ALERT: Today is Veterans Day. What piece of classical music should be played to mark the event? The Ear suggests the War Requiem by Benjamin Britten. Leave your choice in the COMMENT section.
By Jacob Stockinger
Today’s post features a guest review of Madison Opera’s “Romeo and Juliet” by Larry Wells. Wells has been enjoying opera since he was a youngster. He subscribed to the San Francisco Opera for nearly 20 years, where he last saw “Romeo and Juliet,” sung by Alfredo Kraus and Ruth Ann Swenson.
More recently he lived in Tokyo and attended many memorable performances there over nearly 20 years. These included Richard Strauss rarities such as “Die Ägyptische Helena” and “Die Liebe der Danae” as well as the world’s strangest Ring Cycle by Richard Wagner and a space-age production of Puccini’s “Turandot,” featuring Alessandra Marc singing “In questa reggia” while encased in an inverted cone.
By Larry Wells
Last Sunday’s matinee performance of Charles Gounod’s “Romeo and Juliet” by Madison Opera at the Overture Center was a feast for the eyes. The costumes, sets, lighting and staging were consistently arresting. (Performance photos are by James Gill.)
But we go to the opera for music and drama.
The tragedy of Romeo and Juliet is well known. Gounod’s opera substitutes the tragedy with melodrama, and therein lies one of the work’s flaws. Despite sword fights, posturings and threats as well as one of opera’s lengthiest death scenes, one leaves the theater thinking that a vast amount of theatrical resources have been squandered on something insubstantial.
However, despite its dramatic flaws, the opera’s music has somehow endured. And Sunday’s performance milked the most out of the music that could have been expected.
The star of the show was the Madison Symphony Orchestra under the expert direction of Maestro John DeMain (below). He knows how to pace a performance, how to build an exciting climax and how to highlight a solo instrument.
He is an incredibly intelligent conductor, and we are fortunate to have him in Madison. I want to make special mention of the beautiful harp playing, which, according to the program, was accomplished by Jenny DeRoche.
The second star on the stage was the Madison Opera Chorus (below). The chorus plays a significant part in many of the opera’s scenes, and the singing was stirring when it needed to be and tender when it was called for.
As for the soloists, highest praise must go to UW-Madison alumna soprano Emily Birsan (below right) for her portrayal of Juliet. Her solo arias, particularly her big number in the first act as well as her subsequent lament, were stunning.
Her Romeo, tenor John Irvin (below left), sounded a little forced during his forte moments, but he sang magnificently in his quiet farewell to Juliet after their balcony scene. (You can hear the famous balcony scene, sung by Roberto Alagna and Angela Gheorghiu in the YouTube video at the bottom.)
Their voices blended beautifully in the opera’s multiple duets. And the wedding quartet, where they were joined by Allisanne Apple’s nurse (below, rear right) and Liam Moran’s Friar Lawrence (below, middle center), was a highlight of the performance.
The opera abounds with minor characters, all of which were ably portrayed. Special mention should be made of Stephanie Lauricella (below, far right) for her fantastic moments as Romeo’s page; Madison’s Allisanne Apple for her amusing portrayal of Juliet’s nurse Gertrude; Sidney Outlaw (below, second from left) as a robust Mercutio; and Philip Skinner as a powerful Lord Capulet.
I have wondered why this opera is still performed. Its music is lovely but unmemorable, and its dramatic impact is tenuous.
I left the performance thinking that it had been a good afternoon at the theater – certainly more interesting than the Packers’ game – but wishing that one of a couple dozen more meaty operas had been performed in its place.
Since we are celebrating the 400th anniversary of the death of Shakespeare, how much more interesting would have been Benjamin Britten’s “Midsummer Night’s Dream”?
By Jacob Stockinger
Few villains in opera are as villainous and hated by audiences as Baron Scarpia in Giacomo Puccini’s ever popular “Tosca.” (At bottom is a very popular YouTube video with over one million hits, that features soprano Angela Gheorghiu singing the opera’s most famous aria, done by Tosca, “Vissi d’arte, vissi d’amor” (I lived for art, I lived for love).
So The Ear thought it might be interesting and informative to ask baritone Nmon Ford what it takes to play a good villain on stage. He plays Scarpia, who tortures and kills for love, in this weekend’s two performances of the Madison Opera’s production of “Tosca.” (Below is a YouTube video of the “Te Deum” aria from “Tosca” that Ford sang at the Madison Opera’s “Opera in the Park” preview last July.)
Performances are in Overture Hall at the Overture Center on this Friday night at 8 p.m. and this Sunday afternoon at 2:30 p.m. “Tosca” will be sung in Italian with English surtitles. Maestro John DeMain will conduct members of the Madison Symphony Orchestra. The stage director is A. Scott Parry, who returns to the same company where he directed acclaimed productions of Philip Glass’ “Galileo” and Mozart’s “The Marriage of Figaro.”
Soprano Melody Moore sings the title role of Tosca, and tenor Scott Piper sings the role of her lover Mario Cavaradossi.
Tickets are $18-$121. Call the Overture Center box office at (608) 258-4141 for information and reservations. The show runs 2 hours 45 minutes with two intermissions. For more information about the production and the entire opera season, visit:
It is a special production as it will also give Madison audiences their first chance to sample Madison Opera’s general director Kathryn Smith in her first foray here into Puccini, one of the great staples of the opera repertoire.
The handsome articulate and charismatic Nmon Ford (below) – whose robust and unabashed physicality is featured regularly on the blog “BariHunks” — generously gave The Ear an email interview that comes after a link to his own website with details of his biography and career:
What is it like to play The Bad Guy or The Villain? What is the best part and what is the least favorable part of playing such a role, the part you like and the part you dislike?
It’s a great deal of fun because I gravitate toward proactive characters that energize plot development, which the Bad Guy generally does. He’s usually the source of conflict, and therefore the source of forward motion in the story.
The best part is that the roles are written to reflect this sort of dramatic propulsion, which makes them vocally and dramatically more substantial; there’s more meat on the bones, so to speak.
Since villains normally aren’t constrained by rules, the roles themselves involve more freedom of interpretation, whereas a romantic lead is pretty much onstage the way he is the book, script, play, or score.
Moreover, my personal sense of justice is always served since most villains end up dead by the end of the opera, so I feel even more liberated to take their evil natures as far outside the box as possible.
The worst part is … well, as long as the role is reasonably well-written, there really isn’t a bad part.
Are there other singers or stars whose bad guys you admire? Do you have a special personal take on Scarpia for this production?
Joe Morton (Eli Pope) in the TV series “Scandal.” He’s clearly in it to win it; I see an Emmy in his future.
I see Scarpia the way he’s described in Sardou’s play: elegant, cultured and extraordinarily dangerous. Unless both his class and his depravity are represented, he becomes a boring caricature rather than the multifaceted figure he is.
For you, how does Scarpia compare to specific famous villains in opera? Have you played others and do you have favorites to sing or to listen to?
I’ve sung Iago, Tonio, Emperor Jones, Wotan, Macbeth (below, for the Long Beach Opera) and Don Giovanni. (The last three may not fit everyone’s definition of a villain, but they are definitely not good guys in my book.)
The main difference between Scarpia and other villains I’ve sung is that he makes no effort to disguise his nature; in fact, he’s a proud bully and everyone knows it. The other characters try to maintain at least a patina of decency, except for Wotan and Emperor Jones. So far, my favorite is either Iago or Scarpia, with Wotan a close third for his gorgeous music.
Are there secrets or tricks to making such a portrayal convincing and effective musically and dramatically?
My number one rule is “never settle”: however ruthless, mean, melancholy, violent, calculating or obsessed the character is on paper, that’s exactly what goes onstage. It’s not my job to make excuses for them, so I don’t.
I embody these characters as “anti-heroes,” rather than villains. They often possess the same traits as heroes — commitment, strength, drive, passion — but they’re dealing with some sort of internal psychological structure or conflict that renders them morally ambivalent.
One thing I always do — it’s just my thing — is to find something funny in any role I play, no matter what it is. Whether it’s intentionally or unintentionally comical, it’s my benchmark for the role’s humanity. (Below is an informal portrait of Nmon Ford by Guy Madmoni.)
Are there contemporary or modern real-life figures whom Scarpia represents -– perhaps Vladimir Putin or Adolf Hitler, Idi Amin or Saddam Hussein, Josef Stalin or Pol Pot?
Offhand, I can’t think of anybody whose behavior is sufficiently both violent and psychosexual to qualify.
Is there anything else you would like to say?
Come see the show. It’s gonna be GOOD!