By Jacob Stockinger
This winter, the Madison Youth Choirs are joining cultural institutions around the world by celebrating the 400th anniversary of the death of William Shakespeare (below) and his ongoing legacy.
Singers of various ages will perform musical settings from the plays Twelfth Night, A Midsummer Night’s Dream, Love’s Labour’s Lost and The Tempest by composers including William Byrd, Thomas Morley, Henry Purcell, Franz Schubert, Felix Mendelssohn, Benjamin Britten, Giuseppe Verdi, Cesar Franck, Ralph Vaughan Williams, Gerald Finzi, John Rutter and others.
Examining the role that motif, tension, structure and rhythm play in the repertoire and Shakespeare’s vast body of work, the choirs will explore the elements that combine to create compelling art that stands the test of time.
The MYC Winter Concerts, “Shakespeare 400,” will take place this Sunday, Dec. 11, at the First Congregational United Church of Christ (below), 1609 University Ave., near Camp Randall stadium.
Here is the schedule: 1:30 p.m. Girl choirs; 4 p.m. Boy choirs; 7 p.m. High School Ensembles
Tickets will be available at the door. Admission to each of the three concerts is $10 for the general public, $5 for students 7-18, and free for children under 7
Here is the repertoire for the MYC 2016 Winter Concert Series “Shakespeare 400”:
1:30 p.m. Concert (Featuring MYC Girlchoirs)
“Hey Ho! To the Greenwood” by William Byrd
“Spirits” by Douglas Beam
“Orpheus With His Lute” by Ralph Vaughan Williams
“Double, Double Toil and Trouble” by Leeann Starkey
“When Icicles Hang by the Wall” by David Lantz III
“You Spotted Snakes” by Toby Young
“Ban Ban Caliban” by Dan Forrest
“Hark! The Echoing Air” by Henry Purcell
“Blow, Blow Thou Winter Wind” by Sarah Quartel
“Philomel with Melody” and “I Will Wind Thee in My Arms” by Cary Ratliff
“It Was a Lover and His Lass” by John Rutter
When Icicles Hang” by Stephen Hatfield
“Che faceste” from Macbeth (sung in Italian) by Giuseppi Verdi
4 p.m. Concert (Featuring MYC Boychoirs)
“One December, Bright and Clear” Traditional Catalonian carol, arr. By Wilberg
“Panis Angelicus” by Cesar Franck
“Chairs to Mend” by William Hayes
“Blow, Blow Thou Winter Wind” by John Rutter (heard in the YouTube video at the bottom)
“The Coasts of High Barbary” Traditional English sea song, arr. By Julseth-Heinrich
“Blow, Blow, Thou Winter Wind” by Roger Quilter
“Full Fathom Five” by John Ireland
“Who is Silvia” by Franz Schubert
“Full Fathom Five” by Robert Johnson
“Sing We and Chant It” by Thomas Morley
“Come Away, Death” by Gerald Finzi
“The Witching Hour” by Brandon Ayres
7 p.m. Concert (Featuring High School Ensembles)
“The Willow Song” by Arthur Sullivan
“Willow, Willow, Willow” by Charles H.H. Parry
“Fair Oriana Seeming to Wink at Folly” by Robert Jones
“You Spotted Snakes” (from A Midsummer Night’s Dream) by Felix Mendelssohn
“Give Them Thy Fingers” by Stefan Kalmer
“Four Arms, Two Necks, One Wreathing” by Thomas Weelkes
“Come Away, Death” by Gerald Finzi
“And Draw Her Home with Music” by Nancy Hill Cobb
“The Witching Hour” by Brandon Ayres
“Che faceste” from Macbeth (sung in Italian) by Giuseppi Verdi
“Come Away, Death” by Roger Quilter
Selections from A Midsummer Night’s Dream by Benjamin Britten
“When Icicles Hang” by Stephen Hatfield
Cantabile and Ragazzi
“Ave Verum Corpus” by William Byrd
“Jingle, Bells!” by James Pierpont, arr. by David Wilcocks
These concerts are generously endowed by the Diane Ballweg Performance Fund with additional support from the American Girl’s Fund for Children, BMO Harris Bank and the Wisconsin Arts Board.
About the Madison Youth Choirs (MYC): Recognized as an innovator in youth choral music education, Madison Youth Choirs (MYC) welcomes singers of all ability levels, annually serving more than 1,000 young people, ages 7-18, through a wide variety of choral programs in our community.
Cultivating a comprehensive music education philosophy that inspires self-confidence, personal responsibility, and a spirit of inquiry leading students to become “expert noticers,” MYC creates accessible, meaningful opportunities for youth to thrive in the arts and beyond.
For further information, contact: Nicole Sparacino, Madison Youth Choirs, Nicole@madisonyouthchoirs.org or call (608) 238-7464
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”?
ALERT: This week’s FREE Friday Noon Musicale in the Atrium Auditorium of the First Unitarian Society of Madison, 900 University Bay Drive, features acoustic guitarists Helen Avakian and Dave Irwin in music by Ralph Towner, Giberto Gil and Helen Avakian. The concert takes place from 12:15 to 1 p.m.
By Jacob Stockinger
Here is a link with many more details about the performances, the play, the cast and tickets:
Stage director Doug Scholz-Carlson (below), the artistic director of the Great River Shakespeare Festival who has directed “Romeo and Juliet” as both an opera and a play, agreed to an email interview with The Ear about the differences:
You have directed “Romeo and Juliet” as both a play and an opera. How do the two experiences differ, and what are your most favorite and least favorite parts of doing each?
The opera is based closely on the play, so much of what is essential remains true for both versions.
The biggest difference for me is that the opera focuses on the emotional heart of the love story. Thanks to the music by Gounod (below), the audience experiences what it feels like to be young, impulsive and in love.
The music can reach our emotions directly, so that the opera becomes a truly personal experience for the audience. I don’t think you can see the opera and not find yourself transported to that time in your life when you first fell in love. Romeo and Juliet sing a moving duet in the YouTube video at the bottom.)
Because of the important role of the chorus, the opera also gives the audience the sense of the entire community that surrounds the young people. We see the tragedy through the eyes of the adults in the families who are unable, or unwilling, to help their children grow up.
The play by Shakespeare offers more subtlety in the journey of Romeo and Juliet’s relationship and more context for the adults in their lives. While the opera offers a huge emotional experience through the two main characters, the play creates more nuances in the relationships between many individuals in the story.
In our production, I hope audiences will discover that we have added back many of these relationships through visual storytelling.
What should audiences know about how Gounod’s opera differs from Shakespeare’s play? Do you have a personal preference between the two and why?
I don’t have a preference. I truly love them both for different reasons.
I love the wordplay in the tragedy by Shakespeare (below). Each character is sketched clearly and specifically through the way they use language. We see in the language why Romeo and Juliet find the perfect match in each other. Even smaller characters like the servant Peter have a full life in the play.
The play has a relentless energy. There are so many times in the story that things could turn out well — and so many ways in which the two lovers might never have met. You come away from the play with a profound sense that the combination of events that make up our lives is, in a way, a miracle.
Through Gounod’s music, the opera delivers an emotional experience that can’t be duplicated in any other way in the theater.
I’d be tempted to draw the distinction that the play appeals to the head while the opera appeals to the heart — but that would be unfair to both. Both the play and the opera are a complete experience. They are both profound ways to experience a timeless story.
What else would you like to say about this production in specific or about “Romeo and Juliet” in general?
We keep telling and retelling the story of Romeo and Juliet because it plays out our worst fears. What happens when what we hate becomes more important than what we love? I imagine we’ve all been asking ourselves that question given the current political environment.
Neither the opera nor the play ever explains why the Capulets hate the Montagues.
It doesn’t matter. Both families allow their hatred of each other to become more important than their love for their children. The Capulets and Montagues pay a terrible price to learn that lesson, but it is a lesson we all need to learn over and over again.
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:
ALERT: In case you haven’t yet heard, the winners (below) of the fourth annual Handel Aria Competition, held on Friday night in Mills Hall and accompanied by the Madison Bach Musicians, have been announced.
Eric Jurenas (center), countertenor, won First Prize; Christina Kay (right), soprano, won Second Prize; and Nola Richardson (left), soprano, won Third Prize and Audience Favorite.
By Jacob Stockinger
The Ear left the concert hall thinking: Well, this will be an easy review to write.
Just give it an A-plus.
An easy A-plus.
This year, the MEMF is celebrating the 400th anniversary of the death of poet and playwright William Shakespeare (below top) and the 45-year reign of Queen Elizabeth I (below bottom), who oversaw the English Renaissance.
And the program – performed before a large house of perhaps 450 or 500 enthusiastic listeners — was perfectly in keeping with the festival’s theme. It used sacred music rather than stage music or secular music, which will be featured later in this week of concerts, workshops and pre-concert lectures.
In fact, the program of New York Polyphony was based on two of the group’s best-selling CDs for BIS Records and AVIE Records: “Tudor City” and “Times Goes by Turns.” It was roughly divided into two masses, one on each half. (You can hear a sample in the YouTube video at the bottom.)
Adding to the variety was that each Anglican or Roman Catholic-based mass was a composite, with various sections made up like movements written by different composers. Thrown in for good measure were two separate short pieces, the “Ave Maria Mater Dei” by William Cornysh and the “Ave verum corpus” of William Byrd.
The Mass on the first half featured music by Byrd, John Dunstable, Walter Lambe and Thomas Tallis. The second half featured works music by Tallis, John Pyamour, John Plummer and excerpts from the Worcester Fragments. The section were typical: the Kyrie, Gloria in Excelsis, Credo, Sanctus, Benedictus and Agnus Dei.
There was nothing fancy about this concert, which marked the Wisconsin debut of New York Polyphony and which spotlighted superbly quiet virtuosity. The four dark-suited men, who occasionally split up, just stood on stage and opened their mouths and sang flawlessly with unerring pitch and superb diction.
A cappella or unaccompanied singing is hard work, but the four men made it seem easy. The countertenor, tenor, baritone and bass each showed confidence and talent plus the ability to project clarity while not overshadowing each other. This was first-class singing.
The beautiful polyphony of the lines was wondrous to behold even, if like The Ear, sacred music from this era – with its chant-like rather than melodic qualities – is not your favorite fare.
New York Polyphony provided a good harbinger of the treats that will come this week at the MEMF from groups like the Newberry Consort of Chicago with soprano Ellen Hargis (below top) and the Baltimore Consort (below bottom) as well as from the faculty and workshop participants. On Friday night is an appealing program that focuses on Shakespeare’s sonnets and music.
And on Saturday night at 7:30 p.m., with a pre-concert lecture at 6:30 p.m., will be the All-Festival concert. That is always a must-hear great sampler of what you perhaps couldn’t get to earlier in the week. This year, it will feature the music as used in a typical Elizabethan day.
Here is a link to the MEMF website:
And here is a link the website of New York Polyphony if you want to hear more:
By Jacob Stockinger
The Ear sees Lang Lang — the world’s highest paid classical pianist — and Yundi Li and all the Chinese winners of major competitions, and he reads that there are more piano students in China than in all of Western Europe, North America and South America combined.
But the path to such success wasn’t easy.
In fact it was downright tragic during the Cultural Revolution waged by Chairman Mao Zedong – with dramatic stories and figures that may be worthy of an opera or two. (Below is a poster from the Cultural Revolution.)
Anyway, weekends are a good time for reading longer pieces.
So here is a fine and eye-opening story The Ear liked. It comes from The Guardian newspaper in the UK. It even ponders the question of whether the more cerebral and intellectual Johann Sebastian Bach will soon replace the more dramatic and emotional Ludwig van Beethoven as China’s favorite classical composer.
By Jacob Stockinger
He is generally acknowledged as the greatest writer of all time and of any culture.
The English poet and playwright William Shakespeare (below) died 400 years ago today – on April 23, 1616 — in his hometown of Stratford-on-Avon where he returned to after his stage career in London. He was 52 years old.
You may have heard that a touring copy of the rare 1623 First Folio edition of his plays, on loan from the Folger Shakespeare Library in Washington, D.C., will be on display this fall at the Chazen Museum of Art at the University of Wisconsin-Madison. Dates of the exhibit are Nov. 3-Dec. 11, 2016.
Here is a link with more information:
And this summer’s Madison Early Music Festival will focus on Shakespeare and music of the Elizabethan Age when it is held from July 9 to July 16.
Here is more information about that event:
Today, what The Ear wants to know is what is your favorite piece of music inspired by Shakespeare?
The Overture to “A Midsummer Night’s Dream” by Felix Mendelssohn? (The Ear loves that richly atmospheric work. You can hear it, complete with the braying of the “rude mechanical” human who is transformed into a donkey — in a YouTube video at the bottom)
The operas ”Otello” or “Falstaff” by Giuseppe Verdi?
The opera versions of “Romeo and Juliet” by Hector Berlioz and Charles Gounod?
The incidental music to “Henry V,” “Hamlet” and “Richard III” by William Walton?
Franz Schubert’s song “Where is Sylvia”?
The “Romeo and Juliet” Fantasy Overture by Tchaikovsky?
Various setting of songs and ditties in Shakespeare’s plays?
If you need something to jog your memory about possible choices, here is a link:
Leave your choice, with a YouTube link if possible, in the COMMENTS section.
The Ear wants to hear.
ALERT: The concert by the UW-Madison Contemporary Chamber Ensemble that was scheduled for this Saturday has been CANCELED due to illness.
By Jacob Stockinger
The Ear’s friends at the Madison Opera write:
The production will be performed in Overture Hall of the Overture Center on Friday at 8 p.m. and on Sunday at 2:30 p.m. It will be sung in French with projected English translations.
Tickets are $18-$129. Student and group discounts are available. Tickets can be purchased at the Overture Box Office, 201 State St., Madison, and by calling (608) 258-4141 or visiting www.madisonopera.org
This will be the company’s first production in 20 years of Offenbach’s masterpiece, which moves in a fantasy world. It offers showpiece arias for the bravura cast, the gorgeous “Barcarolle,” and a moving tribute to what it means to be an artist. (You can hear the famous and familiar Barcarolle in a YouTube video at the bottom.)
As he sits in a tavern, the poet Hoffmann drinks, smokes and encounters Lindorf, his rival for his current lover, the opera singer Stella.
He recalls how his nemesis seems to appear constantly in his life, and urged on by his fellow bar patrons, tells the three tales of his loves: Olympia, who turns out to be a mechanical doll; Antonia, a singer who dies of a mysterious illness; and Giulietta, a courtesan who steals his reflection. His adventures take him from Munich to Venice, always accompanied by his most faithful love, his muse.
The opera ends back in the tavern, as Hoffmann’s muse consoles him and urges him on to the higher purpose of art.
PRAISE AND BACKGROUND
“The Tales of Hoffmann is one of my absolute favorite operas,” says Kathryn Smith (below in a photo by James Gill), the general director of Madison Opera. “I love the music, the story, the myriad facets to the characters, and the fact that no two productions of this opera are identical. It has comedy, tragedy, drinking songs, lyrical arias, and even some magic tricks.”
Offenbach’s final opera, “The Tales of Hoffmann” premiered in 1881 at the Opera-Comique in Paris. The title character was based on the writer E.T.A. Hoffmann, now most famous as the author of the original “Nutcracker” story; the different acts were adaptations of Hoffmann’s own short stories.
Offenbach was celebrated for over 100 comic operettas such as “Orpheus in the Underworld”; “Hoffmann” was intended to be his first grand opera. Unfortunately, he died before completing the opera, and other composers finished it. Over the past century, there have been many different versions of the opera, with different arias, different plot points, and even different orders of the acts.
“The Tales of Hoffmann, for me, is the perfect blend of great music and great theater,” says John DeMain (below, in a photo by Prasad), the artistic director of Madison Opera and the music director of the Madison Symphony Orchestra. “It’s particularly fun to conduct because the orchestra plays a central role in the moment to moment unfolding of the drama, and Offenbach achieves this at the same time as he is spinning out one gorgeous melody after another.”
Madison Opera’s cast features a quartet of debuts in the leading roles. Harold Meers (below), who sang at Opera in the Park in 2015, makes his mainstage debut as Hoffmann, the poet.
Sian Davies (bel0w) makes her debut singing three of Hoffmann’s loves – Antonia, Giulietta and Stella – a true vocal and dramatic feat. Jeni Houser returns to Madison Opera following her most recent role as Amy in Mark Adamo’s “Little Women” to sing the role of his fourth love, Olympia. She has also appeared here in George Frideric Handel’s “Acis and Galatea” and Stephan Sondheim’s “Sweeney Todd.”
Baritone Morgan Smith makes his debut as Hoffmann’s nemesis, who appears in forms both sinister and comic.
Making her debut as Hoffmann’s sidekick Nicklausse, who also turns out to be his Muse, is mezzo-soprano Adriana Zabala.
Returning to Madison Opera as the four servants is Jared Rogers, who sang Beadle Bamford in Stephen Sondheim‘s “Sweeney Todd.” Thomas Forde, last here as Don Basilio in Giaocchino Rossini’s “The Barber of Seville,” sings the dual roles of Luther and Crespel. Robert Goderich, who sang Pirelli in “Sweeney Todd,” sings Spalanzani, the mad inventor. Tyler Alessi makes his debut as Schlemil.
Three Madison Opera Studio Artists round out the cast: Kelsey Park as the voice of Antonia’s dead mother and William Ottow and Nathaniel Hill as two students.
Madison Opera’s production is set in the Roaring 1920s, with stylish costumes that are perfect for Offenbach’s fantasy that travels time and location.
Kristine McIntyre (below), who directed Jake Heggie‘s “Dead Man Walking” and Giuseppe Verdi’s “A Masked Ball” for Madison Opera, stages this complex story that has a vast dramatic scope.
Tomorrow: Artistic and music director John DeMain and stage director Kristine McIntyre address the differences between the reputation and the reality of “The Tales of Hoffman.”
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: