By Jacob Stockinger
It will be sung in French with English subtitles and will last about three hours with one intermission.
Tickets are $18-$130.
With soaring arias, impassioned scenes and plenty of sword fights, Gounod’s gorgeous opera brings the famous tragic tale of young love to vivid life.
Set in 14th century Verona, Italy, the opera follows the story of Shakespeare’s legendary star-crossed lovers. The Montague and Capulet families are caught in a centuries-old feud.
One evening, Romeo Montague and his friends attend a Capulet ball in disguise. The moment Romeo spots Juliet Capulet, he falls in love, and she returns his feelings. Believing they are meant for one another, they proclaim their love, setting in motion a chain of events that will change both their families.
“Romeo and Juliet is one of the most famous love stories in Western literature,” says Kathryn Smith (below, in a photo by James Gill), the general director of Madison Opera. “Gounod’s operatic version of it is equally beloved, and it’s exciting to present an amazing cast that brings such vocal and dramatic depth to their story.
“I’m also delighted that we are performing the opera the same weekend that Shakespeare’s First Folio goes on display at the University of Wisconsin-Madison‘s Chazen Museum of Art, enabling our community to enjoy a very Shakespearean weekend.”
Gounod’s operatic adaption of the tragedy of “Romeo & Juliet” premiered in 1867 at the Théâtre Lyrique in Paris. While Gounod is now better known for “Faust,” “Romeo and Juliet” was a bigger success at its premiere, and has stayed in the repertoire for 150 years due to its beautiful music, genuine passion mingled with wit, and exciting fight scenes.
“Having conducted Gounod’s Faust so often, I’m thrilled to finally have the opportunity to conduct his romantic masterpiece,” says John DeMain (below, in a photo by Prasad), the artistic director of Madison Opera who will conduct the two performances.
“The vocal and orchestral writing is lyrical and downright gorgeous,” DeMain adds. “We have a glorious cast, the Madison Opera Chorus and the Madison Symphony. What more could a conductor ask for!” (You can hear Anna Netrebko sing Juliet’s famous aria “Je veux vivre” — “I want to live” – in the popular YouTube video at the bottom.)
Madison Opera’s cast features both returning artists and debuts.
John Irvin (below top) and Emily Birsan (below bottom) return to sing the title roles of Romeo and Juliet. Irvin sang Count Almaviva in the 2015 production of The Barber of Seville, while Birsan returns from singing at Opera in the Park 2016 and Musetta in last season’s La Bohème.
Sidney Outlaw, who sang at this past summer’s Opera in the Park, makes his mainstage debut as Romeo’s friend, Mercutio. Liam Moran, who sang Colline in last season’s La Bohème, sings Frère Laurent, who unites the two lovers in the hope of uniting their families. Madisonian Allisanne Apple (below) returns as Gertrude, Juliet’s nurse.
Making their debuts are Stephanie Lauricella as Romeo’s page, Stephano; Chris Carr as Tybalt, Juliet’s cousin; Philip Skinner as Lord Capulet; and Benjamin Sieverding as the Duke of Verona. Former Madison Opera Studio Artist Nathaniel Hill returns as Gregorio, while current Studio Artist James Held sings the role of Paris.
Directing this traditional staging is Doug Scholz-Carlson (below), who directed Gioaccchino Rossini’s “The Barber of Seville,” Aaron Copland’s “The Tender Land” and Benjamin Britten‘s “The Turn of the Screw” for Madison Opera. Scholz-Carlson is the artistic director of the Great River Shakespeare Festival and has directed the original “Romeo and Juliet,” among many Shakespeare plays.
He will discuss the differences between staging “Romeo and Juliet” as a play and as an opera in another posting tomorrow.
For more information about the production, the cast and tickets, go to:
By Jacob Stockinger
Tickets to the opera, based on Louisa May Alcott’s famous 19th-century American novel of the same name, run $21-$101. You can call the Overture Center box office at 608 258-4141.
The production features guest conductor Kyle Knox (below), a busy and experienced musician who is a graduate student at the University of Wisconsin-Madison School of Music. His dramatic story was featured on this blog yesterday:
Candace Evans (below) returns as the stage director:
Heather Johnson (below) returns to sing the lead role of Jo March:
“Little Women” will be sung in English with projected surtitles.
The running time is 2-1/2 hours with one intermission.
Also, Mark Adamo is doing the pre-show talk on Friday night in tandem with the Madison Opera’s general director Kathryn Smith. Says Smith: “That means I’m going to ask him questions, so he can talk about his opera instead of me doing so as usual. That is at 7 p.m. in the Wisconsin Studio of the Overture Center, and is free to ticket holders.”
For more information about the opera, tickets, the cast and the production as well as the pre-performance lecture and post-performance Q&A, visit:
Here is a link to Mark Adamo’s informative website, where you can also see what other music Adamo, who teaches composition at New York University, composes:
And here is link to his entry on Wikipedia:
Adamo – who will attend the Friday night performance — generously agreed to a recent email interview with The Ear:
Is there anything beyond what is on your website that you think readers should know about you, your background and your career, including your latest and upcoming projects?
The website has only a little detail about “Becoming Santa Claus,” which is my fourth opera and which was given a lovely premiere (below) in Dallas in December. I’m editing the soundtrack for an upcoming DVD of the piece even as we speak.
What attracted you to “Little Women” as a subject for an opera?
I actually resisted it up front. I thought it was charming, but too antique and undramatic even to speak, let alone sing.
I was drawn to it only when I realized the show was neither “Three Weddings and a Funeral” (that is, not a story of all the March girls, save Beth, growing up to marry) nor a story of a girl struggling to be an artist (her whole family supports her) but a startling, and startlingly proto-modern, story of a girl/woman who learns too late that the destinies of even those she loves are out of her control.
Once it occurred to me that it was the story of everyone who’s ever heard, or uttered, the words, “I love you, but I have to leave” — and didn’t know why it had to be so — I knew the piece could sing.
How difficult a challenge is it for you to do both the score and the libretto? Do you prefer doing one to the other or find one easier?
For me, it’s natural. I was trained not only as a musician but as a playwright and lyricist (and, less comprehensively, as an actor and director) and, temperamentally, I’m the sort of artist who likes to take the most various, and longest possible, view of the project first before I start it.
An opera is a structure of words and music designed to be acted So the more questions I ask myself up front, the clearer both the script and the score can become even before they’re created, because the piece has been conceived in toto first and then the words and music designed to express it.
So I ask myself: What is the story? How can the journey of this character tell it? What is the sound of this story as verbal diction? Vocal contour? Harmonic mass? Melodic line? (Below are the handwritten manuscript and published score to a work by Mark Adamo.)
How would you describe the style of your music to the general public?
It always starts from the singing line. But I let the emotion of the character and the flow of the story determine everything else.
If the character feels like she’s making beautiful discoveries as she falls in love, the harmonies open up, moving from key to key before it settles when she does. If the conversation is turbulent, unsettled, inconclusive, the music is similarly fugitive.
Technically, that means the music is tonal, except when it’s chromatic; harmonic, unless just a sound or an orchestral color can carry the meaning; rhythmically steady, unless rhythms careen every which way to follow the turns of argument. In sum, it is eclectic — but not arbitrarily so. (NOTE: In a YouTube video at the bottom, you can hear an example in Beth’s aria from the production of “Little Women” by the Fayetteville Opera.)
“Little Women” has been performed in more than 65 international productions. What do you think has made it so popular? What is the usual public reaction to the work?
It’s actually over 100 at this point. Obviously, the path of the opera begins with the novel, one of the most beloved in English since its publication. Obviously, you try, as an artist, to make a piece as true and clear and deep as you can. But you can’t control whether artists subsequently believe in that piece (or not), or whether audiences embrace it (or not.)
Eighteen years after its premiere, my only possible response is gratitude that this opera is still speaking so often and to so many.
By Jacob Stockinger
The Ear’s good friend, Sarah Schaffer, who works with composer John Harbison, writes:
Many Madisonians were among those who travelled to New York City in 1999 for the world premiere of John Harbison’s opera, “The Great Gatsby,” which is based on the iconic novel by F. Scott Fitzgerald and which was commissioned by the Metropolitan Opera in celebration of renowned conductor James Levine’s 25th anniversary there. (Below, from the original production, are the late tenor Jerry Hadley as Jay Gatsby and soprano Dawn Upshaw as Daisy Buchanan.)
The work has since been presented by Lyric Opera of Chicago, in Boston and at Tanglewood by Emmanuel Music, and, in a reduced orchestra chamber version, by Opera Parallele in San Francisco and at the Aspen Music Festival.
And of course, John Harbison and his wife, violinist Rose Mary Harbison, are best known in Madison as the artistic directors of the fiercely imaginative annual Token Creek Chamber Music Festival, held in their refurbished barn near Sun Prairie just before Labor Day each summer.
Now, the first European performance of “The Great Gatsby” will take place at Semperoper (below) in Dresden, Germany from this Sunday, Dec. 6, through Dec. 21. It will be presented in English, with German surtitles.
Preceding the first performance, Semperoper is offering a preview event where two film versions of “The Great Gatsby” will be shown: the 1974 version with Robert Redford and Mia Farrow; and the 2013 Baz Luhrman version with Leonardo DiCaprio and Carey Mulligan.
According to Semperoper, “The opera blends modern classical music with jazz and swing to paint a thrilling portrait of a debauched and decadent society, where double standards clash with idealism. European audiences can now enjoy this work for the first time.”
Wayne Marshall is music director, Keith Warner stage director, with dramaturgy by Stefan Ulrich, and set design by the late John Engels, whose stunning and evocative work was seen last spring in the Lyric Opera of Chicago’s production of The Passenger, Mieczyslaw Weinberg’s powerful opera about how the horrors of Auschwitz impact people’s lives in the present.
In making a new production of The Great Gatsby, Director Keith Warner does not adopt an “update” strategy, often seen in recent European productions. Instead he goes directly to the period, the American mid-1920s, making its excesses, its excitements, and its cloak of impending doom the essential color of the opera. (below is the party scene.)
In the upcoming Dresden production, tenor Peter Lodahl makes his Semperoper debut in the role of Jay Gatsby. For more information, visit: www.peterlodahl.co
Daisy Buchanan will be performed by soprano Maria Bengtsson. For more information, visit: www.mariabengtsson.com
A complete cast list and production personnel can be found at https://www.semperoper.de/en/whats-on/schedule/stid/Gatsby/60545.html
A brief video regarding the launching of Gatsby at Semperopera can be found at:
While not without its detractors, over the years and through its many productions Gatsby has garnered significant praise from some of the most respected critics and publications.
With such an iconic and thoroughly American novel, story and music as its origin and soundscape, it will be fascinating to see what kind of reception Gatsby’s eagerly anticipated European premiere will garner across the pond.
Europeans, very conversant with the Fitzgerald novel, tend to emphasize the role of class more than American readers. Warner uses a number of theatrical devices to starkly outline the attitudes and surroundings of the Wilsons, the working-class couple so crucial to conflicts within the story.
The racist and elitist rants of Tom Buchanan, perhaps more comfortably folded into his familiar character by American fans of the book, emerge in stark outline in Warner’s conception.
By Jacob Stockinger
This is the production that has made news because it is the first one in the history of The Met not to use blackface. (Below, in a photo by Ken Howard for The Metropolitan Opera, are the Latvian tenor Aleksandrs Antonenko, right, as Otello and baritone Zjelko Lucic as Iago.)
This year marks the 10th season of the popular and innovative series of high-definition broadcasts that are beamed via satellite to 2,000 screens in 70 countries.
In Madison, the opera can be seen at the Point Cinemas on the city’s far west side and at Eastgate cinemas on the far east side.
Admission is $24 for adults and $22 for seniors 60 and over; and $18 for children 3 to 11. Tickets to the encore productions are $18.
The performance starts at 11:55 a.m. and will last about 2 hours and 45 minutes including an intermission. (Below center is the acclaimed Bulgarian soprano Sonja Yoncheva as Desdemona.)
Also drawing praise is the production’s firebrand conductor Yannick Nezet-Seguin (below bottom), the acclaimed French-Canadian music director of the Philadelphia Orchestra who reportedly is a likely candidate to succeed the legendary James Levine as music director of The Met.
For information about the cast and a synopsis:
From NPR or National Public Radio, here is a story about The Met foregoing blackface in this production. It is especially interesting because the reporter talks to an African American tenor who does not object to the use of such makeup:
And here is a debate about the blackface issue in which the central question is: If you didn’t know the plot of the play or opera, would you realize the pivotal role that race plays in the story without blackface? Read it and decide for yourself. (In a YouTube video at bottom is part of the love duet between Otello and Desdemona.)
Finally, here is a positive review by Anthony Tommasini for The New York Times:
By Jacob Stockinger
You may recall that the longtime director of University Opera William Farlow retired last spring. While no permanent successor has been named yet, the impressively qualified David Ronis, from the Aaron Copland School of Music at Queens College, City University of New York (CUNY), was chosen from a national search and is serving as a guest director this academic year.
Ronis (below, seen talking to the cast on stage) makes his University of Wisconsin-Madison debut this Friday night at 7:30 p.m. in Music Hall, at the foot of Bascom Hill, with a production of British composer Benjamin Britten’s comic opera “Albert Herring.” (The opening scene from a Los Angeles Opera production can be heard at the bottom in a YouTube video.) Additional performances are on Sunday afternoon at 3 p.m. and Tuesday night at 7:30 p.m.
Tickets are $22 general admission; $18 for senior; and $10 for student. They are available at the door and from the Wisconsin Union Theater Box Office or call (608) 265-ARTS (2787)/ Buy in person and you will save the service fees.
Here are links with more information about the opera and about Ronis, including a fine profile interview done by Kathy Esposito, the public relations and concert manager at the UW-Madison School of Music:
And here is a link to David Ronis’ personal website:
Finally, here is the email Q&A that David Ronis (below, in a photo by Luke Delalio) gave to The Ear:
Can you give readers a brief introduction to yourself, including when and how you started learning music, your early training and formative experiences, your major professional accomplishments and some personal information like hobbies and other interests as well as current and future plans for your career?
I grew up on Long Island, did my undergraduate degree (a B.F.A. in Voice) at Purchase College, and have lived in Manhattan ever since. I studied both piano and voice as a kid and, in high school, was very much involved in musical theater. After graduating from Purchase, I supported myself by doing a lot of professional choral singing.
Soon after, I started getting hired to sing character tenor roles in opera companies in U.S, Europe and Asia, which I did for a number of years. One of the highlights was being a part of Leonard Bernstein’s A Quiet Place/Trouble in Tahiti when it was done at La Scala Milan, the Kennedy Center and the Vienna State Opera.
At one point in the mid-’90s, when I had less than a full year of regional opera work, I started auditioning for Equity musical theater jobs and was cast in the Los Angeles company of Disney’s Beauty and the Beast.
In opera circles, I was considered to be a “good actor.” But, to forgive myself (and others), I didn’t really know from good acting! In LA, my new colleagues and friends were actors, as opposed to singers and musicians, and I started seriously questioning my own (lack of) acting technique. After three years of doing Beauty –- in both LA and on the national tour -– I went back to New York, got into in a heavy-duty acting class, and started working in spoken theater, TV commercials (I have some very funny stories about that), and independent films, as well as continuing to sing in opera regionally.
My work in theater completely changed my perspective on stage work in opera and I found myself newly critical of much of the operatic acting I saw.
One day, my friend Paul Rowe (below) –- who teaches voice at the UW-Madison — was in New York hanging out at my apartment (this is very vivid in my mind) and he said something like, “David, you should put this together. You’re now an accomplished actor as well as a singer and you have a pretty unique perspective on how one affects the other.” Bingo!
Long story short: I started teaching Acting for Singers classes, doing small directing projects, and very soon got hired at Queens College to direct the Opera Studio. Almost immediately, this transition from performing to teaching just felt right.
I was hired as an Adjunct Lecturer at Queens with only a bachelor’s degree, and decided that I should probably have at least a master’s. So I enrolled in a terrific M.A. L.S. (Master of Arts in Liberal Studies) program at a de-centralized SUNY school, Empire State College. The M.A.L.S. was probably one of the most difficult things I’ve ever done. It is a self-designed, inter-disciplinary research degree in which the candidates have to articulate their areas of academic inquiry and pursue them by creating individual courses and working with tutors. Over 2 ½ years, I wrote about 300 pages of material focused on operatic acting and production, research that I still regularly call upon in my teaching.
What are my principal influences? I’d say that my principal acting teacher, Caymichael Patten, is a big one. Cay’s a terrific, tough teacher who tells it like she sees it. She has an uncanny knack for “being inside your head –with you.” I learned a huge amount from her and, in many ways, have modeled my teaching on Cay’s. I also have a number of friends – all opera directors working in academia as well as professionally, who are on the same page as I am as far as operatic acting training. They’ve been big influences too -– Stephen Wadsworth (below, who teaches at the Juilliard School) and Robin Guarino, to name just a couple.
As for the future, who knows? I’ve actually never been one to have a detailed life plan. I’ve been very fortunate that opportunities have come my way and I’ve just followed my nose. I do know one thing -– that my passion for directing and teaching seems to be growing (if that’s even possible) and that I very much enjoy working in a university environment.
As an East Coast native, how do you like the Midwest, Madison and the especially the UW-Madison?
I’ve spent plenty of time in the Midwest, mostly working. So I “get” the Midwest and I’m comfortable here. I’m finding what “they say” about Madison to be true -– that it’s a pretty unique place within the Midwest — culturally, politically, intellectually.
I think these are things that make people who are kind of East Coast-centric, like myself, feel more at home, when “home” means lots of intellectual and artistic stimulation. What’s not to like about a city where everyone reads the New York Times and The New Yorker magazine and goes to the Madison Symphony Orchestra!
Why did you choose “Albert Herring” by Benjamin Britten (below top) to do this semester and “The Magic Flute” by Mozart (below bottom) to do second semester? Have you staged them before? What would you like audience members here to know about your productions of them?
I make repertoire decisions based on a variety of factors. This year, we needed to do a piece with small orchestral forces in the fall and a full orchestra show in the spring.
I also like to do shows that involve a good number of students. Both the Britten and the Mozart fit those descriptions.
Also, the “who do we have at school” factor is big. We need to do operas that we can cast well from the student population.
And, most importantly, I consider the educational value of various shows. Albert Herring is not only a great piece of music and theater, but there’s so much that the students learn from working on it. The roles are difficult, both vocally and musically. And since it’s a big ensemble show, students are challenged to develop their ensemble singing and acting skills. So far, I’m very pleased with the results.
I’ve directed The Magic Flute before. We’re going to do a version of a production I did some years ago that locates the drama vaguely in a South Asian environment. Flute, for all of its brilliance, is kind of a dramaturgical mess. Who are the truly good and bad guys/gals? Where do we start and where do we end up and what do each of the characters learn for having gone on the journey?
My take on the story very indirectly alludes to a conflict between East (Sarastro) and West (Queen of the Night), and attempts to examine the two opposing forces on the most basic, human level – even if they are iconic figures. Why makes the Queen tick? Why did Sarastro “steal” her daughter and why is he “holding her captive?” These are the questions that intrigue me.
Was there an Aha! Moment – a work or performer, a concert or recording – that made you realize that you wanted to have a professional life in music and specifically in opera?
My Aha! moment? OK, you’re going to think I’m a nerd. As a high school senior, I took a philosophy elective in which I was reading people like Schopenhauer and Nietzsche. At the time, I was obsessed with an LP called “The Genius of Puccini” -– essentially excerpts from operas by Puccini (below) –- which I would play over and over again in my room. I recall going into my parents’ room one night, with record blaring in the background, and ranting on about what I was reading and how it described exactly what filled me up like nothing else. (Cue the big ensemble from the first act of Turandot). From that moment, it was all downhill!
Is there anything else you would like to add or say?
I’d just like to encourage people to come to both University Opera productions. We’ve got a terrific cast for Albert Herring, not to mention an incredibly talented and articulate young conductor in Kyle Knox (below)– Kyle is truly someone to keep your eye on.
We’ve been having so much fun during rehearsals – laughing a lot! I firmly believe that spirit transfers across the proverbial footlights.
If any of your readers are hesitant (perhaps because they tend to respond to 19th century Romantic pieces and might be reticent to go to an opera with which they’re not familiar), I can confidently say that Albert Herring is a very accessible piece –– extremely entertaining and, at times, quite moving. The physical production is coming along –- all in all, I’m very excited about the show.