Friday, July 25, 2014

Singer Profile: Christine Goerke, Soprano

You'll recalled I raved about the Glimmerglass production of Ariadne in Naxos. Once again the kind PR Diva at Glimmerglass has arranged for me to talk with a star of that production, Christine Goerke. Here is some of what we talked about.

Photo: Arielle Doneson
I loved Ariadne in Naxos. I loved the way you poked fun at the the Prima Donna character.
When do we get the opportunity to do that? Particularly in my rep! If I'm not killing my mother, I'm sleeping in a ring of fire. That's not as much fun as it seems.

I also saw Die Frau ohne Schatten at the Met. I was amazed at your sound there.
For a long time I tried really hard to just hold it all back. I had this idea in my head that there's an age when you're supposed to start singing my rep (dramatic soprano roles), and I was not yet that age. I was working so hard to reign everything in, and sing the repertoire that I thought was “safe”, but that is the most unsafe thing to do--to sing the wrong repertoire. It was a great relief to me to learn it's OK to have a big sound. I don't have to pretend to be something else.

Is is difficult going from a house the size of the Met to one the size of Glimmerglass?
I was terrified! I thought I would blow the doors off this place! I wouldn't be able to balance my cast! I'm very sensitive to what's going on around me, and that desire to balance what I hearing around me is sometime a help and sometimes a hindrance.

Christine Goerke as Ariadne
Photo: Karli Cadel/The Glimmerglass Festival
It's been great here because we have some big-voiced Young Artists. So it's been a really good experience to find my way of singing with my voice in this house. I had an opportunity to try out some really new things, and I learned to sing as quietly as I could without coming off of my sound, because of the size of the theater, because of my colleagues. I'm really happy with the opportunity to be in a house this size. It's not 4000 seats. I don't have to put out sound all the time. That was a bit of a gift for me.

How is it working with the Young Artists?
When I was a Young Artist here, I remember really wanting to suck every drop of information and insight out of everyone here, and that's how these Young Artists are. It's cool to be a part of that again. The first day I had a little breakfast meeting with all of them, and I said, “Ask me anything, and I will be completely honest about anything in the business. You might not like the answers, but I will tell you.” I thought that would be the most useful thing I could possibly do for them.

I was so impressed with American Tragedy (which was cast almost entirely with Young Artists)
I know! And that's not an easy score! The vocal writing is difficult, the tessitura is difficult! The part of Roberta is so high! C#s? Really? And Vanessa (Isiguen, who sang the role) does it like it's a piece of cake.

Not only are these kids fabulous vocally, but they're also all great on stage! I don't know that I had that kind of stage savvy at that age. That's a remarkable thing that I'm seeing this summer.

You say there are some big-voiced girls here?
Christine Goerke as Ariadne and Corey Bix as Bacchus 
Photo: Karli Cadel/The Glimmerglass Festival
We've got some big-voiced girls here and some big-voiced guys here. It's cool. This is the age where people are trying to find their way. Chances are at 25 or 26 it's not quite time to transition to dramatic rep yet. It's really great to have the conversations and to figure out what they do well right now. For all voices, they need to really trust the ears of their teachers and coaches--and they to learn which ones to trust, because they might hear conflicting opinions. It's been really very cool to be a part of that, if even for two months.

Tell me about being Heldenmommy (Christine's Twitter handle--translated literally, heroic mommy).
I wouldn't trade it for anything. Those two girls (5 and 7) are what I'm most proud of in this life, and I'm honored to be their mom. I get things wrong like every parent does, but I love 'em and they enhance my life more than they could possibly know.

I am really blessed and really busy. My kids have been with me all summer. We've been having a great time because it's stunningly beautiful here! They're having so much fun, and they want me to be a part of it. You know, they don't want us to be a part of things for very long. They're 5 and 7 and they still want me. Pretty soon they'll be teenagers and I won't know anything, so I'm trying to grab every moment.

How much time do you have to spend away from them on the road?
My husband and I talk about every single offer, and my manager is amazing, and understands how important it is to be with my kids. We try to keep my big travel during the school year. It's not any easier to be away from them, but the kids have a set schedule, and they're doing stuff during the week, and Dad's home all day on the weekends. Summers, I try to do things where I am away for a shorter period of time, or I can bring them with me. I try to keep my Europe gigs together, so it's one big stint but then I'm home.

It's tough. It's what every working parent goes through. But we talk about everything and we somehow manage to do it. The girls understand that when I go away, I'm coming home. It takes work, but it's worth it. It's so worth it!

How often do you add a new role?
That is trickier now that I have kids. And adding a Strauss or Wagner role is not like adding a Mozart role. All of the stuff I do now is through-composed—no repetition of text. I have to be able to dedicate three months--not necessarily immediately beforehand, but I still need that time to be able to do the work. I work on the language first, then I have to work on the music, then there's memorization time.

Text always comes first. I can't do anything until I know exactly what I'm saying. Then I go to the music and figure out how the composer wanted to say it. Then I come to a compromise between what he wanted to say and what I want to say. Then I write all of the text down. There's something about putting pen to paper and writing text out that helps me. Then I might look at DVDs or listen to audio recordings of the work, and see how people get from point A to point B—that cements everything for me.

I feel like I have to walk in on the first day of rehearsals and be ready to do a performance. I know that's not necessarily the idea—they are rehearsals—but I feel uncomfortable if I don't start there. I'll start out with my own ideas and work with director and conductor and other cast members, and my ideas will change. But I start in a place where I have the ability to change things on a dime, and that doesn't waste time.

Talk more about the vocal transition you've experienced.
When I was singing the Mozart and Handel roles, my focus, my resonance was very high, very light. That is great—it allows singers to sing very high and very fast. But as my voice was growing in size, it became more difficult to sing that way. I started having problems because I was doing unhealthy things to preserve a voice that was no longer my own. I finally realized that what had worked so well for fifteen years wasn't wrong at all, but I was only using part of my voice. The minute I relaxed and breathed and allowed my voice to be itself, the vocal color changed, the voice size changed. It was as easy as discovering where the rest of my voice was. It sounds simplistic, but it really was that.

When you made that change, did you have engagements for the former rep that you still had to fulfill?
A few, but then I had about 18 months without much. I was able to really work through the transition.

I'm often asked if it was hard to go out and start auditioning again. I was terrifed! I thought I had to prove to everybody that I wasn't broken. Of course that's not what they were thinking. They only wanted me to succeed. It took me a good six months before I felt like I was able to do good auditions. But I was singing the rep really well, and once word got around, things started to happen.

The Met was amazing. They'd seen this coming when I was 25. They let me cover Elsa, Ariadne, Sieglinde, a lot of roles. I got to be part of the rehearsals and hear the orchestra and hear the singers who were doing this repertoire, and see how it all worked. For me that was a big gift. I was at home, I was with my teacher, I was with all the coaches who knew me and knew my voice, and I was able to get myself going that way. I wish that for everybody who has to make a transition. It was a real gift.

Who is your teacher?
Diana Soviero. [raised eyebrows] Oh yeah! Everybody has that reaction. People are confused because she never did any of my rep. I have coaches for my rep! This woman knows bel canto technique, and that's how you're supposed to sing all music. Diana still sings and still sounds amazing! That's the best validation for my choice.

I'm glad to hear you say that about bel canto technique! People think it's different for German music. 
It's not different! It's a necessity! Everything has to have line, everything has to have support, everything has to have the right attack, everything has to have spin! It's singing!

Do you do the big Italian roles?
We're having conversations about this right now. I do Turandot--I have a bunch of those coming up. We're talking about Fanciulla. We are talking about Forza, but Verdi is tricky for me. A lot of the Verdi soprano roles sit at the top of the staff and go up from there. My voice loves to live in the middle, and sing my high notes, and come back. That's why Eboli (in Don Carlo) is perfect for me. I did Eboli in Houston and in Toulouse.

In brief if there's one thing you'd like to communicate in this profile, what would it be?
Put yourself into your art. Don't try to be perfect! Perfect does not art make! Art is passion, is thrilling, is risk taking, is dangerous, is miraculous! And if you don't take chances, none of that will happen. I have said so many times, “That was so beautiful, but I don't care. Do it again, and it doesn't matter if you crack or say the wrong word—just be an artist!” I would rather hear a performer throw her heart into something and crack five times than to have her sing something perfectly with no passion. To me that's boring. I have to remind the Young Artists always that they have permission to be themselves. Everybody brings something really cool to the table. Why not really shine with what you have?

Thursday, July 24, 2014

Francesca Zambello, part II

In part 1 of my interview with Francesca Zambello, we talked about running an opera company. In this part, we talk about specific productions and other topics.

Photo: Clair McAdams
There was a profile associated with your Covent Garden Carmen where you discussed how important it is to be period specific and give a good sense of the time. Yet that was the same year you did an updated Aida at Glimmerglass (2012).
I think with Carmen it's important to make clear that she is not only outside of society, but she's also an outsider within her own community. She's not just a Gypsy--she's even farther out. But she still has this magnetism. Not just sexually. Everyone is fascinated.

Aida is about racial conflict--not black and white, but about two nations against each other and within themselves.It's about civil conflict and warring nations. The King and Amonasro are heads of warring tribes.

I think we made people realize that Aida is really a story that is going on right now. Insurgence in Syria. Afghanistan. It's the same story, right? Somebody proclaims himself king and is king for a day, and then somebody else is king. It's not like there are free elections in any of these places.

Carmen is an enigmatic character. Enigmatic characters are the most difficult to portray, but the ones everyone is most interested in. Many times audiences find Micaela and Liu more sympathetic, but Turandot and Carmen are the enigmatic women. Difficult to penetrate.

And you wouldn't have an opera about Liu.
Everything has to come from character. Narrative has to come from character--character can't come from narrative. What's Liu's conflict? Liu just wants the guy. That's all she wants for the whole show. Turandot changes. Liu doesn't change.

What goes into the decision about updating or keeping the opera in the time?
Each production is different. You work with your designers and you determine what is the best world or environment to tell the story. I don't arbitrarily think, “Let's set that in the 20s!” I think that's silly. If it leads you in your discussion with the set and costume designer and choreographer to a place where you think that will serve the piece, that's your decision. 

It's no secret we're doing an updated Ariadne here. I was very inspired by the conflict of Ariande, which is basically high art vs. pop culture. That's a pretty contemporary question. And I also have always loved the fact that central New York has all these cities with names like Syracuse, Utica, Ithaca, so I thought why isn't Naxos here? The estate of "the richest man in Vienna” could be like any estate up here. It's not like I thought, oh, let's make it contemporary. I thought, it's so important today that people realize there are the patrons, and there are the other people, and how do we all mix together?

But I'm just as interested in a period piece. Butterfly is really very period. It's set partially in the American consulate, but still in Nagasaki at the turn of the century. I'm working on Candide for next year, and I'm setting it right in the middle of the Enlightenment. I don't think, "Let's update this piece." I think, "How can I best tell this story? What are the visual cues that will help the audience? How will the characters relate? Who is that character going to be?" For me it's all got to start with the people. Once you get the people right, you'll get the world right around them.

It doesn't have to be totally representational. We're doing Dialogues of the Carmelites this year in Washington, and of course I've set it totally period. The setting is abstract. It doesn't look like France at the end of the 18th century--it's just some spaces. But the clothing is very period.

Sometimes I teach classes, and young directors say to me, "I'm going to set it in ...." That might be an interesting idea, but first let's start where the composer wanted to set it. Let's understand that world, socially, politically, visually. And when you know those things, then you can find parallels in other worlds. For example, I was teaching a class in The Marriage of Figaro, and I asked them how many people really know about the French Revolution? How many people really understand what was going on? What is the droit du seigneur?  What was happening in art when Mozart wrote this piece? What was happening in Vienna? What was happening in Prague? Why was he traveling between those two places? If they can't answer these questions, I don't want to hear about their plan to set it on a tennis court. That's not informing the work. It's putting a frame around it, instead of getting the canvas out.

You're doing a Vivaldi opera next season. You presented a Lully opera in 2012. How do you balance the need to sell tickets with your responsibility to serve the art?
It's a difficult question. When you do an lesser-known opera you really have to streamline it. Get it out there, let people hear it, but you can't do huge productions of those works.  Producing a rarity like Bianca e Falliero today (she directed the US premiere of Rossini's redicovered opera in 1987—we'd discussed it earlier because I was in the chorus of that production) would be extremely difficult to justify economically, whereas something like Madama Butterfly will not only sell tickets but also be rented to other companies as a production. Opera companies can't do those shows unless they have a huge repertory, unless they're doing ten shows. 

You have a long list of honors and accolades. One of DC's most powerful women! One of the ten most powerful women in music! I hope you'll use your powers for good!

I feel a responsibility now to do that. One of the great things about running a company is that it's not just about me. It's about all of us. It's hard, but it's satisfying, because I'm passionate about it. I wouldn't be doing this if I wasn't passionate about it. I feel fortunate to be someone doing something I deeply love.

Wednesday, July 23, 2014

Madama Butterfly at Glimmerglass

Dinyar Vania as Lieutenant B.F. Pinkerton and
Yunah Lee as Cio-Cio-San
Photo: Karli Cadel/The Glimmerglass Festival
On Monday, July 21, I saw the second performance of Madama Butterfly at the Glimmerglass Festival. Another triumph, another visually stunning show, more great performances. I'm running out of accolades to use when describing what I see at Glimmerglass. With Michael Yeargen's sets, Robert Wierzel's lighting, and Anita Yavitch's costumes, all the visual elements combined effectively to create a strikingly beautiful and fluid effect.

Director Francesca Zambello has set some scenes in the American consulate in Nagasaki instead of Cio-Cio-San's house, the original setting. The intent was to place additional focus on Cio-Cio San's outsider status both in her own community and in the community of Americans in Nagasaki. Yes, that intention was met, with the additional bonus of showing how common it was for Japanese women to have half-American babies and seek aid from the consulate, but I can't say it added much to the opera for me. In fact, I wound up wondering why all these American women were working in an American office in Nagasaki. Wouldn't any American woman in Nagasaki at that time be there because of her husband, and not be working outside the home? And wouldn't any single American woman be unlikely to find herself in Nagasaki?

Aleksey Bogdanov as Sharpless (center) 
Photo: Karli Cadel/The Glimmerglass Festival
No matter. Back to the superlatives. A shining cast of young guest artists and Glimmerglass Young Artists brought the opera to life. Yunah Lee and Dinyar Vania have sung Cio-Cio San and Pinkerton before many times, and proved they have the vocal goods, particularly as the afternoon warmed up and so did their voices. They were at their best vocally and dramatically in the last act, which we all know is devastating. Kristen Choi was a very effective Suzuki, and Aleksey Bogdanov was also a good Sharpless. Both are thankless roles that require excellent singing and acting. Sharpless in particular does a lot of listening, and must react to what he's told.

As usual, smaller roles were fulfilled by members of the Glimmerglass Young Artists Program. Ian McEuen in particular deserves praise for his Goro.

Madama Butterfly runs through August 23 at Glimmerglass. Once again, I recommend this show.

P.S. I saw the next performance of Madama Butterfly on Thursday, July 24. Much, much better performances vocally and dramatically from all. I didn't mention it before, but I think the fact Monday's show was a matinee had an effect on the singing.

One single concept still irks me--using the US consulate instead of Cio-Cio-San's house for some scenes. So some of the chorus music is sung by people in 1904 American garb, instead of people from Cio-Cio-Sa's own community. The text makes more sense to my feeble mind if it comes from her community--mocking her naive pride, berating her for abandoning her own traditions to adopt American ways, etc.





Tuesday, July 22, 2014

Singer Profile: Corey Bix, Tenor

I heard the excellent Corey Bix sing Bacchus at the Glimmerglass Festival's opening of Ariadne auf Naxos on Saturday. The kind PR Diva at Glimmerglass arranged for me to spend some time in conversation with Corey, and here is some of what we talked about.

Photo: Arturo Everitt
You took a look at the questions I usually ask when I do this by email. Is there anything you would like to convey to my readers?
A lot of your questions were well directed. As I think about where I am today, I especially like the questions about working with younger singers. I have been fortunate enough to be fostered by singers with great careers. I was a winner of the George London competition, and Nora London really took a big chance on me and sent me to Vienna. I started working with Hilde Zadek, who was a very well known soprano of her generation. I also worked with Thomas Stewart and Evelyn Lear while they were alive, and Johan Botha while he was alive. All of them gave a lot to me, and all talked about continuing to pass that down to younger singers. I feel like that's a responsibility.

I don't know if I'm at the level yet to be passing everything down like they did, but it was a very big thing for me. Here they have a mentorship program, and I had mentors when I was here [as a Young Artist]. They were obviously established singers. Even if we aren't singers with 50-year careers, the knowledge we have from living in this career is very beneficial to young singers. It's nice to be able to share that.

So while you've been here you've been able to take some of the Young Artists under your wing?
I will be doing that. We've been busy with rehearsals to this point. We had a mentor dinner, and they asked us so many questions! Things I don't know the answers to! There are not a lot of perfect answers to questions, particularly in our field. “What's one thing you wish you would have known going into this career?”

Just one? (laughing)
Francesca said it best at a recent breakfast: This is a hard career, and it's going to get harder. A lot of people think that when they are done with school the career will happen. Often young singers come from college or conservatories with the idea that a career will be handed to them.

Christine Goerke as Ariadne and Corey Bix as Bacchus
Photo: Karli Cadel/The Glimmerglass Festival
I was very fortunate. I was a member of the Des Moines Metro Opera young artist program in undergrad, and then Glimmerglass Young Artists Program, and then Santa Fe. And when I left Santa Fe, I thought a career would be handed to me. That didn't happen. I'm a different voice. I wasn't going to leave a young artist program at 25 and start doing the roles that I sing. For me that was an adventure. I had to learn to be patient and keep going.

What did you sing at 25?
At 25 I was singing Walther's Prize Song and I'd had my first look at Bacchus, but certainly wasn't singing the role. My audition package was Tamino and Lensky and Vanessa or some other obscure English aria—or Rape of Lucretia a lot. Lyric/italiensich rep.

People from early on told me I'd have the dramatic voice I have now, but who knew what to do with that? That was the adventure as well. People would tell me to wait, but what to do while I wait? So it was fortunate I won the London Competition, and I met Evelyn Lear and Thomas Stewart, and they told me, “You're going to have to wait. We've all sung with people who sang what you sing, and they waited.” It's different now. In the 70s everybody sang everything, and you could have a big-voiced Tamino, but not now. Not even Europe. European houses used hire a big-voiced tenor “Fest”, but now it's easier to hire them as guest artists for individual productions than to have them around all season for two roles.

I loved hearing you sing Bacchus. You have this really free sound and so many people in your fach don't!
I've always had a voice that sits high. I've had to work hard to get the depth into my voice. I have a great teacher in Houston, Stephen King. I also have a great coach in New York. I first sang Bacchus in 2009, and it has become easier over the years. It's definitely a role I've had to grow into.

I've had to resist listening to recordings. What young dramatic tenor doesn't want to sound like James King? You have to sing with your own voice, but you can take inspiration from the artistry of people like James King or Jess Thomas or Max Lorenz. I love Johan Botha. Young Ben Heppner. I'm not into the baritonal, heavy heldentenor sound.

Hilde Zadek sang in the Wiener Stadtsoper when it reopened after WWII, so she sang with some of the greats. I used to sit around the table with her and people like Christa Ludwig, and we talked about the differences in voices like mine in Europe and in the US. There is less of the pushed sound in Europe. I think it's the size of the opera houses. Ariadne is perfect for this size opera house (Glimmerglass). Most opera houses in Europe are not large.

When did you start transitioning from the lighter rep into what you do now?
I started in transitioning toward more German repertoire in my first and second year in Florida, so 2005 and 2006, I think. I had a great coach in Florida—Scott Gilmore, who is now in Chicago at Roosevelt. He had worked in a lot of European houses. He thought it was worth looking into at that time. We looked at Meistersinger and Frieschütz, a lot of Mahler and Strauss songs. I did two song recitals that were all German Lieder while I was there. We decided that was the direction to go.

Do you still do any Italian rep?
I haven't done any Italian roles yet in my fach, but I'd like to try it out. I'd like to do more French, too. I've sung Don Jose a couple of times. I'd like to do some of the Verdi, but I don't want to jump into it too crazily. It is a different beast. And Italian doesn't roll of my tongue as easily as it does for some.

But it sounds like German does.
Because I've spent a lot of time in Germany and Switzerland and Austria. I can hear it. I don't speak it fluently—I'm working on that.

How much of your time do you spend in Europe?
Three years ago it was 90% of my time. Now I spend more time in the US. I miss being over there, but when there I miss being home. But the benefit is that I have friends in every part of the world, and if I got stuck anywhere for a holiday, I wouldn't be alone. And I've seen the world. I sang Oedipus in the ancient theater of Delphi. I sang in Savonlinna, Finland. I sang Ariadne in Vienna, which was cool. There are benefits of both sides, and I miss Europe. I need to get the European career going again.

Do you have separate US and European representation?
When I went over in 2008 to Vienna, I auditioned the second day and immediately had a manager there. He died two years later, and while I'm still with the organization, I need get working on making more things happen. I also have representation in the US with ties to Europe, but you need a manager who is there. Like anyone in this business, they trust people they know, so I need people on the ground there, doing the work for me.

How many new roles a year are you doing?
Currently I don't have to do a lot of new roles. My first year in Europe I did four new roles. Rusalka, Arabella, Ariadne, and I think I was learning Meistersinger at the same time.

What's your process for learning a role?
I'll usually start with translating the text, finding out if there is a historical or literary basis I can use to learn about my character—and my own ideas can always change when I start working with the director. Then I work at figuring out the direction of the spoken phrase, so that I can have that in my singing phrase. I take it to my teacher, and I record all my lessons on my iPhone or iPad, so I always have that to refer back to. I played piano from the age of six, so learning a role musically takes about two days. I can always play for myself, which is nice. I like to have a lot of lessons, to make sure that I'm working it into my voice and staying grounded. Because I've worked so much in Germany and Austria, I feel like I need fewer coachings in style than lessons in singing the role well with my voice. Since most of the German operas are so text-based, as long as I have that structure, it's easy to fit into the music.

Most successful singers I talk to say they've never had bad teaching to overcome. Is that you as well?
This might sound bizarre, but I think one of the best things about the Young Artists programs I've done is the visiting teachers. A different teacher every two weeks. Every teacher has his own way of teaching, his own “technique”. No teacher is right for everyone. I learned a lot from the teachers who weren't right for me, in figuring out why, and in working to keep or regain what was working for me before meeting these teachers. One thing I learned quickly is to just let go of a teacher who doesn't fit me.

At this point we had to conclude our interview to go to an excellent concert of Glimmerglass Young Artists.

Sunday, July 20, 2014

Tobias Picker's An American Tragedy at Glimmerglass

There's a reason your intrepid reporter calls himself a bel canto bear. I am not well versed or trained in anything newer than Britten or Poulenc, and that's a stretch. For the most part, I have 19th-century ears. I am not an expert in new music and won't evaluate the musical merits of the opera I saw open at Glimmerglass today, popular current composer Tobias Picker's An American Tragedy, based on the novel by Mr. Dreiser. I am qualified to tell you, however, that it was a moving and intense experience of music theater that I highly recommend.

Christian Bowers as Clyde
and Vanessa Isiguen as Roberta
Photo: Jessica Krayl/
The Glimmerglass Festival
Most should be familiar with the plot of the novel. Ambitious social climber Clyde Griffiths becomes entangled with a factory girl and a socialite. The factory girl becomes pregnant and demands marriage. Clyde considers murder but can't go through with it, but the girl dies in an accident that implicates him, and he's convicted of her murder anyway. An article in the program leaves us to wonder whether the tragedy in the title is the fates of the characters or the economic and social system that brought about those fates.

In spite of my claims above, there were moments I found musically very effective. The church scene, with tenor John Kapusta as the pastor, was very moving and beautiful. There were trio scenes in which the factory girl Roberta and the socialite Sondra sang in parallel lines or unison, regardless of which girl was with Clyde at the moment. In fact, there was a scene in which the lad literally walked across the stage from one to another and back, drawn to both, as the two women sang similar texts in this fashion. Roberta's monologue that opens Act II was quite satisfying, growing in intensity as Roberta's desperation for word from Clyde grows. I also quite liked the chorus of factory women that opened the show.

Cynthia Cook as Sondra
and Christian Bowers as Clyde
Photo: Karli Cadel/
The Glimmerglass Festival
With the exception of an excellent cameo by Patricia Schuman as Clyde's mother, the entire cast is comprised of Glimmerglass Young Artists, all of them excellent singers and musicians. Clyde was played with secure acting, solid singing, and very nice legs by baritone Christian Bowers. We began to see the change that desperation and fear bring about in him when he learns that Roberta is pregnant. This young man has the goods to portray the central character of a full length opera, and indeed he was in nearly every scene.

Vanessa Isiguen sang the fiendishly high and difficult role of Roberta Alden easily, and acted the young girl seduced and then turned more and more desperate effectively.  Cynthia Cook sang and acted Sondra Finchley beautifully. We saw her soften from the cynical young girl who thinks she is worldly to the young woman in love.

Tremendous applause is due to the design team, for yet again Glimmerglass has produced a visually stunning show. The constant presence above everyone's head of shirts (set design by Alexander Dodge) made clear the presence of the factory in the lives of everyone, regardless of high or low station. (I do wonder whether the use of a crucifix in the church scene instead of an unadorned cross was a misstep, since the congregation seemed to be Protestant.) The lighting by Robert Wierzel was quite effective. Period costume and  hair/makeup by Anya Klepikov and Anne Ford-Coates were beautiful and perfectly appropriate for what this blogger knows of the period.

Conductor George Manahan led the orchestra and ensemble in the difficult score while also encouraging beautiful phrasing and shaping.  Director Peter Kazaras kept traffic moving well and had many clever ideas.

An American Tragedy runs at the Glimmerglass Festival through August 24. I highly recommend it.


Christian Bowers as Clyde Griffiths
Photo: Karli Cadel/The Glimmerglass Festival

An unhappy diva is sad to see!

I have made public before today my opinions on updating operas from the time they were intended to the current time, or from a remote past to a less remote past. I have stated that the usual intended purpose--to clarify social roles and power structures--is usually not met successfully. I have stated that attention to period detail--or worse yet, inattention to period detail--can provide more distraction than clarification.

Christine Goerke as the Prima Donna
Photo: Karli Cadel/The Glimmerglass Festival.
Disregard all that. The opening of the Glimmerglass Festival's production of Ariadne auf Naxos--rather, Ariadne in Naxos--provided insight aplenty and many, many sensory pleasures! As Francesca Zambello stated when I spoke to her recently, why shouldn't this extravagant entertainment be thrown as part of some house party at one of the many grand estates in New York? New York has an Ithaca, a Syracuse, a Utica--why not a Naxos? Think Rockefeller instead of Esterhazy. I believe in this case the update worked!

Ariadne auf Naxos is already a silly story, but often the comedy is not clear enough. This new English version by Kelly Rourke made sense out of what has always seemed to me to be a chaotic Act I. The richest man in Vienna (or Cooperstown?) has arranged for an evening's entertainment to include both a new opera and a popular song and dance troupe. The fact the evening's entertainment includes both is appalling enough, but, in the interest of finishing the entertainments in time to see the scheduled fireworks display, the assembled parties are instructed to combine the two so that the patron will be satisfied in seeing both contracts fulfilled. (I was still thinking in legal terms after Justice Ruth Bader Ginsburg's program that afternoon.) Act II is the combined opera seria of the serious young Composer we met in Act I with the commedia dell'arte-inspired song and dance act.

Beth Lytwynec as Dryad, Jeni Houser as Naiad,
Jacqueline Echols as Echo and Catherine Martin as Composer 
Photo: Karli Cadel/The Glimmerglass Festival.
Updating the story to what could be today at a grand estate in upstate or central New York worked for me. The diva behavior of the Prima Donna and the Tenor is timeless. The naive, reckless, idealistic behavior of the Composer is timeless, as well. Making Zerbinetta and her troupe of commedia dell'arte players into a girl singer and her boy-band dancers might be a bit dated already, but that's part of their charm. The Tanzmeister (very well done by John Kapusta) becomes something of a manager for the boy band, and the Musiklehrer (quite nicely performed by Adam Ciofarri) becomes the Composer's agent.

Taking the pants off the Composer, a role always sung by a mezzo pretending to be a naive teenage boy, also makes sense. Catherine Martin acted the naive, young, self absorbed Composer quite effectively, and sang quite beautifully. Her bio lists roles much heavier and lower than those associated with women who sing the Composer, so she deserves additional kudos for successfully negotiating this fiendishly high mezzo role. I liked the directorial touch of having her on stage for much of Act II, although her role is usually considered done at the close of Act I.

Rachele Gilmore as Zerbinetta and
Carlton Ford as Harlequin
Photo: Karli Cadel/The Glimmerglass Festival.
In Act II, when we see the Composer's very, very serious opera (auf Deutsch, to show just how serious!) juxtaposed against the pop sentiments of Zerbinetta's troupe (in American English), we see even more of a payoff. In fact, one of the best moments is when the four dancing boys sing in German, seeming to mock Ariadne's grief.

I can not praise the cast highly enough! Christine Goerke, whom I truly did not praise highly enough when I saw her as the Dyer's Wife in Die Frau ohne Schatten at the Met last spring, was a delight to see and hear as the Prima Donna/Ariadne. Full, luscious tones that were most at home in the huge, Wagnerian phrases of "Es gibt ein Reich" and her final duet with Bacchus. ZOMG, as the young people say! Ms. Goerke has a wonderful sense of humor, and seemed to relish in poking fun at the Prima Donna character. She accompanied quite ably by Beth Lytwynec as Dryad, Jeni Houser as Naiad and Jacqueline Echols as Echo.

As Zerbinetta, Rachele Gilmore brought a sound that grew in beauty through the evening so that her showpiece aria in Act II was not only a delight, but an almost explosive joy! Tiny and beautiful, this young woman made the most out of Zerbinetta's earthy yet idealistic sentiments, while also controlling the four dancing boys portrayed with great charm and wit by Carlton Ford, Gerard Michael D'Emilio, Andrew Penning, and Brian Ross Yeakley. Carlton Ford's Harlekin was especially charming and self absorbed, and Mr. Ford's singing was lovely to hear.

Corey Bix sang the demanding role of Bacchus in glorious, unforced tones. (I have to confess I never find that role very interesting, though.) Musical theater veteran Wynn Harmon seems to have already established himself as a staple of the Glimmerglass stage, and as the Manager of the Estate, he was delightfully arrogant and pretentious.

I have to praise the creative team in the highest terms! Director Francesca Zambello, scenic designer Troy Hourie, costume designer Eric Teague, lighting designer Mark McCullough, choreographer Eric Sean Fogel (whom I've praised before)--the work of all was simply stunning. Conductor Kathleen Kelly brought everything together quite beautifully.

Ariadne in Naxos continues through August 23. Once again, I highly recommend seeing this Glimmerglass show.

Saturday, July 19, 2014

A heroine's welcome, and then some opera

That's a paraphrase of a New York Times headline when James Levine returned briefly to the pit a few years ago to conduct Wozzeck. Today's heroine was Justice Ruth Bader Ginsburg, who was given a well-deserved standing ovation when she was introduced by Francesca Zambello. What followed was a scenes program both charming and moving, with a legal theme. Justice Ginsburg introduced each scene, and provided pithy commentary as well. The scenes were very well performed by members of the Young Artists Program, with pianists David Moody and Kevin Miller. The scenes were staged by Conor Hanratty and Joshua T. Miller. I must say I liked all the singing, and I found the staging of all the scenes effective, but there is neither time nor space to evaluate them all. If I omit names it does not indicate any displeasure at all, for nothing on the program displeased me.

Justice Ginsburg and Francesca Zambello
presented a similar program in 2013
Photo: Karli Cadel, Glimmerglass Opera
One of my favorites scenes was first on the program, the well-known sextet from Act III of Le Nozze di Figaro. In brief, Figaro is trying to wriggle out of a debt to Marcellina that obliges him to marry her, and in the course of arguing over the matter it is discovered Marcellina is really his mother. I especially liked the Susanna of Jasmine Habersham and the Marcellina of Claudia Chapa, as well as the Figaro of Matthew Scollin.

You might recall I recently saw Madison Opera's performance of Jake Heggie's Dead Man Walking, and wrote of how moved I was. Ben Edquist and Courtney Miller presented the confession scene with admirable vocalism and acting. I was in tears the entire scene both from the performance in front of me and the memory of Madison's production. I do wish the excerpt had not ended before Sister Helen offers Joseph God's forgiveness and her own. Pianist David Moody also deserves special mention for this scene's difficult score.

I was charmed and delighted by the excerpt from Derrick Wang's opera Scalia/Ginsburg. Soprano Jacqueline Echols easily moved from full-on coloratura soprano to sultry, jazzy chanteuse and back in this highly amusing pastiche of styles and actual musical quotes from other operas.

Other vocal standouts include Marco Cammarota as Pinkerton in a Madama Butterfly excerpt and Jennifer Root as Leonore in a Fidelio excerpt.