nurse. This cast was incredible and for me personally
Herzlitzius was the stand-out in a cast filled with stand-outs. Also, the
remainder of the cast and chorus were all excellent – especially the Spirit
Messenger. Often in Vienna the chorus is just sort of shuffled on stage and
they are often totally disengaged – Manon is a great example. But in the new
production they were woven into the fabric of the opera and the result was
magnificent. Really this performance is one of my all time most memorable and
moving operatic experiences. I had always had an ambivalent attitude towards
this opera and I also had completely misunderstood the exceptionally
complicated plot. I saw it at Lyric Chicago years ago with Deborah Voigt and it
had no impact, which was not their fault – I was not in a place to appreciate
it. But I have studied this opera in depth since and have come to feel it is
perhaps Strauss’ great masterpiece and it is certainly Hugo von Hoffmansthal’s
great masterpiece. Yes, I love Rosenkavalier, but there is a depth and
profundity about Frau that really surpasses Rosenkavalier in my view. I hear
the Met is going to do it in the next couple years. I would like to be there
for it.<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht_1_vszdJj5O8iCLYf9l0W29ZPFSu7I4GhUTaVlwvp50EdrV51IPfwK4fAc_ZLx-cht08STPQ5t9ZMZg9VBLjJy19ddRyq2jLIvgl6XJh3p5PC2kgeYE55w-3Yux6qKeyaVrsNW4r96xP/s1600/IMG_8107.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="192" data-original-width="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht_1_vszdJj5O8iCLYf9l0W29ZPFSu7I4GhUTaVlwvp50EdrV51IPfwK4fAc_ZLx-cht08STPQ5t9ZMZg9VBLjJy19ddRyq2jLIvgl6XJh3p5PC2kgeYE55w-3Yux6qKeyaVrsNW4r96xP/s1600/IMG_8107.jpg" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Wienerstaatsoper on the Ringstrasse</i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsGXWU72kxsnIPo-WLJFuYKwBvbdXjqEOB6YmWDD0mupI9pANR0j0GXvMw2_e9OQcDnP1WUlYVuHM6F8L4kaot632N3msjxj7G-LH6-oBd1qiXZv0f0tPK7Oo0mzwoRAJ_KyAdScQ-u7U-/s1600/IMG_8123.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="256" data-original-width="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsGXWU72kxsnIPo-WLJFuYKwBvbdXjqEOB6YmWDD0mupI9pANR0j0GXvMw2_e9OQcDnP1WUlYVuHM6F8L4kaot632N3msjxj7G-LH6-oBd1qiXZv0f0tPK7Oo0mzwoRAJ_KyAdScQ-u7U-/s1600/IMG_8123.jpg" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>The view inside the Wienerstaatsoper from my box.</i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqDL4YlgE6dvJtG4i1pZfJw2prPJS1_iFS8YNL4ndXYbGVu3DADZnap0VUpe_1wvXYPhrThqEKmwSsX7fLEQYz6cRR8HHB8XK-o84WvkhpKPLG07__QDThsX728MrJQjJdJ8BBt4BFDXp0/s1600/IMG_8128.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="192" data-original-width="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqDL4YlgE6dvJtG4i1pZfJw2prPJS1_iFS8YNL4ndXYbGVu3DADZnap0VUpe_1wvXYPhrThqEKmwSsX7fLEQYz6cRR8HHB8XK-o84WvkhpKPLG07__QDThsX728MrJQjJdJ8BBt4BFDXp0/s1600/IMG_8128.jpg" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Intermission at the Wienerstaatsoper</i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS9YMuNV_qkMeYg9SSpiSxKvdENwXMLpTvLsH5b-Upxrh0GBrUgpvWcQDGSKmn7WVeo4EaLOpy9Z36-I3KAhYm3w-W80kNsi2MF9px6lFF8KWmy9JF-F0ASKzbdmNQ8GEOmoHXGO1Tum7R/s1600/IMG_8147.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="192" data-original-width="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS9YMuNV_qkMeYg9SSpiSxKvdENwXMLpTvLsH5b-Upxrh0GBrUgpvWcQDGSKmn7WVeo4EaLOpy9Z36-I3KAhYm3w-W80kNsi2MF9px6lFF8KWmy9JF-F0ASKzbdmNQ8GEOmoHXGO1Tum7R/s1600/IMG_8147.jpg" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Curtain calls for "Die Frau ohne Schatten" Wienerstaatsoper - Nine Stemme in front as the Dyer's Wife</i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi1ON5lihV0qmH_8-Byep9Yx_IIx5Lzartg0uMhSDcpBZS7ezY_lYMosw6ihbf78UvXK2CAZAB-uItJ_lGXh3U9eYpjAJsB2iPjfsPNf6wbrODh5UIWLGxpcS-0UG2nWEJqeu1P6KqtXA6/s1600/IMG_8388.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="256" data-original-width="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi1ON5lihV0qmH_8-Byep9Yx_IIx5Lzartg0uMhSDcpBZS7ezY_lYMosw6ihbf78UvXK2CAZAB-uItJ_lGXh3U9eYpjAJsB2iPjfsPNf6wbrODh5UIWLGxpcS-0UG2nWEJqeu1P6KqtXA6/s1600/IMG_8388.jpg" /></a></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; text-align: center; text-indent: -22.5pt;">
<span style="font-size: x-small;"><i>Christine and I at the Wienerstaatsoper</i></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; mso-add-space: auto; mso-list: l1 level1 lfo1; text-indent: -22.5pt;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Wozzeck (Des Moines Metro Opera)</span></b><span style="font-size: 14.0pt;"> – When I was a senior at New England Conservatory I
played English Horn for a performance of Wozzeck with Gunther Schuller
conducting. It was a semi-staged production. It was one of the most
transformational musical experiences of my life. Initially at the time (I was
what 22? And not terribly experienced) I found it very off putting and I found the
EH part itself to be terribly difficult rhythmically. But I got out my
metronome and practiced and practiced until I got it. By the end I had grown to
really, well, I won’t say love it – but it got inside of me. Since that time I
had never actually seen a live performance of the opera. I had watched several
productions online though. So when DMMO announced they would be producing this
opera I was determined to attend and I was not disappointed. So the first
weekend in July I drove to Des Moines where I also saw Boheme and Candide,
which were fine (I have seen Candide now 3 times in the last two years and
frankly I don’t really like it that much – sorry Joanna). But this Wozzeck was
amazing. Wozzeck was played by the incredible Michael Mayes (who deserves a Met
debut!) and the cast included Sara Gartland as Marie, Corey Bix as the Captain
and Zachery James as the Doctor. They were all excellent. Corey Trahan as The
Fool was also excellent and despite his very brief moment it was quite
memorable. Zachery James might begin to think I am following him as I have now
seen him perform live 6 times in 2 years! But he is terrific as a singer and as
an actor (as those of us who saw him in Ahknaken will attest)! The orchestra
was amazingly good and the production was outstanding. It is almost
indescribable. But the theater itself is relatively small, so there is an
intimacy at DMMO which is lacking in just about every other venue I can think
of – even OTSL which is fairly intimate too. This intimacy made the experience
of this work quite a moving experience. Frankly, we could almost see the blood
on Wozzeck’s hands.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHFr9TZ0LPCSod69d5yi_tNV0CvgDbvstrNSWema-RwknY27y7Dj9bjuzOJ-FsTpngZYPA_DQQvq-i3kBnLwKI95-7DQeq5tTklNkfpLKouIsnvQY23KItHmzmIYnmnJpDYVbghmNKuGDp/s1600/IMG_8976.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="637" data-original-width="640" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHFr9TZ0LPCSod69d5yi_tNV0CvgDbvstrNSWema-RwknY27y7Dj9bjuzOJ-FsTpngZYPA_DQQvq-i3kBnLwKI95-7DQeq5tTklNkfpLKouIsnvQY23KItHmzmIYnmnJpDYVbghmNKuGDp/s320/IMG_8976.jpg" width="320" /></a></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; text-align: center; text-indent: -22.5pt;">
<span style="font-size: x-small;"><i>Zachary James as the Doctor and Michael Mayes as Wozzeck at Des Moines Metro Opera</i></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; mso-add-space: auto; mso-list: l1 level1 lfo1; text-indent: -22.5pt;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">The Love for Three Oranges (Philadelphia)</span></b><span style="font-size: 14.0pt;"> This is an odd piece. It was composed for Lyric Opera
Chicago by Prokofiev while he was living in the US. The march is particularly
well known. The plot is rather absurd and the cast is huge and includes various
Commedia del’Arte characters. The venue was the old Academy of Music in
Philadelphia and it has seen better days. Our initial seats, which I bought
online, were great if you were about 4’! We could simply not even get ourselves
into the seats. So 10 minutes before curtain I had to run down to the box
office and find new seats. They got them for us and they were fine. But not as
good as the original seats. But despite that excitement I loved the
performance. And despite the wackiness of the plot the cast was excellent –
Zachery James was in this cast also as the sadistic cook! Other members of the
cast will be recognizable to Met fans: Scott Conner as the King of Clubs, Will
Liverman as Pantaloon, Barry Banks as Truffaldino, Wendy Byrn Harmer as Fata Morgana.
The only comment I will make is that this director tried to make the plot
somehow ALSO representative of Prokofiev’s life journey. This simply did not
work and considering how much else is in this plot it just was a distraction
that just added to the confusion. By the way, I loved the bad guys – Fata Morgana,
Leander the Prime Minister and the Chelio, the Wizard who have one of the
cleverest scenes in all of opera – the card game where Chelio, the Wizard
looses the soul of the King of Clubs to the evil Fata Morgana. <o:p></o:p></span></div>
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</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZgpEeyfhbu5BT-rMUwz1yk9oFjXQtyxVk93l3jDniO2nE_r9WmPRCrVl3zpBkDvzAd_1j2WckjI08-szM94sputHom1wj97DNITXwqdJrnfuFOMvWH_4gRp1mb7VyuSTvvqPRzj3WK4Ka/s1600/PHIL-LOVE-18-COOK-Y-400.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="302" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZgpEeyfhbu5BT-rMUwz1yk9oFjXQtyxVk93l3jDniO2nE_r9WmPRCrVl3zpBkDvzAd_1j2WckjI08-szM94sputHom1wj97DNITXwqdJrnfuFOMvWH_4gRp1mb7VyuSTvvqPRzj3WK4Ka/s320/PHIL-LOVE-18-COOK-Y-400.jpg" width="241" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Zachary James as the Cook in The Love for Three Oranges in Philadelphia</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZql9TWQbutlZtunUZm8NmC-EJ_39tm2iNLNtXa-y0__74XGowezOvEzPIpIgy91C_QpHeY2a-5s-rtpGOYd5btk8ANbBJ4Fk7zPflWESVscskpg8n0P72lTjNBs8oZmJhk7NMbvViSxUx/s1600/Morgana.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="668" data-original-width="1000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZql9TWQbutlZtunUZm8NmC-EJ_39tm2iNLNtXa-y0__74XGowezOvEzPIpIgy91C_QpHeY2a-5s-rtpGOYd5btk8ANbBJ4Fk7zPflWESVscskpg8n0P72lTjNBs8oZmJhk7NMbvViSxUx/s320/Morgana.jpeg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Wendy Bryn Harmer as Fata Morgana in the Love for Three Oranges in Philadelphia</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsTJCtDMK6-6SE26tnASL0iUr5NsoYpTxV96BlPFatH1j9r9kI58kvzkmV0lsAOxk1KGw4c5r66PW4cLske2qRsimcQsEzNKaRouMsf1H_xDQYyu8uga6EJ3F2qjZGytVc8YnqTW3_xzpp/s1600/48834449327_eaabe59e2f_b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="683" data-original-width="1024" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsTJCtDMK6-6SE26tnASL0iUr5NsoYpTxV96BlPFatH1j9r9kI58kvzkmV0lsAOxk1KGw4c5r66PW4cLske2qRsimcQsEzNKaRouMsf1H_xDQYyu8uga6EJ3F2qjZGytVc8YnqTW3_xzpp/s320/48834449327_eaabe59e2f_b.jpg" width="320" /></a></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; text-align: center; text-indent: -22.5pt;">
<span style="font-size: x-small;"><i>Barry Banks as Truffaldino with two of the opened oranges in The Love for Three Oranges in Philadelphia</i></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; mso-add-space: auto; mso-list: l1 level1 lfo1; text-indent: -22.5pt;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Luisa Miller (LOC)</span></b><span style="font-size: 14.0pt;"> Apparently Lyric Chicago will be embarking on a Verdi series with
their new music director, Enrique Mazzolla, who conducted this first production
in the series. The cast included Christian Van Horn, Quinn Kelsey, Joseph
Calleja and Solomon Howard but the stand out was the Luisa of Krassimira
Stoyanova – she was stunning! The rest of the cast was excellent and the chorus
was wonderful. Some of the critics complained about the production but frankly
I loved it and thought it was very effective. I will be looking forward to more
in this Verdi series. I want to add that I also came back on Sunday afternoon
for Barber which was great. Marianne Crebassa was a revelation, Alessandro
Corbelli was magnificent (as usual), Lawrence Brownlee and Adam Plachetka both excellent.
But unbeknownst to me that day was the day of the Chicago marathon. LOC might
have warned us and given us some advice. It was a nightmare getting to the theater
and I almost gave up, drove home and skipped the opera. Had I known I would not
have driven to Chicago and taken the train.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGMVBihtKnGAIagGrQKt00a3u_unaRtiV-xG6QQZr8CYL32pytnsGKuhOEnbKfd75vJ6bQrKm3ryqH1guXxcVWmAt16J3-nk4t4t_cZ86lFLv-Q71ilJhE6RHVQsKxQUj6AVfODu9enZRj/s1600/IMG_9575.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="433" data-original-width="435" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGMVBihtKnGAIagGrQKt00a3u_unaRtiV-xG6QQZr8CYL32pytnsGKuhOEnbKfd75vJ6bQrKm3ryqH1guXxcVWmAt16J3-nk4t4t_cZ86lFLv-Q71ilJhE6RHVQsKxQUj6AVfODu9enZRj/s320/IMG_9575.jpg" width="320" /></a></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; text-align: center; text-indent: -22.5pt;">
<span style="font-size: x-small;"><i>Christain Van Horn as the Count and Quinn Kelsey as the Miller in Luisa Miller, Lyric Opera of Chicago</i></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; mso-add-space: auto; mso-list: l1 level1 lfo1; text-indent: -22.5pt;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Elektra (LOC) </span></b><span style="font-size: 14.0pt;">This
performance of Elektra at Lyric Chicago was breathtaking. Nina Stemme was
terrific. Powerful piece and a powerful production!<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2v23rD0YyNQWS0MzFjT2YaBrHAFv49bHc40f9zdGuKEVjPnjMFMPzmoNV-pj-Slu1VcvT6r9SBbwdCi2c3kEnmsdYKFrh8P1USRkFcu1PSwzQdhL6XIgdvFNGb8jiRvFAxiSfZe8uZHCU/s1600/IMG_4809.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="256" data-original-width="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2v23rD0YyNQWS0MzFjT2YaBrHAFv49bHc40f9zdGuKEVjPnjMFMPzmoNV-pj-Slu1VcvT6r9SBbwdCi2c3kEnmsdYKFrh8P1USRkFcu1PSwzQdhL6XIgdvFNGb8jiRvFAxiSfZe8uZHCU/s1600/IMG_4809.jpg" /></a></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; text-align: center; text-indent: -22.5pt;">
<span style="font-size: x-small;"><i>Program Cover - Elektra, Lyric Opera of Chicago</i></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; mso-add-space: auto; mso-list: l1 level1 lfo1; text-indent: -22.5pt;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">9.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">The Dragon of Wantley</span></b><span style="font-size: 14.0pt;"> <b style="mso-bidi-font-weight: normal;">(Haymarket
Opera Chicago).</b> This early 18<sup>th</sup> century opera is loosely based
on a popular story of the time. The music is by Fredereic Lampe (who was
actually a German living in London) and the Haymarket Baroque Opera company
used a period orchestra with two friends of mine, Meg Owens Brown and Geoffrey
Burgess playing baroque oboe! What can I say the opera was a riot. It was a
great production and the whole thing was very funny. The best moment was when
the two women (who, of course, are both vying for the affections of the twit
who is the tenor) have a catfight. Not physically – vocally! It was a very
funny and exceptionally well performed. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXiK8fRUhhgID1LyRtH355gkDkoAVI3oljNiW1g8y8o02k0JcBqyR_FXQtiaTiqDUV2pomvWwyoXpoRrczvNEZ5eHZiuMermtrlgHHIcd9y62f5TwvR5jTQPI2kubRpXy-KGNK5_5GMXhG/s1600/ATCPhoto-HOC-9-1-430x456.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="456" data-original-width="430" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXiK8fRUhhgID1LyRtH355gkDkoAVI3oljNiW1g8y8o02k0JcBqyR_FXQtiaTiqDUV2pomvWwyoXpoRrczvNEZ5eHZiuMermtrlgHHIcd9y62f5TwvR5jTQPI2kubRpXy-KGNK5_5GMXhG/s320/ATCPhoto-HOC-9-1-430x456.jpg" width="301" /></a></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; text-align: center; text-indent: -22.5pt;">
<span style="font-size: x-small;"><i>The Dragon of Wantley Publicity Photo</i></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; mso-add-space: auto; mso-list: l1 level1 lfo1; text-indent: -22.5pt;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">10.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">The Golden
Cockerel (Dallas)</span></b><span style="font-size: 14.0pt;"> So I flew to
Chicago on Tuesday, took a cab into the city for Dragon then stayed by Midway
Airport and woke up early the next morning only to discover that my flight to
Dallas was cancelled and there was snow on the ground. Amazingly I got on
another flight and managed to get to Dallas not much later than I had
originally expected. It was exhausting, and I retuned home the next day (though
I wish I had decided to stay in Dallas a couple extra days for Magic Flute and
a Baroque Opera). But it was all worth it. The Rimsky-Korsakov Coq D’Or was
brilliant. Years ago, as a young English Horn tudent at NEC we played the
orchestral suite from this opera and I fell in love with the music. I have
desperately wanted to see this opera ever since. I was not disappointed. If
Frau was my #1 of the year, and Akhnaten was #2 – This would be #3 and they are
all very close. This profound fairy tale pulls no punches when it comes to
addressing the corruption of power and the stupidity of war. Barry Banks played
the Wizard (a role he was played often throughout his career) and he was
magnificent. The rest of the cast was great. King Dodon, Nikolay Didenko and
General Polkan, Kevin Burdette were excellent and the Olga Pudova was a last
minute replacement for the Queen of Shemakha. As I understand it she had been
originally engaged to sing Queen of the Night, but had agreed to step into
Golden Cockeral at the last minute. And Jeni Houser, who sang the role of
Cockerel (from off-stage, my only disappointment) added the role of the QofN. They
were terrific. Frankly, I didn’t want it to end. I loved this opera very much
and would love to see some Rimsky at the Met.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV87SHMBlsp25KWHsl934xYA8qfdn2QxS15Qor27XGqeY6nV9IM6pRax-KdGapxt8NRrlJVjBQ2szqTpo578wE819cpOHjXQ-E1wark6aWCVXXp4vge1HtO43n8zHcMYZdSX-p07fZIYH_/s1600/Ca14GC_Final_1381_C.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="490" data-original-width="600" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV87SHMBlsp25KWHsl934xYA8qfdn2QxS15Qor27XGqeY6nV9IM6pRax-KdGapxt8NRrlJVjBQ2szqTpo578wE819cpOHjXQ-E1wark6aWCVXXp4vge1HtO43n8zHcMYZdSX-p07fZIYH_/s320/Ca14GC_Final_1381_C.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>The </i></span><span style="font-family: Cambria; text-indent: -30px;"><i><span style="font-size: x-small;">Queen of Shemakha and King Dodon from Le Coq D'Or, Dallas Opera</span></i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEfzzwbVU4AsPViPsj5BefScX73wMuJvNT7umXvkSBaFM4o8gFrkXMscUwwlm7ZaDiNCCHn1n-6aUQnvXb_janFeovomYnxISKBtX36NL55YOE6vExE89HVvt8HpN_xbnpsnYFvk9jVKUI/s1600/coq3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="693" data-original-width="960" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEfzzwbVU4AsPViPsj5BefScX73wMuJvNT7umXvkSBaFM4o8gFrkXMscUwwlm7ZaDiNCCHn1n-6aUQnvXb_janFeovomYnxISKBtX36NL55YOE6vExE89HVvt8HpN_xbnpsnYFvk9jVKUI/s320/coq3.jpg" width="320" /></a></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; text-align: center; text-indent: -22.5pt;">
<span style="font-size: x-small;"><i>The Golden Cockerel with King Dodon from The Golden Cockerel, Dallas Opera</i></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 22.5pt; mso-add-space: auto; mso-list: l1 level1 lfo1; text-indent: -22.5pt;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">11.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Akhnaten
(Met)</span></b><span style="font-size: 14.0pt;"> This was a totally incredible
experience. I saw it first on HD and then I travelled to NYC and saw it live.
It was magnificent. The work is a masterpiece. This production is a
masterpiece. The cast was incredible, led by Anthony Costello and Zachary
James. The orchestra was also outstanding. What was particularly remarkable was
how I felt they managed to evoke the spirit of Ancient Egypt in this
production. This wasn’t a western story set in Egyptian sets and costumes (like
Aida) – this was a uniquely ancient story. I found it profound and deeply
moving. I could spend some time talking about the philosophical and theological
issues raised, but I will suffice it to say simply that I think it is incorrect
to suggest that an Ancient King managed to discover monotheism, which is
somehow “right” (since polytheism is “wrong!”) Ahknaten’s religious revisions
were simply not monotheistic, they were henotheistic, that is he didn’t deny
the existence of other gods, bu rather he promoted the worship of only one god,
the sun god Aten as the supreme god. He never denied the existence of other
gods. Also, the efforts to link Akhnaten to Moses look to me like one of those
circus performers who can tie himself up in all kinds of knots. I don’t buy it.
I don’t think Moses was monotheistic either actually and I think the idea that
there is any connection between the two is totally specious. <span style="mso-spacerun: yes;"> </span>But nevertheless I felt transported to the
City of the Sun. The juggling and the images all created a unique and effective
opera experience.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSBCL3JdwjNIPpQzK0KxM_2D1f1UufEIJRezb7K0U2fQAJo03a6Lb0gA6cvXkufjYQ6ELSko_Vu0Kj98jD7BWAXaQUny9b2tH1rvUw9raO_3kh5-3vGPM9IJurj-PvQQEQz58pyRnn7vb8/s1600/IMG_9853.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="384" data-original-width="512" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSBCL3JdwjNIPpQzK0KxM_2D1f1UufEIJRezb7K0U2fQAJo03a6Lb0gA6cvXkufjYQ6ELSko_Vu0Kj98jD7BWAXaQUny9b2tH1rvUw9raO_3kh5-3vGPM9IJurj-PvQQEQz58pyRnn7vb8/s320/IMG_9853.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Queen Nefertiti, Ahknaten, Queen Tye from Ahknaten, The Met</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrXbyW-2Qhs6-6MvksBMNUGnEIpTUDoh-X5ICMSlIj5ww4mQ8xtQj1sTmq-rfq8tzX4RQt3OVFV8ljG983GzyOLLkWpjOfxcAmIKy9S8KRmc1S7cxMUudFZFBAlIT0yUVXww2cxraiXSJ-/s1600/IMG_9855.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="491" data-original-width="640" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrXbyW-2Qhs6-6MvksBMNUGnEIpTUDoh-X5ICMSlIj5ww4mQ8xtQj1sTmq-rfq8tzX4RQt3OVFV8ljG983GzyOLLkWpjOfxcAmIKy9S8KRmc1S7cxMUudFZFBAlIT0yUVXww2cxraiXSJ-/s320/IMG_9855.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><i>Zachary James as the Scribe with Anthony Roth Costello as Ahknaten, The Met</i></span></div>
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<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">12.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">The Queen of
Spades (Met)</span></b><span style="font-size: 14.0pt;"> – This is my last one. I
first saw this production on PBS years ago with Domingo, Dima and Elizabeth
Söderström, who for me will always be the Old Countess. Her performance was
magnificent and Dima was incredible. Has anyone ever sung that aria as
beautifully as he did? That said, I love this production and enjoyed this
performance very, very much. I thought Yusif was excellent as Gherman and Lise
Davidsen, making her Met debut in this role, was incredible as Lisa. I also really
enjoyed Paul Groves and Raymond Aceto as the officers and Alexy Markov as
Tomsky. It was a great performance. One suggestion to the Met – really, 3:00 in
the afternoon is too late to start a matinee. Why not 2:00? That would be
better for out of towners like me.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPVj188w3IzIaj4c1FOgMNxntNMpe30rGpCGfaW73-1wUGoRbVMIq2SsS-nW_0RfK5aNlqWzzSofVjSyu59Ui91e0Xq0D2rwjCdECz8eBTcxVVJ2EjO5GV3d73GOVI0nB8pH0lmfHNv9cx/s1600/http___com.ft.imagepublish.upp-prod-us.s3.amazonaws.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="525" data-original-width="700" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPVj188w3IzIaj4c1FOgMNxntNMpe30rGpCGfaW73-1wUGoRbVMIq2SsS-nW_0RfK5aNlqWzzSofVjSyu59Ui91e0Xq0D2rwjCdECz8eBTcxVVJ2EjO5GV3d73GOVI0nB8pH0lmfHNv9cx/s320/http___com.ft.imagepublish.upp-prod-us.s3.amazonaws.jpeg" width="320" /></a></div>
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<span style="font-size: x-small;"><i>Count Tomsky with The Old Countess in The Queen of Spades, The Met</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilRYVXyo2QsejzrJdvl7AOxn8EHD3JFcgPjsfep-V6ykk9XtaoIOw1JsnWZ1FiwAg3AnUTSOiD4HGIx0acHkD49LqpZFM_R_5hZSIOtIOKy-edxZrR3NGn3gPwN5I98LuhvnuREriT4p9c/s1600/Queen-of-Spades-Met.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="337" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilRYVXyo2QsejzrJdvl7AOxn8EHD3JFcgPjsfep-V6ykk9XtaoIOw1JsnWZ1FiwAg3AnUTSOiD4HGIx0acHkD49LqpZFM_R_5hZSIOtIOKy-edxZrR3NGn3gPwN5I98LuhvnuREriT4p9c/s320/Queen-of-Spades-Met.jpg" width="239" /></a></div>
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<span style="font-size: x-small;"><i>Lise Davidsen as Lisa with Prince Yeletsky in the Queen of Spades, The Met</i></span></div>
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<span style="font-size: 14.0pt;">Honorable Mention<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Fire Shut Up In My Bones (and Coronation of Poppea) (OTSL)</span></b><span style="font-size: 14.0pt;"> – I love Opera Theater of St. Louis since I have
started attending their performances. And of the 4 operas they performed I
would say that Fire Shut Up In My Bones was for me the best. Based on an
autobiography by NY Times editorial writer Charles Blow, the story is quite
powerful. I especially loved the character of Destiny/Loneliness who doubles as
Greta, the girlfriend, who – well I won’t spoil it since it is deservedly bound
for the Met. The cast was incredible. Julia Bullock who played
Destiny/Loneliness/Greta and Davón Tines, Charles, were both terrific. The rest
of the cast were also very strong especially Karen Slack as the mother and the
child singer/actor who played the young Charles. This performance is another in
the series of wonderful performances of new operas that is a particular
commitment of OTSL. I fully support this and have had some wonderful experiences
of new works at OTSL. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdRsWjLclNU00uKdUpO6zP77iyDq-r1viZmgRobhVyJtuuPpdneaXfhgL4xdSfSmJd8huaTlsH4ACkHCUYNxqvdaxJgsPLf7lr5BtewJVif76MMfup5NwJtOZbWKY5etIJ6oobjfJ7rxJe/s1600/Fire5d06c3e347272.image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="683" data-original-width="1024" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdRsWjLclNU00uKdUpO6zP77iyDq-r1viZmgRobhVyJtuuPpdneaXfhgL4xdSfSmJd8huaTlsH4ACkHCUYNxqvdaxJgsPLf7lr5BtewJVif76MMfup5NwJtOZbWKY5etIJ6oobjfJ7rxJe/s320/Fire5d06c3e347272.image.jpg" width="320" /></a></div>
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<i><span style="font-size: x-small;">Julia Bullock as Destiny/Loneliness/Greta in Fire Shut Up In My Bones at Opera Theater St. Louis</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNljw1DR3Zt-5JFLIADBQcIRlHprqB5zMsD3uBbGcX35OYQYg8Jj63mgTYIGZrMSqMeFa91rWF_MTfu_P0BMBinsDZ-NzgBVLVPmipwm2FfBBI36pTxpB-ZrFBuIz6RayN47YJugI4Uzsj/s1600/fire2019_od2_press-06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="533" data-original-width="800" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNljw1DR3Zt-5JFLIADBQcIRlHprqB5zMsD3uBbGcX35OYQYg8Jj63mgTYIGZrMSqMeFa91rWF_MTfu_P0BMBinsDZ-NzgBVLVPmipwm2FfBBI36pTxpB-ZrFBuIz6RayN47YJugI4Uzsj/s320/fire2019_od2_press-06.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><i>Davón Ines and Karen Slack in Fire Shut Up In My Bones at Opera Theater St. Louis</i></span></div>
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<span style="font-size: 14.0pt;">The company also performed Nozze and Rigoletto which were
fine; and finally their 4<sup>th</sup> opera was Monteverdi’s the Coronation of
Poppea. This was a really interesting production and I was really pleased to
see that they used period musicians, on stage no less. But two things marred
the experience for me – 1. The cuts. Ok, they were trying to shorten the opera
and streamline and<span style="mso-spacerun: yes;"> </span>the plot, which
admittedly wanders all over at times. But some of those scenes (and
characters!) add a lot to the opera and I really missed them. 2. The Nero, Brenton
Ryan, is a tenor and a really good character tenor who has sung at the Met
(Spoletta) and who sang the Dancing Master at Santa Fe the year before. I like
him a lot. He is a terrific singer and actor. And maybe if I didn’t already
know the opera I might have enjoyed his performance better but the role is for
a counter-tenor or a mezzo. Having it sung by a tenor sounded wrong to me
throughout the opera. Everything was an octave lower. Maybe I am being picky
but it really bothered me. The rest of the cast was terrific, especially Emily
Fons as Poppea. Also, this production killed off almost all the other
characters at the end – this is not what is written. But it worked and it
certainly gave a different meaning on that final love duet, where one imagines
Poppea wondering what the hell she has gotten herself into with this
psychopath.</span></div>
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<b style="font-size: 12pt;"><span style="font-size: 14.0pt;">Glory Denied (Union Ave.)</span></b><span style="font-size: 14pt;"> I have to comment about this opera. It is a relatively
new opera by Tom Cipullo and has played in a number of venues around the
country, to some acclaim. Certainly as an opera it works and the music is
effective and at times beautiful – the scena “Welcome Home” for the older Jim Thompson is chilling and I
found the cello/ piano section near the end to be quite beautiful. There was a
lot of hype around Union Ave. Opera’s production. It was announced that a
counselor had been available to the cast during rehearsals and that she would
be available during the performances if anyone was triggered and needed to
talk. I respect all of this. I have been critical of Union Ave in the past for
failing to link with community resources in ways that would enhance the
performances. But, I have to say while I affirm it is terrible that the Jim
Thompson was kept as a Vietnamese POW for so many years and I understand the
disorientation he experiences when he finally does come home and finds a
totally different world than the one he left. He also finds that everyone has
moved from his life had moved on without him, including his wife and family. I
recognize this was incredibly painful for him and don’t want to minimize it.
But, I have a problem with the way the libretto scapegoated Alyce the wife. In
an effort to assign some blame this libretto (and maybe the book, I don’t know)
turns her into the bad guy in this situation. I felt that was totally and
completely unfair and frankly it pissed me off. This telling of this real event and experience
completely minimized the pain and struggle and suffering of Alyce. There should
have been some discussion about this issue in my view. From what I have been
able to ascertain from studying a but after seeing the opera, Thompson had been
a difficult and abusive husband before he went to Vietnam, and he continued to
be a difficult and abusive husband when
he returned. For her part the young Alyce is depicted as the one dimensional
50’s stereotype “perfect housewife” and the older Alyce is depicted as totally
selfish. I don’t buy it. And while the brilliant Gina Galati who played the
role of the older Alyce, brought a deep humanity and some sympathy for her, I
think she was working against the libretto there. For me this work was
misogynistic, and because it is such a new opera I have a harder time forgiving
this.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Semele (Philly)</span></b><span style="font-size: 14.0pt;">
– I also saw Semele in Philly. It was excellent. I loved the production. The
use of projections was incredible. And the women in particular Amanda Forsythe
and Daniella Mack (who played Juno and Ino,<span style="mso-spacerun: yes;">
</span>the sister!) were both incredible. There were several amazing scenes –
including the mirror scene for poor Semele and the scene where Juno takes over
the body of the sister (and the dancer double, Lindsay Matheis, was terrific).
The one negative – they did not use a period orchestra.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5zG10kJIUfd5iUt2SQLHuSv-JeA7cou5sB4-e3lQBlm03PFXtSGnlik5iS6FGgkjorH5EYlVeXVkqwKeMHHi4go6cPcYhAUJHOveXu1OzqhqrcEZGlHDnBCsMI0hB4Q6W6vuabdXdBM1Q/s1600/semele.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="683" data-original-width="1024" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5zG10kJIUfd5iUt2SQLHuSv-JeA7cou5sB4-e3lQBlm03PFXtSGnlik5iS6FGgkjorH5EYlVeXVkqwKeMHHi4go6cPcYhAUJHOveXu1OzqhqrcEZGlHDnBCsMI0hB4Q6W6vuabdXdBM1Q/s320/semele.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><i>Amanda Forsythe in Semele in Philadelphia</i></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Nozze (Met) </span></b><span style="font-size: 14.0pt;">–
What a wonderful production and performance – Luca Pisaroni, Adam Plachetka,
Susannah Phillips as a divine Contessa and Nadine Sierra were all stunning.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 14.0pt;">Live Stream in Theater and online live streams<o:p></o:p></span></u></b></div>
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<span style="font-size: 14.0pt;">I will put these together in
an effort to shorten this. And I will say less about these.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoListParagraphCxSpFirst" style="margin-left: .25in; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Forza del Destino (ROH in Theater)</span></b><span style="font-size: 14.0pt;"> – Jonas Kaufmann, Ludovic Tezier, Anna Netrebko,
Furuccio Furlanetto, Alessandro Corbelli, Robert Lloyd – could you ask for a
better cast? This was a stunning performance and a wonderful production. This
is production the most effective Forza I have seen.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBVhtTD0rg6oLV4LN_dFkUfRvzxYgsmWRz2icVdHfJl7tPWPKhA1vJWyf7tvTHtJrCvmD91Splztrp8YTOlkbHHu-A0OLEUDdPnGfmL-1JJLxkTYPpjMbScqUhIEc_KfBCaomfoLRCN1ip/s1600/0430+Jonas+Kaufmann+as+Don+Alvaro%252C+Ludovic+Te%25CC%2581zier+as+Don+Carlo+%2528c%2529+ROH+2019+photograph+by+Bill+Cooper.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBVhtTD0rg6oLV4LN_dFkUfRvzxYgsmWRz2icVdHfJl7tPWPKhA1vJWyf7tvTHtJrCvmD91Splztrp8YTOlkbHHu-A0OLEUDdPnGfmL-1JJLxkTYPpjMbScqUhIEc_KfBCaomfoLRCN1ip/s320/0430+Jonas+Kaufmann+as+Don+Alvaro%252C+Ludovic+Te%25CC%2581zier+as+Don+Carlo+%2528c%2529+ROH+2019+photograph+by+Bill+Cooper.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><i>Jonas Kauffmann and Ludovic Tezier in Forza Del Destino at the Royal Opera in London</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0roDLvdJ2cB3iNKXDPbWAI3-TqQI1NCkyKmnaXPlRZdtah_Vjc2PhyphenhyphenkVbi-i6nANa1J9FDNMbBD3Snd0KBPUVSCGgw4qF_EEEX5gGxKk1uLS-a1OBAh3P_X0GlKHWPjxgr2kN5H6VofC2/s1600/FORZA1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="427" data-original-width="640" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0roDLvdJ2cB3iNKXDPbWAI3-TqQI1NCkyKmnaXPlRZdtah_Vjc2PhyphenhyphenkVbi-i6nANa1J9FDNMbBD3Snd0KBPUVSCGgw4qF_EEEX5gGxKk1uLS-a1OBAh3P_X0GlKHWPjxgr2kN5H6VofC2/s320/FORZA1.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><i>Jonas Kauffmann and Anna Netrebko in Forza Del Destino at the Royal Opera in London</i></span></div>
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<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Die Walküre (Met HD in Theater)</span></b><span style="font-size: 14.0pt;"> – The LePage production. I enjoyed it and thought it
worked great. And I agree with Nigel, this cast was much stronger than the
original cast – especially Christine Goerke.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: .25in; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Akhnaten (Met HD – in Theater)</span></b><span style="font-size: 14.0pt;"> – See above. I thought the HD was really well done.
True you can’t see everything that you can in the theater and choices had to be
made. But it was exceptionally well done. Bravo to the camera crew.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: .25in; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Tannhauser (Bayreuth)</span></b><span style="font-size: 14.0pt;"> – I loved this production. I thought it was really
effective and brought this story to life in a unique and contemporary way. The
cast was excellent – Stephen Gould as Tannhauser, and especially Lise Davidsen
as Elizabeth but I also really loved Ekaterina Gubanova as Venus.<o:p></o:p></span></div>
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<span style="font-size: x-small;"><i>Stephen Gould and Ekaterina Gubanova in Tannhasuer, Bayreuth</i></span></div>
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<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0.25in; text-align: center; text-indent: -0.25in;">
<span style="font-size: x-small;"><i>Lise Davidsen in Tannhauser, Bayreuth</i></span></div>
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<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Cendrillon (Glyndebourne)</span></b><span style="font-size: 14.0pt;"> – I have seen the Pelly (Met production) now a bunch
of times and am just a little tired of it. This was not the Pelly production.
This production was refreshingly different. One might say it was a regie
production, but it worked beautifully. I loved the cast and I loved Kate
Lindsey especially and how that character was drawn as a female maid and as
Prince Charmant. It added a really interesting dimension to make the Prince
sexually ambivalent. I hope this production makes it to the USA.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOdJhXBfYv2cJdTwXDojhnzdg8mHiCoRbUMjA47szZzP8R9rvBfZjlgoh8E1H_RbciMVEeal5ZZauUHyirVU8hISH6AKwe7eIPeeteX_LKn9qVTMUNpco9W_zLslY3_a6Vwg7JE0ElFnOC/s1600/IMG_8797.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="192" data-original-width="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOdJhXBfYv2cJdTwXDojhnzdg8mHiCoRbUMjA47szZzP8R9rvBfZjlgoh8E1H_RbciMVEeal5ZZauUHyirVU8hISH6AKwe7eIPeeteX_LKn9qVTMUNpco9W_zLslY3_a6Vwg7JE0ElFnOC/s1600/IMG_8797.jpg" /></a></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0.25in; text-align: center; text-indent: -0.25in;">
<span style="font-size: x-small;"><i>Kate Lindsay as A Maid/Prince Charmant along with the Wicked Stepsisters in Cedrillon, Glyndebourne</i></span></div>
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<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Judith Triumphans (Dutch National – OV) </span></b><span style="font-size: 14.0pt;">– Opera Vision is a website that provides recordings
of a variety of operas from around the world. This Dutch production of the
Vivaldi oratorio Judith Triumphans was absolutely terrific. The singing, the
acting, the production and the orchestra were all wonderful. I fell in love
with this score. Vivaldi uses a whole bunch of unusual instruments include the
Chalumeaux, the Viola d’Amore, the Musette and others.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1ALg-j2FKgHtXIxZPrMIsrTG-dVDvsJJgSWCYm_ffVABWjn0MiQIpM8GI6aAIcMZ5GnXV7gMFu2eeIt-dBTU0av2nalyTZGTiKRRFFTq7nBj_pE6jQGOBYEDVgrFqa1LEb2WhnGMVQhPh/s1600/IMG_5090.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="192" data-original-width="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1ALg-j2FKgHtXIxZPrMIsrTG-dVDvsJJgSWCYm_ffVABWjn0MiQIpM8GI6aAIcMZ5GnXV7gMFu2eeIt-dBTU0av2nalyTZGTiKRRFFTq7nBj_pE6jQGOBYEDVgrFqa1LEb2WhnGMVQhPh/s1600/IMG_5090.jpg" /></a></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0.25in; text-align: center; text-indent: -0.25in;">
<span style="font-size: x-small;"><i>Judith conspiring with her confidant in Judith Triumphans, Dutch National Opera</i></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: .25in; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Idomeneo (Salzburg)</span></b><span style="font-size: 14.0pt;"> – Yet another in the Mozart opera cycle at Salzburg with Peter Sellars
directing. I generally find some sympathy with Count Orsini-Rosenberg in the
play “Amadeus” when he complains that Idomeneo is “too many notes.” I found the
Met production terribly tedious. But this production really worked for me. It
was beautifully sung – especially by Russell Thomas.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: .25in; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Anthropocene (Scottish National - OV)</span></b><span style="font-size: 14.0pt;"> – This is a new opera. It is not an easy opera to sit
through. The musical language is difficult. And the plot is uncomfortable.
Basically a team of 21<sup>st</sup> century scientists discover the frozen body
of a prehistoric sacrificial victim. When they unthaw her she is restored to
life. Meanwhile the crew are fracturing. There is serious theft that leads to
murder, which then leads to an final bloody sacrifice. What I found so
fascinating about this work was how it explored the issue of sacrifice. We find
the idea of human sacrifice revolting, and we use it to justify the violent
conversion of pagans, who we assume all practiced it (they didn’t!). But by the
end of this opera one wonders if the ancients were not perhaps more just in
their approach than we moderns who do not hesitate to sacrifice millions for
the sake of power and wealth – particularly as it relates to climate change.
The rich and powerful simply don’t give a damn about the millions who are
suffering as a result of our dependency on fossil fuels. Who then is really
civilized? The ones who lovingly sacrifice a young woman for the sake of the
community in the spring after lovingly preparing her for this honor; or the
ones who discard millions of poor and suffering and who cage thousands of
children at the border?<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSLmGoATCkF4crcwRwzDu54kGkFeGTdQ5IvRR4wC94PXThRuHTMiRb2W1Yc6ruv2QyNtHISHkPH3I5llj9R9bN1fYkbX3PBBcgLIpdpKYAQCZfjkDwjNcFu5azZO2VKWpUAYZEZfukjVi9/s1600/Anthr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="198" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSLmGoATCkF4crcwRwzDu54kGkFeGTdQ5IvRR4wC94PXThRuHTMiRb2W1Yc6ruv2QyNtHISHkPH3I5llj9R9bN1fYkbX3PBBcgLIpdpKYAQCZfjkDwjNcFu5azZO2VKWpUAYZEZfukjVi9/s1600/Anthr.jpg" /></a></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0.25in; text-align: center; text-indent: -0.25in;">
<span style="font-size: x-small;"><i>Discovery in Anthropocene, Scottish National Opera</i></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: .25in; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">9.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Paria (Polish – OV)</span></b><span style="font-size: 14.0pt;"> – Who is a Pariah? Who is to be included and excluded? This opera was
composed by the great Polish composer Moniuszko. How do we choose who is to be
included and who is excluded? Who gets to be a part of the powerful and
controlling 1% and who is untouchable? And who or what decides? Is it skin
color, ethnic background, religious traditions, sexual orientation. In this
opera the carefully constructed structure that separates the population into
the included and the excluded (the Pariahs) comes crashing down when it is
revealed to be all a lie. This is true for us as well. It is all a lie. No one
deserves to be excluded or turned into a pariah because of any external
characteristics. The pariahs are the violent ones who victimize others.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: .25in; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">10.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">The Tale of Tsar Saltane (Brussels)</span></b><span style="font-size: 14.0pt;"> – This production was really fascinating and dealt
with the issue of autism. It was a regie production which again I felt worked
brilliantly. In an effort to connect with this boy the mother brings a favorite
story to life. Lots of issues are dealt with. I loved this production. It made
me cry.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvP_dPjNcokErm79tQNafIVyxSGInnjAdp4_8_ldorrKQ3NaFKscFlDeRTM4ZogdJ5ehV-9Ce7qwCdudduRTL7QUzqSLkVWBN98-aDcTCgysbS88fs2eKVqfrzwdX89ttVn9aFvxLx5Q90/s1600/IMG_9415.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="192" data-original-width="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvP_dPjNcokErm79tQNafIVyxSGInnjAdp4_8_ldorrKQ3NaFKscFlDeRTM4ZogdJ5ehV-9Ce7qwCdudduRTL7QUzqSLkVWBN98-aDcTCgysbS88fs2eKVqfrzwdX89ttVn9aFvxLx5Q90/s1600/IMG_9415.jpg" /></a></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0.25in; text-align: center; text-indent: -0.25in;">
<span style="font-size: x-small;"><i>The Tale of Tsar Sultane in Brussels - Olga Peretynko</i></span></div>
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<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">11.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Midsummer Night’s Dream (Vienna)</span></b><span style="font-size: 14.0pt;"> – This beautiful production is a new production at
the WSO. Counter-tenor Lawrence Zazzo was a stand-out as Oberon; Erin Morely
was her usual wonderful coloratura self as Titania; Peter Rose reprised his
signature Bottom. It was excellent. Brilliantly conducted by Simone Young.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK_Z-vCFSssNBufQymfdJtlYReyyzmH2AKSNCSaN18m_nfNw9mn4Ory3BxmC8rJbptIs7paewlMKebPad3SdTJ7xlI7cdw_i-gzfZUTI8XQoXNV8quE0026XstS-u0KS9X_Flm58ZyD5ld/s1600/IMG_9430.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="192" data-original-width="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK_Z-vCFSssNBufQymfdJtlYReyyzmH2AKSNCSaN18m_nfNw9mn4Ory3BxmC8rJbptIs7paewlMKebPad3SdTJ7xlI7cdw_i-gzfZUTI8XQoXNV8quE0026XstS-u0KS9X_Flm58ZyD5ld/s1600/IMG_9430.jpg" /></a></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0.25in; text-align: center; text-indent: -0.25in;">
<span style="font-size: x-small;"><i>Lawrence Zazzo as Oberon in A Midsummer Night's Dream, Vienna State Opera</i></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: .25in; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">12.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Les Indes Galantes (Paris)</span></b><span style="font-size: 14.0pt;"> – This regie production was quite effective and
moving. Especially the final dance-off. The themes were not so different from
“Paria” in that it dealt with issues of being different and inclusion /
exclusion.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: .25in; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">13.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Tales of Hoffmann (Brussels)</span></b><span style="font-size: 14.0pt;"> – I really enjoyed this production. I love how with
every (European) Hoffmann there is always something different musically since
Offenbach didn’t finish and didn’t even put the opera together and left boxes
of music. This assembly of the opera was as good as any I have seen. I liked
Eric Cutler and Patricia Petibon a lot, but the stand outs were Michele Loser
as Nicklausse and Gabor Bretz as the Villains. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPbpj4qS77kTozSsBALOI0GMeGAeGyl469hfVDdbcCKRYf59PpKS7iRBsOnc8Wv0GI-B92K4fLAVbaIW_r-YsvIKrq3x9kuYWUkXgT5dNCKi8Lk_wZuo2kxCyUvhQy-hM2VEyeJ_KlcZUo/s1600/IMG_0018.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="192" data-original-width="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPbpj4qS77kTozSsBALOI0GMeGAeGyl469hfVDdbcCKRYf59PpKS7iRBsOnc8Wv0GI-B92K4fLAVbaIW_r-YsvIKrq3x9kuYWUkXgT5dNCKi8Lk_wZuo2kxCyUvhQy-hM2VEyeJ_KlcZUo/s1600/IMG_0018.jpg" /></a></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0.25in; text-align: center; text-indent: -0.25in;">
<span style="font-size: x-small;"><i>Willard White, Gabor Bretz and Patricia Pettibon in The Tales of Hoffmann, Brussels </i></span></div>
<div class="MsoListParagraphCxSpLast" style="margin-left: .25in; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">14.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">The Snow Queen (Munich)</span></b><span style="font-size: 14.0pt;"> – I just saw this Sunday, Dec. 29. When a child is
abused, or suffers trauma this brings death to the fragile spirit. How do we
return these children to life? If they are frozen inside of themselves because
of a trauma or abuse how can they be thawed? What are we doing to thousands of
children we have illegally and immorally incarcerated at our southern border?
This opera brings these issues to the front. Barbara Hannigan is amazing. This
was deeply profound and moving.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMdYbyUNnsHx5ysIuVI0EHEiHC-_6wE2cUPkNki5_jOTxo2bj_JU42JP9Ls_OT_jbBnQdfOHjVfrikV8zQzvWU3mcpw5ZOYj_uKdqgnCQnELV8u3NR4qfHEDOhNMLv7FAYDAuyH17T295r/s1600/SQ2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMdYbyUNnsHx5ysIuVI0EHEiHC-_6wE2cUPkNki5_jOTxo2bj_JU42JP9Ls_OT_jbBnQdfOHjVfrikV8zQzvWU3mcpw5ZOYj_uKdqgnCQnELV8u3NR4qfHEDOhNMLv7FAYDAuyH17T295r/s320/SQ2.jpeg" width="240" /></a></div>
<div class="MsoListParagraphCxSpLast" style="margin-left: 0.25in; text-align: center; text-indent: -0.25in;">
<span style="font-size: x-small;"><i>Barbara Hannigan in The Snow Queen, Munich</i></span></div>
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<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 14.0pt;">Honorable Mention<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Don Giovanni (Paris)</span></b><span style="font-size: 14.0pt;"> – I loved this production. It is destined to come to the Met.<o:p></o:p></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Rigoletto (Bregenz)</span></b><span style="font-size: 14.0pt;"> – I thought this production was one of the most effective I have ever
seen. It worked very well for me.<o:p></o:p></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Orpheus in the Underworld (Salzburg)</span></b><span style="font-size: 14.0pt;"> – A regie production, but a good one that worked
wonderfully. If I spoke German I would have enjoyed it more, but as it was it
was terrific.<span style="mso-spacerun: yes;"> </span>Kathryn Lewek was great.<o:p></o:p></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Halka (Theater an der Wien) </span></b><span style="font-size: 14.0pt;">– Also by Moniuszko. This opera was on Opera Vision,
but then it was performed in a totally different production with Piotr Beczala,
Tomas Konieczny and Corrine Winters. It was a wonderful production and
performance.<o:p></o:p></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Die Ferne Klang (OV)</span></b><span style="font-size: 14.0pt;"> – This opera by Shrecker from Sweden is an incredible opera. What a
beautiful score.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt;">There are so many more I
could mention.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 14.0pt;">Musicals and Theater:<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt;">I am going to separate
Shakespeare out from everything else as this year was a momentous year for me
in regard to Shakespeare. <o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">Theater and Musicals<o:p></o:p></span></i></b></div>
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<span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">I
saw the <b style="mso-bidi-font-weight: normal;">Band’s Visit </b>and <b style="mso-bidi-font-weight: normal;">Mean Girls</b> again and really enjoyed
them. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLxgEGqABt-zbQQXB5nEZPAyWRG_j1vwqwSIeaA-xCyuuSdQ-dIEyAidp3LWqpPOf_yY3_AR3zI506h8Djl6laQo0WQ552_G8N6_SJsSqO-X-m0PA36iGN1QBu2IgGqrN5a5lgA9NS3qD_/s1600/IMG_4717.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="596" data-original-width="474" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLxgEGqABt-zbQQXB5nEZPAyWRG_j1vwqwSIeaA-xCyuuSdQ-dIEyAidp3LWqpPOf_yY3_AR3zI506h8Djl6laQo0WQ552_G8N6_SJsSqO-X-m0PA36iGN1QBu2IgGqrN5a5lgA9NS3qD_/s320/IMG_4717.jpg" width="254" /></a></div>
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<span style="font-size: x-small;"><i>Taylor Louderman as Regina George in Mean Girls</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxiS1NjIIgp3flztLayrI-6O4bLJw5yHz_quTq3_yzlTyZ9IEAwAbqptM1W3wg0ILgR-kz3PgjQz-0e_oh9GEzNwrlmebD8cH1urjaWgldovDgg1v2ekwrZxP8suZp9jtjnJgIvMfgH0DG/s1600/IMG_4741.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxiS1NjIIgp3flztLayrI-6O4bLJw5yHz_quTq3_yzlTyZ9IEAwAbqptM1W3wg0ILgR-kz3PgjQz-0e_oh9GEzNwrlmebD8cH1urjaWgldovDgg1v2ekwrZxP8suZp9jtjnJgIvMfgH0DG/s320/IMG_4741.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><i>The Band's Visit</i></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">Miss Saigon (Touring Co
at the Fox)</span></b><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">
– I had never seen this. It was interesting to see it. It will never be a
favorite.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">Come From Away
(Broadway)</span></b><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">
– this is a great show. I loved the traditional Newfoundland score.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">Dear Evan Hansen
(Touring Co. at the Fox)</span></b><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;"> – A very moving show.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">***Hadestown (Broadway)
– </span></b><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">This
is the best musical for 2019 for me. This is such an excellent show. The score
is wonderful. The cast is incredible (André de Shields is magnificent as the
psychopomp Hermés). I loved the way the myths of Persephone/Hades and Orpheus/Eurydice
have been woven together and reinterpreted. A brilliant show.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyETUyJQRtVcQuD2QrRhRsFD1OLRFUSMkCHSeaGYDsInoNClSi_i7oJhyphenhyphenf99Zs8P4IuoYGKH98yoZubX6fhDOjExPs_-8REjiqbYDjkgnEs9aQVNWPfjuyMxXm7Wp9iEdb36Z1suI6VQG9/s1600/hades1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="546" data-original-width="970" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyETUyJQRtVcQuD2QrRhRsFD1OLRFUSMkCHSeaGYDsInoNClSi_i7oJhyphenhyphenf99Zs8P4IuoYGKH98yoZubX6fhDOjExPs_-8REjiqbYDjkgnEs9aQVNWPfjuyMxXm7Wp9iEdb36Z1suI6VQG9/s320/hades1.jpeg" width="320" /></a></div>
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<span style="font-size: x-small;"><i>Hades and Persephone in Hadestown</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsQ1clGINtubtYpYvS8hbXLf1xlX_qjk2eh5UXcCeRNhFxbdFpjUMDtbzzM8gkhUXgtty17kg2QRqPqLmoSw4g6pEVWARArqr3Me8io2UWiXQjJjgiumVRyYb9AgPtCkm2U64BQAtWqqjw/s1600/hades2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="383" data-original-width="681" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsQ1clGINtubtYpYvS8hbXLf1xlX_qjk2eh5UXcCeRNhFxbdFpjUMDtbzzM8gkhUXgtty17kg2QRqPqLmoSw4g6pEVWARArqr3Me8io2UWiXQjJjgiumVRyYb9AgPtCkm2U64BQAtWqqjw/s320/hades2.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><i>The Fates in Hadestown</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkQ9umdZL4domATWPW90QhdC8RcokQ-GXwJ-5ZdBpG1RLqrOXQZ1MnAA2XdtWbsm4pDXTPG_qwyy7AsSxUsGfi-i3t1IC2jLmpmqZYGqu-VZOLGWpNBFrq7r4JW8K_UudjB8l-xB3jAH7E/s1600/hades4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="523" data-original-width="928" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkQ9umdZL4domATWPW90QhdC8RcokQ-GXwJ-5ZdBpG1RLqrOXQZ1MnAA2XdtWbsm4pDXTPG_qwyy7AsSxUsGfi-i3t1IC2jLmpmqZYGqu-VZOLGWpNBFrq7r4JW8K_UudjB8l-xB3jAH7E/s320/hades4.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><i>André de Shields (center) as Hermés with Euridyce and Orpheus in Hadestown</i></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">Angels in America 1
& 2 (St. Louis Rep)</span></b><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;"> – Sarah, my daughter was in part 1 in college playing Harper Pitt. Consequently
I can say that I have seen part 1 a lot. But I had never seen part 2 live. Though
I had seen it in the film and in the London production (live stream). This was
a terrific production and a wonderful performance which addresses important
issues of sexuality, health care access and homophobia. <o:p></o:p></span></div>
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<span style="font-size: x-small;"><i>Curtain Calls for Angels in America, St. Louis Repertory Theater</i></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">Biloxi Blues (Clayton
Community Theater)</span></b><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;"> – Terrific production of an iconic play<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">Soldier’s Tale (Clayton
Community Theater) </span></b><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">– Another terrific production of another iconic play.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">District Merchant (The
New Jewish Theater of St. Louis)</span></b><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;"> – This play is an updating and a retelling of
the Shakespeare’s “Merchant of Venice.”<span style="mso-spacerun: yes;">
</span>But the author is not content to simply tell the same story. He makes
some serious alterations. I found it to be a really excellent play and it dealt
profoundly and intensely with issues of racism and anti-semitism.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtupYsLUFD0YCjSPBt8t-eCoeqPWVHPZmWqLcBXeZKbCRL7RrVOio_znuFlhjR-xJ66qjYdUnF7HwMVDCHXlS_78HH2zO1zYO43Nip-YD_RiQkfvQJ1l63AvhzR00GfX8n75CpKSnhqUiP/s1600/IMG_4847.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="192" data-original-width="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtupYsLUFD0YCjSPBt8t-eCoeqPWVHPZmWqLcBXeZKbCRL7RrVOio_znuFlhjR-xJ66qjYdUnF7HwMVDCHXlS_78HH2zO1zYO43Nip-YD_RiQkfvQJ1l63AvhzR00GfX8n75CpKSnhqUiP/s1600/IMG_4847.jpg" /></a></div>
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<span style="font-size: x-small;"><i>Curtain Calls for District Merchants, New Jewish Theater</i></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">All’s Well that End’s
Well & Macbeth – Oregon Shakespeare Festival – </span></b><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">In 2019 I finally
accomplished one of my life goals. I have now seen a live production of the
entire Shakespearean canon – plus Edward III and Cardenio (a reconstructed lost
play). I will admit that my live experience with Henry VI parts 1-3 was in a very
long evening that put all three plays (parts 1, 2 and 3) together with some
major cuts – even so it was 4 and a half almost 5 hours long – so I am counting
it! Also my experience with Two Gents from Verona was so long ago I can’t
really remember it, that is the only one I do not remember (and in my mind I
might have it mixed up with Comedy of Errors since the plots are fairly
similar). So, that is on my list of Shakespeare I want to revisit. Still with
All’s Well, I completed the canon. And what a great production! The venue was
not great – it was at the high school, unfortunately. But the production itself
was excellent and the acting was terrific. Adapting this production to the high
school did not really hurt All’s Well I think. However, Macbeth was an
uncomfortable fit with this venue. This was not the best Macbeth I have ever
seen. It was good, but the production was staged for a different theater and
trying to do it in the high school was simply awkward when they tried to use
the entire hall. I will say that after how many Macbeths (a lot, I have seen
this play a lot and it is one of my favorites) this is the only production of
this play I have ever seen that actually included the dubious inserted Hekate
scene. I’m glad to have seen it but it didn’t work at all. Written by Thomas
Middleton and inserted into one of the Folios in order to capitalize on the
popularity of the three Weird Sisters the scene makes no sense at all and adds
nothing to the play. But I have seen it! Anyway, I would return to OSF, but I
would like to see a play in the main outdoor theater next time.<o:p></o:p></span></div>
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<span style="font-size: x-small;"><i>All's Well That Ends Well, Oregon Shakespeare Festival</i></span></div>
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<span style="font-size: x-small;"><i>Macbeth, Oregon Shakespeare Festival</i></span></div>
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<span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">Other
Shakespeare I saw this past year: <b style="mso-bidi-font-weight: normal;">Illinois
Shakespeare Festival produced a very odd version of “Julius Caesar”</b> which
was entitled <b style="mso-bidi-font-weight: normal;">“Caesar!”</b> It was
updated, no problem there; and used gender blind casting, also no problem with
me. Act 1 kept pretty close to the Shakespeare plot, but Act 2 fell apart
completely. First, they cut up Antony’s famous speech and gave various parts to
other characters. It ruined the speech and robbed it of its power. Instead it
became a vehicle for petty quarrels. And then they cut the Battle of Philippi
from act 2 completely. Well, how could they finish the play without the Battle
since that occupies pretty much most of the act? Good question. The result was
that it fell apart and didn’t work. I love ISF and the actor who played Caesar
was a high school friend of my son’s and he was terrific. Actually as long as
he (Caesar) was alive the play was working great. The minute he was dead it
fell apart. Maybe there is a moral there!<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">Love’s Labors Lost – St
Louis Shakespeare Festival </span></b><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">– STLSF produced LLL and it was fine. The play itself is not a
favorite of mine. But it is always a lovely evening in the Glen at Forrest Park
so I enjoyed it anyway.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">Troilus & Cressida –
RSC Live Stream </span></b><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">– I have seen this play once before at Chicago Shakespeare in a
brilliant production directed by the incomparable Barbara Gaines. Of course,
this was the RSC so they did a great job. But something was lacking. Not sure
what it was. Part of the problem was that the Ulysses had such a heavy accent
(Welsh I think) that I simply could not understand her and she is a key
character. Other members of the cast were quite good.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">A Midsummer’s <span style="mso-spacerun: yes;"> </span>Night’s Dream – the Bridge Theater </span></b><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">– This is one of the
most interesting and creative productions I have ever seen of MsND. The main
thing is that they switched Oberon and Titania so that Oberon spoke Titania’s
lines and vice versa. It made for a fascinating production of the play. All the
gender assumptions went out the window and the rather misogynistic device of
tricking the Queen Titania and making her fall in love with the Ass (Bottom
“translated”) now had Oberon falling in love with Bottom, who was male! That
changed the dynamic completely! It was really terrific. I loved this production
and would buy the DVD if it is made available. Highly recommended.<o:p></o:p></span></div>
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<span style="font-size: x-small;"><i>Bottom (asleep), as Titania removes the spell from Oberon's eyes - Bridge Theater, London (NTLive)</i></span></div>
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<span style="font-size: x-small;"><i>Oberon and Titania, Bridge Theater, London (NTLive)</i></span></div>
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<span style="font-size: x-small;"><i>Bottom ("Translated") - Bridge Theater, London (NTLive)</i></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">Measure for Measure, RSC</span></b><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;"> – This is perhaps one
of my favorite plays. It is a powerful play and one that could not be more
timely. Just think of <span style="mso-spacerun: yes;"> </span>Angelo’s chilling
line to Isabel after he has violently assaulted her and she threatens to expose
him: “Who will believe thee Isabel?” We have shrugged our shoulders and looked
the other way as one sexual predator after another in appointed to high office
(the Supreme Court) and elected to high political office (president) and no one
seems to care as the victims are re-victimized, just like Isabel was. It is
disgusting. This play should be on the docket for every Shakespearean company
in the country IMHO. I have tried to talk STLSF into it and I am happy to say
that ISF has announced it will be performed this coming summer in Bloomington.
This production by the RSC was terrific. The Angelo was appropriately buttoned
up and disgusting. But the Duke was really reprehensible in this production, as
he should be. This character is the enabler – he is <u>us</u>, folks. The ones
who close our eyes and shrug our shoulders and make excuses for the men and
slut-shame the women!<o:p></o:p></span></div>
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<span style="font-size: x-small;"><i>Isabel with the Duke of Vienna in Measure for Measure, RSC (NTLive)</i></span></div>
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<span style="font-size: x-small;"><i>Angelo (center) with Escalus (left) and the Judge in Measure for Measure, RSC (NTLine)</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE8uZjvr3wPM2Lts4ftCn3-rfL3mLdPXqys8g1HwwPJQ7nLiYR-F4k5qOCeth-NvWgA29EIi95AaN_UcH5Hh00e-oJKZPo5Ke4jlM6zZ8p-RjmtjIudjEJtLL2Wm9A7ldK41_2NEKPeVTp/s1600/social_measure-for-measure-production-photos_-2019-_2019_photo-by-helen-maybanks-_c_-rsc_286431-%25282%2529.tmb-img-820.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="779" data-original-width="820" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE8uZjvr3wPM2Lts4ftCn3-rfL3mLdPXqys8g1HwwPJQ7nLiYR-F4k5qOCeth-NvWgA29EIi95AaN_UcH5Hh00e-oJKZPo5Ke4jlM6zZ8p-RjmtjIudjEJtLL2Wm9A7ldK41_2NEKPeVTp/s320/social_measure-for-measure-production-photos_-2019-_2019_photo-by-helen-maybanks-_c_-rsc_286431-%25282%2529.tmb-img-820.jpg" width="320" /></a></div>
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<span style="font-size: x-small;"><i>Isabel waiting to meet with her condemned brother Claudio, Measure for Measure, RSC (NTLive)</i></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">Much Ado, from Central
Park PBS</span></b><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">
– Lastly, I watched on PBS a recording of a production of Much Ado about
Nothing from Central Park last summer. This featured an all black cast and was
really outstanding. The “wars” that the men are returning from are the front
lines of the fight for equality and the play ends there too. It was effective
and the cast were all excellent – especially the Beatrice. If you haven’t seen
this, you should.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2gk0SzGP7sFw6dfyuvg4vDyq8OC6aKGYlrFuQFTi5EpTOc05hSYJ7vnRTZH8gXILKW0UdP_5BqSiuYLb0HdiBpUCEcSqULgGzzuFhienOGpKeUwVXv8v8spFcHpSMKvCioZr6mcleEHWo/s1600/muchado.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2gk0SzGP7sFw6dfyuvg4vDyq8OC6aKGYlrFuQFTi5EpTOc05hSYJ7vnRTZH8gXILKW0UdP_5BqSiuYLb0HdiBpUCEcSqULgGzzuFhienOGpKeUwVXv8v8spFcHpSMKvCioZr6mcleEHWo/s1600/muchado.jpeg" /></a></div>
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<span style="font-size: x-small;"><i>Hero and Claudio with the Preacher in the Wedding Scene, Central Park, Much Ado About Nothing, PBS</i></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">Lastly, thanks to all
my opera friends for their suggestions and encouragement and for tolerating my
prodigious sharing.<o:p></o:p></span></b></div>
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<u><span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">Last
comment:<o:p></o:p></span></u></div>
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<span style="font-size: 14.0pt; mso-bidi-font-family: Helvetica;">This
past year my father died, in December (the Thursday before my Met weekend where
I saw Akhnaten, Nozze and Queen of Spades). Dad loved two things in life –
opera and Phillies baseball. The gift I received from my dad was my love of
opera. My brother got the gift of the love of baseball. Dad sang comprimario
tenors roles with the Wilmington Opera Society (now Delaware Opera). My very
first opera ever, when I was around 5, was Die Fledermaus. Dad sang the role of
the incompetent lawyer, Dr. Blind. So when I got back from the trip, now
extended to include his funeral. I watched a production of Fledermaus from
Vienna that was on Opera Vision. This was my small way of honoring and saying
thanks to my dad for the gift of opera.</span><b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 14.0pt;"><o:p></o:p></span></u></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhloxjBDU3UyyKcqaVc7f1GswXwiVhN9cYe8d7IW5fiHnBjJGy36hL8PMeUWlzjBUU3QY02atGTILHxVgYq009f47JNtgVA7kXq0YpyRjai4Op99ZQxt61RrVGgULvsVwjb1stKSEza9nh/s1600/IMG_0072.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="256" data-original-width="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhloxjBDU3UyyKcqaVc7f1GswXwiVhN9cYe8d7IW5fiHnBjJGy36hL8PMeUWlzjBUU3QY02atGTILHxVgYq009f47JNtgVA7kXq0YpyRjai4Op99ZQxt61RrVGgULvsVwjb1stKSEza9nh/s1600/IMG_0072.jpg" /></a></div>
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<span style="font-size: x-small;"><i>My Dad as Normanno in Lucia di Lammermore, Wilmington Opera Society (early 70's) - </i></span></div>
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<span style="font-size: x-small;"><i>I</i></span><i style="font-size: small;">ncidently this production was my first ever playing in the pit - I subbed for the Dress Rehearsal</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0K_sur5_10xQaX_aR_bj1NoGyJn-ee4FxYuRiFIClM4jR4hkFt6uU8NRezcI8UZfOe2QQLHm7M81K6U0tQQUG3jKl7xftMklxSKbnRBshnGUOscbHSs5A2tbSzXTXQUC1Uy7WUrVYByns/s1600/IMG_0073.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="256" data-original-width="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0K_sur5_10xQaX_aR_bj1NoGyJn-ee4FxYuRiFIClM4jR4hkFt6uU8NRezcI8UZfOe2QQLHm7M81K6U0tQQUG3jKl7xftMklxSKbnRBshnGUOscbHSs5A2tbSzXTXQUC1Uy7WUrVYByns/s1600/IMG_0073.jpg" /></a></div>
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<span style="font-size: x-small;"><i>My Dad in the chorus for Flying Dutchman sometime in the 80's, Wilmington Opera Society (Delaware Opera)</i></span></div>
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<span style="font-size: x-small;"><i><br /></i></span></div>
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<i><span style="font-size: large;">I wish you all a Happy New Year and much music and opera for the coming year!</span></i></div>
<!--EndFragment--><br />Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com0tag:blogger.com,1999:blog-1868457521565839495.post-45185985896431935622019-11-23T17:44:00.000-08:002019-11-23T18:57:53.629-08:00Akhenaten at the Met<div class="" data-block="true" data-editor="a42eo" data-offset-key="92dtj-0-0" style="background-color: white; color: #1c1e21; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; white-space: pre-wrap;">
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<span data-offset-key="92dtj-0-0" style="font-family: inherit;"> Just back from the Met Live in HD livestream of Philip Glass' "Akhenaten." It was absolutely wonderful, spellbinding, profound and deeply moving. The performance of the entire cast was simply remarkable - and it is in large part the incredible ensemble performance by the principals and the brilliant Met chorus. Anthony Roth Costanzo was outstanding as the title character. His "Hymn to the Sun" in act 2 was glorious - sung in English it was deeply moving. I found the text of the opera - in Ancient Egyptian and Akkadian (with a little Hebrew in one particular spot) and some English to be exceptionally brilliant. Zachary James played Amenhotep III, Akh's deceased father, who as the spirit of the dead King serves as narrator. He is a singer I am very familiar with. I have experienced Zachary's performances in Des Moines as Claggert and The Doctor (Wozzeck), in Nashville (the 3 Villians), St, Louis (Zacharias, Nabucco) and in Philadelphia as the Cook (Love for Three Oranges). He did not sing in this opera but served as the narrator and he was outstanding. The juggling was absolutely a brilliant idea which was woven into the staging - everyone juggled! The sets and costumes were also amazing. It was one of, if not THE most memorable HD I have attended yet.</span></div>
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<span style="font-family: inherit;"> I have played Glass and I know how hard it is, and I didn't play anything as hard as this score. The orchestra was incredible. With no violins in the score, the viola section took over leading the orchestra - bravi to them! The winds played as a unit, perfectly in tune and all of them apparently managed the feat of concentration and endurance it takes to play Glass. I want to mention the principal trumpet who on several occasions takes a leading solo role. He represents the Sun God - Aten. And when Akhnaten is singing his hymn to Akhnaten and Nefertiti are singing their love duet it is the trumpet that weaves and binds them all together. Beautiful playing.</span></div>
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<span style="font-family: inherit;"> I have absolutely nothing negative to say about the opera or the performance. They managed to bring forth the spirits of Ancient Egypt who lived through them. I loved it! But I do want to make a comment about some of the background material included in the program. Apparently Glass was inspired to compose this work by reading Freud's assessment of this forgotten Egyptian Pharoah. I should fill in some of the history. After Akhenaten became Pharoah he declared Aten to be the only god (or head god - this is unclear to me from what I have read). He then reigned for 17 years, but he was not a particularly good King. He built his special city which was dedicated to the Sun and there he removed himself taking little interest in the rest of the country. Eventually things fell apart, he was killed, his son - King Tut - was made Pharoah (that didn't last long, he was sickly) and the ancient pantheon was restored and the city of the sun destroyed. Akhenaten was effectively eliminated from the historical record. His name crossed out and any evidence of his religious experiment totally destroyed.</span></div>
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<span style="font-family: inherit;"> Now, Freud was one 19th century scholar who was intrigued by Akhenaten, and even more become known once the site of the city was uncovered and excavated by archeologists in the early 20th century. Freud in particular posited the hypothesis that Akhenaten was a religious visionary who established the first mono-theistic religion, and that it was Akhenaten who then inspired and influenced Moses. Glass seems to have accepted this hypothesis and his use of Psalm 104 following the Hymn to the Sun which is sung in Hebrew attempts to make this connection. I find this rather problematic however. First it should be noted that there are, as far as I can tell, few if any serious scholars of the Ancient Near East or Egyptology who accept this hypothesis as having any historical veracity. Then there is the whole questions as to whether what Akhenaten established was really mono-theistic. I personally do not think so. I think it is more likely that he was heno-theistic. Monotheism believes that there is only one god who exists, period; henotheism acknowledges the existence of many gods but lifts up one as the strongest and most important god. It is far too easy for us to read our own attitudes back into the history, which is what I think the hypothesis does. Lastly, Glass is quoted as stating that for him the great ancient civilization was not Greece but was Egypt. For me I find this statement naive. What about Ancient Sumer, Ancient Akkad - that is where writing developed after all and part of the libretto of this opera was in Ancient Akkadian. Certainly Egypt had moments of glory in their history, so did Greece, but for me the glorious beginning of civilization is to be found in Sumer and Akkad. The fact is that the history of this part of the world during this time is very complicated. We need to be careful not to simplify it. The fact is that Akhenaten was a failure. A fascinating failure, who was surrounded by some equalling fascinating other characters - such as Queen Tye, Nefertiti, General Horemhab.</span></div>
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<span style="font-family: inherit;"> But that said. This opera brings ancient Egypt alive and brings us into it. It was an incredible experience. There are still performances left at the Met and there should be an encore HD showing. Plus, it will probably appear on PBS later in the year. Don't miss it!!!!</span></div>
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Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com0tag:blogger.com,1999:blog-1868457521565839495.post-51064918354823475682019-01-01T08:58:00.003-08:002019-01-01T09:01:12.351-08:00My Review of my Opera and Theater experiences for 2018<!--[if gte mso 9]><xml>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">As 2018 draws to an end here is my run-down of my
top opera, musical and theater experiences of 2018. I will begin with opera.
The order is not necessarily relevant in every case except the few at the top.
Also, please forgive my overuse of superlatives. This is after all a list of my
favorites.<o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">1. “Regina” by Marc Blitzstein – Opera Theater St.
Louis with Susan Graham, James Morris, Rob Raines and Susannah Philips. This
mid-20<sup>th</sup> century opera is based on the play “The Little Foxes” by
Lillian Hellman (not the movie). I had the opportunity to see both the movie
and the play this year also and it was fun to compare.<b style="mso-bidi-font-weight: normal;"> </b>I had seen the opera once before<b style="mso-bidi-font-weight: normal;"> </b>in Chicago but it made no impression. But this production and
performance was incredible – one of the finest performances of any opera I have
ever seen. The cast was outstanding! In fact, one cannot imagine a better cast.
Susan Graham was amazing as Regina, and James Morris brought an appropriate
affability to the scheming Ben and his closing “arietta” <i style="mso-bidi-font-style: normal;">Greedy Girl</i> was a highlight. Rob Raines as Oscar was terrifically
horrible especially to the Birdie of Susannah Philips whose extended monologue
near the beginning of act 2 was one of the most touching moments of the
performance. Most of the rest of the cast were young artists and were also
outstanding – Leo and Zan in particular. The opportunity to experience this
opera with this cast and then also see the movie and play was the top overall
theater/opera experience of 2018 for me.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDAqjztCatvXg00TY9Rusoo6jE47GRWNnl0sBoivZxjiH8QyRU39mqkzNs0oBOYgqV2s-D4cknDCe4pJ24oh5jVgDOq4PTGdmonufIgtrYdAK-x9IeZXg4uG911Be3RwEqrPbWrLaFn_Hj/s1600/IMG_2272.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDAqjztCatvXg00TY9Rusoo6jE47GRWNnl0sBoivZxjiH8QyRU39mqkzNs0oBOYgqV2s-D4cknDCe4pJ24oh5jVgDOq4PTGdmonufIgtrYdAK-x9IeZXg4uG911Be3RwEqrPbWrLaFn_Hj/s320/IMG_2272.jpg" width="320" /></a></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">2. In 2<sup>nd</sup> place is the Met’s new production
of “Cosi fan Tutte,” - the “Coney Island” production. It is not surprising that
this production has been criticized but I have found that most of the criticisms
seem to be based only on the complainer’s pre-conceived notions of this great
opera that in my view conveys a complete lack of understanding of the opera and
it’s much maligned libretto. <a href="https://blakesoperablog.blogspot.com/2014/12/in-defense-of-cosi-fan-tutte.html" target="_blank">I have posted multiple essays on this opera</a> and
for me Cosi is not only Mozart/Da Ponte’s shining jewel in a crown of jewels,
but it is Da Ponte’s own statement on issues of sexual politics, especially as
practiced in the Enlightenment period of the late 18<sup>th</sup> century. If
you do not understand this you will not understand Cosi. The opera stands over
and against the patriarchal misogyny of its time bringing women down from their
pedestals and up from the gutter – <i style="mso-bidi-font-style: normal;">Cosi
fan Tutte</i> <i style="mso-bidi-font-style: normal;">– </i>They (women) are all
like this - that is - they are human beings just like men. Sadly the issues
raised by the opera are still current in our own horribly misogynistic times.
This production not only presents the opera in a way that expresses the basic
foundational themes of the opera in a very comprehensible manner, but it
actually takes the original setting into account (something that is rarely done
in “traditional” productions of this opera). The opera is originally set in the
resort of Naples – <i style="mso-bidi-font-style: normal;">what happens in Naples
stays in Naples.</i> It is a place not unlike the internet now and places like
Coney Island in the 50’s. A place where there is anonymity and the opportunity
to explore without societal constriction. Not only that but this production
also takes the parody element seriously and presents it brilliantly (The chorus
repeating their movements as the boys prepare to disembark and especially the
staging of “Come scoglio” which was nothing short of brilliant IMHO and very
funny). It was Da Ponte’s stated desire that Cosi always be set in the time and
location of the audience, and the choice of Coney Island enables this to be
done and also for the production to work with the issues created by the fact
that it assumes an 18<sup>th</sup> century worldview. I absolutely loved this
production – it is my favorite of all the myriad productions I have ever seen
of this opera. In short, this is because it takes the libretto so incredibly seriously.
And in my view the cast was also terrific. This was a perfect cast, especially
Kelly O’Hara who gave us one of the most nuanced and profound performances of
Despina I have ever experienced. I also loved Amanda Majeski as Fiordiligi, her
“Per pietá” was gorgeous and the staging on the Ferris Wheel was deeply moving
for me.<span style="mso-spacerun: yes;"> </span>Lastly, I’ll mention the Coney
Island performers who added amazingly to this production. Their constant
presence gave us an ongoing sense that we were in a unique and special place
(like Naples) and consequently the events could unfold in their beautiful,
tragic and unique way.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBhdimcs-NKNrJdbkFb4EiFRw1RC76iIakIb5RlI5tMoDDKDcFSFTfNMWzJACVpniuUEbncb34Ybu7jTYUCC26oGW0fLcThUqb_muMqWJXK3spKf2IVTCObPPuoB7ktKJNX9r11cczPjLH/s1600/IMG_1964.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBhdimcs-NKNrJdbkFb4EiFRw1RC76iIakIb5RlI5tMoDDKDcFSFTfNMWzJACVpniuUEbncb34Ybu7jTYUCC26oGW0fLcThUqb_muMqWJXK3spKf2IVTCObPPuoB7ktKJNX9r11cczPjLH/s320/IMG_1964.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN7EN9yw471rLdExIBIsxVixvkou2HC5Btt0JKweT649YpHkzOG32kDf1VhRzsFzCEd3UqRqE8vqt3TAq89HjwD6Vlu523zunE2jPC00AEEOeSmS-oHdwWqeYnwqoStyavQXn4tHAu-UCR/s1600/IMG_1968.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN7EN9yw471rLdExIBIsxVixvkou2HC5Btt0JKweT649YpHkzOG32kDf1VhRzsFzCEd3UqRqE8vqt3TAq89HjwD6Vlu523zunE2jPC00AEEOeSmS-oHdwWqeYnwqoStyavQXn4tHAu-UCR/s320/IMG_1968.jpg" width="320" /></a></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">3. An American Soldier by Huang Ruo with a libretto
by Henry David Hwang, performed by Opera Theater St. Louis. This new opera
tells a brutal story of racism within the ranks of the US Army – the story of
Danny Chen. I was deeply moved by this work. It was musically outstanding and
the libretto was incredible albeit very difficult to watch, but essential,
especially in our day when despicable racially based hate seems to be so in
vogue. This incredible opera presents racism in all its ugliness.<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiElVZZNOhcEfdxDS7KWncbuuJigm1b_tw98LoSc5Vpe7aSHA4UZ2qHVupuI_gIQESbp8qWXfGG3i44qfvy9jygP6H35iCS7Ql3X-LMs3zPbr7xRywwPO02ZFiadSPYFdZFhbjb3VTPivMD/s1600/IMG_2365.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiElVZZNOhcEfdxDS7KWncbuuJigm1b_tw98LoSc5Vpe7aSHA4UZ2qHVupuI_gIQESbp8qWXfGG3i44qfvy9jygP6H35iCS7Ql3X-LMs3zPbr7xRywwPO02ZFiadSPYFdZFhbjb3VTPivMD/s320/IMG_2365.jpg" width="320" /></a></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">4. Fanciulla del West at the Met with Jonas
Kaufmann, Eva Marie Westbroek and Zelko Lucic. Great production! Wonderfully
sung! Terrific chorus and supporting cast. The act 2 card game was incredibly
intense and well done. I loved this performance.<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnVhLY7_C32hMCifp45bb8Kg4N5SNDVMFojNyD6hP23tLZ-J83x-QpEqVyUesydNJIZUyniO2LK_d5zN4bQh64qkcav4QLB5jAq4fSNEejjZ6wD3VIESvJjTYeDod1jlc-pTu1lBGadbVP/s1600/IMG_3454.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnVhLY7_C32hMCifp45bb8Kg4N5SNDVMFojNyD6hP23tLZ-J83x-QpEqVyUesydNJIZUyniO2LK_d5zN4bQh64qkcav4QLB5jAq4fSNEejjZ6wD3VIESvJjTYeDod1jlc-pTu1lBGadbVP/s320/IMG_3454.jpg" width="320" /></a></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">5a & 5b – Santa Fe Opera – Our first trip to
Santa Fe and I loved it. What a wonderful venue and we enjoyed the location
very much. We saw three operas – Candide, Dr. Atomic and Ariadne auf Naxos. I
found Candide an odd piece though the production was colorful and inventive.
But I particularly enjoyed the Ariadne auf Naxos (with Amanda Majeski again)
and the Dr. Atomic, which I consider to be a masterpiece. An added attraction
was the opportunity to meet the librettist/stage director Peter Sellars. He was
animated and it was fun to listen to him speak.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJUG0STz-AUHQserFMAn6d1icYiS86uOdvmSLnM8_TlnrM5lLvO5VD1StV1CCzldZsAoT0hOPP3KjrQq1tu3I1M40Omq15f8wQjNge3PREhH53cjQ7YgExeYEIzB68O7Rk7aNTj9AZuThL/s1600/IMG_2904.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJUG0STz-AUHQserFMAn6d1icYiS86uOdvmSLnM8_TlnrM5lLvO5VD1StV1CCzldZsAoT0hOPP3KjrQq1tu3I1M40Omq15f8wQjNge3PREhH53cjQ7YgExeYEIzB68O7Rk7aNTj9AZuThL/s320/IMG_2904.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnjp4uyuRadUeERpIHYOP8KmT1j9lTmEQICk4mWk9mn8pa9xcqfbbPyVDVCT3cHpqdLiskPKsY9akiTStiT7gziOyD4JnuRYQbABBFjwPKCPcyn_zDCjdJaOptDykarUoAcIsmy1f4U-Bf/s1600/2018-08-16+17.58.44.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnjp4uyuRadUeERpIHYOP8KmT1j9lTmEQICk4mWk9mn8pa9xcqfbbPyVDVCT3cHpqdLiskPKsY9akiTStiT7gziOyD4JnuRYQbABBFjwPKCPcyn_zDCjdJaOptDykarUoAcIsmy1f4U-Bf/s320/2018-08-16+17.58.44.jpg" width="240" /></a></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">6. Any opportunity to experience Wagner would have
to be on this list. So in their build up to the complete Ring next year Lyric
Opera Chicago performed “Siegfried” this season.<span style="mso-spacerun: yes;"> </span>Musically it was very strong – Eric Owens as
the Wanderer and Christine Goerke as Brunnhilde were the standouts in a really
outstanding cast. I found the production a bit odd though. I thought the
director’s Walküre worked better, his Siegfried just didn’t seem to me to
really hang together well. But on the whole it was good and I am looking
forward to the complete Ring next season. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">In St. Louis we have 4 (count them) 4 opera
companies and they are all good. My next two positions are taken by
performances given by two of the other St. Louis companies – Union Ave Opera
and Winter Opera.<o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">7. Union Ave Opera picks up where OTSL leaves off in
July and performs three operas between the beginning of July and the end of
August. This last summer their final work was a not often performed work of
Kurt Weill’s “Lost in the Stars” which deals with apartheid and racism in South
Africa. It was a riveting work incredibly well performed by a large cast. In
this work, the majority of the cast are black with a few white roles and the
chorus is also mostly black. UOA had to recruit black artists from the
community and hats off they found the best of the best. The cast was
outstanding. In fact, the actress who played Addie in OTSL’s “Regina” was on
stage for UOA’s “Lost in the Stars” and was equally outstanding. The plot is
complex so I won’t attempt to review it. But if you ever have a chance to see
this opera, do not miss it!<o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">8. Winter Opera presented “L’Elisir D’Amore” by
Donizetti.<span style="mso-spacerun: yes;"> </span>Ho hum, right? This charming
opera is a bit overdone, but leave it to Winter Opera to come up with the
interesting approach of setting the opera in St. Louis in one of the old
storied neighborhoods, and their genius scenic designer to recreate the exact street
setting complete with local landmarks and a well known church. The opera was
engaging and really, really fun. And the young cast (led by the founder and
company director Gina Galati) and chorus obviously loved this production
because they were terrific and so energized! It is one of the most fun
productions of this opera I have ever seen.<o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">9. In the middle of the summer I found myself in NYC
after helping my daughter move and took the opportunity to attend the Bard
College opera festival. They have for a number of years produced a festival
which included a usually rather obscure opera performance. This year the opera
was “Demon” by Anton Rubinstein. A rather creepy plot line accompanied with a soaring
and beautiful late 19<sup>th</sup> century score. I enjoyed it quite a lot.
Demon was worth seeing, but I don’t expect it to become anyone’s favorite.
Still it was a colorful production and beautifully sung; and all accompanied by
a major downpour – all in upstate New York.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBIPFvMntU8Bs9VZDtWlEiAYZjJ7ZT84lRQ-fQAKgb9KdZwkxZkhrZw28KY7KnRJPAc0QLj7lpjFt9us8etqa_XcyKo_Xo_8vFnlnGMsUrYj_elk28H-8waYPWwHCQXY_ycYPc5FETppwd/s1600/IMG_2778.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBIPFvMntU8Bs9VZDtWlEiAYZjJ7ZT84lRQ-fQAKgb9KdZwkxZkhrZw28KY7KnRJPAc0QLj7lpjFt9us8etqa_XcyKo_Xo_8vFnlnGMsUrYj_elk28H-8waYPWwHCQXY_ycYPc5FETppwd/s320/IMG_2778.jpg" width="320" /></a></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">10. Lastly I will include the Washington National
Opera production of Don Carlo which featured Russell Thomas (Carlo), Quinn
Kelsey (Posa), Eric Owens (as King Philip), Leah Crochetto (Elizabetta), Jamie
Barton (Eboli) and Andrea Silvestrelli (Grand Inquisitor). The score of Don
Carlo is gorgeous and this is one of my all time favorite operas. I found the
production concept a bit odd and not terribly colorful but it didn’t distract
me from the glorious score and the beautiful singing. I have to say, however,
that anytime I see Don Carlo without the Fontainbleu scene I feel as though
something is missing. The opening scene sets up what follows both musically and
dramatically, in fact one major motif is first presented in the opening scene
and without it there is no reference for that musical theme.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="color: #16191f; font-size: 14.0pt;">Met HD – 2018</span></u></b><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #16191f; font-size: 14.0pt;"><o:p></o:p></span></i></b></div>
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<span style="color: #16191f; font-size: 14.0pt;">This is awkward since the
season runs from September through May, so to do an HD favorites now
necessarily requires mixing two seasons. But be it as it may, this isn’t hard
and my top two are the same as my good friend Nigel’s:<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #16191f; font-size: 14.0pt;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #16191f; font-size: 14.0pt;">Cosi fan Tutte – March (see above)<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #16191f; font-size: 14.0pt;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #16191f; font-size: 14.0pt;">Fanciulla del West – October (see above)<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #16191f; font-size: 14.0pt;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #16191f; font-size: 14.0pt;">Luisa Miller – April <o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #16191f; font-size: 14.0pt;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #16191f; font-size: 14.0pt;">Marnie – November (A terrific opera – stunning
production)<o:p></o:p></span></div>
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</span></span></span><!--[endif]--><span style="color: #16191f; font-size: 14.0pt;">Cendrillon (Massenet) – April<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="color: #16191f; font-size: 14.0pt;">Theater and Musicals<o:p></o:p></span></u></b></div>
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<span style="color: #16191f; font-size: 14.0pt;">I will list these without
much commentary<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“The Band’s Visit” – New York. This is the best new musical I have seen
in a long time. The music is beautiful and the story is very powerful,
especially in this day of exclusion and hate.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirDwTJAUa9jRSVaoMNkKsorc3gQvgN_v3S-O1Uk4qKx3H9gDqRDz5-RmF_g3_Kus28yn0hMp1ofI32Tf7ZK21cCPN9AvoPJOKADCUuaR2u9rHomP4e0fQbit_jAtcvERtVR7ykYxf7PG7-/s1600/IMG_1952.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirDwTJAUa9jRSVaoMNkKsorc3gQvgN_v3S-O1Uk4qKx3H9gDqRDz5-RmF_g3_Kus28yn0hMp1ofI32Tf7ZK21cCPN9AvoPJOKADCUuaR2u9rHomP4e0fQbit_jAtcvERtVR7ykYxf7PG7-/s320/IMG_1952.jpg" width="240" /></a></div>
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<div class="MsoListParagraphCxSpMiddle" style="margin-right: -9.0pt; mso-add-space: auto; mso-list: l2 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“Mean Girls” – New York. The new musical by Tina Fey and her husband. I
loved this show. I felt that it took on some really serious issues and dealt
with them very well. Plus the cast was terrific. Some of the reviews have not
liked all the music, but I liked it fine and for me “Apex Predator” is the best
musical song of 2018.<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Shakespeare “King John” at the Folger in DC. This particular play
brings me within one play of having seen the entire canon of Shakespeare plays,
with the exception of the lost plays like “Sir Thomas More.” But this
production was outstanding. And when done this well one wonders why it is not
done very often. It seemed to me that the story of a completely incompetent
ruler driven by his own ineptitude, selfishness and prejudice is rather timely.
Hats off to the cast, especially the young actress who played the boy prince.
What a part and what a job she did. She deserves a prize. It was a virtuoso
performance.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsz2rNoTvaBaAYNxy7tywynPOaQfWYwyq25GZjhC0o8ql88fPsXdvPiXB6hSDllI6Sw0laM743KAfhAXP4XS2RCsDcJSs9zeUqbC3ophWi4hu8wgxNqp7etcbMkBfRIT7ya_qdVrQrfiSS/s1600/IMG_3519.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsz2rNoTvaBaAYNxy7tywynPOaQfWYwyq25GZjhC0o8ql88fPsXdvPiXB6hSDllI6Sw0laM743KAfhAXP4XS2RCsDcJSs9zeUqbC3ophWi4hu8wgxNqp7etcbMkBfRIT7ya_qdVrQrfiSS/s320/IMG_3519.jpg" width="240" /></a></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"><br /></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-right: -9.0pt; mso-add-space: auto; mso-list: l2 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“My Fair Lady” at Lincoln Center Theater. I have always loved MFL. I
played Higgins in high school (in the play “Pygmalion”) and I simply adore this
musical. The only thing I don’t like about the musical is the way it ended,
which is completely removed from the play. BUT – this production restores
Shaw’s ending for the characters. I loved the way they did that. The cast were
all terrific (though I didn’t much like Freddie). The Higgins and Liza were
especially wonderful. And Higgin’s mother stole the show IMHO.<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“Hamilton” – Not much to say. Because this is a great show!
Historically accurate and detailed it tells the story of the founding of the
nation through a focus on Alexander Hamilton. It is a wonderful show in every
way.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-right: -9.0pt; mso-add-space: auto; mso-list: l2 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">St. Louis Rep produced “Evita” and even though it is an older show I
really enjoyed it. I especially liked the Juan Peron and the company.<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">We have a lot of theater in St. Louis too and my favorite theater
company (Clayton Community Theater) is managed by my friend Sam Hack and his
wife Marilyn. Two of their plays I felt were outstanding. 7. “Brighton Beach
Memoires” directed by Sam himself. I had never seen it, though I had heard of
it certainly. I really enjoyed it. It is a wonderful play and very touching.
And then… <o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“Laramie Project” – another play I had heard of, but had never
experienced. I was not sure what to expect. I wish the issues it deals with –
hate and homophobia were things of the past, but unfortunately the hate spewed
at the LGBT community is disgusting and odious and seems to be worse than ever.
I have personal experience dealing with that, as a pastor, and frankly this
play and the event it chronicles are among the reasons that I have run out of
patience for that kind of hate. It isn’t Christian it is despicable. But what a
masterful creation this play is. And it was brilliantly cast and performed. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuRCGqAdgP1LCLBm1vFHudmqPf3haRLnEoA-jV2Sd15roKRmNlwxtBeVtjRpQe36tUuXmeyDcbQJZNJS0U15HNhX5m-yyhtmDefXBmTEO2JF3Ahh0WuYmgpeuvCKqxl1gkgrKQcCCD3Gnw/s1600/IMG_3366.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuRCGqAdgP1LCLBm1vFHudmqPf3haRLnEoA-jV2Sd15roKRmNlwxtBeVtjRpQe36tUuXmeyDcbQJZNJS0U15HNhX5m-yyhtmDefXBmTEO2JF3Ahh0WuYmgpeuvCKqxl1gkgrKQcCCD3Gnw/s320/IMG_3366.jpg" width="240" /></a></div>
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<div class="MsoListParagraphCxSpMiddle" style="margin-right: -9.0pt; mso-add-space: auto; mso-list: l2 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">9.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">I mentioned “Little Foxes” above in relation to “Regina.” Another StL
theater company produced and performed this play in a rather hole in the wall
theater. It was very well done. For me, the opera and then the play are the
best. The movie is fine, but I don’t really like Bette Davis and I hate the
added love interest for Zan.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpLast" style="margin-right: -9.0pt; mso-add-space: auto; mso-list: l2 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">10.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">St Louis Shakespeare Festival in Forest Park produces one play a year
and it runs almost 6 weeks from the end of May through all of June. Weather is
often an issue, but they always do a great job. In 2017 they did a beautiful
production of “Winter’s Tale.” And this year it was “Romeo and Juliet.” At
first I thought, eh, sigh, R&J. Not my favorite play, overdone, maybe I’ll
skip it this year. Boy, am I glad I didn’t. It was an updated production that
was really well done. A great cast and the fights were incredibly exciting –
hats off to the fight director. This is easily the best R&J I have ever
seen.<span style="mso-spacerun: yes;"> </span>Lately I have watched the opera
pretty often and it was nice to be reminded of the depth of the play. There is
a lot in the play that is missing from the opera. The opera is really about the
love story, but despite the hype in the play the love story is a vehicle to
deal with irrational hate.</span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Digital
Online and Movie House Streaming of 2018 Opera and Theater <o:p></o:p></span></u></b></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Well, I assembled my initial list and had a total of
28 performances. I will endeavor to cut it to 12 and leave the others listed as
honorable mention. The numbering is not that significant frankly, but I have to
put them in some order so here goes:<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l1 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">The “Ariadne auf Naxos” from Aix 2018 was not enjoyed universally, but
I thought it brilliant. It was directed by Katie Miller and included Eric
Cutler as Bacchus and </span><span style="background: white; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Sabine Devieilhe as Zerbinetta</span><span style="mso-fareast-font-family: "Times New Roman";"> </span><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">(who wins my award for the most incredible performance of the Queen of
the Night ever in a production I didn’t really like from Brussels). Clever
staging.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicg97QnXIkfjfEjLDmGj9iY_m2z1khOMcEtvrys3RX_-SeEHlC_ux3O3iPXTBVNIpn5q3mYvGqXoyeMEp3uwkljgyaWQCgGRF4kDJH4wVo9LgzkRYg77PZ_oS0IP2bgEIfyU49jpDhTeD_/s1600/IMG_2601.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicg97QnXIkfjfEjLDmGj9iY_m2z1khOMcEtvrys3RX_-SeEHlC_ux3O3iPXTBVNIpn5q3mYvGqXoyeMEp3uwkljgyaWQCgGRF4kDJH4wVo9LgzkRYg77PZ_oS0IP2bgEIfyU49jpDhTeD_/s320/IMG_2601.jpg" width="320" /></a></div>
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<div class="MsoListParagraphCxSpMiddle" style="margin-right: -13.5pt; mso-add-space: auto; mso-list: l1 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]--><span style="color: #16191f; font-size: 14.0pt;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #16191f; font-size: 14.0pt;">“Otello” live streamed from Munich 2018 with
Jonas Kaufmann, Anja Harteros and Gerald Finley. This was an incredible
performance. I agree completely with Nigel who felt that Jonas completely
inhabited the role of the Moor. I also loved the staging and thought it to be
very powerful. <o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-right: -13.5pt; mso-add-space: auto; mso-list: l1 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]--><span style="color: #16191f; font-size: 14.0pt;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“Lohengrin” from Bayreuth 2018 with Piotr Beczala (replacing Roberto
Alagna at the last minute), Anja Harteros, </span><span style="background: white; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">Tomasz Konieczny as Telramund</span><span style="font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">,
</span><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Waltraud, Meier
as Ortrud and Georg Zeppenfeld. The production was odd and a bit perplexing. I
don’t really like insects and didn’t really get that. Nevertheless the
production was visually arresting and musically brilliant. Piotr was
magnificent and I have to add that for some reason I read a review that panned
Konieczny that I completely disagree with. He is a brilliant bass/baritone and
was a terrific Telramund.</span><span style="color: #16191f; font-size: 14.0pt;"><o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“The Coronation of Poppea” (Monteverdi) from Salzburg 2018 with Sonja Yoncheva,
Kate Lindsay (as a terribly decadent and repulsive Nerone), Stefanie d’Oustrac,
and James Christie & Les Arts Florrisent - Terrific!!!<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #16191f; font-size: 14.0pt;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #16191f; font-size: 14.0pt;">“</span><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Macbeth” from the Royal Opera House, Covet Garden
was, in my view the best Macbeth of the year, though the Venice Teatro la
Fenice production was a close 2<sup>nd</sup>. I loved the detail and thought
the cast excellent - Netrebko, Lucic and D’Archangelo. I should mention that
just around the same time I saw this I also saw the play on NTLive from the RSC
and it was really excellent. In particular they cast three little girls as the
weird sisters and let me tell you, despite their Pink outfits (“Mean Girls”
comes to mind here – <i style="mso-bidi-font-style: normal;">On Wednesdays we
wear pink!</i>) they were really creepy!</span><span style="color: #16191f; font-size: 14.0pt;"><o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #16191f; font-size: 14.0pt;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #16191f; font-size: 14.0pt;">I never thought I would ever include
“L’Italiani in Algeri” as a favorite on any list. In general I have never
really warmed to the opera, or the plot. But the production from Salzburg 2018
starring Ildar Adbrazakov, Cecelia Bartoli and Alessandro Corbelli was both
terrific and hilarious. If you have a chance to see it. Don’t miss it!<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin47gIF4OEEzngHLHufGhF0b-BiCZGJn-xAgJ4RK_2c_LyD1Ob0ePjV-OnxliCtMojs7BiBWvzhijmSNfMESeUMTi3cHSb0gwpwXbB78K8ZWA1hO2YDcgkNoHoBC1wBEfeh3qJnsefQIJV/s1600/IMG_4080.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin47gIF4OEEzngHLHufGhF0b-BiCZGJn-xAgJ4RK_2c_LyD1Ob0ePjV-OnxliCtMojs7BiBWvzhijmSNfMESeUMTi3cHSb0gwpwXbB78K8ZWA1hO2YDcgkNoHoBC1wBEfeh3qJnsefQIJV/s320/IMG_4080.jpg" width="320" /></a></div>
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<div class="MsoListParagraphCxSpMiddle" style="margin-right: -13.5pt; mso-add-space: auto; mso-list: l1 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]--><span style="color: #16191f; font-size: 14.0pt;"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #16191f; font-size: 14.0pt;">I had never seen Die Tote Stadt by Krenek before,
though I had listened to it. Not the same experience at all. The Robert Carsen
production at the Berliner Komische was a magnificent introduction to this
opera. It is both beautiful and deeply disturbing.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-right: -13.5pt; mso-add-space: auto; mso-list: l1 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]--><span style="color: #16191f; font-size: 14.0pt;"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #16191f; font-size: 14.0pt;">Staying with Berlin, this time Unter den Linden
and their production of Rameau’s “Hippolyte et Aricie” is one of the most
thrilling baroque opera experiences of the year for me. Beautiful cast and
wonderful production.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-right: -13.5pt; mso-add-space: auto; mso-list: l1 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]--><span style="color: #16191f; font-size: 14.0pt;"><span style="mso-list: Ignore;">9.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #16191f; font-size: 14.0pt;">This year the opening of La Scala in Milan
featured a new production of “Attila.” I loved this! The production and
performance is terrific. Ildar in the title role with Georg Petean in the cast
as his foil. Wonderful performance.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRspOr0HpUS4IhYnBg5YNTGsSuONUpm3Lki97qiJsJzJOkgPcsUkS16EUwKA5sPxPXqnp8E7bvnvpQYXbi3g41inKPK-kRuoEHZKB89OesDNwDcqDeix97GAE_Erx8DxKt60qPR6rAK7e2/s1600/IMG_4155.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRspOr0HpUS4IhYnBg5YNTGsSuONUpm3Lki97qiJsJzJOkgPcsUkS16EUwKA5sPxPXqnp8E7bvnvpQYXbi3g41inKPK-kRuoEHZKB89OesDNwDcqDeix97GAE_Erx8DxKt60qPR6rAK7e2/s320/IMG_4155.jpg" width="320" /></a></div>
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<div class="MsoListParagraphCxSpMiddle" style="margin-right: -13.5pt; mso-add-space: auto; mso-list: l1 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]--><span style="color: #16191f; font-size: 14.0pt;"><span style="mso-list: Ignore;">10.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #16191f; font-size: 14.0pt;">One of the nice things about the free opera
streaming service Opera Vision is that they intersperse popular operas from
name companies with unknown works from companies that are not among the best
known. Sometimes what you get is a real gem – such as Rozycski’s “Eros &
Psyche” performed by the Polish National opera. What a wonderful opera and a
terrific production.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-right: -13.5pt; mso-add-space: auto; mso-list: l1 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]--><span style="color: #16191f; font-size: 14.0pt;"><span style="mso-list: Ignore;">11.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #16191f; font-size: 14.0pt;">“Medea” by Cherubini from the Staatskappelle
Berlin with Baremboim conducting featuring Sondra Yoncheva as Medea and<span style="mso-spacerun: yes;"> </span>Castronuovo as Jason. Terrific!<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3-GQ17Na000e4aB3q-kQw0tMbY75_CdcbYd-CQrB5wqCBnfCezlRMHgSQVXft6G-2e7hNR04PqBPRim6TI00002EDKoz_TiK8_J7Jq5FSQcA4wnEEOmkohqYZPr1LCvPowgjE-h2RC5Ux/s1600/IMG_4066.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3-GQ17Na000e4aB3q-kQw0tMbY75_CdcbYd-CQrB5wqCBnfCezlRMHgSQVXft6G-2e7hNR04PqBPRim6TI00002EDKoz_TiK8_J7Jq5FSQcA4wnEEOmkohqYZPr1LCvPowgjE-h2RC5Ux/s320/IMG_4066.jpg" width="320" /></a></div>
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<span style="color: #16191f; font-size: 14.0pt;"><br /></span></div>
<div class="MsoListParagraphCxSpLast" style="margin-right: -13.5pt; mso-add-space: auto; mso-list: l1 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]--><span style="color: #16191f; font-size: 14.0pt;"><span style="mso-list: Ignore;">12.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #16191f; font-size: 14.0pt;">Last but not least, also from Staatskapelle
Berlin was their Tristan, live streamed back last March. It was a deeply
psychological production, but very well done. In particular I loved the English
Horn and the way he was woven into the staging in the last act. Andreas Schager
was Tristan and he was excellent.<o:p></o:p></span></div>
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<span style="color: #16191f; font-size: 14.0pt;">Here are the honorable
mention:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-right: -9.0pt;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“L’Enfant et les Sortiledges” Ravel - Berlin
Philharmonic<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .25in; margin-right: -9.0pt; margin-top: 0in; text-indent: -.25in;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“Ariodante” (Handel) –
Vienna 2018 – performed by Les Arts Florrisants – An incredible performance.
But this opera’s plot I find horrible. People are so quick to accuse Cosi of
being misogynist when it is not in any way, but Ariodante – yeah, big time. But
the music is divine especially when sung and performed by William Christie and
colleagues.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .25in; margin-right: -9.0pt; margin-top: 0in; text-indent: -.25in;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“Begger’s Opera” by Pepusch
again with Christie & Co. This was an amazing production and performance.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .25in; margin-right: -9.0pt; margin-top: 0in; text-indent: -.25in;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“Jesus Christ Superstar” –
NBC Live – John Legend, Alice Cooper – Best performance of this show I’ve ever
experienced. Great band and brass (horn!)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .25in; margin-right: -9.0pt; margin-top: 0in; text-indent: -.25in;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“Julius Caesar” and NT Live
presentation with Ben Wishaw as Caccius – terrific!<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .25in; margin-right: -9.0pt; margin-top: 0in; text-indent: -.25in;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“War and Peace” (Prokofiev)
– Mariinsky 2018 (on tour in Paris) with Gergiev, Garifulina, Bondarenko, Diadkova,
Aleksashkin, Petrenko. I saw this opera at the Met with Netrebko and Dima, both
at the beginnings of their careers in 2000 about 6 months after 9/11.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .25in; margin-right: -9.0pt; margin-top: 0in; text-indent: -.25in;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“Semele” – Komische Oper
Berlin – Directed by Kosky (I loved this production).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .25in; margin-right: -9.0pt; margin-top: 0in; text-indent: -.25in;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“La Nonne Sanglante” (The
Bloody Nun – Gounod) – Paris, Opera Comique – Spyres, Santoni, Boutiller – When
do you ever get to hear any Gounod besides “Faust” and R&J?” This opera is
a terrific ghost story and great fun with a terrific score! Beautifully
performed!<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“Macbeth”
(Shakespeare) RSC 2018 – NTLive – Named above<o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .25in; margin-right: -9.0pt; margin-top: 0in; text-indent: -.25in;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“Fiery Angel” (Prokofiev) –
Aix 2018 – Edgy and challenging – Not exactly a lovely time at the opera. This
piece is pretty dark. Great production!<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .25in; margin-right: -9.0pt; margin-top: 0in; text-indent: -.25in;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">“Magic Flute” – Garsington
2018 – The production is excellent, singing is good. This is the “Handmaid’s
Tale” MF! I found it very provocative and effective.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .25in; margin-right: -9.0pt; margin-top: 0in; text-indent: -.25in;">
<span style="color: #16191f; font-size: 14.0pt;">“Les
Troyans” – Vienna – DiDonato, Jovanovitch, Antonacci, Park, Plachetka – McVicar
– Outstanding beautiful production, beautifully performed.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .25in; margin-right: -13.5pt; margin-top: 0in; text-indent: -.25in;">
<span style="color: #16191f; font-size: 14.0pt;">“Faust”
(speaking of Gounod) performed at the Teatro Real with Piotr Beczala, Luca
Pisaroni, Marina Rebeka, Stephane Degout and Serena Malfi – Terrific singing
and a great cast – Mostly rather traditional production with some interesting
and whimsical updatings. This production included the Spinning Song which is
almost always sadly cut but, alas, they did cut Siebel’s 2<sup>nd</sup> aria. I
really liked what they did with Walgurgis Night though the finale was a little
disappointing.<o:p></o:p></span></div>
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<span style="color: #16191f; font-size: 14.0pt;">“King
and I” from London with Kelly O’Hara and Ken Wantanabe, but Ruthie Ann Miles as
Lady Thiang just about steals the show. She is terrific.<span style="mso-spacerun: yes;"> </span>Saw it live in NYC with the same cast and it
is still a great production. <o:p></o:p></span></div>
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<span style="color: #16191f; font-size: 14.0pt;">“Peer Gynt” (Grieg) –
Vienna Staateoper Ballet – Wonderful and beautifully danced.<o:p></o:p></span></div>
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<span style="color: #16191f; font-size: 14.0pt;">“Cunning
Little Vixen” performed by the Brno Opera – Excellent production and
performance – in fact, the best I have experienced. Though the Berlin Phil
production comes in as a close 2<sup>nd</sup>.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Last – my biggest disappointment.<span style="mso-spacerun: yes;"> </span>“Bánk Bán” (Erkel) performed Hungarian State
Opera on tour at the David Koch Theater. I watched this on OV and it was a really
interesting opera and production so I was looking forward to seeing it live.
The live performance was a complete mess. But I will say that the coloratura
singing Melinda was terrific.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-right: -9pt; text-align: left;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">I have to mention in parting that I traveled to
Chicago specifically to experience the Chicago Symphony performing the
Shostakovich Symphony #13, Babi Yar. It was a wonderful performance and the
presence of the composer’s elderly widow, who traveled from Russia for the
event made the entire experience even more special. This piece takes on the
issue of anti-semitism and is one of the most powerful works in the orchestral
repertoire.<o:p></o:p></span></div>
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<!--EndFragment--><br />Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com0tag:blogger.com,1999:blog-1868457521565839495.post-49223153465383514162018-07-07T17:53:00.000-07:002018-07-07T17:53:02.755-07:00Of Pork Pies and Trusting the Material...I am going to express a minority opinion. Apparently Union Ave. Opera's new production of HMS Pinafore has been receiving rave reviews and I wish I could jump on the bandwagon, but I just can't. I found the production very disappointing. Now, it wasn't the performance per se. The leads were mostly very good. Josephine and the Captain were the standouts, but Ralph and Sir Joseph were also quite excellent. I liked Little Buttercup's voice and she I think was a good actress but she needed to dial it back a bit. Not only that but the chorus was terrific. They used a rather small chorus but it was amazingly well balanced even so. It wasn't the set, or the costumes all of which were very good. So then what is it?<br />
<br />
The problem was with the director. I got the distinct impression that this director at the very least did not trust the material that he had to work with. Consequently we were subjected to constant over-direction. It started with the overture. Why can't the overture stand on its own, we will figure out soon enough that Ralph and Josephine have a thing for each other. We simply don't need to be presented with this during the overture. But no, bits and business filled the stage during the overture completely distracting us from the music. But that was only the beginning for what followed was a never ending cascade of silly and irrelevant bits that the director inserted in an effort (I suppose) to be funny. Except, the material as it is is already really funny. <br />
<br />
A little story: Back in the days when Gilbert walked on this earth, his leading baritone Rutland Barrington started adding bits to add to the humor. Gilbert insisted he stop. "Why?" asked Barrington, "The people are laughing." Gilbert responded something to the effect that "If you went on stage and sat on a pork pie people would laugh but it adds nothing to the show and is ultimately completely distracting." And, this is what this director gave us: a heaping serving of pork pie!<br />
<br />
Several other egregious examples - The 2nd act entracte begins with a brief orchestral reprise of Little Buttercup's song from act 1. There is a melancholy to this brief orchestral moment that beautifully sets up the very melancholy song that the Captain sings to open act 2 ("Fair Moon to Thee"). It is a beautiful song and was beautifully sung in this performance. But the effect was ruined by the senseless stage business that filled the entracte. It was not necessary to see the crew and the girls (sister, cousins and aunts) chasing each other and dancing. But for the me absolute worst moment occurred during what should be the highlight of the entire opera both musically and dramatically: "The Hours Creep On Apace" followed by the aria "A Simple Sailor Lowly Born." Gilbert and Sullivan are at their absolute best here. This is also the most serious moment in the show as it deals with the serious issue of social class. We might think this is irrelevant today, but it is not, we have a lot of class issues that we struggle with. And not only is it still a serious issue, but what the text points out is that perhaps even more important are the pre-conceptions that one has about class which prevents people from being able to relate to one another in a constructive way. And on top of it Sullivan's music is simply glorious. But we were not able to appreciate the profundity of this moment as this director filled the aria with bits that completely distracted the audience from the text and from the singer, who was also glorious by the way (it is a darn shame and she deserves an apology for this!) We don't need to see a future Ralph carrying two babies around while he is wearing a t-shirt and smoking cigars. We get it, because it is all in the text! And we don't need to watch Sir Joseph and the Captain acting pompous, we have already had quite enough of that, thank you very much. The result was laughter that covered the singer and destroyed to moment! Inexcusable! <br />
<br />
But that is not all. Presumably while Josephine is singing the Captain and Sir Joseph are drinking, and drinking and drinking and by the time they get to the Bell Trio they are totally drunk. It was simply not funny to watch two drunk guys stumble around on stage during what should be the funniest moment of the entire show. In fact, this trio usually gets encores. Mercifully we were spared this and the drunk men were able to stumble off stage. Well, except for the Captain who amazingly was able to sober up immediately for his duet with Dick Deadeye. And Hebe must have been ready with coffee back stage because Sir Joseph was also amazingly sober at his next entrance as well.<br />
<br />
I was not going to write anything but I was so disappointed and upset by the way this director ruined Josephine's aria and the Bell Trio I felt I had to write. Look - to all directors - Gilbert knew what he is doing. He doesn't need you to add anything. He is amazingly funny as it is in the script. If you have a great cast (as they have for this production) all you need to do is do the show seriously and it will be incredibly funny and even a little profound. This production was neither funny or profound. But it was at least very well sung, so that is something (though for some reason the orchestra was terribly soft. The singers covered them almost for the entire evening. What I could hear was very good but I think they could play out a bit more!)<br />
<br />
Here is a video clip of Josephine's 2nd act aria - Valerie Masterson:<br />
<a href="https://www.youtube.com/watch?v=RBN3gxMfrX4" target="_blank">The Hours Creep On Apace</a>Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com0tag:blogger.com,1999:blog-1868457521565839495.post-77567448563746012812018-06-15T20:53:00.000-07:002018-06-17T21:42:57.357-07:00"E Pluribus Unum" – A Reflection on “An American Soldier” performed by Opera Theater of St. Louis<!--[if gte mso 9]><xml>
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As part of its ongoing commitment
to perform new works, Opera Theater of St. Louis this year commissioned and
then presented a two act version of the opera “An American Soldier.”<span style="mso-spacerun: yes;"> </span>The music, composed by Huang Ruo to a
libretto by the well-known playwright David Henry Hwang (of “M. Butterfly”
fame) tells the true story of a 19 year old Chinese-American man who enlists in
the Army after high school because he wants to be an American! He wants to be
seen as an American and he thinks this is the way to become a real
American.<span style="mso-spacerun: yes;"> </span>Despite opposition from family
and friends and driven by this desire to be completely American (and the Army
represents this to him) he enlists.<span style="mso-spacerun: yes;">
</span>Initially things go well.<span style="mso-spacerun: yes;"> </span>Basic
training is a positive experience for him, but once he is stationed first in
Fairbanks, Alaska and then shipped off to Kandahar in Afghanistan things go
from bad to worse. And the issue is racism – bitter, intense racism. Despite
his attempts to get along and do his job he is tormented and miserably abused
to the point where he finally can no longer stand it and he commits
suicide.<span style="mso-spacerun: yes;"> </span>His commanding officer is
court-martialed (Sgt. Markum is actually a composite of multiple officers who
were court-martialed in 2012). Various witnesses then spin out the story of
what happened to Danny over the two acts through flashbacks and short solo
testimonies.<span style="mso-spacerun: yes;"> </span>It is a chilling story of
intense racial abuse (which includes horrible physical abuse) and touches on a
variety of parallel issues (like the sexual assault of women in uniform!) And
the opera raises a series of difficult questions – such as - who ever thought
that having “racial Thursdays” was a good idea (at the base in Fairbanks, for
the “good of morale” soldiers were encouraged to insult each other with the
most heinous racial slurs they can think of)? Why is there little to no
accountability for officers in the field who can behave in any way they want,
abusing whoever they want? Why is it that men like Sgt. Marcum feel like the
only way they can assert themselves is to put others down?<span style="mso-spacerun: yes;"> </span>Why do so many white men like Marcum feel so
threatened? Why do women and men who are assaulted find that any attempt to
bring their abusers to justice is met by a thick brick wall?<o:p></o:p></div>
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<br /></div>
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The other important aspect of the
story is the relationship between Danny (performed brilliantly by tenor Andrew
Stenson) and his mother (beautifully portrayed by mezzo Mika Shigematsu).<span style="mso-spacerun: yes;"> </span>Into this story was also included a
girlfriend Josephine (also beautifully performed by the great internationally
acclaimed coloratura soprano Kathleen Kim). Mother Chen’s struggles were an
important part of the story. She cannot understand her son’s intense desire to
become Americanized by becoming a soldier.<span style="mso-spacerun: yes;">
</span>Initially she and Josephine cannot understand why Danny would choose to
turn his back on a full college scholarship in order to enlist? The women simply
cannot grasp the importance for young men to feel included and Danny feels
separate.<span style="mso-spacerun: yes;"> </span>He feels less than whole.<span style="mso-spacerun: yes;"> </span>Growing up in Chinatown where he can speak
Chinese but cannot write it he feels neither Chinese nor American and he
desperately wants to belong.<span style="mso-spacerun: yes;"> </span>But
ultimately her struggle to understand her son gives way to another struggle:
the struggle for justice. She demands justice for her son but finds that she is
up against an institution that is unsympathetic.<span style="mso-spacerun: yes;"> </span>The heart of this tragic story is found here
and I found it deeply moving and upsetting. <o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-tab-count: 1;"> </span></i>Given all that transpires the
great final chorus - <i style="mso-bidi-font-style: normal;">E Pluribus Unum –
Out of the Many, One!</i> – is less a celebration and more a reminder of how
far we have missed the mark and failed.<span style="mso-spacerun: yes;"> </span>These
words that move the opera to its conclusion are sung as a final choral ensemble
and interspersed with a commentary by the Military Judge (the excellent bass
Nathan Stark). This nameless judge whose only identification is as the highest
ranking officer in the opera – a Colonel – he presides over the court-martial
trial that forms the frame of this work.<span style="mso-spacerun: yes;">
</span>We are reminded at the outset of this choral ensemble that President
Harry Truman had banned any kind of racial discrimination within the armed
forces and that for a time the US Armed forces were somewhat of a model for the
country, but this is no longer the case.<span style="mso-spacerun: yes;">
</span>Nevertheless the judge reminds us that as a people as Americans are “White
or Black, Asian, Native or Sikh, Christian, Jewish or Muslim, LGBT” It doesn’t
matter.<span style="mso-spacerun: yes;"> </span>We are all Americans and it is
in this tapestry of diversity where the potential greatness of America is to be
found. Whenever we approach greatness as a nation it is directly because of our
diversity, but we mostly fail because of our fear of the other, our desire for
power and wealth that overwhelms our ability to reach out of ourselves and
embrace others. This fear then gives way to hatred – irrational hatred that
cuts us off from one another and eats away at the foundation of the nation. The
motto of the United States – <i style="mso-bidi-font-style: normal;">E Pluribus
Unum -</i> points us towards all of this as it also strikes at the heart of
this country’s original sin – racism! Ugly, bitter racism bred by fear and hate
has always threatened the future of this nation and it will continue to do so. Whatever
strength America has will lie in bringing all of the diverse threads of this
nation into a whole and those who work against this are working to weaken and
destroy.<span style="mso-spacerun: yes;"> </span>The words of the motto of the
United States additionally indict the current political leadership beginning at
the top and including all those who enable this travesty to continue. This
administration seems to be bent on destroying everything that this nation
stands for. It coddles dictators and white supremacists, it arrests immigrants
and in a disgusting and evil twist rips children from their parents and throws
resources into a idiotic wall which it thinks will do – what? – keep out
immigrants I suppose.<span style="mso-spacerun: yes;"> </span>But it won’t.<span style="mso-spacerun: yes;"> </span>All it will do is to further weaken and
divide the nation and make us even more a pariah on the world stage. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
And even though it is not a part of
the opera, I have to bring up one of the most insidious dimensions of all of
this and that is the Evangelical Christian dimension. It is appalling that so
many so-called “Christian” leaders and “Christians” continue to baptize hate
and exclusion as being somehow reflective of faith in the one who loved all and
calls on all to be open to all. But this isn’t new – “Christians” devised
“Manifest Destiny” from the Bible to justify the slaughter of Native peoples
and defended the institution of slavery by extracting individual verses from
the bible. This is called proof-texting and it works particularly well when you
adopt a literalist way of looking at the bible. For with literalism the context
doesn’t matter – what went before or comes after doesn’t matter – who Jesus was
and what Jesus stands for doesn’t matter – all that matters is extracting the
right collection of words from a bible verse in order to pummel an opponent and
defend ones hate and racism and homophobia and transphobia and on and on.<span style="mso-spacerun: yes;"> </span>But literalism is unfaithful, literalism is
evil and is in fact a denial of scripture.<span style="mso-spacerun: yes;">
</span>Context enables us to understand exactly what the scripture says and in
this case it is pretty clear (with any number of rather explicit verses
available as well) – racism is evil; hate is evil! We who claim to be
Christians are called to love and love includes standing up and defending those
who need defending.<span style="mso-spacerun: yes;"> </span>Love also demands
that we hold our leaders accountable. The progressive rotting of the fabric of
this nation will continue until we can find a way to embrace our diversity. If
America is ever to be great this is what will make America great = embracing
diversity!<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
There is another issue that struck
me profoundly by this performance and is related to the behavior of the
audience. I have found it curious that predominately white audiences seem to
have a tendency to cheer those perceived to be good guys and to boo those
perceived to be the villains. No “gray” area here – it is either one or the
other – good or bad! And it happens all the time. Puccini’s “Madame Butterfly”
is a perfect example. Invariably no matter where the opera is performed in the
United States the white American character – Lt. B.F. Pinkerton - is always
booed by the white American audiences. Why? The way he treats Butterfly? His
attitudes towards others who are different than he is perhaps? But these
attitudes are shared by the Consul, Sharpless, by the way and he is never booed.
These attitudes were also the collective philosophy of the nation in the late
19<sup>th</sup> century and we are complicit in them since we have benefited
from them. So, what is the point?<span style="mso-spacerun: yes;"> </span>Are we
attempting to assuage our own collective guilt by painting Pinkerton as “the
bad guy” and booing him.<span style="mso-spacerun: yes;"> </span>Does it make us
feel superior to be able to identify, briefly at least with the abandoned
Japanese woman who we just watched commit suicide on stage? <o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
At the performance of “An American
Soldier” I found the booing of Wayne Tigges (who plays Sgt. Marcum) absolutely appalling.
Who do they think they are booing?<span style="mso-spacerun: yes;">
</span>Marcum?<span style="mso-spacerun: yes;"> </span>First of all, the point
of curtain calls is that we finally get to meet and express our appreciation to
the performers and artists, not the characters. It was not Sgt. Marcum who came
out for a bow, it was Wayne Tigges who brilliantly performed this difficult
role and was able to convey a variety of different dimensions of this complex
character.<span style="mso-spacerun: yes;"> </span>But even more important is
that we must see that Sgt. Marcum is us! He is especially us white folks who
think we are better than everyone else, who glory in our white privilege and
feel threatened and fearful by those who are other.<span style="mso-spacerun: yes;"> </span>To boo this character is a pathetic attempt
to distance ourselves from this reality.<span style="mso-spacerun: yes;">
</span>But you can boo all you want because the reality remains – we are all
Sgt. Marcum and the sooner we recognize this and begin to address it the better
it will be for us as a people!<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
Opera Theater of St. Louis has
again presented a new work that is not only timely but in every way deeply
moving and profoundly challenging. I was so affected by the performance last
night I could not sleep. All of us need to take this message to heart – it is,
after all, the motto of our nation: <i style="mso-bidi-font-style: normal;">E
Pluribus Unum.</i><span style="mso-spacerun: yes;"> </span>In that little phrase
is contained all that is necessary to “make American great…” – I won’t use the
word “again” because it is irrelevant. American’s greatness, such as it is, has
always been found in its diversity. And if America is ever to achieve any taste
of greatness it will be because we find a way to embrace this gift of
diversity.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">(Feel free to
comment.<span style="mso-spacerun: yes;"> </span>But please note that I will not
tolerate hate speech and such comments will be swiftly deleted!)<o:p></o:p></i><br />
<i style="mso-bidi-font-style: normal;"><br /></i>
<i style="mso-bidi-font-style: normal;">For more information about the remaining performances and for photos of the performance go to:</i><br />
<i style="mso-bidi-font-style: normal;"><a href="https://www.opera-stl.org/season-and-events/productions/an-american-soldier-2018" target="_blank">https://www.opera-stl.org/season-and-events/productions/an-american-soldier-2018</a></i></div>
<!--EndFragment--><br />Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com0tag:blogger.com,1999:blog-1868457521565839495.post-6673859173293720662018-05-12T07:28:00.000-07:002018-05-12T07:28:00.960-07:00Gateway Opera - 15 Minute Mozart One of the joys which comes from living in the St. Louis area is that there are four opera companies: Opera Theater of St. Louis, Union Ave. Opera, Winter Opera and (the new kids on the block) Gateway Opera. As far as I can tell Gateway Opera is a creation of love on the part of a number of committed and creative folks. I don't actually know the history, but I do know that one very important part of the success of Gateway Opera is Caetlyn Van Buren who does double duty as the stage director and writer! Caetlyn's creativity is responsible for a number of the works they have performed, and this year's presentation: 15 Minute Mozart - is a great example. Taking the great Mozart/Da Ponte masterpieces (Marriage of Figaro, Don Giovanni and Cosi fan Tutte) and condensing them all into three 15 minute segments must have been quite a task. But the result is not only completely successful, but it is hilarious. Not only does she reconstruct the music so it all fits within the time frame (she describes the process in the program), but she has reworked the libretto in a way that both lays out the basic narrative of the stories and then even comments on the plots themselves. It was simply terrific and completely in the tradition on late 18th century popular Viennese theater where this kind of parody was popular entertainment for the general public. There is a scene in "Amadeus" the film that takes place at one of these which is making fun of Don Giovanni, and Mozart loved it - which is one of the few things the movie actually gets right historically.<br />
<br />
Of course for all of the brilliance of the pieces they would all fall flat if they didn't have a cast to perform them that was really also terrific. Every single member of the cast was excellent. I don't even want to lift up individuals because someone would get left out and that would be a shame. But I'll forge ahead anyway. The company had 8 performers: 3 male singers, 4 women and one silent male actor! Everyone one of them had moments where they stole the show. A few of my favorite moments: Erika Cockerham's wonderful scene-stealing tantrum and then her quick transformation to flirty Dorabella, not to mention her lusty Cherubino; all of Laural Ellison Dantas' interactions with the silent Masetto of Shane Signorino and her silly Barbaraina and very funny Despina; Sara Gottman's irreverent Susannah and her stalker Donna Elvira; Anthony Heinemann was hilarious as a Don Ottavio who takes himself way too seriously and then teaming up with Jason Mallory as the boys in Cosi whose appearance as the "Albanians" just about stopped the show. Jason also played an excellent Figaro and Leporello. Kate Reimann had the "serious" roles of the Countess and Donna Anna, but she got perhaps the longest of any of the arias with "Come scolio" which was incredibly well sung. And then Matt Pentecost played all the bad guys: Count Almaviva, Don Giovanni and Don Alfonso and as always he was terrific! All of the singing and acting was great. I should add that the characterizations were all a little over the top - lusty Cherubino, stalker Donna Anna, irreverent Susanna, non sense of humor Don Ottavio - all of these behaviors are a part of the original character but one of the brilliant dimensions of these pieces is that Van Buren is able to bring them out in a way that would simply not be possible if you were to do the entire opera. <br />
<br />
Of course, any time you condense an opera to 15 minutes you are going to miss something and I could give a list of all my favorite bits that were missing, but that would be to miss the point. The point was parody and presenting the stories and if you had never seen any of these works you would leave with the basic plot in mind. And if you are a veteran of hundreds of performances of these operas like me you leave with the reminder that these works are, after all, supposed to be comedies. Comedies in the Shakespearean way of understanding comedy perhaps, but still comedies. There is darkness, just like in Shakespeare, but it seems to me that most productions now emphasize the dark side of the works and it is easy to forget that there is a comedic dimension as well. These three re-workings created by Caetlyn Van Buren remind us that they are at the heart of it all holding up a mirror to for us to see ourselves and what we see should not only be all of the failure and disfunction but we should be able to laugh at ourselves too. And, by the way, I want to go on record as saying her take on the ending of Cosi is as good an interpretation as any I have ever seen and better than most! She does not shy away from ambiguity! Brava!<br />
<br />
I said above that Mozart had a great sense of humor and was perfectly capable of laughing at himself (Da Ponte, well not so much perhaps) but I think Mozart would have loved this evening's performance and would have laughed his ass off. Bravi tutti! Great job! And thanks for a wonderfully fun and entertaining evening!Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com0tag:blogger.com,1999:blog-1868457521565839495.post-85853479146792678412018-03-27T06:45:00.002-07:002018-04-09T20:43:51.139-07:00The Met's New "Cosi fan Tutte"<br />
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<span style="font-family: inherit; letter-spacing: -0.12px;">The build up to the Met’s new Cosi was pretty much what one might expect. Lot’s of enthusiasm on one hand, and on the other the expected outrage that the Met might actually be attempting something creative instead of resorting to the old tired formulaic approach. Well the reality was an interesting and I think a very successful melding of a rather traditional approach to the story telling with the placing of the story in the context of 1950’s Coney Island. I have certainly seen productions of this opera that went farther afield in the basic production concept (Aix 2017 comes to mind). What was unique here was the integration of the setting and the story in a very colorful and entertaining way. Nothing, in my view detracted from the music (with the possible exception of the business which took place during the overture) and everything worked to bring about a presentation of this opera that was just very entertaining.</span></div>
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There are many dimensions of the original libretto by Lorenzo da Ponte that often get lost. In fact there are so many and the opera is so full of interesting allusions to other literature, biblical stories and historical realities that it is not possible to even pick up on them all. I am constantly learning and seeing more in this libretto all the time. For example, before this production I had a vague awareness that there were allusions to Adam and Eve and the snake (Genesis chapter 3) but the snake handler on stage, especially during Dorabella’s act 2 aria where her text is full of this allusion never struck me as profound as it did in this production. Also, the references to the girl’s emotions being like smoldering volcanos are references to the fact that Vesuvius sits right outside of Naples and is a constant visible presence in this busy seaport town. Naples in fact was an active and busy place and one of the issues these girls from Ferrara struggle with is the fact that life is so much faster paced and busy than they are used to. This busy, unusual setting is a key to understanding the Coney Island setting of this production. Life is different here in this place - people don’t act or look the same. It is both disorienting and it is exhilarating. Within this context it is not then all that much of a surprise that when they are abandoned by their boyfriends these girls don’t recognize the boys who are now pursuing them. One of the most effective scenes for me was the opening of the first act finale where the girls go out for an walk and experience one strange thing after another. In this I feel that the director was completely in tune with the heart of the libretto.</div>
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Another popular trope on social media leading up to the production surrounded the casting of Kelli O’Hara as Despina. Here, the claim was that the Met is trying to capitalize on the popularity of one of Broadway’s brightest star. Well, Kelli O’Hara not only sang the role exceptionally well but her embodiment of the character was, in my view, revelatory. She imbued the maid Despina with a humanity, a sadness and a whimsy that I am not sure I have ever experienced from any other performer. It was, perhaps the single most effective performance by a cast member last night. But Christopher Maltman’s philosopher Don Alfonso was not far behind. Again this performance was easily one of the most excellent performances of this role I have ever seen. For the boys and the girls we had excellent young singers: Ben Bliss and Adam Plachetka as the boys and Amanda Majeski and Serena Malfi as the girls. They were in my view wonderful. I particularly loved Amanda Majeski’s vulnerable Fiordiligi and Serena Malfi’s decisive Dorabella. These artists, along with their director, managed to strip away the inevitable sense of victim hood that tends to surround these characters, and also at the same time gave us a sense that they made the decisions they did with purpose and not out of a sense of weak inevitability. This also worked to free the boys of the predator nature which too often surrounds their behavior. What happens on Coney Island stays in Coney Island!</div>
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Without giving anything away let me make a couple other observations. The utilization of the side-show workers was highly effective in my view and they helped to create some memorable theatrical experiences: The aforementioned “walk” on the boardwalk, the “Garden of Pleasures,” Mesmer’s machine, the Notary all were highlights. If I had any reservations I have to say that as fun as the bit during the overture was it obscured the music (with the audience cheering) which I found unfortunate. I’m also not so sure I liked the balloon. (# See note below) I won’t say anymore than that.</div>
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Lastly, the ending of this opera is always a problem for a variety of reasons and I have seen so many different takes. For me the most effective was in a film of the opera which starred Furuccio Furlanetto as Guglielmo. This production doesn’t really have any new ideas about the ending. And that is ok - most productions don’t.</div>
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Overall this was a great night at the Met. I loved this production, this cast and this performance. Don’t miss the HD.</div>
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Here is the link for my earlier essay: <a href="https://blakesoperablog.blogspot.com/2014/12/in-defense-of-cosi-fan-tutte.html" target="_blank">In Defense of Cosi</a><br />
# I didn't notice when I saw it in the theater but it was pointed out to me that it is not a balloon. Fiordiligi is riding the Ferris Wheel! I don't know how I missed that, it is brilliant and the coordination between the Ferris Wheel in the background and the gondola which contains the singer is terrific! Watch for it - it is way cool!</div>
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Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com0tag:blogger.com,1999:blog-1868457521565839495.post-70107084580098858082017-10-11T10:14:00.001-07:002017-10-11T10:14:23.753-07:00Lost Shakespeare?<div class="MsoNormal" style="text-indent: .5in;">
Shakespeare was always a working
professional man of the theater in the late 16<sup>th</sup> and early 17<sup>th</sup>
centuries.<span style="mso-spacerun: yes;"> </span>I seriously doubt that he
ever gave any consideration to his legacy.<span style="mso-spacerun: yes;">
</span>In fact, he seems to have made little effort to maintain any kind of
collection of his own plays.<span style="mso-spacerun: yes;"> </span>Had it not
been for friends and colleagues we would not have some of his most beautiful
and treasured plays.<span style="mso-spacerun: yes;"> </span>As a working
professional he created works often on the fly and frequently worked alongside
of other writers to complete works, especially as he got older.<span style="mso-spacerun: yes;"> </span>One of his close collaborators was John
Fletcher with whom he co-authored “Henry VIII,” “Two Noble Kinsmen” and
“Cardenio,” the lost play. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
The history of “Cardenio” is really
quite interesting.<span style="mso-spacerun: yes;"> </span>The story is taken,
more or less, from the first part of <i style="mso-bidi-font-style: normal;">Don
Quixote </i>by Cervantes<i style="mso-bidi-font-style: normal;">. </i>Fletcher
and Shakespeare, it is assumed, re-worked the story and created this play.<span style="mso-spacerun: yes;"> </span>It was lost probably to fire, but seems to
have mostly survived in a work entitled “The Double Falsehood” by Lewis
Theobald.<span style="mso-spacerun: yes;"> </span>There are a lot of ins and
outs to this story, but the Royal Shakespeare Company’s Gregory Doran with his
own group of collaborators took the Theobald play and re-worked it, adding a
couple scenes in order to fill out the plot.<span style="mso-spacerun: yes;">
</span>This play they present then as “Cardenio” the re-imagined lost play of
Shakespeare and Fletcher.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
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<div class="MsoNormal" style="text-indent: .5in;">
It is this work by
Fletcher/Shakespeare/Theobald and Doran (and others) that was presented by St.
Louis Shakespeare.<span style="mso-spacerun: yes;"> </span>It is a very
interesting work, especially if you know your Shakespeare. I have to say that
in reading an interview with Doran he acknowledges that he felt the play
sounded more like Fletcher’s work than Shakespeare’s and I have to concur.<span style="mso-spacerun: yes;"> </span>The use of the language is not as colorful
and evocative as is mature Shakespeare.<span style="mso-spacerun: yes;">
</span>This work is also one of the last plays Shakespeare himself is supposed
to have worked on and I think it is most probable that most of the work is
Fletcher with Shakespeare serving as mentor/editor.<span style="mso-spacerun: yes;"> </span>For me, the dialog just didn’t sound like
Shakespeare.<span style="mso-spacerun: yes;"> </span>However there were moments
that did feel like the master.<span style="mso-spacerun: yes;"> </span>Consider
this: by this time in his career Shakespeare had mastered the ability to evoke
deep emotion, and he himself seems to have been dealing with his own personal grief,
loss and a sense of deep guilt over his virtual abandonment of his family for
all those years.<span style="mso-spacerun: yes;"> </span>This I think is
reflected beautifully in both the final scenes of “Winter’s Tale” and “The Tempest”
but I caught glimpses of it here in the speeches by Dorotea and also in some of
the sections that included Luscinda’s father Don Bernardo.<span style="mso-spacerun: yes;"> </span>Those scenes were heart wrenching and I could
hear Shakespeare himself expressing his own guilt and regret for his neglect
and selfishness as Colin Nichols expressed these words as Don Bernardo.<span style="mso-spacerun: yes;"> </span>He was easily my favorite character, and
perhaps because the character and I are both about the same age, I could really
relate to him.<span style="mso-spacerun: yes;"> </span>Colin Nichols <span style="mso-spacerun: yes;"> </span>did a beautiful job with this role.<span style="mso-spacerun: yes;"> </span>The abused, actually raped Dorotea was also
movingly portrayed by Lexie Baker.<span style="mso-spacerun: yes;"> </span>She
was able to bring us all into her grief at her horrible betrayal.<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
One thing I found curious about the
play was that there was a parade of references to other plays in the
canon.<span style="mso-spacerun: yes;"> </span>Certainly Dorotea’s plight and
her subsequent escape from her father’s house and the dressing as a boy
reminded me of “As You Like It.”<span style="mso-spacerun: yes;">
</span>Rosalind’s situation is less heart-rending, and she is an aristocrat
where Dorotea is a peasant who, it is clear, has little to no recourse.<span style="mso-spacerun: yes;"> </span>Gregory Doran added the abduction scene that
felt like he took right out of “Cymbeline,” and of course, despite the fact
that Cardenio’s taking up the garb of Tom O’Bedlam is directly from Cervantes, one
can’t help but notice the strong similarity between Cardenio and Edgar in “King
Lear.”<span style="mso-spacerun: yes;"> </span>This is another reason I felt
that the play was more Fletcher than Shakespeare.<span style="mso-spacerun: yes;"> </span>The master I feel would not be so obvious
with these devices that he used to such brilliant effect in earlier plays.<span style="mso-spacerun: yes;"> </span>But for Fletcher, they are devices that
worked so why not include them.<o:p></o:p></div>
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<div class="MsoNormal" style="text-indent: .5in;">
I am thankful that I live in the
St. Louis area where we have such excellent and outstanding theater and opera
companies.<span style="mso-spacerun: yes;"> </span><a href="http://www.stlshakespeare.org/index.htm" target="_blank">St. Louis Shakespeare</a> was
founded by Donna Northcott and is dedicated to Shakespeare and classical
plays.<span style="mso-spacerun: yes;"> </span>They have performed the entire
canon – no mean feat!<span style="mso-spacerun: yes;"> </span>Bravo to
them!<span style="mso-spacerun: yes;"> </span>I have enjoyed a few of their
performances in the past including a well done, albeit long evening of Henry
VI.<span style="mso-spacerun: yes;"> </span>This production of “Cardenio” is
really well done on a variety of levels.<span style="mso-spacerun: yes;">
</span>First, that the company would find and be able to adapt this “lost” play
is worth celebrating.<span style="mso-spacerun: yes;"> </span>The performance of
this play gives others and me the opportunity to deepen our experience of
Shakespeare. So, Brava to Donna Northcott for doing whatever needed to be done
to secure the scripts and the rights to do this work in St. Louis.<span style="mso-spacerun: yes;"> </span>I was actually shocked that opening night was
not sold out.<span style="mso-spacerun: yes;"> </span>It should be!<span style="mso-spacerun: yes;"> </span>All of St. Louis should be packing this
theater for this play.<o:p></o:p></div>
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<div class="MsoNormal" style="text-indent: .5in;">
The sets were very well done.<span style="mso-spacerun: yes;"> </span>Functional set pieces that could be easily
moved into position worked very well.<span style="mso-spacerun: yes;"> </span>I
think they might have cut the falling leaves.<span style="mso-spacerun: yes;">
</span>But the use of a simple set piece here and there was all that was needed
to evoke the location of the scene.<span style="mso-spacerun: yes;"> </span>The
acting was very good.<span style="mso-spacerun: yes;"> </span>All of the
principals embodied their roles and drew me into the story.<span style="mso-spacerun: yes;"> </span>I have already mentioned two members of the
cast whose work struck me as particularly outstanding.<span style="mso-spacerun: yes;"> </span>I also want to commend Jason J. Little on his
portrayal of the Don Giovanni-like Don Fernando. <i style="mso-bidi-font-style: normal;">(That is, by the way, Tirso de Molina’s Don Juan Tenorio and not Da
Ponte, I actually found a number of resonances with the Molina in this play and
think it is possible that Fletcher might have been familiar with it).</i><span style="mso-spacerun: yes;"> </span>Little’s Don Fernando was suave, seductive
and innocent but capable of becoming horribly ruthless and violent when
crossed.<span style="mso-spacerun: yes;"> </span>Erik Kuhn played the betrayed
Cardenio effectively.<span style="mso-spacerun: yes;"> </span>His naïve trust in
his aristocratic superior Don Fernando leads to him to set himself up for a
terrible fall. Kuhn was effective in giving his blind and undeserved trust and
was beautifully convincing as the lover in his scenes with Luscinda.<span style="mso-spacerun: yes;"> </span>Shannon Lampkin was also deeply moving in her
portrayal of a young woman who simply has no options and to whom no one will
listen.<span style="mso-spacerun: yes;"> </span>Overruled and having her
feelings insensitively rejected by her father, her Cardenio is the only one
whom she can reach out to but she is locked away from him.<span style="mso-spacerun: yes;"> </span>Her Isabella <i style="mso-bidi-font-style: normal;">(Measure for Measure)</i> like refuge into a convent was convincing as
an act of desperation. Fernando’s brother Pedro was portrayed by Kevin O’Brian
who was excellent making us think in one moment that he is the good guy and
then in the next frustrating that impression with the realization that he is
also rather selfish and myopic. <span style="mso-spacerun: yes;"> </span>Despite
his sense of right and wrong pushing him, he seems to run up against this brick
wall of his aristocratic privilege.<span style="mso-spacerun: yes;"> </span>The
remainder of the cast was excellent, I have to mention Shane Signorino whose
odious Master of the Flock made that brief scene one of the most riveting in
the performance.<o:p></o:p></div>
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<div class="MsoNormal" style="text-indent: .5in;">
If I have one complaint it is this:
throughout the evening the music used was mostly taken from the album <i style="mso-bidi-font-style: normal;">Los Ministriles: Spanish Renaissance Wind
Music. </i>This is<i style="mso-bidi-font-style: normal;"> </i>an older album by
the Philadelphia based early music band Piffaro.<span style="mso-spacerun: yes;"> </span>I feel that since so much of the music was
taken from this album that they should have been acknowledged in the program.<span style="mso-spacerun: yes;"> </span>If it had been only one or two cuts then
fine, but it seems to me that over half of the album was played during the
production and consequently Piffaro deserved a shout out!<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
Finally – SPOILER ALERT – I have to
conclude with a little reflection on the ending of this play.<span style="mso-spacerun: yes;"> </span>The denouement is well, oh so
Elizabethan/Jacobean but not necessarily Shakespearean.<span style="mso-spacerun: yes;"> </span>And this is another yet clue to Fletcher’s
dominance in the writing of the play.<span style="mso-spacerun: yes;">
</span>Even in the problem play “Measure for Measure” Shakespeare doesn’t
really tie up all of the loose ends in such a forced manner.<span style="mso-spacerun: yes;"> </span>Isabella’s silence speaks volumes after the
long final scene during which the entire play unravels and Duke Vincencio is
seen to be the complete creep he is.<span style="mso-spacerun: yes;"> </span>The
final scene of this play, “Cardenio,” was similar to “Measure for Measure” in that
all of the plot lines were unraveled and tied up in this long final scene.<span style="mso-spacerun: yes;"> </span>And, Duke Vincencio like, Don Pedro manages
to string it out one painful secret at a time.<span style="mso-spacerun: yes;">
</span>When we reach the end and Don Fernando is chastened and agrees (tacitly)
to behave like a good aristocrat from now on and everyone lives happily ever
after, it is just is rather completely unsatisfying.<span style="mso-spacerun: yes;"> </span>And I don’t think it will really cut it for a
modern audience.<span style="mso-spacerun: yes;"> </span>After all Dorotea was
raped! Whether or not she was in love with her rapist is irrelevant – he wooed
her with lies and manipulation and then dumped her when he got what he wanted. <span style="mso-spacerun: yes;"> </span>Luscinda fought off her rapist on multiple
occasions and even was abducted by him as her father further essentially sold
her off to the highest bidder. Even Cardenio experienced moments of mistrust of
her. That this is a typical Elizabethan ending (though not all that typical of
Shakespeare himself) is worthy of comment.<span style="mso-spacerun: yes;">
</span>The fact is that even today with more modern works we audience members
like to nurse the fantasy of “happily ever after.”<span style="mso-spacerun: yes;"> </span>There is none here.<span style="mso-spacerun: yes;"> </span>This is a male world of dominance and abuse
of women where the men in power – whether they are an aristocratic son, a
father or even the Master of the Sheep – can sexually abuse the women they
encounter with impunity.<span style="mso-spacerun: yes;"> </span>Maybe we still
live in this world – but this world is coming to an end.<span style="mso-spacerun: yes;"> </span>Despite powerful leaders who brag about women
who “will (supposedly) let you do it” and other powerful men who use their
power to dominate and objectify women this world is coming to an end and the
sooner the better.<span style="mso-spacerun: yes;"> </span>This “lost” play
mostly by John Fletcher reminds us that there is work to do here. And that this
kind of male behavior towards women, while certainly old historically, is still
as odious today as it was then in that it ruins lives and destroys relationships.<o:p></o:p></div>
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Bravi to the company for performing
this play and for their excellent production.<span style="mso-spacerun: yes;">
</span>And good luck with all remaining performances.<o:p></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcbbvWh9UwAYYKyDdEdyhbKANM-tgXUuGvA-5ZTZrEuoO9MvF1QtsgJnq8F12rzMvC7evUXa4iGz465W88hUKno4JenMOTu2_PgFH4etzcZ6hJZlaGBnGYOeg8ztsfqoQ-y5B4bcVkkkhd/s1600/PA041022.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcbbvWh9UwAYYKyDdEdyhbKANM-tgXUuGvA-5ZTZrEuoO9MvF1QtsgJnq8F12rzMvC7evUXa4iGz465W88hUKno4JenMOTu2_PgFH4etzcZ6hJZlaGBnGYOeg8ztsfqoQ-y5B4bcVkkkhd/s320/PA041022.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="background-color: white; color: #26282a; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 13px;">Dorotea (Lexie Baker) and Fernando (Jason J. Little) - Photo by Ron James</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzAFBhFwaqgno30nkrvVf8NDNpKzcA0CDVF1MXjdDm3FxcCWZLRilVwNcbypuGyOgEZpVqBGPMaVVXRw2RUbywoc5hR_IevM9mbbA6ZTqkhgkoG-8RXp8V5qK8JJgt7i2z5uEItTL1T_-T/s1600/SLSCardenioPress12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzAFBhFwaqgno30nkrvVf8NDNpKzcA0CDVF1MXjdDm3FxcCWZLRilVwNcbypuGyOgEZpVqBGPMaVVXRw2RUbywoc5hR_IevM9mbbA6ZTqkhgkoG-8RXp8V5qK8JJgt7i2z5uEItTL1T_-T/s320/SLSCardenioPress12.jpg" width="213" /></a></div>
<div class="MsoNormal" style="text-align: center; text-indent: 0.5in;">
<span style="background-color: white; color: #26282a; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 13px; letter-spacing: normal; text-align: left; text-indent: 0px;">Bernardo (Colin Nichols), Luscinda (Shannon Lampkin), Friar (Shane Signorino) and Gerardo (Karl Hawkins) - Photo by John Lamb</span></div>
Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com0tag:blogger.com,1999:blog-1868457521565839495.post-65833881402495719762017-09-23T10:59:00.003-07:002017-09-23T13:39:29.629-07:00Chicago Shakespeare – Taming of the Shrew<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">I will confess that in the entire Shakespearean
canon there are two plays that I do not like: 1. Titus Andronicus (too much
gratuitous violence); and 2. Taming of the Shrew. I understand of course that TotS
reflects its times to a large extent and that the play is actually more complex
than the impression of misogyny that most folks tend to assume is at the heart
of the play.<span style="mso-spacerun: yes;"> </span>In fact, few realize that
Shakespeare himself put the play in a kind of frame, the Christopher Sly frame
which turns the play into a practical joke on this particular character.<span style="mso-spacerun: yes;"> </span>But the character all but disappears, though
there is an ending where he wakes up from his drunken stupor having had “the best
dream” ever and has learned how to deal with his “shrewish wife." This of course is comedic tongue in cheek as this guy will never learn to deal with women at
all.<span style="mso-spacerun: yes;"> </span>But the major problem is that most
productions of the play completely eliminate this framing device, leaving the
play within the play (TotS) to stand on its own, which it doesn’t do very
well (IMHO).<span style="mso-spacerun: yes;"> </span>For without the framing device we
might actually think Shakespeare is serious in advocating for spousal abuse,
when he really isn’t.<span style="mso-spacerun: yes;"> </span></span><span style="font-size: 14pt; letter-spacing: -0.2pt; text-indent: 0.5in;">But since this is the way the play is usually
performed it does make the play a hard one to take. From the marriage negotiations to
the wedding to the after the wedding “training” to the final “contest” to
Kate’s final speech - this play is downright offensive.</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">So initially when I saw that Chicago Shakespeare
would be performing TotS I figured I would skip it.<span style="mso-spacerun: yes;"> </span>It wasn’t that long ago that I saw a f<a href="https://blakesoperablog.blogspot.com/2016/06/and-now-some-shakespeare.html" target="_blank">ine production of the play in Washington D.C.</a> with an all male cast, and while it
would be interesting to see with an all female cast, especially as directed by
the brilliant Barbara Gaines, it is such a long trip I just figured that I would
pass.<span style="mso-spacerun: yes;"> </span>That is, until I realized that
this production would include a framing device.<span style="mso-spacerun: yes;">
</span>Not the original “Christopher Sly” one, but rather one created by
the writer Ron West along with Gaines.<span style="mso-spacerun: yes;">
</span>Now, back about 10 years ago I had one of the most amazing theater
experiences of my life at Chicago Shakespeare when I attended a production of
“Comedy of Errors” with a framing device by Ron West.<span style="mso-spacerun: yes;"> </span>That one set the filming of the play within
the context of the bombing of London during World War II and without going into
so much detail that it would completely take me away from the focus on TofS let
me just say, it was outstanding! <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">So for this production West and Gaines set the production
of the play within the context of a Chicago Women’s Club in 1919.<span style="mso-spacerun: yes;"> </span>These clubs actually existed and were popular
places for women to come together for social and educational experiences.<span style="mso-spacerun: yes;"> </span>The producing of Shakespeare was, in fact, a
popular activity undertaken by some of these clubs.<span style="mso-spacerun: yes;"> </span>At the same time the women’s suffrage
movement was heating up.<span style="mso-spacerun: yes;"> </span>This becomes a
major point in this production.<span style="mso-spacerun: yes;"> </span>The
women who are members of this club, and who will take on the roles in TofS, are
all affected in some way by the suffrage movement.<span style="mso-spacerun: yes;"> </span>Some are supportive, some are not and some
are ambivalent – at least at the beginning of the play.<span style="mso-spacerun: yes;"> </span>But as the “dress rehearsal” progresses – in the
parlor because the rains have flooded their theater – the riots and demonstrations in support of women's suffrage become a major part of the context and have a profound impact on the women
involved. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">I do not want to spoil things, so I will refrain
from any detailed discussion of the production, except for this one
example.<span style="mso-spacerun: yes;"> </span>At the end of act one (Act 3.2)
Petruchio has this terrible speech in which he tells the group in Baptista's house that his new wife Kate: <i style="mso-bidi-font-style: normal;">… is my goods, my chattels, she is my house, my household stuff, my field, my
barn, my horse, my ox, my ass, my anything… </i>Following this speech Petruchio
picks up the hostile Kate (in the traditional manner) and slings her over his
shoulder and takes her out and off stage.<span style="mso-spacerun: yes;">
</span>They did that here too, but because they are in the parlor they have no
place to go except out the front door of the clubhouse.<span style="mso-spacerun: yes;"> </span>And so as they walk out onto the street there
is a suffrage riot taking place into which the two characters walk.<span style="mso-spacerun: yes;"> </span>At that moment we hear a male voice from the
street yell “Get back to the kitchen!”<span style="mso-spacerun: yes;">
</span>This pretty much clears the parlor as all of the women then rush out to
join the protest.<span style="mso-spacerun: yes;"> </span>End of act 1.<span style="mso-spacerun: yes;"> </span>I have to say, I found this exceptionally
profound and effective.<span style="mso-spacerun: yes;"> </span>It is so easy to
dismiss Petruchio as somehow unique in the lists of wife abusers, or of the
scene and speech as being only a “reflection” of the times and not really relevant
anymore.<span style="mso-spacerun: yes;"> </span>But this isn’t true.<span style="mso-spacerun: yes;"> </span>It may well be a reflection of the times in
which it was composed, but anyone who thinks it isn’t also a reflection of our
own times has their head in the sand.<span style="mso-spacerun: yes;">
</span>Women have made some progress – but not enough and they are still
subject to abuse, both emotional and physical <a href="https://blakesoperablog.blogspot.com/2017/09/carousel-and-domestic-violence.html" target="_blank">(See my discussion of the musical "Carousel" immediately below).</a><span style="mso-spacerun: yes;">
</span>This production does not shy away from these issues at all and through
this device confronted all of us with them.<span style="mso-spacerun: yes;">
</span>And throughout the remainder of the play there was commentary and the
women themselves undergo a transformation.<span style="mso-spacerun: yes;">
</span>It is a terrific way of doing this play.<span style="mso-spacerun: yes;">
</span>And lest I give the wrong impression, it is highly entertaining and very
funny in places as well.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">The cast is simply terrific.<span style="mso-spacerun: yes;"> </span>Casting
was colorblind and there was not a weak
link in the cast at all! By the way, each member of the cast played a member of
the club who also played a character in the club’s production of TotS.<span style="mso-spacerun: yes;"> </span>And so the Magnificent E. Faye Butler played
Dr. Fannie Emmanuel who played the girl's father Baptista.<span style="mso-spacerun: yes;">
</span>Other standouts for me were Tina Gluschenko who played the wavering and
cautious chairwoman Mrs. Beatrice Welles who played Hotensio; Cindy Gold who
played the rather stuck up and put upon Mrs. Sarah Willoughby who played a
hilarious Vincentio; Alexandra Henrickson who played a very self-centered,
insensitive and rather weak willed Mrs. Louise Harrison who was absolutely
magnificent as the shrew Kate; Heidi Kettering who played one of the leaders of the club
and was particularly good at mediating conflicts between the women as Mrs. Dorothy
Mercer and was excellent as the scheming and manipulative Tranio; Crystal
Lucas-Perry as a quiet but deeply committed Mrs. Victoria Van Dyne who as
incredibly affective as the harsh and abusive Petruchio; Rita Rehn as the
Senator’s wife who is the social center of the club as Mrs. Mildred Sherman who
is also very domineering and judgmental, and who is also the mother of Mrs.
Emily Ingersol - Bianca (played by Olivia Washington) who is the rather dutiful
and submissive daughter of Mrs. Sherman, who in the play takes on the role of
Grumio and the Widow (Interesting to note that Mrs. Sherman serves as kind of
the director of the play, in the same way that the character playing one of the
twin servants in the previous West frame for “Comedy of Errors” also was the
director – I smell a pattern).<span style="mso-spacerun: yes;"> </span>Then
there was the outstanding Kate Marie Smith who played the young, somewhat naïve
and progressive Miss Olivia Twist who played the role of Lucentio
(magnificently by the way); and finally I cannot leave out Hollis Resnik as the
club’s caustic and cynical custodian Miss Judith Smith who took on the role of Gremio.<span style="mso-spacerun: yes;"> </span>The remaining ensemble included
Faith Servant, Ann James and Lillian Castillo.<span style="mso-spacerun: yes;">
</span>This is a really interesting mix of women of differing ages, races and experience
and Barbara Gaines molded them into a terrific ensemble.<span style="mso-spacerun: yes;"> </span>For ultimately this work is even more of an
ensemble piece than it would be otherwise.<o:p></o:p></span></div>
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<!--StartFragment-->
<!--EndFragment--><div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">I don’t want to ruin this for anyone who might be
planning to see it – as it runs into November.<span style="mso-spacerun: yes;">
</span>So I won’t say anything more.<span style="mso-spacerun: yes;">
</span>Except, I loved the end.<span style="mso-spacerun: yes;"> </span>I found
it deeply moving and I, as a privileged white male, did not leave the theater
feeling judged, but rather even more committed to justice and equality than I was
before.<span style="mso-spacerun: yes;"> </span>My last comment is this – to Barbara
Gaines and Ron West: Thank you from the bottom of my heart for your incredible
work.<span style="mso-spacerun: yes;"> </span>Please, please, please make it
available to other companies so that these frames can be used and experienced
more widely.<span style="mso-spacerun: yes;"> </span>I would like to see this
Taming frame adopted on a regular basis personally.<span style="mso-spacerun: yes;"> </span>And 2ndly – please tape this production and
make it available.<span style="mso-spacerun: yes;"> </span>I will personally buy
multiple copies to give to my friends!<o:p></o:p></span></div>
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<div style="text-align: center;">
The Set</div>
<div style="text-align: center;">
<br /></div>
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<div class="MsoNormal" style="text-align: center; text-indent: 0.5in;">
<span style="font-size: 18.6667px;">Front and center in this photo are the three principals: (left to right) Crystal Lucas-Perry as Mrs. Victoria Van Dyne (Petruchio), Alexandra Henrickson as Mrs. Louise Harrison (Katherine or Kate), and Rita Rehn as Mrs. Mildred Sherman (Grumio/Widow)</span></div>
Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com1tag:blogger.com,1999:blog-1868457521565839495.post-56758673302639171902017-09-12T10:25:00.001-07:002017-09-12T10:26:23.816-07:00Carousel and Domestic Violence<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: large;">I need to write about this for this
issue has bothered me ever since I attended a performance of the Rogers and
Hammerstein “Carousel” at Union Ave. Opera at the end of July.<span style="mso-spacerun: yes;"> </span>I am not going to talk about the production
(much).<span style="mso-spacerun: yes;"> </span>Frankly, I felt there were lots
of problems with it but particular production is not really relevant to my
concern.<span style="mso-spacerun: yes;"> </span>The issue is deeply embedded in
the “book.”<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: large;"><u>First preliminary comment:</u> I
love the musical.<span style="mso-spacerun: yes;"> </span>I was in it as a child
as one of the bratty “Snow” children.<span style="mso-spacerun: yes;"> </span>I
have very, very happy memories of that show.<span style="mso-spacerun: yes;">
</span>My dad was in it – in the chorus and he was the police officer in the
crucial scene where Billy and Jigger’s plan goes awry.<span style="mso-spacerun: yes;"> </span>So, I got to do this with my dad and it was
really fun.<span style="mso-spacerun: yes;"> </span>And then there was Longwood
Gardens outside of Philadelphia that is a wonderful place.<span style="mso-spacerun: yes;"> </span>And then there was the incredible carousel
itself used most prominently in the opening prologue. And I got to ride on it!<span style="mso-spacerun: yes;"> </span>And then there is the music.<span style="mso-spacerun: yes;"> </span>I can hardly get through any production of
Carousel without crying during some of the songs – “If I Loved You,” “When You
Walk Through A Storm,” “When I Marry Mr. Snow,” “When the Children Are
Asleep!”<span style="mso-spacerun: yes;"> </span>Wonderful songs all of them and
the instrumental prologue and ballet sequences are musically brilliant –
perhaps among Roger’s best compositions!<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: large;"><u>Second preliminary comment:</u>
I work as a Lutheran Pastor in a congregation of the Evangelical Lutheran
Church in America, and I have been a Pastor for 30+ years.<span style="mso-spacerun: yes;"> </span>In my role as pastor I often – far too often
- encounter women (and children at times) who have been or who are the subject
of domestic abuse.<span style="mso-spacerun: yes;"> </span>Sometimes this takes
the form of verbal or emotional abuse; sometimes neglect and sometimes actual
physical abuse.<span style="mso-spacerun: yes;"> </span>I have seen the effect
it has.<span style="mso-spacerun: yes;"> </span>How it destroys everyone who is
involved, but especially the victim.<span style="mso-spacerun: yes;"> </span>I
have absolutely no sympathy for abusers.<span style="mso-spacerun: yes;">
</span>It is wrong!<span style="mso-spacerun: yes;"> </span>It is evil!<span style="mso-spacerun: yes;"> </span>You have no right to abuse your wife or
children in any way!<span style="mso-spacerun: yes;"> </span>Marriage must be
based on respect and trust.<span style="mso-spacerun: yes;"> </span>There can be
no respect and trust when there is any kind of abuse. Period!<span style="mso-spacerun: yes;"> </span>Sometimes an abused wife will ask me: “But
what about my vows before God?”<span style="mso-spacerun: yes;"> </span>The
first time he hit you – the first time he verbally abused you, put you down,
called you names - HE broke HIS vows and broke the bonds of trust and respect!
A woman who is abused needs to get out.<span style="mso-spacerun: yes;"> </span>And
getting out is simply accepting the break that has already occurred through HIS
action. And to that end I support any number of shelters and agencies for women
who need a safe place.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: large;"><u>To the issue at hand – the
“book” of <i style="mso-bidi-font-style: normal;">Carousel</i>:</u><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .25in;">
<span style="background: white; color: windowtext; font-size: large; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">Louise
Bigelow: <i style="mso-bidi-font-style: normal;">But</i> <em><span style="font-family: "cambria"; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-font-style: normal; mso-hansi-theme-font: minor-latin;">is it
possible</span></em><i style="mso-bidi-font-style: normal;">, Mother, </i>for <em><span style="font-family: "cambria"; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-font-style: normal; mso-hansi-theme-font: minor-latin;">someone to
hit you hard</span></em> <i style="mso-bidi-font-style: normal;">like that -
real loud and <em><span style="font-family: "cambria"; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-font-style: normal; mso-hansi-theme-font: minor-latin;">hard</span></em>, and it not hurt </i><em><span style="font-family: "cambria"; font-style: normal;">you</span></em><i style="mso-bidi-font-style: normal;"> at all?</i> <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .25in;">
<span style="font-size: large;"><span style="background: white; color: windowtext; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">Julie
Jordan: <i style="mso-bidi-font-style: normal;">It is <em><span style="font-family: "cambria"; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-font-style: normal; mso-hansi-theme-font: minor-latin;">possible</span></em> dear,
for</i> <em><span style="font-family: "cambria"; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-font-style: normal; mso-hansi-theme-font: minor-latin;">someone to hit you</span></em>, <em><span style="font-family: "cambria"; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-font-style: normal; mso-hansi-theme-font: minor-latin;">hit you hard</span></em><i style="mso-bidi-font-style: normal;">, and it not hurt at all. </i>(See Footnote #1)</span><span style="color: windowtext; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>Julie is wrong - NO
it is not possible! Love never makes abuse ok!<span style="mso-spacerun: yes;">
</span>Julie spends all of her married life as an abused woman.<span style="mso-spacerun: yes;"> </span>No matter what his issues, or whether we
might want to agree with Carrie and Julie’s other friends that Billy is bad news
and that she shouldn’t have married him and she ought to leave him,
nevertheless, the heart wants what the heart wants and Julie loves Billy.<span style="mso-spacerun: yes;"> </span>But he treats her like crap! And by the
middle of the first act everyone knows that Billy’s verbal and emotional abuse
has turned to physical abuse.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .25in;">
<span style="font-size: large;">Starcatcher: <i style="mso-bidi-font-style: normal;">… So then why did you beat her?<o:p></o:p></i></span></div>
<div class="MsoNormal" style="margin-left: .25in;">
<span style="font-size: large;">Billy: <i style="mso-bidi-font-style: normal;">I didn’t beat her.<span style="mso-spacerun: yes;"> </span>I hit her
once!<o:p></o:p></i></span></div>
<div class="MsoNormal">
<span style="font-size: large;">Typical excuse.<span style="mso-spacerun: yes;"> </span>“I
only hit her once.<span style="mso-spacerun: yes;"> </span>It wasn’t hard.<span style="mso-spacerun: yes;"> </span>She deserved it.<span style="mso-spacerun: yes;"> </span>She was nagging me!” Billy has lots of
excuses. He actually admits at one point that he gets angry because Julie is
right!<span style="mso-spacerun: yes;"> </span>But none of those excuses hold a
drop of water.<span style="mso-spacerun: yes;"> </span>He hit her! He is guilty
of physical abuse!<span style="mso-spacerun: yes;"> </span>And physical abuse is
never ok!<span style="mso-spacerun: yes;"> </span>But I find the act 2 exchange
between the 16-year-old troubled Louise and her mother Julie to be the most
troubling in the musical. Julie, in this exchange, is passing on her victimhood
to her daughter Louise. Julie’s answer sets up her young daughter to continue
the cycle of abuse into the next generation and beyond. This is what I find so
disturbing about this “book.” (See footnote number #2)<i style="mso-bidi-font-style: normal;"> <o:p></o:p></i></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-size: large;">(Footnote #1 – To be
fair, Hammerstein essentially lifted this exchange from Molnár’s play “Lilliom”
– in the play Louise tells her mother that the man (the dead Lillion, her
father she never met) hit her hard and it felt like a kiss.<span style="mso-spacerun: yes;"> </span>Is that possible?<span style="mso-spacerun: yes;"> </span>Julie responds that yes it is possible.<span style="mso-spacerun: yes;"> </span>The play is from 1909.)<o:p></o:p></span></i></div>
<div class="MsoNormal">
<span style="font-size: large;"><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span>(Footnote #2 - By the way, in case you are not
familiar with the plot - Louise is the daughter with whom Julie is pregnant at
the end of act 1 and to whom Billy has come back from the dead to visit – the
visit doesn’t go well, he scares her and he gets angry and hits her! –</i> <i style="mso-bidi-font-style: normal;">The role of Louise, by the way, was shared
and beautifully performed at UAO by dancer Emma Gassett and actor Caylee
McGlasson)</i> <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: large;">So what is the answer? I am not
advocating the shelving of this beautiful musical.<span style="mso-spacerun: yes;"> </span>Not in the least!<span style="mso-spacerun: yes;"> </span>I believe that is the wrong thing to do. Do I
think that Oscar Hammerstein or Richard Rogers for that matter were somehow
glorifying domestic abuse? Actually, I don’t. I think Hammerstein in particular
was a very astute and keen observer of culture and frankly the domestic abuse
is an essential part of the story, which he takes almost directly from
Hungarian writer Ferenc Molnár’s “Lilliom” (Except for the ending). There is simply
no way to excise it from the show. But, bear in mind that Rogers and
Hammerstein were not afraid to deal with controversial subject matter – for
example, racism in “South Pacific,” or cultural imperialism in “King and I.” <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: large;">A couple years ago I attended a
performance of “King and I” at the Lincoln Center Theater. They did not shy
away from the issues of cultural imperialism, but rather they addressed these
issues in an upfront and proactive manner. This is, I believe at least one
solution.<span style="mso-spacerun: yes;"> </span>When a company chooses to
mount the musical “Carousel” I believe they should take it upon themselves to
address this issue in the same manner. Don’t ignore it, or treat it like it is,
well, unremarkable, just a part of the show.<span style="mso-spacerun: yes;">
</span>The director or company manager or conductor could write an article for
the program addressing the issue.<span style="mso-spacerun: yes;"> </span>Or the
company could raise funds for a local shelter, sponsor discussions at
intermission or before the show about the serious epidemic of domestic abuse. <span style="mso-spacerun: yes;"> </span>Now, I’m don’t mean to single out Union Ave
Opera, who generally do great productions, because, frankly, I attended a
beautiful production of this “Carousel” at Lyric Opera of Chicago a couple
years ago and they didn’t do anything either.<span style="mso-spacerun: yes;">
</span>In both cases these were missed opportunities to perhaps save someone
from the cycle of abuse, and maybe even to save a life.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: large;">In closing, great art like opera,
theater, musicals address the experience of being human in all its beauty and
ugliness.<span style="mso-spacerun: yes;"> </span>Maybe it is time for companies
to be just a little more proactive in confronting some of these serious issues.<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: large;">+++<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: large;"><br /></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: large;">If you know someone
who is being abused or if you need help:<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: large;">Crisis Hotline
Numbers in Southern Illinois: <o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: large;">St. Clair County –
618-235-0892<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: large;">Monroe County – 618-939-8114<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: large;">East St. Louis – 618-875-7970<o:p></o:p></span></div>
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<span style="font-size: large;">Randolph County –
618-826-5959</span><o:p></o:p></div>
Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com0tag:blogger.com,1999:blog-1868457521565839495.post-91331268550572190982017-08-21T14:53:00.000-07:002017-08-21T15:14:16.238-07:00Union Avenue Opera's Final Production of 2017: Hansel und Gretel<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: "trebuchet ms" , sans-serif;">Union Ave. Opera of St. Louis
completes their 2017 season with an excellent production of Humperdinck’s <i style="mso-bidi-font-style: normal;">Hansel und Gretel, </i>sung in German and
seen on opening night, Friday, August 18. The performance got off to a slow
start due to a technical problem, but within 15 minutes they had it resolved
and the opera was able to proceed.<span style="mso-spacerun: yes;"> </span>It
was on the whole a beautiful performance and an effective production.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">The cast was uniformly excellent.
Hansel and Gretel, played by Emma Sorenson and Julie Tabash Kelscheimer,
certainly seemed to be in touch with their inner child. They danced and played
like a couple of small children throughout, but their singing was nuanced and
beautiful.<span style="mso-spacerun: yes;"> </span>Their ensemble singing was as
good as I have ever heard in this opera.<span style="mso-spacerun: yes;">
</span>These two artists created a magical moment with their famous prayer at
the end of act 1, which would have probably transported us all the way to
intermission if it had not been for a boorish audience member who alone
insisted on clapping wildly immediately following the prayer but before the
music came to a stop.<span style="mso-spacerun: yes;"> </span>Meghan Kasanders
gave us a troubled and weary mother who convincingly chased after the children
following Peter’s warning about the <i style="mso-bidi-font-style: normal;">Knusperhexe.</i>
The Peter of Jacob Lassetter was effective in his tipsy teasing of his wife and
intense in his description of the perils of the woods.<span style="mso-spacerun: yes;"> </span>Both sang with style and artistry that
beautifully conveyed the emotion and situations in which they find themselves.<span style="mso-spacerun: yes;"> </span>Melisa Bonetti as the Witch was both funny
and terrifying all at the same time. <span style="mso-spacerun: yes;"> </span>Fine performances of the small roles of the Sandman
and the Dew Fairy by Emily Moses and Gina Malone rounded out this excellent
cast.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: "trebuchet ms" , sans-serif;">I have to say that as excellent as
this cast is across the board, the stand out performance for me was Julie
Tabash Kelscheimer as Gretel.<span style="mso-spacerun: yes;"> </span>Her
performance was truly remarkable.<span style="mso-spacerun: yes;"> </span>Vocally
she has a gorgeous voice that she is able to color and shape to express the
music.<span style="mso-spacerun: yes;"> </span>She is perfectly capable of
letting loose with a wonderful large but focused sound, but she can also sing
gently conveying the emotion of the moment and then she molds her voice in the
ensembles to perfectly blend with whoever she is singing.<span style="mso-spacerun: yes;"> </span>Hers was a magnificent vocal
performance.<span style="mso-spacerun: yes;"> </span>But that’s not all! Her acting
is simply outstanding.<span style="mso-spacerun: yes;"> </span>She completely
embodied this little girl, from her wonderful dancing and playing with Emma
Sorenson’s excellent Hansel where she has to cajole and pester him into joining
her, to the fear of the shadows in the woods, to her courage in the face of the
wicked witch hers was a captivating performance.<span style="mso-spacerun: yes;"> </span>And, I repeat, this is in the context of an
excellent cast.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
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<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: "trebuchet ms" , sans-serif;">The other stand out performance in
my view is the production itself by the excellent stage director Karen Coe
Miller.<span style="mso-spacerun: yes;"> </span>Using what are obviously limited
resources at the Union Avenue Christian Church she was nevertheless able to
create the fantasy world for this fairy tale very effectively.<span style="mso-spacerun: yes;"> </span>From the poor hut of Peter’s family with bare
cupboards, to the threatening woods, to the Witch’s candy house the set was
very effective as was the lighting.<span style="mso-spacerun: yes;"> </span>I
appreciated in particular her interpretation of the Angel Ballet at the end of
act 1.<span style="mso-spacerun: yes;"> </span>Taking perhaps some inspiration
from the Met’s current hunger focused production this production adds the need
for love and security that are so essential for young children.<span style="mso-spacerun: yes;"> </span>With nary a Fishhead Waiter in sight
nevertheless this ballet brings the children into an embrace of love and plenty
that I found both moving and effective.<span style="mso-spacerun: yes;"> </span>I
will confess that I didn’t quite get the point of the “Charlie Chaplin” Sandman
or the Rockette Dew Fairy, still it all worked beautifully.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">There were a few opening night
issues with the set, and the oven door in particular.<span style="mso-spacerun: yes;"> </span>And I’m sorry to say that I felt the
orchestra seemed under rehearsed.<span style="mso-spacerun: yes;"> </span>The
overture was sloppy and there were moments throughout the opera of sloppiness
and compromised intonation.<span style="mso-spacerun: yes;"> </span>I suspect
that will improve with repetition.<span style="mso-spacerun: yes;"> </span>I
understand that the company needs to use a reduced orchestration but I really
wish these orchestrations would not remove so much of the low brass.<span style="mso-spacerun: yes;"> </span>The tuba was particularly missed in places
and in general the orchestration needs more bottom in the sound.<span style="mso-spacerun: yes;"> </span>The conductor, Kostis Proropapis did an
excellent job pacing the opera.<span style="mso-spacerun: yes;"> </span>The
children’s choir was lovely, especially after they opened their eyes.<o:p></o:p></span></div>
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<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: "trebuchet ms" , sans-serif;">I was surprised that this opening
night performance was not sold out.<span style="mso-spacerun: yes;"> </span>I don’t
quite understand why and I certainly hope the opera lovers in St. Louis who
support the other excellent companies will come out in droves next weekend to
see this excellent production.<span style="mso-spacerun: yes;"> </span>Union Ave
Opera does a terrific job and we are lucky to have this company offering these
great performances!</span><o:p></o:p></div>
Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com2tag:blogger.com,1999:blog-1868457521565839495.post-56744512270369352162017-07-08T07:21:00.001-07:002017-07-08T08:30:57.606-07:00Union Ave. Opera: Albert Herring<div class="p1">
<span class="s1"><span style="font-family: "trebuchet ms" , sans-serif; font-size: small;">Seems to be a bit of a Britten summer - "Billy Budd" (at Des Moines Metro Opera) and now "Albert Herring" at St. Louis' <a href="http://unionavenueopera.org/" target="_blank">Union Avenue Opera</a>. Last night I had the opportunity to experience this infrequently performed Britten opera for the first time. And I really enjoyed this opera and, not only that but it was beautifully performed. The company were simply outstanding in my view. Christine Brewer was terrific as Lady Billows, the very assertive matriarch of the town of Loxford. And tenor David Walton was wonderful as Albert. A beautiful voice and a great actor as the hen-pecked Albert who finally (with a little help from the rum) finds the courage to break the apron strings. But opera requires an excellent ensemble cast and the ensemble was also excellent. Nathaniel Buttram and Holly Janz as the conspirators Sid and Nancy were terrific; David Dillard as the up tight Vicar, Mr. Gedge, who preaches sermons on virtue (maybe I would borrow a title); It was so nice to finally experience tenor Anthony Heinemann in a role that allowed him to open up and really sing, and it was beautiful and his portrayal of the Mayor, Mr. Upfold, was excellent; Bass Mark Freiman as the rather stuffy Constable Budd (How about that two Britten operas and both with a character named Budd!!!); I particularly enjoyed Debra Hillabrand as Florence Pike, Lady Billow's equally uptight housekeeper - she was so funny especially in that first scene; Leann Schuering as the school teacher and finally an outstanding Janara Kellerman as Albert's mother. I have to mention that I loved the kids - Gina Malone, Victoria Botero and Seth Drake (an actual kid actually) played Emmie, Cis and Harry and at times just about stole the show. In general the company acted the opera very well and were very committed. In this theater one is close enough to see facial expressions and they were often very funny - especially Albert's.</span></span></div>
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<span class="s1"><span style="font-family: "trebuchet ms" , sans-serif; font-size: small;">I have at times been a bit critical of the conductor Scott Schoonover, but I have to say he was excellent in this. He paced this work very well and the orchestra was equally outstanding in what sounded to me like a rather challenging score. But the star of the production I think is the stage director Tim Ocel and scenic designer Kyra Bishop. The costumes and lighting were also great. Sorry to gush, but frankly it was a great night at the opera. The piece is profoundly silly though I suspect some of the humor may be lost on an American audience as I get the sense that the plot is profoundly British (echoes of "The Importance of Being Earnest" and many period Britcoms). Even so, it was delightful. The conceit of a young man tied to his mother's apron strings and unable to begin to live his own life is I suspect universal and we certainly have our fair share of judgmental, holier-than-thou types who would like to impose their morality on everyone else. If you are near St. Louis, you should catch this lovely production.</span></span></div>
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<span class="s1"><span style="font-family: "trebuchet ms" , sans-serif; font-size: small;">Here are some photos - the set and curtain calls:</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJJyKdB9Jgs-Ftp6q6P7eYVkdUvV-Ef_3pBeLr5uoPb-v5CsgkMz9GKV2n1QMfGmI45eHkMHVAuNZNt0wuWCopiM6S_HoUCqK2-rVarCvOUUL1AmquDrYxWIzB2WLfZPByIC3r9PwEOLHG/s1600/1+Debra+Hillabrand+%2528Florence%2529+Christine+Brewer+%2528Lady+Billows%2529+David+Dillard+%2528Mr.+Gedge%2529+Photo+John+Lamb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJJyKdB9Jgs-Ftp6q6P7eYVkdUvV-Ef_3pBeLr5uoPb-v5CsgkMz9GKV2n1QMfGmI45eHkMHVAuNZNt0wuWCopiM6S_HoUCqK2-rVarCvOUUL1AmquDrYxWIzB2WLfZPByIC3r9PwEOLHG/s320/1+Debra+Hillabrand+%2528Florence%2529+Christine+Brewer+%2528Lady+Billows%2529+David+Dillard+%2528Mr.+Gedge%2529+Photo+John+Lamb.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIOgnGeE3X7JKswk7TTxL6ZqhJTWikzEjAnb0MYWnSV57xj4WUW3fr_Swvf-eVrTR6DvKeQFyd1PI5eocVBq6ZYjITCQHy06tIOOP81wfn0fbqEnBcVsPwjnpXNthSfx5dfZQIfDsSHxKV/s1600/4+Janara+Kellerman+%2528Mrs.+Herring%2529+David+Dillard+%2528Mr.+Gedge%2529+David+Walton+%2528Albert+Herring%2529+Christine+Brewer+%2528Lady+Billows%2529+Anthony+Heinemann+%2528Mr.+Upfold%2529+Photo+John+Lamb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIOgnGeE3X7JKswk7TTxL6ZqhJTWikzEjAnb0MYWnSV57xj4WUW3fr_Swvf-eVrTR6DvKeQFyd1PI5eocVBq6ZYjITCQHy06tIOOP81wfn0fbqEnBcVsPwjnpXNthSfx5dfZQIfDsSHxKV/s320/4+Janara+Kellerman+%2528Mrs.+Herring%2529+David+Dillard+%2528Mr.+Gedge%2529+David+Walton+%2528Albert+Herring%2529+Christine+Brewer+%2528Lady+Billows%2529+Anthony+Heinemann+%2528Mr.+Upfold%2529+Photo+John+Lamb.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM-az7SnDAe0Q9iHPcbyR1LTYpKYW8X33pFdlswSj4YhRWEg-rFA9YajQiknRg1QWq2kEhizCVonvGOu4wkDO30nwyg9ppnQCBA3qYNj3rUCtmdQ3DEdNStFljKWdSPY0cV5SEi3BRllIp/s1600/5+Gina+Malone+%2528Emmie%2529+Victoria+Botero+%2528Cis%2529+Seth+Drake+%2528Harry%2529+Photo+John+Lamb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM-az7SnDAe0Q9iHPcbyR1LTYpKYW8X33pFdlswSj4YhRWEg-rFA9YajQiknRg1QWq2kEhizCVonvGOu4wkDO30nwyg9ppnQCBA3qYNj3rUCtmdQ3DEdNStFljKWdSPY0cV5SEi3BRllIp/s320/5+Gina+Malone+%2528Emmie%2529+Victoria+Botero+%2528Cis%2529+Seth+Drake+%2528Harry%2529+Photo+John+Lamb.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjizv0Q24C9mDMiIGaVRpLHepsM_TfbtI7niyavlzhxHwk6GUbdmxFGJ3CTgTwBOD_epiVdageX84CkEsAU_chEEY5e7FPFZSHCWFBZ9O_QRaHQ7AUj6N7fuZDD2eeNMavb4Wf7YCgr1wad/s1600/11+Albert+Herring+Cast+III+-+Photo+John+Lamb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjizv0Q24C9mDMiIGaVRpLHepsM_TfbtI7niyavlzhxHwk6GUbdmxFGJ3CTgTwBOD_epiVdageX84CkEsAU_chEEY5e7FPFZSHCWFBZ9O_QRaHQ7AUj6N7fuZDD2eeNMavb4Wf7YCgr1wad/s320/11+Albert+Herring+Cast+III+-+Photo+John+Lamb.jpg" width="320" /></a></div>
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-->Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com0tag:blogger.com,1999:blog-1868457521565839495.post-65125952675389539912017-06-20T18:58:00.000-07:002017-06-21T06:53:12.375-07:00Julius Caesar and Literalism<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">It is inevitable: someone will post an article or a
promotion about a controversial opera production in one of the European houses
and the negativity usually starts immediately.<span style="mso-spacerun: yes;">
</span>“It disrespects the composer!” Or “It doesn’t follow the libretto!”<span style="mso-spacerun: yes;"> </span>And then the production is
dismissed as “Euro-tr—h” and the commenter moves on.<span style="mso-spacerun: yes;"> </span>Well the production is not trash, and the use
of the E word is insulting and ignorant.<span style="mso-spacerun: yes;">
</span>I have no patience with it.<span style="mso-spacerun: yes;"> </span>Do we
really need to call names and insult an entire continent in order to feel
superior?<span style="mso-spacerun: yes;"> </span>Additionally there are plenty
of American stage directors who are just a creative.<span style="mso-spacerun: yes;"> </span>In other words, the phenomenon of
“Regie-Theater” is not confined to Europe.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><br /></span>
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">But the bigger issue to me is this claim that somehow
we are disrespecting the composer.<span style="mso-spacerun: yes;"> </span>How
do we know this when the composer has been dead for a couple hundred
years?<span style="mso-spacerun: yes;"> </span>Well, “it’s all in the
libretto.”<span style="mso-spacerun: yes;"> </span>Is it?<span style="mso-spacerun: yes;"> </span>It seems to me that these folks who look at
opera libretti as holy writ neither know nor understand the libretto. Is the
essence of “Tosca” in making sure that the opera is set for two of its three
acts in the actual Castel Sant'Angelo?<span style="mso-spacerun: yes;"> </span>Is the
essence of the libretto to be found in the stage directions that instruct Tosca
to enter here and Spoletta to exit there?<span style="mso-spacerun: yes;">
</span>I think that is missing the point.<span style="mso-spacerun: yes;">
</span>This is just literalism plain and simple.<span style="mso-spacerun: yes;"> </span>And literalism limits our vision; it disables
our ability to enter into the deeper meaning of a text or a story; literalism
keeps us on the surface and denies us the profundity of the depth of meaning
that these texts, literature, art and music contain.<span style="mso-spacerun: yes;"> </span>In my view literalism is anti-art; it is
anti-human growth because it never challenges.<span style="mso-spacerun: yes;">
</span>It just confirms our own worldview and allows us to avoid the deeper
meaning and implications of a work.<span style="mso-spacerun: yes;"> </span>And
this is true whether that work is the Bible or Tosca or Shakespeare’s "Julius
Caesar!"<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><br /></span>
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">There has been a lot of hubbub about
Shakespeare’s play “Julius Caesar.” Specifically, a production of the play is being performed in Central Park which updates the action to our present time and some of the characters seem to bear some resemblance to current political figures. Since the title character (supposedly played to be similar to our current president) is assassinated this has caused upset. Some of these folks have even been threatening violence themselves. Both Delta Airlines and
the Bank of America pulled their support.<span style="mso-spacerun: yes;">
</span>Folks angry about this interpretation have crashed performances
and even threatened summer Shakespeare companies who are not even performing
Julius Caesar (you do know that William wrote a lot of plays, right? The most pathetic is the company who has received numerous threats of violence for performing... wait for it.... "The Merry Wives of Windsor!").<span style="mso-spacerun: yes;"> </span>The problem for me in all of this, at least
initially, is that it would seem from what I have read that not one of those who
are upset with this play (or production) and are throwing around these cowardly
threats and taking back their money have seen it.<span style="mso-spacerun: yes;"> </span>In fact, it appears to me that many of them
have not even read the play.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><br /></span>
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">So for those who are feeling upset and
especially for the good but uninformed and rather ignorant people at Delta and
Bank of America – here is "Julius Caesar 101":<span style="mso-spacerun: yes;"> F</span>irst of all, we have to start by understanding that the story (based on historical facts, but
not limited to them! – that is important by the way) began quite a long time before
the play opens.<span style="mso-spacerun: yes;"> </span>Shakespeare’s audience
would have been quite familiar with the story of Caesar the brilliant general
who conquers most of Europe, and the Caesar who “crossed the Rubicon.”<span style="mso-spacerun: yes;"> </span>Caesar was not only a brilliant military
strategist but an equally brilliant politician who knew how to capitalize on
his military popularity to become a populist leader and move the Roman Empire
(which he actually pretty much created single handed) from being a democratic
republic to a authoritarian empire.<span style="mso-spacerun: yes;"> </span>This
is where the play starts.<span style="mso-spacerun: yes;"> </span>Senators such
as Cassius, Casca and Brutus are alarmed at Caesar’s political moves to undermine the
republic and come to the conclusion that the only way to stop him is to
assassinate him.<span style="mso-spacerun: yes;"> </span>Their end goal is to
protect the republic, but they choose to do this with violence. The personal dimension is provided by the fact that Caesar considers Brutus to be his dear, close friend. So the issues of personal betrayal ("E tu Brute?), the struggle between private vs. public good all are a part of this play - which is one of the things that makes it a masterpiece!<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><br /></span>
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">And so, on the Ides of March, after being warned to
stay away from the Senate, Caesar arrives to begin the day's deliberations. Just as the affairs of state are
beginning, Casca strikes the first blow with his knife and the other
conspirators follow suit.<span style="mso-spacerun: yes;"> </span>They then bath
their hands in the dead Caesar’s blood and head out to the marketplace.<span style="mso-spacerun: yes;"> </span>They are assuming that Rome will rally to
them. After all they had saved Rome from an authoritarian dictator.<span style="mso-spacerun: yes;"> </span>But they (Brutus in particular) make two
major mistakes in judgment.<span style="mso-spacerun: yes;"> </span>First, his speech
justifying the action is ineffective and unconvincing.<span style="mso-spacerun: yes;">
</span>The blood on his hands unnerves him and the crowds in the square. And
while the speech gets initial lukewarm acceptance it is ultimately ineffective.<span style="mso-spacerun: yes;"> </span>The second mistake is allowing Caesar’s great
friend Mark Anthony to speak.<span style="mso-spacerun: yes;"> </span>The speech
is amazing.<span style="mso-spacerun: yes;"> </span>The conspirators had
underestimated Mark Anthony’s rhetorical ability and as the speech builds he
begins to rally the people to his side.<span style="mso-spacerun: yes;">
</span>By the end the conspirators have fled and the tide has turned. <o:p></o:p></span></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">(Mark Anthony’s speech is one
of the greatest of Shakespeare’s creations.<span style="mso-spacerun: yes;">
</span>Here are two performances: Charlton Heston in the film from 1970 is
first.<span style="mso-spacerun: yes;"> </span>I think this is one of his best
roles.<span style="mso-spacerun: yes;"> </span>And the other is Damian Lewis.<o:p></o:p></span></i></div>
<div class="MsoNormal" style="text-align: center; text-indent: 0.5in;">
<span style="font-size: 16px;"><i><a href="https://youtu.be/0bi1PvXCbr8" target="_blank">"Friends, Romans, Countrymen Lend me your ears!" - Charleton Heston as Mark Anthony</a></i></span></div>
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<span style="font-size: 16px;"><br /></span></div>
<div class="MsoNormal" style="text-align: center; text-indent: 0.5in;">
<span style="font-size: 16px;"><i><a href="https://youtu.be/q89MLuLSJgk" target="_blank">Damien Lewis as Mark Anthony</a></i></span></div>
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<br /></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">But, violence begets violence.<span style="mso-spacerun: yes;"> </span>The poet Cinna is mistaken for the Senator
and conspirator Lucius Cinna and is brutally killed in the streets.<span style="mso-spacerun: yes;"> </span>Rioting and burning engulfs the city of Rome
and Mark Anthony, the General Lepidus and eventually Caesar’s heir the young, but equally brilliant and exceptionally power hungry Octavius Caesar
(eventually to be known as the Emperor Augustus) consolidate their power by executing
anyone they deem as disloyal (historically this included the great Roman orator
and lawyer Cicero).<span style="mso-spacerun: yes;"> </span>Then they raise and lead an
army against the conspirators.<span style="mso-spacerun: yes;"> A</span>ll the combatants meet at Philippi and the forces under the command of Octavius and Mark Anthony
are victorious, the last of the conspirators are killed or commit suicide.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><br /></span>
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">One of the great points of this play is that the
violence of the initial assassination unleashes a power those who resorted to
violence cannot control and that ultimately the violence destroys them
all.<span style="mso-spacerun: yes;"> </span>In other words: violence does not
work!<span style="mso-spacerun: yes;"> </span>Period!<span style="mso-spacerun: yes;"> </span>Those who resort to violence, no matter how
noble the goal, are ultimately destroyed along with many, many innocents with them.<span style="mso-spacerun: yes;"> </span>Violence does not work!<span style="mso-spacerun: yes;"> </span>This is one of the major points of the play!<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><br /></span>
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">And it seems to be a point that was missed by both
the protestors and the poorly informed folks at Delta and Bank of America.<span style="mso-spacerun: yes;"> </span>This play does not advocate violence – on the
contrary, it decries it!<span style="mso-spacerun: yes;"> </span>It condemns
it.<span style="mso-spacerun: yes;"> </span>And anyone who suggests or threatens
violence in relation to this play is aligning themselves with the conspirators,
who are destroyed in the end.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><br /></span>
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">I have not seen this production.<span style="mso-spacerun: yes;"> </span>It is obviously updated, but there is nothing
wrong with that.<span style="mso-spacerun: yes;"> </span>Of all the productions
of this play I have seen most of them have been updated, including a
magnificent RSC production set in Africa.<span style="mso-spacerun: yes;">
</span>But can we not look past the setting and allow the stage director and
the actors to lead us into the depth of the meaning of this incredible play and
then take to heart one of the main points of the play: <b>Violence. Does. Not.
Work.<span style="mso-spacerun: yes;"> </span>Violence is evil, it is seductive
and violence will destroy those who rely upon it.</b><o:p></o:p></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><br /></span>
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">This brings to mind another great Shakespeare play – "Macbeth."<span style="mso-spacerun: yes;"> </span>There is no noble motivation in "Macbeth."<span style="mso-spacerun: yes;"> </span>Personal advancement provides
the impetus for Macbeth and his wife to begin their murderous careers.<span style="mso-spacerun: yes;"> </span>But once they start they can’t stop.<span style="mso-spacerun: yes;"> </span>“What is done cannot be undone” and the
insecurity and fear which preys upon them as a result eventually destroys them.
In other words the motivation is irrelevant.<span style="mso-spacerun: yes;">
</span><b>Violence. Does. Not. Work!</b><span style="mso-spacerun: yes;"> </span>This
is at the heart of both plays.<span style="mso-spacerun: yes;"> </span>So rather
than protesting and getting all upset and making cowardly threats and taking
our money and going home and all of that maybe we might take a little time and
read the play and understand what it is that Shakespeare wants us to
understand.<span style="mso-spacerun: yes;"> </span>And, really, remember, Shakespeare
is truly objective in regard to 21<sup>st</sup> century American politics.<span style="mso-spacerun: yes;"> </span>He truly “doesn’t have an iron in the fire”
as they say.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">Finally, one of the great betrayals of this country
has been going on now for a number of years – so we can’t blame 45 for this exclusively,
though he isn’t helping -<span style="mso-spacerun: yes;"> T</span>hat is insidious the idea that the arts and the humanities are somehow unimportant and should
be cut from school curriculums.<span style="mso-spacerun: yes;"> Wrong! </span>The arts
and the humanities teach us how to think.<span style="mso-spacerun: yes;">
</span>They teach us how to be good citizens.<span style="mso-spacerun: yes;">
</span>They teach us how to be great and help us to measure ourselves.<span style="mso-spacerun: yes;"> </span>America can never be great without a comprehensive
education system.<span style="mso-spacerun: yes;"> </span>And this has got to
include the arts and humanities.<span style="mso-spacerun: yes;"> </span>The
Ancient Greeks and Romans understood this, and we ignore it to our peril.<o:p></o:p></span></div>
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<br /></div>
Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com0tag:blogger.com,1999:blog-1868457521565839495.post-59351180229422138252017-01-14T08:49:00.002-08:002019-09-12T13:56:32.375-07:00Verdi's "Don Carlos" and History - Opera and Biography in Conversation<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPfJOj4rLbItYtcAZDlE88k2K_bTA8HF4bKMJ3YcaXu3d78w9i39OyMTNC5VrIbxYx0DnNT1hTJCoVWyHUmXA1Z2Zrw-aUKg9GeZqpFyO6H-GwKxPj7jylIvr2E1SzrFQ2xFu3S9N59S7P/s1600/DonCarlosPortrait.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPfJOj4rLbItYtcAZDlE88k2K_bTA8HF4bKMJ3YcaXu3d78w9i39OyMTNC5VrIbxYx0DnNT1hTJCoVWyHUmXA1Z2Zrw-aUKg9GeZqpFyO6H-GwKxPj7jylIvr2E1SzrFQ2xFu3S9N59S7P/s320/DonCarlosPortrait.jpg" width="235" /></a></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><br /></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">From time to time someone will ask me to name my
favorite opera.<span style="mso-spacerun: yes;"> I suppose the assumption is that s</span>ince I am an opera fan
the surely I must have A (one) favorite opera.<span style="mso-spacerun: yes;">
</span>I find the question not so easy to answer though.<span style="mso-spacerun: yes;"> </span>It depends on my mood and what I can
see at any given time. <span style="mso-spacerun: yes;"> The fact is that </span>I love a lot of operas – Cenerentola,
Cosi, Don Giovanni, Aida, Wagner's Ring - and I am hard pressed to whittle it down
to one.<span style="mso-spacerun: yes;"> </span>But even so, there is one opera that I
would put in the top of any list I would create and that opera is Verdi’s Don
Carlos.<span style="mso-spacerun: yes;"> </span>This is, in my view, a terrific
opera and I never tire of it.<span style="mso-spacerun: yes;"> </span>It is always interesting and
exciting to see a production.<span style="mso-spacerun: yes;"> This is partly because</span> Verdi himself was never pleased with it and he kept tinkering with
it.<span style="mso-spacerun: yes;"> </span>So there is at least about 5 hours of music that
has been composed for this work. A traditional production of this opera however usually clocks in at around 3 to 3 and a half hours. And then there is the
French version, which has even more different music composed for it.<span style="mso-spacerun: yes;"> </span>Don Carlo is a great treasure that has so
much depth that one will never be able to exhaust the riches of this work.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">I have seen it only once live, and that was at the
Met with a wonderful cast (Furlanetto as Philip II, also with Lee as Carlos, Dmitri Hvorostovsky as Posa, Frittoli as Elizabeth) but
I have seen many productions online or on disk. I hope in the years to come to
have the opportunity to see this opera live on many more occasions. <i>(La Scala
is doing a 5 hour version of the opera next season and Paris is doing BOTH the
French and Italian versions of the opera in alteration – wouldn’t I love to see
both of those productions!)</i><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">The opera is based on a play of the same name by
Schiller, which was based on a novel by César de Saint-Réal, which was based on
several tracts written during Philip’s lifetime by men who were his enemies,
the most notable is an “Apology” by Prince William of Orange (who led the Dutch
rebellion against Philip and was eventually assassinated, on Philip’s orders).
The plot of the opera is convoluted, but I will attempt to lay it out simply
(note that the play is even more complex).<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">The Plot of the Opera:<o:p></o:p></span></b></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">• PROLOGUE: Carlo has been betrothed to Elizabeth of Valois and he accompanies the guards
sent to meet her and escort her to Spain.<span style="mso-spacerun: yes;">
</span>He slips away, as does Elizabeth from her train and they meet accidentally and without
her knowing who he is at first they fall in love.<span style="mso-spacerun: yes;">
</span>Then the message comes that Philip has changed his mind and will marry
Elizabeth himself.<span style="mso-spacerun: yes;"> </span>After listening to
the pleadings of the French peasant women for her to accept and bring peace to their land she
accepts the offer of Philip’s hand with a heavy heart.<span style="mso-spacerun: yes;"> </span>Carlo is crushed.<span style="mso-spacerun: yes;"> </span>This is the famous Fontainebleu scene which in
the past was often cut.<span style="mso-spacerun: yes;"> </span>It is a great
scene and IMHO should never be cut.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">• ACT I, SCENE 1 - Several years has passed.<span style="mso-spacerun: yes;"> </span>Elizabeth and
Philip are married.<span style="mso-spacerun: yes;"> </span>They are not
happy.<span style="mso-spacerun: yes;"> </span>Carlo haunts the monastery where
his grandfather Carlo V is buried and often his elaborate tomb is a part of the
set.<span style="mso-spacerun: yes;"> </span>He meets an old monk (who may be
Carlo V himself).<span style="mso-spacerun: yes;"> </span>Suddenly Carlo is
interrupted by his friend Rodrigo, the Marquis of Posa.<span style="mso-spacerun: yes;"> </span>Rodrigo is particularly concerned about Spanish
oppression in Flanders and asks Carlo to join him in trying to help the people
of Flanders.<span style="mso-spacerun: yes;"> </span>Carlo hesitates and Rodrigo
is able to get Carlo to admit his love for Elizabeth – his step-mother, the
Queen!<span style="mso-spacerun: yes;"> </span>Rodrigo is horrified, but they sing a famous duet committing themselves to each other as friends. This duet is interrupted by the King and Queen who have come to pray at
the tomb.<span style="mso-spacerun: yes;"> </span>The scene ends with a reprise
of the famous and glorious duet between Posa and Carlo – BFF for ever!<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><a href="https://youtu.be/5XXKepihK74" target="_blank">Rodrigo-Carlo Duet with Kaufmann and Hvorostovsky</a></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">• ACT II - The Queen is attended by her ladies. The Princess of Eboli sings a Spanish song
to amuse them. Rodrigo arrives and passes a secret letter to the Queen from
Carlo asking for an audience.<span style="mso-spacerun: yes;"> </span>Posa is
able to distract the nosey Eboli and the Queen meets Carlo with great
dignity.<span style="mso-spacerun: yes;"> </span>He, however, is a wreck.<span style="mso-spacerun: yes;"> </span>He begs her to run away with him.<span style="mso-spacerun: yes;"> </span>She finally looses her cool and suggests that
what he is suggesting is that he murder his father the King and take his
step-mother to bed.<span style="mso-spacerun: yes;"> </span>Would that make him
happy?<span style="mso-spacerun: yes;"> </span>Carlo runs away terrified just as
the King enters.<span style="mso-spacerun: yes;"> </span>Philip is unhappy that
the Queen has been left alone and dismisses one of her ladies for neglect.<span style="mso-spacerun: yes;"> </span>This prompts a beautiful aria by Elizabeth,
expressing her sorrow, remorse and humiliation.<span style="mso-spacerun: yes;">
</span>Posa arrives as the ladies leave and the King asks Posa to ask for a
reward, suggesting that his faithful service has deserved a reward from the
King.<span style="mso-spacerun: yes;"> </span>Posa responds that he wants
nothing for himself, but for others…<span style="mso-spacerun: yes;">
</span>“Others?” Asks the King.<span style="mso-spacerun: yes;"> </span>Yes, the
people of Flanders.<span style="mso-spacerun: yes;"> </span>The King is
uncomfortable with this suggestion and Posa gets so worked up that he forgets
himself and suggests that Philip’s legacy will to be remembered as a tyrant,
like Nero.<span style="mso-spacerun: yes;"> </span>Philip forgives the
indiscretion and changes the subject.<span style="mso-spacerun: yes;">
</span>Would the Marquis act as a spy for me on Elizabeth and Carlo?<span style="mso-spacerun: yes;"> </span>Philip suspects something.<span style="mso-spacerun: yes;"> </span>Posa is amused by this but agrees.<span style="mso-spacerun: yes;"> </span>“But,” cautions the King, “Beware the Grand
Inquisitor!”<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Ti guarda!</i><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhImvObHZMl4pJcq_7E73bmWS3fRZc7yZnxzXZksqXMgTlwhQUKRMSJHJO-0MNxNBEo0fW9tpgRDFS8OExKGoFACDv_RhxGJd9I5AcZOmVKr5TNr2-_4VxCbvy3fRh-NIXYlP3DQ9QB07iv/s1600/FFasPhilip.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhImvObHZMl4pJcq_7E73bmWS3fRZc7yZnxzXZksqXMgTlwhQUKRMSJHJO-0MNxNBEo0fW9tpgRDFS8OExKGoFACDv_RhxGJd9I5AcZOmVKr5TNr2-_4VxCbvy3fRh-NIXYlP3DQ9QB07iv/s320/FFasPhilip.jpg" width="213" /></a></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">• ACT III, SCENE 1 - Carlo thinks he will have a midnight rendezvous with the Queen at which he
intends to tell her he is going away.<span style="mso-spacerun: yes;">
</span>But the Queen doesn’t show.<span style="mso-spacerun: yes;"> </span>It is
Eboli who loves Carlo but who Carlo doesn’t recognize in the dark.<span style="mso-spacerun: yes;"> </span>After pouring his heart out he realizes his
mistake.<span style="mso-spacerun: yes;"> </span>It is too late, Eboli has put
it together and swears to be revenged on Carlo and the Queen.<span style="mso-spacerun: yes;"> </span>Posa arrives and is ready to run Eboli
through with his sword but is restrained by Carlo.<span style="mso-spacerun: yes;"> </span>After Eboli leaves Posa demands that Carlo
turn over any incriminating papers.<span style="mso-spacerun: yes;"> </span>“To
you, the King’s confidant?” Says Carlo.<span style="mso-spacerun: yes;">
</span>Posa is hurt and stunned to be distrusted, but Carlo finally agrees.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">• ACT III, SCENE 2 - The day of the great Auto-da-Fé.<span style="mso-spacerun: yes;"> </span>The
crowds have assembled, the heretics are marched to the stake. The King and
Queen arrive with much pomp.<span style="mso-spacerun: yes;"> </span>Suddenly
Carlo bursts in accompanied by ambassadors from Flanders.<span style="mso-spacerun: yes;"> </span>They interrupt the proceedings and plead for
justice and mercy.<span style="mso-spacerun: yes;"> </span>The King is about the
order their arrest when Carlo asks to be made Regent of Flanders.<span style="mso-spacerun: yes;"> </span>Philip refuses and Carlo, incensed draws his
sword on the King.<span style="mso-spacerun: yes;"> </span>Everyone is shocked until finally the Marquis of Posa steps forward and disarms the Prince. As a reward the King on the spot gives Posa the title of Duke while Carlo is arrested and the fires are lit
to burn the heretics.<span style="mso-spacerun: yes;"> </span>A voice from
heaven floats down promising salvation for the so-called heretics. (It has
always been unclear to me if the cast and crowds on stage can actually hear
this voice, or if it is just for us the audience.)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">• ACT IV, SCENE 1 - Philip is alone in his study.<span style="mso-spacerun: yes;"> </span>He has the
Queen’s chest of jewelry open in front of him.<span style="mso-spacerun: yes;">
</span>Inside he has found a portrait of Carlo.<span style="mso-spacerun: yes;">
</span>He is despondent and sings one of the great bass arias in all opera:</span></div>
<div class="MsoNormal" style="text-align: center;">
<a href="https://youtu.be/ZLlpoR_qMDs" style="font-size: 12pt;" target="_blank">Ella giammai m'amo</a><span style="font-size: 16px;"> - Met Feruccio Furlanetto</span></div>
<div class="MsoNormal">
<span style="font-size: 12pt;">He is interrupted by
the entrance of the Grand Inquisitor (and this is my favorite scene in all of
opera – this dramatic scene between these two basses is tremendous).</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">Philip tells the GI that he has arrested his
son and feels that Carlo needs to be executed for the sake of the realm.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">Would he, the GI, offer him absolution if he
condemns his son the death.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">He never
gets an answer for this question from the GI.</span><span style="font-size: 12pt;">
</span><span style="font-size: 12pt;">Instead the GI asks the King to give him Posa for his work in support of
the Flemish rebels.</span><span style="font-size: 12pt;"> </span><i style="font-size: 12pt;">No, jamais – </i><span style="font-size: 12pt;">No, Never! Shouts the King.</span><span style="font-size: 12pt;"> "</span><span style="font-size: 12pt;">Don’t think that just because you are King
that I can’t pull you before the tribunal," thunders the GI.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">Finally, Philip asks that there may be peace
between them.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">“Perhaps,” says the
GI.</span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: 12pt;"><a href="https://www.youtube.com/watch?v=7pNxU4ck8BI" target="_blank">Grand Inquisitor Scene - Plishka and Hines</a></span></div>
<div class="MsoNormal">
<span style="font-size: 12pt;">No sooner has he left the room than
Elizabeth bursts in angry and demanding the King’s justice for the theft of her
Jewels.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">“Is this what you are looking
for?” Asks the King.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">Elizabeth is
stunned and further embarrassed when the King demands to know why she has a
portrait of Carlo.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">The Queen tries to
explain that there is nothing between them but the King accuses her of being
unfaithful at which point she swoons.</span><span style="font-size: 12pt;">
</span><span style="font-size: 12pt;">Eboli enters as the King leaves with Posa.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">Eboli is mortified that he anger has caused
all of this heartbreak.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">It was she, she
tells the Queen, who stole her box and gave it to the King.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">And not only that but she is the King’s
mistress.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">Elizabeth, hurt and betrayed,
softly asks for the gift back she had given to Eboli and gives her a choice of
exile or life in a convent. As she leaves the Queen tells Eboli she has 24
hours to be gone.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">Eboli sings her great
area “O Don Fatale” at the close of which she sees the warrant for Carlo’s
death on the King’s death.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">She resolves
to save Carlo before she leaves the court.</span><span style="font-size: 12pt;">
</span><span style="font-size: 12pt;">(This 4</span><sup>th</sup><span style="font-size: 12pt;"> act is perhaps one of Verdi’s greatest
achievements.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">It is great music,
exceptionally dramatic and brilliantly structured.</span></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">• ACT IV, SCENE 2 - In
the prison cell where Carlo is being held Posa comes to visit and tells Carlo
that he has implicated himself for Carlo’s sake and is expecting to be arrested
that day.<span style="mso-spacerun: yes;"> </span>He has come to say
goodbye.<span style="mso-spacerun: yes;"> </span>Suddenly a shot rings out.<span style="mso-spacerun: yes;"> </span>The Inquisition has assassinated Posa.<span style="mso-spacerun: yes;"> </span>As he dies he begs Carlo to “Save
Flanders!”<span style="mso-spacerun: yes;"> </span>The King enters and tells
Carlo he is pardoned and free, but Carlo turns on his father and accuses him of
Posa’s death.<span style="mso-spacerun: yes;"> </span>Philip denies it but<span style="mso-spacerun: yes;"> a</span>t
that moment there is a commotion.<span style="mso-spacerun: yes;"> </span>A band
of peasants is besieging the castle.<span style="mso-spacerun: yes;"> </span>The
GI appears and orders them to kneel before their King.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><a href="https://youtu.be/B55AfNlJgT4?list=RDB55AfNlJgT4" target="_blank">Rodrigo Death Scene - Hvorostovsky and Kaufmann again</a></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">• In
the monastary again.<span style="mso-spacerun: yes;"> </span>Elizabeth has come
to say goodbye to Carlo who is leaving to help the people of Flanders. She
sings an aria and they sing a duet.<span style="mso-spacerun: yes;"> </span>They
are then interrupted by the King and GI who orders their arrest.<span style="mso-spacerun: yes;"> </span>Suddenly the voice of Carlo V rings out
proclaiming the innocence of his grandson and Elizabeth as both of them
disappear inside the tomb.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">(Frankly
the weakest act of the opera dramatically is the very last scene.<span style="mso-spacerun: yes;"> </span>In my opinion it is very unsatisfying after everything that
went before.<span style="mso-spacerun: yes;"> </span>And this is a scene that no
two stage directors do the same.<span style="mso-spacerun: yes;"> </span>The
live production at the Met I saw had Carlo fighting with the guards and being
killed.<span style="mso-spacerun: yes;"> </span>I have never seen a production
that I thought made sense of the last scene.<span style="mso-spacerun: yes;">
</span>And frankly, the Schiller is not much better.<span style="mso-spacerun: yes;"> </span>I should get the novel and see how he ends
the story).<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">So how does the opera stack up to the history of
Spain and King Philip II?<span style="mso-spacerun: yes;"> </span>I recently
finished reading <i style="mso-bidi-font-style: normal;">The Imprudent King – A
New Life of Philip II </i><span style="mso-spacerun: yes;"> </span>by Geoffrey
Bush.<span style="mso-spacerun: yes;"> </span>It is an excellent and detailed
account of the life of this great monarch who’s legacy continues to be felt in
our world.<span style="mso-spacerun: yes;"> </span>Reading this book it is clear
that the Schiller/Verdi version of the story is fiction for the most part.<span style="mso-spacerun: yes;"> </span>There are some basic historical truths
represented but for the most part the basic plot is completely fiction, beginning with the cast list.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><br /></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">Elizabeth of Valois was Philip’s third wife (Mary Tudor - "Bloody Mary" was the second), she was
never betrothed to Carlo who would have been too young at any rate.<span style="mso-spacerun: yes;"> </span>It was discussed for a while that Carlo would
marry Anne of Austria, his cousin (the Hapsburgs all married sisters and
cousins and aunts!)<span style="mso-spacerun: yes;"> </span>Ultimately Carlo’s
behavior and incompetency led Philip to break off negotiations and he did
eventually marry her himself (she was quite a bit younger so the age difference
fits the opera).<span style="mso-spacerun: yes;"> </span>However, it is
debatable whether Anne ever met Carlo.<span style="mso-spacerun: yes;">
</span>He was imprisoned and in solitary confinement by the time Philip married
her.<span style="mso-spacerun: yes;"> </span>And why was he imprisoned?<span style="mso-spacerun: yes;"> </span>It became clear to Carlo that his father was
having second thoughts about Carlo’s marriage to Anne.<span style="mso-spacerun: yes;"> (It is important to bear in mind that royals at that time contracted marriages as political moves, love and compatibility were irrelevant!) </span>But Carlo had become fixated on her.<span style="mso-spacerun: yes;"> </span>He had her portrait and devised a secret plan
to escape Spain, travel to Austria and sweep her off her feet.<span style="mso-spacerun: yes;"> </span>It was a wholly impractical plan.<span style="mso-spacerun: yes;"> </span>But nevertheless he decided he would do it,
but needed the help of his Uncle, Don John, the Admiral of the Spanish Navy to
assist in the travel part of the plan.<span style="mso-spacerun: yes;">
</span>Carlo confided his plan to John who promptly reported it to the King.<span style="mso-spacerun: yes;"> </span>Carlo was so incensed that he asked to see
his uncle again and this time had planned to murder him.<span style="mso-spacerun: yes;"> </span>His astute servants managed to thwart the
murder plan and John was bigger, stronger and quicker by far than Carlo and he
was easily able to protect himself.<span style="mso-spacerun: yes;"> </span>But
this was the last straw.<span style="mso-spacerun: yes;"> </span>The King had
had enough.<span style="mso-spacerun: yes;"> </span>Carlo was arrested and
confined in solitary until he died.<span style="mso-spacerun: yes;"> </span>It
seems harsh.<span style="mso-spacerun: yes;"> </span>And it is clear that Carlo
suffered from some kind of psychological disorder, exacerbated by years of
parental neglect and a bad head wound he had sustained.<span style="mso-spacerun: yes;"> </span>At any rate, it is highly doubtful that Anne
of Austria would have ever even considered accepting a proposal from the
Prince, much less carry on a secret love affair with him.<span style="mso-spacerun: yes;"> </span>She eventually gave birth (died in childbirth
actually) to Philip III.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">Everyone’s favorite baritone Rodrigo, Marquis of Posa
is a fictional character.<span style="mso-spacerun: yes;"> </span>There was a
treasury official who corresponded with the King near the end of Philip's life who
was the Marquis of Poza, but this man and the baritone character have nothing
in common at all.<span style="mso-spacerun: yes;"> </span>In the opera, Posa is
a heroic man, who sacrifices himself for his friend Carlo and for
Flanders.<span style="mso-spacerun: yes;"> </span>The only historical character
who even comes close is William of Orange.<span style="mso-spacerun: yes;">
</span>But he was never a friend of Carlo.<span style="mso-spacerun: yes;"> </span></span><span style="font-size: 12pt; text-align: center; text-indent: 0.5in;"> </span></div>
<div class="MsoNormal" style="text-align: center; text-indent: 0.5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><o:p></o:p></span></div>
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<br />
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><br /></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">The Duke of Lerma does not appear as a historical
character until Philip III begins to prepare to take over the throne from his
father.<span style="mso-spacerun: yes;"> </span>Lerma was the best friend of
Philip III, who made him a Duke.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">Princess of Eboli.<span style="mso-spacerun: yes;">
</span>There is a long, sad story involving her.<span style="mso-spacerun: yes;"> </span>She gets caught up the murder of Philip’s
secretary de Esconbedo, who was her cousin.<span style="mso-spacerun: yes;">
</span>She was married to one of Philip’s closest advisors – Ruy Gomez – until his
death.<span style="mso-spacerun: yes;"> </span>After that she started an affair
with another secretary Antonio Perez who is the one who arranges the murder of
his friend and colleague de Esconbedo. Despite the fact that Philip himself
ordered and approved this assassination Perez is eventually arrested and tried
and Eboli is also arrested.<span style="mso-spacerun: yes;"> </span>Initially
she is confined to her home, but eventually she is moved to a windowless cell
where she is kept in solitary confinement until she dies.<span style="mso-spacerun: yes;"> </span>She was never the King’s mistress.<span style="mso-spacerun: yes;"> </span>She was never in love with Carlo.<span style="mso-spacerun: yes;"> </span>She did have the eye patch, but that is about
all the similarity there is.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: center; text-indent: 0.5in;">
<br /></div>
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<br />
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><br /></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">The Grand Inquisitor – there is absolutely no evidence
that any Inquisitor of Spain had the kind of power and commanded the kind of
fear in Philip that the operatic character does.<span style="mso-spacerun: yes;"> </span>The character created by Verdi has more to do
with Verdi’s own conflicted and difficult relationship with the church.<span style="mso-spacerun: yes;"> </span>If there is a wholly evil character in the
opera it is the Grand Inquisitor, but there
is no one like that at Philip’s court.<span style="mso-spacerun: yes;">
</span>In fact several of the Inquisitor Generals of Spain also served Philip
as counselors, often very trusted counselors.<span style="mso-spacerun: yes;"> </span>They
certainly had influence, but their influence was not to be found in direct
confrontation.<span style="mso-spacerun: yes;"> </span>But rather indirect subtle “spiritual blackmail” as Parker puts it.<o:p></o:p></span></div>
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<div class="MsoNormal" style="text-align: center; text-indent: 0.5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">Carlo V did in fact resign and retire to a
monastery.<span style="mso-spacerun: yes;"> </span>However he only lived there a
few years before his death and he died before Carlo was born.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">What a day, what a day for an Auto-da-Fé </i><span style="mso-spacerun: yes;"> </span>-
Yes Philip attended several of these during his reign.<span style="mso-spacerun: yes;"> </span>They were always festival occasions and often
would bring his children to watch (how horrid!)<span style="mso-spacerun: yes;">
</span>If you can say anything about Philip and his reign it is this: he saw himself in
Messianic terms and he took his role as defender of the faith very, very
seriously.<span style="mso-spacerun: yes;"> </span>His entire foreign policy was
based primarily on this foundation.<span style="mso-spacerun: yes;"> </span>His
wars with the Turks were basically religious; his subjugation of Flanders was
prompted by the growth of Protestantism; his attempts to dethrone Elizabeth I,
the debacle of the defeat of the Spanish Armada all were an attempt to
reestablish Catholicism in England; the wars in France were also prompted by an
effort to undermine Protestantism.<span style="mso-spacerun: yes;"> </span>Under
Philip literally thousands were executed, many by being burned alive at the
stake. He was quite proud of this and saw it as an accomplishment.<span style="mso-spacerun: yes;"> </span>I think it is disgusting, but I am not living
in the 16<sup>th</sup> century.<span style="mso-spacerun: yes;"> </span>He also
celebrated the massacre of the French Huguenots on St. Bartholomew’s day!<span style="mso-spacerun: yes;"> </span>The circumstance of this scene is historical, however, that anyone (especially the Crown Prince) would threaten or challenge the King in public is not historical.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">Flanders was a constant problem for Philip for his
entire reign.<span style="mso-spacerun: yes;"> </span>The issue was primarily
Religious freedom, but there were economic issues as well.<span style="mso-spacerun: yes;"> </span>Philip had three different taxes imposed that
were designed to help pay for the occupation.<span style="mso-spacerun: yes;">
</span>Not surprisingly the Dutch were not enthusiastic and many rebellions
flared up as a result.<span style="mso-spacerun: yes;"> </span>The most serious one was led
by Prince William of Orange.<span style="mso-spacerun: yes;"> </span>Philip sent
the Duke of Alba (who is a character in the Schiller and bears no resemblance
whatsoever to the historical Alba) whose philosophy of putting down rebellions
was a scorched earth policy.<span style="mso-spacerun: yes;"> </span>He was (in
Philip’s name) brutal and exacting. The Flemish problem was never resolved in
the 40 years of Philip’s reign.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">The personality of Philip II is captured pretty well
by Verdi and certain singers – like Feruccio Furlanetto – do an excellent job
of bringing certain personality quirks out which are in fact historical.<span style="mso-spacerun: yes;"> </span>Philip was a micromanager.<span style="mso-spacerun: yes;"> </span>He had to do everything himself.<span style="mso-spacerun: yes;"> </span>He really did not trust others.<span style="mso-spacerun: yes;"> </span>His biggest failure was probably the defeat
of the Spanish Armada and this came about because he devised the strategy in
his study and would not allow his field commanders either input or deviation
from the plan.<span style="mso-spacerun: yes;"> </span>Neither of them for their
parts thought it would work, and they were right.<span style="mso-spacerun: yes;"> </span>Philip was always reading and writing
letters.<span style="mso-spacerun: yes;"> </span>(Furlanetto incorporates this
into his portrayal of the King.)<span style="mso-spacerun: yes;"> </span>He
preferred to be alone and to deliberate alone. He was an absolute ruler and he
ruled absolutely. He could be mistrustful.<span style="mso-spacerun: yes;">
</span>But he could also be ruthless and cruel.<span style="mso-spacerun: yes;">
</span>He was never noted for his mercy and many times preferred to exact harsh
punishment on those who opposed him.<span style="mso-spacerun: yes;"> </span>He
was not above using deception and lying to accomplish his goals or to entrap
someone.<span style="mso-spacerun: yes;"> </span>And he did this on several
notable occasions.<span style="mso-spacerun: yes;"> </span>He was not cowed by
anyone, even the Pope.<span style="mso-spacerun: yes;"> </span>He was very
devout, but while he was always respectful he still never allowed the church to
push him around.<span style="mso-spacerun: yes;"> </span>He was a complex man.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: center; text-indent: 0.5in;">
<br /></div>
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<br />
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">The fact is that Philip ruled over a Kingdom that
extended from the New World to Spain, Portugal, Flanders, parts of Italy and
out to the Philippines (named in his honor). It was a huge job and his
micromanaging style where he had to do everything himself was too
overwhelming.<span style="mso-spacerun: yes;"> </span>He was simply not capable
of managing it all.<span style="mso-spacerun: yes;"> </span>No one could. <span style="mso-spacerun: yes;"> </span>But he refused to accept this and would never
take no for an answer.<span style="mso-spacerun: yes;"> </span>Before the Armada
sailed the Admiral he had appointed came down very ill and had to be replaced.<span style="mso-spacerun: yes;"> </span>The man tapped to replace him tried for
months to get out of this job, but in the end was unable to and despite his
recognition that the plan would never succeed had no choice but to do it as
best as he could.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
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<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">The opera is based solely on propaganda devised by
Philip's enemies and has little basis in historical fact.<span style="mso-spacerun: yes;"> </span>Even so the opera is a brilliant work – one
of the greatest works in all of opera.<span style="mso-spacerun: yes;">
</span>Several scenes are simply iconic and magnificent, not only musically but
also dramatically.<span style="mso-spacerun: yes;"> </span>That the historical
details don’t match up is really not important in the long run, one should not
look to the theater for historical information anyway.<span style="mso-spacerun: yes;">
</span>Verdi (and Schiller) capture the basic setting and personality
of the King in particular and give us a magnificent study on the issues of
power and love and betrayal and loyalty.<o:p></o:p></span></div>
Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com1tag:blogger.com,1999:blog-1868457521565839495.post-3050667047712532572017-01-04T19:25:00.000-08:002017-01-04T19:25:02.456-08:00ROH Cosi Fan Tutte - Another Attempt to Redeem a Work That Doesn't Need Redeeming!<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">For some reason it turns out that I have found a
particular focus on the opera “Cosi fan tutte.”<span style="mso-spacerun: yes;">
</span>I have probably read more about that one opera than about any
others.<span style="mso-spacerun: yes;"> </span>Perhaps it is because I love it
so much and it is often unfairly maligned that I have sought to understand what
Da Ponte and Mozart were attempting to accomplish.<span style="mso-spacerun: yes;"> </span>So, I won’t repeat everything again.<span style="mso-spacerun: yes;"> </span>Instead please read these other essays that I
have written on this opera:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><a href="https://blakesoperablog.blogspot.com/2014/12/in-defense-of-cosi-fan-tutte.html">https://blakesoperablog.blogspot.com/2014/12/in-defense-of-cosi-fan-tutte.html<o:p></o:p></a></span></div>
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<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><a href="https://blakesoperablog.blogspot.com/2016/01/more-on-cosi-fan-tutte.html">https://blakesoperablog.blogspot.com/2016/01/more-on-cosi-fan-tutte.html</a><o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><a href="https://blakesoperablog.blogspot.com/2016/01/winter-opera-st-louis-cosi-fan-tutte.html">https://blakesoperablog.blogspot.com/2016/01/winter-opera-st-louis-cosi-fan-tutte.html</a><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">In
essence I argue that the original point of this work was to criticize current
18<sup>th</sup> century social conventions that placed women on a pedestal with
such high expectations that no mortal woman could ever possibly measure
up.<span style="mso-spacerun: yes;"> </span>The title says it all – “Cosi fan
tutte – Women are like that”<span style="mso-spacerun: yes;"> </span>- like
what? <span style="mso-spacerun: yes;"> </span>They are human beings, just like
men!<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><span style="mso-spacerun: yes;"> </span>That said, the point of this article is to
reflect briefly on the current Cosi that was recently performed and broadcast
to cinemas of the Royal Opera House’s new production.<span style="mso-spacerun: yes;"> </span>This production is slated to come to the Met
in a season or two, which I have to say, is unfortunate.<span style="mso-spacerun: yes;"> </span>But let me give the <b style="mso-bidi-font-weight: normal;">spoiler alert </b>warning.<span style="mso-spacerun: yes;"> </span>I am
going to reveal some things that you might want to save until you see it
yourself.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><span style="mso-tab-count: 1;"> </span>The foundational issue of this
production seems to be an attempt to redeem an opera that this director has
determined is simply no longer acceptable for 21<sup>st</sup> century
audiences.<span style="mso-spacerun: yes;"> </span>It is too silly, sexist,
mean-spirited, etc. – I suppose.<span style="mso-spacerun: yes;"> </span>How
else do you account for the altering of the title of the work in large lighted
letters at the end of the opera as <i style="mso-bidi-font-style: normal;">Cosi
fan tutti </i>?<span style="mso-spacerun: yes;"> </span>We all are like
that!<span style="mso-spacerun: yes;"> </span>Yes, that is what da Ponte was
getting at in the first place.<span style="mso-spacerun: yes;"> </span>But just
within the context of his own society.<span style="mso-spacerun: yes;"> </span>After
all, that is the culture in which he lived, and all it takes is a little study
to understand the issues of gender roles, enlightenment, religion, social
standing and so forth that all have an impact on this libretto.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><span style="mso-tab-count: 1;"> </span>Back to the ROH production: in my
opinion the best singer on stage was Johannes-Martin Kraenzle who sang Don
Alfonso.<span style="mso-spacerun: yes;"> </span>He was even dressed
traditionally in 18th century garb with a sword at his side.<span style="mso-spacerun: yes;"> </span>The rest of the very youngish cast was
adequate but I didn’t feel were all that strong, with the exception of Corrine
Winters as Fiordiligi.<span style="mso-spacerun: yes;"> </span>The rest of the
cast, by the way, (and the chorus) were all dressed in 21<sup>st</sup> century
attire.<span style="mso-spacerun: yes;"> </span>They emerged from the audience
at the end of the curtain calls, which took place during the overture – at the
beginning of the opera!<span style="mso-spacerun: yes;"> </span>Yes, you read
that right!<span style="mso-spacerun: yes;"> </span>Don’t ask. It was all rather
perplexing, though I think the point was something along the lines that these
young modern kids were going to participate in a theater event, as
representatives of all the other hip and modern young people.<span style="mso-spacerun: yes;"> </span>It was all rather odd.<span style="mso-spacerun: yes;"> </span>But the bottom line is that there was no
deception in this production.<span style="mso-spacerun: yes;"> </span>Everyone
recognized everyone else.<span style="mso-spacerun: yes;"> </span>In fact, the
fake mustaches were removed by the middle of the 2<sup>nd</sup> act so there
was no surprise at all.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><span style="mso-tab-count: 1;"> </span>Well, that is all fine.<span style="mso-spacerun: yes;"> </span>It might even work except for one major
problem.<span style="mso-spacerun: yes;"> </span>The libretto doesn’t support
it.<span style="mso-spacerun: yes;"> </span>The denouement in the 2<sup>nd</sup>
act finale has the girls terrified and Despina hiding and then the boys reveal
the ruse.<span style="mso-spacerun: yes;"> </span>Except in this production
everyone knew from the start, so there was nothing to reveal.<span style="mso-spacerun: yes;"> </span>So, it was just a romp – I guess.<span style="mso-spacerun: yes;"> </span>(And what in the world was with signing the
marriage contracts in blood!<span style="mso-spacerun: yes;"> </span>I felt like
we had jumped into a production of “Faust” for a moment! Or maybe “Siegfried” –
blutbrudderschaft and all that!).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;"><span style="mso-tab-count: 1;"> </span>In short, I felt that the production
essentially negated the entire point of the opera.<span style="mso-spacerun: yes;"> </span>It was just a romp, a diversion, a play in
the course of relationship.<span style="mso-spacerun: yes;"> </span>That the
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wonderful work.<span style="mso-spacerun: yes;"> </span>Da Ponte was making a
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into a generic, playful romp where nothing really matters.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<!--StartFragment-->
<span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 9.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"> Well, except it does matter that we
treat each other with respect and that we recognize the humanity in each
other. Especially in this era of politically
sanctioned misogyny and the tacet permission given to “grab them by the ***” –
It matters! It matters that we see and
respect each other as human beings; that women are treated with respect and
equality. And that women are allowed to
make their own choices and have their health care needs met in the way they
choose, not the way that men choose for them!
It all matters! A lot! And da
Ponte would agree with me!</span><!--EndFragment-->
Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com0tag:blogger.com,1999:blog-1868457521565839495.post-48172818195540560262017-01-02T15:06:00.002-08:002017-01-02T15:19:14.195-08:00The Hollow Crown II I finally got to see the last installment of the BBC "Hollow Crown" series. The first series appeared several years ago and included the plays: Richard II, Henry IV I & II and Henry V. <a href="http://blakesoperablog.blogspot.com/2013/02/the-hollow-crown.html" target="_blank">It is reviewed here - Hollow Crown I!</a> Now the last set has been released and it includes Henry VI 1, 2 and 3 and Richard III. But quickly I must add that there are only two installments of Henry VI as they are condensed from 3 plays to two. In a way it is too bad. It might have been nice to have done the plays in their entirety. But on the other hand they are a long and epic in their attempt to tell the detailed (albeit filtered through Elizabethan eyes) story of the long and painful reign of Henry VI. Almost all of the French scenes are cut. Joan Pucelle (Joan of Arc) appears but she is not developed but the objectionable scene where she looses her nerve and tries to escape execution by claiming to be pregnant is cut. Joan of Arc at least has more dignity in this production than is usually the case. I won't go into any more about the cuts as I think for the most part they worked and for screen the way the scripts were assembled worked very well in maintaining what was really a riveting set of performances.<br />
<br />
The casting of the series is simply amazing. Certainly the leading characters were magnificent. Benedict Cumberbatch as Richard III, Hugh Bonneville as the Duke of Glouchester and Lord Protector, Adrian Dunbar as Richard, Duke of York, Phoebe Fox as Anne Neville, Dame Judy Dench was simply spellbinding as Cecily, Duchess of York and for me the two members of the cast whose performances I found overwhelmingly outstanding were Tom Sturridge as Henry VI and Sopie Okonedo as Queen Margaret. Those two were the only two to appear in all three plays (films) - though Henry VI comes back as only briefly as a ghost in Richard III. Queen Margaret of Anjou was given a central role in the series - she was the glue. Her journey I found the most compelling and this actress was able to take us through from the shy girl who is discovered by Somerset to the incredible force behind Henry VI to the living phantom who haunts Richard the III until the end! Never have I seen this character take such a central part, but frankly since Richard III is the play that is done most often I am not sure this approach would work with only that play. You have to experience her from the beginning. <br />
<br />
The other thing I want to say about the casting is that I am not sure I have every seen a performance where all of the supporting roles were so brilliantly cast. Everyone was outstanding, including the children - in fact there was a scene that I don't remember having seen before included where the little Richard, Duke of York (one of the two princes in the tower) mocks his misshapen Uncle Richard and it was a chilling scene. Other amazing performances would include Anton Lesser as the Duke of Exeter, Sally Hawkins as the Duchess of Glouchester, Stanley Townsend as the Earl of Warwick, Samuel West as the Bishop of Winchester, Ben Miles as the Duke of Somerset, Keeley Hawes as Elizabeth Woodville, Ben Daniels as the Duke of Buckingham, James Fleet as Hastings and the actor who played Catesby was really outstanding (why does Wikipedia not list the entire cast - they don't even list the actor who played the Earl of Richmond who ends the entire series by defeating Richard III and being crowned Henry VII, this is the character that gives the very Tudor inspired speech at the end about uniting the houses of York and Lancaster in perfect unity. He was excellent, by the way and should be listed!<br />
<br />
If you have any interest in Shakespeare, and in the history plays I strongly recommend this series - both parts. I think of the 7 plays included in the entire series I think my favorite would still have to be the Henry IV series, probably because I particularly love those plays, but also because they are so well acted and well filmed. Tom Hiddleston, Simon Russell Beale and Jeremy Irons all put in magnificent performances. After that I think I would vote for the Richard III, but this 2nd set is designed to be watched as a set and to skip the Henry VI parts means you would miss out on a lot. This is not necessarily true of the first set of this series. Those performances stand on their own much more. And the reason for this is probably because in the first series a different director was engaged for each of the different plays (this is especially unfortunate in the case of Henry V which is in my view the weakest of the entire set). For Hollow Crown II one director - Dominic Cooke - directed and he created a unified vision that really makes these plays work together. This is a treasure! Highly recommended!<br />
<br />
One last comment in general. I have made the comment before that one should never look to the theater for historical accuracy and indeed Shakespeare's history plays are rife with Elizabethan fantasy and legend. The two major legends being 1. That Hal - later Henry V - led a dissolute life with low life friends like Sir John Falstaff and did so in order to truly understand the mind of the people, but eventually casting them off - not true! 2. Richard III was a murderous, evil twisted man who murdered his way to the throne, including the two children in the tower - not true! Still the plays have so much depth and can teach us so much about being human; about what is it that causes people to lust after power, to engage in such bloody conflicts and what are the consequences! The Henry IV plays for me are an exploration of the issue of fatherhood - Sir John and Hal's real father, the King Henry IV are both deeply flawed men and neither is much of a father - but both for different reasons. Hal rejects one initially and ultimately rejects the other. The final scene between Hal and Henry IV is for me one of the most moving scenes in all of Shakespeare. <br />
<br />
And Richard III for its rather unfair treatment of that last white rose Yorkish king who by all accounts was a pretty good king - certainly better than his brother Edward IV and (sorry Tudor fans) a whole lot better than Henry VII (who is the Messiah figure Richmond in the play - of course, he was, after all, Queen Elizabeth I's grandfather!) Henry VII was withdrawn, brooding and highly insecure to the point of paranoia. It was he who created the beginnings of the Tudor police state which eventually was so brilliantly managed and looked over by Elizabeth's spymaster Francis Walsingham and and her Secretary of State William Cecil. But none of that matters, because Richard the III is ultimately not history, it is a study of the nature of evil. And Cumberbatch's performance gives us a brilliant portrayal of a vulnerable Richard who is driven to evil and murder, but who also suffers from his obsessions and insecurity. The play is brilliant but this performance is virtuostic! Shakespeare uses a technique in this play that he will utilize later, especially in Hamlet, and that is the use of the soliloquy. Richard talks to us, confides in us, the audience, and looks to us as he is slowly weaving his plans. It makes this play stand out and is different than all of the other history plays. But it has the effect of making us complicit in the evil that is buried deep in this tyrants heart. We become a part and a player in the evolution of this evil monster and it should call for us to look deep into our own hearts to see the evil that Richard appeals to in all of us. The death of Richard at Bosworth Field, and the final shot of the field in this film should give us all pause as we go plunging forward ignoring the lessons of history and the dangers of hate and lust for power and desire for revenge. Do you see Richard III lying dead in the mud - that is where revenge and hate and selfishness and violence lead. It led Richard and so many of the Yorks and Lancasters there in the 14th through the 15th centuries and it is going to lead us to the very same place today - except that technology has made the stakes higher and more dangerous. But it is the same story. <br />
<br />
So, get it and watch it. You can stream it on the PBS site. You can buy it on Amazon. Take the lessons to heart. For as bloody as it is remember they are only using swords and spears!Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com3tag:blogger.com,1999:blog-1868457521565839495.post-51446526416538972862016-12-16T13:21:00.000-08:002016-12-16T13:21:11.352-08:00Chicago in November: Troyans / Hamilton / Don Quichotte and a little bit of CSO thrown in for good measure!<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">Finally I got a little vacation time and after
spending a few days in Wyoming I flew back to Chicago and spent what turned out
to be a very introspective several days there.<span style="mso-spacerun: yes;">
</span>This has been a difficult fall.<span style="mso-spacerun: yes;">
</span>The presidential election has been a horrendous experience, and not just
for me.<span style="mso-spacerun: yes;"> </span>The level of hate and violence
and racism and homophobia and anti-Semitism that have been unleashed by one
particular candidate has been, well, I can’t even come up with a word for it:<span style="mso-spacerun: yes;"> </span>Disgusting – unbelievable – reprehensible –
these come to mind.<span style="mso-spacerun: yes;"> </span>And then the final
result of the election and all that has transpired since have made it difficult
for me to function.<span style="mso-spacerun: yes;"> </span>It is not having
lost that bothers me.<span style="mso-spacerun: yes;"> </span>It is what has won
that is so horrible.<span style="mso-spacerun: yes;"> </span>And then at the
same time there is the military assault taking place in North Dakota against
Native Americans. Genocide in Syria, that no one seems to care about.<span style="mso-spacerun: yes;"> </span>What is wrong with this country? This world?<span style="mso-spacerun: yes;"> </span>Have we lost of sense of the principals of
freedom and justice and due process upon which this country was built. And what
about compassion?<span style="mso-spacerun: yes;"> </span>Have we no shame or
compassion?<span style="mso-spacerun: yes;"> </span>And what is wrong with those
folks who would assault other because they are different? I am simply appalled.
<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 9.0pt;">So, Chicago… First up – Les Troyans by Hector
Berlioz.<span style="mso-spacerun: yes;"> </span>I had seen it before in HD from
the Met and a couple productions online.<span style="mso-spacerun: yes;">
</span>But live, in the house was a unique experience. </span><span style="background: white; color: #1d2129; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">It was a terrific performance and I loved the production.
This was a production of 1st's - the first time LOC used its new rotating
turntable stage, the first time LOC ever performed this work and the first time
Christine Goerke sang Cassandra. Vocally and musically it was a wonderful
performance. The chorus and the orchestra were wonderful but I loved the cast.
CG was powerful as Cassandra (who is my favorite character BTW) Susan
Graham was, as expected, wonderful and Brandon Jovanovitch was announced as
sick but singing and I really only noticed a little struggle in one brief spot
otherwise he has a beautiful voice. The supporting cast were all excellent -
especially Christian van Horn as Narbal and the young apprentice tenor who sang
Iopas - Gorgeous! I liked the production quite a lot. The turntable and the
projections were wonderful. A little more sumptuousness in Carthage part of the
opera might have been nice but it all worked. The opera clocked in at 4:45 and
this was with two substantial cuts. I missed the scene with the two soldiers
and others felt that the ballet was too truncated. I don't know the piece well
enough to have an opinion on that. As an extra treat I got to meet two members
of the Facebook Met Opera group and It was wonderful to get to meet them. And
after the performance there was a question and answer time with the GM and the
stars that was also really fun.<o:p></o:p></span></div>
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<span style="background: white; color: #1d2129; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">So I
left this wonderful experience thinking about Cassandra and how she kept
saying: “That wooden horse is not what you think it is and it will destroy you!”
And how the response – even when they hear the rattling of weapons inside – is
“You’re crazy!<span style="mso-spacerun: yes;"> </span>This is a wonderful
present!<span style="mso-spacerun: yes;"> </span>Make Troy great again!”<span style="mso-spacerun: yes;"> </span>And guess what? Cassandra is right!<span style="mso-spacerun: yes;"> </span>We have our own Trojan horse situation going
on right now – and I fear for the future under the elect government who doesn’t
seem to care about anyone but themselves.<o:p></o:p></span></div>
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<span style="background: white; color: #1d2129; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">So I
had Friday off!<span style="mso-spacerun: yes;"> </span>I took the bus into town
and decided to walk over the Privatebank Theater and see if I could get a
ticket to see “Hamilton.”<span style="mso-spacerun: yes;"> </span>What a
surprise that I was able to get a great seat near the front and it was not
outrageously expensive.<span style="mso-spacerun: yes;"> </span>So, looking
forward to “Hamilton” in the evening I attended the Chicago Symphony concert in
the afternoon.<span style="mso-spacerun: yes;"> </span>The program featured the
Dvorak G major Symphony, which is a piece I adore.<span style="mso-spacerun: yes;"> </span>It also included a performance of the
Prokofiev 2<sup>nd</sup> Piano Concerto.<span style="mso-spacerun: yes;">
</span>I had never heard this work before. But I was seated down front so I was
very close to the pianist and it was an experience to watch him play this piece
up close.<span style="mso-spacerun: yes;"> </span>The piece itself is
amazing!<span style="mso-spacerun: yes;"> </span>Prokofiev lived under the
repression of Soviet Russia and Stalin and the piece reflects this in some
profound and subtle ways.<span style="mso-spacerun: yes;"> </span>I found the
relentless march of the 3<sup>rd</sup> movement exceptionally moving.<span style="mso-spacerun: yes;"> </span>The young pianist was terrific.<span style="mso-spacerun: yes;"> </span>The Dvorak was good, but it didn’t compare
with the Prokofiev. Part of the reason was that because I was sitting so close
to the strings, they dominated the sound of the orchestra and muted even the
brass and the winds.<span style="mso-spacerun: yes;"> </span>As a former wind
player I prefer to hear and see the winds and brass much more.<span style="mso-spacerun: yes;"> </span>This piece has such wonderful brass writing
that the muted quality of the brass was a disappointment.<o:p></o:p></span></div>
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<span style="background: white; color: #1d2129; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">“Hamilton”
was a wonderful experience. It is a great show.<span style="mso-spacerun: yes;">
</span>The Chicago cast was excellent and I enjoyed the performance very
much.<span style="mso-spacerun: yes;"> </span>Anytime there is the
representation of historical events on stage there is by necessity some
compromise, but in the case of “Hamilton” I thought this was all pretty
minimal. Historically the work is amazingly accurate and showed the events of
Hamilton’s life. My favorite line: “Immigrants – we get things done!”<span style="mso-spacerun: yes;"> </span>Right, in case we have forgotten!<span style="mso-spacerun: yes;"> </span>Folks we are all immigrants and have no
special God-given claim to special status – unless we are Native American!<span style="mso-spacerun: yes;"> </span>The musical was entertaining enough, but I
actually found it very profound and powerful.<span style="mso-spacerun: yes;">
</span>It was certainly ironic when it turned out that the same evening I saw
the opera there was an incident in New York at the “Hamilton” performance
involving the Vice-President elect.<span style="mso-spacerun: yes;"> </span>Then
the president-elect had to jump into the mess by making the most ridiculous
statement I have (almost) ever heard: “theater is supposed to be a safe place.”<span style="mso-spacerun: yes;"> </span>He must not go to the theater very often. I
have never found the theater to be a safe place.<span style="mso-spacerun: yes;"> </span>I have, however, found it to be a human
place.<span style="mso-spacerun: yes;"> </span>A place were human emotions are
stripped and made raw; a place where I am reminded of my own vulnerabilities and
a place where my own prejudices and close minded-ness is challenged.<span style="mso-spacerun: yes;"> </span>The theater is not a safe place – but it is
an essential place, for the theater teaches us human values like love and compassion.<span style="mso-spacerun: yes;"> </span>I think this is why I prefer the theater to
television or even the movies – because I feel that the theater is honest and
it puts us in touch with our humanity in a way TV hardly ever does and that
most movies (I have found anyway) do not.<span style="mso-spacerun: yes;">
</span>I hope our Vice-President elect experienced the joy and the challenge
and the power that is theater on that evening at “Hamilton.”<o:p></o:p></span></div>
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<div style="background: white; margin-bottom: 4.5pt; margin-left: 0in; margin-right: 0in; margin-top: 0in; text-indent: .5in;">
<span style="color: #1d2129; font-family: Cambria; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-size: 10.5pt; mso-hansi-theme-font: minor-latin;">My last opera was wonderful production of the opera
Don<span class="apple-converted-space"> </span><span class="highlightnode">Quichotte</span><span class="apple-converted-space"> </span>by Massenet. I found this entire
experience to be very magical and very moving. Ferruccio Furlanetto was simply
terrific. His beautiful, rich dark bass combined with his terrific acting
skills brought DQ to life in a unique way. From the opening tableau where he
and Sancho were revealed in the pose of a famous illustration to his final
death scene FF was funny and touching as was Nicola Alaimo as Sancho. For me
the sere<span class="textexposedshow">nade DQ sings in act one, interspersed with
his fighting a duel and Sancho's beautiful and moving defense of him while
others are mocking him at the end of act 4 were highlights. I also found the
prayer in act 3 very moving as well. The windmill scene was clever and funny.
This was a very traditional production and it was very well executed. I really
liked the quotes that were projected on the scrim before each act. They really
set the feel for what was to come. Clementine Margaine was Dulcinee and also
did a beautiful job. Her character is the one that is most changed from the
novel and from the musical. Dulcinee in this telling of the story is a noble
woman of aristocratic bearing. Chorus and orchestra were also excellent. It was
a joy to experience this beautiful work. As is always the case with Massenet
the score is brilliantly orchestrated and exceptionally colorful. There are
extended solos for all the winds and a beautiful cello solo which is the whole
of the last act entr’act. There is also a wonderful canzonetta sung by Dulcinee
with in stage guitar accompaniment.</span><o:p></o:p></span></div>
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<span style="color: #1d2129; font-family: Cambria; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-size: 10.5pt; mso-hansi-theme-font: minor-latin;">This world needs more knights errant. People who
take it upon themselves to comfort those who are grieving, help and feed the
poor, and treat all - no matter who they are - with kindness and respect.
Perhaps like DQ those who have compassion for others will be similarly mocked
but it is in this that true humanity is found.<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
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<div style="background: white; margin: 0in 0in 4.5pt; text-align: center; text-indent: 0.5in;">
<span style="color: #1d2129; font-family: Cambria; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-size: 10.5pt; mso-hansi-theme-font: minor-latin;"><br /></span></div>
Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com0tag:blogger.com,1999:blog-1868457521565839495.post-47479875451147697362016-11-12T07:54:00.001-08:002016-11-12T07:54:41.924-08:00My Trip to the Met - October 2016 - Guillaume Tell!<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt;">The
reason for the trip was <i style="mso-bidi-font-style: normal;">Guillaume Tell</i>.<span style="mso-spacerun: yes;"> </span>This is Rossini’s very last opera and it is
simply brilliant. I hope that the Met will continue to cycle productions of
this opera into their rotation. This is a work that should be performed
regularly.<span style="mso-spacerun: yes;"> </span>Of course the vocal
requirements alone are enough to limit productions. The tenor role of Arnold is
incredibly high and then there are all the dancers and 3, count them, 3
separate men’s choruses for the rousing finale of act 2 – not counting the
villagers and the soldiers!<span style="mso-spacerun: yes;"> </span>In fact the
chorus writing is simply amazing in this opera.<span style="mso-spacerun: yes;">
</span>And the Met chorus takes top honors for this performance.<span style="mso-spacerun: yes;"> </span>If it was the orchestra who shone brightest
in “Tristan” it was the chorus in “Tell!”<span style="mso-spacerun: yes;">
</span>This takes nothing away from the cast – all of whom are
outstanding.<span style="mso-spacerun: yes;"> </span>I loved the principals –
Gerald Finley as Tell, Jennai Brunner as Jemmy, Maria Zifchak as Hedwige
(Tell’s wife), Bryan Hymel as Arnold, Marina Rebekah as Mathilde (Gessler’s
sister) and then John Relyea as Gessler and Sean Pannikar as the Austrian
Captain Rudolphe.<span style="mso-spacerun: yes;"> </span>And then there is the
supporting cast – all excellent!<span style="mso-spacerun: yes;">
</span>Musically this was a very captivating and moving experience.<span style="mso-spacerun: yes;"> </span>It will always be for me one of my most
memorable Met experiences.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 12.0pt;">The
production has received, for the most part, a fair amount of negative
reviews.<span style="mso-spacerun: yes;"> </span>One friend called it “garbage”
(without having seen it, I hasten to add), another friend called it “drab” and
other writers have complained about this and that.<span style="mso-spacerun: yes;"> </span>I will just come out and say that in many
ways I prefer the highly controversial ROH production (see below for my review
of that) but on the whole I liked the production and felt that it was
effective. There was an impressionism about this production that I felt really
worked and was quite effective.<span style="mso-spacerun: yes;"> </span>That
doesn’t mean that I liked everything.<span style="mso-spacerun: yes;">
</span>But on the whole I appreciated how the director used the set to create a
closed world created by the injustice and tyranny of oppression. At the very
end when freedom comes the set opens up and we have bright warm lightening just
in time for the finale ensemble which may well be the most beautiful music
Rossini ever composed.<span style="mso-spacerun: yes;"> </span>I thought the
boat/bow structure worked well.<span style="mso-spacerun: yes;"> </span>I did
not quite get the point of what looked like oversized florescent light bulbs
that appeared for act 3.<span style="mso-spacerun: yes;"> </span>Nor did I quite
understand the upside down livestock hanging from the top of the stage. And
frankly I found the costuming rather, well, drab.<span style="mso-spacerun: yes;"> </span>A little color might have been a nice touch
and would not have ruined the concept.<span style="mso-spacerun: yes;">
</span>Especially at the end of act 2 when all the Cantons come together to
pledge their commitment to each other and the task of pushing the oppressor out
of Switzerland. The 3 different Cantons were distinguished by some kind of a
carved figure, but sitting in the house it was too far away to be able to see
it.<span style="mso-spacerun: yes;"> </span>A little color would have been nice.<o:p></o:p></span></div>
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<!--StartFragment-->
<span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">But
on the whole, I loved this production and I love this opera. I listened to everyone of the live Sirius
broadcasts and I am so glad that I have had the opportunity to become familiar
with this great work!</span><!--EndFragment-->
Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com0tag:blogger.com,1999:blog-1868457521565839495.post-20023313637887326012016-11-02T17:52:00.001-07:002016-11-02T17:52:27.284-07:00My Trip to the Met - Tristan und Isolde Continued I had the opportunity to see this production a second time, but this time live at the Met. Frankly musically there is simply no contest between live and HD. In HD one is constantly subject to the whims of the sound mixing and the sound reproduction system of the movie house. It is all right and better than nothing. But being in the house one is completely surrounded and engulfed by the music. And for this opera in particular it is so effective. The voices souring and orchestra swelling it was magical. In particular, the three major principals were amazing and the orchestra was wonderful. The off stage English horn was thrilling for me as were Brangane's interjections in act 2 and Isolde's "Liebestod" in act 3. If you read below I stated that I found the production profound and moving and I consider it to be very faithful to the inner philosophical narrative of the libretto. My experience of seeing the opera live did not change this impression, in fact, it strengthened it. But some elements "read" much differently. The fact that HD can use close ups really does change things. For example the beginning of act 3 with the boy - young Tristan - something about the distance made this stage action seem more dreamlike and mystical. In HD it was just too present. The same with all the obsession with the lighter and the flame, at a distance it is not as present and I felt it all worked much better. Act 3 in particular I felt was much more successful in the house simply because it just felt more like a hallucination because of the distance. Also being able to see the projections at all times in the background made a difference to me as well. <br />
I came away with a couple new interpretations. For example, who was the uniformed guy who embraced the child and appeared from time to time. It simply cannot be Tristan's father who died before his birth. I noticed that this figured was a reflection of Marke and so I believe it was Marke, who in the legend becomes a surrogate father to Tristan. The obsession with the flame and the fire is still a bit ambiguous for me, but I think is designed to demonstrate that Tristan was exceptionally troubled. The murder of the prisoner in act 1 become much more enigmatic for me after seeing the opera live. The titles during this scene explicitly talk about the death of Morold, so if (as Stuart Skelton stated in an interview) this is the murder of a different person, then this is a misfire by the director. Having the murder happen during this discussion of the death or murder of Morold makes a link despite whether this is what the director wants.<br />
I want to make a comment about the hospital bed which is a part of act 3. I have been surprised that so many have been so negative about this little detail. This objection makes no sense to me at all. In the story Tristan is wounded at the end of act 2. He returns to Karaol, his home castle in order to recuperate. Why does everyone assume that a man who is wounded would automatically be laying on the ground in front of the castle? Why not recuperate in a bed? I think the objection is just silly. It makes all the sense in the world and I think it works dramatically very, very well.<br />
Ultimately "Tristan" is about the music. Some complained that Tristan and Isolde had no physical relationship at all in this production. But it is not only this production, this is pretty common. The fact the source material is all pretty clear that this love was not physically expressed, which lead to this sense of intense despairing desire. In the Wagner there is no sex on stage, because all the sex is in the orchestra and the music. It is a very erotic score, a gorgeous and magnificent score - that is where the sex is and it is very explicit! I loved seeing this opera in the house.Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com0tag:blogger.com,1999:blog-1868457521565839495.post-86180397340491151402016-10-14T12:18:00.004-07:002016-10-15T19:13:50.153-07:00Met HD #1 - October 8, 2016 – Tristan und Isolde<div class="MsoNormal">
<span style="font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>I had the opportunity to attend the first Met
HD broadcast of the season last Saturday.<span style="mso-spacerun: yes;">
</span>It was a wonderful and brilliant production of Wagner’s Tristan und
Isolde.<span style="mso-spacerun: yes;"> </span>The composition of this opera is
perhaps one of the greatest musical achievements of the 19<sup>th</sup>
century.<span style="mso-spacerun: yes;"> </span>Wagner’s musical accomplishment
is remarkable.<span style="mso-spacerun: yes;"> </span>He is able to represent
the sense of longing and unfulfilled desire over multiple hours through his
brilliant mastery of harmony.<span style="mso-spacerun: yes;"> </span>We move
from key to key and from one unresolved chord to another and never is there any
resolution, until finally at the end during what has become known as Isolde’s <i style="mso-bidi-font-style: normal;">Liebestod</i> (“Love-Death) we arrive at a
complete musical climax in B major.<span style="mso-spacerun: yes;"> </span>What
is it Wagner was trying to achieve?<span style="mso-spacerun: yes;"> </span>This
is not an easy question to answer and everyone seems to have an opinion.<span style="mso-spacerun: yes;"> </span>There is the intensity of sexual desire.<span style="mso-spacerun: yes;"> </span>In fact some have suggested the music
represents the experience of human sexual intercourse.<span style="mso-spacerun: yes;"> </span>Act 1 builds to a climax that is left
unresolved.<span style="mso-spacerun: yes;"> </span>Act 2 again builds and
builds until finally we feel like resolution (orgasm) is about to break and it
is brutally interrupted by the arrival of King Marke.<span style="mso-spacerun: yes;"> </span>Finally Wagner brings the work to a complete
resolution (orgasm) at the close of act 3 in the <i style="mso-bidi-font-style: normal;">Liebestod.</i><span style="mso-spacerun: yes;"> </span>Finally, desire
is sated and we experience peace in death.<span style="mso-spacerun: yes;">
</span>The lovers have finally consummated their love in their mutual deaths.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>This focus on death – love reaches
resolution in death and love can only be consummated in death - is quite a
foreign concept for us in the 21<sup>st</sup> century.<span style="mso-spacerun: yes;"> </span>While I think it is easy for us to
acknowledge that a sense of desire often does drive human behavior, for us in
our society intense desire can drive both bad and good behavior.<span style="mso-spacerun: yes;"> </span>And the idea that death is the only way to
achieve peace and unity is really quite an odd (and dangerous) notion I think
for us.<span style="mso-spacerun: yes;"> </span>But for many in the 19<sup>th</sup>
century (especially men as it seems) – this makes perfect sense.<span style="mso-spacerun: yes;"> </span>And the idea is put forth in any number of
literary works from Goethe’s <i style="mso-bidi-font-style: normal;">The Sorrows
of Young Werther</i> to Schubert’s gorgeous but disturbing song cycle <i style="mso-bidi-font-style: normal;">Die Schöne Müllerin. <span style="mso-spacerun: yes;"> </span></i>The idea of finding peace from the intense
suffering brought by unfilled desire was a part of the <i style="mso-bidi-font-style: normal;">zeitgeist</i> of the 19<sup>th</sup> century.<span style="mso-spacerun: yes;"> </span>Even Wagner himself represents various
versions of this attitude in his earlier operas: In <i style="mso-bidi-font-style: normal;">Flying Dutchman</i> the heroine Senta sacrifices herself and her life
for this Dutchman and through her sacrifice they both find peace, in death; In <i style="mso-bidi-font-style: normal;">Tannhauser</i> Elizabeth and Tannhauser both
find peace in the purity of death as Tannhauser finally rejects sensual, sexual
love and joins Elizabeth in death.<span style="mso-spacerun: yes;"> </span>But
we reach a new level in Tristan, both musically and philosophically.<span style="mso-spacerun: yes;"> </span>And this is directly the result of Wagner’s
having discovered the philosopher Schopenhauer and having enthusiastically
devoured his work.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Schopenhauer is complicated and I am not
a philosopher, however the basic premise of a dimension of his work holds that
human life is bleak and filled with pain and suffering.<span style="mso-spacerun: yes;"> </span>There is no way to avoid this experience of
suffering, because of human being’s desire, and it is desire that brings about
suffering.<span style="mso-spacerun: yes;"> </span>This desire is often
discussed in sexual terms but desire extends way beyond the dimension of
sexuality.<span style="mso-spacerun: yes;"> </span>In fact, it is desire that
brings into the world everything that is horrible and evil.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">(As an
aside it is particularly interesting to note that this idea of desire being at
the root of all the world’s misery actually can be traced back to Rabbinical
interpretations of the Genesis text of the creation of humanity and the
subsequent temptation and taking of the fruit of the tree in the Garden.<span style="mso-spacerun: yes;"> </span>According to Avivah Zornberg in her
incredible works “The Beginning of Desire” and “The Murmuring Deep” she
demonstrates how desire is a catalyst of the events that follow the
creation.<span style="mso-spacerun: yes;"> </span>Also, quite a lot of this is
dependent on Schopenhauer’s study of Buddhism.<span style="mso-spacerun: yes;">
</span>Back to Schopenhauer) </i><span style="mso-spacerun: yes;"> </span>The
only way desire can be sated is through death.<span style="mso-spacerun: yes;">
</span>It is only in death that humanity can find peace and rest from the
driving winds of desire.<span style="mso-spacerun: yes;"> </span>Only death can
allow human beings to escape the incredible suffering of the misery of human
life in the world. Schopenhauer goes on to discuss how there are only three
experiences in life which can bring temporary and minimal relief, therefore
they are worthy to be pursued since they do provide a slight break from the
misery of desire.<span style="mso-spacerun: yes;"> </span>These three experiences
are: 1. Sexual love; 2. The pursuit of the arts, especially music; 3. Spirituality
of any kind, specifically the spiritual journey, shaped in particular by his
study of Buddhism.<span style="mso-spacerun: yes;"> </span>It is interesting to
note that Wagner’s last three operas correspond to these three: Sexual love – <i style="mso-bidi-font-style: normal;">Tristan</i>; the Arts and Music – <i style="mso-bidi-font-style: normal;">Meistersinger</i>; Spirituality – <i style="mso-bidi-font-style: normal;">Parsifal</i>.<span style="mso-spacerun: yes;"> </span>One last little point – which has some
bearing on the subsequent discussion of the Met production – Schopenhauer
condemned suicide.<span style="mso-spacerun: yes;"> </span>For him, suicide was
not a solution, because it simply increased the pain, suffering and misery of
others in the world.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>The opera <i style="mso-bidi-font-style: normal;">Tristan und Isolde</i> then has the philosophy of Schopenhauer woven
into the core of both the libretto and the music.<span style="mso-spacerun: yes;"> </span>The famous <i style="mso-bidi-font-style: normal;">Tristan Chord </i>is the representation of unfulfilled desire in that
the chord never resolves. One cannot fully appreciate the opera <i style="mso-bidi-font-style: normal;">Tristan</i> without some basic understanding
of Schopenhauer.<span style="mso-spacerun: yes;"> </span>The libretto itself is
based on a German retelling of the ancient story by the 13<sup>th</sup> century
German poet Gottfried von Strassburg.<span style="mso-spacerun: yes;">
</span>Strassburg’s version is based on a French language12th century version
of the story by Thomas of Britain, which is believed to have been written
specifically for Eleanor of Aquitaine. There are other early versions of the
story, notably there is a French-Norman trouvére version of the story by Beroúl.<span style="mso-spacerun: yes;"> </span>All of these versions have a variety of
different episodes and the plot varies extensively between versions.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>The basic plot as laid out in Strassburg
is as follows:<span style="mso-spacerun: yes;"> </span>The story begins with
Tristan’s father Riwalin travelling to Cornwall where he meets and falls in
love with Marke’s sister Blanschefleur.<span style="mso-spacerun: yes;">
</span>She becomes pregnant but before he is born his father is killed and when
Blanschefleur hears the news she dies but is able to give birth before her
death.<span style="mso-spacerun: yes;"> </span>The child is named Tristan
(Sorrow) because of the sorrowful events that have led to his birth. There are
a variety of heroic episodes here as the child Tristan becomes a great
knight.<span style="mso-spacerun: yes;"> </span>Ultimately he makes his way back
to Cornwall where Marke becomes like a father to him (Marke is his uncle after
all).<span style="mso-spacerun: yes;"> </span>Eventually Tristan takes part in a
military conflict in Ireland.<span style="mso-spacerun: yes;"> </span>He
challenges the Irish King’s brother Morold to decide the conflict by a duel to
the death. He then fights and kills the Irish warrior Morold in this battle,
but is wounded mortally by a poison arrow.<span style="mso-spacerun: yes;">
</span>Assuming a different identity (Tantris) Tristan washes up on the Irish
shore and is nursed back to health by Morold’s beloved/betrothed/wife Isolde
the Fair (Their relationship is actually one point where the various versions
differ quite a lot).<span style="mso-spacerun: yes;"> </span>Her mother, Isolde
the Wise, the Irish Queen, is particularly skilled in the dark art of alchemy
and Isolde the fair has learned her skills from her mother.<span style="mso-spacerun: yes;"> </span>Eventually Isolde is able to figure out who
this strange knight is and decides to kill him to revenge Morold.<span style="mso-spacerun: yes;"> </span>But she cannot bring herself to do it.<span style="mso-spacerun: yes;"> </span>One has the sense that the love between them
is sparked at this point in the story.<span style="mso-spacerun: yes;">
</span>Tristan eventually recovers and returns to Cornwall and to the court of
King Marke. <span style="mso-spacerun: yes;"> </span>The court wants Marke to
take a wife, mostly in hopes that if Marke would have his own child then
Tristan would be disinherited from being the heir to the throne.<span style="mso-spacerun: yes;"> </span>Tristan suggests Isolde the Fair.<span style="mso-spacerun: yes;"> </span>Marke eventually agrees and Tristan is sent
to fetch her and bring her to Cornwall.<span style="mso-spacerun: yes;"> </span>(It
is here that Wagner begins the story, having skipped all of the previous story
and only referring to it occasionally.<span style="mso-spacerun: yes;">
</span>It can be confusing since one needs to pay close attention in order to
pick up these back story pieces, and they are not always laid out in a
comprehensive way.<span style="mso-spacerun: yes;"> </span>And Wagner picks and
chooses what he includes also).<span style="mso-spacerun: yes;"> </span>In the
Wagner Isolde resolves to murder Tristan and to commit suicide and she orders
her maid Brangäne to prepare a poison drink.<span style="mso-spacerun: yes;">
</span>Brangäne however substitutes the love potion instead.<span style="mso-spacerun: yes;"> </span>This potion was prepared and sent by Isolde’s
mother specifically to be consumed by Isolde and Marke on their wedding
night.<span style="mso-spacerun: yes;"> </span>This point in the plot is
Wagner’s for the most part.<span style="mso-spacerun: yes;"> </span>In the
original versions of the story the ship is dead in the water baking under the
hot sun and there is no water to drink.<span style="mso-spacerun: yes;">
</span>A second maid finds the love potion and without knowing what it is gives
it to Tristan and Isolde.<span style="mso-spacerun: yes;"> </span>Brangäne
discovers this mistake too late.<span style="mso-spacerun: yes;"> </span>But the
lovers are now completely under the spell of the potion.<span style="mso-spacerun: yes;"> </span>Isolde marries Marke, but Brangäne manages to
substitute for her in the marriage bed, thus Isolde remains completely
pure.<span style="mso-spacerun: yes;"> </span>Eventually Marke slowly comes to
recognize the love that the couple holds for each other.<span style="mso-spacerun: yes;"> </span>He banishes them from court and they live together
in a hut in the forest - pure and chaste by the way, there is never any sexual
relationship between them in the original sources, and there is no sex in the
opera either, the sex is all in the music.<span style="mso-spacerun: yes;">
</span>Marke eventually goes in search of them and finds them sleeping together
and his anger is kindled.<span style="mso-spacerun: yes;"> </span>He is about to
strike and kill them when he notices that as they sleep Tristan’s sword lay
between them.<span style="mso-spacerun: yes;"> </span>He realizes they are pure
and chase and decides not to kill them, rather he pardons them and welcomes
them back to court.<span style="mso-spacerun: yes;"> </span>But the tension
between the lovers is too intense and difficult to deal with, so finally
Tristan decides to leave Cornwall forever.<span style="mso-spacerun: yes;">
</span>He travels to Normandy where he marries yet another Isolde – Isolde of
the White Hands.<span style="mso-spacerun: yes;"> </span>They never consummate
their marriage and she cannot understand why.<span style="mso-spacerun: yes;">
</span>Eventually he is wounded in battle and asks his faithful servant Gorvenal
or Kurvenal to return to Cornwall and bring Isolde the Fair to him in order to heal
him.<span style="mso-spacerun: yes;"> </span>He instructs that if she is able to
come he is to sail with a white sail, if she cannot or will not come he should
sail with a black sail.<span style="mso-spacerun: yes;"> </span>This
conversation is overheard by Isolde of the White Hands who now understands why
her marriage has never been consummated.<span style="mso-spacerun: yes;">
</span>She is enraged.<span style="mso-spacerun: yes;"> </span>As Tristan waits
he gets weaker and weaker.<span style="mso-spacerun: yes;"> </span>Finally a
ship appears.<span style="mso-spacerun: yes;"> </span>“What color is the sail”
Tristan asks his wife.<span style="mso-spacerun: yes;"> </span>“It is black,”
Isolde of the White Hands responds.<span style="mso-spacerun: yes;"> </span>This
is a lie and it leads to Tristan dying dejected and alone.<span style="mso-spacerun: yes;"> </span>Isolde the Fair overcome with remorse at not
having arrived in time dies.<span style="mso-spacerun: yes;"> </span>Marke has
the bodies returned to Cornwall where they are entombed side by side.<span style="mso-spacerun: yes;"> </span>A vine then grows out of the tombs and
entwines together.<span style="mso-spacerun: yes;"> </span>Several times the
vine is cut back, but it always grows back bigger and greener and
stronger.<span style="mso-spacerun: yes;"> </span>Finally Marke orders that the
vine be allowed to remain.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Obviously very little of this is in the
opera.<span style="mso-spacerun: yes;"> </span>Wagner takes the Strassburg and
completely reworks it leaving only a basic outline of the plot.<span style="mso-spacerun: yes;"> </span>He changes key points as well – such as the
adding the death potion and the possibility of the murder/suicide.<span style="mso-spacerun: yes;"> </span>He also adds the scene where Marke catches them
and expresses his deep sense of betrayal.<span style="mso-spacerun: yes;">
</span>I think understanding the original story can be helpful in filling in
the blanks but ultimately I think we need to take Wagner’s retelling on its own
terms.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 12.0pt;">The Met Production by Marius
Trelinski<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>This then leads me to some comments and
impressions of the production by Marius Trelinski and the Met performance from
October 8.<span style="mso-spacerun: yes;"> </span>From a standpoint of the
musical performance, this performance is simply brilliant.<span style="mso-spacerun: yes;"> </span>Simon Rattle conducts a magnificent
performance.<span style="mso-spacerun: yes;"> </span>Nina Stemme is wonderful as
Isolde, Stuart Skelton is Tristan and they are both outstanding.<span style="mso-spacerun: yes;"> </span>The entire cast is magnificent.<span style="mso-spacerun: yes;"> </span>I have no complaints at all.<span style="mso-spacerun: yes;"> </span>From a strictly musical standpoint this
performance was one of the great Met performances.<span style="mso-spacerun: yes;"> </span>For me the runaway star was the
orchestra.<span style="mso-spacerun: yes;"> </span>This score is difficult and
this orchestra is incredible.<span style="mso-spacerun: yes;"> </span>Special
mention goes to English Horn Pedro Diaz from his beautiful playing in act 3 and
to long time Bass Clarinet player James Ognibene for his beautiful playing in
the Marke monologue.<span style="mso-spacerun: yes;"> </span></span><span style="font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Now to the production: I love the production.<span style="mso-spacerun: yes;"> </span>I thought it was not only brilliant.<span style="mso-spacerun: yes;"> </span>But I felt it was, on the whole, completely
faithful to Wagner.<span style="mso-spacerun: yes;"> </span>Specifically, I feel
that the production represents and takes the Schopenhauer dimension more
seriously than any production I have ever seen before – and this is #6 for
me.<span style="mso-spacerun: yes;"> </span>Some complain about the updating, as
though placing this story in the fantasy early English middle ages has some
inherent magic to it.<span style="mso-spacerun: yes;"> </span>I reject that idea
out of hand.<span style="mso-spacerun: yes;"> </span>Wagner may have had
settings in mind but I think for him they were functional settings which are
rarely intrinsic to what he is trying to say.<span style="mso-spacerun: yes;">
</span>This updating not only worked but it was profound and was a wonderful
vehicle to present the basic underlying philosophy of the work.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Some specifics: First - the overwhelming
bleakness of the production is completely Schopenhauer. Life is nothing but
pain and suffering and failure and ultimately is tragic. <span style="mso-spacerun: yes;"> </span>The drab costumes and uniforms represent this
and are exceptionally appropriate; the violence of the sailors in the first act
and late in the 2nd act is also representative of the tragic suffering of life.
The only possibility of escape from this misery of life is death which will
bring an end to suffering and will return humans to oneness with creation. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Second - There is always a question in
this opera (and enhanced in this production) of what was real and what was
not.<span style="mso-spacerun: yes;"> </span>Were the fantasies with the boy -
the images of the boy and the father - were they real? What exactly is real and
what is not real? What is darkness and what is light? Even the lovers were
never certain of what is real? This is even more expanding on the above
theme.<span style="mso-spacerun: yes;"> </span>And here Wagner moves beyond
Schopenhauer a bit.<span style="mso-spacerun: yes;"> </span>Wagner is suggesting
in the act 2 “love duet” that what appears in the day and in the light is
really not real at all.<span style="mso-spacerun: yes;"> </span>Only that which
is experienced in the darkness and in the night is truly real. Therefore the
day, the light brings with it the reality of suffering and pain and misery and
separation.<span style="mso-spacerun: yes;"> </span>But in the darkness and in
the night those things all disintegrate and we can experience oneness and love
and unity and joy.<span style="mso-spacerun: yes;"> </span>You can see how it is
only a short step from here to the assertion that love is ultimately joyously
consummated in death, that is the ultimate experience of the darkness and night.
<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Third - Human desire is intense suffering,
but we cannot achieve the fulfillment of desire except for short intense bursts
and then desire returns – this is true sexually and with all kinds of desire.
Ultimately there is no remedy for desire.<span style="mso-spacerun: yes;">
</span>For it only leads us to intense suffering.<span style="mso-spacerun: yes;"> </span>Only in death is there the final consummation
of desire. This was represented to me in the production quite starkly. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><u><span style="font-size: 12.0pt;">Spoiler
alert<o:p></o:p></span></u></i></b></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>There
is one dimension of this production that is not consistent with Schopenhauer
and that is the dominant theme of suicide.<span style="mso-spacerun: yes;">
</span>Isolde is going to arrange a murder/suicide in act 1; in this production
Tristan shoots himself at the end of act 2 and in act 3 Isolde slits her wrists
and commits suicide. Many have complained about this. I myself am
ambivalent.<span style="mso-spacerun: yes;"> </span>The fact is that
Schopenhauer, as stated above, took a very strong position against suicide.<span style="mso-spacerun: yes;"> </span>Trelinski in this then has thus moved past
Schopenhauer.<span style="mso-spacerun: yes;"> </span>But on the other hand, it
seems to me that the important thing is that they both find death together at
the end.<span style="mso-spacerun: yes;"> </span>Their suffering and misery has
now come to an end and their love is finally consummated in death.<span style="mso-spacerun: yes;"> </span>It doesn’t matter I think how they actually
got there, all that matters is that they have joined each other in death.<span style="mso-spacerun: yes;"> </span>That said, I will concede that this point has
caused me to spend some time pondering this emphasis on suicide in this
production.<span style="mso-spacerun: yes;"> </span>It is uncomfortable, but I
think Trelinski wanted to make it absolutely clear that Isolde has died with
Tristan.<span style="mso-spacerun: yes;"> </span>This I agree with.<span style="mso-spacerun: yes;"> </span>To have her simply fall lifeless at the end
leaves open the possibility that she has only fainted and this is simply not
acceptable.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Some have suggested that it was not
Wagner’s intention that Isolde should die at the end.<span style="mso-spacerun: yes;"> </span>They use as their evidence the fact that the
stage directions suggest she is transfigured and rapturous at the end.<span style="mso-spacerun: yes;"> </span>And that she usually simply falls lifeless at
the end.<span style="mso-spacerun: yes;"> </span>I think that is nonsense.<span style="mso-spacerun: yes;"> </span>For Isolde to survive this opera would
completely undermine the plot, the libretto, the philosophy and the music of
the opera.<span style="mso-spacerun: yes;"> </span>Of course she is rapturously
transformed.<span style="mso-spacerun: yes;"> </span>She has entered into death,
she has now experienced the unity and consummation that comes with death and
this has made her rapturous and transfigured.<span style="mso-spacerun: yes;">
</span>She and Tristan are now together forever, and are now both children on
the night.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>The last thing I will comment on are the
projections. It is obvious that Trelinsky is using them to both enhance our
understanding of the setting of the opera, and to deepen the characterizations
with bits and pieces of the backstory.<span style="mso-spacerun: yes;">
</span>But therein lay some confusion.<span style="mso-spacerun: yes;">
</span>It is never quite clear who the guy in the white uniform is.<span style="mso-spacerun: yes;"> </span>Is it a form of Marke?<span style="mso-spacerun: yes;"> </span>Is it Riwalin, Tristan’s dad?<span style="mso-spacerun: yes;"> </span>And who is the guy that Tristan shoots?<span style="mso-spacerun: yes;"> </span>MaryJo Heath in the build up to one of the
radio broadcasts said that it was Morold.<span style="mso-spacerun: yes;">
</span>But Stuart Skelton in an interview said quite forcefully that it was not
Morold but simply a random prisoner, and the point was to deepen this sense of
life as misery and Tristan as a full participant in the miserable world.<span style="mso-spacerun: yes;"> </span>This is obviously not clear.<span style="mso-spacerun: yes;"> </span>And then there is the flame that is also
rather unclear.<span style="mso-spacerun: yes;"> </span>There was apparently a
fire when Tristan was a boy.<span style="mso-spacerun: yes;"> </span>Was the
fire set by those who attacked and killed Riwalin or did Tristan set the fire?<span style="mso-spacerun: yes;"> </span>The production seems to suggest the latter
rather strongly, since as an adult Tristan seems fascinated by flames.<span style="mso-spacerun: yes;"> </span>But it is not clear at all and frankly is a
bit confusing.<span style="mso-spacerun: yes;"> </span>There is nothing in any
of the sources of this story that have any suggestion of a fire, much less the
suggestion that Tristan was a pyromaniac.<span style="mso-spacerun: yes;">
</span>I don’t really have any objections, but I have to say it is perplexing
and I am still not sure what it all means.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Some have objected to the hospital bed in
the last act.<span style="mso-spacerun: yes;"> </span>I thought it worked
great.<span style="mso-spacerun: yes;"> </span>Why not?<span style="mso-spacerun: yes;"> </span>This doesn’t mean that he was not at Karaol
Castle.<span style="mso-spacerun: yes;"> </span>We simply do not need a literal
falling down castle with Tristan laying on the ground outside.<span style="mso-spacerun: yes;"> </span>This along with all the settings I felt
worked brilliantly.<o:p></o:p></span></div>
<div class="MsoNormal">
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<span style="font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>In conclusion I loved this
production.<span style="mso-spacerun: yes;"> </span>I thought it was brilliant
and moving and profound.<span style="mso-spacerun: yes;"> </span>I will see it
in the house in New York in another week and I may add to this review after
seeing it then.<span style="mso-spacerun: yes;"> </span>I suspect the experience
in the house will be different from the experience of watching it on screen.<span style="mso-spacerun: yes;"> </span>But the cast, crew, orchestra and production
team of this opera have outdone themselves.<span style="mso-spacerun: yes;">
</span>I believe this production will take its place among the great Met
productions.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><i>Bibliography:</i></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><i>"The Tristan Chord" by Bryan Magee</i></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><i>"The Wagner Operas" by Earnest Newman</i></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt;"><i>"Wagner Without Fear" by William Berger</i></span></div>
Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com2tag:blogger.com,1999:blog-1868457521565839495.post-58455602501803254522016-09-23T11:08:00.000-07:002016-09-24T08:44:52.372-07:00Chicago Shakespeare - "Tug of War: Civil Strife" We have come to part 2 of the Tug of War series mounted by Chicago Shakespeare and written by and directed by Barbara Gaines. <a href="http://blakesoperablog.blogspot.com/2016/06/and-now-some-shakespeare.html" target="_blank">Below in June 2016 you can find my review of "Tug of War: Foreign Fire."</a> The first installment focused on the 100 Years War between England and France and included the infrequently performed Edward III along with the often performed Henry V and concluded with Henry VI, part 1. I found this pairing and production to be quite powerful and effective. With "Civil Strife" we move to the Wars of Roses and the English nobility (all of whom are related) turning in on themselves and destroying each other. The theme is revenge and it is a grisly series of murders. For this production to emphasize the amount of blood shed as cousin murders cousin, all in an attempt to sit upon a tenuous throne (represented by a golden tire suspended from the ceiling) and wear a paper crown, the set consisted of a large flat wall made of a series of plexiglass blocks. At each murder blood cascades down the wall and by the end of the almost 6 hour event the wall has turned from white to crimson red as it is completely covered by blood and still the blood keeps flowing.<br />
<br />
I have to say that on the whole I found "Foreign Fire" to be more effective and engaging. Perhaps it was the monotonous repetition of murder after murder - which after all might be exactly the point. Part I - Henry VI, part 2 and part of part 3 - focusing on the Duke of York and his struggle with the gentle Henry VI and his aggressive queen Margaret of Anjou - was very effective and incredible well acted. Larry Yando as the power-hungry Duke of York and Karen Aldrich as Queen Margaret were especially effective. Margaret is one of Shakespeare's greatest creations, and perhaps his most fascinating and effective female character - even surpassing Lady Macbeth in my view. Steven Sutcliffe was also powerfully effective as the gentle Henry VI. To list the other standouts would require that I list the entire cast. The power grabs, the plotting, the cruelty and the murders were all carefully played out. And once the murder begins it cannot be stemmed. Particularly effective was the introduction of the peasant rebel Jack Cade. Historically Cade's rebellion emerged from the peasantry who were tired and suffering as a result of all the lethal fighting between the aristocracy. Cade, a populist and a demagogue takes advantage of the discontent and emerges as the leader who has his own interest in power. Shakespeare has him set up and encouraged by the Duke of York, as such he is a deluded and expendable fool. This production turns Cade into Donald Trump, complete with the cap, the hair, the orange skin and the mannerisms. It was effective and served to highlight the incredible danger an incompetent opportunist like Trump poses to the nation and the world. Just like Jack Cade, power and tyranny would be the order of the day were Trump to come into power. Kevin Gudahl was a terrific Jack Cade/DT - and he was a terrific Earl of Warwick as well. Part I ends with the end of Richard, Duke of York in a particularly grisly yet powerful scene Margaret plants a paper crown on his head and gives him a white handkerchief which has been dyed red in the blood of his youngest son, the child Edmund, Earl of Rutland. York's oldest son, Edward now takes his father's place, successfully claims the crown but foolishly contracts a marriage to the widow Elizabeth Woodville, insuring that the power struggles and bloodshed will continue.<br />
<br />
Part II concludes the Henry cycle and moves us into a focus on Richard, Duke of Gloucester later to be Richard III. Now, I have had a long standing relationship with the play Richard III. Many years ago when I was in high school I saw the play performed in Boston with a young Al Pacino in the title role. I was mesmerized and captivated by the play and it became my senior thesis as I studied and compared the history of the play with actual history. I discovered that Shakespeare's Richard is not so historical and that the play really is Tudor propaganda. Richard is made a monster, he looks like a monster and acts like a monster. But he is a charming monster. By the end of the play we tire of him and are anxious to see him removed as good finally triumphs over evil. This is all historical nonsense of course. Henry Richmond was not the savior he is depicted to be in the play. Henry VII was a paranoid, insecure and brutal despot - not unlike any of the kings who came before - who ushers in the modern police state. During the performance on Wednesday I found myself keenly aware of the propaganda dimension of the play: Margaret's prophecy, the scene with the ghosts (mercifully with most of the Henry parts cut) and Henry's final speech. It was made worse by all of the cuts, which I understand were necessary, but the consequence was that there was little time for any character development. The other interesting characters - Buckingham and Hastings for example - had their parts cut so much that they hardly registered. Timothy Edward Kane was a terrific Richard, but I felt that this second part was not as effective as all that came before. The propaganda dimension of the play undercut the point of the overall work I think. Lifting up Henry as a savior as if he is some kind of superman who comes in to fight the forces of evil is simply nonsense. The evil depicted in all of the plays represented which is fed by power lust and violence cannot be stopped with yet more violence and Henry is just as bad as the rest. This is my major complaint. Richard III was not effective as a concluding play for this project. Admittedly there is really no other option since there are no other plays that continue the story. (Henry VIII is not a possibility - it is a completely different play).<br />
<br />
But there were other things that I found distracting. Clarence was not drowned in a vat of Malsmsey wine - though he obviously had a drinking problem (I liked that actor quite a lot however - John Tufts is terrific). I did not like the way Hastings was depicted. Lord Hastings was Edward's best friend, drinking buddy and hunting partner. They were inseparable while Edward lived. It would be hard to imagine this Hastings, the petty administrative functionary, as such a close pal to Edward. These are minor complaints, so on the other hand, this presentation of the play with all its cuts did focus more attention on the women. With so much of the play's cuts taking away from the male characters, the women I think had their scenes retained almost in tact. The incredible parallel scenes where Richard woos first Anne and then Elizabeth (for her daughter) where the women eventually have no choice to succumb but only after giving vent to their rage and disgust were both particularly effective. The scene with the four women - Anne, Elizabeth, Margaret (who is like a phantom in Richard III) and Richard's mother the Duchess of York - who has come to loathe her son - was also exceptionally effective. In part I - "Foreign Fire" - the women were more or less pawns, here in "Civil Strife" they come into their own and exercise more strength and determination.<br />
<br />
Ultimately I had mixed feelings about the ending. Thankfully the play did not end with the gag inducing nationalistic speech of Henry VII post-Bosworth. The appearance on stage of the cast as players and victims of all the violence and the disposal of the wall were effective. The final song seemed a bit simplistic to me. If only....<br />
<br />
The experience was overall very profound and called needed and important attention to the issues of endless idiotic wars which are fought for fake reasons of "security" but really are fought only for profits and power as hundreds of thousands of victims are produced as a result. Look at the wars we have created and continue to prosecute and what do we have? Security? Stability? Democracy? Justice? Nope - the world is a more unsettled and insecure place as a result of the idiotic wars begun by GWB. The security of the world is more unstable than ever before by the emergence of harsher, more violent and more self-righteous groups. And the "collateral damage" has included an uncountable number of men, women and children who are now refugees. And in the end who benefits? In the end the crown is made of paper and the reward is a useless swinging tire that we have spray-painted gold. This was a powerful couple days spent in the theater. <br />
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<a href="https://youtu.be/VDJOv7rtW70">https://youtu.be/VDJOv7rtW70</a></div>
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<i>The promotional clip for Tug of War: Civil Strife</i></div>
Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com0tag:blogger.com,1999:blog-1868457521565839495.post-59192755305990543412016-08-12T13:29:00.001-07:002016-08-12T13:29:15.113-07:00Catch Up - Cosi, Parsifal, Beatrice, Fanciulla Now that I am back from vacation, I am back to work and back to my regular schedule of watching opera online (or in rare cases going to the movie theater). So in the last week I have tried to catch up a bit by watching several opera productions that I have had on my list for a while.<br />
<br />
<b>Cosi fan Tutte - Aix-en-Provence</b> - This new production opening this past summer and has been fairly controversial, which is why I wanted to start with it. I finally was able to watch it and I will start by saying that I thought the cast did a nice job. The production was very demanding physically and of course vocally. And they all did a nice job. I especially liked Lenneke Ruiten as Fiordiligi as well as Kate Lindsay as Dorabella and Rod Gilfrey as Don Alonso. The boys were fine but I have mixed feelings about the Despina. However, the orchestra was just not up to the standards I expect from Aix or from the Freiburg Baroque Orchestra. The playing was sloppy: ensemble problems abounded, they almost completely fell apart at one point and the horns were a disappointment, especially in "Per pietá."<br />
I began the opera expecting to like it. I had seen an extended clip and had read several reviews and the idea of expanding the opera's dealing with the objectification of women to include systemic racism I thought might actually work. But in the end I felt that it was a muddle, with a lot of inconsistencies. Set in Italian occupied Africa (not sure I ever caught the country) during the late 1930's (Il Duce appears prominently at several points) we begin during the overture with the scene of occupation and really horrible abuse of the native African population. Partially naked black prostitutes are abused by the Italian soldiers - including Guglielmo. With the number of Italian soldiers milling around it reminded me more of the opening of Carmen and here then is the first disconnect. So I assume this is some kind of base, complete with a commanding officer. This means these soldiers are on active duty. Ok, so are we then supposed to believe that they are just going to all abandon their posts because Alfonso pays them some cash that enable G and F to play this trick on their girlfriends. And were they even boyfriend and girlfriend? What was their relationship? I wasn't sure they had much of a relationship with the girls to begin with. It was all kind of muddy. So, they all ship out - to where who knows. But when the boys come back they are now dressed as Africans in dark make-up. This in and of itself doesn't bother me. But here begins all the confusion. There is such a divide between the Italians and Africans. Alfonso and Despina seem to be residents as they get along with the Africans (Despina seems to have an African boyfriend - but exactly who is she anyway, she is not a maid, and doesn't appear to be a friend of any of the rest of the cast. I was totally confused by her character in this production.) But the girls and the boys both treat the Africans terribly: it is violent and hateful and racist. Ok given that then we are next to believe that they are falling for these faux black men?<br />
The bottom line problem is that there is no epiphany. The violent racist behavior continues all the way to the end of the opera. And then when the black make up starts to rub off it becomes obvious who these guys are. Ferrando even appears to Fiordiligi with the make-up mostly wiped off and she then begins to cover her own body and face with make-up. But when we get to the act 2 finale it is a big surprise that the boys had dressed up. So what was the point? And how can that be? And it also seemed to me that Despina was fully aware and complicit throughout but yet she seems totally surprised by the revelation. In the end none of the characters are very likable, they were all kind of horrid. The only characters I developed any sympathy for were the African supers. But yet I was fascinated to see what the director was going to do next hoping we would move these charcters forward about towards enlightenment. But it never happens. Ultimately Cosi is making a statement about a shared humanity - "Women are like that" - they are human beings too! They are not to be put on pedestels, they are not the virgin/whore - they are simply human beings like all the rest of us. This was Da Ponte's effort to undermine one of the more troubling strains of the late 18th century enlightenment. In the libretto we have moved to this and Ferrando can accept it and Guglielmo is not able to accept it. But there is movement nontheless. That is what I do not like about this production - no movement. There is no sense that there is any new understanding of a shared humanity with the Africans. After the curtain comes down the violent racist abuse will simply continue along with the terrible misogyny which is a part of the behavior of the male characters in particular, but also the women.<br />
<br />
<b>Parsifal - Bayreuth 2016 </b>- I thought the singing was really terrific, especially from Pantratova, Zeppenfelds and McKinney - I also liked Vogt. The chorus was terrific as was the orchestra and the conducting by Haenschen was outstanding. Others had written about finding the production disturbing and one commentator on YouTube felt that the production was "anti-religion." I disagree with these assessments. I did not find the production disturbing at all, in fact it seemed to me that the production was lifting up the imagery of bondage/freedom, with the key to freedom being forgiveness. Parsifal is always blaming himself, he blames himself for his mother's death and for Titural's death. Both Amfortas and Kundry are also in bondage and ultimately they are freed only through an act of love - in Kundry's case it is her act of washing Parsifal's feet (like Mary - not Magdalene BTW - does in John 12.) Acts 1 and 2 seemed to be all bound up with the oppression of bondage, but act 3 gives us a new creation, a Garden of Eden, spring emerges after winter, and refreshing water is abundant. At the end the instruments of oppression, the symbols of religious oppression are placed in the casket: "earth to earth, ashes to ashes, dust to dust." In act 1 - the community was forcing Amfortas to take on the role of the redeemer but he simply can not do it. Parsifal in act 3 does not take on the role but simply begins to process of opening up the community to freedom. This is how I read it anyway. I felt this production transcended nationalities and was pretty universal. The imagery was predominantly Christian at first but in act 3 opened up to bring all religions together. I did not see it as anti-religious just anti using religion as a tool of bondage (which happens all too often, and has historically). Maybe I missed the point but this is what I experienced. I will say that not everything worked. The big green plant in act 3 look like someone at Mount Salvat had traded a cow for some magic beans. But I really liked the set of act 2 and the flower maidens.<br />
<br />
<b>Beatrice and Benedict - Glyndebourne 2016</b> - I truly enjoyed this opera which I had never seen before and this production, though it is very light on plot! The Shakespeare play "Much Ado About Nothing," upon which the opera is based, is darker with much more complex. The plot of the play is pretty much gone here though. And what remains is one single thread and a characterization thread at that: the relationship of banter and wit between Beatrice and Benedict. This now becomes the entirety of the plot for the entire opera with really nothing else from the play. Yes Hero and Claudio are also getting married, but that is incidental for the most part - though I loved the act 1 finale where Hero shows Ursula her wedding dress - what a lovely scene. Berlioz did add a music master character and utilized the chorus extensively which, in my view, is the one thing that really redeems this opera. The chorus writing is terrific and the Glyndebourne chorus obviously had a great time doing this. Great fun. The music master Somarone is based on Berlioz himself (in the production anyway) and was really very funny. I wonder if Berlioz was drawn not only to this play but to focus on this thin plot line because true love and happy marriage was one thing that eluded him all of his life. His marriage to Harriet Smithson had been a disaster and his relationships with women tended to be obsessive and short-lived. So in this perhaps there is something of a sense of loss and regret in the score. But at the same time it is rather celebrative and the production is rather fun. Laurant Pelly portrays marriage as a box - both restrictive and secure. I really enjoyed it, but it would never be even a favorite Berlioz. Damnation and Cellini are much more substantial works. This opera does not even have much memorable music, except for the overture and the final duet (which uses music from the overture - or vice versa). It is fun to see though. Paul Appleby was terrific as Benedict and Stephanie d'Oustrac was terrific as Beatrice. The rest of the cast was quite good. The Ursula was quite outstanding and actually her part is more extensive than in the play. But the stars of the show were really the orchestra under conductor Antonello Manacora and the chorus. It is available for a couple more days on the Glyndebourne website and then I think it may be going to Sonostream where it can be watched for a small fee.<br />
<br />
<b>Fanciulla del West - La Scala</b> - I got to see this production in the movie theater. It was a really interesting and entertaining production. Robert Carsen takes his starting point with old western movies and he begins and ends there. And in between we always have the sense that we are in the movie. I found the experience to be fun! The cast was great. The score was really fun. The plot is a little silly. This is really the quintessential Spaghetti Western ("dooda, dooda, dooda day). It is not completely politically correct either - stereotypes abound: Mexican bandits and a drunk Indian - but the music is lovely. Seems maybe Andrew Lloyd Weber might be a fan of this opera, one of the beautiful souring melodic motifs reminded me a lot of a tune from Phantom of the Opera (even the way it is orchestrated!). Barbara Haveman was terrific as Minnie, I thought. She was tough and feisty and kind and gentle. Roberto Aronica was fine as Dick Johnson (Ramirez). He is not a great actor but he pulled it off. Carlo Bossi was great as Nick but my favorite in the cast was Claudio Sgura as Jack Rance. He was terrific. The chorus and all of the many small roles were all very well performed. The chorus has a beautiful blend in their sound that was quite effective. For me act 2 is a masterpiece musically and dramatically. Puccini moves the plot forward effectively through Minnie's discovery of her betrayal, Dick's wounding and then the climax with Minnie and Jack playing a very high stakes poker game. Sgura was really terrific in this act. I was on the edge of my seat, and I felt like I was at the movies! (Maybe a little too much blood running down the wall, if there had been that much blood he would have bled to death!) The denoument in act 3 is a little silly and a bit of a let down which may be why Carsen recast it all in front of the movie theater. I thought it was great and really effective. And on the whole it was a fun night going out to Tivoli theater in St. Louis for dinner and a movie - which happened to be an opera set as an old movie.<br />
Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com0tag:blogger.com,1999:blog-1868457521565839495.post-62733522638810446042016-08-09T07:59:00.002-07:002016-08-09T07:59:32.515-07:00Central City Opera – Tosca & the Ballad of Baby Doe<div class="MsoNormal" style="text-indent: .5in;">
It has been 60 years since Central
City Opera premiered the Douglas Moore opera, “The Ballad of Baby Doe.”<span style="mso-spacerun: yes;"> </span>When I learned they would produce this work I
wanted very much to see it.<span style="mso-spacerun: yes;"> </span>Back about
12 years ago I participated in a production of this wonderful opera when I was with Opera Illinois.<span style="mso-spacerun: yes;"> </span>I was both the chorusmaster and a chorister on stage
and also served as assistant conductor. I came to really love this opera.<span style="mso-spacerun: yes;"> </span>As it happened in addition Central City was also
doing a production of Puccini’s great opera “Tosca.”<span style="mso-spacerun: yes;"> </span>So I arrived in Central City on Tuesday ready
to see both operas.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">Tosca</b> first – This opera could be called a “warhorse.” <span style="mso-spacerun: yes;"> </span>It is produced often and I have seen it more
times than I can remember, I have also prepared the chorus and performed in it
as well (I got to be the captain of the firing squad – pretty cool!) I have
seen productions of this opera at the Met, at LOC, at Opera Delaware and on and
on.<span style="mso-spacerun: yes;"> </span>And I have to say that of all the
times I have seen this opera I cannot remember ever experiencing a better acted
performance.<span style="mso-spacerun: yes;"> </span>These singers were not only
terrific singers, but really great actors. I was completely absorbed by their
performance. Alexandra Loutsian was a wonderful Tosca with all kinds of
character nuances. From her jealous outbursts to her simple and naïve religious
convictions to her devotion to Cavaradosi to her terror of Scarpia - it was all
here.<span style="mso-spacerun: yes;"> </span>And when she finally gets up the
nerve to stab Scarpia to death at the end of act 2 her sobbing was so visceral
and realistic I wondered if she was going to be able to sing the remainder of
the act (she did, BTW).<span style="mso-spacerun: yes;"> </span>Her performance
of the great famous aria <i style="mso-bidi-font-style: normal;">Vissi d’arte</i>
was incredibly moving.<span style="mso-spacerun: yes;"> </span>Here was a
woman whose faith had been destroyed and she was left with nothing but her own
inner strength.</div>
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<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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And then there was Michael Mayes as
one of the most subtle but cruel Scarpia’s I have seen. From his initial
appearance he dominated the stage, and he continued to dominate the opera even
into act 3.<span style="mso-spacerun: yes;"> </span>His <i style="mso-bidi-font-style: normal;">Va, Tosca</i> was terrifying in its obsession.<span style="mso-spacerun: yes;"> </span>And in act 2 he was able to cajole, to be
gentle, to be cruel and ultimately to be lustful and violent.<span style="mso-spacerun: yes;"> </span>Mayes created an incredible arc for this
character and in the process gave us a truly remarkable and memorable
performance. I believe this run may have been his role debut, but I cannot
believe that he will not have many, many more Scarpia’s in his future career.
This was not a cookie-cutter evil Scarpia – Mayes gave us a nuanced character
whose lust for power both ran deep and at the same time controlled him.<o:p></o:p></div>
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Finally there was Jonathan Burton’s
Cavaradosi. Perhaps this character is the only character in the opera who one
might say is at all “normal.”<span style="mso-spacerun: yes;"> </span>He is
creative, works for a living, has a famous lover to whom he is devoted, but
still is patient and indulgent of Tosca's silly jealous fits and he takes a huge and
ultimately tragic risk in agreeing to help the political escapee Angelotti. At
the same time he is courageous and is the only character who dares to stand up
to Scarpia – this is what gets him killed in the end.<span style="mso-spacerun: yes;"> </span>Well, that and the inconvenient fact that he
is the boyfriend of Tosca.<span style="mso-spacerun: yes;"> </span>Burton had
all of the light, loving gentleness that the role requires.<span style="mso-spacerun: yes;"> </span>But was also able to convey the courage and
determination as well.<span style="mso-spacerun: yes;"> </span>His <i style="mso-bidi-font-style: normal;">Vittoria</i> was simply glorious.<span style="mso-spacerun: yes;"> And h</span>is <i style="mso-bidi-font-style: normal;">E
lucenvan le stelle</i> was heartbreakingly gorgeous and yet his <i style="mso-bidi-font-style: normal;">O dolci mani</i> was so incredibly tender
and loving.<span style="mso-spacerun: yes;"> </span>I particularly appreciated
his reaction to the news that he would be shot.<span style="mso-spacerun: yes;">
</span>Like Domingo it was obvious he knew exactly what would happen and he
conveyed that to the audience, but yet allowed Tosca to continue with the
fantasy that they would be able to get away from this horror together.<span style="mso-spacerun: yes;"> </span>These three leads were simply
terrific!<o:p></o:p></div>
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And the supporting cast were also
excellent.<span style="mso-spacerun: yes;"> </span>I especially liked Peter
Lake’s Spoletta. I do not like it when the director gives the Spoletta and the
Sciarone as conscience. Power corrupts and tends to seduce.<span style="mso-spacerun: yes;"> </span>We have seen it in our own times not to
mention the historical reality. Those who are called upon to do the dirty work
of violence and cruelty do so often with no sense of remorse or conscience.
Such I believe to be the case of the Sbirri Spoletta and Scarpia’s orderly
Sciarone. One of the oddest moments in the opera occurs during the torture
scene in act 2.<span style="mso-spacerun: yes;"> </span>Tosca is reacting to the
torture of her lover and pleading with Scarpia to stop it and trying not to let
on she knows what Scarpia is trying to find out – something she does not do
well.<span style="mso-spacerun: yes;"> </span>At one point just before she
breaks and gives up the info, she is pleading and Spoletta sings behind her
pleading a chant in Latin – it is a prayer of some sort.<span style="mso-spacerun: yes;"> </span>It is rather odd, and it is always
interesting to me to see how this is portrayed.<span style="mso-spacerun: yes;">
</span>Too often the Spoletta is having a moment of pity and says this prayer
as a way of repenting, or expressing sympathy for Tosca. That I
think is completely the wrong way to approach it.<span style="mso-spacerun: yes;"> </span>In the Central City production Spoletta came
up behind her and spread his arms and the chant became a kind of cruel mockery
of her faith and situation. I thought it was just right as it set up the aria
which follows in a bit where Tosca herself questions her faith.<o:p></o:p></div>
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<i>Michael Mayes as Scarpia and Peter Lake as Spoletta</i></div>
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Among the other supporting cast
Donald Hartmann did a fine job as the nervous Sacristan, though he may have been a
little bit over the top at times.<span style="mso-spacerun: yes;"> </span>And
Stephen Clark was an excellent Angelotti, though the wig just didn’t work.<span style="mso-spacerun: yes;"> </span>Minor points.<span style="mso-spacerun: yes;">
</span>I was also surprised that women were added to the children’s chorus.
Having trained the children’s chorus for this opera I was a little disappointed
to hear women’s voices dominating the scene with the children’s chorus as I
particularly love the sound of the children’s voices.<span style="mso-spacerun: yes;"> </span>But the scene itself was effectively
staged.<span style="mso-spacerun: yes;"> </span>I was also disappointed that the
Shepherd was sung by an adult soprano instead of a boy.<span style="mso-spacerun: yes;"> </span>She did a lovely job, but… well… the boy’s
voice is just different.<span style="mso-spacerun: yes;"> </span>But the staging
of that scene with the projections of the sheep was pretty fun.<o:p></o:p></div>
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This brings me to the staging by
Joachim Schamberger. In the first sentence of his director’s notes he states
that he sees Tosca as a “poignant metaphor” for the quest of freedom. Later he
describes how the set is designed to be “cage-like” trapping humanity – us all
– into cycles of violence and suffering from which we cannot escape. And so the
concept of reality was flipped: the true reality was being locked in a cage
from which escape is impossible and the settings – the church, Scarpia’s
apartment to parapet - all of that is fantasy.<span style="mso-spacerun: yes;">
</span>This was conveyed by the very ingenious use of projections that allowed
us to see into the minds of the characters.<span style="mso-spacerun: yes;">
</span>And the modern dressed extras at the beginning (before the music) and at
the very end brought us, the audience, into the cage.<span style="mso-spacerun: yes;"> </span>We are trapped just like the characters in
this story of Tosca.<span style="mso-spacerun: yes;"> </span>This is a profound and powerful concept and one that I think has great
potential and I hope that the director will have a chance in the future to
refine it in future productions.<span style="mso-spacerun: yes;"> </span>The
major problem was that without having read the director’s notes or attended the
preview there was no way one could pick up on any of this.<span style="mso-spacerun: yes;"> </span>This is in large part because the set itself
didn’t look much like a cage but rather looked like a set of doors.<span style="mso-spacerun: yes;"> </span>The set needs to be reworked for the future I
think to make it more obviously cage-like.<span style="mso-spacerun: yes;">
</span>But I love the concept. After I figured it out it has dominated my
thoughts – and this is also because the cast were all such great actors.<span style="mso-spacerun: yes;"> </span>One last little detail that I didn’t quite
get – there was some kind of odd relationship between Scarpia and Roberti. I
didn’t get the elderly disabled take on Roberti, who then refuses to receive
any money for doing his job? Was he some kind of true believer torturer?<span style="mso-spacerun: yes;"> </span>And there was an odd and creepy affection
between him and Scarpia as well. What was up with that?<span style="mso-spacerun: yes;">
</span>And why was the Judge then not drawn in a more detailed way to match the
Roberti?<span style="mso-spacerun: yes;"> </span>But on the whole, I loved this
performance.<span style="mso-spacerun: yes;"> </span>Finally I will mention that
the orchestra was great and the conductor John Baril excellent.<span style="mso-spacerun: yes;"> </span>His pacing and his ability to maintain
coordination with the stage was almost uncanny.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">The Ballad of Baby Doe</b> – As I stated above I love this opera.<span style="mso-spacerun: yes;"> </span>It holds a special place in my heart.<span style="mso-spacerun: yes;"> </span>The staging of this opera was also not
necessarily completely traditional.<span style="mso-spacerun: yes;"> </span>Gone
were the realistic sets and the sense that we are watching the story unfold in
real time.<span style="mso-spacerun: yes;"> </span>Instead the first image is of
the miner’s shack at the Matchless Mine where Baby Doe Tabor eventually froze
to death and an elderly Baby Doe wandered the stage and we entered into her
reflections and memories.<span style="mso-spacerun: yes;"> </span>Projections
continued to bring us into the story – the original hotel lobby among other
scenes.<span style="mso-spacerun: yes;"> </span>Frayed drapes represented frayed
memories upon which images of Horace and Baby Doe and Augusta were projected.
We experienced the story unfold as Baby Doe herself remembered her experiences
and her life.<span style="mso-spacerun: yes;"> </span>It was ingenious and it
worked beautifully.<span style="mso-spacerun: yes;"> </span>I loved this
production and felt it was outstanding. Hats off to director Ken Cazan.<o:p></o:p></div>
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Again the principals were not only
terrific singers but excellent actors, each and every one of the completely
embodied their characters.<span style="mso-spacerun: yes;"> </span>First among
equals though was Suzanne Mentzer as Augusta Tabor.<span style="mso-spacerun: yes;"> </span>Her performance was simply brilliant. <span style="mso-spacerun: yes;"> </span>Her acting and her singing were amazing.<span style="mso-spacerun: yes;"> </span>My favorite scene in the opera has always
been the scene with Augusta and her 4 friends – <i style="mso-bidi-font-style: normal;">What do you intend to do Augusta?</i> – (see the photo below) at the end of this scene
Augusta declares that if Horace attempts to divorce her he will “rue the day he
was every born.” Beginning on a high a on the word “rue” the musical line
descends to the lowest note in the opera for her on the word “born.” Stunning! Mentzer’s
performance of this entire scene was chilling.<span style="mso-spacerun: yes;"> You do not want to mess this with woman! </span>I also loved her act 2, when she begins to take responsibility for the
mistakes she made, and her attempts to try to reach out and then her incredible
final monologue. I don’t know how to describe it except to say that Mentzer was
simply brilliant.<span style="mso-spacerun: yes;"> </span>Hers was a powerful
and moving performance.<o:p></o:p></div>
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<i>"What do you intend to do, Augusta?" - Suzanne Mentzer as Augusta Tabor with her four friends - Act 1, Scene 5</i></div>
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This is not to say that she was not
matched by her co-stars.<span style="mso-spacerun: yes;"> </span>I loved Grant
Youngblood as Horace.<span style="mso-spacerun: yes;"> </span>He was vocally
strong but he also embodied Horace’s dependence and flamboyance and his complete inability to manage his
life.<span style="mso-spacerun: yes;"> </span>And I was totally convinced of
his commitment to the silver standard which will be his undoing.<span style="mso-spacerun: yes;"> </span>Even as everyone else (including Baby Doe)
try to get him to see the writing on the wall he stubbornly holds onto this out
of principal, but a principal that destroys him.<span style="mso-spacerun: yes;"> </span>His final scene – the memory scene where he
relives parts of his life – was a tour de force.<span style="mso-spacerun: yes;"> </span>He was completely broken and he conveyed
this.<span style="mso-spacerun: yes;"> </span>As his love Baby Doe, Anne Christy
also did a beautiful job developing the character arc for a young woman who is
kind of on the make to a woman who truly and sincerely is in love and supports
Horace no matter what.<span style="mso-spacerun: yes;"> </span>She also did a
wonderful job with the devilishly difficult vocal writing.<span style="mso-spacerun: yes;"> </span>My favorite of her arias is in the wedding
scene – <i style="mso-bidi-font-style: normal;">Gold is a fine thing</i> – her
hymn to silver. This was beautifully sung.<span style="mso-spacerun: yes;">
</span>And in the rally scene for William Jennings Bryant she was dutifully
loyal despite the sense that this was going to end badly.<o:p></o:p></div>
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<i>Horace and Baby Doe at their wedding - Act 1 finale!</i></div>
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I have to say that Donald Hartman
was absolutely terrific as William Jennings Bryant. He may have been a little
over the top as the Sacristan, but not so as Bryant.<span style="mso-spacerun: yes;"> </span>He commanded the stage, he was the
experienced politician greeting everyone at the rally and each greeting was
different.<span style="mso-spacerun: yes;"> </span>And his “aria” speech
(actually a real speech by the historical Bryant set to music) <i style="mso-bidi-font-style: normal;">Good People of Leadville </i>was
masterful.<span style="mso-spacerun: yes;"> </span>He built it slowly until
finally the chorus could not help but erupt into cheers and celebration. He is
in the one scene only – but he was great!<span style="mso-spacerun: yes;">
</span>Well Done!<o:p></o:p></div>
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<div class="MsoNormal" style="text-indent: .5in;">
I can’t possibly mention all of the
rest of the cast by name, this is an opera with a huge cast. But all of the
supporting roles were done very well.<span style="mso-spacerun: yes;">
</span>Sarah Barber was also excellent as Baby Doe’s mother Mama McCourt.<span style="mso-spacerun: yes;"> </span>I loved how she drank so much that it
loosened her tongue and she blurted out the information about the divorces,
which scandalized everyone, especially poor Fr. Chappelle.<span style="mso-spacerun: yes;"> </span>Augusta’s 4 friends, and Horace’s 4 cronies
also were particularly good.<span style="mso-spacerun: yes;"> </span>I mentioned
the scene with the friends, but the gambling scene with the cronies was also
very well done.<span style="mso-spacerun: yes;"> </span>Finally the chorus was
excellent.<span style="mso-spacerun: yes;"> </span>I know that chorus part and
the final chorus is gorgeous music and it is not that easy, but they did a
beautiful job,<span style="mso-spacerun: yes;"> </span>I also loved the chorus
in the rally scene and in the wedding.<span style="mso-spacerun: yes;">
</span>The 7/4 rhythm which dominates the scene gives a sense of everything out of balance, and
sometimes can actually cause problems between the stage and the pit, but not in
this performance.<span style="mso-spacerun: yes;"> </span>The chorus, principals
and the orchestra were excellent and the conductor Timothy Myers was excellent.<o:p></o:p></div>
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<div class="MsoNormal" style="text-indent: .5in;">
My experience with Central City
Opera was really excellent.<span style="mso-spacerun: yes;"> </span>They did a
great job, the hall has great acoustics, even if the seats are not so
comfortable.<span style="mso-spacerun: yes;"> </span>But in closing I should
mention that I found Central City itself to be a rather challenging place to
visit.<span style="mso-spacerun: yes;"> </span>We were lucky to find a lovely
place to stay, but finding food for meals was a task.<span style="mso-spacerun: yes;"> </span>There is one good restaurant, the Teller
House, which is always booked and which has the oddest hours.<span style="mso-spacerun: yes;"> </span>So if there is no evening performance then
they don’t open for dinner, despite the fact that the opera matinee gets out at 5:30
which is exactly dinner time.<span style="mso-spacerun: yes;"> </span>So what to
do, well, one is forced to patronize the casinos.<span style="mso-spacerun: yes;"> </span>This I found very uncomfortable.<span style="mso-spacerun: yes;"> </span>Perhaps it is my profession, but I have seen
how people’s lives are destroyed by gambling and I disapprove of gambling quite a lot since gambling
tends to target those who can least afford it.<span style="mso-spacerun: yes;"> (Maybe Central City Opera needs to do a production of "Queen of Spades!") </span>But if you wanted to eat that was the only option – to wander through these
horrid casinos in order to get poor food which was incompetently served.<span style="mso-spacerun: yes;"> </span>Each of the casinos had a sign that no one
was allowed on the casino floor unless they were over the age of 21.<span style="mso-spacerun: yes;"> </span>Not a problem for me.<span style="mso-spacerun: yes;"> </span>But what if I had children with me to attend
the opera, and I was not able to get into the Teller House? Then what? In order
to get to the restaurants in the casinos one has to walk through the casinos –
so I guess the children are supposed to starve since they can't get to the restaurants.<span style="mso-spacerun: yes;"> </span>It is simply absurd and this is an issue that
the city and the opera should address. I would frankly not be inclined to
return for this reason alone.<span style="mso-spacerun: yes;"> </span>And if I
ever do, I doubt that I will stay in Central City.<o:p></o:p></div>
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<div class="MsoNormal" style="text-indent: .5in;">
But from a purely operatic
standpoint it was a wonderful couple days.<span style="mso-spacerun: yes;">
</span>I loved both operas and so glad I got to see them, even if finding meals
was such a chore.<o:p></o:p></div>
Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com2tag:blogger.com,1999:blog-1868457521565839495.post-38867411931030100462016-07-28T12:48:00.001-07:002016-07-28T12:49:25.838-07:00 “La Favorite” by Donizetti – performed at La Fenice in Venice. <div class="MsoNormal" style="text-align: center; text-indent: 0.5in;">
<a href="http://www.rai.tv/dl/RaiTV/programmi/media/ContentItem-bbac29b5-0b0d-4d71-ac92-75d21ebb889b.html" target="_blank">I found the video of this performance online. Here it is on the Rai website - there are no English subtitles on this.</a></div>
<div class="MsoNormal" style="text-align: center; text-indent: 0.5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
Had the opportunity to go to the
summer movie house in St. Louis again last night for a really remarkable
performance of “La Favorite” by Donizetti.<span style="mso-spacerun: yes;">
</span>The opera was originally composed for the Paris Operá and in French but
later Donizetti created an Italian version which has been historically
preferred.<span style="mso-spacerun: yes;"> </span>Famously, Luciano Pavarotti
championed this opera, but I think he only performed the Italian version.<span style="mso-spacerun: yes;"> </span>I had seen it once before in Italian and had
loved the music, but was not as enthusiastic about the plot and libretto – more
about that below.<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
But first I have to say this was a
top-notch performance musically and dramatically in every way.<span style="mso-spacerun: yes;"> </span>The singing was spectacular and not just by
the principals, but by everyone, including the chorus.<span style="mso-spacerun: yes;"> </span>The work was also very well conducted and the
orchestra was terrific. I really do not understand why the Met doesn’t engage
John Osborn more often.<span style="mso-spacerun: yes;"> </span>He has a
gorgeous voice.<span style="mso-spacerun: yes;"> </span>It is bright with a beautiful
ring to it.<span style="mso-spacerun: yes;"> </span>He is sensitive musically
and able to spin the most delicate phrases and when necessary also able to
effectively thunder out.<span style="mso-spacerun: yes;"> </span>And not only
that but he is a great actor! He completely inhabits his roles and always puts
in a very committed performance.<span style="mso-spacerun: yes;"> </span>I have
seen him a lot – mostly in European productions – and I really like him. He is
particularly good with these sort of angry, crazy tenor roles.<span style="mso-spacerun: yes;"> </span>And in this opera he was especially
outstanding as Fernand.<span style="mso-spacerun: yes;"> </span>As his rival
King, Alphonse, the baritone Vito Priante did a beautiful job. His is another
gorgeous voice and he is also a baritone who can act!<span style="mso-spacerun: yes;"> </span>And as their love interest Léonor de Guzman,
mezzo-soprano Veronica Simeoni was also outstanding.<span style="mso-spacerun: yes;"> </span>And then the supporting cast – all equally excellent:
Pauline Rouillard as Inés, bass Simon Lim as Balthazar and a wonderful
comprimario tenor, Ivan Ayon Rivas, as Don Gaspar.<span style="mso-spacerun: yes;"> </span>During intermission Rivas was interviewed and
struck me as being probably one of the nicest and sweetest guys ever and he must
have struck the interviewer the same because he was asked how it was possible
for him (of all people I suppose) to play such a terrible, evil character like
Don Gaspar so effectively and he laughed and essentially said – “It’s called
acting!”<span style="mso-spacerun: yes;"> </span>And while the Met certainly has
a number of terrific comprimari they really ought to take a look at this guy.
He also had a beautiful voice.<span style="mso-spacerun: yes;"> </span>The
conductor, Donato Renzetti also was outstanding.<span style="mso-spacerun: yes;"> </span>Have I made the point yet?<span style="mso-spacerun: yes;"> </span>Musically this was a terrific, outstanding
performance in my view.<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
The plot of this opera is, IMHO, a
bit troubled and tiresome, especially for a 21<sup>st</sup> century audience. I
do not think it is a particularly effective operatic plot.<span style="mso-spacerun: yes;"> </span>In fact, I don’t much like it at all.<span style="mso-spacerun: yes;"> </span>When I saw it a couple years ago in a
musically fine production (which is still on YouTube) I found it to be tiresome
and silly.<span style="mso-spacerun: yes;"> </span>It is essentially a blame the
female victim plot:<span style="mso-spacerun: yes;"> </span>A beautiful woman,
Léonor de Guzman (who is a historical character BTW, but whose life bore little
to no resemblance to this plot) is promised that she will be queen by the King
but, he is already married and so she becomes his mistress. She then meets and
falls in love with the love of her life (Fernand) but is terrified that he will
find out about her relationship with the King. She resolves to do the right
thing and have her friend and associate Inés go to him and tell him everything.<span style="mso-spacerun: yes;"> </span>But the jealous Don Gaspar prevents Inés from
taking the information to Fernand.<span style="mso-spacerun: yes;"> </span>This
then leads to this major confrontation scene where the truth finally comes out
and Fernand rebukes and brutally rejects Leonor out because her impurity is a
stain on his honor (gag!).<span style="mso-spacerun: yes;"> </span>In the last
act she takes poison and finds him, now back in the monastery and begs for his
forgiveness.<span style="mso-spacerun: yes;"> </span>He is reluctant at first
but eventually he is overcome with love and affection and he forgives her and
wants to return to a life with her, but it is too late.<span style="mso-spacerun: yes;"> </span>His honor is saved by her suicide. Leonor is
a victim multiple times in this plot.<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
This brings me to the staging by
director Rosetta Cucchi, which I found to be exceptionally engaging.<span style="mso-spacerun: yes;"> </span>Not only that but was visually stunning. Lit
softly the set and creative costumes were all in various shades of gray, blue,
purple, white and black.<span style="mso-spacerun: yes;"> </span>The only other
color was from the dancers during the 2<sup>nd</sup> act ballet who were
butterflies.<span style="mso-spacerun: yes;"> </span>It worked.<span style="mso-spacerun: yes;"> </span>I immediately could tell that this staging
was an imagined futuristic world.<span style="mso-spacerun: yes;"> </span>And at
the intermission there was an extensive interview with her and she laid out her
vision, for which I am grateful.<span style="mso-spacerun: yes;"> </span>I was
able to pick up some of it but I would not have gotten all of it were it not
for this interview.<span style="mso-spacerun: yes;"> </span>So the original she
said takes place in the year 1398 (or something like that) and she turned the
numbers around to 8931 and set the opera in a distant future.<span style="mso-spacerun: yes;"> </span>In this world the monks are the keepers of
the chemistry of life and it is they that have the secret to preserving life
and sustaining life.<span style="mso-spacerun: yes;"> </span>Their monastery is
made to look like the periodic table – on purpose (the set designer said as
much) – and that which is essential to life – water and various kinds of plants
are carefully stewarded by the monks.<span style="mso-spacerun: yes;">
</span>Balthasar therefore yields much power and he is, like many who have that
kind of power, a despot.<span style="mso-spacerun: yes;"> </span>In this world,
women have become “incubators” – they are de-humanized and have no feelings at
all, and this is symbolized by their long flowing white hair. Leonor is an
anomaly as she is not yet completely de-humanized.<span style="mso-spacerun: yes;"> </span>She is still capable of feelings and because
of this she is both desperately desired and also feared and shunned.<span style="mso-spacerun: yes;"> </span>This is symbolized by her long flowing blond
hair which slowly starts to turn white (until she cuts it all off when she
pretends to be a boy in the last act). So Alphonse desires her, Fernand desires
her and Balthasar and Don Gaspar hate her.<span style="mso-spacerun: yes;">
</span>In act 2 the ballet features two dancers as butterflies who emerge from
their cocoon only to suffocate in the constriction of the confines of this
harsh society, symbolized by a womb like clear structure which I cannot
describe but was exceptionally effective and both beautiful and terrifying. But
the de-humanization has an effect on the men as well.<span style="mso-spacerun: yes;"> </span>Dehumanizing the women has resulted in the
dehumanization and enslavement of the men as well.<span style="mso-spacerun: yes;"> </span>None of them are able to strike out on their
own, including the King.<span style="mso-spacerun: yes;"> </span>Fernand does it
and is harshly shamed until he returns to the fold. The arrest of Inés was
particularly revealing as this arrest included a symbolic rape That further
dehumanized the men (she was already dehumanized).<span style="mso-spacerun: yes;"> </span>In this society “honor” becomes a meaningless
word that stands for the highest value but really has been stripped of all
meaning (see Shakespeare on this one – I think Cucchi was channeling the Bard
here because I kept thinking of Marc Antony’s great speech about the “honorable
men” who murdered Caesar and Falstaff’s terrific speech from Henry IV, part
I.)<span style="mso-spacerun: yes;"> </span>Ultimately we are all human together
– or we can loose our humanity by giving in to the dictates of despots who
promise us security but which results in objectifying violence and hate.<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
(Digression – Did Cucchi think at
all about the American election, with the most dangerous despot attempting to
become president by dehumanizing and objectifying other groups – including women?<span style="mso-spacerun: yes;"> </span>She may not have, but this only speaks to the
timeliness of her vision.)<o:p></o:p></div>
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<div class="MsoNormal" style="text-indent: .5in;">
So, I thought this production was
brilliant!<span style="mso-spacerun: yes;"> </span>She was able to take a rather
misogynist plot and twist it around into something else entirely.<span style="mso-spacerun: yes;"> </span>And that something else ended up being a
production that was visually stunning, musically brilliant and exceptionally though-provoking.<span style="mso-spacerun: yes;"> </span>Did it all work?<span style="mso-spacerun: yes;"> </span>No. The English subtitles (for which I am
grateful) were an exact translation of the libretto and not interpretive in
any way.<span style="mso-spacerun: yes;"> </span>Therefore sometimes what we saw
on the stage was not consistent with the libretto.<span style="mso-spacerun: yes;"> </span>And usually this bugs the heck out of
me.<span style="mso-spacerun: yes;"> </span>But in this case it didn’t.<span style="mso-spacerun: yes;"> </span>I was fine with it and had no problem just
reading past that and taking in the stage image.<span style="mso-spacerun: yes;"> </span>This is the case because I find this libretto
to be very poor on the whole.<span style="mso-spacerun: yes;"> </span>Donizetti
create incredibly beautiful music for it.<span style="mso-spacerun: yes;">
</span>But otherwise there is nothing to redeem this libretto.<span style="mso-spacerun: yes;"> </span>I cannot recommend this production more
highly.<span style="mso-spacerun: yes;"> </span>And I hope we see more of
Rosetta Cucchi.<span style="mso-spacerun: yes;"> </span>She is one brilliant
visionary of a stage director.<o:p></o:p></div>
Pastor S. Blake Duncanhttp://www.blogger.com/profile/01450359908151707153noreply@blogger.com1