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Interesting Interview with Renée Fleming

April 21, 2010 - A friend sent me an interesting interview with Renée Fleming in the WSJ. I find her following statement re the development of younger audiences for opera particularly interesting.

But opera is her mainstay. And in the battle between those who want traditional productions and those who want to reinterpret the standards, she stands mostly with the latter. She said nothing last fall when director Luc Bondy's spare, kinky production of "Tosca" at the Met ignited a firestorm of disapproval—and won't comment now—but she offers, "I'm not a reactionary. I've loved some of [these productions] when they've been well thought out." Nor does she mind using sex and violence. "I have no problem with edgy," she added, "as long as it's not vulgar or disrespectful of the piece."
On the other hand, Ms. Fleming said that those who insist that traditional baroque opera will never appeal to young audiences are wrong. She cited her own experience as a mother of high-schoolers. "What they don't like is 'stand-and-sing' opera," she said; they want theater. Some young people, she has no doubt, want to see productions by the likes of Franco Zeffirelli, whose lavish productions have become shorthand for the opposite of contemporary taste.

To read the full interview, click here.

Next up: WTF, pt. 2 - The various "trinities" of The Magic Flute.

WTF aka What's this Flute?

April 18, 2010 - So I've been hinting at the "Bawlmer" aspects of our upcoming production of Mozart's The Magic Flute, but I thought perhaps I'd start with a post explaining a little more about some of the themes I see in the piece and why they've led me to make some of the choices that I've made.

A great deal of lore and speculation have attached themselves to Mozart's last opera: symbolism, Enlightenment philosophy, Masonic ritual, etc. etc. etc. And there have also been many productions that take the "fairy-tale" aspects of the show (handsome Prince on a quest to rescue a damsel in distress, serpents, magic woodwind instruments and bells, etc. etc. etc.) as their jumping off point and simply glossed over (or omitted entirely) some of the elements that don't fit very comfortably into the "opera for children" mode. However, I don't think the piece would have endured as successfully as it has if it were on one hand a complicated exegesis of philosophy and arcane ritual or on the other hand a piece of mindless fluff meant simply to be innocuously entertaining (real fairy tales are so seldom this anyway) in the Disney mode. I think rather the piece examines some incredibly important questions of identity, self-knowledge, the search for someone to love us and to be loved by us, power versus enlightenment, the differences between the sexes, and ultimately what it means to be happy. In short, all the questions that confront human beings and have always confronted human beings. If approached this way, I find that Mozart is actually making a wonderful point about being human and particularly about being a happy human. So over the next several blog posts, I want to take a look at the people who inhabit this tapestry of humanity that is The Magic Flute.

First to appear is the "hero" of the opera, Prince Tamino. I put hero in quotes purposely because if we examine Tamino's actions as opposed to his stated intentions/self-professed qualities, there are some serious discrepancies. For instance, we encounter our "hero" at the top of show engaged not in heroic activities like slaying a dragon, or battling an invading horde but rather being chased by a "serpent" (in our modern day production represented by a band of paparazzi determined to get a shot of the "celebutante" Tamino) and ultimately fainting from the stress of it all. Not very heroic in my opinion, yet when a few minutes later Tamino meets Papageno, the "princely" demeanor kicks in so strongly that the two find communication with each other almost impossible. And things don't really get much better as the opera progresses. Tamino accepts the quest to rescue Pamina, only to ultimately not be the one who finds and rescues her (Papageno really does that), and indeed, he actually gets sidetracked from his quest entirely by the prospect of joining Sarastro's "no girls allowed in positions of power" brotherhood of "priests of wisdom" (more about them in a later post). In my opinion, in the scene where Tamino chooses his vow of silence rather than ease Pamina's anguish (a heartbreak that drives her to attempt suicide) is the scene that all but the most heartless of audience members loses any image of Tamino as the guy in the white hat riding in to save the day.

Meanwhile, let's go back to the beginning of the opera and look at the other guy: Papageno. In a traditional setting Papageno is a "bird man", a quality that is often used to link him to Voltaire's "noble savage", a creature perfect in nature who has not been tainted by the evils of modernity and urbanity. Unfortunately, Papageno is not perfect in any way, but (and here's the really important difference) unlike Tamino, Papageno has a totally accurate image of himself, virtues and foibles alike. He makes no pretense of wanting something he doesn't want, of being capable of deeds which hold no intrinsic interest for him, and most of all, he realizes that this is okay. In our production, I've chosen to represent Papageno as the Bawlmer average Joe. The decent, ordinary guy who wants to have some beer in his fridge, an Orioles game on the TV, and a cute wife or girlfriend on the sofa with him watching it. The "bird man" connection in this case is that our Papageno is a really, really, really devoted Orioles fan who uses his "inside track" with the team to get stuff that serves as a "dirty little pleasure" for the ambitious career-driven Three Ladies in return for which they give Papageno what he wants. Of course, you can't have this kind of character portrayed without that distinctive "Bawlmer" accent, now can you hon? The interesting thing that the use of this dialect conveys to the audience is something that is probably lost when heard in the original German (unless of course you are a native German speaker), namely how class and power are conveyed in terms of language. In the original German, Tamino and Pamina speak very correct and elegant German, while Papageno's text is filled with colloquialisms and simple constructions. At the furthest end of the spectrum from Papageno is Sarastro, who speaks a convoluted and rambling German reminiscent of Ronald Reagan in the final years.

So, the first "opposition" of the piece has been put forth: high-born vs. low-born. There will be many others that will be discussed in future posts. In the meantime, I encourage you to get your tickets soon. The show is selling very well. Click here to get them today.

See you at the opera!

What I've been up to recently

March 24, 2010 - First of all, Happy 53rd Anniversary shout-out to Mom and Dad! You two are an inspiration.

Now to the more normal content of this blog. So, I haven't posted recently because, right after Impressions of Pelléas closed I entered into an oh-so important but oh-so not sexy aspect of my job as General Director, namely budget planning. Woohoo! Let me tell you, that coupled with the equally scintillating but equally necessary process of reviewing financial aid packets from Opera Vivente Academy students (btw, there are still some slots available in that program for all you procrastinators) practically made me feel guilty that I actually get paid to have that much fun.

All joking aside, these sorts of things, along with board meetings, grant writing, and regular visits to the dentist, are all essential to healthy organizations and healthy people, but don't make for very interesting blog reading. But fear not, O faithful followers of this blog who are withering away due to lack of life-changing blog info! By next week, I will have entered firmly into the really exciting part of my job, namely pre-production activities like prop shopping, set rendering review, Bawlmerese diction coachings, and the like. So stay tuned. And as always -

See you at the opera!

Two BOGOs and Peter Brook Speaks

March 2, 2010 - So only two performances of Impressions of Pelléas remain, and in an attempt to jolt Baltimoreans out of their apparent snow induced comas, Opera Vivente is offering two different BOGO (buy one get one free) offers.

On Thursday, in a shout out to all our fellow performing artists, we are offering a BOGO to all AGMA members. Simply show your AGMA card at the door to qualify for the buy one get one free incentive. The original FB post said this was going to only be cash sales and only between 7 and 7:30pm, but I'm feeling generous so we'll give you the special any time up until curtain and you pay with cash, check, or credit card.

On Saturday, OV is sending our love to all the dedicated arts patrons in Baltimore who did not let the snow suck out their will to live. Present a ticket stub or program from a cultural event attended during the month of February to qualify for the ARTS LOVER BOGO. Almost every arts organization in town still managed to present something during the February Fury (fine evidence of the dedication of Baltimore's artistic community) so this shouldn't be too difficult.

Finally, if you're still wondering just what this Impressions of Pelléas thing is, here's a link to an interview with Peter Brook (one of the show's creators).

And (sorry, I guess the above wasn't really "finally") if you don't qualify for either of the BOGOs we do have tickets starting as low as $33 (click here to buy) AND we always offer our 50% off student rush ticket starting a half hour before each curtain. So come on, aren't you done sitting at home waiting to see if the sky is going to fall again?

A Few Images from Last Night's Dress Rehearsal

February 24, 2010 - Here are some images taken by Cory Weaver at the first dress rehearsal last night. Enjoy.

Rehearsal video clip of Impressions of Pelléas

February 23, 2010 - Last night's Wandelprobe introduced costumes into the mix. To see a little video of last night, click here. While the show has plenty of delicate "impressionistic" moments, it also contains scenes of tremendous emotional power. In this scene, Golaud, pushed to the brink by his doubts, turns violent towards his wife Mélisande.

Why Impressions of Pelléas? Why Now?

Opera Vivente will open a new production of Marius Constant's searing distillation of Debussy's Pelléas and Mélisande Friday, February. Conceived to be accompanied by two pianos, Impressions of Pelléas intensifies the tragedy of the love triangle between two half-brothers and a mysterious princess while evoking the sound world of Debussy's piano masterpieces. It is a chamber opera produced as a chamber opera.

Why do Impressions of Pelléas right now?

A lot of the talk in our industry and in criticism has centered on the question of "How can we keep doing the same stuff we've always been doing for less money"? We must produce yet another Carmen or Traviata or Butterfly, but for half the cost as the last time we did it. To my mind, this almost always results in a production that is unsatisfactory on many levels and is reviewed as such. But we are coming to accept it as the best we can do, after the oft-invoked caveat of "but in the current economic climate…”

To m, the more productive question for the opera industry to be asking is: "What are the elements of opera that are somewhat independent of cost, and what repertoire and production style best focuses us (and our audience) on those elements"?

When I start making a list of those elements, here's what I come up with:

1) Intelligent, musical, singing.

2) Committed, detailed, and skilled acting.

3) Evocative, thoughtful design that serves to enhance the audience's emotional response to the work rather than being an element that steals the audience's attention away from the work. (avoiding the old bon mot of "the audience left the theatre humming the set" in other words)

4) Direct communication with the audience that does not require expensive technology and equipment

5) Direction that places narrative, catharsis, and relevance at the forefront rather than spectacle or concept.

So then the answer to why Impressions of Pelléas now: quite simply, it's a piece that emphasizes all the above elements. I fact, I'd say it's the sort of piece that demands the above elements in order to work.

The musical language of the piece is not one that is all about high notes belted out by some overpaid "star", but rather a marriage of text and tone that is so subtle and intimate that it only comes alive in the throat of a singer who is more interested in artistry and the art form than accolades. The core of the story and the power of Pelleas is its examination of human relationships.

There are no improbable larger than life operatic hero/heroine relationships involving babies tossed in a fire or smugglers, gypsies, and an errant corporal. Instead, there are real human relationships: sibling rivalry between half-brothers, ineffective parents and grandparents, abusive marriages.

The characters of Pelléas tell half-truths, they commit sins of omission, they change their minds, they recognize the error of their ways and yet still persist in them. They delude themselves. Sound familiar? It should, because those are the things that we do. And the hope is that viewing these things on stage gives us the distance required to understand, to empathize, and to achieve catharsis.

Obviously a work of this sort of subtlety needs a number of things to work. For Opera Vivente, these things are presentation in the vernacular, a design concept that is evocative and functiona without being overwhelming, a stage director who is willing to spend the time building those characters with singers who are also willing to be that vulnerable and true to the emotions required of them. And finally, a performance space intimate enough that those singers will feel confident of their efforts being perceived by the audience occupying the same room with them and not only in a close up on an HD screen.

Personally I know a lot of singers, designers, and instrumentalists who will readily tell you that these are the elements that drew them to opera in the first place. So why have we as an industry allowed spectacle, "star" personalities, and a tiny segment of the total operatic repertoire to hogtie us into the belief that big is always best? In the end, does all great opera have to be grand opera?

To get tickets to this truly great opera, click here.

A Cure for "Snowpression"

February 17, 2010 - So the past week or so has been pretty hellish here in Baltimore with record breaking snowfalls that resulted in events having to be postponed, rehearsal schedules being rearranged and then rearranged again, artists being unable to get here on their originally scheduled date and so forth. I then added the personally joy of getting terribly ill just at the point that the marathon rehearsal days were beginning. Let's just say that by this past Monday, I was beginning to feel pretty defeated. Then last night I sat in the final rehearsal for our cabaret that's coming up this Friday and once again realized why I do what I do. Listening to these wonderful singers (Joy Greene, Jessica Renfro, Ken Gayle, and Chris Austin) perform the work of great American song writers such as Gershwin, Porter, Sondheim, and Weill, I was transported away from the stress of the schedules, the traffic, the illness, and all the rest. In short, the show just made me "feel good". My colleagues and I had been remarking about the general feeling of malaise that seems to have settled over Baltimore since the snow, which I dubbed "snowpression". Well from last night's experience it seems that My Foolish Heart my be just what the doctor ordered. So here are the details:

When: Friday, February 19th - doors open at 7pm for eating and drinking, music starts at 8pm

Where: the Great Hall of Emmanuel Episcopal Church, 811 Cathedral Street, Baltimore, MD 21201 (sidewalks are shoveled and salted, parking lot out back has been cleared)

How much: Tickets are $30 which includes light fare and there's a cash bar in case you need a little something extra in the heartwarming department. You can get tickets by clicking here or you can just pay at the door.

So come shake off the "snowpression" with a big dose of LOVE!

Focus on February, part 2

February 2, 2010 - This Thursday and Friday, Opera Vivente will hold the second set of auditions for the 2010-2011 season. In general, I really enjoy hearing singers, particularly those whom I have not heard before. But it seems every year, there's some new worrisome trend that normally generates at least one blog post. This year's winner - TARDINESS! Yep, back in the Fall, I was amazed at how many singers were late for their auditions, and for this round, I'm astonished at the huge number of singers who waited to the absolutely last second to send in their materials. Deadlines are meant to circumscribe procrastinators NOT serve as an indicator of the best time to send in your materials. "By January 31st" does not mean "only on January 31st". I can hear all the singer excuses flying through the air now: "I needed to get a new headshot and the photographer didn't turn it around fast enough", "I was waiting to see if I could add that live recording from the lobby of the Met to my CD", "The cat ate my resumé". Blah, blah, blah. The simple fact of the matter is that while there are sometimes justifiable reasons for just barely making the deadline, most of the time it's simply a problem with time management or priorities. You didn't send something in until the last possible second, because you weren't really concentrating on finding opportunities for yourself as a singer. AND (here's the problem with that ladies and gentlemen), the company who gets your materials at the 11th hour (or sometimes even beyond that) has just formed their first impression of you: procrastinator and/or someone who doesn't pay attention to the details.

Forewarned is forearmed. And in case you're wondering what the very close second issue was this past Fall, click here to read a wonderful new blog's first post.