Soprano Anna Netrebko’s Impressive New Album: “Amata dalle tenebre”

“Amata dalle tenebre” album cover from annanetrebko.com.

Anna Netrebko is my favorite soprano of sopranos that I have heard in person and in my top five of all time.  I have heard her in two Met Opera productions, Eugene Onegin and Adriana Lecouvreur; she was spectacular in both.  So, I take notice when she puts out a new album; see my blog report on her allbum “Verismo”. Her album “Amata dalle tenebre”, just released today from Deutsche Grammophon, is her first new album in five years.  Her aria selections for this album fall in the more dramatic opera roles she has moved towards in recent years.

Ms. Netrebko, just turned fifty in a thus far 26-year professional career; she now possesses the fame and stature along with the exquisite voice and extraordinary singing ability that allows her to be able to choose what she will sing, and at this point in her development, she knows what she wishes to sing.  Her heavy performance schedule prevent her from making an album for quite a while, but the cancellation of performances due to the COVID-19 pandemic gave her the time to work on this one.  This Times News interview with Ms. Netrebko provides interesting background to the album: https://time.news/today-i-am-performing-what-i-like/.

The album’s title translates from Italian as “beloved by the shadow” with the shadow being the darker aspects of life.  The album’s repertoire is primarily a combination of German and Italian arias, many of them well known dealing with love confronted by loss and death.  My personal favorites from the album are two Russian arias, especially “Akh, istomilas ya gorem” from Tchaikovsky’s opera, Queen of Spades, a Russian soprano singing Tchaikovsky; this track and a YouTube video were relased a couple of months ago.  It was interesting to hear her sing “Ritorna vincitor” from Verdi’s Aida and “Liebestod” from Wagner’s Tristan und Isolde, both quite beautiful.  The album is a serious power drive all the way through, no let up along the way.  Accompaniment for the arias was provided by the Teatro Alla Scala orchestra led by conductor Riccardo Chailly.

Below is the YouTube video for “Akh, istomilas ya gorem”; if the video does not show in your browser, click on this link: https://www.youtube.com/watch?v=iB79qEAFLAI

As I listened to the album for the first time, the thought that kept popping into my head was  that the album really should have been titled “Anna Netrebko Shows Off”.  To be fair though, Ms. Netrebko is a consummate professional who obviously spent the time necessary to sing these arias exactly as she feels they should be treated.  Besides, what are you going to do.  Ms. Netrebko has earned her divahood.  Bow down.

The Fan Experience: “Amata dalle tenebre” is available on a 2-disc CD and vinyl from venders such as Amazon.  It is also available on common streaming services.  I listened to it on Apple Music.  It is also available on the free classical music streaming service, idagio.com.  Many of the selections are available on YouTube.com. 

Anna Netrebko’s next U.S. performance is scheduled for April/May at the Met Opera in Turandot, a new role for her.   If you can make it to London at the end of January, you can hear her in another new role for her, Abigail in Verdi’s Nabucco.

Opera Philadelphia Channel: the Past, Present, and Future

Opera Philadelphia Channel logo; courtesy of Opera Philadelphia.

The Opera Philadelphia Channel is one year old and beginning Season Two.  In response to the pandemic’s elimination of in person opera performances, most opera companies began to offer online content to maintain connection with their fans and provide work for as many performers as they could; these efforts were largely sporadic.  Much of the content was offered for free initially, but then began to be provided on a for fee basis as more companies learned the technology for generating income from online offerings.  OP took the bold step of creating a subscription-based streaming service and a coherent plan to stock the Channel with fresh, varied, and innovative content with a future role largely to be determined.  COVID-19 is now diminishing as vaccination programs move forward, no longer preventing opera performances in concert halls and opera houses.  This unique situation made me wonder how successful the Channel has been, what has been learned, and what will its role be going forward in “normal” times.  Indeed, the future role of online offerings is now an open question for all opera companies.  I had the opportunity to talk by phone about these issues with Frank Luzi, OP’s Vice President of Marketing and Communications.  

What was the audience response to Season One?

I asked Mr. Luzi if he could share the results from a recent OP survey on the Channel.   He reported that “for the first ‘season’ of the Channel (from our October 2020 launch through May 31, 2021) we had a total of 2,774 households engage with the Channel. That breaks down to 1,520 subscribers or Season Pass holders and 1,254 rentals. The top 3 rentals at that time were The Island We Made, La Traviata, and Save the Boys.  The demographics were interesting. The channel definitely succeeded in attracting new patrons: 36% of households had never purchased anything from OP before. And the viewers were from far and wide: 49% from the Philadelphia area, 36% from the rest of the USA, 3% international, and 12% from unknown addresses.  In that survey, 75% of people said they were satisfied with the channel, and 75% said the channel improved their perceptions of Opera Philadelphia as a company. The 25% who were dissatisfied were very much from the ‘I am glad you are doing this, but I just don’t enjoy streamed opera as a whole’ category.” 

The survey did not collect data on age of respondents.  In my experience, younger fans tend to be more receptive to opera on screens.  It would be interesting to know if OP is building a younger and more diverse audience through the Channel.  While the fan response has been supportive, it also remains a question whether the online content will be a success in and of itself, or primarily as a driver to engage a wider audience for Opera Philadelphia.

What has been learned beginning the Channel in a pandemic?

When I asked Mr. Luzi about lessons learned operating during the pandemic, he said, “We’ve learned that the short digital commissions are a sweet spot for us. They’ve gotten critical acclaim from the NY Times, Washington Post, and others; viewership is strong, and they attract new audiences (at least so far), and they are unique and very much on brand or in character for Opera Philadelphia, as a company that supports composers and librettists and is dedicated to new work. More of those commissions will be coming in Season Two.  Meanwhile, La Voix Humaine is very much like Soldier Songs, as pieces ideal for film focused on a single singer.  And the The Marraige of Figaro, like the La Traviata, keeps a foot in the ‘people still want to stream grand opera from the opera house’ category.” (For an overview of the Channel’s Season Two, see my blog report, “Opera Philadelphia’s Season 2021-2022: Opera Online Now, and In Person Coming Soon”). 

He further elaborated that “In year one we did reach a very large audience outside of Philadelphia. And we found a lot of crossover between that audience and our out-of-town festival audience. So, if the festival is a way to import audiences to experience Opera Philadelphia in person, then the Channel is a way to export Opera Philadelphia to the homes of that same audience.” 

Opera Philadelphia also learned that managing a streaming service in which you create new content has its own challenges.  Operating outside the opera house and dealing in contracts on how long access to videos remains open are among the complicating factors.  Two new productions scheduled for Season One, Glass Handel and El Cimarron, did not pan out.  “Glass Handel was to be both a documentary on how the project came together as well as a concert film. As there was not a quality audio recording from the Philadelphia performances, we planned to stream the performance from New York’s Cathedral of St. John the Divine, featuring The Knights. Members of the Opera Philadelphia Orchestra expressed their displeasure and concern over the use of the archival footage featuring another orchestra, and in the interest of resolving this, we agreed to remove the Glass Handel program.  Sir Willard White withdrew from El Cimarrón for personal reasons and after exploring options to recast the film, we made the difficult decision to cancel the project.  New channel programming is being developed to replace these two projects.”

Mr. Luzi also found an inspirational message in working in a pandemic.  He said that his strongest remembrance of the pandemic will be the irrepressible desire, perhaps need, of Opera Philadelphia’s staff and performers to create art and to connect with its audiences; the new Channel benefitted during the pandemic as the primary outlet for that creative drive and commitment.  He believes that opera will not die because the will to live is so strong.  This augurs well for the Opera Philadelphia Channel itself. 

What is the Opera Philadelphia Channel’s role going forward?

What’s to become of the Channel as its primary raison d’être goes away?  Mr. Luzi says that the channel continues to be an experiment, exploring the art form of opera on film, much as the Opera Philadelphia festival each year explores the art form on various stages around the city.  He also says some new directions are being explored.  OP is also paying attention to the total package – one reason for selecting The Marriage of Figaro as this season’s grand opera for the Channel is that it is a comedy to balance the number of serious themed productions in Season One.

In its recent past, Opera Philadelphia’s new season was opened with a city-wide opera festival, last held in 2019 due to COVID-19.  Mr. Luzi says that the long-term goal is to get to some form of doing both: a festival to launch each season, followed by some streaming opera in the late fall and winter months, followed by community programming and then closing with a big spring production at the Academy of Music.  There is also a desire to explore how audiences can be engaged with opera on screen; remember the film/live merging in O17’s The Magic Flute?   O22 is expected next September; I look forward to seeing if the Channel plays a role.

Mr. Lutz says OP will soon announce additional composers who will create digital commissions similar to the works premiered on the Channel last season (by Tyshawn Sorey (Save the Boys), Caroline Shaw (We Need to Talk), Courtney Bryan (Blessed), and others). The new works will be released in fall, winter, and spring.  Already scheduled is the November 19 premiere of Taktakshoo from composer Rene Orth, a work combining “opera, dance, percussion and electronics to imagine a joyful, post-pandemic emergence”.

As greater emphasis is given to a return of staged productions performed before live audiences, there will be fewer digital productions.  An area of promise for adding content will be collaborations with other opera companies across the US in producing new and sharing available content online.  OPC did stream some of the Academy of Vocal Arts work this past season, and they are continuing to discuss the possibility of making the Channel a home for their work.   

Opera Philadelphia will soon announce an exciting first step towards sharing or co-producing digital opera with other companies.  Desert In is an eight-part opera miniseries created by Boston Lyric Opera and co-produced by Long Beach Opera.  The partnership will allow OPC subscribers to view the series on BLO’s operabox.tv.  Subscribers to BLO and LBO will receive access to OP’s La Voix Humaine.  Critic Heidi Waleson gave Desert In a strong endorsement in her Wall Street Journal review.  This new partnership launches on Friday, November 5.

Conclusion

My personal hope is that the Opera Philadelphia Channel will not only continue but will continue to blossom.  I’d like to see OPC commission larger works to see what modern film technology and opera can produce together; imagine what a film version of O17’s The Trial of Elizabeth Cree might be.  To this point, video has mainly aided opera by allowing a wider audience to engage the art form, with a hope of increasing season subscriptions and attendance.  However, OP has revealed through the Channel that merging the art forms of film and opera enters a largely unexplored territory of new art possibilities, providing film productions for streaming and some perhaps fitting for premieres in opera halls.  Nonetheless, the bottom-line is that the future of the Opera Philadelphia Channel is the same as opera itself; it will be determined by audience response.  This love child of the pandemic must find Its place.

The Fan Experience: Subscriptions for the Channel can be purchased at this link.  An annual subscription for the Channel is a one-time cost of $99 for the season or $9.99 per month; seven day passes, usually in the $10-20 range, are available to view individual events on the Channel. The charges are per household, and events can be viewed on any internet connected device.  OP offers a 20% discount to those who purchase live and streaming subscriptions together.  Navigating around the Channel is reasonably intuitive, and the video and sound quality of the events have been uniformly excellent.

Most opera companies now require vaccinations for eligible individuals and mask wearing in theaters.  Both of these are optional at home, though I implore you to self-impose the vaccination requirement for everything.

Soprano Edita Gruberova: My First Opera Find

The magnificent soprano Edita Gruberova passed away on October 18 in Zurich; she was 74.  She debuted at the Vienna Opera House in 1970.  Her passing was noted in obituaries in major newspapers around the globe including the Washington Post and the New York Times.  Thus far, I rank Renata Scotto as my favorite soprano with Kathleen Battle and Ms. Gruberova tied for number two.  I am a fan of voices.  Check out hers in the video below.

Soon after my infatuation with opera started, only a little over eight years ago, I was listening to the radio as I was driving to work to part of a broadcast of Gaetano Donizetti’s Anna Bolena.  The soprano singing the lead bowled me over.  The purity of her voice and apparent effortless ease with which she navigated the stratosphere of lyric coloratura was amazing to me, I only knew the name of the opera that I was listening to and not the names of the cast.  I listened to a recording of the work and identified Act II, scene one as the section I had heard.  I began listening to that scene in as many recordings as I could access on YouTube and other streaming services available to me.  After about a week, I found the voice that fit my memory, Edita Gruberova.

This experience also introduced me to an oddity of listening to operatic voices.  After identifying my soprano, I naturally began listening to her albums.  I found that when listening to an entire album of just Ms. Gruberova, for about an hour, it became almost painful near the end.  The joy was still there, but a discomfort was setting in, like eating too many chocolate-covered cherries.  A friend more knowledgeable about opera than I told me that “ear fatigue” was not an uncommon phenomenon in opera.  I think her voice is distinctive in some way that manages to affect my ear drums in ways others do not.  It is likely part of the thrill.

While searching for information on bel canto singing, I recently ran across a fifty-minute documentary on YouTube titled “Edita Gruberova – the Art of Bel Canto”, made ten years ago.  Though she sang primarily bel canto roles, the video is not a discussion of bel canto singing; it is an excellent video focused on her preparations to sing Donizetti’s Lucrezia Borgia at age 62.  What makes this video so appealing is that it provides an engaging story of her life and samples of her work from over the years. 

One reason I like the documentary is that we see Ms. Gruberova in her two worlds, as a diva where she commands the opera stage, and as a woman confronting the everyday issues of life.  It was an interesting life – as a young singer she fled communist Czechoslovakia to sing in Vienna; she once sang with Pavarotti.  She limited her performances to roles that fit her voice, mainly those from bel canto masters and lighter roles of Mozart and Verdi, letting her vocal chords determine what she would sing.  She was an extraordinary professional who at heart seems to have always remained the little girl who sat in a pear tree and sang to her parents working in the fields. 

I recommend the video on YouTube, and I have posted it below - in German with English subtitles; if the video does not appear in your browser, click on this link - :https://www.youtube.com/watch?v=rqEwtVWeD3U

Opera Philadelphia’s 2021-2022 Season: Opera Online Now, In Person Coming Soon

The COVID pandemic imposed caution on opera companies as they made decisions for returning to opera houses in the 2021-2022 season.  OP’s new season typically starts with an innovative city-wide opera festival each September, last able to be held in 2019.  Festival planning begins about a year in advance.  Given the uncertainties of the COVID pandemic this time a year ago (the vaccines had not been deployed at that time) OP decided to forego the festival again this year.  Opera Philadelphia’s reintroduction to audiences indoors will be in the Verizon Center in January for an opera-oratorio; the first for a staged opera indoors will be next April in the Academy of Music.  However, Opera Philadelphia has by no means simply been riding it out; they have been busy restocking the Opera Philadelphia Channel for its second season, as well as planning for an indoor 2022. 

Most opera companies made some online content available during the past year.  Opera Philadelphia took it a step further.  The company, recognized for its leadership in exploring new directions for opera, made substantial investments during the pandemic in launching and adding innovative content to a new subscription-based streaming service.  Opera Philadelphia Channel is now one year old and continues to be filled with new filmed productions of short opera works, new concert videos, and videos of previous OP opera performances.  So, let’s start with the OP Channel’s second season, its newest offerings and its continuing features from 2021.

Opera Philadelphia Channel logo; courtesy of Opera Philadelphia.

Opera Philadelphia Channel’s 2021-2022 season, available on demand:

Soprano Ying Fang as Susanna. Photo by Kelly&Massa; courtesy of Opera Philadelphia.

The Marriage of Figaro (1786), starting Oct 22:  This is a video of OP’s May 2017 production, recorded to feature at “Opera in the Park” as part of the O17 festival.  I am eagerly waiting for this one: Mozart’s great music, plus the OP debut of the marvelous soprano Ying Fang as Susanna, in what appears to be becoming a signature role for her.  Composer Mozart and librettist Lorenzo Da Ponte give us ten excellent singers in interesting and clever roles, in a fast paced comedy pitting true love against class privilege (my recommendation: read a synopsis of the plot beforehand, at least the first couple of acts).  OP gives us the Opera Philadelphia Orchestra under the direction of Maestro Corrado Rovaris performing Mozart’s great music.  Who doesn’t need some comedy these days, especially when true love triumphs in the end.  Of course, the Mozart/Da Ponte team gives their pleasing comedy an edge, think an 18th century version of “Succession”.  David Patrick Stearns review in the Inquirer was titled “Opera Philadelphia delivers Mozart with doors, beds, and heaps of fun”. And did I mention Mozart’s great music?

Soprano Patricia Racette as Elle in La Voix Humaine. Photo by Michael Elias Thomas; courtesy of Opera Philadelphia.

La Voix Humaine (1958): This is a filmed version of a short opera (ca. 45 minutes) that was composed by Francis Poulenc with a libretto by Jean Cocteau adapted from his eponymous play from thirty years earlier.  The action consists of a telephone conversation between a woman and her estranged lover: she wants him back; he has pulled away for good, and she is suicidal.  We only hear her side of the conversation.  For me, OP has turned this opera into a tone poem with words.  I found it painful to watch and, like most disasters, too arresting to turn away.  The setting in an estate house bespeaks of glory days now in shadows, and the costumes bespeak of an edgy, unsettled occupant.  While some items in the room are disheveled, nothing is out of place in terms of maintaining the mood in OP’s film.  The sole singer in this one-person drama is played by the marvelous soprano, Patricia Racette, a role she now performs so convincingly, she owns it.  Though written for a small orchestra, it has also been played over the years with only piano accompaniment, adapted by Poulenc himself; this is OP’s choice.  Pianist Christopher Allen’s playing seems au naturel for this work, presenting Poulenc’s melodies and dissonance in deft counterpoint to the unfolding drama.  To achieve this degree of intimacy with an orchestra would seem to me a monumental challenge, one perhaps for another day.  OP’s film is a small masterpiece.

The Drama of Tosca (May, 2021), OP’s modified version of Puccini’s Tosca (1900), presented in concert at the open air Mann Center in May 2021:  Don’t pass this one up!  Enjoy this version and afterwards feel the pain: the pandemic prevented us from seeing these singers in the fully staged performance that was supposed to have been.  Now, I love concert opera, even in open air theaters, with singers needing to wear microphones; I love Tosca and I love OP’s gamble in presenting it in a different way, given COVID requirements.  That said, for me, it was a flawed production with the narration deflating the tension in the drama.  That said, the singers on the video are fabulous, all four of them.  This was my first encounter with soprano Ana María Martínez who sings Tosca, a jealous lover and singer in 1800 Rome.  Hers is a rather pensive Tosca, but she has a beautiful voice revealing perfect emotion in very note; hers is one of my favorite Toscas.  Tenor Brian Jagde brings a burnished, clear tenor voice to the role of Cavaradossi, the artist who loves Tosca and is involved in an underground fight for Italian liberty; he will reprise this role for the Met Opera in December.  Baritone Quinn Kelsey sings so beautifully and portrays the diabolical villain Scarpia so convincingly that it’s a little scary.  Alex Ramirez who sings the role of the Shepherd boy has a pure, beautiful voice.  The singing is matched with equal beauty by the music from Conductor Corrado Rovaris and the OP Orchestra, which manages to always spring to life on cue from the narrator. 

left photo: Soprano Ana María Martínez as Tosca. right photo: Bass-baritone Quinn Kelsey as Scarpia in middle, tenor Brian Jagde as Cavaradosi on right, and Conductor Corrado Rovaris on left. Photos by Dominic M. Mercier; courtesy of Opera Philadelphia.

OP chose to rearrange the story of Tosca and add narration.  It’s easy to understand why; there are several important elements to the story that might get lost in a shortened concert version.  Charlotte Blake Alston is a fine narrator, and the interplay between the orchestra and the narration was done effectively.  Here’s the problem: Tosca is such a compelling story that I want to be immersed in it, not observing it.  I perceived this production as two stories going on, competing with each other, one the drama of Tosca and her personal journey, and the other the narrator’s messages, finding other meanings and comments on the performance of Tosca.  Perhaps my familiarity with Tosca causes me to resist the narration. Maybe you will respond differently? Nonetheless, you will be ill-served by missing the singing, and of course, Tosca’s aria “vissi d’arte (I lived for art)” is included.

“Organ Stops”: This is a 40-min video of the Opera Philadelphia Chorus led by Chorus Master Elizabeth Braden, performing spiritual-themed modern and traditional songs, including works by opera composers, in three historic churches in Philadelphia with a focus on their extraordinary pipe organs.  The concert was filmed in March as part of Philadelphia’s annual “Organ Day”, with COVID forcing this concert to be presented as a video.  It includes brief discussions of the pipe organs and histories of the churches, plus comments from composer Melissa Dunphy about her political cantata.  It includes interesting visuals of the churches, inside and outside.  It feels like a religious experience and a history lesson at the same time.  The music is excellent, and I enjoyed the show.  Plus, did I mention that this one is free to all?

Many of the programs from Season One remain available in Season Two (for a limited time): a video of La Traviata (indefinite), featuring Lisette Oropesa, from 2015; a film version of Soldier Songs (until Jan 22), an OP premiere; Cycles of My Being with Lawrence Brownlee; three highly creative OP digital commissions (short works), including Save the Boys (until Feb 12), The Island We Made (until March 19), and We Need to Talk (April 16); also remaining is For the Love of Opera, a tribute to Ruth Bader Ginsburg on her 88th birthday (until March 15).  You will also find previews and some educational videos on the Channel, many for free.   A significant disappointment is that plans for two works scheduled to be added, a documentary/concert video of Glass Handel and a new film version of El Cimarron, did not work out, and these productions had to be cancelled.

Scene from TakTakShoo. Photo by Four/Ten Media; courtesy of Opera Philadelphia.

As with the first season, Opera Philadelphia Channel will be adding new features as the season progresses.  OP just announced that their first new digital production for Season Two, TakTakShoo will become available on November 19: “TakTakShoo from composer Rene Orth, librettist Kanika Ambrose, and Director/Choreographer Jeffrey Page, combines opera, dance, percussion and electronics to imagine a joyful, post-pandemic emergence.”

I think you can see that the Opera Philadelphia Channel is still infused with the exploratory spirit we have come to expect from OP on stage and in its annual festivals.  I especially like their choice when creating new works for streaming to not simply make videotapes of staged opera and concerts, but rather to employ the creative advantages of film to add new dimensions to great works of the past and entirely new imaginings.

Opera Philadelphia logo against a graphic of the Academy of Music; courtesy of Opera Philadelphia.

Opera Philadelphia’s 2022 season indoors:

January 21, 23 - Oedipus Rex (1927) + Lilacs (1996):  Composer Igor Stravinsky wrote about a dozen operas that were performed, two remain in the current repertoire, A Rake’s Progress and Oedipus Rex, officially an opera-oratorio in two acts, with libretto by Jean Cocteau written in French and translated into Latin by Jean Daniélou; Oedipus Rex is sung in Latin (English supertitles) with narration in English.  This opera-oratorio, based on the play “Oedipus tyrannus” by Sophocles, had been in OP’s plans for some time.  It’s also a good choice in these uncertain times: limited staging, easy to social distance, and a relatively small cast.  OP sweetens the pot by including Lilacs, a Walt Whitman poem and elegy for President Lincoln, set to music by composer George Walker, a graduate of Curtis Institute of Music; he won the Pulitzer Prize for Music for Lilacs, the first African American to win this prize.  Oedipus Rex features five soloists in addition to the narrator, and Lilacs features a single soprano soloist, both works to be accompanied by the Opera Philadelphia Orchestra and Chorus, led by Conductor Corrado Rovaris. 

April 29, May 1, 6, 8 - Rigoletto (1851):  Ahhhh, back to normalcy with a Giuseppe Verdi masterpiece performed in the house!  Francesco Maria Paive’s libretto gives us a lecherous Duke, an overly protective father who as a court jester has made enemies, and a serious case of mistaken identity; who doesn’t like Rigoletto?  The OP Orchestra and Chorus will be back in the Academy of Music, led by Maestro Corrado Rovaris.  The cast features Anthony Clark Evans as Rigoletto, tenor Joshua Blue as the Duke, and Raven McMillon as Gilda.  Ms. McMillon is a 2021 Grand Finals Winner in the Metropolitan Opera’s Eric and Dominique Laffont Competition; her coloratura is stratospheric.  Verdi’s great music for Rigoletto is infused with some of the most popular arias ever composed.

And what about Festival O22, you may wonder?  OP’s current planning and goal is for the festival to return in Fall 2022.  If they build it, I will come.

The Fan Experience: Subscriptions for the Channel and single tickets for the 2022 in-house operas can be purchased at this link.  An annual subscription for the Channel is a one-time cost of $99 for the season or $9.99 per month; seven day passes, usually in the $10-20 range, are available to view individual events on the Channel. The charges are per household, and events can be viewed on any internet connected device.  Navigating around the Channel is intuitive, and I have found the video and sound quality of the events to be uniformly excellent.

Most opera companies now require vaccinations for eligible individuals and mask wearing in theaters.  Opera Philadelphia continues to work with management and other resident companies of the Kimmel Center to create and enforce a policy of vaccination and mask requirement. Details are here: https://www.kimmelculturalcampus.org/plan-your-visit/safe-clean-commitment/#/close Best to check the OP website close to the date of your tickets for the latest requirements. 

Virginia Opera’s Das Rhinegold at TopGolf: Anything but Par for the Course

Virginia Opera’s production of Das Rhinegold performed at two Topgolf locations in Virginia is a fun outing that amuses and pleases, offering live opera forced into a few bogeys by circumstances.  The opera carries a timely inherent warning to mankind; however, its message delivered via a fantasy tale of gods and magic opens the door for creative, non-classical approaches for staging the opera in time periods from ancient times to modern day .  VA Opera has taken their production even further, presenting it in a surprising venue, going forth where no opera company has gone before, a modern, high-tech, golf driving range.

Nibelung Alberich (Aubrey Allicock) traverses the swirling waters of the Rhine river while Rhinemaiden, Flosshilde (Whitney Robinson) looks on in the opening scene of Virginia Opera’s Das Rheingold. Photo by Ben Schill Photography; courtesy of the Virginia Opera.

Why Topgolf? Consider this: most opera companies are just now taking tentative steps toward engaging audiences again after being shut down since March 2020.  What can you do as an opera company to again offer live opera while keeping performers and patrons safe and minimize the chances you may have to cancel the performance at the last minute due to the pandemic (Note: Victory Hall Opera in Charlottesville just canceled their October 8th indoor season opener due to renewed COVID concerns).  Further, consider the question of how you might rescue opera from its elitist stereotypes and its stuffiness; what might you be willing to do to try to draw in a wider audience and demonstrate that opera is for everybody?  Finally, how might you begin again to offer employment to opera singers and musicians and staff in these still daunting times? 

Two views of the Topgolf venue during the performance: a view of the performers facing three levels of driving range bays and a view of the audience watching the performance. Photos by Ben Schill Photography; courtesy of the Virginia Opera.

These were the considerations that prompted General Director & CEO Peggy Kriha Dye and the Virginia Opera to wed opera and the middle-class commercialism that supports golf.  The irony of doing this for Richard Wagner’s first opera of his Ring Cycle should not be lost; it is an opera that centers on mankind’s disregard for the environment, with commercialism being a primary culprit.  Nor should we overlook the benefits of commercialism in supporting the arts, and on Sunday evening, it allowed me to sip wine and eat chips and guacamole, while listening once again to opera live, all with free parking. I have myself called for opera to occasionally let down its hair and lighten up on the reverential atmosphere of the opera house: see my post suggesting “Pizza Tuesdays”.  Bravo for the effort alone!

left: Fricka (Daryl Freedman) is unhappy with the bargain that Wotan (Kyle Albertson) has made. right: Loge (Joshua Blue) and Wotan (Kyle Albertson) have been successful in robbing Alberich of the Ring. Photos by Ben Schill Photography; courtesy of the Virginia Opera.

Okay, let’s talk opera.  If you are not familiar with Das Rheingold, German for the Rhine gold, it is German composer Richard Wagner’s opening to a larger work, four operas in all, referred to as the Ring Cycle (or Der Ring des Nibelungen), which covers creation thru to the end of the world, and what went wrong.  Das Rheingold introduces us to rejection leading to acceptance of evil, thievery, lust for wealth and power, betrayal, murder, environmental destruction, and shunning of responsibility; and, that’s just the first installment of the Ring.  The four operas are based on Norse legends; author Tolkien later used similar legends to write his “Lord of the Rings”, made into a series of popular movies.  In Das Rheingold, things begin to go wrong when Nibelung dwarf Alberich is spurned in love by the Rhinemaidens who guard the river’s gold. He accepts a condition of disavowing love to be able to possess the gold and fashion a ring with the power to give him control of the world.  Meanwhile, head god Wotan has promised two giants, brothers Fasolt and Fafner, his daughter Freia as payment for constructing a home for the gods.  His wife Fricka is not happy with this, so Wotan and Loge, the demi-god of Fire, plan to trick Alberich out of the gold and the Ring and use those valuables to pay the brothers.  They succeed, but Alberich places a curse on the Ring that trouble and death will burden the possessor of the Ring. Wotan at first wants to keep the Ring for himself, but Erda, goddess of the earth, convinces him to give it up.  Then, Fafner kills Fasolt to have all the gold to himself, validating the curse.  The opera concludes with the gods walking into their palatial new home, Valhalla, paid for by environmental destruction, thievery, and murder.  And of course, all this plays out with Wagner’s glorius music. For more background on the opera and its production, check out this preview in the Virginian-Pilot.

left: The giant brothers, Fafner (Ricardo L. Lugo) and Fasolt (Hidenori Inoue) arrive for payment. right: Donner (Eric J. McConnell) cajoles Fafner (Ricardo L. Lugo) to accept alternative payment. Photos by Ben Schill Photography; courtesy of the Virginia Opera.

Virginia Opera has assembled an excellent cast for Das Rheingold.  Few of the singers have much experience singing Wagner, but all gave a remarkably good accounting of themselves.  Baritone Kyle Albertson, who plays Wotan is an experienced Wagnerian, and was excellent; if he reprises the role for a future VA Opera production of Das Rheingold, in an opera house, I will definitely attend.  Soprano Catherine Goode, mezzo-soprano Lauren Cook, and mezzo-soprano Whitney Robinson played the Rhinemaidens in an opening scene that should be stunning.  These sopranos were quite good individually, though the blend of their voices did not achieve the electrifying eerie pleasure when Rhinemaidens have their voices most coordinated; there also seemed to be some technical issues with the music brought in over loud speakers for this scene.  Ms. Robinson played a dual role, also appearing as Erda, goddess of the earth.  When she began to sing as Erda, more forceful than compassionate, my response was “Oh, yeah! Bring it!”.  I think Ms. Robinson may have found a niche for herself in Wagner.  Bass-baritone Aubrey Allicock as Alberich and tenor Joshua Blue as Loge were also standouts.  Mezzo-soprano Daryl Freedman as Fricka, soprano Sarah Tucker as Freia, base-baritone Hidenori Inoue as Fasolt, bass Ricardo L. Lugo as Fafner, and bass-baritone Eric J. McConnell as Donner, god of thunder, all gave fine performances, especially considering this was their first foray into the Ring.  Kudos to Virginia Opera for re-entering the ring with such a large and fine cast.

Fasolt (Ricardo L. Lugo) holds capture Freia (Sarah Tucker) the brother’s payment for a job well done. Photo by Ben Schill Photography; courtesy of the Virginia Opera.

The performers also deserve credit for giving their best under challenging circumstances, performing in a small area of a very large field, while facing a wide, three level super structure of driving bays, which placed them rather far from the audience - see photos above. They also had to adjust to the ambient noise of a large outdoor field placed close to a busy interstate highway. This required that they wear microphones. The lack of walls must have been somewhat disorienting with Nibelung supernumeraries appearing as a grounds crew, moving props around over a larger than usual distances.  The performers also had a healthy sprint to completely exit the field area of the performance.  Plus, the orchestra and conductor were sequestered away in a party room in the facility, and the accompanying music was broadcast over speakers to performers and audience alike; the singers could only see the conductor over monitors showing in their direction.   One might also worry about the strain of singing two performances of a Wagner opera in one day, but keep in mind that each of the remaining operas in the Ring are over twice as long as Das Rheingold.  Truly, for this performance, the singers were real troopers. 

This version of Das Rheingold is a popular adaptation by Jonathan Dove and Sir Graham Vick, slightly reduced in length from the original and adapted to allow performances by ensembles smaller than the 100 or so musicians that Wagnerian operas usually require.  The orchestra led by Virginia Opera Artistic Director and Conductor Adam Turner included 21 players from the Virginia Symphony who performed in an internal room to capture the sound and pipe it to the singers and the audience.  This is an excellent group; however, in the beginning something did not sound quite right (mix of instruments or technical issues adjusting the sound?), and the slow, gentle beginning of the music was a bit muffled by the road noise.  As a result, the opening scene with the Rhine maidens did not build slowly forth as magnificently as I expected, but after the opening scene the orchestra settled into an enjoyable flow.  When everything worked together just right, the singing and accompanying music from the orchestra made for a satisfying Wagnerian music drama.

The gods walk to Valhalla, while Loge (Joshua Blue) stops to consider whether he wants to remain associated with this bunch. Photo by Ben Schill Photography; courtesy of the Virginia Opera.

The opera was played out on the the driving range field, which served as the set, placing the story in modern day.  The gods appeared as golfers and were provided themed costumes, with some dillies as golf attire, fashioned by costume designer, Sarah Jean Tosetti.  Wotan was attired appropriately for a modern day golfer and the brothers arrived in workmen costumes on their mini-truck. The props were combined with a bit of clever staging by Director Mary Birbaum – signs with drawings of the animals that Alberich was turned into were cleverly used for that scene.  Having Wotan hit a golf ball also played to comedy, but within context.  On the other hand, I felt that a scoreboard for the argument between Wotan and the giants, though amusing, veered a serious drama in the opera towards a spoof - for the record, my wife enjoyed it.  

Overall, I think the audience enjoyed the entertainment as did I, and Virginia Opera accomplished most of its goals. An open question for me is whether the performances attracted and exposed a wider audience to opera.   Maybe there were attendees who might have been influenced to give opera a try with the better acoustics and sets available in an opera house.  It would be interesting to know. How well were the opera’s important messages were conveyed with so much going on, with the venue itself providing sensory overload, I’m not sure.

The Fan Experience:  Das Rheingold was presented in both an afternoon and an evening performance on September 12 in Virginia Beach, and will be performed again on September 19 at Topgolf in Richmond, VA.  Virginia Opera normally performs its operas in three locales – Norfolk, Fairfax, and Richmond.  However, there was no Topgolf in the immediate area in Fairfax.

The seating at Topgolf also presented difficulties for some attendees in seeing the monitors in the bays that carried English subtitles for the opera sung in German and also close up videos of the scenes; seated close to the edge of the bay, I was not able to easily see a monitor.  The close ups would have helped; with the performers moving about some distance away and our unfamiliarity with the singers’ voices early on, it was not always immediately obvious who was singing in ensembles.

My wife and I wound up watching the subtitles on our cell phones broadcast by Virginia Opera.  If you choose this option, be sure to unlock your watch’s sleep timer so you don’t miss libretto parts when your phone dozes off, as we did initially.  The servers for food and beverages moved about as quietly and unobtrusively as possible; there was a last call an hour into the opera. 

Having the program book online from VA Opera helped, though, and reading the synopsis of the opera is to be strongly encouraged.  It is difficult for newbies to know what is going on in an unfamiliar opera. In this case, given the added distractions of the venue, I’d also recommend an introduction by VA Opera just before the opera begins, giving a very brief outline of how things will transpire and pointers for watching. For example, I wonder if newbies would know what was happening when the supernumeraries started holding and waving spread out sheets to mimic the moving waters of the Rhine river, for example.

I liked being part of an opera experiment; it was interesting.  I liked being in the open air, and fortunately the weather cooperated, which could have been a problem for the singers; the weather also looks good for next Sunday in Richmond.  I also liked having food and beverage service at my seat, despite any distractions – and the free parking; I also liked not feeling guilty about leaning over and making a quiet comment to my wife.  Would Wagner have approved?  He would have shot himself.  But the guy had his issues and was definitely a stuffed shirt.  As stated above, I like the cast very much, and mostly, I liked being part of live opera again. 

The 2021-2022 Pocket Guide to Opera in the Mid-Atlantic

In person opera is returning as opera houses across the mid-Atlantic re-open, beginning this Fall/Winter and intensifying next Spring.  Below is an overview of the 2021-2022 season, enabling a quick look for planning purposes; be sure to check which COVID restrictions might be in place at the time and venue you wish to attend.  This listing will be maintained and updated on OperaGene’s “Seasonal Lists” page (see link above); online/video productions are not listed.  Perusing the list, I think you will see that there are more opportunities in the mid-Atlantic to enjoy live, staged opera this coming season than you might have imagined, and It has been a long wait: Enjoy!

Academy of Vocal Arts (Philadelphia) –   https://avaopera.org

October 15 – Giargiari Bel Canto Competition

November 12 (Gala), 13, 14, 20, 30 – Celebration of Opera

January 22, 25, 27, 29 – Eugene Onegin

February 19, 22, 24, 26 – Mignon

March 19, 20 – Jubilate! A Concert of Sacred Music

April 30, May 3, 5, 7, 10, 14 – La Bohème

May 13 – Farewell Recital

Annapolis Opera -  https://annapolisopera.org 

August 28 - Sunder, a new works reading

November 5, 7 - Cinderella

January 27, 29 - La Bohème

February 13, Songs of Love

March 18, 19, 20 - Into the Woods

April 30 - Voices of Our Time

May 1 - Vocal Competition

May 15 - Hansel and Gretel

Baltimore Concert Opera – https://www.baltimoreconcertopera.com 

October 14 - Thirsty Thursdays at the Opera

November 12, 14 - The Medium

February 18, 20 - The Barber of Seville (staged with orchestra)

March 24 – Thirsty Thursdays at the Opera

April 22, 24 - Adriana Lecouvreur

Bel Cantanti Opera (Maryland DC suburbs) – https://www.belcantanti.com

awaiting announcement

Charlottesville Opera – https://www.charlottesvilleopera.org 

awaiting announcement

Curtis Opera Theatre (Philadelphia) – https://www.curtis.edu/performances/202122-season/curtis-opera-theatre/ 

November 4, 5, 6 – Mercy, a re-imagining of La clemenza di Tito

March 3, 4, 5, 6 – Cosi fan tutte

May 5, 7 – Dangerous Liaisons

TBA – The Medium/Triple-Sec

Maryland Lyric Opera (Maryland DC suburbs)– https://mdlo.org  

awaiting announcement

Opera Delaware – https://www.operade.org 

October 7, 8 - Don Pasquale in concert

December 5 - Sunday Spotlight Recital: Jennifer Zetlan and Aurelien Eulert

February 25, 27 - The Barber of Seville

January 9 - Sunday Spotlight Recital: Eric McKeever and Aurelien Eulert

May 20, 22 - The Marriage of Figaro

May 27 - Sunday Spotlight Recital: Robin Steitz and Nathaniel LaNasa

Opera in Williamsburg - https://www.operainwilliamsburg.org 

September 10, 12 - L’elisir d’amore (The Elixir of Love)

May-June - La Bohème

Opera Lafayette (DC and NYC)– https://operalafayette.org 

September 8 (cancelled), 9 (benefit performance) – The Blacksmith (Le Maréchal ferrant)/Dom Flemons

Opera on the James (Lynchburg, VA) - https://www.operaonthejames.org

November 12, 14 - The Barber of Seville

Opera Philadelphia - https://www.operaphila.org 

August 26 - An Evening of Vocal Fireworks: Amici e Rivali

January 21, 23 - Oediipus Rex + Lilacs

April 29, May 1, 6, 8 - Rigoletto

Opera Roanoke - https://operaroanoke.org

November 5, 7 - Bluebeard’s Castle

April 24 - Cycles of My Being, Lawrence Brownlee

May 13, 15 - Verdi’s Requiem

Pittsburgh Festival Opera - https://pittsburghfestivalopera.org

September 14 - Legends in Limelight: Michael Chioldi, Baritone

October 19 - Legends in Limelight: Gregory Kunde, Tenor

November 16 - Legends in Limelight: Marjorie Owens, Soprano

December 8 - Holiday spectacular

Pittsburgh Opera - https://www.pittsburghopera.org  

November 6, 9, 12, 14 - The Magic Flute

January 22, 23, 25, 30 - The Rose Elf

February 19, 22, 25, 27, March 1, 3 - In Grove

March 26, 29, April 1, 3 - Carmen

April 23, 26, 28, 29, May 1 - Blue

 Urban Arias (DC) – https://www.urbanarias.org

awaiting announcement

 Victory Hall Opera (Charlottesville, VA) – https://www.victoryhallopera.org

October 8 – No Daughter of Mine

January, TBA – Fat Pig

Virginia Opera - (Norfolk, Richmond, Fairfax https://vaopera.org  

September 12, 19 - Das Rheingold

November 5, 6, 7, 13, 14 19, 21 - La Bohème: Rodolfo Remembers

January 28, 29, 30, 5, 6, 11,13 - Three Decembers

March 25, 26, 27, April 1, 3, 9, 10 - The Marriage of Figaro

Washington Concert Opera - https://concertopera.org

November 21 - Maometto II

April 24 - Orphée

May 22 - Lakmé

Washington National Opera - https://www.kennedy-center.org/wno/home/

November 6, 8, 10, 14 - Come Home: a Celebration of Return

March 5, 9, 13, 19, 21, 25 - Written in Stone

March 12, 14, 18, 20, 23, 26 - Cosi fan tutte

May 14, 15, 16, 20, 22, 25, 27, 28 - Carmen

 Washington Opera Society (DC) – http://www.washingtonoperasociety.org

September 17 – Tales of Hoffman - postponed

 Wolf Trap Opera (Vienna, VA) - https://www.wolftrap.org/opera.aspx  

awaiting announcement

American Opera Initiative: New Operas 2021 and Future Plans

Introduction to the AOI program

Human beings want to be members of groups, in fact, are born into groups, but we need to be individuals as well.  One of my favorite Far Side cartoons shows a field of penguins all looking the same with one penguin in the middle loudly singing, “I gotta be me.”  Groups need uniformity, a set of commonalities that distinguishes who is and who isn’t in the group, rules, standards that enable the group to feel a collective validation and safety.  Individuals need a tolerance for diversity, understanding, and freedom to be who they really are, to self-actualize and receive validation through acceptance.  As a boss of mine once said to me, “These are your priorities. They are in conflict.  What are you going to do?”  It does make life interesting…and often painful.  Human beings also need stories to see where they stand, and some of us need operas to help remind us that we are standing together.  Washington National Opera’s American Opera Initiative has been important in addressing that need with currency.

AOI’s “Three Twenty-Minute Operas” has been an annual affair premiering new operas meant to reflect themes in today’s America and to encourage emerging creative talent.  This year’s operas had to be produced under COVID-19 restrictions and performances online was the only viable option (still available online). The opera premieres were delayed from the usual January performances in the Kennedy Center’s Terrace Theater to online availability in May.  I think for that reason that they are flying a bit under the radar.  I am unable to find a review by a professional critic, neither regional nor local.  Last year, reviews of the AOI new operas appeared in Washington Classical Review, the Washington Post, DC Metro, and DC Theater Scene; this year not one of the Knights of the Opera Table took up the challenge.  That’s unfortunate because emerging talent needs to be recognized, and these are among the most enjoyable of the program’s twenty-minute operas that I have seen. 

left to right: Ben Morris (composer), Anthony Davis (mentor), and Amber Vistein (composer) colllobrate during AOI. Photo by Caitlin Oldham; courtesy of Washington National Opera.

The AOI program pairs emerging composers and librettists, selected from applicants to the program, to create short American operas that are presented on stage at the Kennedy Center, performed by members of the Cafritz Young Artists Program and accompanied by the WNO orchestra.  Robert Ainsley, Director of the AOI program, offered comments about their process: “Yes, they [composers and librettists] apply separately and are usually paired up at the discretion of the panel. However, the application gives them an opportunity to list any collaborators with whom they would like to apply or have worked with before.  Established teams are welcome to submit applications, and state that they prefer to be accepted only as a pair if they like.  To promote fairness within the application process, we have required our mentors to independently choose both members of a team if we are to invite them to participate as that established team, which has happened in the past.

The AOI process has always been more about process than product, with a focus on learning about the collaborative process and being open to mentorship. Candidates are always asked whether they would be willing to explore a new collaboration, and our mentors work very hard to try to pair complementary personalities, styles, and interests. There have been one or two occasions in the past where a pairing has not worked out and a different direction has been suggested a short way into the process. That said, many of our collaborations have been extremely successful and yielded fruitful new teams who have gone on to make more work together, and the new collaboration has meant that candidates are often more open to experimentation and trying new approaches.”

Importantly as the operas are developed, the composers/librettist teams are paired with mentors and the WNO/Kennedy Center facilities and resources are made available to them.  This year’s mentors were composer Anthony Davis, librettist and dramaturg Kelly O’Rourke, and conductor David Neely.  Usually, one new hour-long opera is also presented each year; however, the pause button was hit on the one-hour opera last year to present instead the opera Blue, and the pandemic precluded the hour-long opera’s development this season.  The stage director for all of this year’s operas is Amanda Consol, and the singers are accompanied by twelve players from the Washington National Opera Orchestra, led by Concertmaster Najin Kim.  Costumes by Costume Director Marsha LeBoeuf and Associate Director Mark Hamberger were a critical part of the partial staging, with limited sets for each 20-min opera.  Each year, the 20-minute and the hour-long operas are typically sell-outs.  An advantage of being online is that they are available to a much wider audience.

This Year’s New 20-minute Operas

The new twenty-minute operas for the American Operative Initiative’s 2020-2021 season  are:

Las Auténticas by composer Ben Morris and librettist Laura Fuentes

the barren(s) by composer Amber Vistein and librettist Rebecca Hart

American Apollo by composer Damien Getter and librettist Lila Palmer

I enjoyed viewing all three.  The first was charming and heart touching and involved tacos; the second was fun while also expressing some deep human emotion and had ghosts, and the third was a compelling drama that left me wanting more – if only there had been social media in the 1920s.  Each tells an engaging story.  Each provides a perspective on the conflict between who we need to be and expectations imposed on us by other.  The music in each works to help tell the story and create its own interest.  And as is always true of good opera, the emotional impact of each story is strongly conveyed by the singing. 

left to right: Soprano Katerina Burton as Jenny and soprano Marlen Nahhas as Aunt Luz. Photo by Caitlin Oldham; courtesy of Washington National Opera.

Las Auténticas has three characters: a niece/aunt team who are vying for an internet influencer’s imprimatur for making the most “authentic” tacos in LA.  Cafritz Young Artists playing the roles are soprano Marlen Nahhas as Aunt Luz, soprano Katerina Burton as the niece Jenny, and bass-baritone Samuel J. Weiser as the influencer, Esteban.  Luz relates life’s lessons to Jenny while Jenny stresses over her inability to speak fluent Spanish, expected of her because of her Mexican heritage; then there is Esteban, the self-appointed judge, who pontificates on how to judge a taco and wants to be known as Gary.  These talented singers performed well.  Ms. Burton convincingly displayed heart tugging angst.  She has a lovely voice that graced the aria “Nuevo Leon” with gentle emotion.  The story flowed well enough, given the twenty-minute time constraint. Ms. Nahhas’ enjoyable aria about a punk rock band seemed an unnecessary add on but added some depth to Luz.  I could see this as a plot for a Netflix series with music.  Librettist and playwright Laura Fuentes resides in Baltimore and was reared in Oakton, VA.  She says this work was a valentine to her husband and two daughters, who are of first- and second-generation Mexican descent, respectively.  The music is pleasant and accents the action.  Composer Ben Morris is a Colorado-based jazz pianist, as well as composer.  The influence of jazz in his score is both evident and welcomed; one gets whiffs of Gershwin in listening.

the barren(s) has five characters: two friends Debbie and Amanda, who are touring the Pines Barrens, home of the legendary New Jersey Devil; the Ranger responsible for the park area; and two internet voices (podcasters?) commenting on the legend.  Cafritz Young Artists playing the roles are soprano Katerina Burton as Debbie Leeds, mezzo-soprano Rehanna Thelwell as Amanda Shroud, baritone Jonathan Bryan as the Ranger eager to steer visitors away from the area of the legend, and tenor Duke Kim and baritone Dennis Chmelensky as the internet commentators.  The Kim/Chmelensky team were effective in adding spookiness to the horror aspects, Halloween-style, and Jonathan Bryan’s portrayal of the serio-comic Ranger was perfect.  Ms. Burton and Ms. Thelwell deliver some impressive singing, both solo and in duet, with Ms. Burton able to demonstrate even greater depth of emotion than in the first opera.  the barren(s) packs a lot into its twenty minutes, comedy, horror, and deep pathos.  A ghost story about the New Jersey devil, the legendary result of a woman who did not want her 13th child, becomes a searing portrait of societal expectations of women in their childbearing years.  Kudos to librettist Rebecca Hart for her rich composition.  Composer Amber Vistein’s music reflects the moods in each scene and her western motif for the Ranger is an amusing pleasure. 

Tenor Duke Kim and baritone Dennis Chmelensky as internet commentators separated by tenor Jonathan Bryan as the Ranger. Photo by Caitlin Oldham; courtesy of Washington National Opera.

American Apollo has four characters: a famous painter, his model/muse, the painter’s patron, and the patron’s driver, all real characters from the early 1900s.  The story focuses on the complex relationship between model and painter, attached to each other but also separated and isolated by issues of race, sexuality, wealth, and social standing.  Cafritz Young Artists playing the roles are tenor Matthew Pierce as John Singer Sargent, baritone Justin Austin as his model Thomas Eugene Mckeller, soprano Suzannah Waddington as his patron Isabella Stewart Gardner, and William Meinart as her Driver Jimmy.  Composer Damien Geter and librettist Lila Palmer chose for their opera the fascinating real life story of Sargent and McKeller, Sargent a world-famous, wealthy white painter, thought to have been gay, and McKeller, a poor black Boston hotel bellman selected as his model for mythological figures for murals, including the Greek god, Apollo – “my body except my head” said Mr. McKeller, and the mural figures all had white bodies.  A planned, but pandemic-foiled, 2020 exhibit of Sargent drawings of McKeller was named “Boston Apollo” (Sebastian Smee’s March 2020 Washington Post article recommended).  Sargent’s drawings of McKeller, planned for exhibit, and a color, nude portrait of McKeller, never exhibited by Sargent, suggest their ten-year relationship might have been more than professional.  Composer Geter and librettist Palmer treat the knowns with respect and the unknowns gingerly, only intimating what might have been…until they dance.  Does the gifted painter see the soul of his model, or only his body?

Baritone Justin Austin delivers an outstanding performance as the model, both in the sensitivity shone in his acting and the beauty of his vocals and dancing.  Tenor Matthew Pearce delivers a fine performance singing, though I would have thought the voice types for these roles might have been reversed.  Soprano Suzannah Waddington is a treasure as Ms. Gardner, a wealthy patron who is also well grounded and aware of the forces at play.  In a very brief role, bass William Meinert as the driver manages to convey the element of racism.  Composer Geter’s music seemed to me the most compelling of the three operas in its sophistication and participation in the drama. 

AOI Plans for the Future

WNO will forego producing 20- and 60-minute new operas in the 2021-2022 season and instead have premieres of four new operas as part of WNO’s Written in Stone in 2022.  Is the American Opera Initiative continuing I wondered?  I posed the question to Mr. Ainsley, his response:

“The American Opera Initiative is really a catch-all term for WNO's new works and commissions, although the 20-minute and one-hour commissions have been particularly prominent and ongoing parts of that work. Indeed, this coming season, AOI has morphed into Written in Stone, which is really the 'third tier' of AOI which we had also planned for - a mainstage commission drawn from previous participants of the program, in this case, Carlos Simon, Kamala Sankaram, Huang Ruo and David Henry Hwang. The Cartography Project is also an integral part of our commissioning work over the next three years at least.

[Note from the KC 50th anniversary announcement: The Center’s previously announced curatorial music program and one of the eight channels of its Social Impact work, The Cartography Project, will feature the work of an inaugural cohort of 12 librettists and composers. Led by the NSO and WNO, the multi-year commissioning project has engaged these artists from across the nation to respond to extrajudicial killings that have galvanized the country. Comprising seven works that together create a musical map of these incidents, the commissions premiering during the 50th Anniversary season focus on the road forward on our country’s racial timeline with an emphasis on the concept of “Black Dignity]. 

It remains to be seen if we will bring back the 20- or 60-minute program, or in what format it would exist going forward. That said, we are very proud of our catalogue of works to date and new works and commissions for early-stage career composers and librettists will surely remain a focus for WNO.”

The creative efforts of the emerging composers and librettists truly deserve a larger audience, and this year’s three new 20-min operas are easily accessible online.  While you wait for Mozart, Puccini, Wagner, and Verdi to return to the stages of re-opening opera houses, and as an interlude from Netflix, I recommend you binge on these three.

The Fan Experience: The AOI three 20-minute operas, originally available through the Kennedy Center “Digital Stage+” for members, are now available to all at this AOI link or more directly at this YouTube link.   The operas are sung in English and closed captioning is available on the feed.  The visual and audio feeds are excellent, and I especially enjoyed the audio using my Air Pods.  WNO anticipates they will remain available through May, 2022. 

Wolf Trap Opera’s Cinderella and Savitri: Teamwork Pays Off

I normally focus my blog reports on the performances of Wolf Trap Opera’s marvelously talented Filene and Studio Artists, and they were worthy once again.  However, as I sat with my son in our pod in the Filene Center Friday night, socially distanced from other pods, and watched the performances in what I hope is our last pandemic season, I felt a profound awareness of how many individuals and their efforts that it took to fight through the difficulties and accomplish this program, to bring us this gift.  The twin bill Friday night of Cinderella (Cendrillon) and Sāvitri was a mid-summer treat, and I will get to praising the coming of age of Alexandra Nowakowski as a headliner, the powerful vocals of Jonathan Bryan, and the steady performance of Leia Lensing as well as others, but first I also want to mention the contributions of the entire WTO team, whose range of talents, dedication, hard work, and courage made it possible to have summer entertainment this year and to enjoy vocal art live and in person once again.

Soprano Shannon Jennings as Marie (Cinderella), mezzo-soprano Gretchen Krupp as Areme (a stepsister), and soprano Yunuet Laguna as Maguelonne (a stepsister) in Pauline Viardot’s Cinderella (Cendrillon). Photo by A. E. Landes; courtesy of Wolf Trap Opera.

Cinderella (1904, Cendrillon in French) by composer Pauline Viardot was partially staged in concert format, another concession to pandemic restrictions.  The players were in costume and acted out the drama with only a few on-stage props.  Ms. Viardot received recognition for her operettas, and Cendrillon continues to be performed over the years. in her day, she was more famous as a leading mezzo-soprano.  She was born into a musical family.  Her father was a famous tenor, and her older sister was an even more renown soprano; both died when Pauline was young; she had to make her way in the world and was pushed by her mother into a singing career.  I have encountered Ms. Viardot’s legacy before.  She was influential in getting composer Charles Gounod’s first opera Sapho staged; in fact, she starred in its premiere (Washington Concert Opera performed Sapho in 2018).  I think of her as the Oprah Winfrey of her day, talented as a performer but with an intelligence, personality, and eventually resources, that allowed her to attract a coterie of famous and wealthy artistic friends and to have great influence.  She was also the librettist for her Cinderella, adapting Charles Perrault’s story along the lines of the Rossini opera, but with her own twists.  Most notably, the fairy godmother in this version also provides running commentary on the action; it is a charming, witty version of the Cinderella story.  Director Amanda Consol’s clever staging with what she had to work with was effective, especially with its comic touches – when the (imaginary) mice were released to be converted to (imaginary) horses off stage, she had them seemingly run across the stage with each singer hopping up to avoid them.  The WTO twist of mixing in English dialog with French singing and dialog worked for me, drawing me into the farcical aspects of the telling; those fluent in French might have found it somewhat jarring. 

Soprano Alexandra Nowakowski as La Fée, (the fairy godmother) and baritone Jonathan Bryan (the father). Photos by A. E. Landes; courtesy of Wolf Trap Opera.

Viardot’s operetta was composed to be performed in a salon before the well-known, even famous, musicians and composers of her day, rather a bold move, I think.  I found her music to be pleasurable, especially as orchestrated by composer, conductor, and pianist David Hanlon, an impressive feat since Ms. Viardot wrote the score for piano accompaniment only.  The music was played by twelve musicians: two string quartets, a bass, oboe/French horn, and two flutes, placed on stage seated behind the singers.  The ensemble was ably led by Conductor Kelly Kuo.  The oboe was used in a squawking manner to comically convey the difficulty of trying to get the stepsisters feet into the slipper Cinderella left behind at the ball.

Shannon Jennings’ bright clear soprano shone again as Marie (Cinderella); Christopher Bozeka’s rich tenor added appeal to his character who, in this version, was more Prince than Charming.  Soprano Yunuet Laguna and mezzo-soprano Gretchen Krupp gave the distasteful stepsisters comic appeal, and tenor Joseph Leppek as the Prince’s aide was a crowd pleaser.  However, there were two singers whose stars shone especially bright that night.  I have seen soprano Alexandra Nowakowski perform before, both for WTO in Ariadne auf Naxos and for the Washington National Opera in The Magic Flute.  Her talent was obvious in those roles.  As La Fée, the fairy godmother, her stage manner was assured; her comic timing with the English dialog was spot on, and her voice and control, beautiful.  Baritone Jonathan Bryan played the role of the father, a somewhat bumbling noveau riche fellow, addicted to the bottle (no mother in this version).  His booming, resonant baritone is a force to be reckoned with, and enjoyed as often as possible.  Women members of the WTO Studio Artists who rounded out the cast as fairies and sang in the chorus were pleasing additions to the performance.  In fact, kudos to Chorusmaster William Woodard; the choral numbers were among the night’s highlights – so good to hear a chorus live again. 

left photo: Mezzo-soprano Leia Lensing as Sāvitri and tenor Christopher Bozeka as Satyavān in Gustav Holst’s Sāvitri. right photo: bass Calvin Griffin as Death. Photos by A. E. Landes; courtesy of Wolf Trap Opera.

By contrast, Sāvitri (1921) only has three characters and was much shorter.  It was also opposite in mood to Cinderella, intense, serious, and cerebral.  It requires little staging and bends well to the concert format. The action is primarily the conversations between the three characters, somewhat Wagnerian in style.  Death comes for Satyavān, the husband of Sāvitri in their woodland home.  He succumbs, but Sāvitri’s ability to see through illusion (Māyā) impresses Death who offers her a wish that she cleverly uses to regain her husband’s life and demonstrate the power of love.  Composer Gustav Holst took the story from an ancient epic poem, the “Mahabharata”.  Holst, the famous composer of The Planets had a deep love for Indian culture, to the point of studying Sanskrit to be able to translate ancient texts.  He also had an interest in Indian music, but it is not reflected in this work.  Mr. Holst used two string quartets and an off-stage women’s chorus creating non-verbal sound, forging a somewhat ethereal and hymn-like quality to the music, spiritual in mood.  The composer had asked that it be performed at dusk in an open-air setting.  WTO complied.

Mezzo-soprano Leia Lensing has an emotionally imbued voice and the singing ability to carry the role of Sāvitri, and seemed to move through it flawlessly.  Tenor Christopher Bozeka sang well as Satyavān as did bass Calvin Griffith, who projected Death scarily well.  The vocals and music for Sāvitri are slow moving, pushing forward through the text.  Beyond the story line, interest is created by the singers’ modulations and emphases.  While I think, this cast did very well, I wish I could hear them perform Sāvitri again with about five more years of development under their belts.  I suspect it will be even better.

So, something light-hearted and fun and then something serious to think about on the way home, provided in the beautiful setting of the Wolf Trap Farm Park for the Performing Arts, in the open-air Filene Center - a fine way to spend a midsummer’s eve.  Wouldn’t you agree?

The Fan Experience: Opera has been one of the hardest hit professions in the country.  Opera houses closed in March 2020 and are only now beginning to again offer live performances.  Lee Anne Myslewski, Wolf Trap Vice-President for Opera and Classical Programming and her WTO staff have managed to keep their training program functioning under COVID-19 restrictions both last year and this, with online performances last year and Filene Center as well as online performances this year.  Kudos and thanks to all involved.  This summer would have been much tougher without the entertainment and connection they have provided.

The July 16 performance of Cinderella and Sāvitri was the only one.  Wolf Trap Opera will offer a program called STARias on July 23, a concert of arias in the Filene Center by current opera stars who are alumni of WTO.  WTO’s popular Jukebox Arias program remains available online.   Opera fans will also want to note that soprano Renée Fleming will be appearing with the National Symphony Orchestra in concert on August 6 at Wolf Trap.

The Filene Center is not an ideal venue for opera, but an advantage is that its casual atmosphere draws in a younger crowd than one typically sees in the usual opera halls, often their first opera experience.  There were even pockets of young children in the Filene Center for these performances.  I was a little concerned early in Sāvitri when Death appeared and Satyavan died that it might be a little intense for them.  Hopefully, parents had prepared them for the story line.

As I was watching Cinderella, I looked up at a scene on one of the monitors overhead and was reminded of watching The Anonymous Lover live streamed from the Filene Center and wished this program had been live streamed as well.  So many more people could have benefited.  Live stream is no match for being there in person, but if you can’t make it, watching live stream is also a fun and rewarding experience.

It has been a year and a half, two seasons ago, since Wolf Trap Opera has been able to mount opera performances before a live audience in The Barns at Wolf Trap, a much better venue for opera.  I’ve enjoyed the Filene Center performances, but I can’t wait for a return of fully-staged opera in the small, intimate setting of The Barns with the audience close in to the young Filene and Studio Artists, performing without microphones.  So many memories.

Wolf Trap Opera’s The Anonymous Lover and Wolf Trap’s New Livestream Option

Last Friday night was the first performance in Wolf Trap’s 50th season and the first performance in the Filene Center in over a year after being closed by the pandemic in 2020.  Wolf Trap Opera led off the new season with a performance of the romantic comedy The Anonymous Lover (L’Amant Anonyme; 1780) by 18th century, French composer Joseph Bologne, Chevalier de Saint-Georges.  Wolf Trap still had to make some adjustments to comply with pandemic guidelines in place for June and July.  They introduced pod seating to provide for social distancing of audience members.   They also added livestreaming, a new feature limited to Wolf Trap members, for viewing select performances in the Filene Center.  Wolf Trap recently announced that tickets for shows for August and September are offered at full capacity.

Mastro Geoffrey McDonald and the full company for Wolf Trap Opera’s The Anonymous Lover. Photo by A. E. Landis; courtesy of Wolf Trap.

I was curious about the new livestream option and watched WTO’s performance from home.  I will comment more extensively about viewing the livestream in the Fan Experience section below.  I also have some comments on WTO’s performance of The Anonymous Lover, but first a couple of recommendations for more information:

1) The pre-show lecture by Lee Anne Myslewski, Wolf Trap’s Vice President for Opera and Classical Programming, provides a brief history of the fascinating Mr. Bologne (1745-1799), borne to a white French planter and his wife’s African slave. 

Composer Joseph Bologne, Chevalier de Saint-Georges. Public domain image from Wikipedia.

2) The detailed review of WTO’s performance by Charles Downey, critic for the Washington Classical Review, is beautifully written.

 The plot by librettist Madame de Genlis (1746-1830) is a compelling story of two people’s tentative steps on the path to realizing their love.  This opéra comique includes spoken dialogue as well as vocals; duets and ensemble numbers were mixed with arias.  Though billed as “in the concert format”, the production was partially staged, and the performers were dressed in bright period costumes.  The partial staging by Director Kamille Howard clearly delineated the relationships of the characters, as well as provided some comedic moments.  Somehow though, whether because of the libretto or the broad-brush staging or my inattentiveness, the important subtlety that the widow Léontine had grown to love her friend Valcour without being consciously aware of it seemed underplayed. 

The National Symphony Orchestra for this production included conductor Geoffrey McDonald and a chamber-sized grouping of NSO players who sat on stage behind the performers, and of course, played well.  Composer Bologne’s music was immensely likable, 18th century French classical music, complete with a few hummable melodies. The music played a part in telling the story.  Some pleasing dance was included, choreographed by Michael Raine, but the ballet portion of the opera was curtailed for this performance. Mr. Bologne’s opera certainly merited “rediscovery”.  

Photo 1: Chanáe Curtis as Léontine and Ricardo Garcia as Valcour. Photo 2: Johnathan as Orphémon and Gretchen Krupp as Dorothée. All photos by A.E. Landis; courtesy of Wolf Trap.

As always, the freshness, talent, and exuberance of Wolf Trap Opera’s emerging artists in training easily won the day.  They were well matched to this romantic comedy by composer Bologne, who is little known today.  His classical compositions achieved popular success in his day, but his opportunities for higher position and greater recognition were limited by racial prejudice, resulting in his place in history not being well recorded.  The Anonymous Lover is the only surviving opera of six that he penned; a more extensive repertoire of his classical music works survived to the present day.

Photo 1: Yunuet Laguna as Jeanette. Photo 2: Joeseph Leppek as Colin. All photos by A. E. Leppek; courtesy of Wolf Trap.

All the WTO young artists performed well in their roles, including soprano Chanáe Curtis as the widow Léontine; tenor Ricardo Garcia as the secret lover Valcour; baritone Johnathan McCullough as Orphémon, Valcour’s friend and enabler; soprano Yunuet Laguna as Jeannette, Léontine’s friend getting married; tenor Joseph Leppek as Colin, Jeanette’s fiancé; and mezzo-soprano Gretchen Krupp as Dorothée, a friend of Léontine .  The WTO Studio Artists participating as supernumeraries filled out the cast and joined in the choral numbers.  I will just mention the two performers that made the strongest impression on me.  Soprano Chanáe Curtis, a returning Filene Artist, sang the role of Léontine, a widow who had sworn off love.  Her vocals grew more assured as the night progressed, finally showcasing her beautiful coloratura in an aria that begins “Such is love’s power…”.   A new Filene Artist, soprano Yunuet Laguna played Jeannette, a friend of Léontine.  Her aria with the phrase “to love well is to live well” has a very pretty melody.  She displayed an engaging vocal color and vibrancy in her voice that made me eager to hear more.  I also want to point out that third year Filene Artist, Johnathan McCullough initiated, directed, and starred last year in Opera Philadelphia’s powerful film production of Soldier Songs; this is the level of talent that Wolf Trap Opera attracts.

Here is the bottom line: Wolf Trap Opera is back, once again performing live, at least partially-staged opera before an audience.  Opera fans, the ball is in our court.

The Fan Experience: The Anonymous Lover was a one-off performance on June 18.  Wolf Trap members watching the livestream had to do so during the live performance.  Wolf Trap Opera’s next production will be Sweeney Todd on July 2 and 3; these performances will not be livestreamed. WTO’s popular “Jukebox Arias” will be online at 7 pm on July 10 for everyone, not just Wolf Trap members; voting for the arias has commenced.

I will cover the following aspects of The Anonymous Lover livestream broadcast: 1) the livestream experience; 2) further productions to be livestreamed; and 3) how to purchase a ticket.

The Livestream Experience: The video and audio quality of the livestream was excellent.  I chose to watch the performance on my large screen TV using Airplay on my MacBook; the broadcast resolution was sufficient to provide excellent picture quality.  Usually, I listen to online broadcasts using my AirPods, but this time I used the external speakers attached to my TV, and the sound was excellent.  Being able to control the volume level is an advantage of watching online.  The opera was sung in French, and the supertitles in English at the bottom of the screen were easy on the eyes.  While watching online is no substitute for being there, viewing live performances on video does carry its own level of excitement.

A Facebook-type comment bar ran in real time beside the view of the performance.  I find these can be enjoyable with some operas that I have seen many times, but for a work new, to me they tend to be too much of a distraction.  I put the video of the performance on full screen and paid no attention to the comment bar.

I loved the opening scene from behind the orchestra showing Conductor McDonald and the socially distanced crowd in the audience all the way out to the lawn seats; I wanted to wave hello.  Another advantage of online viewing is that you get close ups of the singers as individuals and groups not available when sitting in the audience, though the side screens in the Filene Center often show similar views from a distance.  A disadvantage is that what you see online is what the video director chooses for you.  I thought the shot selection for The Anonymous Lover was good but could have been better.  There were times when I thought close ups could have been better used to highlight the feelings of the characters for one another, and a few times when I wanted to see what else was happening on stage away from the principal action.  Also, I am personally not a fan of performer movement on the stage while the overture is playing; this staging approach was used by Director Howard.  I was particularly bothered by it this time because I am not familiar with this composer’s music.  If Wolf Trap Opera decides to make the video of the performance available at some point in the future, I will listen to it at least once without viewing it to better enjoy the music.  I had the feeling the livestreaming is still a little experimental; there were no credits shown at the end of the performance.  All in all, though, I was happy with the livestream.  This is a great option if you can’t attend in person (for example, your mobility is limited) or prefer not to for a particular performance (for example, your babysitter cancelled).  You can view from anywhere you have an internet connection ,and if in house tickets sell out, you can still see it. 

Productions to be livestreamed:  There are currently eleven more shows that Wolf Trap members can access through livestreaming.  You can see the list using this link, but you need your Wolf Trap member username and password to see the page.  Those that might be of interest to opera fans include:

July 1 – 50 Years Together: A Celebration of Wolf Trap (performers include soprano Christine Goerke)

July 9 – Beethoven and Bologne, National Symphony Orchestra (another chance to sample composer Joseph Bologne’s work)

July 17 – Preservation Hall Jazz Band (well, who doesn’t like New Orleans jazz?)

July 23 – STARias: Opera’s Most Powerful Moments, Wolf Trap Opera Artists and Alumni with the National Symphony Orchestra.

Tickets for the livestream are only available to Wolf Trap members, and my ticket for The Anonymous Lover was $17.  WT memberships begin at $50 and are tiered; membership benefits increase as the donation point you choose increases.  I have recommended memberships in the past as support for Wolf Trap Opera, as well as receiving the benefits of early ticket availability and an invitation to the season announcement party, but the new livestreaming benefit makes becoming a member an even more prudent choice.

How to purchase a livestream ticket: The first step in purchasing a livestream ticket is the hardest, especially for those of us who are technologically challenged and averse to following directions.  First, I signed on at this link using my Wolf Trap username and password; then, I read the first part of the instructions telling me I had to create an account including password with mandolin.com, which handles Wolf Trap’s livestream ticketing.  I quickly got to the step in signing up which asks for the “Wolf Trap access code”.  I called WT customer service who doesn’t handle livestreaming and was transferred to “development” who did.  The representative politely explained that buried in the instructions is the access code which she then supplied.  I sheepishly thanked the representative and took it from there.  There are five steps in the instructions; best to read them all.  Once signed up, I managed to buy a ticket and received a confirmation from mandolin.com.  They sent me an email before the performance with the link to join which requires signing in to mandolin.com.  It’s not a difficult process but can be time consuming if you don’t read the instructions.

Opera Lafayette’s “Fête de la musique”: Something Old, Something New, and Free All Day

To Fête is to honor or entertain someone lavishly, which is what Opera Lafayette will do on Sunday with an online program that is lavish in breadth, depth, and length.  OL aims to entertain its fans of 17th to 19th century opera, music, and dance and make converts.  Several of the productions are new for this event and many are among OL’s best, pulled from their archives.  OL’s performances are marked by carefully researched, authentic productions of this music, played on period instruments.  The result is an intoxicating, pleasure-inducing beauty, and sometimes, performances that are whimsical and fun. Sunday’s program will range from classical music and dance in elegant surroundings here and abroad to an Americanized opéra comique performed in front of an historic Blacksmith Shop and barn in Colorado.  Fête de la Musique is all that and more, free online for 12 hours, 8 am to 8 pm, a fine embellishment to enjoy the summer solstice and Father’s Day this Sunday, June 20.

Three faces of Opera Lafayette performances:

Photo 1 - Serious Music and Song - Laetitia Grimaldi as Proserpina and Stephanie Houtzeel as Titano in Cerere Placata. Photo by Russell Hirshorn; courtesy of Opera Lafayette.

Photo 2 - Artistic Dance - Members of the Kalanidhi Dance Company in La Foret enchantee (The Enchanted Forest). Rehearsal photo by Louis Forget; courtesy of Opera Lafayette.

Photo 3 - Whimsy and Fun - Leading the singalong taking place in the opera are Emilie Faiella as Jeannie and Arnold Livingston Geis as Cody in The Blacksmith. Photo by Paul Boyer; courtesy of Opera Lafayette.

The program for Fête de la Musique is listed below with a few comments (Update, 6/19: OL has posted a detailed program).  Keep in mind that the program listed in italics is the feature performance of that hour.  Each hour will be a mixed program featuring the highlighted presentation along with items such as introductions, info about Opera Lafayette, discussions, and additional recordings carefully selected from OL’s archive of performances collected over twenty years.

8:00 A.M. — “A Morning Meditation with Bach”

Bach’s Cello Suite performed on lute by Thomas Dunford, who has been referred to as the Eric Clapton of the lute.  The setting will be the lovely, but little known park, Tregaron Conservancy in Washington, DC.

9:00 A.M. — “Opera Starts with Oh!”

OL’s entertaining educational program for children and their families, referred to by critic Michael Andor Brodeur of the Washington Post as “the best Zoom there is”.  The guest for this performance is soprano Ariana Douglas,

10:00 A.M. — “Recital by Mezzo-Soprano Caitlin Hulcup and Pianist Ammiel Bushakevitz”

Filmed in the historic Edvard Grieg house in Leipzig and featuring works by Purcell and Britten.  Ms. Hulcup starred in OL’s Radamisto, an Italian opera by Handel.

11:00 A.M. — “Premiere of The Making of: The Blacksmith Documentary”

Filmed on location: how OL brought 18th century, French composer Philidor’s opera to a live audience on a ranch in Colorado during the COVID-19 pandemic.

12:00 P.M. — “Performance of Philidor’s The Blacksmith” *

My blog report on this performance was titled “Opéra Comique Puts on a Cowboy Hat.”  If you watch the film about its making, you pretty much gotta watch this one also.

1:00 P.M.— “Lamentation to Liberation: A Journey from Sorrow to Joy in 17th Century Italy”*

A compilation of works from the 17th century Italian repertoire coupled with a new work by Jonathan Woody and Reginald Mobley dealing with “a contemporary topic with the aesthetics of a renaissance motet”.

2:00 P.M. — “Solo Recital by Harpsichordist Justin Taylor”

Recorded live for Opera Lafayette’s Fête, featuring music by Couperin, Rameau, and Forqueray, played in the Salon de Musique of the beautiful mansion of the Fondation Singer-Polignac in Paris. 

3:00 P.M. – “Salon Series: Opera and Dance”

OL Salon Series is based on discussions exploring topics in opera and classical music performed by Opera Lafayette.  In this episode, Ryan Brown, OL Founder, Artistic Director, and Conductor, discusses opera and dance with several leading dance professionals.

4:00 P.M. — “Opera Starts with Oh!”

Another in the series for children and their families.  The guest for this production is renown double bassist Motomi Igarashi.

5:00 P.M. — “In Search of Lost Time: A Performance of French Airs, Chansons and Chamber Music from Rameau to Roussel”*

With performers pianist Ammiel Bushakevitz, soprano Laetitia Grimaldi-Spitzer, mezzo-soprano Stephanie Houtzeel, and a guest appearance by OL’s flutist Charles Brink.  These sopranos starred in another of OL’s rediscovered masterpieces, Jommeli’s Cerere Placata, which was conducted by Mr. Brink.

6:00 P.M. — “Salon Series: Overtures”

This discussion offers the opportunity to get to know several members of the OL Orchestra and hear them talk about their instruments.

7:00 P.M — “Anna Reinhold and Justin Taylor Recital”

Filmed in Paris, French mezzo-soprano Reinhold and harpsichordist Taylor will be adorned by the Fondation Singer-Polignac as they perform works by Strozzi, Frescobaldi, and Monteverdi, a classy end to a very classy day.  This recorded performance will be premiered the day before for Opera Lafayette’s online Soirée on June 19.

            *Items with an asterisk are available on demand for a fee from the OL calendar.

OL’s program is a riff on the annual Paris “Fête de la musique”, begun in 1982, borne of the French minister of culture’s idea to have a free music holiday with bands and performers on every street corner.  The celebration has spread to over three hundred other countries and is known across the world today as World Music Day.  The Parisian Fête and World Music Day are performed every June 21, coinciding with the summer solstice, unless of course, you live on the other side of the earth’s equator, where it is known as the winter solstice.  Opera Lafayette chose to hold their Fête de la Musique the day before since June 21 falls on a Monday this year.  While OL appears to be a day early, I will point out that the summer solstice this year begins at 11:31 pm eastern time on Sunday, June 20.  World Music Day is also a celebration of the makers of music.  A tip of the hat to Opera Lafayette and its performers for enriching the lives of its audiences for over 25 year now.

Opera Lafayette is a small opera company operating in Washington, DC, and New York City.  In my opinion, it is a treasure, consistently providing entertaining and enriching arts experiences by unearthing and bringing authentic productions of rediscovered masterpieces of the 17-19th centuries to its audiences.  When OL performs live, I no longer ask what’s playing; I just go and am yet to be disappointed.  Getting tickets for their often sold out performances can sometimes be difficult , but we all have a chance to sample and enjoy their wares on Sunday for free. 

The Fan Experience:  Note that watching online is entirely free, but registration is required to log on.  Opera Lafayette will then send to those who have registered an email with log on information prior to June 20.  OL also plans to send out minute by minute program guidance during the 12 hour broadcast to registrants.

The events noted by an asterisk in the program listing above are currently available for pay per view on demand viewing; see the OL calendar website. 

Wolf Trap Opera’s 50th Season: Summer of ‘21

Opera is not one thing; it is many things.  It provides entertainment that gives pleasure and distraction, providing relief from our daily toil.  The human voice and music speak to our hearts and souls, and the stories bring into focus the shared humanity of diverse audiences.  Wolf Trap Opera is living proof that opera is grounded in community.

The Wolf Trap National Park for the Performing Arts, nestled just outside the beltway west of Washington DC, will soon begin its 50th Season of summer concerts at the Filene Center; the new season leads off live, before-an-audience, concerts on June 18 with a performance by Wolf Trap Opera.  Enjoying picnics and summer concerts at Wolf Trap is now a Washington tradition, and if you are an opera fan, Wolf Trap Opera has been your summer oasis for opera since 1971, and for many area residents, has provided their introduction to opera.   Audiences will be allowed back into the Filene Center this year after last year’s forced closure due to the COVID-19 pandemic, though still with limitations – see The Fan Experience below.

Through a highly competitive process, Wolf Trap Opera each year brings new cadres of Filene Artists and Studio Artists to Wolf Trap to further hone their skills and develop their talents.  Some singers will be returnees and familiar to WTO audiences.  Even in the pandemic summer of 2020, WTO managed to keep their training programs for emerging artists operative, broadcasting their concerts online and offering a creative presentation of the fan favorite, Jukebox Arias, discussed further down.  Opera singers who have trained with Wolf Trap Opera include Denyce Graves, Eric Owens, Christine Goerke, Alan Held, Kate Lindsey, Lawrence Brownlee, Ying Fang, and Morris Robinson, to name a few.  Recently, mezzo-soprano Emily Treigle, a Studio Artist last season, was a Grand Finals winner at the Eric and Dominique Laffont Competition (formerly known as the Met Opera National Audition Awards).  The opportunity to see and hear these highly talented emerging artists, young in their careers, with many on their way to stardom, is a major attraction of WTO.

Opera fans are also beneficiaries of these training programs.  As a result, we get some seriously good opera summer after summer, including a variety of operas we’d never get to hear in the large opera houses.  In a normal year (remember normal?), WTO presents three fully staged productions in their small, fully enclosed venue, The Barns, and also presents a popular opera favorite performed in the large, partially enclosed Filene Center.  This year’s productions will again be restricted by pandemic guidelines in place at the time decisions had to be made for June and July performances; all operas will be in the Filene Center this year in concert format, using pod seating to engage a socially distanced audience.  Yes, I miss opera in the Barns, but this summer’s offerings do include three live productions with an orchestra, before an audience in attendance!  There are also some concerts that will be available through livestream for at home viewing, and for Wolf Trap members, a few in both formats.

WTO’s process is to select their trainees and then select the operas to be produced based on the talents of that year’s cadre of singers.  The decision to present this year’s operas in concert format was of course necessitated by pandemic requirements, requiring social distancing even among singers and musicians.  Even so, this still promises to be an exciting season, based on the choices made, both in regard to format and the opera selections.  The concert opera format is to be embraced.  I am a frequent attendee at performances of the Washington Concert Opera and the Baltimore Concert Opera.  The singers will not be in costumes, but they will be in character and supported by an orchestra.  It will be theater, even without being fully staged, and freed from the need to move about physically, the singers can devote their full attention to singing.  An opera aficionado once told me that concert opera was crack cocaine for opera lovers; my experience largely confirms that assessment. 

This season, like all WTO seasons, both popular operas and lesser-known works will be performed along with concerts featuring returning opera stars as well as emerging opera stars in training.  For this year’s Filene Center concert operas, I am only familiar with Sweeney Todd, but reading about the others has been fascinating, as I discuss below.  The opportunity to sample carefully curated less well-known works, which typically are high in both entertainment value and artistic appeal, is another of Wolf Trap Opera’s attractions. 

This year’s WTO events in front of an audience, all in concert format:

 June 18 - The Anonymous Lover (L’Amant Anonyme)*

 July 2, 3 - Sweeney Todd: The Demon Barber of Fleet Street

 July 16 - Cinderella (Cendrillon) and Savitri

 July 23 - STARias: Opera’s Most Powerful Moments*

            *events livestreamed for purchase and in person

This year’s WTO events that will be free and livestreamed only:

June 11, 17, 25; July 9, 15 – Salon Series

July 10 – Aria Jukebox

Are you familiar with the Joseph Bologne, Chevalier de Saint-Georges, the 18th century composer of The Anonymous Lover (L’Amant Anonyme); 1780)?  Just try to find information on this opera or its composer in any of your common opera books.  Mr. Bologne’s opera, the only one of six that has survived intact, was “reintroduced” by LA Opera to the repertoire last Fall with a filmed version, chosen for production in part because it was workable under pandemic restrictions, and in part, borne of the desire to give its black composer some of the recognition he deserves.  Mr. Bologne, son of a wealthy white French planter and his wife’s black African slave, was a child prodigy who first came to fame as a fencer and then as a violinist.  Much about him has been lost to history, but he is believed to have influenced other composers of his day, perhaps even Mozart.  WTO’s Vice President Lee Anne Myslewski has said she was also pleased to present an 18th century libretto written from the perspective of a woman.  The librettist was a popular and prolific French writer and educator, Madame de Genlis (Caroline-Stéphanie-Félicité du Crest du Aubin); her history is as fascinating as her name.  Ok, all well and good, but is it a good opera?  Why not decide for yourself?  It’s a comic love story about a secret admirer that features 18th century French music; you could hardly go wrong. Did I mention the accompaniment will be by the National Symphony Orchestra led by Geoffrey McDonald?

Stephen Sondheim’s Broadway production Sweeney Todd (1979) was made into a well-known film version starring actor Johnny Depp.  Is it an opera or is it a musical?  The answer is yes.  His libretto covers a terribly wronged barber’s quest for revenge against a corrupt judge.   Mutual desperation leads to a successful collaboration with a baker that is spiced with a gruesome sourcing of protein.  I keep thinking of how well Sweeney and Hannibal Lecter would get along.  Pate, anyone, with a nice chianti?  Sweeney gets performed by at least a couple of American opera companies every year because the Sondheim music and songs keep audiences returning.  Its popularity has resulted in the opera being the only WTO production to get two performances this summer.  An added attraction is that the accompaniment will be provided by the National Symphony Orchestra led by Roberto Kalb.

WTO’s twin bill will include a one-act salon opera by Pauline Viardot, a woman composer relatively unknown today, and a chamber opera by a famous classical music composer who, as it turns out, had a fascination with Indian culture.  Cinderella (Cendrillon) (1904) is not one of the famous musical versions of the Charles Perrault fairy tale, such as those by Gounod or Rossini, but remains true to the fairy tale.  The composer is perhaps better known in her day as a leading soprano.  She composed her version as a salon opera scored for accompaniment by a piano; however, WTO will make it even more interesting by employing a chamber orchestra.  Gustav Holst, the famous English composer of The Planets is the composer of Savitri, (1921) a metaphysical meditation on love, life, and death taken from a story in the “Mahabharata”, a Sanscrit epic from ancient India.  Though the libretto derives from Holst’s interest in Indian culture, it apparently does not contain strains of Indian music, which seemed not to be an interest of his.  Too bad, but I am very curious to see what Mr. Holst does with the operatic form. Kelly Kuo will conduct the Wolf Trap Orchestra.

The final WTO performance before an audience in the Filene Center will be STARias, a concert of arias from famous operas by famous composers such as Verdi and Puccini.  The connecting theme for the selections is the ability of opera to convey “the most powerful emotions of the human experience”.  For me, the real attraction for this concert is the singers who are current opera stars and who are also Wolf Trap Opera alumni.  The cast includes soprano Tamara Wilson, soprano Michelle DeYoung, tenor Paul Groves, tenor Robert Watson, bass-baritone Ryan Speedo Green, and bass Raymond Aceto.  An additional attraction is that they will be accompanied by Christopher Allen and the National Symphony Orchestra.  I wish that this group of singers could be seen in the Barns, but my wish has to be tempered by the fact that the Barns could not accommodate an orchestra the size of NSO.

Leading off the online and free performances this year is a series of recitals called the Salon Series; which will begin on June 11 and run through July 15.  In each concert, WTO’s artists will be giving their interpretations of classical art songs.  It has taken me a while to warm up to art songs, primarily I think because of the language barrier.  Listening a couple of years ago to recordings of Marian Anderson performing art songs with such emotional power has warmed me to the genre; so, I will be tuning in.

Jukebox Arias, WTO’s most popular concert, will again be performed online this year.  A significant advantage is that you won’t be looking for tickets to a show that is typically sold out as soon as tickets become available; in fact, it will be free again online.  You will be able to purchase tickets to vote for the arias that you wish WTO’s emerging artists to perform; that’s what makes it a jukebox.  In recent years, WTO has ventured outside the Park into surrounding arenas to present opera, concerts, and recitals under the banner “Opera Untrapped”.  WTO’s streamed events are placed in the category of “Opera Untrapped Online”.

I like to share what I've learned about opera in my journey.  Why am I so enthusiastic about Wolf Trap Opera?  Over my now eight-year love affair with opera, their performances often make my personal favorites list each year, even competing with the Met Opera and other large companies, and WTO often introduces me to operas I’d never hear otherwise.  WTO’s The Rape of Lucretia in 2016 starring J’Nai Bridges stands out in my memory for its emotional impact; The Juniper Tree in 2017 introduced me to some new music I found captivating, and L’Opera Seria in 2016 might be my favorite opera of all time in terms of sheer opera fun.  Even without fully staged operas in the intimate Barns theater, concert versions with WTO’s emerging artists is an exciting proposition.  Will one this season join my personal group of unforgettables?  As I have been saying for years now, Wolf Trap Opera makes opera fun, and let me add, exciting!  The Summer of ’21 is a fine step towards getting singers in front of a live audience once more.

The Fan Experience:  There are some pandemic necessitated complications for the fan experience again this year.  Your gateway to Wolf Trap Opera information and tickets is of course their website.  Individual seats are in the $30 to $100 range depending on the opera and the seat location.  However, seats must be purchased in pods of two to four seats by one purchaser.  Even though this requirement was necessitated by COVID-19 restrictions in place when these decisions were made, it places singles at a disadvantage for attending. At this point, the remaining seats are primarily in four seat pods.  A unique feature of Filene Center performances is lawn seating, which this year will be available in four-seat pods ranging from $32 to $42 per seat, depending on the performance. August performances and the restrictions to be observed have yet to be announced by Wolf Trap.

For each of the concert operas in the Filene Center, there will be an audio pre-opera talk distributed online; listening to these is highly recommended.  The concert operas in the Filene Center will have supertitles in English, as will the STARias concert.

The park grounds outside the Filene Center will be available as usual for picnicking prior to the performance, and concessions will be available for purchase. Parking is free at Wolf Trap, and it is likely the limited seating will decrease the time to get parked and the time to exit.

For free streamed performance of Jukebox Arias, voting for arias runs June 21 to July 2. Each artist will list three arias of which they will sing the one getting the most votes. A minimum donation of $10 gets you four votes per performer to distribute as you wish. Increasing the size of your donation increases the weighting of your votes. There is no information available as yet on how long events broadcast online will remain available for viewing.

This year a selection of Wolf Trap concerts performed in the Filene Center will also be livestreamed for home viewing.  Tickets ($15) are only available to members of Wolf Trap; information can be found at this link which requires a member log in..  This is a welcome addition enabling fans who can’t make a peformance date and fans for whom pod seating does not work to view performances. Memberships start at $50 and has several advantages.  You can designate that your support goes to WTO. In addition to the opportunity to purchase modestly priced tickets to selected online events this year, you get early ticket access to all Wolf Trap performances, and you are invited to the season announcing lecture each year, which typically includes some of that year’s soloists, a fun event itself.

Pittsburgh Opera’s Semele: Endless Pleasure, Endless Love

Pittsburgh Opera is performing Semele live on stage before a live audience.  All performances are sold out!  However, you can see a live stream of the Friday, May 14 performance for free.  My advice is pay a scalper or bribe someone and see the real thing (See The Fan Experience below).  I drove eight hours round trip to Pittsburgh to attend the dress rehearsal.  If you can’t scarf up a ticket, don’t miss the live stream.

First of all, it is an amazingly good adaptation of this very pleasing baroque opera that operates within COVID-19 constraints and precautions.

Second of all, where else are you going to see live, staged opera right now?

left: Semele (Véronique Filloux) in the palace created for her by Jove. right: Jove (Aaron Crouch) admires another piece of jewelry intended for Semele. Photos by David Bachman Photography for PIttsburgh Opera; courtesy of Pittsburgh Opera.

George Frederic Handel’s opera is about a human named Semele who falls in love with the head Roman god Jove (or Jupiter if you prefer), who appears to her in human form.  They begin an affair, but Semele moves beyond just having an affair with a god and wants to become a god.  Juno, the jealous wife of Jove, schemes in deceptive godly fashion to have Semele extract a promise from Jove that he will appear to her in god-like form; Semele believes this will make her immortal.  She comes up on this little problem - seeing a god in their true form causes humans to burst into flames, all part of Juno’s plan of course.  There are a few other characters who add family intrigue and provide a way out for a sort of happy ending, for all but Semele. 

The real point of the Semele story is to give Handel a construct to adorn with his pretty music and arias.  So, PO’s staging that has Roman gods from ancient times ‘putting on the Ritz’ in the roaring twenties bothered me not at all.  Gods are immortal; they can be anywhere and in any time they want, and the human archetypes they represent are as relevant today as when first conceived.  In this case, the advantage to the audience is that we get to see some dazzlingly captivating costumes with some equally dazzling art-deco projections on window screens forming the backdrop for the stage; kudos to Director Kristine McIntyre, Costume Designer Jason Bray, and Projection Designer Lawrence Shea.  After adapting William Congreve’s poetic opera written thirty years earlier into his libretto, Handel created some confusion designating Semele as an opera “to be performed as an oratorio”.  While I’m sure it could work in a concert format, Ms. McIntyre’s creative staging definitely adds to the visual pleasure and entertainment.

On left is Cadmus (Jeremy Harr) father of Semele (Véronique Filloux) in center with her fiancé Athamas (Yazid Gray) on right. Photo by David Bachman Photography for PIttsburgh Opera; courtesy of Pittsburgh Opera.

This Semele also benefits from a highly talented and already accomplished band of Pittsburgh Opera Resident Artists singing the songs and telling the story.  Véronique Filloux is the soprano playing Semele, a role that fits her youth and voice type very well.  She displays the naivete, playfulness, and emerging self-determination of her character; plus, this is also a part of the repertoire she especially likes to sing.  Her coloratura and melismatic displays of vocal dexterity and power were impressive enough, but it was in the gentlest aria “Sleep, why dost thou leave me” that the beauty of her voice comes to the fore.  Her leading man, a new addition to this group, was tenor Aaron Crouch who acquitted himself well singing the role of Jove; we will be able to hear him again as a Resident Artist next season.  The surprise for me in this group was soprano Madeline Ehlinger who plays Semele’s sister Ino; Ino is in love with Semele’s unwanted fiancé Athamas, who was selected for her by her dad Cadmus.  She sings beautifully, but hearing her live, I was quite taken with the remarkable color in her voice; if she chooses to develop a cabaret routine as a jazzy blues singer belting out torch songs, I will attend.  Also, she and Ms. Filloux blend their voices in a gorgeous duet, “Prepare then, ye mortal choir”, a highlight of the performance.  I also enjoyed the singing of mezzo soprano Maire Therese Carmack who played Juno in a powerful portrayal of a god scorned; she also exhibited comedic flair in her feigned indulgence of Semele’s whims.  Her assistant and comedic foil was Iris, ably sung by soprano Meghan DeWald in her PO debut.  Jeremy Harr’s rich bass served us well in duel roles as Cadmus, the serious father of Semele, and Somnus, the amusing god of sleep who becomes Juno’s co-conspirator. 

left: Ino (Madeline Ehlinger), sister of Semele who loves Athamas. right: Juno (Maire Therese Carmack), Queen of the gods, wife of Jove. Photos by David Bachman Photography for PIttsburgh Opera; courtesy of Pittsburgh Opera.

A characteristic of Handel’s baroque operas is to feature a castrato in one of the roles, a role since that time played by a countertenor.  Music Director Antony Walker and Stage Director Kristine McIntyre decided to have the role of Athamas sung by baritone Yazid Gray;  Mr. Gray stared in PO’s Soldier Songs back in December.  A baritone singing this role is a significant change.  Listening at home again to a recording of the full opera made me miss the countertenor, but I think a baritone worked for this adaptation.  It worked with the roaring twenties staging and added a different nuance to the story.  It also fit because Mr. Gray made his lovely baritone romantically appealing; his is another voice I enjoyed even more hearing it live.  Kudos to him and the creative team.

The Pittsburgh Opera Orchestra under Conductor Walker’s direction rendered a pleasing phrasing of Handel’s pleasing music, smartly enhanced by the participation of members of Chatham Baroque on period instruments.  A necessary casualty of this adaptation was loss of a chorus and some of Semele’s excellent choral music, except for that provided by the principal singers.  Maestro Walker has conducted Semele in two previous productions and recorded it once, an experienced hand to write the modified score and remain true to Handel.  For me, Handel’s music and arias in Semele are one top forty tune after another.  Even reducing the score, there are many pleasing melodies and ample great music that will keep you humming for days to come. 

left: Juno (Maire Therese Carmack) instructs Iris (Meghan DeWald), goddess of the rainbow. right: Somnus, god of sleep, colludes with Juno (Maire Therese Carmack). Photos by David Bachman Photography for PIttsburgh Opera; courtesy of Pittsburgh Opera.

There was a minor disappointment for me.  I know that Maestro Walker and Director McIntyre thought carefully about how to reduce the score effectively to carry the drama, but leaving out “The morning lark to mine accords his note”?  Really?  How could they do that?  Maybe one day I will get to hear Ms. Filloux sing that one without a mask as part of Maestro Walker’s next performance of the full Semele.  BTW, wearing the masks did not seem to impede the singers, though I am sure it made it more difficult, and it would have been nice to see their faces.

Let me also express another strong feeling about the evening.  The PO Headquarter’s performance hall is small, maybe the size of a few handball courts side by side; the degree of smallness actually surprised me.  The audience and performers are in close proximity.  I think the closeness gives the voices greater impact.  For me, the size created an intimacy between performers and audience that made it feel perhaps like early opera felt; maybe this was what it was like when opera began, not grand opera as spectacle that we often see in the large opera houses.  I like that too, but some of my best opera experiences have been in the smaller opera venues.  I realize now I have been making a mistake by only attending PO’s major productions that are performed in the Benedum Center.  The productions featuring Pittsburgh Opera Resident Artists in their Headquarters will garner more of my attention from now on. 

Ino (Madeline Ehlinger) reconciles with Semele (Véronique Filloux). Photo by David Bachman Photography for PIttsburgh Opera; courtesy of Pittsburgh Opera.

I have also thought in personal and societal terms about what happened on a fundamental level that night when I entered the Pittsburgh Opera Headquarters:  a group of performing artists gathered in a small warehouse to practice their craft before a small crowd of witnesses.  Yet for me, magic happened.  My ears beheld live opera for the first time in over a year.  Right before the performance, I had an excellent dinner at DiAnoia’s Eatery just a block up the strip from the theater.  Here’s the thing - part of that dining experience nourished my body and part nourished my soul.  Another serving of soul food was awaiting me in the theater.  I could feel it happening as I took in the opera just as I had felt it while eating my dinner, something deeply satisfying on another level beyond simple pleasure, nourishment for the soul.  Both were experiences I have missed.  This pandemic has taught me much about my needs beyond the basic needs of survival. 

Jove (Aaron Crouch) attempts to reconcile with his wife Juno (Maire Therese Carmack). Photo by David Bachman Photography for PIttsburgh Opera; courtesy of Pittsburgh Opera.

My title for this post, “Endless pleasure, endless love” is an aria in Semele.  To me, it seemed to fit this production overall; though Semele’s pleasure was not endless, it lasted throughout the entire performance, and I think its love still endures.  Pittsburgh Opera has kept both the pleasure and the love active in this most challenging of seasons.

The Fan Experience: Semele runs May 8, 11, 14, 16, 18, 20.  You can get on a waiting list for tickets at this link.  The opera is in English, but super-titles were also used.  It’s about 90 minutes, and there is no intermission or break of any kind.  I should also say that I was kidding of course:  never pay a scalper or bribe anyone.  Instead, think ahead and buy season tickets for the soon to be announced 2021-2022 season. 

Attending the dress rehearsal gave me insight into the meaning of the Buddhist koan, “What is the sound of one hand clapping?”  When it was over, the sparse group in the audience clapped as loud as we could as the performers took their bows, but the performers had given us so much, and the sound we few could make was not ample reward.  The clapping reminded me of the koan, and I realized that the sound of one hand clapping is the sound of insufficiency.  The artists performing is one hand clapping and the audience responding is the other hand clapping.  One hand is insufficient for the love to be heard.  That’s an important part of the fan experience.

Strict COVID protocols are observed.  Attendees must:

Fill out a questionnaire ahead of time.

Provide a phone number for later contact if needed.

Agree to timed arrival.

Wear masks at all times, as do performers and staff.

Get temperature checks and more questions at the door.

Sit in socially distanced pods, as crowd size is limited to 50.

Leave in a directed, orderly fashion immediately after the show.

Modern Jazz and Baroque Opera: Not as Different as You Might Think

Maestro Antony Walker. Photo courtesy of Pittsburgh Opera.

I had just finished watching Pittsburgh Opera’s live stream of Charlie Parker’s Yardbird on my computer, and as the credits rolled along, I noticed that the name of the conductor was Antony Walker.  Frankly, I was expecting a different name for this one; this was jazz, no strings attached.  I was already aware that he had conducted Mozart’s Cosi fan tutte in October for PO and would be conducting Handel’s Semele in May.  Something went clunk in my brain – this season, Maestro Walker is conducting music from the Romantic Era (Mozart), 21th century modern jazz (Schnyder), and the Baroque Era (Handel).  I wondered what it was like for him conducting music of such varied styles.  Was conducting jazz a chore, maybe even an unwelcome departure from his mainstream?  So, I asked, and he graciously agreed to chat with me by phone.  One of his first comments was that the music was not as different as you might think, especially between modern jazz and baroque opera.  Now, not many people listening to jazz would muse, “You know, that reminds me of Handel”; so, what was Maestro Walker getting at?

Antony Walker is Music Director and Conductor for the Pittsburgh Opera.  From the US to Europe to his native Australia, he has almost 200 conducting productions to his credit.  He also has several other impressive gigs you can read about on the PO website. It is important to know that in addition to conducting orchestras, he also has served as a chorus master, and he trained as a tenor (he once sang the tenor role from the PO orchestra pit until a tenor arrived late).  Maestro Walker speaks with moral authority to both singers and musicians.  Clearly, he and PO have needed every bit of that experience for this COVID-shaped 2020-2021 season.  Pittsburgh has managed to pull off what no other company in the US has done that I am aware of – have a live, in a theater, before an audience, season of staged operas.  Strict adherence to COVID guidelines has required the audience, singers, and musicians to wear masks and be socially distanced.  Conductor Walker trained for conducting with a mask on by wearing a mask during his two-mile runs; he also had to adapt to conducting without using facial expressions.  Audience size had to be greatly reduced, and the operas had to be scaled back to chamber opera length to avoid intermissions, where attendees might mill together; and the operas had to be performed with fewer instruments and players in an ensemble, placed on stage behind the singers/actors, rather than in a pit where the singers and conductor face each other.  Also, the singers employed were largely Pittsburgh Opera’s Resident Artists, who could be quarantined together and trained in pandemic restrictions during their training period.  Producing staged operas is difficult and expensive in the best of times, and these were not the best of times.  And just to make the difficulty factor a ten on a ten-point scale, let’s also vary the musical styles. 

From October 2020, stage and set during Così fan tutte. with Conductor Antony Walker center stage in the rear. Photo by David Bachman Photography; courtesy of Pittsburgh Opera

Conductor Walker avows that once Yardbird was scheduled, he really looked forward to conducting it; he has conducted many 20th and 21st century works and finds them fulfilling.  Fine, but how is it that he sees jazz and baroque opera as alike?   First, he stated that both rely heavily on virtuosity and ornamentation.  Both have a freedom of approach.  Ornamentation for Yardbird is written into the vocal lines, but it must be performed as if the singer is extemporizing.  Such ornamentations in da capo arias of baroque opera were once made up on the spot, but now are sorted out beforehand; however, they also need to sound extemporized.  Expressive vocalization for neither of these vocal formats is based on text.  One can compare the melismatic ornamentation (changing tone while singing one elongated syllable) in baroque opera with scatting in jazz (think Ella Fitzgerald singing a string of syllables without meaning).  The importance is the expressive nature of the gesture in each format, not exactly the same but used similarly to delight audiences.  Furthermore, he says that baroque opera arias start with straight tone, which is also prevalent in jazz and blues singing; he jokes when in doubt for either of these formats, sing straight tone. 

Photo on left shows a practice session for Conductor Walker and the jazz ensemble for Charlie Parker’s Yardbirrd; photo on the right of a scene from Yardbird shows a break in the curtain where the ensemble played. Photos by David Bachman Photography; courtesy of Pittsburgh Opera.

Lastly, he says that much baroque music is based on dance, giving it peppy rhythms and the same for jazz.  Conductor Walker goes as far as to compare Yardbird to French baroque opera.  Yardbird’s arias are all self-contained pieces, like in French baroque opera.  Rather than being constructed with a dramatic through line, they contain a series of musings.  Each aria is a self-contained scene, very similar to French baroque opera. Scenes are expressing thoughts or ideas more than telling a story.  He says that resident artists performing these two forms do not require a huge a shift in mind-set to approach them. An interesting aspect of the season for audiences is getting to hear largely the same singers singing in these different modes.  Conductor Walker further stated that in conducting, he uses the same gestures in Yardbird as for Handel.  He didn’t use a baton for Yardbird, where he shaped the music with his hands, rather than conducting strict patterns of music with a baton. Same for baroque, where he projects the rhythm with his body and shapes the music with his hands.

Okay, I am mostly following all that, but what does it mean for me, the listener, for whom jazz and baroque are really different.  Maestro Walker did also allude to differences as well.  He went on to explain that Yardbird is a lot more harmonically complex than Handel.  He had to work out Composer Schnyder’s harmonics and how he uses them expressively.  Each composer does this differently.  Conductor Walker has studied and worked with Handel’s harmonics for decades. He knows how Handel uses harmonies expressively.  He had to learn what Schnyder was trying to do.  He also admitted that performing Yardbird without strings was a little tricky since the score was originally composed with strings in the orchestra.  PO’s was a reduced version originally written by Schnyder for Atlanta Opera.  PO could not perform it in original format, given COVID restrictions.  I personally thought the music was highly enjoyable as performed.  Conductor Walker says it is a difficult score, moving quickly both vocally and musically between extremes.  He is proud of his group of COVID players and hopes one day to conduct the fully instrumented version. 

I had imagined each operatic work was a separate thing in and of itself; you do one and you move on to the next, with its own requirements.  Listening to them as a layman, I think of operas from different periods as very different.  It is Maestro Walker’s business to see them as both different and similar.  He loves conducting a range of music and says that each piece informs how he conducts other pieces.  He is most concerned with giving each composer his or her own style. He wants to explore what each composer’s style is and to bring that out.  We benefit from his professionalism and craftsmanship.  Seeing the similarities as well as the differences allows him to present each composer’s score that he is conducting as authentically as possible, clearly imbuing the performance with that conductor’s style.

Pre-production scene from Pittsburgh Opera’s Semele: ·  Aaron Crouch as Jove, Veronique Filloux as Semele (seated), and Maire Therese Carmack as Juno. Photo by David Bachman Photography; courtesy of Pittsburgh Opera.

Ok, I got it.  What can we expect with Handel’s Semele?  At least two major innovations in the singing and music, and one in the staging.  First, he has had to use his experience and insights working with Director Kristine McIntyre to reduce a three-hour opera by almost half to keep within the COVID time limit; much of the choral music had to be reduced.  This they did with Cosi fan tutte to give us a marvelous result.  The Semele performance will be enhanced by partnering with Chatham Baroque, who play on period instruments; Maestro Walker has worked extensively conducting ensembles with period instruments through his work with Pinchgut Opera in Australia.  Music Director Walker says he had wanted to perform Semele because he thought this year’s Resident Artists would make an almost perfect cast.  I pointed out that Semele is considered a showpiece opera for the soprano who sings the role of Semele.  He quickly stated that soprano Véronique Filloux was totally ready for both the challenge and the opportunity; having heard her sing in Cosi and Yardbird, I am inclined to agree.  Then, like a good papa, he praised each of the singers in his cast: bass Jeremy Harr (Cadmus/Somnus), soprano Madeline Ehlinger (Ino), mezzo-soprano Maire Therese Carmack (Juno), baritone Yazid Gray (Athamas), soprano Meghan DeWald (Iris), and soon to be a new Resident Artist, tenor Aaron Crouch (Jove),

However, the “almost” in an almost perfect cast is significant.  Most Handel opera’s feature a countertenor (formerly a castrati), and Semele calls for one in the role of Athamas. However, there is not a countertenor among the Resident Artists this year.  The second innovation for Semele will be having baritone (Yazid Gray) sing that role.  Conductor Walker believes it makes for some interesting effects that add to and color the story; I’m intrigued.  Oh, there is at least one other innovation for this Semele, worthy of noting. Director McIntyre has moved the time period into the roaring twenties, adding some standout costumes by costume shop manager Jason Bray.  While the costumes change, the vanities, jealousies, and the prices to be paid remain the same from the 17th to the 20th century.

Whether you appreciate the similarities to Yardbird or not, I think this Semele is one not to be missed.  There has never been anything like it: Music Director Walker’s handcrafted music by Handel supporting Roman gods singing and cavorting around in the 20th century!  All that is missing is the popcorn, and if you watch the live stream from home, you can even add that.

The Fan Experience:  Seating is greatly limited due to COVID restrictions (about 50 attendees per performance), and season ticket holders get first dibs.  Performances of Semele run May 8, 11, 14, 16, 18, and 20, but not surprisingly, are all sold out.  You can seek tickets at this link to be put on a waiting list.  Your surest option for viewing a performance is to register at this link for Pittsburgh Opera’s free, live stream of the Friday, May 14 performance.

Finally, a tip of the hat to Pittsburgh Opera for valor under the extraordinarily trying conditions imposed by the COVID-19 pandemic. PO not only provided its audience with live staged opera, but also provided work and income to singers, musicians, and staff, and kept their training program alive and functioning. Cheers for that!

WNO's “Opera in the Outfield” Rebroadcasts Coming to Your Screen

Something Free This Way Comes - The Kennedy Center’s “Digital Stage” offers an impressive number and variety of online videos for free; these present a wide range of the performing arts, including Washington National Opera productions.  There is also a more exclusive collection of videos under the label “Digital Stage+”, available only to members, subscribers, and donors.  Washington National Opera has announced plans to stream a series of its popular “Opera in the Outfield” productions for free.  These broadcasts to the big screen at Washington Nationals Park have been presented annually; had the coronavirus not shut down the Opera House and excluded fans from inside the stadium, last year would have been the 13th season for these showings.  Mozart’s The Marriage of Figaro, performed by Washington National Opera in 2016 and also shown that year as an Opera in the Outfield broadcast, has been available until now only through Digital Stage+, which required a membership to view.  However, from April 14 through April 21, Figaro is being streamed for free on Digital Stage+ as well as on YouTube.  WNO anticipates following up this offering with additional “Opera in the Outfield” rebroadcasts, including Verdi’s Aida and Mozart’s The Magic Flute.

Joshua Hopkins as Count Almavira, Lisette Oropesa as Susanna, and Amanda Majeski as Countess Almavira in WNO’s 2016 The Marriage of Figaro. Photo by Scott Suchman for WNO; photo courtesy of WNO.

I did not see The Marriage of Figaro at the ballpark, but I did see it opening night at the Kennedy Center in 2016; you can read my report at this link.  I thought this was a light-hearted and highly enjoyable production with a strong young cast and colorful period costumes that contributed to the fun.  It is a fine cast all around, but watch and see which singer steals the show.  The major players (Joshua Hopkins, Amanda Majeski, Ryan McKinney, Lisette Oropesa, and Aleksandra Romano) have all gone on to stellar careers in the major opera halls within the US and abroad, and you get to see them early in their careers in this production.  In particular, current divas soprano Lisette Oropesa and soprano Amanda Majeski are worth noting; check out their duet at the 2:05 mark in the video, and an earlier solo by Ms. Majeski at about the 1:59 mark, for sheer beauty.  One amazing ability of Mozart is writing vocals for ensembles; in Figaro, they range from duets to septets, with the singers singing different sentiments at the same time – sheer fun.

The plot follows further the entanglements of Figaro (Ryan McKinney), Rosina (Amanda Majeski), and Count Almavira (Joshua Hopkins), all characters seen in the Barber of Seville by Rossini.  Almavira has now made Rosina his Countess and Figaro, his servant, has a fiancé, Susanna (Lisette Oropesa).  Almavira is now trying to use his position to seduce Susanna and at the same time, he is upset that the Countess has been spending too much time with a Page (Aleksandra Romano in a pants role).  Librettist Lorenzo Da Ponte (both operas were based on plays by Beaumarchais) has the characters all plotting to get their own way, leading to one amusing encounter after another, until at last, true love sets everything right. A fun advantage of video is that you will get to see close up views of the performers that you would not get seated in the Opera House. 

Of course, the star of any production of The Marriage of Figaro is Mozart’s marvelous music.  You will be whistling or humming the melodies for the next week at least. This is a good video of a good production of a great opera.  It is one to enjoy again and remember why you love opera; it is also a good opera to engage your friends and neighbors who haven’t seen opera before; of course, even better to see it again in an opera house when that is again possible. But for now, this Opera in the Outfield rebroadcast is a spirit raiser.

Speaking of which, I am eagerly awaiting Washington National Opera’s announcement of its 2021-2022 season, likely coming in May, and hopefully we will be returning to the KC Opera House to see live, staged operas once more.

The Fan Experience: The Marriage of Figaro is streaming now through April 21 at this WNO link (complete credits are listed at the bottom of the linked page).  The video can also be accessed directly on YouTube.com at this link; it will also be your first hit if you enter “Washington National Opera Marriage of Figaro” in the YouTube.com search bar.  There is a lot going on in The Marriage of Figaro; if you get lost, pause the video and refer to a plot summary, like this one from NPR.

The video of this four act opera is almost three hours, and the performance is broken into two segments with no other material offered between the sections, a good time to pause the video for snacks and bathroom breaks.  The video and sound quality are good; one of the advantages of video is that you control the volume.  Subtitles in English for the libretto sung in Italian appear on the bottom of the screen.

The best way to be alerted when future Opera in the Outfield broadcasts will be available is to get on the Kennedy Center mailing list by signing up as a member (lowest level is $75), or visit WNO’s Facebook page or their Twitter feed, or all three.

Membership info: https://www.kennedy-center.org/Support/membership/join/  

WNO Facebook page; FB login required: https://www.facebook.com/search/top?q=washington%20national%20opera 

WNO Twitter feed: https://twitter.com/WashNatOpera 

What I learned from the pandemic: I am human

My sister was confirmed as a member of the Catholic Church in last Saturday’s Easter Vigil ceremony at St. Patrick’s Church in Carlisle, PA.  Though not Catholic myself, I attended to support and celebrate this momentous event in her life (I am fully vaccinated against COVID-19, and masks were worn, seating socially distanced).  By attending, I was given an additional blessing.  For the first time in a year, I heard live music.  I should have anticipated this ahead of time since most churches have music performed by a church choir and organ, with the congregation frequently joining in.  As the music and singing began, my heart was spontaneously gladdened by a joyous response within me, like a sailor returning from a long voyage who spots his homeland on the horizon, and maybe even more like an embrace when first stepping ashore. 

I have listened to several fine Opera America broadcasts this year where opera professionals have made comments about what companies have learned during the pandemic, mostly how to pIan and produce online materials in order to maintain a connection with audiences and generate at least some revenue.  These are valuable skills and insights that will surely benefit companies in serving their audiences even after stages reopen.  Of course, they have also had to learn to endure the uncertainty, economic impact, and pain caused by the pandemic’s shutdown of staged performances.

I have also been thinking about what I have learned in the past, very cloistered year, and most of all, it is this: I am human.  Yes, I knew my species before, but I learned in a more profound way that shook me, just how human I am.  Early on during the pandemic, I thought I could simply ride it out like I ride most things out.  I couldn’t; it got to me.  For most of the past year, I have felt the depression and lack of motivation caused by the isolation that pandemics force upon us.  With more time to read than ever, I went almost a year without reading a book.  Listening to the online performances from struggling opera companies helped, but they also reminded me of the joy that live music, especially live opera had been providing to me.  The saying that I do not live by bread alone has much greater meaning to me now.  It is no longer something to smile knowingly about.  The St. Patrick’s service reminded me of the joy and human connection that music provides, and how without it, I have been less me.  Yes, I am human; I need people in my life, and I need live music, especially live opera.  My spirit needs live opera. 

When I started writing OperaGene five years ago, sharing my love of opera and what I was learning seemed like an enjoyable thing to do after retirement from a career in science.  Why did I choose this particular avocation?  At the time, I said simply that it chose me; I only started listening to opera two years before retiring.  Now, maybe it is starting to make emotional sense.  In an early blog report, I wrote, “Perhaps we who enjoy opera live in a communal reality, firmly supported by our brain structures, that links us to each other as well as satisfying our own individual needs.”  Opera puts us in touch with a beauty that puts us in touch with each other. 

My son recently pointed out to me an article on the role of music, ascribed by Socrates and Plato, in developing the spirit and music’s connection to ethical behavior, which stands in stark contrast to the role that our society ascribes to music. I still don’t completely understand it on a scientific or emotional level and have nothing philosophical to add, but I know this much to be true: I don’t simply look forward to the return of live music and opera.  The pandemic has taught me that I need the return of live music and opera.  I wither without it.

Philip Kennicott’s “Counterpoint”: Genius at Work

“Counterpoint: A Memoir of Bach and Mourning” is Pulitzer Prize winning journalist Philip Kennicott’s first book.  OperaGene readers be aware: there is little in it that refers to opera, though Mr. Kennicott writes feature pieces for opera magazines, in addition to his main job as Arts and Architecture critic for the Washington Post.  I started reading him about the time that I started this blog and very early on wrote a report titled “Who is Philip Kennicott and Why You Should Care”.  I had the same response reading “Counterpoint” that I once had reading an early novel of William Faulkner’s – one can see the genius at work here.

This memoir is about Mr. Kennicott’s relationhip with his mother, her life and death, and his responses to both; much of what he has done in his life has been in rebellion against his mother’s flawed character.  The book also explains his relationship to music and how he turned his focus toward learning to play Johann Sebastian Bach’s Goldberg Variations to help deal with the loss of his mother, which became a self-illuminating exercise.  It also gives those of us who are not trained in music insight into how a musician sees music, experiences music, and comes to really know a piece of music.  The book is greatly enriched by Mr. Kennicott’s extensive knowledge of classical music and its history, which he uses to color and shed light on his journey.

Though revealing, this memoir of his mother includes many episodes painful to read.  He remained a dutiful son to her death, even as he distanced himself from her emotionally.  She wanted to be a professional violinist but gave up that goal.  Mr. Kennicott at least considered a career as a pianist, but could not invest himself fully enough into it to succeed; I will let professional psychologists examine that one.  The other plot line is Mr. Kennicott’s engagement with Bach’s music, the Goldberg Variations in particular; the reader will learn much about Mr. Bach and his variations.  The weaving of the story lines is done fairly well.  The filial relationship was engaging for me; however, when he brings his formidable vocabulary, prose, and insights to bear on the history and meaning of a piece of music, an instrument, a practice, or a composer is when “Counterpoint” becomes a page turner.  For someone more interested in personal relationships, perhaps the story of his mother will prevail.

What makes Philip Kennicott’s prose compelling is not just his outstanding craftsmanship. His writing features a characteristic exemplary of genius, seeing connections and the meaningful in a set of circumstances.  At one point he draws an inference about how an eighteenth-century piece should be played from efforts of a modern dance troupe to reconstruct how a dance from that time should be danced.  His wide knowledge, including areas outside music, allows him to draw many such connections, and he finds much in music that speaks to life.  When I listen to the music of great masters my brain often spontaneously raises the question how did they come up with that?  That question frequently popped into my head when reading “Counterpoint”.  (I’m not too sure about his explanation why his dog Nathan hates to listen to Bach, though it seems logical).

Now what will he do?  One and done?  One feels he had to get this story out of his system.  Will another book follow?  Composers accept commissions to compose new works; would an author?  Mr. Kennicott may not have become a virtuoso performer, but he is most certainly a virtuoso writer.  If I ever win a huge lottery prize, I may try to tempt him.  There are so many stories I’d like him to write about.  First, I’d suggest he write his version of Mr. Faulkner’s “Sanctuary”, which the great author, as I remember, claimed he wrote as a sensational story for the money and to increase his fame; that turned out pretty well.  Mr. Kennicott deserves to be read more widely.  In response to one of his mother’s outbursts, he made the decision to only give his attention to things that were serious and meaningful, and “Counterpoint” is a serious and meaningful book; it is doubtful he’d accept a commission for anything less.  But just to increase his audience for his serious works, maybe something like a historical drama on how the bawdy life of Lorenzo Da Ponte, including some juicy sex scenes, shaped Mozart’s operas. For the record, Mr. Kennicott alludes several times to eroticism; It’s a start.

The Fan Experience: “Counterpoint: A Memoir of Bach and Mourning”, W. W. Horton and Company, was published in February 2020, and is available in hardback and audiobook formats from major booksellers for under $20.  The book is 256 pages, including an Acknowledgements section where he indicates his siblings were supportive of him writing the book and a Notes section that includes references; no photos, except a jacket photo of the author. 

You might wonder why it took me so long to read the first book of one of my favorite authors, especially given that I pre-ordered the book in January 2020.  I am at a loss to explain this, except to say that the onslaught of the coronavirus pandemic took a toll on my mental outlook and motivation, and maybe I needed a better frame of mind to fully appreciate Mr. Kennicott’s book.  Now. I am past having my second vaccine shot.

Knights of the Opera Table, COVID Edition

Public domain knight illustration by Paul Mercuri: http://www.oldbookart.com/2012/01/15/middle-ages-medieval-dress/.

This is OperaGene’s annual report on opera critics in the mid-Atlantic, a group who in good natured humor, I refer to as “Knights of the Opera Table”.  Their charge is to champion good performances and slay the bad ones…within reason.  Well, 2020 was a tough year for the Knights; the phrase ‘what if they gave a party and no one came’ was changed to ‘no one is allowed to party’.  There were almost no operas this past year in the mid-Atlantic beyond the second week in March.  The COVID-19 pandemic closed all opera houses in the US, and they are yet to re-open.  So, this report it is not so much about how did the Knights do, but what did the Knights do?  (Keep in mind, the Knights tend to also review classical music as well as opera, but the concert halls were also closed for the most part).

So, did the Knights lay down their pens and hope for a stimulus check?  No, they wrote, but without apparent focus or purpose beyond what the critic could find interesting, while staying close to home.  Normally, coverage of performances in the most prominent local venues anchor a critic’s review space; for example, readers can count on a Washington Post review of essentially every Washington National Opera production.  Since the middle of March 2020, I only know of two operas staged before an audience by mid-Atlantic opera companies – Pittsburgh Opera’s Cosí fan tutte (Oct 2020) staged in the PO Headquarters and Opera Lafayette’s The Blacksmith (Oct 2020) staged in…well, outdoors in Montana, seating provided by socially-distanced bales of hay).  Pittsburgh Opera meant for their staged production of Soldier Songs to also be presented to an audience, but they ended up having to show it online, and Opera Philadelphia’s Soldier Songs was brought forward as a newly created movie version for the Opera Philadelphia Channel.

In general, Knight productivity was down this past year, and things reviewed were predominantly things online, so-called virtual concerts.  As the year drew on, a vast array of pandemic-inspired online concerts and recitals popped up from opera and classical music companies as performers and companies sought to connect with their audiences and find new revenue streams.  How online performances were selected for review is a mystery to me - there was a host of fine online offerings that failed to receive any attention at all from professional critics.  Often, the Knights’ reviews gave evidence of gratitude for any performance during the pandemic, and nothing was judged too harshly, nor should it have been.  Online recitals and concerts take on an added hue; the effects of pandemic restrictions on the concert and commentary on visual effects, sound quality, and filming direction also influence how performances are received; in that regard, it has been a learning period for all. 

The majority of articles published by Knights this past year were announcements of events, like new seasons, and announcements of cancellations of events, like new seasons, music-related personnel changes, commentary on funding and support of arts, social issues involving equity and representation in the arts, and sporadic attempts to provide streaming lists and recommendations on what to watch; what was before side dishes became the main course in closed down 2020. 

I do want to offer kudos to the Knights covering the Philadelphia area.  Peter Dobrin and David Patrick Stearns of the Philadelphia Inquirer as well as Cameron Kelsall of the Broad Street Review gave stellar service to their communities.  In particular, Mr. Stearns, who I put in the penalty box last year for an overly harsh review, could have been team captain this past year.  His productivity and breadth of coverage of classical music and substantial coverage of new programs on the Opera Philadelphia Channel was impressive.  His reports were both insightful and pleasingly upbeat in a depressing year.  Yay, Team Philadelphia!

Team DC did not sparkle but hung there.  The music/opera reviews of Charles Downey of the Washington Classical Review, Susan Galbraith of the DC Theatre Scene, and Whitney Fishburn fo the DC Metro Theater Arts were all limited by the pandemic closures.  I did like Mr. Downey giving Wolf Trap Opera’s summer program some coverage, Ms. Galbraith’s interview with WNO’s Francesca Zambello, and Ms. Whitburn’s review of OL’s film of The Blacksmith’s staging.

Let’s spend some effort on the Washington Post’s new critic, Michael Andor Brodeur. He came on board in March 2020 just as everything closed down.  He still managed about one Post article per week, not bad for a pandemic.  I read most of his articles, and I think they evidence good journalism, but I was unable to get a read on him as a critic.  His coverage of Met Opera 2022 season was little more than reporting.  That said, if one looks at the limited number of actual reviews of performances he wrote, there is good criticism.  Furthermore, his articles tend to be interesting and demonstrate an extensive knowledge of music.  I do suggest he talk to his title editor about being overly dramatic (either he or his editor is): a few samplings of titles - “it feels more vulnerable…its survival may depend on it…the future of opera may depend on it.”  In terms of social media, he has removed himself from Facebook and instead has initiated a newsletter, Brodeurnote, only one issue so far.  He is still on Twitter, but the style of his tweets are hip, seemingly directed to his friends, but low in information content about music or opera; not much discussion of operas going on there.  (Charles Downey and former Post critic Anne Midgette remain the DC choices for opera-related chatter on social media). His most recent Post articles have drawn substantial numbers of reader comments from online readers, a good sign perhaps.  I was impressed that in a recent Brodeur article, he confessed to having made some ill-considered comments in earlier articles; his willingness to reconsider is ingratiating.  I only wish he had given Maryland Lyric Opera, Opera Lafayette, the Virginia Opera, Washington Concert Opera, and Wolf Trap Opera some attention; in fact, I think the bravado efforts of smaller companies to stay in the game deserved more coverage by all Knights.  Overall, I look forward to reading his opera reviews once stages open back up, but for now he remains a promising but mysterious Knight, still a little bit shrouded by the pandemic fog.

The year was also not without dark clouds on the horizon for our Knights.  Shall we talk Team Pittsburgh?  In the second half of 2020, critic Jeremy Reynolds of the Pittsburgh Post-Gazette, who had gotten off to an excellent start in his young career as a qualified music critic, was reassigned to work in the Opinions Section (on the Editorial Board) and no longer covers classical music or opera.  As a result, press coverage of Pittsburgh Opera’s heroic efforts to have an opera season received much too little attention.  PPG reporter Tyler Dague, covered Pittsburgh Opera’s chamber-sized, pandemic-restricted-audience Cosi fan tutte; he wrote a good event report as a journalist, not as a music critic.  Pittsburgh Opera’s at-the-last-minute-shifted-to-a-videocast production of Soldier Songs was not reviewed by the Post-Gazette.  The productivity of Pittsburgh Table-in-the-Round’s excellent critic, George Parous, was diminished by the pandemic, though he managed a review of the aforementioned Cosi. 

In conclusion, it was a tough year for the Knights who were confronted with a largely online world.  With all the opera houses closed, motivation and direction were hard to come by.  Curiously, something new emerges when the opera/classical music buffet is online.  Online viewers are not restricted to locality, but if I watch a feature on the Opera Philadelphia Channel, I still have to go to the Philadelphia Inquirer for a review, not my local paper.  Should the Knights restrict themselves to local performances?  Or pick from the very best the world has to offer?  What are the responsibilities of a critic when it’s an online world?  They seem to largely fall back on being journalists, more than critics.  But perhaps it will free them up to tell us about interesting performances we might otherwise be unaware of.  In this regard, Mr. Brodeur seemed less restrained than most.  While staged performances will return, I suspect the online world may have found a continuing niche for itself.  To review or not to review, Knights?  And what?  Those are the questions still, and perhaps going forward.

The Fan Experience:  Former lead Knight, Anne Midgette, will be conducting an online class titled, “How to Love Opera Like an Insider'‘ meant for all levels of opera fans on Saturday, February 20 and available online for nine months; cost of the two hour class is $60.

A sampling of the past year’s reviews by professional opera critics of note:

Peter Dobrin – Philadelphia Inquirer classical music critic and culture writer:

https://www.inquirer.com/arts/sondra-radvanovsky-jennifer-higdon-opera-philadelphia-20200227.html 

https://www.inquirer.com/news/opera-philadelphia-o20-festival-cancelled-20200729.html 

https://www.inquirer.com/arts/philadelphia-orchestra-branford-marsalis-phillippe-tondre-kimmel-center-20201113.html

David Patrick Stearns – Philadelphia Inquirer classical music critic and columnist:

https://www.inquirer.com/arts/opera-philadelphia-season-2020-lawrence-brownlee-traviata-20201021.html 

https://www.inquirer.com/ewntertainment/metropolitan-opera-season-cancelled-until-when-january-impact-20200607.html 

https://www.inquirer.com/arts/jonathan-biss-beethoven-pcms-philadelphia-2020-covid-19-review-20201125.html 

https://www.inquirer.com/arts/opera-philadelphia-soldier-songs-johnathan-mccullough-review-20210121.html

Cameron Kelsall – core theater critic for Broad Street Review

https://www.broadstreetreview.com/music/opera-philadelphia-presents-lawrence-brownlee-friends-in-philadelphia 

Michael Andor Brodeur – Washington Post classical music critic

https://www.washingtonpost.com/entertainment/music/classical-music-pandemic-vulnerable/2021/01/27/62394612-5c3b-11eb-8bcf-3877871c819d_story.html 

https://www.washingtonpost.com/entertainment/music/best-classical-music-2020/2020/12/07/d39b9c7e-2919-11eb-9b14-ad872157ebc9_story.html 

https://www.washingtonpost.com/entertainment/music/met-opera-canceled-coronavirus/2020/09/24/77764304-fde5-11ea-9ceb-061d646d9c67_story.html 

https://www.washingtonpost.com/entertainment/theater_dance/covid-era-opera-is-getting-more-intimate-accessible-and-experimental/2020/05/05/22a00c24-898d-11ea-8ac1-bfb250876b7a_story.html 

Charles Downey – Washington Classical Review lead critic and associate editor

https://washingtonclassicalreview.com/2021/01/21/bass-baritone-tines-reimagines-bach-spirituals-in-vocal-arts-recital/ 

https://washingtonclassicalreview.com/2020/11/30/polenzani-kicks-off-a-virtual-vocal-arts-season-with-strong-program/ 

https://washingtonclassicalreview.com/2020/11/19/kennedy-center-is-looking-at-80-million-loss-due-to-covid-spring-opera-all-performances-cancelled-through-april/ 

https://washingtonclassicalreview.com/2020/06/25/wolf-trap-finds-an-operatic-solution-to-summer-closure/ 

Susan Galbraith – theater and opera critic for the DC Theatre Scene

https://dctheatrescene.com/2020/09/11/opera-lafayette-heads-to-colorado-cattle-country-for-live-open-air-performances-of-the-blacksmith/ 

https://dctheatrescene.com/2020/05/15/francesca-zambello-thoughts-on-opera-in-the-time-of-covid/ 

Whitney Fishburn – author for DC Metro Theater Arts

https://dcmetrotheaterarts.com/2020/11/12/opera-lafayette-takes-a-french-comic-classic-to-the-old-west/ 

George Parous – author for Pittsburgh Theater-in-the-Round

https://www.pghintheround.com/mozarts-cosi-fan-tutte-a-season-opener-for-pittsburgh-opera-and-the-history-kindles/ 

Opera Philadelphia’s Soldier Songs: Who is this opera for?

First, it’s a movie, not a recording of a staged performance.  The plot of Soldier Songs by Daniel T. Little revolves around the perceptions versus the reality of a soldier’s life at different stages - as a child with toy soldiers, a teenager playing war video games, an eager military recruit, a soldier in battle, and a father receiving dreaded news.  Technically, it is a monodrama, only one performer.  But first, a preamble: 

Let us begin with the last paragraph of the Composer’s Note, and keep in mind my question, who is this opera for?

 “I am often asked if Soldier Songs is an anti-war piece, but it’s not that simple. I never intended for it to prove a point, or even to deliver a specific message. I selected and edited these conversations more as a way of sharing than as a way of convincing. I hope that Soldier Songs conveys what I gained by writing it: recognition of the soldier’s plight and a due measure of compassion.”

The Soldier walks along the ridge line in the opening scene from Soldier Songs, filmed on location at Brandwine Conservancy, scene of a bloody battle in the Revolutionary War. Photo by FreshFly; courtesy of Opera Philadelphia.

Regardless of why, do not enter this experience lightly.  Opera Philadelphia’s is the second production of this opera that I have seen recently.  I also watched Pittsburgh Opera’s excellent production in December.  That performance was a filmed stage production, not a movie.  Its showing was planned to be before a live, masked, socially-distanced audience; then, at almost showtime, the post-Thanksgiving COVID-19 surge across the country forced PO to instead show a filmed recording of the dress rehearsal.  Despite being an excellent production with impressive multimedia effects and an outstanding performance by baritone Yazid Gray, I chose not to write about it at that time for personal reasons.  First, my generation can be divided into two groups, those who served in Vietnam and those who did not.  I did not…but lived with the fear I might be called, and daily lived with the war’s effects on my family members who did.  We all lived through the daily images on television and the public turmoil engendered by the war, and Vietnam vets often took the brunt of that turmoil after returning home from an unpopular war; they were stigmatized by many when they should have been honored for having served their country.  That’s so yesterday, you say?  Opera Philadelphia points out that anyone who just reached age 20 is yet to live in a time when the United States is not at war.  Yes, Soldier Songs pushed some of my buttons, and it will likely do so for others as well. 

Another personal reason for me was a timing issue; it was holiday season.  Soldier Songs is dark and heavy, imparting to its audience, in measure, an hour’s worth of the PTSD (Post Traumatic Stress Disorder) experience, and in December just past, having fought pandemic depression for nine months, I wanted to sing Jingle Bells and decorate the tree, not write about the awful pain and cultural issues surrounding the human cost of war.  With all respect to Pittsburgh Opera and Mr. Gray, I just couldn’t do it.  But Christmas is over, and vaccines are being given; hopefully, the end of the pandemic is near.  Thus, now I can again deal with this topic.  Besides, war and its toll on our young men and women, and their families, and our national psyche continues, as it always has.  Unfortunately, writing about Soldier Songs will likely be ever timely.

Baritone Johnathan McCullough as the Soldier. Photo by FreshFly; courtesy of Opera Philadelphia.

My experience with veterans is consistent with Composer Little’s.  Mostly, those who served in Vietnam would not talk about it, and their opinions about the war were not to be challenged in their presence; their feelings were too raw.  They felt that we cannot know what it was like without having gone through it; this I do not contest, but I think Soldier Songs helps.  The themes of estrangement, isolation and loneliness are always present in the drama along with more serious issues of mental health deterioration. Composer Little’s opera can claim some moral authority in this regard; it is filled with soldier’s comments from his interviews with U.S. veterans of wars in Vietnam, Iraq, Afghanistan, and World War II. 

Still, I wondered what comments veterans who saw his opera might have made.  I inquired of OP whether any reviews were available from critics who were themselves combat veterans.  No luck there, but I was pointed to articles about the 2016 San Diego Opera production of Solider Songs that included meetings the company held with veterans support groups.  The articles further speak to the authenticity of Mr. Little’s opera.  That production, which premiered on Veterans Day, was directed by Tomer Zvulun, who is a combat veteran; he also directed the opera that year for his home company, Atlanta Opera.  One of the articles quotes a veteran who lost both legs in Iraq; he expressed his appreciation for SDO’s attempt to connect with veterans: “When it comes to the extremes of combat – life and death situations – it’s very difficult to find someone who you can have an honest conversation with," he said. "Where you can talk and be heard and not judged. And be understood.”

Let me end this preamble with a postscript.  Soldier Songs should come with a warning label and a follow up exit check.  Opera Philadelphia offers both with an introduction by Rene Fleming in a film clip labeled “Soldier Songs: The Impact of Military Life”.  This group of interviews with veterans is interspersed with comments from a health professional giving a medical perspective on the impact of war on the mental health of soldiers; resources for veterans are listed at the end.

The Soldier (Johnathan McCullough) outside and inside his isolated trailer. Photos by Dominic M. Mercier, courtesy of Opera Philadelphia.

Soldier Songs is a cultural experience provided by a work of art.  Daniel T. Little is both the composer and librettist.  He is also a percussionist, and his “opera” blends music of different styles in minimalist fashion that is both engaging and fitting of the story, so much so that sometimes I listened consciously to the remarkable music and sometimes it simply became part of the telling for me.  The part I heard consciously fit the mood, which was frequently mental turmoil, often disturbed.  The music played by seven instrumentalists was overseen and coordinated by Opera Philadelphia Orchestra conductor Corrado Rovaris.  Baritone Johnathan McCullough sang to recordings prepared by Mr. Rovaris while the scenes were being filmed.  In all the preparations and production of the opera, pandemic cautions and restrictions were observed.

The instigator, sole singer, and director of this movie version of Soldier Songs is Mr. McCullough, a singer who gave early notice of his arrival to opera fans in the mid-Atlantic from his work with Curtis School of Music, Opera Philadelphia Young Artist Program, and Wolf Trap Opera Filene Artists.  I have seen him previously in performances with Wolf Trap Opera.  In my blog report on his performance as Figaro in The Barber of Seville, I advised readers to note the spelling of his first name, that they would want to remember him.  Though his talent as a singer and stage performer was in evidence in those performances, one could not have predicted the depth of his theatrical abilities or his creative drive which are so amply demonstrated in Solider Songs.  Clearly, this work further establishes him as a rising star in opera roles, and might lead him to purely acting roles well.

The Soldier (Johnathan McCullough) in his trailer having a flashback to his 18th birthday when he enlisted in the military and in a tank driving simulation. Photos by FreshFly; courtesy of Opera Philadelphia.

Mr. McCullough approached Opera Philadelphia with this project based on an idea he had before the pandemic began, but then it gained urgency as a work well suited for a time when on screen viewing is all that is possible; OP helped him acquire funding and added it to the Opera Philadelphia Channel lineup where it will remain available on demand until May.  In his Director’s Note, he expresses heartfelt concern for veterans suffering mental issues and an awareness of what they are dealing with: “Sometimes this goes a step further and people can enter a dissociative state where they lose touch with reality and may feel as if they are watching their life play out as if it were a movie,” and he adds to the intended audience question with, “I can tell their stories and hopefully de-stigmatize what it is like to live with mental health issues while spreading awareness of this silent condition.”

Mr. McCullough served as screenwriter along with producer James Darrah (I loved Mr. Darrah’s Semele in OP’s 2019 Festival).  This team worked with Director of Photography Philip Bradshaw to produce a version of Soldier Songs that is enhanced by cinematic techniques – use of natural scenery, the ability to focus the viewer’s attention via closeups of faces and objects, and images that flow and can quickly change.  The action takes place mostly within a dilapidated trailer sitting alone in a field away from roads.  The objects in the trailer and its use to simulate the soldier driving a tank are used for cohesive story telling.  The images of a pistol moved in and out of a drawer posed a constant threat of suicide or other violence.  This movie version adaptation of the opera Soldier Songs arrives at its unique artistic value by taking advantage of means not available for stage direction; it is a fine film.  Thus, it will have lasting value even beyond the pandemic when opera houses open again, and as a film available for four more months, it has an extraordinary audience reach for an opera.

Baritone Johnathan portraying a grieving father in Soldier Songs. Photo by FreshFly; courtesy of Opera Philadelphia.

In posing the question of who this opera is for, I mainly wondered if it was meant for both those who had served in the military and those who have not, as well as an artistic experience for the arts community that Opera Philadelphia serves.  Clearly, each hand involved in bringing this production to realization pushed it in the direction of their intended audiences.  I think Soldier Songs, the movie, can be distilled down to “understanding” in search of an audience, any audience, every audience. Or to put it in infantry terms, it’s mission is to close and capture.

The Fan Experience: Soldier Songs can be viewed with a $99 Opera Philadelphia Channel season pass or as a seven-day rental for $25, streaming on demand.  The film and sound quality are quite good and can be accessed on any internet connected device. 

If the season pass is within your budget, I recommend it; there are many worthwhile productions on the Channel as Opera Philadelphia continues to be today’s leading company in pushing opera’s frontiers.  For a more in-depth discussion of the Opera Philadelphia Channel and its access, see my report at this link.

Opera Singers Gotta Sing: a View from WNO’s Robert Ainsley

The COVID-19 pandemic impacts different people differently, some much worse than others, even among those who don’t contract the disease. My wife was talking to a friend recently whose daughter sings with the Washington National Opera Chorus, and he said, “You know, even though the Kennedy Center is closed right now, my daughter still has to sing.”  I recently chatted with Robert Ainsley, Program Director of the Washington National Opera’s Cafritz Young Artists about the challenges that opera singers are facing in maintaining their skills while performance opportunities are extremely limited.  For opera singers, the lack of work is an obvious financial challenge.  But the challenge for singers is even greater: opera singers must sing to keep their skills when they are not performing on stage, and they must sing to keep their spirits and morale high between jobs.  The pandemic has diminished even these opportunities.

Think for a moment.  How long can you avoid the gym before you start to feel it?  Muscles - use them or lose them is the saying.  At the very least, use them or lose their tone and strength.  Singing opera requires using muscles, muscles around the vocal folds (cords) and larynx that produce sound, as well as chest muscles controlling respiration; it also requires learning to relax other muscles and to move about while you are singing.  Live opera does not use microphones - singing over an orchestra to be heard in the last row in a 2,000-seat auditorium requires strong muscles and precision control of those muscles.  That control, known as technique, is hard won and maintained by practice.  I once wrote a blog post asserting that opera singing could be an Olympic event.  So, how do singers keep those muscles in shape when they are not performing?  What about in a long layoff, like in a pandemic?  Mr. Ainsley says that there is no question that layoffs hurt; to sing opera, a series of muscles must be kept in tone.  He says that artists when performing tend to be at near their personal best; layoffs take the sheen off.

Pandemic-imposed restrictions and limitations on professional development can be brutal for performing artists.  The normal professional routine for a singer between engagements is several hours of practice per day, plus weekly or biweekly lessons to enhance their singing technique, enhance diction skills in several languages, and learn new roles.  Singers need a place to sing and preferably a piano accompanist to work with them.  It also helps to have access to a large hall or auditorium, simulating the environment for performances – such places are now mostly closed.  They can sing in their apartment if neighbors will allow but may be confined to singing in a closet if not; at best, limitations like singing in a closet take away the thrill, as does going so long without singing to an audience.  Lessons and accompanists cost money.  Not only have singing jobs dried up, but other work during the pandemic has been limited.  Without work there is no money for rent, much less money for maintenance needs specific to a profession they can’t pursue right now. 

Rogert Ainsley, Program Director of the Cafritz Young Artists, working the WNO Pop-Uo Opera Truck as you might have seen him during the pandemic this past year. Photo courtesy of the Washington National Opera.

Singers also must deal with the usual pandemic restrictions such as social distancing and wearing of masks.  Most training has been driven online with artists singing into microphones and listening to their musical accompaniment through headphones; coaching is now mostly done through Zoom.  A pandemic stretching out a year or longer makes all this both a difficult and depressing situation; the anxiety about an uncertain future can be debilitating.  Mr. Ainsley says the difficulties that artists are encountering in the pandemic take quite a toll, sometimes causing a loss of motivation.  Singers can tell they are not performing their best.  This can be especially acute for young singers who only have a short window for “making it” after finishing their formal studies. 

An outstanding and timely concert produced by Baltimore Concert Opera and Opera Delaware, that premiered online on January 24 and which will be repeated on January 27, is relevant to this discussion: “Songs from a Distance”, a perspective of a performer in crisis; mezzo-soprano Hanna Ludwig and pianist Laura Ward perform a selection of songs they intended as “a powerful snapshot of art - and artists - in the time of COVID-19”. The program design and song selections are entirely the performer’s. Shortly after the pandemic began, Ms. Ludwig started a group on Facebook called “Freelance Performers and Mental Health” with Dr. Alexandra Stratyner, a licensed counseling psychologist. They’ve had round-table discussions and provided resources for performers in the pandemic. The handout program for the concert includes a listing of mental health resources singers may access and will remain online in perpetuity at this link.  I enjoyed and was touched by the concert made up entirely of songs and music that achieves its communication through the imagery of poetry and the beauty of the singing and accompaniment.

According to Mr. Ainsley, young singers accepted into young artist programs (YAPs), as the pandemic began, are the fortunate ones.  In the mid-Atlantic, in addition to the Cafritz program, young artist programs at the Academy of Vocal Arts, Pittsburgh Young Artist Program, and the Virginia Opera Young Artists have also remained viable; Wolf Trap Opera managed to run their Filene Artists Program this past summer, and the Glimmerglas Festival shifted to a virtual format.  These programs offer their young artists expert training, accompanists, and singing venues as well as limited opportunities to sing in (now primarily virtual) recitals/concerts.  Such opportunities for freelancers are extremely limited.  Mr. Ainsley expressed a perspective that he sometimes feels as though that as the Cafritz program director, he stands at the end of a long bread line with way too few loaves to give out; his program is limited to about 13 young artists each year.

Importantly, during the pandemic YAPs have been able to provide necessary resources while strictly observing pandemic guidelines.  For the Cafritz program, foremost has been the safety of the artists and staff.  They worked with Kennedy Center and the Cleveland Clinic to establish protocols for the training.  They have three 300,000 cu ft training rooms fitted with HEPA filters and a large air turnover system.  In addition to singing and language training, they have even been able to continue movement/dance instruction through innovative online classes; students take two classes per week or more, but all virtual.  Even YAPs training has been affected.  Interactions during training are limited; there is no staging of performances.  A major downside to the arrangements is that singers have lost the experience of singing close to one another.  For duets, singers without masks are 30 feet apart, and there are no large ensembles.  Choral practices have ceased.  Larger gatherings, such as workshops are limited to ten masked individuals.  Their record is good.  To date, the program has not experienced a single positive case of COVID-19 in the rehearsal room.

Opera cognoscenti frown upon using microphones in staged operas (one critic I know called the practice evil).  However, pandemics make strange bedfellows.  In a new focus for their training, YAP singers are receiving instruction in using new technology for singing into a microphone while hearing accompaniment through earphones. Mr. Ainsley says typically, performers experience stiffness singing in front of a microphone.  Learning to relax and be natural in front of a microphone or camera takes training and getting used to.  Singing with a microphone can affect voice production subconsciously.  Mr. Ainsley said that singers can start to croon or come off the voice and rely on electronic sound control to make up for it.  He also said that the technology itself for virtual performances has been refined as a result of this pandemic-inspired necessity. 

While the overall impact of the pandemic on opera singers as a group has been devastating, some positives can be mentioned.  Mr. Ainsley says that singers have a more intense focus on their development in preparing for the future.  YAP singers have time for what Mr. Ainsley calls “passion projects”; they can learn new skills and roles to be ready when the time comes.  They can learn classical songs, for which there is little time in normal circumstances.  They have time to dig deeply into some pieces that otherwise would not be possible.  Some singers have managed to initiate successful online projects, such as virtual recitals. 

Robert Ainsley, Program Director of the Cafritz Young Artists as you might have seen him in “normal” times. Photo courtesy of the Washington National Opera.

Mr. Ainsley says that he personally has never been busier.  Voice coaches and accompanists are in high demand.  He is performing more as a pianist, though in online ventures.  He also has developed skill in video editing and was involved in commissioning the WNO graphic novel, “Fidelio” (author Kelley Rourke and co-author/illustrator Erik Teague).  Still, when his focus turns back to today’s singers struggling under current challenges, he expresses dismay at the limited support the US is providing to the arts, not enough to go around, especially now.  He notes that philanthropy in the US is critically important, but it’s also insufficient for the needs.  He envies the more arts friendly environment in Europe that has real jobs for developing artists.  He notes that YAPs used to be finishing schools, but now in the US, have become an early form of employment, and yet there are Increasingly fewer YAPs surviving.  The competition for the Cafritz Young Artists Program is fierce; the program has a lower acceptance rate than Harvard and Yale.  The pandemic came in on top of these circumstances.

How soon will opera return to the stage and careers be allowed to resume?  The pandemic restrictions have been ongoing now almost a year, and while hopeful for later this year, no one knows for certain when curtains will be lifted, or what the employment landscape will be like as surviving companies go through a recovery period.  Mr. Ainsley referred to a report in Europe estimating 30% of performing artists there were changing careers and fears it could happen here.  In the meantime: opera singers gotta sing. 

The Fan Experience: Most opera companies are now offering virtual recitals and concerts online; tickets are typically very modest in price, and the revenue is very much needed for allowing them to at least offer employment to a few artists. 

One exciting fan-relevant tidbit I learned talking with Mr. Ainsley: he and the Cafritz Young Artists who normally perform in the American Opera Initiative at the Kennedy Center each January in three new twenty-minute and a one-hour long opera (an event that could not be held this year) have been working to put together a virtual performance of three new twenty-minute operas that he says will premiere this Spring as virtual performances online.  The new AOI works are now being orchestrated.  One benefit of being able to offer these online is that composers and artists will have filmed versions of their works, and these typically sold-out productions can reach a wider audience.  Stay tuned!

If you are lucky enough to be in the right place at the right time you could get to hear a live performance by the Cafritz Young Artists who man the Pop-Up Opera Truck that shows up on demand in area parking lots to give concerts.  Mr. Ainsley says these events will resume again when warmer weather returns. 

BCO’s/OD’s Sunday Spotlight Series: Tis the Season to be Digital

“Ah, distinctly I remember it was in the bleak December;

And each separate dying ember wrought its ghost upon the floor.

Eagerly I wished the morrow; vainly I had sought to borrow

From my books surcease of sorrow, sorrow for the lost opera performances.”

Maybe I changed the last line a tad from The Raven’s version.  Frequent collaborators, Baltimore Concert Opera and Opera Delaware have joined forces to sustain their fans through this bleak December all the way through February, with a resounding “Nevermore” to the pandemic’s toll on opera (Poe was from Baltimore, you know).  Their online, artist-curated “Sunday Spotlight” biweekly series was initiated Sunday with a Christmas Concert by soprano Robin Leigh Massie and baritone Steven Condy accompanied by pianist Aurelien Eulert, in a program of art songs, arias, and Christmas favorites.  Both singers are polished, established professionals who have a history with the companies.  This recital was taped in the Presser Black Box Theater at the Opera Delaware Studios in Wilmington Delaware, and it will be re-broadcast on Dec 23.  My bottom line is that Sunday’s program succeeded on both an artistic level and as a holiday enjoyment. 

Artwork for the initial program in the Sunday Spotlight series. Courtesy of Baltimore Opera.

I was pleasantly surprised that the program was weighted more to art songs and arias than to Christmas music, which was held until the last section of the 45-minute program.  I say this even though my attraction to lieder is still in a development phase; my enjoyment was increased by the song translations made available in a separate document.  A couple of Mozart’s pleasing duets were reassuring.  I expect that if I heard “Pa, Pa, Pa” a hundred times, it would still make me smile and put me in a good mood.  Ms. Massie has a light soprano voice and sings beautifully.  Her husband’s baritone has one of the most pleasing timbres I have heard.  The Christmas songs fitted the season, imparting that sense of love and joy we associate with Christmas.  I have praised Mr. Eulert’s touch at BCO’s piano before and it was a pleasure to hear him again.  He and the singers were separated by plexiglass shields.  Visually, the recital had a formal, eye-catching appeal with Mr. Condy in a blue suit and Ms. Massie in a beautiful sequined, Christmas red gown; Mr. Eulert was also nattily attired.  Both the formality and the color of the dress reflected the nature of a program of serious art in a Christmas wrapping designed by the singers, not a Christmas sing-a-long.  At the same time, it had an intimate feel befitting the season, as though the performers were in your living room providing comfort and joy.  As such, it gave much needed sustenance to this fan of the arts.

Pianist Aurelien Eulert, soprano Robin Leigh Massie, and baritone Steven Condy performing in the initial program of the Sunday Spotlight series. Photo courtesy of Baltimore Concert Opera.

I thought of a few analogies to use for what’s going on: “The Sunday Spotlight series is an artistic watering hole for opera fans” and “BCO/OD have formed a bread line for opera fans starved for art”.  I’ll stop there.  Kudos to Baltimore Concert Opera and Opera Delaware for staying engaged though this pandemic period.  Even though the doors of opera venues are closed, they are managing to provide some work for performers and a maintenance diet for their fans until we can all gather together for live performances once more.  They also are making tickets available for free to those who cannot afford it right now (see below).  Quoth the Raven: Well done!

The Fan Experience:  The cost for viewing the Sunday Spotlight series is $15 per performance.  In the holiday gift-giving spirit and considering the pandemic hardships, the ticket purchasing webpage for each performance has three options: ticket purchase for yourself, pay it forward by purchasing a ticket for someone else, and “in need?”, request a ticket at no cost for fans unable to buy a ticket currently.  Each program has a premiere and a re-broadcast date; your online ticket allows for viewings for four hours after the broadcast and can commence at any time during that period.  Dates and performances for four additional programs can be found at this link.  More programs are being planned. 

Sign up is easy and the Facebook feed provided a clear video signal and sound when viewed on my MacBook and Apple TV; kudos to Weston Sound & Video for the excellent recital recording.  Any internet device should be able to access the YouTube channel.  Subtitles for the selections are not provided for the Christmas progam, but for the art song/aria portion a document with English translations is provided through a separate link; subtitles may be available for some of the future programs.  The FAQ webpage contains helpful information about access and access periods.

A relaxed Steven Condy and Robin Leigh Massie chatting by Zoom with BCO’s Director Julia Cooke and OD’s Director Brendan Cooke. Photo courtesy of Baltimore Concert Opera. The husband/wife duo also hve a Christmas album, “The Blessings of Christmas”, available on the major streaming services.

Julia Cooke, BCO Artistic Director and General Manager, and her spouse, Brendan Cooke, General Director of Opera Delaware, open the program with brief comments about the Sunday Spotlight series.  They also return on screen following the artistic program for an interesting 30-minute discussion/Q&A with Ms. Leigh and Mr. Condy via Zoom, covering topics about the nature of the program, how it was selected, differences in performing on video and in front of a live audience, and the effects the pandemic is having on themselves and the opera community.