Summer fun, now in HD

Well, it's that time of year again.  You know which one.  Summer, of course!  Summer is nearly upon us.  And you know what that means!

Well, yes, it also means sunshine, ice cream, and... um... maybe not so much playing in the ocean.  This is Oregon, after all.  But it also means that it's almost time for the Met Live in HD Summer Encores!  And who can think of a better way of spending those sweltering July evenings than sitting in an air conditioned theater, watching an opera?  Well, there are family barbecues and the like, but come on.  Opera!  It's not like it's every night, right?
 Anyway, it's time to mark your calendars.  Make sure your friends and family know that your Wednesdays are booked.  Because the Met has put together quite a lineup for you!
The fun begins on July 8th, with Willy Decker's production of La Traviata, starring Natalie Dessay, Matthew Polenzani, and Dmitri Hvorostovsky.  The set is rather stark and minimalist, and some of the staging is a bit unconventional.  But in this case, it doesn't really matter whether that's your cup of tea or not, because the performances are so phenomenal.  Here's a bit of what you can expect.

The fun continues on July 15 when Natalie Dessay returns, this time with some much lighter fare.  She joins bel canto's superstar tenor, Juan Diego Florez, in Laurent Pelly's hilarious production of Donizetti's delightful comedy, La Fille du Regiment.  That's right, the one with nine high Cs in a single aria.  Here, Mr. Florez sails through them as though nothing could be easier.

Next up is the queen of opera herself, Renee Fleming, starring alongside Nathan Gunn in Franz Lehar's operetta The Merry Widow.  This is one that I have actually never seen, but it looks like a thoroughly enjoyable performance.  Here is the Met's official trailer for this production, which was staged there for the first time this past New Year's Eve.

And finally, we wrap up the summer just as we started: with another great Verdi tragedy.  The final broadcast stars Liudmyla Monastyrska and Roberto Alagna in Aida.  They are joined by Olga Borodina as Amneris and George Gagnidze as Amonasro in this performance from 2012.  The Met's classic production of this grand opera is truly a stunning spectacle.  Here is the Triumphal March from a 2009 performance.

Now isn't that a great way to beat the heat?  I know I'm looking forward to a summer of great opera.  I hope to see you there!

Come join the discussion! Opera Oregon now has a forum.

 That's right, ladies and gentlemen, we now have a place to discuss our favorite topic: opera, of course!  Over the next few days, I will be working on building it up.  But for the time being, please remember that it is a work in progress.  I have never created a forum before, so I'm sort of learning as I go.  But don't let that stop you from jumping in right now!  You can find it here, or click on the above tab.  I'll see you there!

Coming soon to an opera house near you: Eugene Edition

Hello again, everybody!  The time has come to start looking forward to next season's offerings, both in our area and slightly beyond.  We will take a look at what is planned for each opera company in Oregon, or at least those of whose existence I am aware, and then we will broaden our view and see what's going on to the north and south of our beautiful state.  I will be starting off with Eugene Opera, as it is very near to my heart (and every other part of me).

First things first: a very exciting announcement that you may or may not have heard at some point over the last few months.  For the 2015-2016 season, Eugene Opera will be producing not two, but four operas!  Yes, you read that correctly.  They will be adding two chamber operas to their schedule, and will begin their season in October, a full two months earlier than their traditional New Year's Eve opening night!  And it promises to be a very exciting season, too!
First up, just in time for Halloween, is Benjamin Britten's haunted telling of Henry James' Gothic ghost story, The Turn of the Screw.  The performances will sandwich the holiday, with opening night on October 30th and a matinee show on November 1st.  Here is a little taste of what you can expect to see and hear.

Last season, operagoers in Eugene were treated to the delightful spectacle that is Donizetti's Elixir of Love.  This season brings us a much darker work by the bel canto master, Lucia di Lammermoor, with performances on New Year's Eve and January 3rd.  Based on the novel by Sir Walter Scott, The Bride of Lammermoor, Lucia has showcased many great coloratura sopranos, and features one of opera's greatest mad scenes.  Here is Natalie Dessay performing said scene at the Metropolitan Opera.

March brings us one of my personal favorites, Tchaikovsky's beloved Eugene Onegin, based on the novel in verse by Alexander Pushkin.  This thought-provoking tale of missed opportunities, set to an unspeakably beautiful score, is not one that is easily forgotten.  Performances will be on March 11th and 13th.  Here is the great baritone Dmitri Hvorostovsky performing Onegin's Act I aria.  

And finally, Eugene Opera will wrap up its season with Mark Adamo's adaptation of Little Women on May 13th and 15th.  Growing up, I was probably one of the only little girls I knew who never really felt inclined to read Louisa May Alcott's classic story, so I'm going into this one blind.  But I did find a little excerpt for you, featuring the incomparable Joyce DiDonato.

And that, my dear readers, is what we have to look forward to in the coming year.  It promises to be a very exciting season.  I hope to see you there!

Site Announcement: I'm Back!

Hello again, ladies and gentlemen!  It has been a VERY long time since I last posted, and I really thought I was done writing for a while there.  But I'm pleased to announce that I'm back.  I mean, REALLY back!  And while I won't be posting every day, or even necessarily every week, I will certainly be updating the blog a lot more frequently than I have in the past.  Starting early next week, I will be taking a look at the upcoming 2015-2016 season with all of the opera companies (or at least those I am aware of) in the beautiful state of Oregon.  I will also resume writing about a selection of artists and composers, and anything else that happens to pop into my head.  As time goes on, I hope to resuscitate the Opera of the Week discussions, as well.  For now, though, that's all I have to say.  Ciao for now!

Summer encores: One week in and not to be missed

Dear readers, it has been several months since I last updated this page, and I was beginning to wonder if I would ever have the time to write again.  But opera is my addiction, and I just can't stay away.  So now I'm back and ready to start writing again.  I am, however, currently in the office pretending to work, so I will be brief.

 I should have written this post a week ago, but I didn't, so better late than never, I guess.  Anyway, last week the Metropolitan Opera's Summer Encore series started with a bang, when they screened that marvelous performance of Carmen that stars Elina Garanca.  The summer series will continue tonight with a showing of Il Trovatore that is NOT TO BE MISSED!!!  I'm serious.  Don't miss it.  This performance was originally broadcast 2 years ago, and stars the four current Verdian powerhouses, Marcello Alvarez, Sondra Radvanovsky, Dolora Zajick, and Dmitri Hvorostovsky.  And it will knock your socks off.  So make sure you're at your local participating theater tonight at 7:00.  Seriously.

 

Other performances being shown this summer will include The Barber of Seville, La Traviata, Armida, and Turandot.  It promises to be a great encore season, and I hope to see as many of you there as possible. 
Ciao for now, and I'll see you all in Operaland.      
                   

Love them or hate them? What's your take on modern productions?

First published at South Florida Opera Scene on May 3, 2012

We've all been there before.  You purchase tickets to your favorite opera.  You get dressed up in your best evening clothes, and you arrive at the opera house nice and early.  You find your seat, and wait in excited anticipation for the moment when the opening strains of that glorious music finally reach your ears.  The lights go down, the conductor steps up to the podium, and the curtain rises on... Leporello, dressed as a chauffeur, driving a limousine made entirely of chairs.  And that's it.  That's the extent of the scenery.  Just chairs.  There's nothing else on stage, absolutely nothing, for the entire three hours.  You sit there watching the performance and enjoying the music regardless of the scenery (or lack thereof), but throughout the entire evening, a part of you is unable to focus on the opera because you can't stop wondering what on earth the director was thinking.
I saw that particular Don Giovanni at the age of fourteen or fifteen, at a well-known opera house that shall remain nameless.  And to this day, I can't figure out what the point of it was.  The memory brings to mind my four-year-old son making trains out of our dining room chairs.  Maybe there was some deep message there, and I just didn't get it.  Or maybe the director was just trying to be different.
Over the years, I have seen many performances with "just chairs" scenery, in opera houses from Seattle to Tel Aviv.  And the only one that has worked, at least for me, was the Metropolitan Opera's recent production of Eugene Onegin.  But maybe that was because those chairs actually belonged there, and the director was going for minimalist simplicity rather than cutting-edge who-knows-what.

Last night, I had the pleasure of attending the encore screening of La Traviata in HD from the Metropolitan Opera.  I had heard much discussion about the current production, which utilizes as its scenery an Ikea sofa and a giant clock.  When I first saw the promotional pictures about a year ago, my initial thought was, "Oh, you have got to be kidding me!"  But then people began talking about it, and the concepts intrigued me.  I listened with an open mind, and I went to the theater with quite a bit of curiosity about what I would see.  The scenery, of course, was no surprise, nor were the costumes.  What I was waiting to see were the emotional, psychological, and atmospheric effects this staging would have.  And I got it.  I understood what the director was doing, and in a way, it worked.  The production magnified Violetta's sense of isolation and despair in the midst of a sinister society that would completely consume her and cast her aside, easily replaced by the next girl to come along.  She is haunted throughout by her impending mortality and by the knowledge that she cannot escape her fate.  It was dramatically very effective, and yet I did not initially like it very much.  I tried to put my finger on what it was that I disliked, and I realized that I have spent my whole life seeking out and admiring the most realistic, historically accurate productions I could find.
This realization made me do a lot of thinking.  Even as I write this, I am reexamining my approach to modern productions of classic operas.  I understand that these operas that have been repeatedly performed over the past 200 years or so, often in very similar productions around the world,  occasionally need to be examined in a different light.  While I always feel that the music should speak for itself, fresh ideas and new perspectives have the ability to add so much depth to the operas we think we know so well.
Now there are, of course, all kinds of updates.  There are those that transport the opera to a different time period, often moving the action up a century or two in history; for example, a Carmen I once saw set in 1930s Spain, or that brilliant modern-day streets of New York-style Don Giovanni that Peter Sellars produced back in the early 1990s.



Then there are those productions that mix the old and the new, effectively removing the story from any specific time period, and thereby demonstrating the timelessness of these great works.  Then you have your varying degrees of minimalist, surreal, and postmodern production, some of which work better than others.  And of course, you have productions whose aim is to create controversy, such as Rusalka in a brothel and the so-called Brokeback Onegin.



So the question is this:  With a growing number of opera companies opting for modern productions over more traditional ones, how much is too much?  Should these traditional productions be preserved, or should they all be replaced?  And to what extent should opera be updated?  Do these new productions have to try to make some sort of point, or is it enough to just be different?  When some productions provoke thought and others leave us scratching our heads, where should the line be drawn?  For myself, I'm taking another look at my longstanding opinions.  Where do you stand?  I would love to hear your opinion!

Opera birthday parties? Why not?!?

First published at South Florida Opera Scene on January 10, 2012

Hello again, everyone!  Welcome back from a rather extended holiday break!  The kids are all back in school now, and life can slowly start to return to normal.  Today, I am going to continue on the subject of passing opera on to the next generation.  I have heard a lot of chatter (or perhaps twitter?) over the last few weeks about ways to attract a younger audience.  Most of the talk seemed to be centered around the idea of so-called Tweet Seats.  While I very happily participated in last month's Tweet Seat session at Palm Beach Opera's Madama Butterfly, (a dress rehearsal, I should add,) I don't believe that simply letting people play on their phones during the performance is going to get them to want to attend.  Rather, honest exposure, ideally at a young age, whether at home or in school, is the surest way to spark interest in opera.
This, of course, is in no way a new idea.  I have said it before in previous posts, and I will doubtlessly say it again.  But today I am going to write about a (brilliant?) idea I had about one way of doing this.  Opera birthday parties!!!  Now, I know some of you may be scratching your heads and thinking that I must be crazy, but just hear me out! 

The idea came to me this morning, as I was trying to plan my son's ninth birthday party.  I was looking online at all the different options available in the area: bowling, arcades, science museums, even the local animal shelter!  There were a lot of venues offering sports parties, cooking parties, arts-and-crafts parties, and dance parties.  And then it occurred to me: Why not do opera birthday parties?  If one enthusiastic child chooses ten or twenty of his closest friends to share opera with, it could trigger a whole chain reaction of spreading an awareness (if not outright love) of opera to a group of children who might otherwise never give it a fair chance.
Now, how to do it?  I had some ideas there, too.  There are a couple of different options to be considered: the do-it-yourself party, which would require a bit of homework and planning on the part of the parents, and the party organized by a local opera company's Young Artists program, or some such organization.  "But wait a minute," you might say.  "There are no opera companies offering children's birthday parties!"  And you would probably be right.  But why shouldn't there be?  After all, almost every other type of theater, museum, and miscellaneous entertainment outlet offers several party packages.  And while I recognize that these other options may be more popular among children, it would be a wonderful experience for them if such a thing were available.

So here is what I propose to any opera company out there that may be reading this: give it a shot!  If no one takes you up on it, what have you lost?  And if they do, think of what you have gained: a doorway into the hearts of the next generation.  So what might an opera company offer as part of a party package?  Well, a package could include one or two young artists who would give a brief background of what opera is, followed by a short performance.  These performances could range from some of the more action-packed scenes for boys' parties to the more romantic ones for the girls' parties, or any combination of the two.  Afterwards, young party goers could be given the opportunity to participate in recreating the drama and singing the music.  Fancy foods and Martinelli's sparkling cider served in plastic champagne flutes could be served to add a celebratory feel to the event.  And at the end of the party, each child could go home with an opera-themed goody bag.
For the parents planning an opera party on their own, it might be a little trickier without the personal interaction with the singers and the hands-on music making.  But again, a brief overview of opera could be given, followed by a showing of an opera on DVD.  One possible opera to show a group of children who are new to it is Il Barbiere di Siviglia.  Most of them will probably have heard at least some of the music, the story is highly entertaining, and there is nothing in it that any parent could possibly consider to be objectionable material.  (Something like Tosca, on the other hand, might not go over so well with all of the parents.)  After the performance, the children could be given an opportunity to talk about their impressions of what they have seen.  Again, fancy foods and opera goody bags could tie the whole experience together.
Now, I'm not naive.  I know something like this might take some time to catch on, or it may never catch on at all.  But if nobody even tries, it certainly never will.  And with opera audiences getting older, opera education in the classroom and at home at a low point, and opera companies around the world struggling to bring in young people, something must be done to ensure the continued survival of opera for the next generation.  And what better way to pass it on than in a fun, exciting, and celebratory atmosphere?  Today's children, who think they have seen everything, can go home from an opera party with memories of a new and thrilling experience, and a thirst to discover more.

Exploring Artists: Jonas Kaufmann

First published at South Florida Opera Scene on December 21, 2011

I owe Jonas Kaufmann an apology.  Anyone who has been following my blog from the start knows that, in the past, I have not been kind.  When I first heard him, I did not like him at all.  And it wasn't the depth or darkness of his voice.  After all, I much prefer the darker tenor voices to the bright, sunny, cheerful-sounding ones.  I would gladly listen to Domingo (my all-time favorite tenor) over Pavarotti (who I avoid in any role that isn't the Duke of Mantua) any day of the week.  Among the newer generation of tenors, I favor those who have followed in Domingo's footsteps, and greatly appreciate the voices that have baritone qualities.  So it was not the depth of his voice, although it did take me some time to become convinced that Kaufmann was not just a baritone trying to sing tenor roles.  No, I thought his voice was somewhat muffled, as if he had something in his mouth.  It may be that I had just found all the wrong YouTube videos, but there you have it.  I couldn't, for the life of me, figure out what it was that everyone saw in him.

Then last month I went to see Tosca from the Royal Opera House at Cinema Paradiso, a lovely local art-house theater.  I was hoping to be pleasantly surprised by him, but I wasn't expecting too much.  I was going because I love Tosca, and because I was excited to see Bryn Terfel as Scarpia.  I was really anticipating nothing more than a tolerable performance from Kaufmann.  Harsh, I know, but there you have it.  So when I did finally see his Cavaradossi, I was caught completely off guard.  Not only did he sing the role very well, (second only to Domingo among all the Marios I have seen and heard,) he could ACT!  I mean, really act.  He seemed to really understand what the character was all about, and then adeptly conveyed that understanding to the audience.
After I saw that performance, I decided I was willing to give Kaufmann another chance.  However, I approached his music slowly, and with some trepidation.  And, while some of what I found did not impress me, a lot of it really did.  I discovered that, although some roles really don't suit him (at least in my opinion), when he sings the right characters, he really is an exceptional singer.  His voice has all the color of a baritone, yet he deftly handles the range of a tenor.  This combination helps him provide a certain depth of character that is often missing from the tenor roles.



Jonas Kaufmann was born in Munich in 1969.  While he studied piano and sang in the school choir as a child, he very nearly became a mathematician.  However, he realized after a couple of semesters that he would never be happy with such a career choice.  So he began his vocal training at  the Academy of Music and Theatre in Munich, and upon graduation he signed a contract with the State Theatre in Saarbrücken.  It was during that time that he began to have trouble with his voice, but under the instruction of Michael Rhodes, he learned to sing more easily by simply using his natural tone.



In the intervening years, Jonas Kaufmann has sung a wide variety of roles, from Rossini's Almaviva (this, I can't even imagine!) to some of the great Verdi and Puccini parts.  He recently sang Siegmund at the Met, and has been applauded as an outstanding interpreter of Wagner's works.  He is currently appearing, once again, on the stage of the Met, singing the title role in Gounod's Faust.



Jonas Kaufmann evokes strong reactions from opera lovers everywhere.  People either love him or hate him.  He is variably called the greatest tenor alive or a baritone in tenor's clothes.  There's not a whole lot of middle ground where he is concerned.  I used to be part of the group of people who strongly dislike him.  But my opinion is changing.  While he is still not my very favorite tenor in the world, (as I have said before, that spot will always be reserved for Domingo) I am beginning to develop an appreciation for his voice that grows every time I hear him.  In a few short weeks, I have done a (somewhat) complete about-face.  Whereas once I wondered what people saw in him, I now have come to enjoy his rich, dark voice.  In time, I may become one of his die-hard fans.  Then again, I may not.  In the meantime, though, I plan on savoring his voice for its unique tones.  Now, if you'll excuse me, I'm going to go listen to my new recording of Madama Butterfly, starring Jonas Kaufmann as Pinkerton!

Flash mob, everyone!

First published at South Florida Opera Scene on November 21, 2011


Imagine you're in line at the supermarket.  Suddenly, the guy in front of you starts singing to the lady bagging his groceries, and what do you know, she starts singing back!  "Holy cow!" you think to yourself, moments before you notice that the guy in the next checkout lane, the lady three places behind you in line, and that couple over there in the produce aisle are all singing, too!  Well, last night I was playing around on Stumble Upon, when I, um, stumbled upon (imagine that!) this video:



Quite aside from the lovely performance itself, the reactions of the other shoppers were very interesting to see.  There were, of course, a few people in the crowd who did their best to pretend that nothing out of the ordinary was going on.  They kept their headphones in their ears, paid for their groceries, and left with averted eyes.  But they were the minority.  As the camera panned around the store, I watched the various expressions of surprise and delight cross the faces of the many customers, young and old.  They were sharing the wonderful experience of opera with complete strangers, most of them probably for the first time, and the result was almost magical!
This got me thinking.  There are so many people out there who have never experienced opera, and in the normal course of life, probably never will.  Most people who don't alreaky know and love opera are not likely to go out and buy a ticket to a performance on their own, without any sort of external push.  You know, Newton's first law of motion.  An object will persist in its state of being at rest or in motion, unless acted upon by an external force... Sorry, I digress.  Anyway, my point is this: an event like this just might be that external force needed to alter the inertia... ahem... I mean, to pique public interest in opera. 
So after I saw this video, I wanted more.  I wanted to find other examples of opera ambushes, as they are sometimes called.  I found that various organizations and opera companies often arrange similar events, whether to promote an upcoming performance or just to bring a bit of culture to the unsuspecting public.  These events, also variably called pop-up opera and Opera Anywhere, have been put together in such places as shopping malls, restaurants, transit stations, public markets, and even college cafeterias!



One organization of note puts on what it calls "random acts of culture."  These events range from opera to jazz to "impromptu" orchestras.  And several South Florida locales have played host to these random acts.  Earlier this year, shoppers at the Aventura mall were treated to a grand-scale performance of O Fortuna from Carmina Burana.  Travelers at Miami International Airport were surprised with a brass quintet rendition of West Side Story.  And if you happened to be trying on ladies' shoes in Macy's at Dadeland Mall at just the right time, you might have seen this:



These wonderful surprise performances do much more than provide brief entertainment for people passing through on their day-to-day business.  They raise awareness of the arts, and offer an introduction to opera to anyone fortunate enough to be there.  They bring joy to people of all ages, from the older audience members who may already be familiar with the music, to the young adults who may have never really noticed before, and especially to the children hearing it for the first time.  For them, these performances are precious gifts, paving the way for a lifetime love of opera.

Exploring Artists: Mark Walters

Good morning, dear readers, and welcome to December!  I know, there are lots and lots of things to do this month, but I'm going to start this wet weekend by telling you a bit about the baritone that lucky Eugene operagoers will have the opportunity to see later this month.  Now, I know what you may be thinking.  Perhaps you are thinking, "Oh, no!  Not another baritone!  Can't this girl write about anything else???"  Well, yes, I can, but....  Aside from being partial to that particular vocal range, I have had the opportunity to see and hear Mark Walters in person, and I completely anticipate him being the star of Eugene Opera's production of The Pirates of Penzance, premiering on December 28.
Earlier this year, right around the end of January, I attended the opening night performance of Florida Grand Opera's highly successful production of Rigoletto.  I went with my eldest son, who was two days shy of his ninth birthday, and my particularly critical little brother.  The evening lived up to, and in many ways surpassed our expectations.  My full review can be found at South Florida Opera Scene, but here is a small excerpt concerning Mark Walter's powerful performance, as published on January 29, 2012:

"Baritone Mark Walters sang the part of the hunchback Rigoletto, a man torn by the double life he must lead in order to protect his daughter from the clutches of his hated employer, the womanizing Duke.  He delivers a poignant, heart-rending performance that grips the viewer from almost the first note.  Never before have I seen a Rigoletto who so effectively demonstrates the depths to which he is forced to stoop in the service of the Duke.  His voice is warm, rich, and powerful, easily filling the farthest corners of the hall with his full, intense tones.  Tender and loving one moment, bursting with rage the next, Mr. Walters created a powerful image of a man who will go to any lengths for his daughter."

Here is an excerpt of that evening.  While the sound quality of the recording is not flawless, it provides a taste of what Mr. Walters is capable of.  
 

Mark Walters has appeared with Florida Grand Opera on several occasions, including a run of La Boheme that is currently in progress, and in 2010 as Escamillo in Carmen.

Mr. Walters has performed more than 50 roles across the United States, and has broken into the European and Asian opera scenes, as well.  He has appeared in many of the great Verdi operas, in roles such as Giorgio Germont in La Traviata, Don Carlo di Vargas in La Forza del Destino, Il Conte di Luna in Il Trovatore, and upcoming performances as Renato in Un Ballo in Maschera.  He has also sung the roles of Valentin in Gounod's Faust, the title role in Don Giovanni, and Enrico in Lucia di Lammermoor, among others.  Here he is singing Il Balen in a 2010 performance of Il Trovatore.

Eugene is very lucky to have the opportunity to see this promising young baritone first-hand.  Considering his excellent handling of heavier roles, I can only imagine the power he will bring to the part of the Pirate King.  No opera lover in Lane County should miss this production.  I know I will be there on opening night, kids in tow, to see this exciting performance and this talented artist.
And now, I really must start my day.  So until next time, goodbye, and keep blaring that opera for all your neighbors to hear!

Popera Singers: What is the role of Classical Crossover artists, or whatever you want to call them?

First published at South Florida Opera Scene on June 12, 2012

Most of my friends are not opera lovers.  It's not that they really dislike opera, it's just that they simply don't know.  "Opera?  You mean that fat lady with the horns?  Or do you mean Pavarotti?"  For most of the general public, this is all they know.  It's what mainstream popular culture tells us opera is.
Every now and then, when I converse with my non-opera-loving friends, our discussions turn to music.  And sometimes, one or another says something like, "Oh, I love Andrea Bocelli, and Sarah Brightman, too!  And how about that trio of teenage tenors, and Paul Potts?  And Jackie Evancho is absolutely amazing!  So, yeah, I guess I do like some opera!"

Now, after a statement like that, some more experienced opera lovers may be left scratching their heads and saying, "Huh?  Are you serious?  Have you ever even HEARD a real opera singer?"  I've seen many an online debate sparked by someone trying to compare Jackie Evancho to the likes of Renee Fleming.  And one time, my brother and I couldn't help bursting into raucous laughter when we walked past the music section in Target and saw a recording of Carmen starring Andrea Bocelli featured prominently in the Pop section, along with several other of his CDs.
Now, I could very easily join in with all the (sometimes good-natured) ribbing that often occurs at the expense of these artists.  Or I could point out that, while talent in its raw state may be present, only when Jackie Evancho hold her own with other singers on stage, be heard at the very back of a large opera house without the benefit of a microphone, and convincingly portray a role at the same time, can she ever be compared with Renee Fleming.  And, sure, I could have a lot of fun chuckling about these singers and their often rabid fan base.  But then I really think I would be missing the point of it all.
I mean, think about it.  Regardless of how you personally feel about crossover artists, actually stop and think about it.  Seriously.  I mean, there was a recording of CARMEN in the POP section!  Along with other opera-ish recordings!  Presented right there to the mainstream music audience, who might not even step foot in the classical aisle!

And that, right there, is the whole point I'm trying to make with all this.  These singers, while quite missing the mark for many of us, do play a vital role in the world of music.  They bring a taste of opera to millions of people who would otherwise never even give it a try.  And there is really no better illustration of this point than the talent shows that made many of these people famous in the first place.  I remember watching episodes of America's/Britain's Got Talent, with audiences full of average people, along with millions of national network TV viewers.  On those occasions, they often followed other musical acts, ranging from pop to rock, country to rap.  Then one or another of them would walk out onstage, open his or her mouth, and leave the audience absolutely astonished.  The next day, there would be headlines about this or that incredible talent that had just been discovered.  And each time, the singer continued through the competition to the very end, taking second place on the occasions where he or she did not actually win the whole thing.  And each time, it was mainstream audiences voting for their favorites who put these singers in the top spots.  People who were never exposed to opera before picked these artists as their favorites.  Many of those people have continued with independent exploration, and have thus arrived at the magical destination that is opera.  And those who haven't, have at the very least realized that opera is more than just a fat lady with horns.
 

Ramblings of an opera-loving insomniac. Or, "Let's go to the movies and watch an opera!"

Okay, so I've got a problem.  It's 12:30 a.m., I have to get up in a few hours and start my Monday, and I'm lying here wide awake.  I already knew a few hours ago that sleep would be difficult in coming tonight, so I devised a cunning plan.  I poured myself a glass of Merlot, set up my laptop on my nightstand, and prepared to go YouTubing  until I drifted off.  Unfortunately, that "drifting off" part never happened.  In retrospect, I think it could have had something to do with my choice of videos.  I started off with the duel scene from the Royal Opera House's 2002 Il Trovatore.  You know, that one where Jose Cura and Dmitri Hvorostovsky have a full-on sword fight while singing to a packed 4000-seat theater.

Anyway, it quickly went downhill from there.  After I spent a good chunk of time clicking through all the related videos, I closed up my laptop and gave sleep another try.  Alas, it never came, so I tried to think of something else to do.  Then it hit me.  I have been really bad about writing here on my new blog.  I should write an entry!  But what to write about?  In my sleep-deprived yet thoroughly exhausted state, my level of creativity isn't exactly very high.  So I thought about what's going on in MY little world of opera, aside from midnight YouTube searches.  And then it hit me.  The next exciting event on my personal schedule of opera-related activities is the highly-anticipated Met HD broadcast of Un Ballo In Maschera on December 8.  I've got my tickets, and I'm practically bouncing up and down in anticipation.
Then it occurred to me: I haven't made it to any of the other broadcasts yet this season.  I had wanted to go to see Otello last month, and I fully intend to catch Rigoletto in the spring.  But in general, I've really been missing out on all the opportunities the Met has been offering us.   (I almost didn't get to post this video here because my internet connection got a bit goofy, and I couldn't view anything on YouTube.  Fortunately, it worked itself out, so I was able to find this.)

  

Anyway, there is a fabulous season underway, and theaters all over the state are showing these wonderful performances.  Furthermore, Emerging Pictures also offers an Opera In Cinema program with performances from all over the world, but the only thing coming up in the near future is La Cenerentola, and only in Corvallis, in mid-December.

 Now, dear readers, I know I haven't said much, but the hour is quickly approaching 2:00, and I suspect that sleep is finally coming on.  So now I will wish you a good night and leave you with a promise of more exciting news from the world of opera.

Exploring Artists: June Anderson

First published at South Florida Opera Scene on November 14, 2011

 

Welcome back, dear readers.  Today, I will continue our Exploring Artists series with one of the ladies from my childhood. 
As a teenager, and throughout much of my 20s, June Anderson was my favorite soprano.  To my ears, her voice was always a thing of beauty.  Yet recently I've found, more often than not, that when I mention her name, people look at me and say, "Who?"  I couldn't understand it, but then I realized that it has, indeed, been quite a bit of time since I heard her name mentioned by anyone else.  So for those of you  who are unfamiliar with her work, (and for everyone else, too,) here is a bit about June Anderson.
Ms. Anderson was born in Boston in 1952.  She began studying music as a child, and at age 17, she became the youngest artist to be named a finalist in the Metropolitan Opera auditions.  Her career, however, was not launched at that point, and she did not make her debut at the Met until 1989, when she sang the role of Gilda in Rigoletto.  Rather, she entered Yale University, where she graduated with a degree in French.  At that point, she embarked on her journey to become a singer, selecting law school as her fall-back in case she didn't make it.
Needless to say, Ms. Anderson never made it to law school.  She made her professional debut in 1978 with the New York City Opera, singing the Queen of the Night in Die Zauberflote, a role she would later supply the vocals for in that great movie, Amadeus.

Ms. Anderson spent several years in Europe, where she specialized in bel canto roles.  During this time, she performed works by Rossini, Bellini, and Donizetti, and was, in fact, the first non-Italian recipient of the Bellini d'Oro award.  Over the years, she met with great critical acclaim for her bel canto singing, and particularly for her portrayal of Lucia di Lammermoor.

During the 1990s, June Anderson began to expand her repertoire to include works of Verdi and Tchaikovsky, among others.  In 1995, she made her role debut as Desdemona in Verdi's Otello opposite Placido Domingo, in a performance I was extremely fortunate to attend.  I was in my final month of high school, and I skipped a week of classes to do the nineteen-hour-each-way drive to Los Angeles with my mother.  It was a stunning performance, and we had quite an adventure backstage afterwards, but that story is for another time.  Here is Ms. Anderson singing the Ave Maria from Otello in 2001.

Since then, I have seen her perform at least one other time, and possibly twice.  I was positive that I had seen her in Rigoletto, but now I'm not so sure.  At the same time, only today, I realized that I saw her role debut of Leonora in Il Trovatore in 1998.  She last performed with the Metropolitan Opera about ten years ago, and since then, she has added several new roles to her repertoire.  Last year, she took on the roles of Madame Lidoine in Dialogues des Carmelites, and of Salome.  Her latest addition came earlier this year, as she performed the role of Pat Nixon in Théâtre du Châtelet's production of Nixon in China.  She continues to perform in concerts and recitals across Europe, and has even participated in a musical cruise of the Mediterranean.
I will leave you now with a 1991 performance of Caro Nome.  I hope to see you all back here very soon.  Ciao for now!

From Faust to... well, Faust: A quick look at the demonic side of opera

Well, ladies and gentlemen, Halloween is almost upon us, which, of course, means that it is time to explore the supernatural side of opera.  Last year, I wrote on my other blog about ghosts, from Macbeth to Pique Dame to The Turn of the Screw.  I thought about continuing with that theme this year, but I decided to do something different this time.  So I scoured the internet (more like, I did a couple of quick searches) for demons and devils in opera.  And while I know there are many more operas with demonic themes, the story of Faust is so rich with operatic material that three of the four operas featured here are based on it.
We will start our journey to the dark side of opera with Le veau d'or from Gounod's Faust.  I apologize for the lack of English subtitles, but I specifically wanted to use this performance, which stars Rene Pape, and it was nearly impossible to find anywhere online.  But after searching high and low, I did manage to get ahold of this one copy of it, tucked away in the furthest corner of the internet.  So without further ado, here it is.




Next up is another take on the Faust legend, this time Mefistofele, written by the Italian composer Arrigo Boito.  Here is Samuel Ramey singing Son lo spirito che nega, and looking like the devil himself!
 

Our third example is from La Damnation de Faust by Hector Berlioz, sung here by John Relyea.




The next opera, Anton Rubinstein's The Demon, provides a different take on the character.  The aria Na Vozdushnom Akiane, sung here by Dmitri Hvorostovsky, demonstrates the romantic, seductive side of the demon.
 

And that gentle romance brings us right back around to Faust, for a somewhat more sinister serenade.  Here is Ildar Abdrazakov singing Vous, qui faites l'endormie from Gounod's opera.


And on that note, dear readers, I will wish you a good night and  a happy Halloween!

Opera-tune-ists: Giacomo Puccini

First published at South Florida Opera Scene on January 19, 2012

Hello again, everybody.  Today, since this is long overdue, I will be writing about one of my favorite composers: Giacomo Puccini. 

Now, anybody who knows anything about opera will tell you that Puccini was a genius.  His operas are among the most frequently performed today.  In fact, you may be hard-pressed to find a single opera company, anywhere in the world, that does not include at least one Puccini opera every season.  But what is it that makes Puccini so popular?  Is it his beautiful, soaring melodies?  His incredibly romantic libretti?  The intense, often heart-rending drama?  Or is it the immediacy of his style, a style that often leads the viewer to forget that he or she is watching an opera rather than an action movie?  Well, the simple answer is, "yes!"  It is a bit of all of these, and every opera lover is drawn to a different element of his work.  My husband, for example, was particularly impressed with Rodolfo's suave, poetic pickup lines.  My brother blares Liu's delicate arias as he drives down the street with his windows open.  And I hang on the edge of my seat for the entire second act of Tosca, even though I already know exactly what's going to happen.  And when you put all of these elements together, the results are often magical!
When I decided to write about Puccini, I thought about what I might include here.  Do I talk about his personal history?  His influences?  His wonderful music?  After giving it some careful consideration, I decided to just start writing and see where it carries me.  After all, that is precisely what his music does: it carries the listener off into the world of the opera.  So I think that the best place to start, as an introduction to FGO's new production, is with the most well-known aria from La Rondine.

Okay, so here we have a beautiful aria.  It demonstrates Puccini's status as a master of gorgeous melody.  But what about the drama?  What about the gut-wrenching, nail-biting action I spoke of?  Well, here is the very scene I mentioned above, as sung by Bryn Terfel and Angela Gheorghiu.

And what of the poetry?  The romantic lyrics?  The beautiful words, and the music that reflects them?  Puccini's operas are full of these gorgeously amorous moments, and who is better suited to demonstrate them than his very own poet?

So here we have some of the most essential elements of Puccini's work: beauty, passion, and drama.  I know I really didn't get into those other things I mentioned, such as history and influence.  But for me, Puccini has always been purely about the art.  Any other discussion, to me, would be a distraction.  When I watch Puccini, I want to close my eyes and enjoy every note.  But I don't dare, because I don't want to miss a moment of what is happening on stage.  I don't want to think; I want to be swept away!  I want to be carried to 19th century Rome, or to Nagasaki, or to Peking!  And therein lies the pure genius of Puccini: with a note, he can carry you to any one of those far-off places and times.
And on that note, (no pun intended,) I will leave you with one final aria to sweep you away.

Hook 'em while they're young!

First published at South Florida Opera Scene on November 14, 2011

I consider myself very lucky.  I discovered opera at a young age, long before I was aware of all the negative stereotypes associated with it.  Long before I knew it was "uncool", or even that anything could be uncool, I was listening to the gorgeous sounds of Bizet, Verdi, and Puccini.  Long before I knew that my musical preferences would be scrutinized by my adolescent peers, my my love of opera was cemented in my heart.
My parents exposed me to a very broad range of musical styles almost from the day I was born.  Irish music and Highland bagpipes were a staple in our home.  My mother played me music from all over the world, ranging from klezmer to Russian folk songs, bluegrass to Indian sitar.  And, of course, she played classical music.  My father played the Grateful Dead and Pink Floyd.  So by the time I was nine years old, I was very open to any new music, as long as it wasn't pop.
One evening back in 1987, my mother put down the TV Guide, sat me on the couch, and turned on PBS.  We were going to try something new!  I really had no idea what to expect, but within minutes I was lost in the now-familiar notes of the overture to Carmen.  I don't remember much about that evening, but I went to school the next day singing all these wonderful songs I had heard for the first time the night before.  That evening changed my life.  I began listening to as much opera as I could, and I attended my first live performance at age eleven.
Let's jump forward a couple of decades, now.  I have two young boys, ages four and eight.  Our morning drive to school usually starts like this:
Me: OK kids, what do you want to listen to today?
4 year old: Eugene Onegin!
8 year old: No, my favorite Russian songs! (Dmitri Hvorostovsky, of course!)
4 year old: Il Trovatore!
8 year old: No, Tosca!
By this point, I've managed to make it out of the neighborhood without crashing the car.  Once we've settled on something, the conversation continues.
4 year old: (Singing)
8 year old: Stop singing!  I can sing it better!
Me: So let me hear both of you!
4 year old: (Singing)
8 year old: Stop singing!
No one else in either of their classes has car rides quite like this, as far as I know.  But I wouldn't have it any other way.  I began playing opera for them in utero, and didn't stop when they were born.  I took my eldest to his first live performance, Aida, two months before he turned four.  He knew most of the music before we went, and was totally engrossed throughout.  (I only learned of the "no children under six" rule during intermission, but he behaved very well, and I only had to remind him once, during the Triumphal March, not to sing along to himself.)  My younger one has yet to attend, partially because he is so curious about everything that, even when watching something he has seen a dozen times, we're lucky if he goes a full two minutes without asking a question.  But at home, at least once a week I put something on the Met Player, and they're both glued to the TV for the rest of the evening.
As much as my children love opera, they are already beginning to hear things like "opera sucks" from their peers.  Their teachers are unfamiliar with it, and show no interest when they express their enthusiasm.  The other children around them, at best, have never been exposed to opera, and at worst, have inherited their parents' negative opinions about it without ever getting the chance to experience it for themselves.  And yet, the minute any opera singer joins a competition such as America or Britain's Got Talent, the audience goes wild.  People are starving for opera, and they don't even realize it.
So when is the right time to give it to them?  Certainly, better late than never.  Friends at work occasionally surprise me when they say things like, "I wish I knew you were going to the opera last night!  I've always wanted to give it a try!"  Once they  have expressed an interest, I go out of my way to try to give them a proper introduction.  Many of them have simply never had the opportunity extended to them, and have therefore missed out on a lifetime of enjoyment.  Which leads me to the answer to the above question: as soon as possible!!!

The next question, then, is how to give it to them.  You could, of course, do it the way my parents did for me, and I did for my children: give it to them straight, from an early age, and watch them lap it up.  In recent years, though, more opportunities are being presented by opera companies everywhere to introduce children to opera.  For instance, the Metropolitan Opera Guild offers hands-on opera workshops to children ages five to eight, as well as school programs that enable children across the country to experience opera in the classroom and on the big screen.  The Opera Theatre of Saint Louis offers an opera summer camp for young children.  And the Florida Grand Opera offers programs for elementary, middle school, and high school aged children, including classroom visits, presentations that explore both the vocal and technical aspects of opera production, dress rehearsal tickets, and a mentoring program to help guide aspiring artists on the path to careers in opera.  Additionally, many programs are offered in public libraries from coast to coast.
But regardless of how it is done, when opera is presented to children, they usually respond enthusiastically.  It's easy for them to get caught up in the drama, the action, and of course, the music.  Sometimes, that enthusiasm sticks with them, opening all sorts of doors to the many wonders of opera.  Sometimes that first operatic experience captures the imagination of a young child, changing the way he or she looks at music forever. 
Perhaps one day I'll pull up to a traffic light, windows down, and hear the children in the next car arguing over whether they should listen to Turandot or Rigoletto.  My eight-year-old just might lean his head out the window and shout, "Neither!  Don Giovanni!"     

Exploring Artists: Dmitri Hvorostovsky

First published at South Florida Opera Scene on November 30, 2011, updated on October 7, 2012

 Ladies and gentlemen, please allow me to introduce you to the Exploring Artists series.  Each installment will feature a single opera singer, well-known or not, and will spotlight his or her career and works.  If you would like to see a specific singer featured, or if you are a singer yourself, and would like to be featured on Exploring Artists, please let me know!  Otherwise, you'll just have to sit tight while I work my way through some of my favorites, which is how I will start, anyway.

The obvious choice to inaugurate the Exploring Artists series is my current musical obsession, the great Siberian baritone, Dmitri Hvorostovsky.  Although I've known his name since I was sixteen years old, his voice is a relatively new discovery for me.  I first heard of him on one of my many visits to a specialty music store in Eugene, Oregon, one of the few cities in the country able to support a store that sold opera almost exclusively.  Anyway, I went in that day to pick up one of the Domingo recordings (probably Il Trovatore or Tosca) that I had special ordered.  I glanced at the posters on the wall, as I always did, and there, between Placido Domingo and Yo Yo Ma, was this guy with this impossible name.  I seem to recall that his hair was already quite noticeably whitening, but that could be my memory playing tricks on me.  This was, after all, back in 1993 or 1994, and who can really accurately remember the details that far back?  Anyway, I couldn't tell from the poster if he was a singer, a pianist, a conductor, or something else, and I didn't really pay too much attention.  I was on a mission!  My new Domingo CD was waiting!
Over the years, I would see his name in various places, on Opera's Greatest CDs, on upcoming performance mailings, and I'd think back to that day at Musique Gourmet and wonder again exactly how to pronounce that "hv".  And yet, I never really heard him sing.  Then earlier this year, my son and I went to see Il Trovatore from the Met Live in HD.  It is my favorite opera, and Dolora Zajick was singing Azuchena, so I was really excited.  I didn't know who else was singing, and I didn't care.  I was expecting her to be the star of the show, as she always is in this role.  But as amazing as her performance was, the spotlight was stolen from her by a silver-haired, velvet-voiced baritone.  After almost twenty years, I had finally heard Dmitri Hvorostovsky.  And I was hooked from the moment the words "tace la notte" left his lips.  The notes he sang were so breathtakingly beautiful and powerful, and he played the role of di Luna with such passion that, for the first time in my life, I found myself sympathizing with the "evil" Count.



Well, I didn't sleep for many hours after that performance.  I was up half the night, watching YouTube videos of this amazing artist.  I saw him singing Rigoletto in concert, hunched over as he stood there on stage in his tux.  I saw him transform almost instantly from the grim hunchback to the delightfully humorous Figaro.  I saw him achieve the impossible feat of simultaneously singing both Don Giovanni and his servant, Leporello.  And I saw him singing all the Russian songs I grew up listening to.  And every performance was executed with such skill and beauty as to be virtually flawless!  I was completely in awe of his voice, which is like intense dark chocolate (72% or higher), melted into a rich, creamy fondue sauce and drizzled over fresh strawberries, and of his *ahem* shall we say, somewhat above average looks.  (My husband teases me mercilessly on that point, but he forgets that there's an incredible voice to go along with the pretty face!)    
So what's a (at the time) college girl who's sick of researching vascular diseases supposed to do at eleven o'clock on a work night?  More research, of course!  So I quickly set about learning everything I could about this glorious singer, and here's a bit of what I found. 
Dmitri Hvorostovsky was born in Krasnoyarsk, Siberia, where he studied music from a young age.  After winning several national competitions, he entered the Cardiff Singer of the World competition in 1989, where he famously beat Welsh bass-baritone Bryn Terfel in the almost legendary "battle of the baritones".  Choosing a single aria to post from that performance was very difficult, but ultimately I selected this because it so beautifully demonstrates his unbelievable breath control.



Anyway, his career exploded literally the next day.  He had recording contracts and bookings with the great opera houses and concert halls the world over.  Over the years, he has performed a wide range of roles, ranging from Tchaikovsky to Mozart to Verdi.  His portrayal of Rigoletto is at once fierce and tender, full of love for his daughter and hatered for everyone else.  He is the definitive Eugene Onegin, and once I saw him performing opposite Renee Fleming, no other baritone would do for the role.  The glimpses he has given us of his Iago, which I hope we will soon have the pleasure of witnessing in its entirety, are spine-chillingly evil.  And as I'm sure I mentioned before, his di Luna changed my whole perspective of Il Trovatore.
 

In addition to his fully-staged operatic performances, Mr. Hvorostovsky is a celebrated recitalist and concert performer.  Every year he travels the world, singing not only opera favorites, but also Neapolitan and Russian songs, and he has even collaborated with the popular Russian composer Igor Krutoy.  He will be returning to the stage of the Met next month, singing the role of Renato in Un Ballo in Maschera.  This highly anticipated production will be broadcast in movie theaters on December 8, with an encore showing on January 9.  This performance is not to be missed, so mark your calendars!
  

As I prepare to sign off for the night, it occurs to me that I have not even touched upon Mr. Hvorostovsky's breathtaking performances of the Russian operas.  However, since the hour is late and my current internet speed leaves much to be desired, that will have to wait for another time.  Good night, and happy listening!

Opera-tune-ists: A look at Giuseppe Verdi

First published at South Florida Opera Scene on December 7, 2011, updated on September 7, 2012

Okay, so I mentioned in my first post that I wrote a blog focused on opera in South Florida.  Since I don't plan on using that one anymore, once a week I will be importing (and adapting) an article from it.  I will start with one from the Opera-tune-ist series, (yes, I know, it's a horrible pun!) in which we will explore the lives and works of the great composers.  I will be starting with my favorites, and I will slowly work my way on to some that I may be less familiar with.  With each composer, I'll start with a brief history, discuss some of his (or her) famous works, and touch on some more obscure compositions.  And who knows?  We might all discover something new from this!

Our first opera-tune-ist is Giuseppe Verdi, my absolute favorite composer.  Verdi was born in 1813 in Le Roncole, a village located in the Duchy of Parma.  He began his musical education in Busetto, but moved to Milan as a young man to complete his studies.  His first opera, Oberto, was moderately successful when it premiered at La Scala in 1839.  Un Giorno di Regno, his second opera, was his first attempt at a comedy.  The opera, however, was a failure, due in part to the untimely deaths of his wife and two young children while he was writing it.  After its premiere and subsequent cancellation, Verdi almost gave up composition, but fortunately for us, he agreed to write Nabucco, which skyrocketed him to fame.  In the years after this success, Verdi composed many brilliant works, including his three most popular operas, Il Trovatore, La Traviata, and Rigoletto.  After Aida, which premiered in 1871, Verdi took a sixteen year hiatus from composition, and did not produce another opera until 1887, when he unveiled Otello.  His final opera, Falstaff, was a huge success when it premiered in 1893.  In the intervening years before his death, he completed a handful of compositions that included the sacred work Stabat Mater.  Verdi suffered a stroke on January 21, 1901, and died six days later. 
During his lifetime, Verdi met many challenges to his work from the censors.  Many of his libretti were considered too politically provocative, and names, ranks, and locations had to be changed before the operas were deemed acceptable.  Verdi has been variably associated with the Risorgimento, and his name was adopted as an acronym for Vittorio Emanuele Re D'Italia.  Following the unification of Italy, he served briefly as a member of the Chamber of Deputies, and was named a Senator of the Kingdom.
Verdi's music was greatly influenced by Bellini, Donizetti, Rossini, and Meyerbeer, but he succeeded in creating a sound that was entirely his own.  Unlike many of his contemporaries, Verdi avoided any Wagnerian influence in all of his works except Otello.
Here are three examples of Verdi's brilliance, taken from his early, middle, and late career.
We will start with Ildar Abdrazakov as Oberto, from Verdi's first forray into the world of opera.

No discussion of Verdi would be complete without the Brindisi from La Traviata, so here it is with that Titan among tenors, Placido Domingo.

Okay, I lied.  I will actually be sharing two examples from Verdi's middle career.  I just couldn't bring myself to write about Verdi without including one of the greatest Verdi baritones, Dmitri Hvorostovsky, singing one of Verdi's greatest baritone roles.  Now I agonized over whether to use Il Trovatore or Rigoletto, and Rigoletto almost won, but (I'm sure I've said this before) Il Trovatore is my very favorite, so how could I not choose it?  Anyway, here is Dmitri Hvorostovsky singing the duet from Act IV with Sondra Radvanovsky.

And here is Verdi's late triumph, Otello, sung by the brilliant duo, Placido Domingo and Sherrill Milnes.  Oh, and nice pants, Sherrill.

Okay, okay, I know I said only three videos, and I know I already added a fourth, but after all, I did say that I would include some works that were not so well-known.  So here is Dmitri Hvorostovsky (again) in I Masnadieri.

And on that note, I bid you all good night.  Until next time!

Opera of the week (or two) club

Ladies and gentlemen, today we are going to try something new.  I have partnered up with Opera Guy to bring you an exciting new way to explore the world of opera.  Opera Guy locates rare and hard-to-find recordings on vinyl and uploads them to his website.  Once a week (or two, depending on how it goes) I will post a link to the featured recording and another to a post on Opera Oregon's Facebook page.  I will try to post a synopsis or a link to a libretto for each opera.  Once we have listened to it, we will open up discussions.  Feel free to talk about whatever you want: the recording, the singers, even the opera itself or its composer!  Once I can figure out how to get chat working, we will try designating a time for anyone who is able to listen together and discuss live.  But in the meantime,  here is our first recording!

This week, we will be listening to Pietro Mascagni's Cavalleria Rusticana, starring Renata Tebaldi, Jussi Bjoerling, and Ettore Bastianini.  You can find the libretto here, and our discussion here.  Happy listening, and let's have some fun with this!

  

Hello, Oregon! Let's start the new opera season together!

Welcome to Opera Oregon.  Since this is my first post, I will take a moment to introduce myself.  I have just returned to Eugene after spending fifteen long years on the East Coast.  Most recently I lived in Florida, where, over the past year, I put a small bit of time into writing a local opera blog, South Florida Opera Scene.  I reviewed local performances and the occasional cinema broadcast, and I explored various artists and composers.  I discussed various methods of bringing opera to new audiences, and sometimes I just picked a random opera-related topic to talk about.
But that was there, and this is here.  It's time for a new blog, with a new focus, and...  Oh, who am I kidding?  I'm sticking with the same general ideas.  Only now, obviously, I will be taking note of everything operatic the Beaver State (clearly nicknamed by someone who doesn't live in Eugene) has to offer.  Over the next few days, I will be expanding on the site and compiling a calendar of all upcoming performances.

In the meantime, TONIGHT IS OPENING NIGHT AT THE MET!!!  You know, at the MET!!!  The season will be starting with L’Elisir d’Amore, and will be starring Anna Netrebko and Matthew Polenzani.  And we'll get to listen to it LIVE!  It will be streamed on the Met's website with pre-show commentary starting at 3:30 Oregon time.  It will also be available on SiriusXM Channel 74, and there will be backstage coverage on Twitter with the hashtag #MetON.  Oh, and if that's not enough, Alex Trebek will be getting in on the fun with Clues From the Met on Jeopardy!  So sit back, relax, and enjoy, and get ready for a season full of opera!