Opera on the air: Star Edition

This week's opera broadcast include some of my favorite living voices! First up, WFMT is broadcasting Il Postino, from the LA Opera with Placido Domingo as the poet Neruda. This should be on air Saturday July 16 at 1pm ET ("PREFEED: Friday, July 15, 2011 - 1500 ET | LIVE FEED: Saturday, July 16, 2011 - 1300 ET").

WETA is playing Handel's Alcina with a cast headlined by two excellent singers: Anja Harteros (Alcina), and Vesselina Kasarova (Ruggiero). Broadcast at 1pm ET July 16.

Finally, NPR's World of Opera is featuring Ernani, with one of my favorite living basses, Ferruccio Furlanetto, as Silva. (He was an adorable Leporello to Sam Ramey's Giovanni in a memorable 1987 Salzburg Festival performance with Karajan.) The rest of the cast is none too shabby either: Rudy Park (Ernani); Dimitra Theodossiou (Elvira); and Marco De Felice (Don Carlo). WDAV is livestreaming this.

Star Wars: an opera in 5 acts

Who hasn't thought of Star Wars as a Meyerbeer-style rescue opera?
Ok, maybe that is just the opera geek in me. But the cast and plot have much in common with the grand opera of the 19th century. Hero rescues princess and wins a battle in the struggle against an oppressive empire, amid local color, grand spectacle, and grand music.
Ironically, the music would be one major obstacle in the translation of Star Wars from film epic to grand opera: John Williams doesn't seem likely to write an opera himself or allow his music to be incorporated into one. So a composer taking the story (with rights to use it) would need to create a new musical vocabulary for this piece: something iconic and unique enough to distinguish itself from the film's music, while balancing between operatic and vernacular to reach an audience appropriate to such a fusion of grand art and modern fairy tale. I don't think I could dream in my lifetime of doing Star Wars justice. But maybe someone else out there could.

Opera Spotlight: L'Italiana in Algeri, La Boheme, and Handel's Hercules

NPR World of Opera features Rossini's L'Italiana in Algeri, with Lawrence Brownlee.

WETA is playing the Castleton Festival's La Bohème

July 9, 2011, 1:00 pm conducted by Lorin Maazel

And Chicago Lyric's broadcast of Hercules (Handel) is on WFMT at 12pm CT (1pm ET).

Countertenor Nicholas Spanos

In search of countertenor versions of the late 19th century French chanson repertoire, I encountered the gorgeous voice of Nicholas Spanos. His repertoire embraces all the usual standbys of modern countertenors - Baroque and older opera, with a good showing of French chanson, some Handel oratorio in English, Spanish folk songs, and Schubert lied. As well as possessing a beautiful timbre and well-chosen vibrato, Spanos is also a very handsome fellow (a necessary trait for fame in this media age, I am sorry to say), with the properly "exotic" tall-dark-handsome look of a leading tenor heartthrob. In short, I hope to see much more of this young singer in the future!  Check out plavos's channel on Youtube for the extensive collection of his repertoire.
Now if only I could hear him sing "Lascia ch'io pianga"......

A Good Opera read, from Holdekunst Blog

http://holdekunst.com/blog/classical-beach-reading-robert-levines-weep-shudder-die.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+HoldeKunstClassicalMusicBlog+%28Holde+Kunst+Classical+Music+Blog%29 Thanks for posting!

"Opera's Shakespeare:" why Verdi made one NYT critic's Top Ten

http://artsbeat.blogs.nytimes.com/2011/01/17/top-10-composers-hailing-operas-shakespeare-and-its-proust/ And I couldn't agree more!

John Adams on "Nixon in China"

http://www.earbox.com/posts/103
Read Adams' recollection of creating the roles and matching the singers to the music. He is self-effacing about his vocal writing and assesses his own music with a clear eye and a very approachable manner.

History through the Operaglass

When I found this book, about 4 years ago, I was thrilled that one of my favorite subjects had been addressed and compiled at such length. Opera tends to tap the most dramatic of stories, so there are plenty of fictional or mythological plots, but many librettists have seen dramatic potential in real stories. That is not to say that "historically based" operas are always accurate: sometimes they can have more legend in them than those based in myth.George Jellinek guides the reader through approximately 1800 years of opera plots, from Giulio Cesare to Tosca and many others in between. Google Books also has a preview and e-book available.

Perhaps someday this book will be updated to the modern era.

Opera on the Air: free broadcasts

In 2006 when I first got "the opera bug," I made extensive use of online and radio broadcasts to record (to cassette) and hear new operas. Between the Met and WFMT, there is a broadcast nearly every Saturday of the year.

http://www.operainfo.org/ The Metropolitan Opera radio broadcasts, carried by many public radio stations. This site also contains background info on the operas of the current and previous seasons, with score examples, photos, and recording clips.

http://www.metoperafamily.org/stream.aspx 
Every week during the Met season (approximately August to May) one performance is streamed live online, through RealPlayer.

http://www.wfmt.com/main.taf?p=12,10 WFMT fills out the year in between Met seasons (May-August), with broadcasts from Chicago and San Francisco's opera houses. Radio coverage can be supplemented by online streams from stations in the WFMT network.

http://www.npr.org/programs/world-of-opera/
Depending on your location, you may hear World of Opera, NPR's opera highlights program. If like me, this is not available to you on air, the website archives "hit singles" and sometimes whole operas.


I will be working on a recurring spotlight on available broadcasts with background on the operas featured.

Off beat fugues

I love the intersection of classical forms and popular material, whether it’s the use of ABA form in a rock song or Beethoven’s use of opera hits for themes to vary. Here are some fugues composed on modern pop material which I especially enjoy.

Fugue for the Tinhorns

Frank Loesser’s opening number for “Guys and Dolls” starts the show in a quirky and energetic way, giving the same music to three different gamblers praising the virtues of (and betting on) three different horses. The use of fugue here works well and keeps up the momentum of “Runyonland” (the prelude).

fugue on “Bad Romance”

Giovanni Dettori’s fugue has a good YouTube presence, with covers on organ and piano. Here’s the sheet music: http://www.giovannidettori.com/LadyGagaFugue.pdf Dettori states that this is “not strict counterpoint;” I find it interesting that the answer doesn’t start until the countersubject has begun. He uses the fugal form fairly fluently, making a good argument for the validity of pop material in classical garb.

Fugue on that ubiquitous Nokia ringtone

Nokia phones are everywhere, and everywhere they go the subject of this fugue goes with them. http://www.audiomuse.ca/doc/pdf/lo_nokia_fugue_v2a.pdf Vincent Lo, the composer, writes perky counterpoint around this tune (and presents a very clean typeset score, too).

Fugato Humoresque on the theme of “Dixie”

Now for some professional music. Mana Zucca was a famous soloist and composer around the turn of the century. Look her up online! Shura Cherkassky is another great pianist from later this century and does a fantastic job with this quintessentially American piece. A free recording can be downloaded here: http://www.lykhin.com/eng/classicdb/composers/mana-zucca/1398

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Finally, an encore. Though not a fugue, the “Dance of the Hours” from Amilcare Ponchielli’s opera La Gioconda became a popular hit in its day. You may recognize it as another famous pop song: listen to the original (the melody starts at 2:00) and then scroll down for the reveal.

“Dance of the Hours” from La Gioconda

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one of my childhood favorite songs!

Opera blog : Likely Impossibilities

http://likelyimpossibilities.blogspot.com/ A great read about all things opera- thanks for posting!

The Lost Operas of Palais Garnier

It all started for me with Phantom of the Opera.  I have always loved Broadway shows (and operetta, starting in 2003) and after listening to the original cast soundtrack and reading Phantom 3 times in a row cover to cover, decided to try listening to a real opera. The first operas available to me were Lucia di Lammermoor,  Don Giovanni,and Dido and Aeneas.  But as soon as I could get to a Borders bookstore, I bought myself a copy of Faust,  because this opera is central to the plot of Phantom.  Christine sings the role of Marguerite, Faust's virginal victim, in this most famous of Gounod's operas (or entire works). Faust was the most popular and first opera at the Metropolitan Opera House when it opened in 1883, and continues to be performed today because of its dramatic story and archetypal characters. But there were other operas mentioned in Leroux' novel: La Juive,  by Halevy; Le Prophete, by Meyerbeer; and more. These operas, blockbusters in their day, survive today on excerpts albums or curiosity revivals. If Meyerbeer is thus represented, what of the countless other operas  which premiered in this era of luxury and grand 5 act dramas only to be forgotten by the newer trends? 

This question has intrigued me since I first listened to Faust,  in 2006. Some time I would like to find a list of performances in the 1870s-1900s at the Paris Opera, and research the scores and composers who have become obscure. There may be better reasons for their disappearance than changing tastes, but the librarian in me would love to properly archive them in order to facilitate research and possible revivals. 

Here is an aria which made it out of obscurity into recent renown when Placido Domingo performed it at the original Three Tenors concert, 1990.  

http://www.youtube.com/watch?v=TscVCfHAJvc  O Paradis, from Meyerbeer's L'Africaine sung by 20th c. tenor Jussi Bjorling

Turandot: Modern Atalanta - Spring 2009

In 1921, Giacomo Puccini began composing an opera which was to be his last.  The story was based on a play by Gozzi, also set by Schiller, which in turn owes much to the Greek archetypal myths of such as Atalanta, Hippodameia, and Thetis.  The archetypes of the reluctant bride, ice princess, femme fatale, and intellectual or athletic woman mix in these myths and plays, and reflect a fascination through time with the unattainably desired woman. Turandot, the princess who kills her spurned lovers, combines

Waiting Music

At one point of my life before UNH, I spent a lot of time in waiting rooms. Two albums which kept me company through those times are still my favorites today, and they hold special meaning from the time I spent waiting and listening.

Mussorgsky: Boris Godunov (Karajan, Ghiaurov)

Ghiaurov is, as I have mentioned elsewhere (http://majoringinunhstudies.blogspot.com/2011/05/prima-la-musica-dopo-le-parole-or-opera.html) one of my favorite singers of all time. His magisterial bass was smooth and intense, with a real bite to the attacks - he was trained in Italy as well as his native Bulgaria, and the legato phrasing he brought to Russian opera is a great gift. Even before Ghiaurov makes his first entrance with the monologue at Boris’ coronation, however, the music for the chorus resonates with me. They too are waiting, considerably more uncomfortable than I, out in the Russian winter outside the palace, and they are waiting for their “father” to come and save them – they wish for Boris to ascend to the throne and remember the Russian people. They pray dutifully, seemingly without much hope of fulfillment. The chorus is answered indirectly, by Shchelkalov, a minor official who takes up the themes of their dissatisfaction and hope but cannot promise that Boris will accede. He sings a short monologue of a few lines which are some of the most reassuring in opera; reassuring, yet realistic in their limited optimism. In my time waiting in March 2007 I listened to these scenes from the Prologue over and over, enjoying Mussorgsky’s sympathetic harmonies.

Brahms: Ein Deutsches Requiem (Maazel, Prey, Cotrubas)

A requiem which is not in Latin, and does not use the Requiem text, Brahms’ is a Requiem in name only. The main theme of a Latin Requiem is death and eternal damnation from which we pray to be saved, but the theme of Brahms’ Requiem is comfort for those left behind. As one not yet left behind, this piece was key to the beginning of my grieving my father before he had actually gone. Nearly everything in the Requiem is oriented toward this process of grieving, with the solos especially moving in their recognition of realistic emotions. The Requiem is a particular kind of dark music which is not morbid but knows that there are times in winter when there is less sunlight around, just as it knows that there will be a spring. The last movement, I feel, can see that spring as the year turns.

Prima la musica, dopo le parole; or Opera and Acting

Wort oder Ton: the great question at the center of Strauss’ last opera “Capriccio” beckons us to consider which is of greater importance in an opera – the words or the music. Even when not directly attempting to answer this question, opera singers confront it in their interpretations for the stage. Should the demands of the score take precedence over those of the script? Some of my favorite singers have weighed in on this question.

My portrayals are based entirely on the musical score. I cannot go beyond, or outside, what the composer has written because I feel a character right from the opening orchestral bars…[the music] immediately suggest[s] what lines your interpretation should take.  – Nicolai Ghiaurov, in Helena Matheopoulos Divo: great tenors, baritones, and basses discuss their roles.

Ghiaurov hailed from Bulgaria, as do so many other fantastic opera stars, and his voice is my #1 favorite of all basses (Rene Pape is my favorite living bass). His philosophy of acting is drawn organically from the score, painting his character with the colors of the instrumental and vocal writing provided by the composer. Ghiaurov sang most of the great bass roles and is best known for Mephistopheles (Gounod), Boris (Mussorgsky), and Filippo (Verdi). http://www.ucis.pitt.edu/opera/OFB/stars/ghi01.htm This site has several samplings of his long career – check out the Rachmaninov excerpt from 1956!

What [Tullio Serafin] said that impressed me was:  "When one wants to find a gesture, when you want to find how to act on stage, all you have to do is listen to the music. The composer has already seen to that. " If you take the trouble to really listen with your soul and with your ears — and I say soul and ears because the mind must work, but not too much also — you will find every gesture there. And it is all true, you know. – Maria Callas, BBC (April 1968) on Maria Callas : The Callas Conversations

Callas is of course renowned for her acting as much as for her voice. Her philosophy agrees with that of Ghiaurov, basing the interpretation of a role on the expressive content of the music. She stands in great contrast to other sopranos who shared her repertoire of bel canto music, who allowed the “beautiful” part of bel canto to carry the interpretation of roles such as Lucia or Anna Bolena. Callas knew the dramatic power of these operas could be tapped through a close look at the music and that a great opera singer is more than a songbird.

There are other theories of opera acting which rely more on the physicality of the actor than on the music. I personally agree with Ghiaurov and Callas, because their approach can be extended past vocal music into the instrumental repertoire. Not every composer has coded a dramatic interpretation into his or her non-vocal music, but observing what clues the composer leaves us and remaining faithful to them is a good philosophy for pianists and singers alike.

Verdi: the Falstaff fugue - Spring 2011

Verdi’s last opera may well be his greatest, and Falstaff has received its share of analysis and interpretation from multiple angles, as befits this great magnum opus. This paper will address some details of the overall work, while focusing in greater depth on the fugue[1] at the end of Act III, a topic which receives less attention than others in this opera.

Falstaff, Verdi’s last opera, premiered when the composer was nearly 80 years old. The project had been germinating in his mind for years,

Kindespflicht, oder das höchste der Gefühle: Filial Relationships in Mozart’s Die Zauberflöte and Idomeneo - Spring 2011

Mozart's final Singspiel, like many of his previous works, features paired characters with opposite or complimentary attributes. The Queen of the Night, and her opponent Sarastro, the ruler of all that is light and good, are the most prominent pair (and highest in the social hierarchy); Pamina and her lover Tamino represent idealized female and male youth, and unite at the opera’s end as virtue and peace are established; Papageno the birdcatcher seeks his mate, as do the birds. These paired characters relate to one another in the horizontal direction of attraction or repulsion, and meet as peers; they also relate in a generational, vertical direction: as parents and children, whether

Cosi Fan Tutte: Enlightened Minds versus Enlightened Hearts - Spring 2011

Introduction

Mozart and Da Ponte’s only original libretto features two couples who take a crash course in the School for Lovers. The cast consists of only six characters: two sisters, engaged to two best friends; and two philosophes, who lead the lovers through their 24-hour education. The cast is interconnected by similarities of gender, relationship status, occupation, and age. Mozart’s score and Da Ponte’s libretto delineate further

Don Giovanni: Nobilità and other complications - Spring 2011

Analysis


As with The Marriage of Figaro and its companions in Beaumarchais’ trilogy, nobility is a key concept in Don Giovanni. If you don’t have it (by birth), you try to compete with it, or gain it by other means; if you have it by birth, you have a blank check which extends beyond currency into the realm of morals and privilege. Every character in Giovanni and Figaro is dealing with nobility on a conscious or unconscious level, and it

Le Nozze di Figaro and the issue of identity - Spring 2011

Analysis

As so often in Mozart’s operas, the theme of identity – mistaken, revealed, assumed – is employed and exploited in various ways in The Marriage of Figaro.  The characters deceive or spy on each other in disguise, manipulate the truth through their choice of disguise and revelation, and discover their own uncertainties about their reality.  Confusion is almost a counter theme to this idea: all the characters at some point in the opera are unsure or confused, whether through the agency of other characters or