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By Jacob Stockinger
The Opera Guy for this blog – Larry Wells – took in last weekend’s production by the Madison Opera of “Rusalka” and filed the following review. Performance photos are by James Gill.
By Larry Wells
I thoroughly enjoyed attending the Sunday afternoon performance of Antonin Dvorak’s opera “Rusalka” presented by Madison Opera in Overture Hall. Until then I had only heard recordings of this lushly orchestrated work.
The opera is a fairy tale involving a rather dithering water sprite (below right) who does not follow her father’s wise advice not to pursue a mortal prince (below left) and to stick to her own kind. She ignores his advice, and this leads to her eventual unhappiness and to the death of her prince.
That she also becomes mute when in the presence of the prince adds to everyone’s woes, and it seems a peculiar device to have the lead soprano not be able to sing for most of the second act of the opera.
Her inability to communicate naturally leads to the prince’s frustration, and my companion suggested that she could simply have used paper and pencil to communicate. But since she had been brought up in a river, perhaps she never learned to read and write.
Nevertheless, common sense did not seem to inhabit either Rusalka or her prince. As my companion also pointed out, love isn’t always logical.
In any event, the production and the music made up for the libretto’s shortcomings.
The set featured beautiful projections, from the Minnesota Opera, of forest, water and woodlands during the first and third acts.
The second act took place at the prince’s palace. It appeared to be an International Style palace in the manner of architect Mies van de Rohe, which must have also been disconcerting for Rusalka. Nonetheless, the set was very striking and beautifully lit.
Tenor John Lindsey (below top) portrayed the prince and William Meinert (below bottom left, with Emily Birsan) was Rusalka’s father, a water goblin. Both sang well, although Lindsey had the distracting habit of casting his chin and eyes downward as he sang.
But the stage belonged to the women.
Emily Birsan (below) as Rusalka was a study in subtle shadings of her expressive soprano voice (below, singing the famous aria “Song to the Moon”). She is a powerful singer and convincing actress who was engaging to watch and to hear.
Lindsay Ammann (below) as the sorceress Jezibaba was powerful in voice and in her command of the stage. Her third act aria was sensational, and her calling Rusalka a “empty little water bubble” was so apt it made the audience titter.
The villainous Foreign Princess portrayed by Karin Wolverton (below, standing over John Lindsey) seemed to be the only sensible character in the opera. She likewise commanded the stage and displayed a powerful voice with passionate commitment to her role.
Three water sprites – portrayed by Kirsten Larson, Saira Frank and Emily Secor (below, in order from left) – provided Rhine maiden-like commentary and gorgeous vocalizations despite having to wander around the stage at times seeming to be fascinated by twigs.
A shout-out goes to tenor Benjamin Liupaogo (below), still a student at the University of Wisconsin-Madison’s Mead Witter School of Music, who only sang a couple of lines but sang them very beautifully. He is someone to watch!
The Madison Symphony Orchestra was conducted by John DeMain (below, in a photo by Greg Anderson). The strings and winds sounded particularly good that day, and DeMain brought out all of the interesting Bohemian folky gestures Dvorak included in the score. I found Dvorak’s orchestral score engaging throughout the performance. (You can hear the opening Overture in the YouTube video at the bottom.)
Altogether it was charming afternoon of beautiful music, excellent singing and fetching staging of a strange tale.
Madison Opera has announced its upcoming season offerings, which are Giuseppe Verdi’s “La Traviata” (Nov. 1 and 3), Gregory Spears’ “Fellow Travelers” (here Feb. 7 and 9, it has already hit Chicago and Minneapolis and is slated for Tucson next season as well), and Jacques Offenbach’s comic “Orpheus in the Underworld” (April 17 and 19).
It seems a very interesting season, and subscription tickets will go on sale in early May. For more information, go to: https://www.madisonopera.org
The Madison Opera will perform Georges Bizet’s “Carmen” this Friday night, Nov. 3, at 8 p.m. and Sunday afternoon, Nov. 5, at 2:30 p.m. in Overture Hall at the Overture Center, 201 State Street. (Below is the set from the Lyric Opera of Kansas City that is being used for the production.)
Tickets are $18-$130. (See below for details.)
With some of the most famous music in opera, Bizet’s passionate work is a vivid story of love, jealousy and betrayal.
Set in 19th-century Seville, Spain, the opera follows a gypsy determined to live life on her own terms – whatever her fate may be.
On a break from her shift at the cigarette factory, Carmen tosses a flower at a corporal named Don José, who ignores her advances. Only after Carmen is arrested and placed in José’s custody does he begin to fall for her, breaking the law and abandoning his hometown sweetheart.
What follows is a torrid love affair of passion, agonizing rage, and fanatical desire that will change their lives forever.
“Carmen is the reason I run an opera company,” says Kathryn Smith, Madison Opera’s general director (below, in a photo by James Gill). “I fell in love with opera as a teenager in the children’s chorus of a ‘Carmen’ production, as its incredible score and intense story hooked me immediately – not to mention the sheer excitement of having principal artists, chorus, children’s chorus, dancers, and orchestra all come together to create this astonishing world. I am so delighted to produce ‘Carmen’ in Madison, with this spectacular cast and production team.”
At the premiere of “Carmen” in Paris on March 3, 1875, audiences were shocked at its characters’ apparent lack of morality and virtue, and critics derided Bizet’s music. (You can hear the ever-popular Toreador Song in the YouTube video at the bottom.)
Three months after the opera’s premiere, Bizet died of heart disease. He was only 36 years old and would never know that his “flop” of an opera would become a global sensation over the next two centuries.
“Carmen was the first opera I saw as a young teenager,” remembers Madison Opera’s artistic director John DeMain (below, in a photo by Prasad). “It should be everyone’s first opera. It is the perfect blend of musical theater and grand opera, with thrilling choruses, great tunes from start to finish, and a compelling story of ill-fated love. And then there is Carmen herself, one of the most alluring characters of all time. I love conducting this great opera, which is so gorgeously orchestrated.”
Madison Opera’s cast features both returning artists and debuts. Making her debut in the title role is Aleks Romano (below), a rising young singer whom Opera News recently praised for her “attractively smoky mezzo-soprano.”
Acclaimed tenor Sean Panikkar (below) makes his role debut as Don José. He debuted with Madison Opera at Opera in the Park 2014, but this is his first mainstage appearance with the company.Also returning to Madison Opera are Cecilia Violetta López (below top) as José’s hometown sweetheart Micaëla and Corey Crider (below bottom) as the toreador Escamillo. López debuted at this past summer’s Opera in the Park; Crider sang the title role in “Sweeney Todd” with Madison Opera in 2015.
Thomas Forde (below), who most recently sang Luther/Crespel in Madison Opera’s “The Tales of Hoffman,” returns to play José’s commanding officer, Zuniga.
Studio artists Anna Polum and Megan Le Romero play Carmen’s friends Frasquita and Mercedes. Studio Artist Benjamin Liupaogo and Wisconsin native Erik Earl Larson play the smugglers, Remendado and Dancaïre. Rounding out the cast is Charles Eaton in his debut as Morales. (Many have ties to the opera program at the UW-Madison.)
Directing this traditional staging is E. Loren Meeker (below) in her first production for Madison Opera. Meeker has directed at opera companies around the United States, including Lyric Opera of Chicago, Washington National Opera, the Glimmerglass Festival and Wolf Trap Opera.
“A piece like Carmen captures our imagination and begs to be re-told over the centuries because the characters speak to the deepest and most honest parts of human nature,” says Meeker. “Today we grapple with love, lust, jealousy, morality, honor, and freedom just as much as people did when this opera premiered in 1875.
“At Madison Opera we have a brilliant cast who is willing to unravel the mystery of these characters with me scene by scene – making each choice onstage new, fresh, and true to the characters and arch of the story.
“Bringing this vivid world to life set to some of the most rich and well known music in the operatic canon, plus the fun of working with dancers, a fight director, the Madison Youth Choir, and a large adult chorus challenges me and inspires me all at the same time. The energy created in the performance, the brilliant music sung by such amazing artists, makes this classic opera worth seeing again and again and again.”
Carmen is a truly grand opera and features the Madison Opera Chorus, led by chorusmaster Anthony Cao (below); members of the Madison Youth Choirs; the Madison Symphony Orchestra; and dancers from Tania Tandias Flamenco and Spanish Dance.
Also returning to Madison Opera are Cecilia Violetta López (below top) as José’s hometown sweetheart Micaëla and Corey Crider (below bottom) as the toreador Escamillo. López debuted at this past summer’s Opera in the Park; Crider sang the title role in “Sweeney Todd” with Madison Opera in 2015.
The Well-Tempered Ear 
Classical music: In Dvorak’s “Rusalka,” the Madison Opera demonstrated how beautiful music and convincing stagecraft can overcome a weak story
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IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event
By Jacob Stockinger
The Opera Guy for this blog – Larry Wells – took in last weekend’s production by the Madison Opera of “Rusalka” and filed the following review. Performance photos are by James Gill.
By Larry Wells
I thoroughly enjoyed attending the Sunday afternoon performance of Antonin Dvorak’s opera “Rusalka” presented by Madison Opera in Overture Hall. Until then I had only heard recordings of this lushly orchestrated work.
The opera is a fairy tale involving a rather dithering water sprite (below right) who does not follow her father’s wise advice not to pursue a mortal prince (below left) and to stick to her own kind. She ignores his advice, and this leads to her eventual unhappiness and to the death of her prince.
That she also becomes mute when in the presence of the prince adds to everyone’s woes, and it seems a peculiar device to have the lead soprano not be able to sing for most of the second act of the opera.
Her inability to communicate naturally leads to the prince’s frustration, and my companion suggested that she could simply have used paper and pencil to communicate. But since she had been brought up in a river, perhaps she never learned to read and write.
Nevertheless, common sense did not seem to inhabit either Rusalka or her prince. As my companion also pointed out, love isn’t always logical.
In any event, the production and the music made up for the libretto’s shortcomings.
The set featured beautiful projections, from the Minnesota Opera, of forest, water and woodlands during the first and third acts.
The second act took place at the prince’s palace. It appeared to be an International Style palace in the manner of architect Mies van de Rohe, which must have also been disconcerting for Rusalka. Nonetheless, the set was very striking and beautifully lit.
Tenor John Lindsey (below top) portrayed the prince and William Meinert (below bottom left, with Emily Birsan) was Rusalka’s father, a water goblin. Both sang well, although Lindsey had the distracting habit of casting his chin and eyes downward as he sang.
But the stage belonged to the women.
Emily Birsan (below) as Rusalka was a study in subtle shadings of her expressive soprano voice (below, singing the famous aria “Song to the Moon”). She is a powerful singer and convincing actress who was engaging to watch and to hear.
Lindsay Ammann (below) as the sorceress Jezibaba was powerful in voice and in her command of the stage. Her third act aria was sensational, and her calling Rusalka a “empty little water bubble” was so apt it made the audience titter.
The villainous Foreign Princess portrayed by Karin Wolverton (below, standing over John Lindsey) seemed to be the only sensible character in the opera. She likewise commanded the stage and displayed a powerful voice with passionate commitment to her role.
Three water sprites – portrayed by Kirsten Larson, Saira Frank and Emily Secor (below, in order from left) – provided Rhine maiden-like commentary and gorgeous vocalizations despite having to wander around the stage at times seeming to be fascinated by twigs.
A shout-out goes to tenor Benjamin Liupaogo (below), still a student at the University of Wisconsin-Madison’s Mead Witter School of Music, who only sang a couple of lines but sang them very beautifully. He is someone to watch!
The Madison Symphony Orchestra was conducted by John DeMain (below, in a photo by Greg Anderson). The strings and winds sounded particularly good that day, and DeMain brought out all of the interesting Bohemian folky gestures Dvorak included in the score. I found Dvorak’s orchestral score engaging throughout the performance. (You can hear the opening Overture in the YouTube video at the bottom.)
Altogether it was charming afternoon of beautiful music, excellent singing and fetching staging of a strange tale.
Madison Opera has announced its upcoming season offerings, which are Giuseppe Verdi’s “La Traviata” (Nov. 1 and 3), Gregory Spears’ “Fellow Travelers” (here Feb. 7 and 9, it has already hit Chicago and Minneapolis and is slated for Tucson next season as well), and Jacques Offenbach’s comic “Orpheus in the Underworld” (April 17 and 19).
It seems a very interesting season, and subscription tickets will go on sale in early May. For more information, go to: https://www.madisonopera.org
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