‘Francesca da Rimini’: The Best (and Worst) of Italian Grand Opera

Published in the Columbia Daily Spectator on March 8th:

“Alas, how many gentle thoughts, how deep a longing has led them to the agonizing pass.” With these words, the poet Dante laments the damned state of Paolo and Francesca—two lovers consigned to the second circle of Hell for all eternity. As many Lit Hum students can attest, this encounter, however brief, is one of the more moving depictions found in Dante’s classic “Inferno.” For Riccardo Zandonai’s 1914 opera “Francesca da Rimini,” which returned to the stage of the Metropolitan Opera on March 4, the details of this pair’s amorous affair are expanded and become the subject of an epic melodrama. The principal roles in this opera are famously demanding to sing—but, for the most part, on Monday night, all four lead singers offered accomplished and compelling portrayals.

Eva-Maria Westbroek and Marcello Giordani in “Francesca da Rimini”

Leading the cast, Dutch soprano Eva-Maria Westbroek delivered a vocally uneven performance of the title character. Westbroek’s lush, though unfocused, middle range is well suited for Francesca’s impassioned singing, but the soprano struggled—especially early on—with the role’s many exposed high notes. That said, Westbroek’s singing became absolutely affecting during the extended love scene in the third act.

Tenor Marcello Giordani’s appearances have become increasingly inconsistent over the past few seasons, but his portrayal of the ardent Paolo was surprisingly solid. On this occasion, Giordani sang with an uncharacteristic, though effective, dark timbre in the core of his voice and made quite an impact with powerful, ringing top notes.

As Paolo’s irritable and misshapen brother Giovanni, Mark Delavan was the epitome of a vocal powerhouse. From the first notes of his forceful entrance, Delavan commanded the audience’s attention with a muscular, rich tone. Throughout the evening, the bass-baritone skillfully tackled the demands of his role with an assertive, resonant sound that blossomed within the Met’s spacious auditorium.

Rounding out the quartet of principal singers, tenor Robert Brubaker portrayed Paolo and Giovanni’s deranged brother, Malatestino, with an aggressive presence. His penetrating tenor and chilling physicality combined perfectly in an appropriately unsettling characterization.

An interview with Ms. Westbroek:

This performance also featured a well-cast ensemble of singers in supporting roles. Dina Kuznetsova as Samaritana and Ginger Costa-Jackson as Smaragdi offered achingly beautiful portrayals, while the ensemble of Francesca’s female companions offered many lush moments of lyrical, supple harmony.

Zandonai’s music is richly textured and draws upon many compositional styles for inspiration. Led by the experienced maestro Marco Armiliato, the Metropolitan Opera Orchestra capably evoked the multitude of musical colors that permeate this unique score. Piero Faggioni’s 1984 production of “Francesca da Rimini” is enjoyably ridiculous and is typical of a foregone era of operatic staging. With elaborate, dominating scenery and borderline laughable dramatic choices, this treatment of the work demonstrates both the best and worst aspects of grand opera. All the same, this throwback production certainly makes for an intensely thrilling and wholly satisfying theatrical spectacle.

A Scene from Act II

“Francesca da Rimini” is definitely a piece for the more open-minded operagoer. The frenzied score and over-the-top melodrama might pose obstacles for newcomers, but the massive scenery and even more outsized stage effects will offer excitement for every member of the audience. Zandonai’s work is a veritable operatic rarity, so now maybe the only opportunity to experience it for years. For more information, visit the Met’s website.

‘Rigoletto’: Gilda, I have a feeling we’re not in Mantua anymore

Published in the Columbia Daily Spectator on February 1st:

One of the classic operas of the standard repertory, Verdi’s “Rigoletto” returned to the stage of the Metropolitan Opera on Monday but far from its customary 16th-century Renaissance setting.

The opening scene of “Rigoletto”

Instead, director Michael Mayer, best known for his work on Broadway hits “Spring Awakening” and “American Idiot,” re-imagined the piece in Las Vegas of 1960. The title character is transposed from a deformed court jester into a misanthropic stand-up comedian performing for the Duke, a Rat-Pack-style entertainer. This approach results in a bold, glitzy staging which showcases a highly talented cast amid enough glam to rival any spectacle on the Las Vegas Strip.

To fully recreate the classic era, Mayer and set designer Christine Jones incorporate an abundance of recognizable clichés. The whimsical sets are fitted with dazzling neon lights and rows of slot machines, while a troupe of showgirls prances about during the Duke’s opening aria. Beyond the scenery and costumes, the adaptation is successful thanks to Mayer’s thorough understanding of the period. He inventively rethinks vital plot points, as when an inebriated Rigoletto complains to a late night bartender, and later, when Gilda’s lifeless body is loaded into the trunk of a car.

In a flashy argyle sweater, veteran baritone Željko Lucic, deliver a vocally solid though dramatically disinterested interpretation of the title character. His dark, round timbre and penetrating sound are well suited for the vocal demands of this complex character, but Lucic sometimes lacks strong commitment to the production’s driving concept.

Diana Damrau brings her world-class voice to the role of Gilda, Rigoletto’s sheltered and fatally unaware daughter. Although Damrau’s performance seemed unexpectedly labored during her first act appearance, the soprano steadily improved and delivered increasingly bright, precise, and skillful singing as the evening progressed.

Portraying the high-flying Duke, tenor Piotr Beczala commanded the stage with a vocally and dramatically polished performance. He sang ardently with lyrical tone and impassioned top notes. Although he may have tended to croon a bit, the style was appropriate for his updated characterization. In fact, Beczala heartily embraced every aspect of this modern identity and created a lovably believable persona.

Bass Stefan Kocán, in the lesser but vital role of Sparafucile, was also a strong presence onstage. With a sonorous sound and expert technique, Kocán delivered a riveting portrayal of the hired hit man. The debuting Oksana Volkova was pleasant and alluring as Sparafucile’s seductive sister Maddalena.

Piotr Beczala as the Duke of Mantua and Emalie Savoy as the Countess Ceprano

The men of the chorus contributed vibrant and stentorian sounds at crucial moments throughout the evening, and under the baton of Michele Mariotti, the orchestra delivered a skillful though routine reading of Verdi’s popular score.

After the glitter settles, Mayer’s adaptation may be nothing more than an over-the-top extravaganza that relies heavily on shock value. Once the novelty is lost, so is much of the production’s winning effect; however, it still makes for one supremely enjoyable night at the theater. Broadway fans intrigued by opera should make an effort to experience this production, for it offers an exciting and accessible pathway into this somewhat intimidating art form.

When you go, be very wary of the newly adapted English subtitles crafted for this new staging. With lines like “Watch it, fella” and “He’s a dreamboat, a god,” this “translation” is frustratingly asinine.

There are many more resources to learn more about this exciting new production. Photos from the technical rehearsals can be found here as well as full production photos here. In addition, a very informative video here, was taken during an interview with Michael Mayer and Christine. It is highly recommended for fans very intrigued by this new production.

Performances of “Rigoletto” run through Feb. 23, and a different cast returns for more performances in April. The Feb. 16 Saturday matinee performance will be broadcast live in high definition to movie theaters worldwide. For more information, visit the Met’s website, or call the box office at (212) 362-6000.

Opera on a Budget: 5 Helpful Tips for College Students

Everywhere you turn, on every street corner, and in every borough, there are exciting cultural offerings to explore. My personal favorite lies at the very heart of Lincoln Center – the Metropolitan Opera. Undoubtedly, the Met ranks amongst the best opera companies in the world, presenting performances with world-renowned singers, highly accomplished musicians, in theatrically captivating productions. There’s only one problem – the cost. Fortunately, the Met offers many affordable ways for students to enjoy the best of the opera!

 

5. Toll Brother’s Saturday Matinee Radio Broadcasts

Since 1931, the Met has broadcast Saturday matinee performances live via radio. With engaging commentary, interviews, and other intermission features, and crystal clear audio quality, you can be in the center of the action without leaving your room! Even better, these broadcasts are presented at no cost! This s certainly the most affordable way for college students to enjoy the opera! For a full schedule of performances, visit the broadcast website.

4. The Metropolitan Opera Live in High-Definition

On December 30, 2006, the Met transmitted a performance of Mozart’s “The Magic Flute” to a couple hundred movie theaters. Since then, the series has expanded to more than 1500 venues in every continent on the globe. While sitting in a cushy movie theater seat, munching on fresh popcorn and gummy bears, and paying less that $30, you can watch live operas on the big screen. With stunning close-ups, powerful surround-sound, and rare backstage views, the Met: Live in HD transmissions are as close as you can get to the opera without actually being in the opera house. The Met broadcasts 12 live performances this season; for more information visit the Met online.

 

3. Discount Tickets from the TIC

As part of the Columbia Arts Initiative, the Ticket and Information Center at Columbia University offers students the opportunity to purchase discount tickets to a variety of cultural experiences around the city. This includes the opera. Through the box office in Lerner or online at their website, students can purchase tickets to select number of Metropolitan Opera performances at reduced rates. Tickets sell out fast, so you better act soon.

2. Met Rush Tickets

Every Monday through Thursday, two hours before curtain time, the Met sells 150 orchestra seats for only $20 each. Through this program, you can see almost any performance during the Met’s season and at an amazing price. It can sometimes get competitive to snag these seats, so get online a few hours early to secure your place in the house! Some restrictions apply, so check online for more information.

1. Met Opera Students

The Met Opera Student program is an incredible opportunity for college students! Any undergrad or graduate student who registers online (at no cost) is eligible to purchase heavily discounted tickets to a huge selection Met performances. Seats normally costing more than $200 can be yours for only $25! Every other week or so, the Met updates a list of discounted tickets, and even more discounts are available on the day of the performance. The is nothing to lose by signing up, so take a few moments explore all of the affordable possibilities for college students!

Arias and Airwaves: The Metropolitan Opera Saturday Matinee Broadcasts

Published in the Columbia Daily Spectator on December 7th:

As the old adage goes, “the best things in life are free,” and certainly this applies to the Metropolitan Opera’s live radio broadcasts of Saturday matinee performances.

Since Christmas Day, 1931, the Met has continued to present broadcasts directly from the stage into homes worldwide. The broadcasts have played host to countless memorable performances, and some legendary debuts aired while millions tuned in from their living rooms.

Margaret Juntwait, host of the Metropolitan Opera Saturday Matinee Broadcasts

With this year’s broadcast season beginning on Saturday, Margaret Juntwait, host of each matinée broadcast, said that these transmissions are a great asset to students. In an interview, Juntwait commented on young adolescence, saying, “These are the ages in which some of us develop our first interests in classical music.” She added, “The Saturday Matinee Broadcasts [are] something that helps that come alive for you.”

William Berger—writer, commentator, and producer for the Met broadcasts—said he would urge students to consider opera if they “are looking for deeper meanings, and meatier, more interesting [content],” even if it feels outside their comfort zone.

“Opera is not a form of music, it’s a form of drama … [and] everybody needs drama,” he said. This drama is heightened by the intimate human connection that takes place during a performance, Berger said. “[Opera is] a sensual experience … It is somebody’s organ vibrating one of your organs … that’s how vital it is.”

Berger also sees a special connection between Columbia students and the opera. He explained that opera “is elite, but not in the way people have portrayed it. It’s elite in that it demands a lot of the listener, the same way people will say Columbia is elite … it demands the best.”

And the opportunity to listen on the radio comes with its own special benefits. Because of the distance from the listener and the performance “you have the opportunity, the possibility to take this art form into every other aspect of your life,” Berger said. The chance to hear the music without any visual component allows for “mental theater,” Berger added. Whether it’s cleaning your room, doing exercise, or studying for finals, the Met broadcasts allow opera to be the soundtrack to your life, and this gives each listener the opportunity to adopt a personal connection to this art.

But the Saturday Matinee Broadcasts offer more than just the music­—during intermissions, listeners are treated to commentary, interviews, quizzes, and informative features, all of which aim to put the drama into context. When describing her role as host, Juntwait stressed that she always tries to listen to what she’s presenting as is if she were a listener, for “when you listen like the listener, then you realize what the listener is hoping to hear about next.” This, she says, makes the content more engaging and exciting for her audience.

Both Juntwait and Berger agree that another exciting aspect of each broadcast is the fact that it is presented live. Juntwait said, “To hear something live is to hear a human experience on the stage. Nothing is going to be perfected­—it is going to be as it happens.” And Berger added, “It can be a little dangerous and it can go very, very wrong.” But he also noted that this spontaneity is an essential part of what makes live performance so exciting.

“Jump on the train now because your experience will change,” he said. “It [opera] will mean one thing to you at 18, and a completely different, more profound, but separate thing at 40, 60, 80.”

Berger and Juntwait with Thomas Hampson (center)

The 82nd season of free, live broadcasts from the Met’s stage begins on Dec. 8 at 1 p.m. with Verdi’s “Un Ballo in Maschera” and continues every Saturday afternoon through May 11. Columbia students can access these transmissions on WNYC 93.9 FM or WQXR 105.9 FM. For more information, visit the broadcast webpage.

Preparing the Next Generation Together

Published in the Columbia Daily Spectator on November 16th:

The curtain rises on a sumptuous production by an acclaimed director. A world-famous conductor is in the orchestra pit. Luminaries of the New York opera scene are in the audience. But this performance isn’t on the stage of the Met, and none of the performers come from established international careers. Instead, all the performers are drawn from classes at the Juilliard School and the Metropolitan Opera’s Lindemann Young Artist Development Program.

The youthful cast of Mozart’s “Così fan tutte”

The performance was the opening night of a new co-production of Mozart’s “Così fan tutte,” and the production—directed by Stephen Wadsworth and conducted by Alan Gilbert—is the third project combining the two institutions, part of a larger collaboration between Juilliard’s Ellen and James S. Marcus Institute of Vocal Arts (mainly its graduate level programs) and the Met’s LYADP.

For five years, the two institutions have joined forces to provide an educational opportunity for budding operatic talents. Although the programs are distinct, students frequently come together to share resources and facilities.

Brian Zeger, artistic director of Juilliard’s Institute of Vocal Arts and executive director of the LYADP, describes this process as “organic” and says that the institutions choose when and how to interact depending on the needs of the singers.

The two programs specialize in specific areas of the operatic craft. A student in the LYADP who may need stronger music theory training can make use of the superior musical resources of Juilliard, Zeger said, whereas a graduate student at Juilliard in the program has a level of access to the Met that most young singers could only dream of. In addition, singers from both programs will often participate in joint auditions or teaching sessions with mentors such as Italian soprano and director Renata Scotto and baritone Thomas Allen.

26-year-old mezzo-soprano Wallis Giunta, who is enrolled in both programs, said that she “get[s] the most benefit from this collaboration.” In an email, Giunta admired the Met’s “focus on results and developing their young artists into a finished product.” But she also enjoys the “process-based” Juilliard experience with the imaginative director Stephen Wadsworth, where singers can “experiment, play, and take [their] time.”

Ryan McAdams, the assistant conductor for “Così” said he sees other benefits from what he called a “deeply valuable” relationship. McAdams wrote in an email, “Working at Juilliard gives them [the artists] the chance to perform major roles with a marvelous orchestra and conductor, gain exposure, and have access to … extraordinary dramatic and movement education. In exchange, the Juilliard students get exposure to the kind of training and performance that will be expected of them once they move on into the professional world.”

And the proof of this valuable collaboration was certainly on display at the Nov. 14 opening night of “Così.” The opera was performed in an effervescent production that offered moments of great humor but also of great poignancy. The youthful cast performed with a professional
confidence far beyond their years.

Mozart’s “Così fan tutte” will be presented in two more performances on Nov. 17 at 2 p.m. and Nov. 19 at 8 p.m. at Juilliard’s Peter Jay Sharp Theater. For more information, visit Juilliard online at www.juilliard.edu or call the box office at (212) 721-6500.

‘Un Ballo in Maschera’: Operatic Regicide Receives a Bold New Staging

Published in the Columbia Daily Spectator on November 16th:

For the opera “Un Ballo in Maschera” (“A Masked Ball”), Giuseppe Verdi crafted a score that incorporates a wide range of musical styles—an impassioned declaration of love, the trilling of a jovial coloratura soprano, an intense duet followed by a sinister laughing chorus. Last week, the Metropolitan Opera premiered avant-garde director David Alden’s edgy new production of the opera, which intelligently matched the action of the stage with the many different musical ideas issuing from the orchestra pit.

Marcelo Álvarez in Verdi’s ‘Un Ballo in Maschera’

Just before the 1859 premiere of “Ballo,” censors fearing political repercussions of the theatrical representation of regicide drastically altered the opera, and the entire plot was reworked and relocated to colonial Boston. In the past century, many productions of the opera have restored the Swedish setting, and Alden’s staging does the same, while simultaneously updating it to the early 20th century. Although some of Alden’s directorial choices were heavy-handed—such as the blocking of the chorus and an overstated connection to the myth of Icarus­—overall, his vision complemented the extreme range of musical styles. Scenes with solo performers were compelling and both the early vaudeville-like dance number and the final scene at the ball worked well in context.

The production’s visuals are stunning. Paul Steinberg’s designs masterfully incorporate sharp lines, geometrical set pieces, mirrored walls, and expansive backdrops. The beautiful costumes by Brigitte Reiffenstuel and superb lighting by Adam Silverman enhanced the striking vision. Unfortunately, the cast of singers was not as uniformly impressive as the production.

As the ill-fated King Gustavo III, dramatic tenor Marcelo Álvarez displayed a lyric, focused tone but lacked delicacy in his attack of the notes. Similarly, much of his acting featured overly exaggerated gestures.

The object of Gustavo’s love is Amelia, the wife of one of his closest advisors. Sondra Radvanovsky performed this role with her wide soprano and compensated for her voice’s lack of clarity with soaring power and a compelling portrayal.

Baritone Dmitri Hvorostovsky commanded the stage with a riveting interpretation of the king’s friend-turned-murderer, Count Ankorström. He sang with a dark, sonorous sound, and his acting seared with intensity. When the two combined, most powerfully in the emotionally wrought Act Three aria “Eri tu,” Hvorostovsky’s characterization triumphed.

The petite Korean soprano Kathleen Kim also offered a brilliant performance as the king’s page, Oscar. With her bright coloratura and radiant energy, Kim delivered a charming performance, while the veteran mezzo-soprano Dolora Zajick brought her impactful voice to the clairvoyant Ulrica. The sonorous basses of Keith Miller and David Crawford were appropriately sinister, representing the co-conspirators Count Ribbing and Count Horn.

Sondra Radvanovsky and Dolora Zajick in Verdi’s ‘Un Ballo in Maschera’

The Met’s principal conductor, Fabio Luisi, led a vibrant, though sometimes overpowering, interpretation of Verdi’s score, and the Met Opera Chorus performed once again with skill and beauty.

Due to the wide range of musical styles, the score of “Ballo” lacks consistency, but this characteristic is also part of the work’s appeal. While this may not be the best choice for a Columbia student who is new to the opera, anyone who appreciates the art form will enjoy the smorgasbord of great music that “Ballo” has to offer.

Verdi’s “Un Ballo in Maschera” runs through Dec. 14 and will be presented live in movie theaters on Dec. 8. For more information, call the Met’s box office at (212)-362-6000, or visit them online.

‘The Tempest’: A Perfect Storm

Published in the Columbia Daily Spectator on November 1st:

Only a night before Hurricane Sandy wreaked havoc in the Big Apple, the Metropolitan Opera brewed a tempest of its own.

Robert Lepage’s new treatment of Thomas Adès’ operatic interpretation of “The Tempest,” which had its world premiere in 2004, debuted at the Met this October. Featuring a spectacular cast, the production also included dazzling visuals.

Adès, like the magic-wielding characters onstage, conjures an enchanted world with his vivid score. At times, the opera is short on melody, but as the performance progresses, and new characters are introduced, the music becomes more melodically rich. Adès offers a nice variety of touching moments, comic passages, and intensely dramatic scenes, and every detail of this intricate music is mirrored perfectly in Lepage’s production.

In this staging, the exiled Milanese duke Prospero transforms his surroundings into Milan’s landmark opera house, the Teatro alla Scala. The theater’s backstage machinery enables the sorcerer to perform all of his powerful magic. Lepage’s production brilliantly marries traditional theatrical devices with animated projections, acrobatics, fantastical costumes, and magical sleight-of-hand to breathe life into the otherworldly island.

Fortunately, an ensemble of talented singing-actors expertly performed Adès’ challenging music. With a solid, authoritative sound, veteran baritone Simon Keenlyside brought a masterful portrayal to the role of Prospero and expertly conveyed the emotional journey his character takes—from overbearing father and vindictive brother to the understanding and noble figure.

Two fantastical creatures—the ethereal spirit Ariel and the savage Caliban—accompany Prospero on his island. Audrey Luna was simply spellbinding as Ariel. Her music lies extremely high in the soprano register, but Luna’s sound was always comfortable, clear, and pleasant. Luna’s performance went far beyond beautiful singing, as she would perform crouched on all fours, perched high above the stage, or flying from a chandelier. Alan Oke delivered a similarly commanding physical performance as Caliban, singing while twisted in a variety of contortions. Oke sang with a bright sound which was appropriately penetrating and haunting.

Audrey Luna singing here Act 1 One aria “Five Fathoms Deep”:

Rising stars Isabel Leonard and Alek Shrader played the young lovers Miranda and Ferdinand, respectively. The two worked well together both dramatically and vocally, as their stage chemistry was charming, and Shrader’s light tenor was a nice complement to Leonard’s lush mezzo-soprano.

Leonard and Shrader in their Act Two duet:

The comic duo Stefano and Trinculo, performed skillfully by bass Kevin Burdette and countertenor Iestyn Davies, provided a welcome contrast to the heavier points in the score. Toby Spence seemed uncomfortable in the higher passages of his role as Antonio, but Christopher Feigum as Sebastian, John Del Carlo as Gonzalo, and William Burden as the King of Naples contributed much with their strongly sung and acted performances.

From the podium, Adès extracted a textured reading of this complex score from the Met Orchestra, and with its high-quality musicianship, the Met Chorus provided some of the most enjoyable moments of the evening.

“The Tempest” offers Columbia students a captivating night at the theatre. The contemporary music can be off-putting to those unfamiliar with this style, but the production is a visual spectacle not to be missed—think Cirque du Soleil goes to the opera.

Performances of “The Tempest” run through Nov. 17, and the opera will be presented live to movie theaters worldwide on November 10.

For more information, visit the Met’s ‘Tempest’ mini site, visit the Met’s website, or call the box office at (212) 362–6000.

‘Otello’: Verdi’s Shakespearean Masterpiece Revived on the Met Stage

Published in the Columbia Daily Spectator on October 19th:

In 1887, Giuseppe Verdi returned to the operatic scene in collaboration with the composer and poet Arrigo Boito. Out of this partnership came “Otello,” now a masterpiece of the operatic canon. Currently playing at the Metropolitan Opera, the work incorporates new compositional ideas into Verdi’s already iconic musical style, producing pieces unlike anything he had written in his 50-year career.

“Otello”—an adaptation of Shakespeare’s classic tragedy—features a melodically nuanced and vivid orchestral score. A truly compelling performance of the piece requires a combination of dynamic portrayals from the principal singers, a vibrant, intense orchestra and chorus, and a dramatically riveting production.

Renée Fleming Center Stage in “Otello”

Replacing an ill colleague, Russian tenor Avgust Amonov made his Met debut in the title role, and delivered an adequate, though unmemorable, performance. The role of the jealous Moor is one of the most demanding in the repertory, for it includes passages of extraordinary sweetness and bold outbursts of forceful top notes. The weighty orchestration stifled Mr. Amonov’s weak instrument, but despite these difficulties, he displayed an appropriately dark timbre and focus in his higher register.

Fortunately for the audience, two riveting performers shared the stage opposite the unremarkable tenor. Returning to the role of Desdemona, Renée Fleming was the epitome of lyricism. Although Ms. Fleming may be slightly past her vocal prime, she still offered a nuanced, sympathetic, and masterfully sung portrayal. The soprano easily managed the challenge of the role with soaring power and delicate high notes, keeping the audience transfixed by the halting beauty of Act Four’s “Willow Song” and “Ave Maria.”

As Iago, the driving force behind the tragic events of the opera, bass-baritone Falk Struckmann brought a muscular sound and penetrating top notes to the sinister character. After an underwhelming first act, Mr. Struckmann delivered a striking “Credo in un dio Crudel” to begin Act Two, and his commanding presence never flagged for the remainder of the evening.

The young Cassio was ardently sung by New Jersey-born tenor Michael Fabiano while Renée Tatum as Emilia, Eduardo Valdez as Roderigo, and James Morris as Lodovico made strong contributions in their supporting roles.

The Met opera chorus produced a riveting wall of sound, and despite some moments of sluggish pacing, the Met orchestra performed a blazing account of Verdi’s masterful score under the baton of Semyon Bychkov.

Elijah Moshinky’s ornate 1994 production is appropriately grand for this immense work, with its towering scenery framed by pillars that suggest the stages of Elizabethan theaters. A rich color palette and dark lighting complement the dismal nature of the plot.

A Scene From Act Three of Verdi’s “Otello”

Lovers of Shakespeare’s classic tragedy will enjoy Verdi and Boito’s interpretation of the drama, but “Otello” is more than just an imitation. It is a perfect example of opera as a total art form, combining music, theatre, and dance. Columbia students should take this opportunity to experience its overwhelming power.

Performances of “Otello” run through Oct. 27 and return in March with a different cast. The opera will be presented live in movie theaters on Oct. 27th at 1 p.m. Visit the Met’s website or call the box office at 212-362-6000.

‘L’Elisir d’Amore’: Met Gala Hits High and Low Notes

Posted in the Columbia Daily Spectator on September 28, 2012:

As the sun set over Manhattan last Monday, all of New York high society made their way across Lincoln Center Plaza en route to the Metropolitan Opera House. To open the company’s 2012-2013 season, the Met presented a new production of Gaetano Donizetti’s L’Elisir d’Amore (“The Elixir of Love”), in a new production by Tony Award-winning director Bartlett Sher. Among the celebrity guests attending the premiere were fashion designers Diane von Furstenberg, Austin Scarlett, and Zac Posen; actors Patrick Stewart and Rachel Dratch (Saturday Night Live); and opera superstar Plácido Domingo. The evening was filled with glamorous and outrageous fashion statements and plenty of operatic excitement.

Placido Domingo poses for photographs and is applauded by throngs of adoring fans

L’Elisir d’Amore is the opera equivalent of today’s romantic comedy—a charming story of unrequited love in a provincial Italian village. The opera focuses on Nemorino, a down-on-his-luck peasant, and his infatuation with the confident, intelligent, and feisty landowner Adina. Nemorino’s love is challenged by the haughty Sergeant Belcore, but everything is turned upside down when a quack doctor, Dulcamara, arrives in the village hawking his magic, cure-all elixir (in reality, cheap Bordeaux). The stage is set for a winning combination of comic hijinks and touching romance.

The opera is a classic comedy of the standard repertory, but throughout the performance it seemed that many of the director’s choices did not fit with the opera’s light plot and score. Re-imagining the opera in the 19th century period of Austrian oppression in Italy, many of Sher’s choices imposed a dark side onto the piece that isn’t present in the libretto or music.

Although Monday was the production’s premiere, it didn’t feel very new. Set designer Michael Yeargan’s two-dimensional scenery was colorful and pleasant, but certainly not unique. In fact, many of the sets seemed oddly reminiscent of the whimsically painted flats of the Met’s previous production of L’Elisir, which were onstage as recently as this past March.

A side-by-side comparison of the new production with sets by Michael Yeargan…

…and the previous Met production with scenery by Beni Montresor.

 

 

 

 

 

 

 

 

 

 

 

 

 

However, the evening was saved by a cast that included four talented and engaging performers. As the helplessly love-struck Nemorino, tenor Matthew Polenzani needed time to get vocally comfortable, but eventually, he sang with his characteristically bright, lyrical tone. One of the most breathtaking moments of the night came when he delivered the classic aria “Una Furtiva Lagrima” with a delicate and heartfelt execution.

World-renowned soprano Anna Netrebko portrayed the self-assured, yet charming Adina and sang with a rich sound that still managed to be pure and sweet. Although the role is usually performed by a singer with a much lighter tone, Ms. Netrebko’s voice sounded comfortable in most areas of the score and she delivered a committed acting performance.

Mariusz Kwiecien brought a virile baritone to the role of Sergeant Belcore. His forceful sound was nicely matched to the assertive nature of his amorous character, but at times his characterization—likely influenced by the production’s weighty approach—was too aggressive for the buffoonish role and lost much of the character’s humor.

Italian baritone Ambrogio Maestri rounded out the comic quartet as the wily Dulcamara. With a combination of sonorous singing and jocular acting, Maestri was certainly a standout of the evening. His robust voice was matched by an ample waistline, both of which were used to full comic effect.

This is certainly not a spectacular or novel production of “L’Elisir d’Amore,” but as a whole it still offers an enjoyable night at the theater. The opera is a great introduction for Columbia students who are interested in experiencing the art form for the first time. Despite some unfortunate choices by the production team, the comic spirit of the opera prevails and audiences can still enjoy Donizetti’s charming masterpiece.

L’Elisir d’Amore runs through October 13th and then returns for four performances from Jan. 30 through Feb. 9.

Opening Night at the Met 2012

As soon as I stepped out onto the 66^th street, Lincoln Center subway platform, my heart began to flutter with excitement. Opening Night at the Metropolitan Opera marks the beginning of another season at New York’s premiere opera company, and to celebrate the occasion, the Met always hosts a huge spectacle. I was at the very center of it all; for an opera lover like myself, this is a pinnacle of the opera-going experience. While and audience 3,800 enjoyed a new production of Donizetti’s comic love story L’Elisir d’Amore inside the red-velvet and gilded auditorium, some 4000 plus spectators watched a live simulcast of the performance presented on giant screens in Lincoln Center Plaza and Times Square.

The Live Plazacast

The evening began with a celebrity-filled “red carpet “ event and lasted late into the night with an extravagant dinner for the VIPs and major donors. Before the before performance began, my friends and I stationed ourselves directly behind a mob of paparazzi and witnessed all of the red-carpet action.

Almost as soon as we arrived, fashion designer Austin Scarlett (a once contestant on Project Runway) elegantly escorted young soprano Lisette Oropesa (wearing a gown designed by Scarlett) into the plaza.

Austin Scarlett and Lisette Oropesa

He was soon followed by comedienne Rachel Dratch famed for her hilarious performances on Saturday Night Live.

Rachel Dratch

But the highlight of my time on the red carpet was seeing Plácido Domingo make his way to the opera house. At the sight of him, my knees practically went weak.

One of the world’s greatest opera singers and with a career that has spanned over four decades, Domingo has sung in more Met Opening Nights than any other single performer, but on this occasion, the tenor was only a spectator.

Plácido Domingo

As Domingo reached the line of paparazzi, the crowd of admiring fans behind him erupted in cheers and applause. In my excitement, I could not help but bellow out a resounding “Bravo!”

Plácido Domingo poses for photographs and is applauded by adoring fans

Throughout the evening, a parade of other VIPs passed in front of the mass of flash bulbs.

Veteran fashion designer Diane von Furstenberg made quite an impression as she graced the red carpet.

Diane von Furstenberg

Full of confidence and swagger, designer Zac Posen strolled in escorting two beautiful models on his arms…

Zac Posen

…and young actress Michelle Trachtenberg (Ice Princess and Gossip Girl) made a stylish appearance.

Michelle Trachtenberg

Surrounded by the glitz and glamor and partaking in all the operatic excitement, I had such a thrilling experience at Opening Night. I can’t wait to be in the center of it all this time next year!