tag:blogger.com,1999:blog-20238448785148849152024-03-05T01:18:51.348-05:00In the WingsThe Official Blog of the Boston Lyric OperaIn the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.comBlogger496125tag:blogger.com,1999:blog-2023844878514884915.post-12597859171504793342022-12-28T12:49:00.000-05:002022-12-28T12:49:02.453-05:00Make a Year-End Gift in Support of BLO<p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJHaI41F9UVimTVe6T-VkdKcDI6t13l-AGVA6ZmiF-As1MMHPRz73YY1bCbr56PW_xDtxm5puXuU9NYQi7EpIGMAiOTUTgdWxbJ2dWeFgQod8RX66PbfDyWNUx3nxDUuqtXAOnfundwZm-gAGJeGYT6VqEmTEoQXb1ZUbOd0h6E00pVUHWhJEfP8saTA/s1920/blo-logo_1line-black.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="143" data-original-width="1920" height="24" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJHaI41F9UVimTVe6T-VkdKcDI6t13l-AGVA6ZmiF-As1MMHPRz73YY1bCbr56PW_xDtxm5puXuU9NYQi7EpIGMAiOTUTgdWxbJ2dWeFgQod8RX66PbfDyWNUx3nxDUuqtXAOnfundwZm-gAGJeGYT6VqEmTEoQXb1ZUbOd0h6E00pVUHWhJEfP8saTA/w320-h24/blo-logo_1line-black.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://vimeo.com/784575226/a8e96e591b" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1152" data-original-width="2048" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgzMqAhcbowRFwod3HKQiTIDZSiHpVq_ou3oMsiuXMfdzs5fcEKzlimKyWfjvYof_ehSqjMlCGNBghHAY0PewgPPIxym5I1bRHQV1HJG0cv0tSsFu40quRtzXw121OSYJS1y26_221X_3qvnRnhZAMmr0qY-JJMiEB7kJLyrFR9A9jpkXe3tsodxRv7Q/w571-h321/c6f35c7e-4aa9-4779-b651-64ec93337f04.png" width="571" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;"><span style="background-color: white; border: 0px; color: #0d152a; font-size: 8.5pt; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Pictured above: BLO Jane & Steven Akin Emerging Artist Junhan Choi performing in BLO's offices at Midway Artist Studios in Fort Point.</span><span style="background-color: white; border: 0px; color: #424242; font-size: 8.5pt; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"></span></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana;">Dear Friends of BLO,</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana;">The pursuit of a successful career in opera is a challenging-and expensive-undertaking. Singers must continually hone their talent with regular coaching, expand their repertoire by learning new roles, and finding opportunities to make themselves heard.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana;">Here at Boston Lyric Opera, we recognize that the next generation of opera stars need to be nurtured in order to flourish, and that the future of the art form depends on their success.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana;">We provide the support our <a href="https://blo.org/emerging-artists/" target="_blank"><span style="color: black;"><b>Jane & Steven Akin Emerging Artists</b></span></a> need to grow their careers: from paid performance opportunities at events like this fall's <a href="https://www.fortpointos.org/" target="_blank"><span style="color: black;"><b>Fort Point Open Studios</b></span></a>, to one-on-one vocal coachings and career guidance with BLO artistic leadership, understudying lead roles in BLO productions, and more.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: #e35046; font-family: verdana;"><b>Opportunities and initiatives like these are made possible through the support of BLO champions like you. Please consider making a special year-end gift today to support the next generation of opera stars.</b></span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: #e35046; font-family: verdana;"><br /></span></div><span style="font-size: large;"><div style="text-align: center;"><span style="font-family: verdana;"><a href="https://give.blo.org/year-end" target="_blank"><b>MAKE A GIFT</b></a></span></div></span><p></p><p style="text-align: left;"><span style="font-family: verdana;">From all of us at Boston Lyric Opera, thank you for making 2022 an unforgettable year. Your support will help us stand firm in our mission: to inspire, entertain, and connect communities through compelling opera performances, programs, and gatherings.</span></p><p style="text-align: left;"><span style="font-family: verdana;">Best wishes for a joyful holiday season and a Happy New Year.</span></p><p style="text-align: left;"><span style="font-family: verdana;">With gratitude,</span></p><p style="text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOO9IhjApIpk0H4I6J0siqxiTbr-lWJ_g1B1OvVAd6ehEKNe_-Mqz4GWd0ij067rUEae7MAk-O9k6OREsFzOnxGQJGQtp-L1KjAReMsDMzw6FEd9v7UHZmNMMfFynYhjNHNzCeyIxp929lXCLQshcXK_vRPnQpwkv5eotjqHpos9b-rIkeH7qiUCSJXg/s433/7839fcd9f3de42b0e29928648448107f.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="164" data-original-width="433" height="76" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOO9IhjApIpk0H4I6J0siqxiTbr-lWJ_g1B1OvVAd6ehEKNe_-Mqz4GWd0ij067rUEae7MAk-O9k6OREsFzOnxGQJGQtp-L1KjAReMsDMzw6FEd9v7UHZmNMMfFynYhjNHNzCeyIxp929lXCLQshcXK_vRPnQpwkv5eotjqHpos9b-rIkeH7qiUCSJXg/w200-h76/7839fcd9f3de42b0e29928648448107f.png" width="200" /></a></div><br /><span style="font-family: verdana;"><br /></span><p></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana;">Bradley Vernatter</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana;">Stanford Calderwood General Director & CEO</span></div><p></p>In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-63576280409909446302022-12-21T12:49:00.004-05:002022-12-28T11:14:03.314-05:00Seasons Greetings from Bradley Vernatter<p> </p><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsvAPLyXyzClwuNwtIdlE4bneNH0Y4_V6_2myYSF4A8kFI3eXX9MZZ0O9t7Y-8Zk7cnmKJNG2m5prshRbGgSZt7u_Mt4k34_y_koSshiI854VlG-IHIn0cJeDDBKEzhMgjQkDBEh_cmJAVkCcwtoh1NOz30L3ITD-g8CA7gwSw72oWic6My2MjPLtStQ/s1920/blo-logo_1line-black.png" imageanchor="1"><img border="0" data-original-height="143" data-original-width="1920" height="30" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsvAPLyXyzClwuNwtIdlE4bneNH0Y4_V6_2myYSF4A8kFI3eXX9MZZ0O9t7Y-8Zk7cnmKJNG2m5prshRbGgSZt7u_Mt4k34_y_koSshiI854VlG-IHIn0cJeDDBKEzhMgjQkDBEh_cmJAVkCcwtoh1NOz30L3ITD-g8CA7gwSw72oWic6My2MjPLtStQ/w400-h30/blo-logo_1line-black.png" width="400" /></a></div><div><br /></div><div style="text-align: center;"><b style="background-color: white; color: #ef3827; font-family: verdana, Arial, sans; font-size: 27px; margin: 0px; outline: none; padding: 0px;"><span style="border: 0px; font-stretch: inherit; font-style: italic; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">A Note from Bradley Vernatter</span></b></div><div style="text-align: center;"><b style="background-color: white; color: #ef3827; font-family: verdana, Arial, sans; font-size: 27px; margin: 0px; outline: none; padding: 0px;"><span style="border: 0px; font-stretch: inherit; font-style: italic; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><br /></span></b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisWL6GDrgqhsjdgtE8-tT62wanQowj6T378tan_vUBS2Gz9l1CuTCKUh0cbRzajtuDqsYLvG4gP6ljfD27BeNdOlLlUMGTDkeOC6U4s37qnwG_BtG2iPTaQoIKYNZvAmzpUdLUeTyBPZd6FJYG8DmKYkxYJyqUePcLz2fD0Ybc2wytfMYa5j1u5AoOiA/s719/NewHeadshot1%20(1).png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="719" data-original-width="599" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisWL6GDrgqhsjdgtE8-tT62wanQowj6T378tan_vUBS2Gz9l1CuTCKUh0cbRzajtuDqsYLvG4gP6ljfD27BeNdOlLlUMGTDkeOC6U4s37qnwG_BtG2iPTaQoIKYNZvAmzpUdLUeTyBPZd6FJYG8DmKYkxYJyqUePcLz2fD0Ybc2wytfMYa5j1u5AoOiA/w215-h258/NewHeadshot1%20(1).png" width="215" /></a></div><span style="font-family: verdana;"><div style="text-align: center;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><span style="font-family: verdana;">Each year as we gather with family and friends to celebrate the holiday season, I am reminded of the extraordinary people I am privileged to meet through my work at Boston Lyric Opera. This year I was able to make new, lasting connections through our educational partnership programs and our work in our Fort Point Arts Neighborhood.</span> </div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: left;">In the fall, we launched the <a href="https://blo.org/opera-innovators-series/" target="_blank"><span style="color: black;"><b>Opera Innovators Series</b></span></a>, a new educational and artist development partnership with Boston Conservatory at Berklee voice and opera programs. This partnership fulfills our <a href="https://blo.org/strategic-plan/" target="_blank"><span style="color: black;"><b>Company goals</b></span></a> and unlocks incredible opportunities for the next generation of opera artists - <a href="https://blo.org/emerging-artists/" target="_blank"><b><span style="color: black;">BLO's Jane and Steven Akin Emerging Artists</span></b></a> and PCP students. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">I saw that come to life last week with soprano Karen Slack's terrific master class presentation. Seeing her support these young singers in their artistic development was a treat. Up next for the series, I can't wait to welcome BLO Artistic Advisor Nina Yoshida Nelson and Anne Bogart, visionary director of BLO's 2019 <i>The Handmaid's Tale</i>, whose work you will see again for our upcoming production of <i><a href="https://blo.org/bluebeard/" target="_blank"><b>Bluebeard's Castle/Four Songs.</b></a></i></div><div style="text-align: left;"><i><a href="https://blo.org/bluebeard/" target="_blank"><b><br /></b></a></i></div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmBv76nasA0RJ0D7qZUK192URWzwRsZ1q4PoNYaTSlp5aOwdANbvnLWkCSmVPsNC7kZk5LmQkyR88fCT2MEHzAN3-PcgRPr2WXEnT45ozB7_oEWtIWEX1VuyeDD2MSLD57jzhMArm9Bh858jD5fwmW8ooxf6silFnA-F4M-en19g7EGa-YuIwd8gIEbg/s1200/4%20(2).png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="1200" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmBv76nasA0RJ0D7qZUK192URWzwRsZ1q4PoNYaTSlp5aOwdANbvnLWkCSmVPsNC7kZk5LmQkyR88fCT2MEHzAN3-PcgRPr2WXEnT45ozB7_oEWtIWEX1VuyeDD2MSLD57jzhMArm9Bh858jD5fwmW8ooxf6silFnA-F4M-en19g7EGa-YuIwd8gIEbg/w513-h257/4%20(2).png" width="513" /></a></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><span style="font-size: xx-small;">Pictured from left to right: Brett Hodgdon, Pianist (BCB Faculty; BLO Jane & Steven Akin Emerging Artist Alumnus), </span></div><div style="text-align: center;"><span style="font-size: xx-small;">Julia Janowski, Mezzo-Soprano (BCB '24), Fred C. VanNess Jr., Tenor (Jane & Steven Emerging Artist),</span></div><div style="text-align: center;"><span style="font-size: xx-small;">Kayla Kovaks, Soprano (BCB '24), Laura Santamaria-Mendez, Soprano (BCB '23), Karen Slack, Soprano,</span></div><div style="text-align: center;"><span style="font-size: xx-small;">Jamila Drecker-Waxman, Soprano (BCB '23)</span></div><div style="text-align: left;"><br /></div>Our programming in the <a href="https://www.boston.gov/departments/arts-and-culture/fort-point-arts-neighborhood" target="_blank"><b><span style="color: black;">Fort Point Arts Neighborhood</span></b></a> has also brought new relationships, like the many artists and operagoers I met at the <a href="https://www.fortpointos.org/" target="_blank"><span style="color: black;"><b>Fort Point Open Studios </b></span></a>in the fall. When BLO relocated to Midway Artist Studios, we joined an established group of creative people who have made this rapidly growing area friendly and affordable for artists. Good things happen in places where the arts thrive. I see that here, and it inspires me to continue working with our partners to make arts and cultural spaces that strengthen our community.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Of course, my most rewarding connection is with you, our audiences, and the champions of BLO. I am so thankful for the support we receive, and so are the many artists we work with each year. Thank you for being a vital part of making opera and contributing to a strong arts community in Boston.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">From all of us at Boston Lyric Opera, we wish you a joyful holiday season and a very Happy New Year.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Wish warm wishes-and gratitude,</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Brad<br /><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrH7zdGWGkapiYt7SC5r4h8NhKmdsHQAkoX162HqhvEwEjE8TYT1uCei85CUFUhJ-TdabE7UP5U3chkfCzs_M1_owOArc76TAWa8vSI8dsxDWww0dp5DfXv5-LvZTT6pggXdsC0vBP_yZ87Tf3irAa9n7DDAkHK4-JWnSlmOEhe2FPSdSQPi4cJtskew/s433/7839fcd9f3de42b0e29928648448107f.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="164" data-original-width="433" height="76" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrH7zdGWGkapiYt7SC5r4h8NhKmdsHQAkoX162HqhvEwEjE8TYT1uCei85CUFUhJ-TdabE7UP5U3chkfCzs_M1_owOArc76TAWa8vSI8dsxDWww0dp5DfXv5-LvZTT6pggXdsC0vBP_yZ87Tf3irAa9n7DDAkHK4-JWnSlmOEhe2FPSdSQPi4cJtskew/w200-h76/7839fcd9f3de42b0e29928648448107f.png" width="200" /></a></div><br /><div style="text-align: left;"><br /></div><div style="text-align: left;">Bradley Vernatter</div><div style="text-align: left;"><span style="font-size: x-small;"><i>Stanford Calderwood General Director & Chief Executive Officer</i></span></div><div style="text-align: left;"><span style="font-size: x-small;"><i><br /></i></span></div><div style="text-align: left;"><span style="font-size: x-small;"><i><br /></i></span></div></span><p></p>In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0Boston, MA, USA42.3600825 -71.058880114.049848663821152 -106.2151301 70.670316336178843 -35.902630099999996tag:blogger.com,1999:blog-2023844878514884915.post-60201853643853764992016-07-11T14:44:00.001-04:002016-07-12T16:15:55.056-04:00Celebrating a Year of Opera<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: left;" trbidi="on">
<h2>
<span style="font-family: inherit;"><b style="mso-bidi-font-weight: normal;"><span style="mso-no-proof: yes;">Our Favorite Moments of the 2015/16 Season</span></b></span></h2>
</div>
<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: left;">
<div style="text-align: left;">
<span style="font-family: inherit;"><i>By Lucy Caplan, Education <span style="font-family: inherit;">&</span> Community Engagement Intern<span style="font-size: 12pt;"></span> </i></span></div>
<!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:EnableOpenTypeKerning/> <w:DontFlipMirrorIndents/> <w:OverrideTableStyleHps/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman","serif";}
</style> <![endif]--></div>
<b style="mso-bidi-font-weight: normal;"><span style="mso-no-proof: yes;"><br />October</span></b><span style="mso-no-proof: yes;">: We kicked off the Season with our annual Opera Gala.<span style="mso-spacerun: yes;"> </span>The evening began with the spectacular Opening Night performance of <i style="mso-bidi-font-style: normal;">La Bohème </i>at the Shubert Theatre, with pre-show and post-show parties at the Wang filled with dancing, delicious desserts, and champagne. </span><br />
<div class="MsoNormal">
<span style="mso-no-proof: yes;"><span style="mso-spacerun: yes;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtNqaSTiC41EkCLUwAxG-nQEv1XJLlkp7wX9umQJecgUR86tMQ8gOBnVnj6ylt9C19vLY80fzNyvyuEMTongbT19fpng3drWtpRDXeejIxwb9cbHmuAX8NropK9wc79DtjgNKW7YJO2X3p/s1600/01+gala.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtNqaSTiC41EkCLUwAxG-nQEv1XJLlkp7wX9umQJecgUR86tMQ8gOBnVnj6ylt9C19vLY80fzNyvyuEMTongbT19fpng3drWtpRDXeejIxwb9cbHmuAX8NropK9wc79DtjgNKW7YJO2X3p/s640/01+gala.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="mso-no-proof: yes;">Photo: Pierce Harman for Boston Lyric Opera</span></td></tr>
</tbody></table>
</span><span style="mso-spacerun: yes;"><br />
</span></span></div>
<span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;"> </span> <b style="mso-bidi-font-weight: normal;"><span style="mso-no-proof: yes;">October</span></b><span style="mso-no-proof: yes;">: We welcomed the talented singers of the children’s chorus Voices Boston for our production of <i style="mso-bidi-font-style: normal;">La Bohème</i>. 12 young artists, led by director Kirsten Shetler, joined us for the production. </span> <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmjDwVYp-k3zG87fhiSE8bN38ieDrL27lpyKvBZArW9PXTmd3HO6__l1UtXGfG5ZUtiGc7rv-H1Z53qxOJMb_U0xoGi3eL1NCuD_H7cb2YU-q6vftHpOumJcPl5cbkMg_4FtUI1SpJ02oY/s1600/02+boheme.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmjDwVYp-k3zG87fhiSE8bN38ieDrL27lpyKvBZArW9PXTmd3HO6__l1UtXGfG5ZUtiGc7rv-H1Z53qxOJMb_U0xoGi3eL1NCuD_H7cb2YU-q6vftHpOumJcPl5cbkMg_4FtUI1SpJ02oY/s640/02+boheme.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="mso-no-proof: yes;">Photo: T. Charles Erickson for Boston Lyric Opera</span></td></tr>
</tbody></table>
<br />
<div class="MsoNormal">
<span style="mso-no-proof: yes;"> </span><b style="mso-bidi-font-weight: normal;">October</b>: We had the privilege of hearing directly from composer Philip Glass at the MFA’s Shapiro Celebrity Lecture Series. BLO cast members kicked off the event with performances of scenes from <i style="mso-bidi-font-style: normal;">In the Penal Colony</i>, and a conversation between Mr. Glass and WGBH’s Jared Bowen was filled with fascinating insights about the composer’s illustrious career. </div>
<span style="mso-no-proof: yes;"> </span><br />
<div class="MsoListParagraphCxSpFirst">
<span style="mso-no-proof: yes;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkfJewFZ-XX2WOztABo5ZErenEGzr3ZECqicFK9ZfvxXnGBSfMeSXNrKjTc6MwI3KxXbtRIX4CD2sPq0KAV8f-GZyFbzQ153_7B6ARzrdodOMgF9ZSIMmSpSq_LxbaDTyCOrEaQ1QcX7mx/s1600/03+glass.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkfJewFZ-XX2WOztABo5ZErenEGzr3ZECqicFK9ZfvxXnGBSfMeSXNrKjTc6MwI3KxXbtRIX4CD2sPq0KAV8f-GZyFbzQ153_7B6ARzrdodOMgF9ZSIMmSpSq_LxbaDTyCOrEaQ1QcX7mx/s640/03+glass.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: Eric Antoniou for Boston Lyric Opera</td></tr>
</tbody></table>
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="mso-no-proof: yes;">November</span></b><span style="mso-no-proof: yes;">: We launched our<span style="mso-spacerun: yes;"> </span>Opera Annex production of <i style="mso-bidi-font-style: normal;">In The Penal Colony </i>at the Boston Center for the Arts. At the post-show talkback, the audience heard insights from our artistic production team about how we mounted an opera in the Cyclorama. </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvra35hJL2TalUwAKmmTtHVln5CCzbP-SgQLrwFI8OsvrqYsQve8od-6L31QJYLaX143BIpxkJRK8QREPZPez8gvmwQFwWirX0bSuPz4v-omlJ48pZo_3NMig2icTtSp__d0mW_eusM4fC/s1600/04+penal+colony.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvra35hJL2TalUwAKmmTtHVln5CCzbP-SgQLrwFI8OsvrqYsQve8od-6L31QJYLaX143BIpxkJRK8QREPZPez8gvmwQFwWirX0bSuPz4v-omlJ48pZo_3NMig2icTtSp__d0mW_eusM4fC/s640/04+penal+colony.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="mso-no-proof: yes;">Photo: T. Charles Erickson for Boston Lyric Opera</span></td></tr>
</tbody></table>
<br />
<b style="mso-bidi-font-weight: normal;"><span style="mso-no-proof: yes;">December</span></b><span style="mso-no-proof: yes;">: Sparkling melodies rang out through the galleries of the MFA at <i style="mso-bidi-font-style: normal;">Brindisi! Italian and French Drinking Songs. </i>After a performance by BLO artists, attendees enjoyed food and drink inspired by the music, a lively discussion, and – last but not least – a singalong! </span> <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxBfeA7LIDVP_iNIF-oir9XzwE7DJLm6Mr7IIjn-FzPtU1lxcUst7-W9Ay00ul68MPpq8ZNZw01RITWzOb8TRd9tVIZk3LVsIFPLxS_hETWgjKsQENfrd01KLjX9bS3__T1Dqz1JTLvqlA/s1600/05+drinking+song.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxBfeA7LIDVP_iNIF-oir9XzwE7DJLm6Mr7IIjn-FzPtU1lxcUst7-W9Ay00ul68MPpq8ZNZw01RITWzOb8TRd9tVIZk3LVsIFPLxS_hETWgjKsQENfrd01KLjX9bS3__T1Dqz1JTLvqlA/s640/05+drinking+song.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="mso-no-proof: yes;">Photo: Boston Lyric Opera</span></td></tr>
</tbody></table>
<br />
<b style="mso-bidi-font-weight: normal;">January: </b>Students in Boston and beyond had the chance to learn about opera when BLO’s Emerging Artists visited their schools. More than 700 students at 11 different schools had <span style="mso-spacerun: yes;"> </span>the opportunity to enjoy live performances by professionally trained singers . <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLeCTCRHC-IZjeI0WASjy6Guw0CmjTxpihjVSx1xaRRusiDBwMLF_xFgqaI2bEte7z29hAiphLqq0FhmOketkbjh06ybYWtrIZWJxdaG7U76M3QMP3fywekjuBTKrt0whvC25dA-aBizIp/s1600/06+classroom.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLeCTCRHC-IZjeI0WASjy6Guw0CmjTxpihjVSx1xaRRusiDBwMLF_xFgqaI2bEte7z29hAiphLqq0FhmOketkbjh06ybYWtrIZWJxdaG7U76M3QMP3fywekjuBTKrt0whvC25dA-aBizIp/s640/06+classroom.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="mso-no-proof: yes;">Photo: Boston Lyric Opera</span></td></tr>
</tbody></table>
<br />
<b style="mso-bidi-font-weight: normal;">February</b>: The highlight of Opera Night at the Boston Public Library was a delightful surprise: the great-niece of Sibyl Sanderson (Massenet’s favorite soprano), who lives in Boston, brought along a copy of <i style="mso-bidi-font-style: normal;">The Sorrows of Young Werther</i> inscribed by Massenet himself! Hosted by BLO Music Director and Conductor David Angus, the event also explored <i style="mso-bidi-font-style: normal;">Werther</i> through a mixture of commentary and live performances by members of the cast. <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgADFzIw7VAo3LSepHiXrErVf6-oPqWO5fYwaADVX82_GnV22MUhSFq8CGuEqK5RCuMuDTSWqyWFTTH3m4f0PdPHgEm0c6udLGoCJRixIsNVXS25aJiyh9KRhHD7GKiVrsSI0lSI7kTe_2m/s1600/07+journal.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgADFzIw7VAo3LSepHiXrErVf6-oPqWO5fYwaADVX82_GnV22MUhSFq8CGuEqK5RCuMuDTSWqyWFTTH3m4f0PdPHgEm0c6udLGoCJRixIsNVXS25aJiyh9KRhHD7GKiVrsSI0lSI7kTe_2m/s640/07+journal.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: Eric Antoniou for Boston Lyric Opera</td></tr>
</tbody></table>
<br />
<b style="mso-bidi-font-weight: normal;">March:</b> We invited you to “Add Your Love” to BLO’s production of <i style="mso-bidi-font-style: normal;">Werther </i>by submitting a love letter. <a href="https://www.blogger.com/null" style="mso-comment-date: 20160622T1352; mso-comment-reference: RK_3;"><span style="mso-spacerun: yes;"> </span></a> <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbw1T7GDRnSQlOw7uDSL2djILoTRzlxuBIfLI1v2pSi6djKwDx-TVG2F9LeFSprORaEfKq-uq-Hde8dOXLs7HCAlO5RUvm8LCnNJMYcETrhyvLNXLiX4AbpfWeMYQvFGWOkbaC4-0POpwf/s1600/2016_BLO_Werther_06-600x788.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbw1T7GDRnSQlOw7uDSL2djILoTRzlxuBIfLI1v2pSi6djKwDx-TVG2F9LeFSprORaEfKq-uq-Hde8dOXLs7HCAlO5RUvm8LCnNJMYcETrhyvLNXLiX4AbpfWeMYQvFGWOkbaC4-0POpwf/s640/2016_BLO_Werther_06-600x788.jpg" width="487" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: T. Charles Erickson for Boston Lyric Opera</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<b style="mso-bidi-font-weight: normal;">April: </b>We were honored to host Alexander Lehar, grand-nephew of composer <span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Franz Lehár</span>, who attended opening night of <i style="mso-bidi-font-style: normal;">The Merry Widow. </i>Mr. Lehar is pictured here with conductor Alexander Joel (the half-brother of Billy Joel!) and BLO General & Artistic Director Esther Nelson. <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn0tzI9sVGdwr9h8YILOexb3VsDjSlN-SGhjDmB9_Pu1qbqs9k2S62vZxVfm9LejmAVK6Jc5Q5EN_9XLc-JZfxJdXUYO1Qmx3JHSboU8ntuBM2i-fX4k78GsJC2-t3m9nXSDtejgqFNiKW/s1600/09+globe+names.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn0tzI9sVGdwr9h8YILOexb3VsDjSlN-SGhjDmB9_Pu1qbqs9k2S62vZxVfm9LejmAVK6Jc5Q5EN_9XLc-JZfxJdXUYO1Qmx3JHSboU8ntuBM2i-fX4k78GsJC2-t3m9nXSDtejgqFNiKW/s640/09+globe+names.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: Pierce Harman</td></tr>
</tbody></table>
<br />
<b style="mso-bidi-font-weight: normal;">May:</b> BLO former and current Emerging Artists serenaded shoppers and diners with opera classics all about food and drink at an Opera Pop-Up concert at the Boston Public Market, part of ArtWeek Boston. Watch a video of their performance<a href="https://www.facebook.com/BostonLyricOpera/videos/10154174842656477/"> here</a>! <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-S0vM58OKS7T7GpRwcShvFOmnJs6We_EF8Gn3SYcPfR3r47Q1TPHYB41cXUVde6Z4-LNzuWV8hRU27VpCdLRlpFU68xuSwAW6lt8pX0NyWhILtqbG5HPARa1kF-NDFmZpEaXWFE_etqDa/s1600/10+Boston+Public+Market.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-S0vM58OKS7T7GpRwcShvFOmnJs6We_EF8Gn3SYcPfR3r47Q1TPHYB41cXUVde6Z4-LNzuWV8hRU27VpCdLRlpFU68xuSwAW6lt8pX0NyWhILtqbG5HPARa1kF-NDFmZpEaXWFE_etqDa/s640/10+Boston+Public+Market.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: Boston Lyric Opera</td></tr>
</tbody></table>
<br />
<b style="mso-bidi-font-weight: normal;">June: </b>Students presented world premieres of their classroom operas at schools all over greater Boston. Over 350 students participated in the Create Your Own Opera Partnership program this year, working intensively with BLO Resident Teaching Artists and classroom teachers to write and perform their own original operas. <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmXWBEwy-yEiCAtyqb8C4vIWE6it5ejUidW-KNl7vH53eyccD-q4foXhqADkgKutkci5eLZmHP3JMQvniDCmjR4g80bALsYmqlW_BPzUxYEdKQLebU1tPEB9jtyE9IObrBGnKqAYDo3UtF/s1600/11+RK+with+kids.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmXWBEwy-yEiCAtyqb8C4vIWE6it5ejUidW-KNl7vH53eyccD-q4foXhqADkgKutkci5eLZmHP3JMQvniDCmjR4g80bALsYmqlW_BPzUxYEdKQLebU1tPEB9jtyE9IObrBGnKqAYDo3UtF/s640/11+RK+with+kids.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: Boston Lyric Opera</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
</div>
<h4 style="text-align: left;">
</h4>
<h4 style="text-align: left;">
Thank you for sharing our 2015/16 Season with us, and we hope you'll join us for our <a href="http://blo.org/1617season/" target="_blank">2016/17 40th Season</a>! <a href="https://blo.org/tickets/" target="_blank">Purchase online</a> or call our Audience Services team at 617.542.6772.<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--></h4>
<h4 style="text-align: left;">
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman","serif";}
</style>
<![endif]-->
<div align="center">
<table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" data-wfmutant="box div" style="border-collapse: collapse; mso-padding-alt: 0in 0in 0in 0in; mso-yfti-tbllook: 1184;"><tbody>
<tr style="mso-yfti-firstrow: yes; mso-yfti-irow: 0; mso-yfti-lastrow: yes;"><td style="padding: 0in 0in 0in 0in;" valign="top"><div align="center">
<table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="background-color: rgba(255, 255, 255, 0); border-collapse: collapse; mso-padding-alt: 0in 0in 0in 0in; mso-yfti-tbllook: 1184; width: 600px;"><tbody>
<tr style="mso-yfti-firstrow: yes; mso-yfti-irow: 0; mso-yfti-lastrow: yes;"><td style="padding: 0in 0in 0in 0in;" valign="top"><br /></td>
</tr>
</tbody></table>
</div>
</td>
</tr>
</tbody></table>
</div>
</h4>
</div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-36722750825897933412016-06-17T10:01:00.001-04:002016-06-17T11:41:45.994-04:00Why do we believe in BLO?<div dir="ltr" style="text-align: left;" trbidi="on">
<h2 style="text-align: left;">
<div style="-webkit-text-stroke-width: 0px; color: black; font-family: Times; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; margin: 0px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;">
<b><br class="Apple-interchange-newline" /></b></div>
</h2>
<h2 style="text-align: left;">
<b>A message from BLO staff...</b></h2>
<div style="-webkit-text-stroke-width: 0px; color: black; font-family: Times; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; margin: 0px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;">
<br /></div>
<div class="MsoNormal">
<div style="margin: 0px;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDIvh6B7rTdKnM9spZNhiVZ0Bo4uxCGMwwB-0KL1p9YFEXcHCMSIDfPS5MhRf6T3EpdXTAPKQX4lybO3Vr6pik6TZrfIDtThYgLG3jL9VEbuQ0WZtrAdt8YvqjbL_8is_0yLwEQgwwkdxZ/s1600/IMG_6338.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDIvh6B7rTdKnM9spZNhiVZ0Bo4uxCGMwwB-0KL1p9YFEXcHCMSIDfPS5MhRf6T3EpdXTAPKQX4lybO3Vr6pik6TZrfIDtThYgLG3jL9VEbuQ0WZtrAdt8YvqjbL_8is_0yLwEQgwwkdxZ/s320/IMG_6338.JPG" style="cursor: move;" width="240" /></a><br />
<br />
<span style="background-color: rgba(255, 255, 255, 0);">"</span><b style="background-color: rgba(255, 255, 255, 0);">I believe in BLO</b><a class="_58cn" data-ft="{"tn":"*N","type":104}" href="https://business.facebook.com/hashtag/believeinblo?source=feed_text&story_id=10154254497921477" style="background-color: rgba(255, 255, 255, 0);"><span class="_58cl"></span><span class="_58cm"></span></a><span style="background-color: rgba(255, 255, 255, 0);"> </span><span style="background-color: rgba(255, 255, 255, 0);">because it makes opera accessible to diverse audiences" - Robin Whitney,</span><i style="background-color: rgba(255, 255, 255, 0);"> Individual Giving Manager</i><br />
<i style="background-color: rgba(255, 255, 255, 0);"><br /></i>
<i style="background-color: rgba(255, 255, 255, 0);"><br /></i>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT_4whzLFXwB2v0aLqD3rfqp_2t69joGC1XRzlNheUmdqwkIqUXTapERd7KSzh_V156DGp1OBFT4cK9IQ0Tfx9nG53UL4ztC-VaJr9c7cWV2zQ_MTIfPPSGbirDzRX5Jz7Xgg35uOsDfPE/s1600/rk.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT_4whzLFXwB2v0aLqD3rfqp_2t69joGC1XRzlNheUmdqwkIqUXTapERd7KSzh_V156DGp1OBFT4cK9IQ0Tfx9nG53UL4ztC-VaJr9c7cWV2zQ_MTIfPPSGbirDzRX5Jz7Xgg35uOsDfPE/s320/rk.jpg" style="cursor: move;" width="240" /></a><br />
<br />
“<b style="background-color: rgba(255, 255, 255, 0);">I believe in BLO because opera is the ultimate multi-art and the best way to tell stories</b>. Opera is real people working together: talented artists performing highly emotional vocal and instrumental music, storytelling through poetry, acting, and dancing; then brought to life in front of our eyes with the magic of lighting, film projections, set-design, and hand-crafted costumes<span style="background-color: rgba(255, 255, 255, 0);">. </span>While opera struggles with the false stigma of being a stale, esoteric art, no one better than the BPS students in BLO’s Create Your Own Opera Partnership program can attest to the fact that indeed <b>opera is about telling stories of all kinds, and it is for everyone</b>—because who doesn’t love a great story!” –Rebecca Ann S. Kirk, <i>Manager of Education Programs</i></div>
</div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<br /></div>
<div class="MsoNormal">
<div style="margin: 0px;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdd0GaTZfFkUyUcxEShfVNrOHk9gB5x-wzV2ns-t6mYCKLExqVNwV0RItDlNWg1HXKGHSEg1qx1OcY9FexlZYVGi2EhoFBCPERzD_YQqaXqXQau5NRfvstRa_RqiwuxxnEkK7kRM165ets/s1600/ec.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdd0GaTZfFkUyUcxEShfVNrOHk9gB5x-wzV2ns-t6mYCKLExqVNwV0RItDlNWg1HXKGHSEg1qx1OcY9FexlZYVGi2EhoFBCPERzD_YQqaXqXQau5NRfvstRa_RqiwuxxnEkK7kRM165ets/s320/ec.jpg" style="cursor: move;" width="243" /></a><br />
<br />
<b>"As a voice student I already had a passion for opera, but was unsure of my career path as a professional singer. </b>My senior year, I happened upon an internship at BLO, where I got my first taste working behind the scenes as an arts administrator. This experience completely changed my life, and opened up a whole new world of career possibilities. After 5 years of working in this field, I was delighted to have the opportunity to return to BLO. <b style="background-color: rgba(255, 255, 255, 0);">I believe in BLO because I see firsthand everyday how dedicated our staff and artists are to making opera thrive as an art form in Boston</b>." - Erin Coffey, <i style="background-color: rgba(255, 255, 255, 0);">Associate Director of Major Gifts</i></div>
</div>
<div style="margin: 0px;">
<br /></div>
<div class="MsoNormal">
<div style="margin: 0px;">
<br /></div>
</div>
<div style="margin: 0px;">
<br /></div>
<div class="MsoNormal">
<div style="margin: 0px;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi25GDZphg-tNbbLXMFb4JULSFCQlvQbfWuIoIs-dB4XYc66JMTaDVbweVnOi40hgeI_IkxhrsCslfymh3pLc5P8Q6PmXt7qNKV4u40t99a2UWS9BIK1GruK9riZIbwW0zPB2fSzl0Rd35L/s1600/am.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi25GDZphg-tNbbLXMFb4JULSFCQlvQbfWuIoIs-dB4XYc66JMTaDVbweVnOi40hgeI_IkxhrsCslfymh3pLc5P8Q6PmXt7qNKV4u40t99a2UWS9BIK1GruK9riZIbwW0zPB2fSzl0Rd35L/s320/am.jpg" style="cursor: move;" width="236" /></a><br />
<br />
<b>"I am continually amazed at how passionate and dedicated BLO’s patrons are both to the genre and Boston’s arts community.</b> From longtime subscribers to students who buy rush tickets to our volunteers in the office and onstage, everyday I am inspired by BLO’s patrons’ commitment to BLO’s mission and success." – Andrew J. Moreau,<i style="background-color: rgba(255, 255, 255, 0);"> Operations Manager & Systems Administrator</i></div>
</div>
<div style="margin: 0px;">
<br /></div>
<div class="MsoNormal">
<div style="margin: 0px;">
<br /></div>
</div>
<div style="margin: 0px;">
<br /></div>
<div class="MsoNormal">
<div style="margin: 0px;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTm6JP4gN85a5p3y34nRWH2m2QJ9P8SiOjOFkktTxKMtnNQ-d9SZvdudzFx0BlcvpsPf0cX-LRTMhD-ooLzJZQdnWozyRR9DJxMwhvIJuYYqhburAyhSbTxU_-XoL9CvQgkNJXau3CQ1e2/s1600/jp.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTm6JP4gN85a5p3y34nRWH2m2QJ9P8SiOjOFkktTxKMtnNQ-d9SZvdudzFx0BlcvpsPf0cX-LRTMhD-ooLzJZQdnWozyRR9DJxMwhvIJuYYqhburAyhSbTxU_-XoL9CvQgkNJXau3CQ1e2/s320/jp.JPG" style="cursor: move;" width="235" /></a><br />
<br />
"<b>Opera encompasses everything I love about art </b>– theatre, music, dance, design, culture, history. It is the ultimate expression of performance. Growing up, I would visit my Dad in New Mexico. We could never afford the tickets to Santa Fe Opera, but would park close enough to hear the music as it rose out of the amphitheater. Since then, I was hooked. <b>I believe in BLO because I believe in opera.</b>" Julia Propp, <i>Director of Operations, External Relations</i></div>
</div>
<div style="margin: 0px;">
<br /></div>
<div class="MsoNormal">
<div style="margin: 0px;">
<br /></div>
</div>
<div style="margin: 0px;">
<br /></div>
<div class="MsoNormal">
<div style="margin: 0px;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBd09U6zmpqey8fO8A9fDIOhrn1uHMzNKbRZcue0Kvbz9-NCY38lHw2Db5zX78BBgbe8yMlMs7_FiAsvCIhub6OsgptoK6lTpNzNh6Qa4g-e2NoVB1WnoO6ZL5gur2WWn-AGDkrtw97cyg/s1600/RKit.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBd09U6zmpqey8fO8A9fDIOhrn1uHMzNKbRZcue0Kvbz9-NCY38lHw2Db5zX78BBgbe8yMlMs7_FiAsvCIhub6OsgptoK6lTpNzNh6Qa4g-e2NoVB1WnoO6ZL5gur2WWn-AGDkrtw97cyg/s320/RKit.jpg" style="cursor: move;" width="223" /></a><br />
<br />
<div style="-webkit-text-stroke-width: 0px; color: black; font-family: Times; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px;">
</div>
<br />
<table border="0" cellpadding="0" cellspacing="0" class="MsoTableGrid" style="-webkit-text-stroke-width: 0px; border-collapse: collapse; border: none; font-family: Times; letter-spacing: normal; orphans: auto; text-indent: 0px; text-transform: none; widows: 1; word-spacing: 0px;"><tbody>
<tr><td style="padding: 0in 5.4pt; width: 305.75pt;" valign="top" width="306"><div class="MsoNormal">
<div style="margin: 0px;">
<div style="margin: 0px;">
"<b>I believe in BLO because we’re not afraid to try new things and shake up the status quo.</b>" –Rebecca Kittredge, <i>Audience Services Coordinator</i></div>
</div>
</div>
</td></tr>
</tbody></table>
</div>
</div>
<div style="margin: 0px;">
<br /></div>
<div class="MsoNormal">
<div style="margin: 0px;">
<br /></div>
</div>
<br />
<h2 style="text-align: left;">
Our team believes in BLO...</h2>
<b align="start" style="background-color: rgba(255, 255, 255, 0);"><span style="background-color: rgba(255, 255, 255, 0);">Will you s</span><span style="background-color: rgba(255, 255, 255, 0);">tand with us and say, “I believe in BLO” by </span></b><b align="start" style="background-color: rgba(255, 255, 255, 0);">making a gift this year? </b><span align="start" style="background-color: rgba(255, 255, 255, 0);">Your</span><span align="start" style="background-color: rgba(255, 255, 255, 0);"> fully tax-deductible donation to BLO’s Annual Fund before June 30, 2016 will </span><span align="start" style="background-color: rgba(255, 255, 255, 0);">make it possible for opera to remain an engaging, emerging, and educating force in our city.</span><br />
<div style="font-size: medium; font-weight: normal;">
<br />
<br />
<div style="text-align: left;">
Call Robin Whitney at 617.542.4912 x254 or <b><a href="http://ticketing.blo.org/dev/contribute.aspx?don=4&fieldAmt=" target="_blank">click here to participate</a>.</b></div>
</div>
</div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-37098154503733172252016-06-06T14:30:00.000-04:002016-06-17T10:17:17.690-04:00Reflections on Opera Conference 2016<div dir="ltr" style="text-align: left;" trbidi="on">
<!--[if !mso]>
<style>
v\:* {behavior:url(#default#VML);}
o\:* {behavior:url(#default#VML);}
w\:* {behavior:url(#default#VML);}
.shape {behavior:url(#default#VML);}
</style>
<![endif]--><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmnpvi9MHjC_3sjyBQw7UjLOKqxqwxzywq2pc8NLFxd5pMh6m5fZktd15lByBe5XF_I4LrrhDI1WivfwCrm0-n7p2goL16hp6u_OYuz-uqmmfJ5LKp0NDP0CauYPqyKB2n74t5WzsZh24p/s1600/blog1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmnpvi9MHjC_3sjyBQw7UjLOKqxqwxzywq2pc8NLFxd5pMh6m5fZktd15lByBe5XF_I4LrrhDI1WivfwCrm0-n7p2goL16hp6u_OYuz-uqmmfJ5LKp0NDP0CauYPqyKB2n74t5WzsZh24p/s640/blog1.jpg" width="640" /></a><i><br /></i>
<i>By Rebecca Ann S. Kirk, <span style="mso-bidi-font-style: normal;">Manager of
Education Programs</span></i><br />
<br />
<div class="MsoNormal">
I was nominated by
our General and Artistic Director, Esther Nelson, to apply for the Career
Advance initiative to attend Opera Conference 2016. OPERA America selected my
application to be one of 10 emerging arts leaders in its inaugural cohort. The initiative
was created to meet the needs of the field by providing more levels of career
support for opera professionals. (OPERA America already has a highly regarded
Leadership Intensive program.)<span style="mso-spacerun: yes;"> </span>As the
Manager of Education Programs, until now, my professional development has
centered around best practices in arts education and community engagement, but
not specifically in opera. I welcomed the opportunity to connect with
colleagues in the field and learn the best practices in opera that were being
implemented successfully in different communities throughout North America.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
After a whirlwind of new faces, long days, and lots of opera,
punctuated by French pastries and café au lait, I have had a chance to reflect
on my experience in Montr<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">é</span>al at Opera Conference 2016 and would like to share a few
insights. My insights ended up to be more broadly reaching than my personal
career development, yet I found that these take-aways were also highly
supportive of the work I do, and in ways I hadn’t experienced before working within an
arts organization. I returned to Boston inspired to continue to offer my best
work to the community. Here is what I learned:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Community Engagement
is essential.</b> There was a general trend throughout the conference
discussing various ways to truly, deeply engage our communities in a meaningful
and lasting way. Opera has always been a highly social, community centralized
art form. And opera professionals are realizing that in this manner, we must
return to our roots if we are to remain vital to the community, which also means
innovating, listening, and responding to our community in ways that draw them
to us. <i style="mso-bidi-font-style: normal;">As a side note, having dedicated
my career to community engagement and arts education and often feeling like my
work was viewed as “extra,” and “cute,” at
Opera Conference I felt like the devout chorister singing “amen!” in response
to this sermon. </i><br />
<br />
The theme for the conference this year was <i style="mso-bidi-font-style: normal;">Global Strategies, Local Actions,</i> and
each company and individual was encouraged to ask themselves the
question: “How<span style="mso-spacerun: yes;"> </span>are we relevant to our
community and how do we add value?” I was inspired by innovations of companies who are deeply engaging their local community. Here are a few
highlights:</div>
<ul style="text-align: left;">
<li>Houston Grand Opera’s chamber opera commission, <i style="mso-bidi-font-style: normal;">O Columbia,</i> about the Columbia space
shuttle disaster, created through an in-depth partnership with NASA.</li>
<li><span style="font-family: "symbol"; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Opera Vancouver’s commission of, <i style="mso-bidi-font-style: normal;">Stick Boy</i>, with libretto by a spoken
word artist’s biographical work on bullying. After it’s success on the
mainstage, the opera was then adapted into a touring production to schools with
accompanying supportive materials. Opera Vancouver also created a new
production of <i style="mso-bidi-font-style: normal;">The Magic Flute</i> through
their ongoing partnership with the First Nation communities in British Columbia,
retelling the classic opera through native traditions, art, language and
culture.</li>
<li>
Opera Memphis’s community initiative, <i style="mso-bidi-font-style: normal;">30 Days of Opera</i>, where they bring opera
all over Memphis with pop-up performances every day for 30 days.</li>
<li>Manitoba Opera’s engagement relating to their
season by partnering with local agencies to engage the community in difficult,
yet critical social dialogue around topics including intellectual disability in
conjunction with <i style="mso-bidi-font-style: normal;">Of Mice and Men</i>, and
adult male suicide in conjunction with <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Werther.</i> </li>
</ul>
<b style="mso-bidi-font-weight: normal;"><br />The field of opera is
grappling with issues of cultural diversity and ways to create inclusivity.
</b>Like almost every other industry, opera too faces challenges on how to
adapt and broaden this centuries-old Western European art form for the 21<sup>st</sup>
Century in our increasingly global community. Fortunately, the art form itself
is flexible and has historically embraced many different traditions;<span style="mso-spacerun: yes;"> </span>and the arts naturally lend themselves to a
continual process of reimagining and story-telling. The leaders in the field,
however, are mulling over how to best make these necessary changes in
meaningful ways. Issues of diversity include not only what may first come to
mind: racial differences, but also people of different genders, generations,
socioeconomic values, nationalities, and abilities. Issues of diversity touch
every aspect of the industry including personnel, artists, donor cultivation,
grants, marketing, audience services, education, and community
engagement—basically any area that interfaces with people, which in opera, is
just about everything! Although naturally there are different opinions on this
matter, it was a topic that colored many of the sessions either directly or
indirectly, and one that the field is currently thinking critically about.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQglaFZBAp_hqMpcneMa1eGzsYvXCkYyoeigUyFkXyKa6eheZ_ySUmlPrxfPofWorfUmiNKW5DTrpsaIqE2K7m2o-5kvHmayXCBW2kSsXiSjVOAEINwOMlAegCu06I4sBwwxM3JB2s5_fj/s1600/blog+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQglaFZBAp_hqMpcneMa1eGzsYvXCkYyoeigUyFkXyKa6eheZ_ySUmlPrxfPofWorfUmiNKW5DTrpsaIqE2K7m2o-5kvHmayXCBW2kSsXiSjVOAEINwOMlAegCu06I4sBwwxM3JB2s5_fj/s320/blog+2.jpg" width="320" /></a><b style="mso-bidi-font-weight: normal;">Retreat is great for building relationships.</b> Although not a
conscious goal, I found that the opportunity to spend time and get to know
colleagues from within my company with whom I don’t work directly very often was
invaluable. (And even some that I do!) There is something about being with
people you know but in a different location or context that helps facilitate
relationship building—even (especially!) in instances where we sharing a meal and not talking
about opera. These strengthened relationships have positively lead into my day-to-day work life.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In addition, I was able to have face-to-face
conversations with my colleagues across the country. Relationship-building is
essential in any industry, and especially in the highly-collaborative field of
opera. By putting faces to names, sharing handshakes and hugs, and geeking-out in
discussions on opera pedagogy for K-12 students, I returned to my desk feeling
more supported in the work I do each day knowing I am part of a network.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrnaRJaFuMjcBaZHpHUm_i4DJCkS7a1NqHPXtzjrG4qsIIH_z4NOQFGGVPlmHKhTnC7hcwzAA2MOyCaO7snZhy11Uo5gEg8qwbDCHuGzHfRe7ahMTIe1APBrvxEv4mhrIqrtIQxz9qFHBP/s1600/blog3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrnaRJaFuMjcBaZHpHUm_i4DJCkS7a1NqHPXtzjrG4qsIIH_z4NOQFGGVPlmHKhTnC7hcwzAA2MOyCaO7snZhy11Uo5gEg8qwbDCHuGzHfRe7ahMTIe1APBrvxEv4mhrIqrtIQxz9qFHBP/s320/blog3.jpg" width="252" /></a><b style="mso-bidi-font-weight: normal;">We gathered because we are passionate about opera. </b>Hundreds of
opera professionals took time out of their busy lives to convene with colleagues
in the beautiful city of Montr<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">é</span>al for four days to talk about opera
and how to make it better. As a group we are highly dedicated, passionate
people who have devoted our careers to the arts because we believe in their
importance to our communities and for the world. Despite the challenging conversations,
differing opinions, and unique perspectives, it was re-centering to conclude
the week as a patron of the arts. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On the final evening of the conference, our hosts, Op<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">é</span>ra
de Montr<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">é</span>al,
opened their world premiere <i style="mso-bidi-font-style: normal;">Les Feluettes</i>.
I was utterly drawn in and completely captivated by this brand-new work of art.
The music, story, and production were,
in my humble opinion, flawlessly supportive of each other creating a riveting
and deeply moving experience in the theater, an exemplar of what all opera strives
to be, and a viscerally satisfying reminder of why all of us at Opera
Conference and all of our colleagues back home do the work we do.</div>
</div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-27938209816688815242016-04-21T14:47:00.003-04:002016-04-21T14:48:11.676-04:00The Merry Widow Waltz Is Everywhere<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<i>By John Conklin</i></div>
<br />
The MERRY WIDOW waltz is...<br />
<br />
...played everywhere...in every culture...in every clime: <br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/JjlNexnMLro" width="560"></iframe><br />
<br />
<br />
...here, played by the man himself, Lehár (taken from a piano roll):<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/CQ5ekXKMjws" width="420"></iframe><br />
<br />
<br />
...heard here in a dance hall version from 1928...one can imagine Gatsby and Daisy twirling about in a moonlit garden: <br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/SnlBc9FjNWg" width="420"></iframe><br />
<br />
<br />
...inevitably, conceived as a ballet:<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/kCdVcdZDXzM" width="560"></iframe><br />
<br />
<br />
...here, as it might have been heard in a gilded ballroom on the Titanic (the sinking in 1912 of that "latest marvel of Western technology" has, in retrospect, been seen a potent augury for the "sinking" of Western culture itself two years later, in 1914): <br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/vhukwCZOEZc" width="420"></iframe><br />
<br />
<br />
...a lush kaleidoscope from the Lubitsch film:<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/kBIit6WC7r4" width="420"></iframe><br />
<br />
<br />
...sung by the Three Tenors:<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/i2jG8uVQiBU" width="420"></iframe><br />
<br />
<br />
...yes, everywhere! A huge international success directly following its premiere in 1905 and forever more:<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/LUdCCRDkkhY" width="420"></iframe> </div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-5009417343251199232016-04-19T09:03:00.002-04:002016-04-19T09:03:38.349-04:00Roger Honeywell: From Actor to Opera Singer<div dir="ltr" style="text-align: left;" trbidi="on">
<i>By Richard Dyer</i><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://blo.org/blo/wp-content/uploads/2016/01/2015_HS_RogerHoneywell_240x300.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://blo.org/blo/wp-content/uploads/2016/01/2015_HS_RogerHoneywell_240x300.jpg" /><i></i></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><i>Roger Honeywell</i></span></span></td></tr>
</tbody></table>
A couple of years ago, Roger Honeywell did the math and realized he had worked full-time as a professional opera singer longer than he had worked full-time as a professional actor. And then he tweeted, “I guess I can now stop acting as if I'm an opera singer…”<br />
<br />
The Canadian tenor is in town to sing and act the leading male role in Boston Lyric Opera’s new production of Franz Lehár’s operetta, <i>The Merry Widow</i>. And he is quick to add, “I’m no Fred Astaire, but I can dance, and I’ll waltz in it too.”<br />
<br />
<i>The Merry Widow </i>opens at the Shubert Theater on April 29, with additional performances on May 1 (matinee), 4, 6, and 8 (matinee).<br />
<br />
Recently, Honeywell was rehearsing with the rest of the cast in the darkened Colonial Theater on Boylston Street; during his lunch hour he sat down at a table in the lobby to discuss the unusual trajectory of his career.<br />
<br />
Honeywell is an affable guy in his mid-40s; he still has the charismatic looks to play a romantic lead: tall, lean, fit (he’s a runner), with an eye-catching curly tousle of red hair on his head. Several prominent opera singers have prolonged their careers by continuing as stage actors after their singing days were over, but to cross over to opera from the “legitimate” theater is far less common.<br />
<br />
Honeywell says he became an actor because he didn’t want to go into the family business, which was music; his mother used to perform leading female roles in shows opposite the young Robert Goulet. “I took voice lessons when I was 14, but my interest was in acting, which I studied in Toronto at the conservatory and at the Ryerson Theatre School,” Honeywell says.<br />
<br />
In 1998 he left school before graduating in order to become an apprentice at the Stratford (Ontario) Shakespeare Festival; he worked there for four years, and then spent four additional years based at the nearby Shaw Festival Theatre. His most prominent Shakespearean role was Sir Andrew Aguecheek in <i>Twelfth Night</i>. “I never did starring roles, like Richard III, but I had good parts in <i>Henry V</i> and<i> The Merry Wives of Windsor</i>, and the festival did a broad repertory – I was in Thornton Wilder’s <i>Our Town</i>, for example.”<br />
<br />
At the Shaw Festival, he acted in several plays by George Bernard Shaw as well as in several of the remarkable but neglected plays by Harley Granville-Barker, who was GBS’s favorite actor. “These plays were way ahead of their time. Of course, as an actor in Canada, you had to be ready for anything,” Honeywell remembers “I also did radio and commercials and voice-overs, roles in Canadian and American TV shows, and even some films. The popular TV series about a Shakespeare Festival in Canada, <i>Slings and Arrows</i>, was the story of my life in those days and all my friends were in it. I still live in Stratford, where my wife is an assistant director for the musical shows, and we have two children, a girl who is 14, and a boy who is 13.”<br />
<br />
Honeywell even appeared in a few musicals, including Bernstein’s <i>On the Town</i>, a sung version of <i>Dracula </i>(he played Jonathan Harker) and Leslie Arden’s version of <i>The Return of Martin Guerre</i>. For that show, in 1997, he won the prestigious Dora Award presented by the Toronto Alliance for the Arts for the best performance by an actor in a musical. In time, this award led to his shift into a career in opera.<br />
<br />
“Something about these musicals really spoke to me and cemented a real desire to sing. The next year, in 1998, I was invited to be a presenter at the Dora Awards because I was a former winner. One of the other presenters was Richard Bradshaw, who was then running the Canadian Opera Company. I just walked up to him and said, ‘I’d love to sing for you,’ and sure enough I did, and he offered to take me on. I had to wait for a year to earn enough money because I knew that if I made the change, I wouldn’t be able to work for a while. But in 2000, I started at Canadian Opera, singing Rodrigo in Verdi’s <i>Otello </i>and understudying parts in <i>The Bartered Bride </i>and<i> La Fanciulla del West</i>. I also started working with a voice teacher, Marlena Malas, at the Chautauqua Festival in New York. I was also in the young artists’ program at the Chicago Lyric Opera. All this took a certain amount of moxie on my part.”<br />
<br />
Over the last dozen years, Honeywell’s operatic career has continued to develop and grow. At the core of his repertory are parts like Don José in Bizet’s <i>Carmen</i>, which he will sing with BLO in the fall, in the renowned production by Calixto Bieito, as well as roles in operas by Britten (<i>Peter Grimes</i> and <i>Billy Budd</i>); he feels especially driven to Laca in Janáček’s <i>Jenůfa </i>. All these roles are strongly associated with the greatest Canadian tenor, the late Jon Vickers, who Honeywell says is idol—he knew Vickers personally not through opera, but through Vickers’ son Ben, who is an actor. Honeywell is also an admirer of two other prominent Canadian tenors, Ben Heppner and Richard Margison.<br />
<br />
In addition to his work in the standard repertory, he has also done parts in new operas, a process which he particularly enjoys because nobody is going to compare him to anybody else; it isn’t easy to sing Rodolfo in <i>La Bohème </i>when audiences expect you to sound like Pavarotti. Honeywell has sung in Jennifer Higdon’s <i>Cold Mountain</i>, Paul Moravec’s <i>The Letter</i>, Lewis Spratlan’s Pulitzer Prize-winning <i>Life Is a Dream</i>, and <i>Silent Night </i>by Kevin Puts; he has understudied Captain Ahab in Jake Heggie’s <i>Moby-Dick </i>and is eager to perform the role. Recently he appeared in Sondheim’s <i>Passion </i>in Paris; Natalie Dessay headed the cast. Right after <i>The Merry Widow</i> he goes into rehearsal for the world premiere of <i>Ours</i>, by John Estacio.<br />
<br />
At the beginning, he says he took nearly every role he was offered, refusing to be bound by any system of expectations. “If the character makes any sense to me,” he says, “I will try it. I try bring myself into every role.” But he’s not eager to repeat every role he has tried. “I sang Rodolfo in <i>La Bohème </i>pretty well, I thought, but it is not in my wheelhouse anymore.”<br />
<br />
His recent schedule has found him singing Richard Strauss (<i>Salome</i>, <i>Elektra</i>, <i>Ariadne auf Naxos</i>, <i>Daphne</i>), Puccini (<i>Tosca </i>and <i>Madama Butterfly</i>), additional contemporary operas (<i>Tea </i>by Tan Dun, <i>Lillian Alling </i>by Estacio, <i>The Inventor </i>by the conductor Bramwell Tovey) as well as three operettas (<i>Die Fledermaus</i>, <i>The Merry Widow</i>, and <i>The Pirates of Penzance</i>). For the future, he is interested in Wagner’s <i>Siegfried </i>(“It lies right in my voice and I want to do it before I get too old”) and two more Vickers roles, Samson in <i>Samson et Dalila</i>, perhaps Verdi’s <i>Otello</i>, although he worries about singing it in blackface. “And, of course, I want to do more operas that haven’t been written yet.”<br />
<br />
Danilo in <i>The Merry Widow </i>is a part he has done often, and enjoys performing; it gives him a chance to have “so much fun” onstage because the work is so well-written and well-crafted, and he thinks director Lillian Groag’s ideas for the BLO production are so interesting.“The piece is full of froth and fun, as it always is, but this time it has a real core to it.”<br />
<br />
The leading characters, Hanna and Danilo, have a past together in the operetta’s fictional country of Pontevedro. They were once in love, but he was a aristocrat and she was a farm girl, and the difference in their social stations made the relationship impossible; he broke it off. Then she married the richest man in the country, who soon died, leaving her the richest woman in the country—the titular “merry widow.” The couple meets again in Paris, and government officials want them to marry to keep the fortune in Pontevedrian hands.<br />
<br />
“[Hanna and Danilo] are both witty and smart, and they constantly spar with each other, like Beatrice and Benedick in Shakespeare’s <i>Much Ado About Nothing</i>,” Honeywell says. “Danilo has thrown himself into the playboy world, and he is leading a frivolous and flippant life as his way of forgetting. But beneath the surface there is a deep root of pain and loss, a tragic loss of love. At points all the old problems surface—they get together again, then fall apart again. The other couple in the story, Camille and Valencienne, is playing games; Hanna and Danilo want to give the appearance of playing games, but they are not.<br />
<br />
“Also this is the very end of the Belle-Époque; the characters don’t realize it yet, but life as they know it is about to end. They are waltzing on the brink of World War I and their world is spinning out of control. Everything audiences have always loved about <i>The Merry Widow</i> is still there, but we are viewing it from a different angle.”<br />
<br />
Many singers are terrified of spoken dialogue in operas like <i>The Magic Flute </i>or operettas like <i>The Merry Widow</i>. They don’t know how to project it and bellow instead; they find it tires their singing voices. Honeywell says this doesn’t bother him. “The answer is never to push anything. Danilo has to roar, but he doesn’t have to shout, and he has to be able to sing beautifully and with a good line. The answer is never to push it, either in speaking or singing, and then anything you do feeds into anything else that you do.”<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD0ba4ks2wGUVlQMdBem0dEse7nw7SiOBYpoV3gQXsKCGsERccQoPEKDAPddzxtFkl4SiUMMDMawcofr_hmTNudKb-GiC5-29q67GY3kCFYYopKMukdp2B7QddxS7og4cUNJXN7YzpNRgm/s1600/DSC_0039.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD0ba4ks2wGUVlQMdBem0dEse7nw7SiOBYpoV3gQXsKCGsERccQoPEKDAPddzxtFkl4SiUMMDMawcofr_hmTNudKb-GiC5-29q67GY3kCFYYopKMukdp2B7QddxS7og4cUNJXN7YzpNRgm/s400/DSC_0039.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Honeywell speaks with Dyer in the lobby of the Colonial Theatre.</span></span></td></tr>
</tbody></table>
Honeywell says he sees no technical difference between acting in opera and in spoken plays. “It isn’t even a question of tempo,” he says, noting the differences between speaking and singing, “especially in classic theater, where there are long thoughts—and long speeches. You have to stretch your thought over long sentences, and in opera, you have to convey the thought across stretches of music. This is what I do, just the same way as people do what they do in their office—I am in my office, so to speak, when I’m on the stage; I’ve been doing that for so long that it has become second nature. Yes, you do have to think about your vocal technique and about the conductor and things like that—onstage you can do anything you want in a play, you can make it completely yours, but in an opera you have to do everything within the line of the music. But you don’t stop acting when you stop speaking or singing; one of the most important aspects of acting is the skill of listening to what other people are saying or singing to you, and responding or reacting to it. Maybe in opera you have to listen slower…”<br />
<br />
At that moment in our conversation, a group of <i>grisettes </i>and a coven of chorines and can-can girls makes its way into the lobby, and they begin their stretching exercises on the floor. It is time for the interview to end, and soon Honeywell will be up on the stage in the auditorium, speaking, singing, dancing—and listening.<br />
<br />
<i>Richard Dyer is a distinguished writer and lecturer. He wrote about music for </i>The Boston Globe<i> for more than 30 years, serving as chief music critic for most of that time. He has twice won the Deems Taylor/ASCAP Award for Distinguished Music Criticism.</i></div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-16953608573294919772016-04-08T08:33:00.002-04:002016-04-08T08:33:16.295-04:00A Man in Six Portraits: Franz Lehár <div dir="ltr" style="text-align: left;" trbidi="on">
<i>By John Conklin, BLO Artistic Advisor</i><br />
<br />
On December 30, 1905 in Vienna, <i>The Merry Widow </i>received its (somewhat rocky) first performance. It went on, of course, to become a roaring success in Vienna and soon everywhere else. Less than ten years later, all Europe was plunged into a bitter, senseless, and suicidal conflict. Looking back, can we see a foreshadowing of the abyss ahead? Perhaps—<i>The Merry Widow</i> seems, in retrospect, like a beautiful but bitterly ironic farewell to pre-war Europe…oh, those waltzes, the very embodiment of a lost world. <br />
<br />
Lehár himself lived a long life that in its fluctuating fortunes seems to mirror the shifting and ultimately tragic tides of the times he lived through. In the year he was born (1870), Dickens died, Lenin was born, and <i>Die Walküre </i>premi<span id="goog_1288274055"></span><span id="goog_1288274056"></span>ered in Munich. In the year he died (1948), Gandhi was assassinated, Harry Truman was elected president, and <i>Kiss Me, Kate </i>opened on Broadway. Lehár was for most of his life (certainly after the stunning debut of <i>Widow</i>) a celebrity and was often photographed. I have chosen six images which encapsulate his fascinating journey. Some biographical notes and a few stories are appended. Acknowledgment here to Bernard Grün’s biography of Lehár as well as articles in <i>The Viking Opera Guide</i> and <i>The Grove Dictionary of Opera</i>. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiggm9aWY47GtbuSocmzAC5euVII4TcClrpLxQwTnKFf-B7h5qV8amk9U7UK_BfB2krRSS5nuo1rVwU-Vl7zLyJvZtVlSmLtngibzyWcg0jjkGow7L4uM7xwBP31xq36KCl5aaaqpbxik7n/s1600/lehar-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiggm9aWY47GtbuSocmzAC5euVII4TcClrpLxQwTnKFf-B7h5qV8amk9U7UK_BfB2krRSS5nuo1rVwU-Vl7zLyJvZtVlSmLtngibzyWcg0jjkGow7L4uM7xwBP31xq36KCl5aaaqpbxik7n/s200/lehar-1.jpg" width="125" /></a></div>
<b>1:</b> Lehár was born in Komáron, Hungary, in 1870. His father was a military bandmaster and composer of dances and marches. At the age of 12, Lehár entered the Prague Conservatory studying violin, theory, and composition…and received some advice from Dvořák (“Know what, my boy? You should hang up your fiddle and write music.”). In 1888 he was called up for military service and joined the band of the 50th Austrian military regiment, playing under his father. He soon became the youngest bandmaster in the Austro-Hungarian Army. Lehár resigned military service to become conductor at the Theater an der Wien in 1902, where his operetta <i>Viennese Women</i> was performed in November of that year. Also that year, his waltz “Gold and Silver” was performed at a society ball and became all the rage. He composed several more operettas, with mixed success. <br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAmG0Ep5whSgvF0SQGLCs2bCkqfQjISGz5AlC-lKZNcbXwqDHTceL04iiflNW4ZCsWGMkpZTrO2W61j1S3WJjbpkZDI8ZwK4sT6RNZNaNY9N_jZMOkr5ppCVo7KUcEkxCdngpwfDaEfdGY/s1600/lehar-2+copy.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAmG0Ep5whSgvF0SQGLCs2bCkqfQjISGz5AlC-lKZNcbXwqDHTceL04iiflNW4ZCsWGMkpZTrO2W61j1S3WJjbpkZDI8ZwK4sT6RNZNaNY9N_jZMOkr5ppCVo7KUcEkxCdngpwfDaEfdGY/s200/lehar-2+copy.jpg" width="124" /></a></div>
<b><br />2:</b> Then came 1905. <i>The Merry Widow </i>opened, soon becoming the greatest success in operetta history. The work heralded a newly-resplendent era for Viennese operetta through works of Lehár himself, Oscar Straus, Leo Fall, and Emmerich Kálmán. Lehár continued composing at an amazing pace but, not content with the apparent routine of the operetta genre, he was intent on developing his style. A sense of melancholy and fantasy appeared; the cohesive elegance of <i>The Merry Widow</i> gave way to quasi-historical exoticism coupled with comic numbers written in a more vernacular style. Lehár was unusual in his time in orchestrating his own scores, which he did with notable skill and imagination. <br />
<br />
However, with the onset and uneasy conclusion of WWI and its social disruptions, his new works failed to attract the same wide public. His attempts of raise the quality of operetta while at the same time bringing elements of popular music into it (the foxtrot, tango, and shimmy) now brought critical cries of both pretentiousness and pandering. <br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn2v_HEQoTem6A4KnvVPdMELWb2aC0mP2CQGoqCcrih8_D22keDlgfmbhJdgGx1XnGDn1BTFTrd0xhKQZ2opL4tRoD4PS2F6pekgRBgEwNkTpb7fKIDmok90QQfvOkmVxyNcfEiBFjx7y2/s1600/lehar-3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn2v_HEQoTem6A4KnvVPdMELWb2aC0mP2CQGoqCcrih8_D22keDlgfmbhJdgGx1XnGDn1BTFTrd0xhKQZ2opL4tRoD4PS2F6pekgRBgEwNkTpb7fKIDmok90QQfvOkmVxyNcfEiBFjx7y2/s200/lehar-3.jpg" width="129" /></a></div>
<b><br />3:</b> A new era of success then arrived with his close relationship with the tenor Richard Tauber beginning in 1921. Lehár went on to write several works for him, and simultaneously Tauber made himself an international celebrity in the Caruso-Pavarotti vein. The association culminated in 1929 with the most popular and enduring of the Tauber vehicles, <i>Das Land des Lachens </i>(<i>The Land of Smiles</i>), with its unforgettable melodic effusion “Dein ist mein ganzes Herz” (“Yours is my heart alone”). <br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLdpIVhcVdWcarV-Lq9Q_1In-j8aBe4yzF57zB-nRv_Tlij0Wdin8GaeQnVJyo4B6UHM8nJsLFX1QQDeMWMuuRYn7WCTudvk3g3tzmhZsmZNlxPUuyKwpsfZtIJlsNyNiUBgL0Osakm6-s/s1600/lehar-4.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLdpIVhcVdWcarV-Lq9Q_1In-j8aBe4yzF57zB-nRv_Tlij0Wdin8GaeQnVJyo4B6UHM8nJsLFX1QQDeMWMuuRYn7WCTudvk3g3tzmhZsmZNlxPUuyKwpsfZtIJlsNyNiUBgL0Osakm6-s/s200/lehar-4.jpg" width="148" /></a></div>
<b><br />4:</b> Lehár became involved with revisions and film versions of his operettas, also composing some original film numbers. His only entirely new stage work after 1929 was <i>Giuditta</i>, which premiered in 1934. It was in many ways his last attempt to resolve his own musical ambitions and the essentially popular requirements of operetta. The premiere at the prestigious Vienna Staatsoper was a glittering affair…but the critical reception (for the most part) was dismissive. Operetta in the sacred house of opera! Lehár was crushed. A few months later, Austria was absorbed into the Nazi empire. <br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxkoKSKgdN9T1Q4GItxnE_DyfQs-2jYZErKB9MhkD3EMK5uhNyyEkKpKezaab71BVMJjjVZ7Y0DEcpPHZmA-uf6hgOYagTjbt18m6XzSKTd-HmaaMyFWJhII9wFnSWYGZ8trUFhVc_mgFf/s1600/lehar-5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxkoKSKgdN9T1Q4GItxnE_DyfQs-2jYZErKB9MhkD3EMK5uhNyyEkKpKezaab71BVMJjjVZ7Y0DEcpPHZmA-uf6hgOYagTjbt18m6XzSKTd-HmaaMyFWJhII9wFnSWYGZ8trUFhVc_mgFf/s200/lehar-5.jpg" width="131" /></a></div>
<b><br />5:</b> In 1935 Lehár founded his own publishing house, Glocken-Verlag, and acquired the rights to most of his works with the notable (and financially, deeply regrettable) exception of <i>The Merry Widow</i>. Thereafter he concentrated primarily on preserving his works for posterity, making several recordings of his works. <br />
<b><br />6:</b> During WWII he remained in Vienna and Bad Ischl, and his life in this period has remained controversial. His wife, Sophie, was Jewish (although she converted to Catholicism upon marriage and was declared in 1938 an “honorary Aryan by marriage”) and several of his friends and collaborators died in concentration camps. Yet he accepted honors from the Nazi government. In 1939 and 1940, he personally receieved awards from Hitler in Berlin and Vienna, including the Goethe Medal. On Hitler’s birthday in 1939 Lehár gave him a leather-bound score of <i>The Merry Widow</i> (reportedly one of the Führer’s favorites). Wrapped up in his music and shunning politics, his failure to protest Nazi atrocities later made him an object of suspicion outside Germany. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8iZi9qqOMWCdAF5ZWXwuS0JziQ9zkVOJxMoqpNEha_f6BfyaCPAV7ICOgzbuu-5Itu-cRq2yGjRcIHlxHx3X1qaubDErdVYG0bXmOFZboflWbFqCj9iagZmT5lgbtdJBlNaQMlBct43Gp/s1600/lehar-6.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8iZi9qqOMWCdAF5ZWXwuS0JziQ9zkVOJxMoqpNEha_f6BfyaCPAV7ICOgzbuu-5Itu-cRq2yGjRcIHlxHx3X1qaubDErdVYG0bXmOFZboflWbFqCj9iagZmT5lgbtdJBlNaQMlBct43Gp/s200/lehar-6.jpg" width="143" /></a></div>
Suffering ill health, Lehár moved to Zurich in 1947. His wife died a year later, and that summer he returned to Bad Ischl where he died soon afterwards. His villa in Bad Ischl is now a Lehár museum and a memorial was erected in the Stadtpark in Vienna in 1978. <br />
<br />
Lest we be left with this somewhat sad final glimpse of the man whose joyous and spirit-lifting music will always be with us, I would like to end with a charming, bittersweet anecdote of Lehár and his friend and colleague Puccini, as described by Lehár’s brother. It occurred during a visit to Vienna by Puccini in 1920: <br />
<i><br />From his period of service at Pola, Franz spoke pretty good Italian but Puccini had very little German. But there was no problem of communication, for already during the meal the two masters were conversing almost exclusively by quoting and softly singing alternately from their works.…Then they sat at the piano and played: Puccini with the right hand, Lehár with the left. The most wonderful harmonies sound forth, Puccinisms and Lehárisms, one surpassing another in sound eff ects and original turns of phrase.…[T]hey played happily on for another hour before Puccini had to regretfully depart for another engagement.</i><br />
<br />
<i><i>This article has been re-published from the spring 2016 issue of BLO's </i><a href="http://www.blo.org/coda" target="_blank">Coda </a><i>magazine. Please see the full issue online at <a href="http://www.blo.org/coda">www.blo.org/coda</a>.</i></i><br />
<br />
<i><i> </i> </i></div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-78747386637101289402016-03-31T10:05:00.002-04:002016-03-31T10:05:46.823-04:00The Magic Flute Exhibit at New York Public Library—Featuring BLO!<div dir="ltr" style="text-align: left;" trbidi="on">
Today, Thursday, March 31, the New York Public Library for the Performing Arts is opening an <a href="http://www.nypl.org/events/exhibitions/magical-designs-mozarts-magic-flute" target="_blank">exhibit</a> titled <span id="docs-internal-guid-e5112a4c-1e08-5a9a-594e-6203f3f3e088"><i>Magical Designs for Mozart’s Magic Flute</i>, an exploration of outstanding artistic scenic and costume designs from 19th, 20th, and 21st century productions. Curated by the </span>acclaimed theatrical designer Judy Levin and organized by the Kent State University Museum in partnership with the Library, it includes designs, set models, properties, and costumes—and best of all, the exhibit features designers John Conklin and Nancy Leary's work for Boston Lyric Opera!<br />
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
About the exhibit, John Conklin says:<br />
<br />
<b>It is a pleasure and a privilege that the BLO production (represented by the set model, Nancy Leary's costumes sketches and many photos) is included in this exhibit at the Lincoln Center Library in NYC.<span style="mso-spacerun: yes;"> </span>The exhibit is quite a vivid and ambitious<span style="mso-spacerun: yes;"> </span>display of many different versions of <i>Flute</i>, including designs by David Hockney, Maurice Sendak, Achim Freyer, and Julie Taymor. Most immediately striking<span style="mso-spacerun: yes;"> </span>are a number of actual costumes...the gallery seems alive with fantastic creatures in excited conversation.</b></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
Learn more <a href="http://www.nypl.org/events/exhibitions/magical-designs-mozarts-magic-flute" target="_blank">here</a>, or if you are in New York City, visit the exhibit in person through August 27! </div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGF0NImZAvgAmR6yd3r6yzxkWgYFwr-Bswz4_c5gD8Y01LWfgKWY7Qne0cmeWr6lHFQN684tKZwZ4MwGSfbcUy_mBJhALgh0sFWK9qTqrMuKUmspbVESkhz6TzOD0n0Hfc6eennHLvIYM2/s1600/BLO-MAGIC+FLUTE+COMPANY+SHOT+-+must+credit+Eric+Antoniou.jpg.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGF0NImZAvgAmR6yd3r6yzxkWgYFwr-Bswz4_c5gD8Y01LWfgKWY7Qne0cmeWr6lHFQN684tKZwZ4MwGSfbcUy_mBJhALgh0sFWK9qTqrMuKUmspbVESkhz6TzOD0n0Hfc6eennHLvIYM2/s400/BLO-MAGIC+FLUTE+COMPANY+SHOT+-+must+credit+Eric+Antoniou.jpg.JPG" width="500" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Boston Lyric Opera's <i>The Magic Flute</i> (2013)<br />
Photography: Eric Antoniou for Boston Lyric Opera.</span></span></td></tr>
</tbody></table>
<span id="goog_1735154804"></span><span id="goog_1735154805"></span><br />
<br /></div>
</div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-7495582625117365082016-03-28T12:35:00.003-04:002016-04-18T16:57:45.644-04:00Operetta's Leading Lady: The Role of the Merry Widow<div dir="ltr" style="text-align: left;" trbidi="on">
<i>By Richard Dyer</i><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/commons/thumb/7/72/Bain_News_Service_-_Franz_Leh%C3%A1r.jpg/800px-Bain_News_Service_-_Franz_Leh%C3%A1r.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://upload.wikimedia.org/wikipedia/commons/thumb/7/72/Bain_News_Service_-_Franz_Leh%C3%A1r.jpg/800px-Bain_News_Service_-_Franz_Leh%C3%A1r.jpg" width="225" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Franz Lehár</span></span></td></tr>
</tbody></table>
<br />
Franz Lehár’s <i>The Merry Widow</i> has waltzed around the world for 110 years now. There may not be as many <i>Merry Widow </i>byproducts as there used to be—cigarettes, hats, cocktails, entrees and desserts, although a provocative undergarment is still around. But the operetta itself remains perennial and permanently popular in one form or another. It has been repeatedly re-orchestrated, the vocal lines transposed up or down (the male lead has been sung both by tenors and baritones, although the composer strongly preferred tenors), the characters renamed, the score either cut to shreds or augmented by other music by Lehár, or not by Lehár at all; the dialogue and the lyrics have been translated, re-translated, the book revised and completely rewritten, in more than a dozen languages. <br />
<br />
(BLO’s new production boasts a new book by director Lillian Groag, who has set the work almost decade after it was written, when Europe was on the brink of World War I.)<br />
<br />
Lehár made some revisions and additions himself for later productions, and, three decades after the premiere, finally produced an overture—although the piece has also often been performed with overtures by other hands. There were three Hollywood films, the best of them featuring Jeannette MacDonald and Maurice Chevalier, the worst with Lana Turner and Fernando Lamas. The most complete discography lists 87 audio recordings in nine languages, including Romanian, Russian and Japanese, and there are more than a dozen videos of live productions.<br />
<br />
No one, not even Lehár himself, expected this wildfire, and enduring, success. Lehár came from a musical family and was well-trained. From an early age, he was an accomplished violinist, and he grew up to become a successful and busy bandmaster. But his goal was to become a composer; he had good teachers and advisers, including Antonín Dvořák. He did compose a popular concert waltz, “Gold and Silver,” but he wanted to write for the theater. By the time he was 35, in 1905, the year of <i>The Merry Widow</i>, he had attempted three operas and six operettas, but only five of them had reached the stage, and all of the ones that had been performed had failed. Hopes did not run high for the tenth of them, <i>The Merry Widow</i>, which he had hastily composed for the Theater an der Wien in Vienna—there he was the second choice, because another composer had been hired to produce a score for the same libretto, but the theater found the music so weak it refused to produce the show. The management didn’t have much more confidence in Lehár—the production was assembled from sets and costumes created for other operettas. Such was the overwhelming success of <i>The Merry Widow—</i>the biggest in Viennese operetta since Strauss’ <i>Die Fledermaus </i>three decades before—that it didn’t take long before the theater commissioned extravagant new sets and costumes.<br />
<br />
So what were the reasons for the overwhelming success of <i>The Merry Widow</i>? There is a serviceable and moderately amusing plot, based on a French play by Henri Meilhac written 44 years previously. (Meilhac has his own place in the history of opera, as the librettist for Bizet’s <i>Carmen</i>, Massenet’s <i>Manon </i>and many works by Offenbach; curiously and coincidentally, <i>Die Fledermaus </i>was based on another play by Meilhac.) Lehár’s Viennese librettists, Viktor Léon and Leo Stein, knew their business. The two leading characters, Danilo and Hanna, have met again after he rejected her because she was not his social equal—he is a count and she was originally a farm girl. She then married someone else, who has left her an extremely rich and merry widow; Danilo’s patriotic duty is to marry her to keep her fortune in the operetta's mythical country of Pontevedro. The two are intelligent and verbal, but locked in antagonistic positions—descendants of Shakespeare’s bickering lovers Beatrice and Benedick in <i>Much Ado About Nothing.</i> Neither is either willing or able to state what he or she really feels, except by indirection—by telling, and singing, stories.<br />
<br />
What tells us how they really feel is the music. The score is a delightful suite of songs and dances, and not just waltzes—Hanna makes her entrance singing a mazurka; there are galops, marches, a polonaise, a cakewalk (!), a can-can; anything to keep the feet moving. The music ranges across national styles—Viennese, where the operetta had its premiere; Parisian, where the opera is set; Hungarian (Lehár’s own native country); Balkan, where Pontevedro may not exist on the map, but the music puts it there. The melodies immediately lodge in the mind and take up permanent residence there, while the rhythms excite the spirit and captivate the body. The music is lavishly, luxuriously, imaginatively, exotically and even erotically orchestrated—<i>The Merry Widow </i>opened three weeks after the premiere of Richard Strauss’ <i>Salome</i>. The sound of the tamburica, a mandolin-type instrument from Central Europe, colors some of Hanna’s exotic music. Most tellingly, a solo violin and solo cello tell the audience exactly what Danilo and Hanna are thinking and feeling when they are not capable of doing so themselves. The famous “Merry Widow Waltz” is first heard in the orchestra; Danilo and Hanna then hum it because they haven’t found the words in themselves yet; and finally, they sing it.<br />
<br />
It has often been pointed out that <i>The Merry Widow</i> is more overtly sexual than any previous operettas—Freud was active in Vienna in this period. At the time, the book was considered daring and even <i>risqué</i>; to this day the music remains swooning and seductive; it flirts, teases, shivers, tingles and erupts in high spirits.<br />
<br />
Danilo was the title character in Meilhac’s play, <i>The Attaché At The Embassy</i>, but Lehár and his librettists put the emphasis, the Merry Widow herself—Hanna Glarawi in the original, Missia in France, Olga in English-language versions. Danilo may be a dashing playboy, but he is also a conventional leading man. The 16-year-old Adolf Hitler was living in Vienna in 1905 and developed a passion for <i>The Merry Widow</i> that lasted for the rest of his life, and even outlasted his passion for Richard Wagner. His last secretary was once surprised to enter a room and find the Führer preening in front of a mirror in a top hat and white scarf, exclaiming, “Am I not Danilo?”<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://i.ytimg.com/vi/0gUcT0s5hI0/hqdefault.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://i.ytimg.com/vi/0gUcT0s5hI0/hqdefault.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Mizzi Günther</span></span></td></tr>
</tbody></table>
But the most captivating character is Hanna, and it is no surprise that generations of singers from opera and operetta have been eager to take on the role. And why not—she gets to wear a glamorous wardrobe, including a exotic native Pontevedrian outfit, and make a grand entrance halfway through the first act; all anyone talks about in the story is how beautiful and how rich she is. In recordings of the French version the men of the chorus exclaim “Ooh la la” as she comes on—in the German version, the men exclaim “Twenty million!” Her melodies are both lively and alluring, and there is an irresistible, sad wistfulness to her most famous moment, the “Vilja” song. The script gives the singer a lively character to portray, but the music also gives the <i>prima donna </i>a chance to parade her own personality.<br />
<br />
The first Merry Widow was the Hungarian soprano Mizzi Günther, who was only 26, but who had already been a star in Vienna for five years. One can hear just how delightful she was in the very first recording of “Vilja,” made in 1905 and currently playing on YouTube. Since then Hanna has been a role for every conceivable kind and weight of voice from high coloratura soprano to low mezzo, from light voices all the way up to experienced Brünnhildes and Isoldes. It has been a role for young singers—Kirsten Flagstad sang the part years before her voice blossomed into the Wagnerian miracle of the 20th century. And in recent seasons, especially since <i>The Merry Widow </i>has entered the standard opera-house repertory, the role has become a late-career specialty of such diverse artists as Joan Sutherland, Beverly Sills, Frederica von Stade, Karita Mattila, Elena Obraztsova in Russia, Raina Kabaivanska in Italy, Dame Gwyneth Jones in Germany, Deborah Voigt and Renee Fleming, all singers who could bring a wealth of stage and life experience to the role. Hanna was von Stade’s choice for her farewell at the Metropolitan Opera, and afterwards she said, “What could be better than to waltz off the Met stage in the arms of Plácido Domingo?” <br />
<br />
The honor role of performers of <i>The Merry Widow</i> is long. Elisabeth Schwarzkopf probably never performed Hanna onstage, even in her early operetta days, but she left two best-selling recordings. Other sopranos beloved in Vienna who sang it included Hilde Gueden, who flung around high Ds with abandon, and the velvet-voiced Lisa Della Casa; an unexpected Hanna was the charismatic German soprano Anja Silja, who sang the role with her then-husband Christoph von Dohnányi at the podium. In France, Francis Poulenc’s favorite soprano, Denise Duval, recorded <i>La Veuve Joyeuse</i>, a role a long way from Blanche de la Force in <i>Dialogues des Carmélites </i>which was composed for her; her Danilo was Jacques Jansen, the most famous interpreter of Debussy’s Pelléas. In addition to those listed above, America’s prominent Merry Widows have included Kitty Carlisle, Dorothy Kirsten, Rise Stevens, Patrice Munsel (who starred in a sold-out run in the opening season of Lincoln Center and recorded the role), television star Edie Adams (my own first Merry Widow), Anna Moffo, Maria Ewing, Cheryl Studer, Susan Graham and Ruth Ann Swenson. Hartford’s Teresa Stich-Randall recorded it—in French! And the elegant Barbara Bonney triumphed in the opera’s birthplace, Vienna.<br />
<br />
From 1958 on into the '70s, the reigning Merry Widow in England, Australia and New Zealand was bubbly June Bronhill; the public demanded she sing “Vilja” in most of her recitals and concerts during the remaining three decades of her career. She recorded the role twice—no soprano sang ever sang the English language more clearly than she did—and she entitled her autobiography <i>The Merry Bronhill</i>.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://i.telegraph.co.uk/multimedia/archive/02776/eggerth_perform_2776665c.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://i.telegraph.co.uk/multimedia/archive/02776/eggerth_perform_2776665c.jpg" height="199" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Marta Eggerth and Jan Kiepura</span></span></td></tr>
</tbody></table>
<br />
Probably the most beloved Merry Widow of all, and certainly the most-traveled, was the Hungarian soprano and movie star Marta Eggerth. For more than two decades after 1943, the vivacious and beautiful Eggerth gave more than two thousand performances of <i>The Merry Widow</i> in America (including Boston) and Europe opposite her husband, the handsome and popular Polish tenor, Jan Kiepura; they performed their roles in five different languages, and after Kiepura died, Eggerth liked to sing a multi-lingual medley of <i>Merry Widow</i> melodies in her concerts and recitals. In 2000, in the Theater an der Wien, home of the world premiere, Eggerth sang that medley when she was 88. And she continued to perform until not long before she died in 2013, at the age of 101.<br />
<br />
Decades ago, here in Boston, there was a remarkable institution created run by an equally remarkable woman, Mary Wolfman Epstein, the New England Jewish Music Forum, and that organization presented a recital by Eggerth and her pianist son, Marjan Kiepura, in a Brookline synagogue—this would have been in the late 1970s or early '80s. Eggerth must have been nearly 80 at that time, but her voice was still clear, silvery and shimmering, her charm undimmed, and her elegant musical style was that of a vanished world. But it was a style with which her audience was familiar. Many were elderly—some of them, or their parents, had come to America to escape Hitler, just as Eggerth and Kiepura had. As she sang from <i>The Merry Widow</i> her voice sounded caressed by an aural halo; it was the audience humming along, celebrating not just a memory, but the life-force itself.<br />
<br />
<i>Richard Dyer is a distinguished writer and lecturer. He wrote about music for </i>The Boston Globe <i>for more than 30 years, serving as chief music critic for most of that time. He has twice won the Deems Taylor/ASCAP Award for Distinguished Music Criticism.</i><br />
<br />
<br />
<i>This article has been expanded from the spring 2016 issue of BLO's </i><a href="http://www.blo.org/coda" target="_blank">Coda </a><i>magazine. Please see the issue online at <a href="http://www.blo.org/coda">www.blo.org/coda</a>.</i></div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-85722275761835548012016-03-25T11:20:00.000-04:002016-03-28T12:17:29.391-04:00Looking Back on Werther: Feedback and Reviews<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://blo.org/blo/wp-content/uploads/2016/03/2016_BLO_Werther_06-600x788.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://blo.org/blo/wp-content/uploads/2016/03/2016_BLO_Werther_06-600x788.jpg" height="320" width="243" /></a></div>
<div class="MsoNormal">
“A smart and dramatic new production” – <a href="http://bostonclassicalreview.com/2016/03/singers-deliver-the-vocal-drama-in-blos-updated-werther/" target="_blank"><i>Boston Classical Review</i></a><br />
<br />
“I enjoyed it tremendously and would like to say that the vocals that were displayed were fabulous and were perfectly blended. I took away from the performance a bucket load more respect for opera vocalist[s] and vocalist[s] in general.” <i>– High School Student</i><br />
<br />
“I went to the opera thinking that I would not like it very much. I have seen an opera before at Tanglewood and I did not enjoy it very much. However, I was pleasantly surprised! The opera was visually stunning! I loved the modern art in conjunction with the old fashioned costumes and setting was ingenious. I loved it! My favorite scenes include the scene where the red blood dripped down the wall and where Charlotte was projected onto the wall. … My opinion of opera has drastically changed. I thought the opera was visually stunning! The story was heartfelt and enthralling!”<br />
<i>– High School Student</i><br />
<br />
“Alex Richardson [held] the stage with a warm and flexible tenor … Sandra Piques Eddy delivers a sympathetic and well-sung Charlotte” – <a href="https://www.bostonglobe.com/arts/music/2016/03/13/new-staging-for-opera-rich-hued-sorrows/K7s8JXpDH4l08wbszc0B6H/story.html" target="_blank"><i>The Boston Globe</i></a><br />
<br />
“I thought the plot was very interesting and the set was complex and thought-provoking and really emphasized the conflict between characters and how they affect one another. The singers were strong and clearly expressed the emotions that come with love. I enjoyed the performance and I thank you for putting in so much effort to put on the awesome show!” <i>– High School Student</i></div>
<br />
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://blo.org/blo/wp-content/uploads/2016/03/2016_BLO_Werther_01-600x400.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://blo.org/blo/wp-content/uploads/2016/03/2016_BLO_Werther_01-600x400.jpg" height="213" width="320" /></a></div>
<br />
<br />
<div class="MsoNormal">
“I truly enjoyed my opera experience, and I recommend that
everybody go to a professionally done opera at least once in their life. It is
truly breathtaking to hear the performers and also the orchestra. You can tell
that it takes a great skill to do either one of those. Even though I was blown
away by the performance, it is important to note that it was not overwhelming
to experience. The set was simple, yet brilliant.” <i>– High School Student</i></div>
<div class="MsoNormal">
<br /></div>
“A thrilling experience… It helps to have such great acting singers such as Alex Richardson in the title role, and the beautifully-voiced Sandra Piques Eddy.” – <a href="http://southshorecritic.blogspot.com/2016/03/blos-werther-love-means-forever-having.html" target="_blank"><i>South Shore Critic</i></a></div>
<br />
<br />
<i>Photos by T. Charles Erickson for Boston Lyric Opera.</i></div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-84446425001128241172016-03-23T14:22:00.000-04:002016-03-23T16:06:11.265-04:00BLO Announces Its 40th Anniversary Season!<div dir="ltr" style="text-align: left;" trbidi="on">
Today, Boston Lyric Opera announced its 40th Anniversary Season, opening in September 2016! Visit our <a href="http://blo.org/1617season/" target="_blank">2016/17 Season Page</a> for more information on the operas, dates, and venues.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoQwQN2SYoP8tnAlhRnbvB0fa34I8WSJcuSi7NsUrEe-nEl_nO1QsBnqrdlI_G4pfQDlX0b6SVGWcAMg0buJGldWf-EOR1wS5inKgN5SKavp1TMXLDBEF0p2G_rM5FluL1HVlq1J1vPwCW/s1600/40th+Anniversary+Season.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoQwQN2SYoP8tnAlhRnbvB0fa34I8WSJcuSi7NsUrEe-nEl_nO1QsBnqrdlI_G4pfQDlX0b6SVGWcAMg0buJGldWf-EOR1wS5inKgN5SKavp1TMXLDBEF0p2G_rM5FluL1HVlq1J1vPwCW/s400/40th+Anniversary+Season.jpg" width="560" /></a></div>
<br />
<br />
<b><i>CARMEN</i></b><br />
BOSTON OPERA HOUSE<br />
September 23 - October 2, 2016<br />
<i>A co-production between Boston Lyric Opera and San Francisco Opera</i><br />
Opera’s ultimate femme fatale in a provocative, groundbreaking production of the Bizet classic by acclaimed Spanish director Calixto Bieito<br />
<br />
<b><i>GREEK</i></b><br />
EMERSON/PARAMOUNT CENTER<br />
November 16 - 20, 2016 <br />
Opera Annex and New England Premiere<br />
Mark-Anthony Turnage’s blazing retelling of the <i>Oedipus </i>story<br />
<br />
<b><i>THE RAKE'S PROGRESS</i></b><br />
EMERSON/CUTLER MAJESTIC THEATRE<br />
March 12 - 19, 2017 <br />
<i>New Production</i><br />
Stravinsky’s seductive tale of devilish temptation<br />
<br />
<b><i>THE MARRIAGE OF FIGARO</i></b><br />
JOHN HANCOCK HALL<br />
AT THE BACK BAY EVENTS CENTER<br />
April 28 - May 7, 2017 <br />
<i>New Production</i><br />
Love, lust and laughter tie the knot in Mozart’s greatest opera<br />
<br /></div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-3532685702525522412016-03-21T12:44:00.002-04:002016-03-22T07:59:56.540-04:00Encountering Massenet at the BPL<div dir="ltr" style="text-align: left;" trbidi="on">
When BLO hosted its "Opera Night at the Boston Public Library" for Massenet's <i>Werther </i>on February 25, the last thing we expected to encounter was a living piece of history! One of our dedicated BLO supporters attended with a family treasure: a copy of Goethe's <i>The Sorrows of Young Werther</i>, in French, inscribed by Massenet himself.<br />
<br />
The great <a href="https://en.wikipedia.org/wiki/Sibyl_Sanderson" target="_blank">Sibyl Sanderson</a> was Massenet's favorite soprano; she premiered several of his leading roles, including Esclarmonde, and was a renowned singer of Massenet's <i>Manon</i>. <a href="http://www.amazon.com/The-Sibyl-Sanderson-Story-Biography/dp/1574670948" target="_blank"><i>The Sibyl Sanderson Story: Requiem for a Diva</i></a>, by Jack Winsor Hansen, recounts her success and tragically short life. Her great-niece, Margaret A., now lives in Boston and brought the heirloom to share with the BLO conductor and cast members at the BPL. The book was given to Sibyl Sanderson's mother, (Madame Sanderson) by Massenet himself after the premiere of <i>Werther </i>in Paris.<br />
<br />
Margaret was delighted to share this family history with BLO, and we were thrilled to see the work come to life, on and off the stage!<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9lFIVY8Ta6-CbfWMfXc7DjhjYd8FEcnY4NibG739VWWqCsUUH3vWVv0I54wHIajwTGppMdSvAxH44IWCnBxjsC10lH1PS8U6kO3w4fJq-PAFdIsVU4VIDEhL5b0DchZLPtwBU-IreovSf/s1600/BPL+Massenet+Book+1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9lFIVY8Ta6-CbfWMfXc7DjhjYd8FEcnY4NibG739VWWqCsUUH3vWVv0I54wHIajwTGppMdSvAxH44IWCnBxjsC10lH1PS8U6kO3w4fJq-PAFdIsVU4VIDEhL5b0DchZLPtwBU-IreovSf/s400/BPL+Massenet+Book+1.JPG" width="500" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Margaret A. showing conductor, David Angus, her family copy of <i>The Sorrows of Young Werther</i>.</span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnsesB3tiusNX5Ftemx_MGusGjHxeNa-KnMhZYy8rH3fbnGDLe6sXaLRFRFuIW7JnE-sMA470c9cZA_xs-hjfY5JM4XoXLTuqp_a-E7-NW8vNnVY0ohQpB3tIUd22MO9zFEvkUxxO4hZpI/s1600/BPL+Massenet+Book+2+CROP.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnsesB3tiusNX5Ftemx_MGusGjHxeNa-KnMhZYy8rH3fbnGDLe6sXaLRFRFuIW7JnE-sMA470c9cZA_xs-hjfY5JM4XoXLTuqp_a-E7-NW8vNnVY0ohQpB3tIUd22MO9zFEvkUxxO4hZpI/s400/BPL+Massenet+Book+2+CROP.JPG" width="356" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Sandra Piques Eddy, singing the role of Charlotte, explores the book, inscribed by Massenet himself.</span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6GyoRpX5TnFK_xWbbCONR3dbriEGgXJUvowGi8ufXz4mixgZmDch_cidcO2qUA4LpqY2l2Fm6qSdPjjwNpO28zWdkt2bVso5qiaoeQ7BQZSeP22Xd2aNI32yWrYj8M_bc2iI1Q2Ybb7Pw/s1600/BPL+Massenet+Book+3.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6GyoRpX5TnFK_xWbbCONR3dbriEGgXJUvowGi8ufXz4mixgZmDch_cidcO2qUA4LpqY2l2Fm6qSdPjjwNpO28zWdkt2bVso5qiaoeQ7BQZSeP22Xd2aNI32yWrYj8M_bc2iI1Q2Ybb7Pw/s400/BPL+Massenet+Book+3.JPG" width="500" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Massenet's inscription to Madame Sanderson.</span></td></tr>
</tbody></table>
<i><span style="font-size: x-small;"><br />
</span></i> <i><span style="font-size: x-small;">All photos by Eric Antoniou for Boston Lyric Opera.</span></i></div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-43588014013865095602016-03-18T17:13:00.000-04:002016-03-18T17:13:32.027-04:00Werther Lives On: Sequels through the Ages<div dir="ltr" style="text-align: left;" trbidi="on">
<i>By Richard Dyer</i><br />
<br />
Readers of Goethe’s <i>The Sorrows of Young Werther</i> hungered for more; after all it was a sensational success in 1774—and for two and a half centuries afterwards. But it was not a book that demanded a sequel. After all, the “narrator” of the novel is young Werther himself, writing letters to a friend, and after the last letter, he commits suicide.<br />
<br />
But after the firestorm of acclaim that arose after the first publication, sequels appeared almost immediately. One of them told the story from the point of view of Charlotte, Werther’s great love; another, called <i>The Joys of Young Werther</i>, contrived a happy ending that Goethe loathed—and he despised the author of the happy ending for the rest of his life. Goethe himself revisited and revised his first great success 13 years later, and that revision is the one most people read today. He again returned to the book in his autobiography, <i>Poetry and Truth</i>, written over a period of years at the other end of his life.<br />
<br />
Meanwhile, <i>Werther </i>was translated all over the world; even Frankenstein’s monster read it. The book has never been out of print, never stopped being read; to this day young writers return to the archetypal story of unrequited love, which also survives in stage adaptations, in Massenet’s opera, in the movies and on television.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.nobelprize.org/nobel_prizes/literature/laureates/1929/mann.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://www.nobelprize.org/nobel_prizes/literature/laureates/1929/mann.jpg" /><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"></span></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Thomas Mann</span></span></td></tr>
</tbody></table>
By far the most significant literary response to Werther is Thomas Mann’s <i>Lotte in Weimar: The Beloved Returns</i>, a novel by the most important German literary figure of the 20th century that reflects his lifetime study of the most German literary figure of all. Mann wrote the novel late in the 1930s after he decided not to return to his home in Hitler’s Germany and to remain and live in Switzerland instead; when that too became dangerous, Mann moved to America and even became an American citizen. Mann spent 13 years in California before returning to Switzerland for the last two years of his life, passing away in 1953.<br />
<br />
Like <i>Werther</i>, <i>Charlotte in Weimar</i> is based on a fact: Charlotte Buff Kestner, the woman who inspired the creation of Goethe’s Charlotte in <i>Werther</i>, did in fact meet Goethe again 45 years after the events in his novel. Almost nothing is known about this occasion beyond a couple of letters that mention it. She wrote to one of her sons, “I made a new acquaintance with an old man who, if I had not known he was Goethe, and even knowing it, made on me no pleasant impression.” Out of these bare facts Mann produced a novel of 453 dense pages, some of it invention, but all of it based on Mann’s thorough knowledge of Goethe’s life, works, and character.<br />
<br />
It is not an easy book to read—the author of the introduction to the current English-language paperback edition points out that the novel requires multiple readings, and that it cannot be read at all only once. Mann's prose is musical and rhythmic, and images and themes recur as Mann develops them; the book is full of allusions to Goethe's writings and intricate interconnections of detail.<br />
<br />
The difficulties of the book are compounded by the stodgy text by his official and exclusive translator, Mrs. H. T. Lowe-Porter. Mann scholars have pointed out many mistakes and misunderstandings in Lowe-Porter’s work, but more disturbing is her attempt to reproduce as much of Mann’s German syntax as she can and far more than is useful; the result is neither German nor English, instead, some impenetrable language like Deutschlish or Engdeutsch. Most of Mann’s books have been retranslated since her day, some of them more than once, but this one has not, perhaps for copyright reasons.<br />
<br />
In no way is <i>Lotte in Weimar</i> a conventional novel, although some novelistic conventions are present—Mann is alert to period detail, with clothes, furniture, decoration and the minutiae of daily life. But Goethe does not meet Charlotte until page 394, when she appears in his home as an invited dinner guest; their exchanges are mostly small-talk and Charlotte is dismayed at the sycophants who surround Goethe and shocked by the coarseness of some of his conversation. They meet once again, perhaps, in the last chapter, when he sends his coach to pick her up after an evening in the theater. He is seated in the shadows within the coach, or Charlotte imagines this, and they do finally have the conversation she wishes she had had earlier—or they don’t, and she imagines what they might have said if such a conversation were to have taken place.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/commons/thumb/8/89/CharlotteKestnerGebBuff1753-1828VonJohHchSchroeder.jpg/220px-CharlotteKestnerGebBuff1753-1828VonJohHchSchroeder.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://upload.wikimedia.org/wikipedia/commons/thumb/8/89/CharlotteKestnerGebBuff1753-1828VonJohHchSchroeder.jpg/220px-CharlotteKestnerGebBuff1753-1828VonJohHchSchroeder.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Charlotte Buff Kestner</span></span></td></tr>
</tbody></table>
In the second paragraph of the novel, Charlotte, her daughter (also named Charlotte), and a maid descend from a coach and check in at the Elephant Inn in Weimar, in late September, 1816 (the Elephant Inn still survives). She has travelled to Weimar to visit another of her children who now lives there, but hopes to encounter Goethe; she has brought along a copy of the dress she wore the first time they met. Charlotte, who was 18 at the time of <i>Werther</i>, is now 63; her beloved husband Johann Kestner (“Albert”) has died, as have some of the dozen children she bore him. Goethe has just turned 67 and is now a widower, but still prey to serial obsessions with lively and beautiful young women—Charlotte was not the first and certainly not the last of many—he proposed to his final love in 1823. For decades he has been an international celebrity and his home the object of pilgrimage.<br />
<br />
A waiter or maître d’ from the hotel greets Charlotte and recognizes her, and soon she has a series of callers, one per chapter—all but one of them know Goethe well and speak of him at length from their different but complementary perspectives, prodded along by Charlotte who is sensitive, inquisitive, and alternately delighted and dismayed by what she hears. There is even a long story about Goethe’s son, who finds himself in a situation similar to the one his father was in 45 years before. Charlotte has been a good wife and a good woman, but she is by no means as conventional as she believes she is; her intelligence, graciousness and fineness of feeling are altogether out of the ordinary. Meanwhile the townspeople crowd the square, eager for a glimpse of her. The identity of the “real” Charlotte has long been public knowledge everywhere in Germany, and she has spent her life resenting her unsought and unwilling celebrity.<br />
<br />
The famous seventh chapter departs from the rest—it is Goethe’s 75-page internal monologue, Mann’s version of stream of consciousness, a survey of Goethe’s interests and obsessions, and Mann’s insight into the working of his mind. The eighth chapter depicts the dinner at Goethe’s house and the ninth the final conversation between Charlotte and Goethe.<br />
<br />
In a sense, then, nothing “happens” in <i>Lotte in Weimar</i>. In another sense, everything does because this is a novel is about psychology, nuances of communication, perception and feeling; it is about celebrities and "ordinary" people who, in their individual ways, are extraordinary; it is about the fretful relationship between “real” life and art. And there are real moments of humor in it too—the characterization of the maître d’, as well as Rose Cuzzle, a star-struck English groupie who seeks out celebrities, clings to them, draws their portraits and demands their autographs. Then, too, Charlotte’s discoveries about Goethe the man, as opposed to Goethe the artist, parallel Mann’s feelings about Goethe, who loomed over the young Mann the way Shakespeare has loomed over generations of young and ambitious English and American writers.<br />
<br />
<i>Lotte in Weimar</i> seems an unlikely subject for a movie—but in 1975 a film was made. <i>Werther</i>, of course, has long interested movie makers. Film and television versions exist in French, Spanish, English and German (several in German), some of them updated to the present—the story remains resonant. And there are probably even more DVDs of Massenet’s opera; all in all there have been nearly 90 different recordings or DVDs of the opera, which not something anyone could have foreseen 50 years ago, when <i>Werther </i>was rarely performed outside of France and Italy. The Metropolitan Opera did 10 performances of it between 1894 and 1910 and did not present it again until 1971 when there was a new production for Franco Corelli—there have been 71 performances in Lincoln Center since then. The principal reasons for the growing and belated popularity of <i>Werther </i>are the poignancy and relevance of the situation and Massenet's impassioned musical response. There are magnificent and gratifying roles for tenor and mezzo, and over the last four decades most of the important tenors, from Corelli to Jonas Kaufmann, have appeared in the opera.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.gstatic.com/tv/thumb/movieposters/8574592/p8574592_p_v8_aa.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.gstatic.com/tv/thumb/movieposters/8574592/p8574592_p_v8_aa.jpg" height="320" width="213" /></a></div>
One of the recent films about <i>Werther </i>was a pop hit in Germany in 2010. There it was called <i>Goethe!</i>, with an exclamation point; for release in America it was retitled <i>Young Goethe in Love </i>(no longer with the exclamation point). It is essentially a picturesque, romping rom-com that stars the delightful Miriam Stein as a free-spirited Charlotte and two popular German actors as Albert and Goethe, Moritz Bleibtreu and Alexander Fehling. The atmosphere, if not the setting, is that of a Vince Vaughn/Jennifer Aniston film, and of course it doesn't have to end with suicide because Goethe (unlike Werther) didn't kill himself. Fehling is altogether unbelievable as Goethe: a young and randy scamp who never stops pouting and smirking. Goethe's novel is about obsession descending into madness; <i>Young Goethe in Love! </i>is mostly about sex. Goethe and Charlotte meet accidentally on horseback; we don't learn what they do with the horses, but soon they are naked and going at it along the wall of a ruined castle.<br />
<br />
There is no reason for such a film to be accurate. Albert is not a close friend of Goethe's, as he was in fact—at least before the publication of <i>The Sorrows of Young Werther</i>. That is what makes the love triangle in the novel so painful—Charlotte loves both men, they both love her, and each other. The film also depicts Karl Wilhelm Jerusalem, the historical figure who committed suicide because the married woman he loved would not leave her husband, as Goethe's roommate; in fact, they scarcely knew each other, but Albert did know him and researched his suicide for Goethe's use. In the film Charlotte is the one who sends Goethe's manuscript to the publisher, although in life she detested Goethe's depiction of herself and her beloved husband. Meanwhile one of the principal themes in the musical score is Schubert's setting of a poem that Goethe hadn't written yet (and Goethe himself did not understand or like Schubert's songs).<br />
<br />
If the film's goal is to entertain rather than inform, it meets its goal—the scenery is beautiful and attractive people take their clothes off.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://upload.wikimedia.org/wikipedia/en/4/4f/Lotte_in_Weimar.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://upload.wikimedia.org/wikipedia/en/4/4f/Lotte_in_Weimar.jpg" /></a></div>
<i>Lotte in Weimar</i>, the 1975 film, is completely different. Obviously it is without the nuance, detail and insight that Mann brought to his book, but it doesn't have to describe anything; it just shows us Weimar—although the flashbacks were not shot in Wetzlar, which was inaccessible in West Germany. It even brings new visual symbols, most obviously in the hotel room where Charlotte meets the people who come to see her and interview her—although she ends up interviewing them. On a mantel, a large goldfish tries to swim in a narrow, high tubular vase—a metaphor for Goethe, trapped in his celebrity, or Charlotte trapped in hers.<br />
<br />
The film is slow and stately, but honest and sincere, and it helps to have read the novel—actually both of them, Goethe's and Mann's. The only serious distraction is the way the soundtrack keeps returning to impassioned passages from Mahler's Sixth Symphony, which of course is way out of period and completely alien to the classical style of the city and Mann's treatment of the emotional situations.<br />
There are however some quite remarkable performances, including the poised and perceptive acting of Lilli Palmer as Charlotte. In 1975, Palmer was about the same age as the historical Charlotte when she met Goethe again; she remains agelessly beautiful, her face an unselfconscious mirror of every flicker of emotion.<br />
<br />
Palmer was a German actress from a Jewish family who escaped Hitler's Germany and wound up in England in movies and also, later, onstage; she was married to Rex Harrison for 13 years, during which they became the most prominent English acting team on Broadway and in Hollywood (and on television). After their divorce, she remained active both in theater and movies until her death in 1984. She had a long and happy second marriage. Harrison was married four more times, but when he died in 1990, his will asked that some of his ashes be strewn over Palmer's gave in Forest Lawn Cemetery in Los Angeles. And so they were—a romantic gesture worthy of Werther himself.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl76w6ZYbOKP0ehPlM1wsT1DB-1jOvMK8doFE9_3aHIxgPdrU859UTvBYfEUrW8AXcPQAUJlh5up0xoJnRfSAhT80-vPvjMTg87SSuUUkrC6EKIooEkNuwfWuoqRpndipqYv-j89pyE7vo/s1600/Richard_Dyer.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl76w6ZYbOKP0ehPlM1wsT1DB-1jOvMK8doFE9_3aHIxgPdrU859UTvBYfEUrW8AXcPQAUJlh5up0xoJnRfSAhT80-vPvjMTg87SSuUUkrC6EKIooEkNuwfWuoqRpndipqYv-j89pyE7vo/s200/Richard_Dyer.jpg" width="100" /></a></div>
<i>Richard Dyer is a distinguished writer and lecturer. He wrote about music for </i>The Boston Globe<i> for more than 30 years, serving as chief music critic for most of that time. He has twice won the Deems Taylor/ASCAP Award for Distinguished Music Criticism. </i></div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-65670882510472757462016-03-17T13:01:00.000-04:002016-03-17T13:01:09.415-04:00Opera March Madness<div dir="ltr" style="text-align: left;" trbidi="on">
NCAA <a href="http://www.ncaa.com/march-madness" target="_blank">March Madness</a> starts today, and it got us thinking ... What if we could hold the ultimate opera tournament of all the greats, side by side?! Check out our Opera March Madness bracket, based on the fascinating statistics compiled by <a href="http://operabase.com/top.cgi?lang=en" target="_blank">Operabase</a>. What would YOUR bracket look like?<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0fuKE0Lcnir_d0F9cNOufaS5Oc-4PT6XU4nM4rusY7mIs9AKsukSwidCkG2-B54_T5CUz4ZoSJwydxN8FNQyzigzsG-p-yYd87euJHFmv03AlmecGugaXAY6trIj2_NuypFjW0oHs4Tey/s1600/Opera+March+Madness.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0fuKE0Lcnir_d0F9cNOufaS5Oc-4PT6XU4nM4rusY7mIs9AKsukSwidCkG2-B54_T5CUz4ZoSJwydxN8FNQyzigzsG-p-yYd87euJHFmv03AlmecGugaXAY6trIj2_NuypFjW0oHs4Tey/s400/Opera+March+Madness.jpg" width="550" /></a></div>
</div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-44532001234955742372016-03-16T17:23:00.002-04:002016-03-17T09:08:27.535-04:00Alex Richardson Dives into Werther: An Interview with Richard Dyer<div dir="ltr" style="text-align: left;" trbidi="on">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgydyDVpjD3lQaBUMJsfXba_55_qygNcZ6017N4Q4hrkaqhhQpYMtRAGb7LbUSVHsx9J7C3Xr5DhS8uV-bunceKkGBkSYiU7rCIHXXmfKSYmI28TOKfaCcti8yhchVhmnW1qI7tlM66xcyJ/s1600/05.+Alex+Richardson+as+the+title+character+in+Boston+Lyric+Opera%2527s+Werther+--+Photo+T.+Charles+Erickson.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgydyDVpjD3lQaBUMJsfXba_55_qygNcZ6017N4Q4hrkaqhhQpYMtRAGb7LbUSVHsx9J7C3Xr5DhS8uV-bunceKkGBkSYiU7rCIHXXmfKSYmI28TOKfaCcti8yhchVhmnW1qI7tlM66xcyJ/s400/05.+Alex+Richardson+as+the+title+character+in+Boston+Lyric+Opera%2527s+Werther+--+Photo+T.+Charles+Erickson.JPG" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Alex Richardson sings the title role in Boston Lyric Opera's <i>Werther</i>.<br />
Photo by T. Charles Erickson.</span></span></td></tr>
</tbody></table>
The former New Mexico high school state champion in springboard diving is currently singing the title role in Massenet’s <a href="http://blo.org/werther/" target="_blank"><i>Werther </i></a>with Boston Lyric Opera. That would be the rising American tenor Alex Richardson. (His final three performances are tonight, Friday night at 7:30pm and Sunday afternoon at 3pm in the Shubert Theater.)<br />
<br />
It is a long way from high school diving to portraying the neurotic, self-absorbed and suicidal hero Werther, who was created by the young Johann Wolfgang von Goethe out of his own recent painful memories—an anti-hero/poet who has haunted the imagination of the world for more than two and a half centuries now. Massenet’s operatic adaptation is one of the longest and most strenuous roles in the repertory for lyric tenor, but Richardson’s performance has earned him another sheaf of admiring reviews to add to his growing pile.<br />
<br />
He has encountered <i>Werther </i>before, but this is his first major production of the opera. A few years ago he learned and memorized the part in two weeks in order to replace both singers who were supposed to alternate in the role in a production at the University of North Texas; the conductor, who was a friend, asked him to step into this emergency. Later he covered the role for the National Opera in Washington, D. C., although he was never called on to go on; Crystal Manich, BLO’s stage director, also worked on that production. After that he sang the opera again recently in a concert performance in New York’s Merkin Hall. So Richardson felt ready to take on the role on short notice when the artist the BLO had engaged was forced to cancel when he unexpectedly required surgery for a back problem.<br />
<br />
But he accepted the offer with one caveat—he would need to miss part of the rehearsal period. He has been married for three years, but the planned honeymoon in Costa Rica had already been too often postponed because of changes in Richardson’s schedule, even though the couple had had reservations. So in mid-rehearsals, Werther basked in the sun for a week.<br />
<br />
The rest may have done him good. “This is a really long role and learning to pace yourself in it is a continuous journey and you have to have some reserves left for the end of the show. It is also very emotional music and the orchestra has a very important role in it—Massenet learned that from Wagner. The orchestra isn’t just underscoring the singer. The second aria, ‘Un autre est son époux,’ is high and loud and so fast you don’t have a lot of time to breathe. The secret is to bring it down while at the same time pushing it forward. You have to really sing the role and not overblow it. I believe the reason the opera has become so popular is that the love-triangle situation is so plausible that everyone can relate to it. Werther’s response is extreme, but this is absolutely a present-day situation.”<br />
<br />
In person, Richardson projects a sunny confidence; his curly hair is short-cropped, unlike the long, unkempt wig he wears onstage, and his manner is informal. And he points out that years of springboard diving proved a useful preparation for opera singing, a fact he was not entirely aware of at the time.<br />
<br />
“I believed that athletics would be my ticket to college, although it turned out that music would be. I took diving very seriously—I competed in the Junior Olympics and made it to the nationals. This is an individual sport and, in competition, the judging is subjective. It takes a lot of heavy concentration on technique and on body awareness—you need to know what your body is doing in space and time. This came in handy when studying voice. If I need to drop my back, I know how to do it. And the scoring is just like what it is in singing; your score depends on someone’s personal opinion of how you did. This is not like a race where the person who comes in first wins. It was good for me to experience that kind of subjective competition when I was a teenager.”<br />
<br />
Richardson grew up in Las Cruces, New Mexico; although the population was under 100,000 when Richardson lived there, it was the second-largest city in the state, after Albuquerque. It has a very lively musical community and a real commitment to arts education in the public schools—the prominent pianist Jeremy Denk attended the same high school as Richardson, but a few years earlier. Richardson’s whole family was musical, although he is the only one who is pursuing music professionally. “My mother sang and my father played classical guitar, and I was already singing when I was a boy soprano—‘Silver Bells’ and things like that. After my voice changed I sang baritone for a short time before I found my natural range. I was very lucky because a college music teacher named Donald Morrison came to Las Cruces to retire. He directed a community chorus and asked me if I would sing in it. He couldn’t pay me anything but offered to give me free voice lessons instead, and I said yes. He introduced me to art songs and Lieder, and gave me my first aria, ‘Una furtiva lagrima’ from Donizetti’s <i>L’Elisir d’Amore</i>. After a while he began to encourage me to go to music school, and he even suggested that I give a senior recital. I didn’t quite know what that meant, but I said OK. I sang my aria, a song by Donaudy, and songs by Brahms, Fauré and Samuel Barber. I didn’t know that not every teenager did things like this!”<br />
<br />
Richardson sang auditions for colleges and chose the University of Colorado in Boulder. “In my junior year I sang Albert Herring in Britten’s opera, my beginning with a composer who has been very important to me. I also did Flute in <i>A Midsummer Night’s Dream</i>, which is a wonderful part, and Ramiro in Rossini’s <i>Cenerentola</i>.” To this day he remains in close contact with friends and faculty in Boulder. “It is a very strong pedagogy school; my mentors let me grow and helped me develop a healthy technique in my formative years. And I became a sponge absorbing interesting musical challenges.”<br />
<br />
He then moved on to the Manhattan School of Music and summer programs at the Central City Opera in Colorado and the Santa Fe Opera; in Santa Fe he made his professional debut in Osvaldo Golijov’s <i>Ainadamar</i>—and his first appearance as a flamenco singer. He arrived as a fellow at the Tanglewood Music Center in 2008 and 2009—an experience that drew him into the orbit of the Boston Symphony Orchestra. At Tanglewood he appeared in Weill’s <i>Mahagonny </i>and in Stravinsky’s <i>Pulcinella</i>, which he sung under the direction of Rafael Frühbeck de Burgos. Since then he has appeared in Beethoven’s <i>Choral Fantasy</i>, Strauss’s <i>Salome</i>, and in Szymanowski’s <i>King Roger</i>, in which he sang a small role and understudied the crucial part of Edrisi.<br />
<br />
He has had additional Boston connections, appearing twice with Boston Midsummer Opera, singing lead parts in Donzetti’s <i>Don Pasquale </i>and Nicolai’s <i>The Merry Wives of Windsor</i>, and both in Boston and at Tanglewood leaving a vivid impression as Tom in John Harbison’s <i>The Great Gatsby</i>.<br />
<br />
Meanwhile he has been building up a wide range of tenor roles, large and small, in almost two dozen operas of many periods and styles, from Mozart (Tamino in <i>The Magic Flute</i> comes next) through Louis Andriessen. In Toledo he sang Scaramuccio in Strauss’s <i>Ariadne auf Naxos</i> with Boston-area soprano Barbara Quintiliani in the title role. Cavaradossi in <i>Tosca </i>is about the heaviest role Richardson has tackled so far, although he will sing the title role in Britten’s <i>Peter Grimes</i> this summer. He was on the Metropolitan Opera roster this season to cover the demanding role of Alwa in Berg’s <i>Lulu</i>—a testimony to the security of his musicianship; next season he is scheduled to sing the young shepherd in Wagner’s <i>Tristan und Isolde</i>. His most publicized appearance to date was in the first production of Franco Faccio’s neglected opera, <i>Amleto </i>[<i>Hamlet</i>], since 1871—Richardson took the title role.<br />
<br />
“I have no plans to sing Otello or Lohengrin or Siegfried,” Richardson says with a chuckle. He’s about to head off to watch a rehearsal of Werther with the understudies; he’s a good colleague. As he heads for the door, he unwraps a piece of butterscotch candy and pops it into his mouth. Werther’s, of course.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWZIhh11W_bEE7v27DeNceoQH7uqtt6q2poi9xubdUZUGwuNJ6h6n5W4biZLgCB4DQmzR6O6XQVm5oB2GJVOo-0etxCE4mahDyYSBCV0tUbxjfcFMUfpfIIkPkWTpVOs1Wt0usolBGAD9y/s1600/Richard_Dyer.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWZIhh11W_bEE7v27DeNceoQH7uqtt6q2poi9xubdUZUGwuNJ6h6n5W4biZLgCB4DQmzR6O6XQVm5oB2GJVOo-0etxCE4mahDyYSBCV0tUbxjfcFMUfpfIIkPkWTpVOs1Wt0usolBGAD9y/s200/Richard_Dyer.jpg" width="100" /></a></div>
<br />
<i>Richard Dyer is a distinguished writer and lecturer. He wrote about music for </i>The Boston Globe<i> for more than 30 years, serving as chief music critic for most of that time. He has twice won the Deems Taylor/ASCAP Award for Distinguished Music Criticism. </i></div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com1tag:blogger.com,1999:blog-2023844878514884915.post-35818775881809709612016-03-15T09:08:00.000-04:002016-03-15T09:08:31.303-04:00Dr. von Lyric: Two Overlapping Geniuses<div dir="ltr" style="text-align: left;" trbidi="on">
BLO is in the midst of performances of Massenet’s eloquent and moving opera <i>Werther </i>(based, of course, on Goethe's novel, <i>The Sorrows of Young Werther</i>), and so it would seem appropriate to listen to some of the songs that Schubert set to Goethe texts (and it doesn't take much encouragement). Schubert lied is one my favorite musical genres (and clearly, one of his…he wrote over 600 songs, 80 of which are based on Goethe poems). The lives of these two brilliant flowerings of German culture coincided; Goethe was 48 when Schubert was born and lived for four years after Schubert’s tragically premature death in 1828, at the age of 28. <br />
<br />
But in April 1816, Goethe famously failed to acknowledge Schubert’s gift of 16 settings of his own poems. In a lecture by Richard Stokes, he muses:<br />
<br />
<i>“Many reasons have been adduced for [Goethe’s] failure to respond. Were they actually played for him? And, if so, was the performance adequate? Joseph von Spaun at the end of the somewhat cloying letter that accompanied the gift stressed that the pianist ‘must not lack facility or expression’. Was Goethe just too busy—he enjoyed a huge international [following] and received a daily deluge of letters and visits. Did the sycophantic tone of Spann’s letter displease him? Or was he simply in a bad mood? The most likely explanation for Goethe’s silence must be sought elsewhere. He was not unmusical, but his concept of what constituted a song was profoundly different from Schubert’s. In a letter, dated 1820, Goethe expounds his belief that the accompaniment should not illustrate the imagery of a poem.” </i><br />
<br />
Not at all what Schubert was up to. And ironically, outside of the German speaking world, it is those very Schubert songs which keep the name of Goethe most alive. To say nothing of the French connection—<i>Werther</i>, <i>Faust </i>and <i>Mignon</i>—operas that Goethe would probably have also dismissed. (See BLO’s <a href="http://bostonlyricopera.blogspot.com/2016/03/goethe-and-opera.html">blog post</a> for more on this.)<br />
<br />
A few Schubert settings of Goethe texts…<br />
<br />
A full operatic experience in under four minutes. Superbly orchestrated by Hector Berlioz, it is here performed at a startling level of intensity by Anne Sophie von Otter and Claudio Abbado<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/VdhRYMY6IEc" width="420"></iframe><br />
<br />
Two other songs from the vast and rich repertory of Goethe lied:<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/2ELZRzEFX7I" width="420"></iframe><br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/n1_OWbXa7bs" width="420"></iframe><br />
<br />
One of Schubert’s (and Goethe’s ) most charming exercises—innocence coupled with the utmost sophistication:<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/IlgYegqokIU" width="560"></iframe><br />
<br />
And…a completely unexpected encore:<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/bnm6cS_0bUU" width="420"></iframe></div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-55362847288577850752016-03-14T09:12:00.001-04:002016-03-16T09:34:06.954-04:00Werther Post-Show Discussion Questions<div dir="ltr" style="text-align: left;" trbidi="on">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk0Kl_ws8uO27SAslTbwNmElaLj4UiYrWQTBY6WVHbDOa0B1OC3QODoGxPoeU8_DfMx0qFyJKxZcTPGHF101r4zxKtfhogdBBNWjY_0v4tn6djdbd5xdxHzBN3xiTONHkxSY-MnAGt6DiG/s1600/2016_BLO_Werther_06.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk0Kl_ws8uO27SAslTbwNmElaLj4UiYrWQTBY6WVHbDOa0B1OC3QODoGxPoeU8_DfMx0qFyJKxZcTPGHF101r4zxKtfhogdBBNWjY_0v4tn6djdbd5xdxHzBN3xiTONHkxSY-MnAGt6DiG/s320/2016_BLO_Werther_06.jpg" width="243" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:EnableOpenTypeKerning/> <w:DontFlipMirrorIndents/> <w:OverrideTableStyleHps/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Sandra Piques Eddy and Alex Richardson i<span style="font-family: "arial" , "helvetica" , sans-serif;">n</span> <i>Werther</i>.<br />
Photo: T. Charles Erickson </span></span><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman","serif";}
</style> <![endif]--></td></tr>
</tbody></table>
Did you see BLO's production of <i>Werther</i>? Don't let the music just fade away! Consider these thought-provoking discussion questions with the friends or loved ones who attended the opera with you. After all, art is meant to be shared.<br />
<br />
<br />
1. Consider the production concept, directorial approach, and design elements of the opera. In what ways did these enhance, or detract from, your overall experience?<br />
<br />
2. How does Werther’s obsession and emotional state color his memories of the characters and events leading up to his suicide? How does the production reflect this?<br />
<br />
3. Charlotte is often described by other characters as good, angelic, pure. Do her actions throughout the opera justify this assessment? Why or why not?<br />
<br />
4. Why does Werther feel that suicide is his only option?<br />
<br />
5. How does Massenet’s music throughout the opera enhance the emotional content of the drama? Which moments stood out in particular, and why?<br />
<br />
6. Goethe wrote <i>The Sorrows of Young Werther</i> based on his own romantic experiences and those of people that he knew—including a young man who had killed himself after being rejected by a married woman. What are the ethics of this type of appropriation? Does the story glamorize suicide? Does the opera itself?<br />
<br />
7. Why would Massenet choose to juxtapose the children singing “Noel” as Werther dies in the final scene? Was it effective for you, and why or why not?<br />
<br />
8. Read the <a href="http://bostonlyricopera.blogspot.com/2016/03/blos-werther-breaks-new-musical-ground.html">blog post</a> regarding the added vocal lines in this production, written by David Angus, BLO Music Director and Conductor of <i>Werther</i>. Did you notice this moment in the opera? How did it enhance the final scene between Werther and Charlotte—or is the drama better served by leaving it out? Why?<br />
<br /></div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-79178393250000755732016-03-11T14:57:00.005-05:002016-03-11T14:57:59.211-05:00Werther: A Sneak Peek!<div dir="ltr" style="text-align: left;" trbidi="on">
Check out this special SNEAK PEEK from Wednesday evening's Final Dress Rehearsal for <i>Werther</i>! Unrequited love never sounded so good.<br />
<br />
<i>WERTHER</i><br />
March 11–20 | 2016<br />
The Citi Performing Arts Center<sup>SM</sup> Shubert Theatre<br />
<a href="http://blo.org/werther/">BLO.ORG</a><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZG7Uux18phGdMhF_jIhESXZSQ8jrxsHIFH8LswZNl3mD4XhJornOtdZMKFA27erdXOmRrx9olPXlOS5v33tkgfOhOQibxI6NTMex6Nuu2Yfgfyzq0H88nIL69RQnEvixEdwl4Ws2Dmj9u/s1600/01.+Jon+Jurgens%252C+David+McFerrin%252C+Rachele+Gilmore%252C+James+Demler+in+Boston+Lyric+Opera%2527s+Werther+--+Photo+T.+Charles+Eri.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZG7Uux18phGdMhF_jIhESXZSQ8jrxsHIFH8LswZNl3mD4XhJornOtdZMKFA27erdXOmRrx9olPXlOS5v33tkgfOhOQibxI6NTMex6Nuu2Yfgfyzq0H88nIL69RQnEvixEdwl4Ws2Dmj9u/s400/01.+Jon+Jurgens%252C+David+McFerrin%252C+Rachele+Gilmore%252C+James+Demler+in+Boston+Lyric+Opera%2527s+Werther+--+Photo+T.+Charles+Eri.JPG" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">From left to right, Jon Jurgens, David McFerrin, Rachele Gilmore, James Demler in <i>Werther </i>– Photo: T. Charles Erickson</span></span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCm-DbYlvWZ21tqb0YEUIf3we-fWF_1OSB5C1Bmcnk3L0VNKeWftYtJQ6gWXkPS-9wOnfQbNZ-gNzIpM93pvE701UnGsfn9Sdai4srdDfm8tbJzvB4JwEVFB_BFn3EOVOWcVDhie8_UBl7/s1600/02.+Sandra+Piques+Eddy+as+Charlotte++in+Boston+Lyric+Opera%2527s+Werther+--+Photo+T.+Charles+Erickson.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCm-DbYlvWZ21tqb0YEUIf3we-fWF_1OSB5C1Bmcnk3L0VNKeWftYtJQ6gWXkPS-9wOnfQbNZ-gNzIpM93pvE701UnGsfn9Sdai4srdDfm8tbJzvB4JwEVFB_BFn3EOVOWcVDhie8_UBl7/s320/02.+Sandra+Piques+Eddy+as+Charlotte++in+Boston+Lyric+Opera%2527s+Werther+--+Photo+T.+Charles+Erickson.JPG" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Sandra Piques Eddy as Charlotte <i> </i>– Photo: T. Charles Erickson</span></span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC4nlXs5n10esxurqG8PxCgT4xdXBmzJVJpzAdhhTFVhhkSUsKC5F9V9APM-hctyMkzosVWEZKgty7LeIlylf5umUPyBMZQtyZy6Y77ZbNVeHFjeIx1JCI6CxZa-czWJxJwHlkZhllDC1A/s1600/05.+Alex+Richardson+as+the+title+character+in+Boston+Lyric+Opera%2527s+Werther+--+Photo+T.+Charles+Erickson.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC4nlXs5n10esxurqG8PxCgT4xdXBmzJVJpzAdhhTFVhhkSUsKC5F9V9APM-hctyMkzosVWEZKgty7LeIlylf5umUPyBMZQtyZy6Y77ZbNVeHFjeIx1JCI6CxZa-czWJxJwHlkZhllDC1A/s320/05.+Alex+Richardson+as+the+title+character+in+Boston+Lyric+Opera%2527s+Werther+--+Photo+T.+Charles+Erickson.JPG" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Alex Richardson as the title character <i> </i>– Photo: T. Charles Erickson</span></span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEjsW5vvylhigAI4R8forqBY2lsyhM5dt6g_JfX449pxhm3biogy-HeK0hyphenhyphen1dTm9WOAGkSNRwvEloxCyE7h6KEWCZNIXFa9bGnZiUgf9EYZ7tF4-4N_PeGX8BienXJhfMHhB32TJ_QKxbV/s1600/08.+Sandra+Piques+Eddy+and+Alex+Richardson+in+Boston+Lyric+Opera%2527s+Werther+%25282%2529+--+Photo+T.+Charles+Erickson.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEjsW5vvylhigAI4R8forqBY2lsyhM5dt6g_JfX449pxhm3biogy-HeK0hyphenhyphen1dTm9WOAGkSNRwvEloxCyE7h6KEWCZNIXFa9bGnZiUgf9EYZ7tF4-4N_PeGX8BienXJhfMHhB32TJ_QKxbV/s320/08.+Sandra+Piques+Eddy+and+Alex+Richardson+in+Boston+Lyric+Opera%2527s+Werther+%25282%2529+--+Photo+T.+Charles+Erickson.JPG" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Sandra Piques Eddy and Alex Richardson <i> </i>– Photo: T. Charles Erickson</span></span></td></tr>
</tbody></table>
</div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-17333322294998738782016-03-11T13:06:00.001-05:002016-03-11T13:06:25.093-05:00Goethe and Opera<div dir="ltr" style="text-align: left;" trbidi="on">
<i>By John Conklin, BLO Artistic Advisor</i><br />
<br />
Goethe later claimed that the overwhelming musical experience of his youth (he was 14) was hearing the six-year-old Mozart play in Frankfurt in 1763 on one of his many tours (this is one of those encounters one would really liked to have somehow witnessed…like Schoenberg and Gershwin playing tennis together—with Harpo Marx kibitzing on the sidelines—in Hollywood in the 1940s). His admiration, even adoration, of Mozart lasted to his death some 60 years later. Goethe, Germany’s most famous poet and playwright, was a formidable polymath (he wrote epic and lyric poetry, prose and verse drama; memoirs, criticism, treatises on botany, anatomy and color; and four novels). His direct connection to music and opera is no less impressive. He asked Gluck to set some of his poetry, who declined. He wrote libretti; excerpts from one—a dramaturgically dense, even turgid, sequel to <i>The Magic Flute</i>—was performed at a BLO Signature Series event a few years ago. He was director of the Hoftheater in Weimar from 1791 to 1817 and mounted productions by an astounding variety of composers, including Gluck, Beethoven, Paisello, Cimarosa, Cherubibi, Boildieu, Spontini, and others. He particularly championed Mozart when it was not entirely fashionable. During his directorship, Mozart was performed on no fewer than 310 evenings—<i>Figaro </i>20 times, <i>Abduction </i>49, <i>Don Giovann</i>i 68, and <i>Flute </i>82.<br />
<br />
His play <i>Faust </i>(in two parts and gargantuan in ambition and scale) has been the inspiration for numerous musical works (including those by Wagner, Lizst, and Schumann) and several operas. Perhaps the most truly Goethean in feeling is Berlioz’s <i>The Damnation of Faust</i>. Technically not an opera (Berlioz called it a “<i>légende dramatique</i>”), it premiered in 1846. The Metropolitan Opera premiered it in concert in 1896, and a fully staged version was given there in 2008, directed by Robert Lepage (of the notorious Met <i>Ring </i>Cycle). Terry Gilliam made his English National Opera directorial debut with a production of it in 2011, and this trailer shows some of the intriguing ideas that his production contained. <br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/MtDPewNrQ7c" width="560"></iframe><br />
<br />
Gounod’s opera <i>Faust </i>is certainly the most well-known variant of the Goethe play. (I’m sure he would have loathed it for its sentimentality and trivialization of his cosmic mythology…and Germans are still dismissive of it even today, and bill it as it Marguerite when it plays there.) It was a huge international success, after a less-than-successful premiere in 1859. It opened the Metropolitan Opera House in 1883 and is the eighth most frequently performed opera there, with 747 performances. Since it is a truth frequently noted that “the Devil always gets the best lines,” here is Mephistopheles in full cry.<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/x66TYd9nAMI" width="420"></iframe><br />
<br />
From Arrigo Boito’s only completed opera (<i>Mefistofele</i>, 1868), here is a boldly extravagant take on Goethe. <br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/38E39KBdN1Q" width="420"></iframe><br />
<br />
The most direct setting of a Goethe text (although not an opera, of course) is the Eighth Symphony (the so-called “Symphony of a Thousand”) of Gustav Mahler (1910). It uses the closing section of Goethe’s <i>Faust, Part II</i>. <br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/uYM54vhLYTU" width="420"></iframe><br />
<br />
There are several French operatic settings of Goethe. Of course, <i>Werther</i>, but also Ambroise Thomas’ 1866 work, <i>Mignon </i>(of modest but undeniable charm), based loosely on the Goethe novel <i>Wilhelm Meister’s Journeyman Years</i>. This opera too ran into Franco-German sensibility issues—Thomas had to write a version which ended tragically…this attempt still failed to appease the German public and was withdrawn. Its most famous aria is “Connais-tu le pays,” here sung in concert by Marilyn Horne at her most playful.<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/kA7ihxwTp28" width="420"></iframe><br />
<br />
More intellectually acceptable (perhaps) were the many various lieder/song versions of Goethe, perhaps most notably the Hugo Wolf setting of “Kennst du das Land.”<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/sSOcPJZaJAQ" width="560"></iframe><br />
<br />
And to end on a lighter note (and a nod to <i>Werther</i>’s successor in the BLO Season, <i>The Merry Widow</i>) here is Johann Strauss’ 1874 waltz “Wo die Zitronen blühen,” from the same passage in Goethe’s novel. <br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/OLDf0IL68UQ" width="560"></iframe></div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-31242567765727454882016-03-08T11:18:00.000-05:002016-03-10T09:27:44.556-05:00BLO's Werther Breaks New Musical Ground!<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhSFWoA0m2TRDssbA2WUj7KbxBa53cpq4wol_FDUA_0hJLUwSON3K1XFmhZ9lpd0E7yKuXPO6Xvj3Zw6OpAPoercvjTjOY5G5BP6uiPqCulsJzSkX461VHnEINpbdR3Avr8H70EzpG7JN7/s1600/DavidAngus_400x400.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhSFWoA0m2TRDssbA2WUj7KbxBa53cpq4wol_FDUA_0hJLUwSON3K1XFmhZ9lpd0E7yKuXPO6Xvj3Zw6OpAPoercvjTjOY5G5BP6uiPqCulsJzSkX461VHnEINpbdR3Avr8H70EzpG7JN7/s200/DavidAngus_400x400.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Photo by Eric Antoniou</span></span></td></tr>
</tbody></table>
<i>David Angus, conductor of </i>Werther <i>and Music Director of BLO, steps in this week to announce exciting news about the upcoming BLO production!</i><br />
<br />
Dear readers,<br />
<br />
You may not know that the job of the conductor begins months before rehearsals do—the conductor must sort through any inconsistencies in printed scores, or revisions that the composer made, and decide exactly which version will be performed so that scores can be compiled and all of the singers and orchestra musicians know precisely what to prepare. <br />
<br />
Whilst preparing the <i>Werther </i>score several months ago, I discovered that the original handwritten manuscript orchestral score, from Massenet's own pen, was recently made available (within the last few years) online. I referred to it many times, and we have continued to do so throughout the rehearsals. I suddenly realised that, at the emotional and musical climax of the whole work, when the lovers finally kiss (shortly before Werther dies), there were mysterious extra vocal lines for the two lovers written in the manuscript. Instead of a kiss that lasted for over a minute, they were actually joining in with the ecstatic orchestra, firstly in a glorious, full unison at the tops of their voices, and then breaking apart and weaving around each other’s music in sensuous counterpoint. These vocal lines have never been included in printed, published versions of the score and I had not encountered them before—what would they sound like in performance?<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8UPH1fut8iVrXd_2IoWjo6zmfGfU4AHekyYpcqpR2YZaMvqDWrGvJryMV-qC2JEqAOvg4-4evePEaWTERRo-3iyzy-t5l6jPK7kE3TcZPdwZ4fmzzJf7d6tPWTbpT2bmZsLYc1Ry-FLg8/s1600/Werther_massenet_parte2_p317_CROP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8UPH1fut8iVrXd_2IoWjo6zmfGfU4AHekyYpcqpR2YZaMvqDWrGvJryMV-qC2JEqAOvg4-4evePEaWTERRo-3iyzy-t5l6jPK7kE3TcZPdwZ4fmzzJf7d6tPWTbpT2bmZsLYc1Ry-FLg8/s640/Werther_massenet_parte2_p317_CROP.jpg" width="576" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The first of several pages in</span> the manuscript score with the added vocal lines for Charlotte and Werther (emphasis added).</span></span></td></tr>
</tbody></table>
When we reached that music in the rehearsal process, I mentioned the extra vocal lines and suggested that we try them out. Everyone got very excited by the power and beauty of the new music. The added section is not long, but it is exceptional, both because it comes at the absolute climax of the opera and because it is almost the only time that people actually sing together in this opera, rather than alternating in dialogue. This music symbolises the coming together of the lovers, and the weaving together of the two lines mirrors their physical interaction! The orchestral music at this point was already wonderful, but adding the two voices on top takes it to another whole level.<br />
<br />
Adding to the excitement is the fact that we think that these added vocal lines might never have been performed, either at the time of the first performances, or since. To try to confirm this, we consulted with Professor <a href="https://en.wikipedia.org/wiki/Hugh_Macdonald" target="_blank">Hugh MacDonald</a> (a world authority on, and biographer of, Massenet) and <a href="http://manoa.hawaii.edu/music/about-us/faculty/lesley-wright/" target="_blank">Dr. Lesley Wright</a>, the editor of the soon-to-be-published <a href="https://www.baerenreiter.com/nc/en/" target="_blank">Bärenreiter </a>critical edition of <i>Werther</i>. These two authorities know nothing of any performances that include the added vocal lines. In fact, in Massenet's time, the vocal score was completed before the full orchestral manuscript had even been started, meaning that the singers probably learned the music without these lines. All the published versions of the libretto and any translations that we can find fail to include the extra text for this new music. There is simply no trace of it, apart from the one original manuscript, written in Massenet’s own hand, and apparently added at the exact same time that he was working out all the orchestration. Who knows what inspiration took him and made him add these words and this music for the singers, or why it never made it into any of the later printed scores—vocal or orchestral. Our accomplished rehearsal coach/accompanist, Brett Hodgdon, has continued this research while rehearsing full-time, and has worked out the chronology of the scores and the compositional process, but he too can find no trace of these bars. Even if Massenet himself eventually decided not to include these lines, they still represent his first inspiration when preparing this part of the score, and I believe it was an error of judgement to remove them!<br />
<br />
We are very excited to be able to include this music in the upcoming BLO production because it is truly wonderful and very powerful, and because, if our research thus far proves correct and these vocal lines have never before been performed, this is a significant world first. BLO is proud to continue pushing the boundaries of opera and blazing new ground, and we can't wait to share this stunning music—and all of <i>Werther</i>—with you.<br />
<br />
Wait till you hear it, and you will understand!<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<span style="font-size: small;"><b>David Angus</b></span> <br />
BLO Music Director<br />
Conductor, <i>Werther </i></div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com3tag:blogger.com,1999:blog-2023844878514884915.post-43743855422706548612016-03-03T14:48:00.001-05:002016-03-03T14:48:43.439-05:00Massenet—Beyond Werther<div dir="ltr" style="text-align: left;" trbidi="on">
<i>by John Conklin, BLO Artistic Advisor</i><br />
<br />
BLO is deeply immersed in getting our production of Massenet's luscious and moving opera onto the stage (it opens March 11). <i>Werther </i>is certainly his most well-known piece (or would that be <i>Manon</i>?) but even it, acclaimed as his masterpiece, is not as commonly performed as would seem its due based on its charm, melodic richness, and depth of drama. And then there is the "rest" of Massenet...<br />
<br />
Massenet wrote more than 30 operas (or 44...or 36...). Authorities differ on the exact number because some of his early works have been lost, still others were left incomplete, and some were substantially recomposed after their premieres.<br />
<br />
He worked with a large number of different librettists and drew inspiration from such disparate authors as Goethe, Rabelais, Anatole France, Cervantes, Abbé Prevost, Flaubert, and Corneille.<br />
<br />
The 1954 edition of <i>The Grove Dictionary of Opera</i> said, "to have heard <i>Manon </i>is to have heard all of [Massenet]." In 1994, the music critic Andrew Porter called this view preposterous. He countered, "Who knows <i>Manon</i>, <i>Werther</i>, and <i>Don Quichotte</i> knows the best of Massenet, but not his range from heroic romance to steamy verismo." <br />
<br />
Three quotes from the 1993 <i>Viking Opera Guide</i>: <br />
<ul style="text-align: left;">
<li>"It would be absurd to claim that he was anything more than a second-rate composer; he nevertheless deserves to be seen, like Richard Strauss, at least as a first-class second-rate one."</li>
</ul>
<ul style="text-align: left;">
<li>"Yet whatever the stature of his works, he was the most successful composer of opera in France, if not in Europe, in the quarter century between the death of Bizet and the premiere of <i>Pelléas</i> [<i>et Mélisande</i>]. His technical mastery and his craftsmanship are undeniable. He was also a complete man of the theater, assiduously attending to every detail of the staging of his works: scenery, costumes and lighting as well as orchestra—and their revivals throughout Europe. In this respect, he was as much of a 'producer' as Wagner."</li>
</ul>
<ul style="text-align: left;">
<li>"Now that even serious musicians recognize that some quite important things have been said in the Broadway commercial theater, they might be prodded into recognizing the same about the similarly commercial French operatic institutions of the 19th century. Gershwin, Weill and Rodgers at their best do more than just 'reflect' the anxieties and preoccupations of their audience: they tease and provoke them from a consciously humanistic and moralistic standpoint. So did Massenet."</li>
</ul>
According to an Operabase analysis, productions around the world in 2012-13 show Massenet as the 20th most popular of all opera composers. His most often performed work: <i>Werther </i>(63 productions in all countries), followed by <i>Manon </i>(47), <i>Don Quichotte</i> (22), <i>Thais </i>(21), then <i>Cendrillon </i>(17).<br />
<br />
Here are some succulent items from that vast sea of Massenet works (he called them a wide variety of terms, including: <span class="st"><i>opéra comiqu</i></span>e, <i>comédie chantée</i>, <i>comédie-lyrique</i>, <i>comédie</i>-<i>héroïque</i>, <i>conte de fées</i>, <i>drame passionnel</i>, <i>haulte farce musicale</i>, <i>opéra légendaire</i>, <i>opera romanesque</i> and <span class="st"><i>opéra </i></span><i>tragique</i>): <br />
<br />
<i><b>Manon</b></i><br />
Massenet is rightly famous for this powerful evocation of a sensuous and erotic atmosphere, coupled with an ultra-French coolness and elegance. Here, in another view, Alagna and Netrebko go at it with perhaps a little more eroticism and a little less coolness.<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/1fyytF2xsio" width="560"></iframe><br />
<br />
<i><b>Cendrillon </b></i><br />
Massenet's version of the Cinderella story, a charming opera and, in this performance by Joyce DiDonato, deeply felt.<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Vh-1qfkCJvU" width="560"></iframe><br />
<br />
<i><b>Le Cid</b></i><br />
Massenet in an heroic, epic, and tragic mode; here, with Maria Callas conveying those emotions in their purest and most intense expressio. <br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/mz63zMbVSQw" width="420"></iframe><br />
<br />
<i><b>Thaïs</b></i><br />
This opera includes perhaps his most famous melody—the "Meditation"—which expresses the courtesan Thaïs' awakening consciousness...here beautifully etched by Anne-Sophie Mutter.<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/zhFcBGQLehw" width="420"></iframe><br />
<br />
<i><b>Hérodiade</b></i><br />
Salome's declaration of love to John the Baptist—sung here by Sonya Yoncheva (recently a sensation at the Metropolitan Opera in her debut there). <br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/VRBF1J4-EB0" width="560"></iframe><br />
<br />
<i><b>Don </b><b>Quichotte </b></i><br />
One of Massenet's last operas and one of his most famous characterizations. Here is the incomparable José van Dam in Quichotte's death scene. <br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/-28QZOlVBc8" width="420"></iframe></div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-46346969064124464232016-02-24T11:06:00.000-05:002016-02-26T11:39:53.119-05:00The Power of the Letter: Werther<div dir="ltr" style="text-align: left;" trbidi="on">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blo.org/blo/wp-content/uploads/2016/02/LettersWertherStill_320x200-1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="156" src="https://blo.org/blo/wp-content/uploads/2016/02/LettersWertherStill_320x200-1.jpg" width="250" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;">An image of Werther's letters <br />
from a BLO promotional video</span></span></td></tr>
</tbody></table>
For hundreds of years, the primary mode of communication between people separated by distance was letters. Correspondence was an art and a pastime, a way to articulate emotions, deliver information, and even philosophize or theorize on the great questions of the day. The collected letters of great writers, thinkers, artists, and statesmen provide clues and insight to their thought processes and inner lives that are invaluable to researchers and readers alike.<br />
<br />
Beyond real-world correspondence, letters have also become part of art in an integral way. Literature, theater, and opera are full of examples of crucial letters that go astray, are mis-delivered, arrive too late (or too early), and therefore provide critical dramatic moments. The prevalence of letters also gave rise to the form of the epistolary novel, in which the central story is told through documents (usually letters), rather than through a traditional first- or third-person narrative. Goethe’s <i>The Sorrows of Young Werther </i>is a prime example of the epistolary novel, and even helped give the genre its popularity.<br />
<br />
How else can letters bring a story to life? Here are a few examples:<br />
<br />
<div dir="ltr" style="text-align: left;" trbidi="on">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://acculturated.com/wp-content/uploads/2014/06/keira-knightly-in-pride-and-prejudice-1348722781_b.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://acculturated.com/wp-content/uploads/2014/06/keira-knightly-in-pride-and-prejudice-1348722781_b.jpg" height="140" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Kiera Knightley in the 2005 film.</span></span></td></tr>
</tbody></table>
<i><b>Pride and Prejudice</b></i><br />
Probably the most beloved of Jane Austen’s novels, <i>Pride and Prejudice</i> in many ways revolves around the information disclosed through letters throughout the novel. Two of the letters especially tend to get hearts beating faster as the romance between Mr. Darcy and Elizabeth clicks into place. First, Mr. Darcy’s long letter to Elizabeth after she refuses his offer of marriage explains his actions and causes Elizabeth to doubt her initial impression of him as cold-hearted and aloof. Later in the novel, Elizabeth reads from her aunt that Mr. Darcy arranged for her silly youngest sister to marry the roguish Mr. Wickham and her heart races—because she knows it is evidence of his feelings for her. Will they find their way to one another?!<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://theredlist.com/media/database/settings/cinema/1980-1990/dangerous-liaisons/031-dangerous-liaisons-theredlist.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://theredlist.com/media/database/settings/cinema/1980-1990/dangerous-liaisons/031-dangerous-liaisons-theredlist.jpg" height="144" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="irc_su" dir="ltr" style="text-align: left;">Glenn Close, John Malkovich <br />
and Michelle Pfeiffer for the 1988 film, <i>Dangerous Liaisons</i></span></span></span></td></tr>
</tbody></table>
<i><b>Les Liaisons Dangereuses</b></i><br />
Another famous epistolary novel, written by Pierre Choderlos de Laclos, <i>Les Liaisons Dangereuses </i>tells the story of the deceitful and cruel Marquise de Merteuil and the Vicomte de Valmont through a series of letters by various characters written to one another. The book, published in 1782 amidst the decadence of the French aristocracy, caused a scandal at its depictions of amoral characters and their romantic games. It has been adapted for stage, opera, film, television, ballet, and more!<br />
<br />
<i><b>Macbeth</b></i><br />
There are many examples of crucial letters (and messengers) in Shakespeare’s plays, but perhaps none sets off so dramatic a chain of events than Macbeth’s letter to Lady Macbeth near the beginning of the play. The scene opens with Lady Macbeth reading Macbeth’s tale of encountering the three witches and their strange prophecy that Macbeth will be Thane of Cawdor and then King. Lady Macbeth, in a monologue for the ages (that also coined the phrase “the milk of human kindness”), immediately knows what to do: kill the king while he sleeps and seize the crown. <br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/2xHlngY6Bgk" width="420"></iframe><br />
<br />
<i><b>Eugene Onegin</b></i><br />
In both the original Pushkin verse novel and the Tchaikovsky opera, Tatiana’s letter scene is a masterpiece of emotion. Tatiana is a young, impressionable girl who has fallen in love with the dashing and cynical Eugene Onegin. Despite the mores of the time and the difference in their social status, Tatiana takes a chance and bares her soul to Onegin through a letter, confessing her love. Onegin, though flattered, does not reciprocate—a decision that comes back to haunt him later.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/d56MMagyMXs" width="560"></iframe><br />
<br />
<i><b>Hamilton</b></i><br />
How are composers and writers using letters today in theater? Look no further than the hottest ticket currently on Broadway, Lin-Manuel Miranda’s <i>Hamilton</i>. The story of founding father Alexander Hamilton told through the modern genres of hip-hop and R&B, with strong influences of the Broadway musical (all with a multi-racial, diverse cast), letters play another crucial role throughout in voicing the characters’ inner feelings, and in advancing the plot. Alexander woos his future wife, Eliza, through a series of love letters; later, his witty, flirtatious correspondence (and a crucially misplaced comma) makes another woman who loves him wonder about his true heart. Letters also provide major dramatic turns in the story; when Alexander has an affair, he is blackmailed via letter by the woman’s husband and his own wife retaliates by burning all of her saved letters. And finally, Alexander and his nemesis, Aaron Burr, exchange a heated series of letters that leads to their fateful duel. <br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ktFntPAtmGQ" width="560"></iframe></div>
</div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-18552584180610045712016-02-12T11:26:00.002-05:002016-02-12T11:26:45.029-05:00Obsessive Love and Werther<div dir="ltr" style="text-align: left;" trbidi="on">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/commons/thumb/8/89/CharlotteKestnerGebBuff1753-1828VonJohHchSchroeder.jpg/220px-CharlotteKestnerGebBuff1753-1828VonJohHchSchroeder.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://upload.wikimedia.org/wikipedia/commons/thumb/8/89/CharlotteKestnerGebBuff1753-1828VonJohHchSchroeder.jpg/220px-CharlotteKestnerGebBuff1753-1828VonJohHchSchroeder.jpg" width="139" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Goethe's obsession, Lotte Buff.</span></span></td></tr>
</tbody></table>
Goethe’s novel, <i>The Sorrows of Young Werther</i>, was based in large part on his own unrequited love for Lotte Buff, a young woman he met while living in Wetzlar, Germany. Lotte was engaged to (and later married) Goethe’s friend, Johann Kestner. But while Goethe’s literary alter-ego, Werther, saw suicide as the only way out of this untenable situation, Goethe himself chose the pen as an alternative, creating a literary sensation that took Europe by storm and reverberates to this day.<br />
<br />
Unrequited, obsessive, overwhelming love can be destructive—as in the case of Werther—but it also has the capacity to be inspiring, motivational, and even transcendent. What is it about this emotion that so affects our senses and even our brains? Here are a few theories about the power of unrequited love, in life and in art.<br />
<br />
• Author Lisa A. Phillips reminds us that unrequited love can, perhaps, be the most powerful muse. “<a href="http://wpo.st/GhVA1" target="_blank">How unrequited love can make us more creative</a>” from The Washington Post <br />
<br />
• Survey some of the works of literature and drama that retell the age-old story of unreturned love—with results that are inspiring and cathartic. (Spoiler alert: Goethe’s The Sorrows of Young Werther ranks #12.) <a href="http://www.theweeklings.com/lisa-a-phillips/2015/02/11/the-50-greatest-unrequited-love-stories-ever/" target="_blank">50 Greatest Unrequited Love Stories Ever</a> <br />
<br />
<a href="http://www.newsworks.org/images/stories/flexicontent/l_mri.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://www.newsworks.org/images/stories/flexicontent/l_mri.jpg" height="112" width="200" /></a>• What happens to your brain on love? How about obsession? These scientists have the answer. “<a href="http://www.newsworks.org/index.php/local/the-pulse/82764-neurobiology-of-love" target="_blank">Mapping ‘obsessive love’ in the brain</a>”<br />
<br />
• Goethe certainly wasn’t the only writer to sublimate heartache into works of literature. Learn about a few of his kindred spirits. “<a href="http://www.huffingtonpost.com/christopher-zara/perpetual-virginity-five-writers_b_1624257.html" target="_blank">Perpetual Virginity: Five Writers Who Turned Unrequited Love Into Literary Gold</a>” on the Huffington Post<br />
<br />
• Massenet’s opera Werther is full of romantic, yearning melodies and orchestration, sweeping the audience away in the intensity of Werther’s feelings for Charlotte. For how to listen and get the most of the music, our friends at the Metropolitan Opera have a fantastic listening guide, created for students but full of info that helps us all: <a href="https://www.metopera.org/uploadedFiles/MetOpera/919_education/1_met_in_schools/2_educator_materials/1_educator_guides/massenet_werther/Werther%20Musical%20Highlights.guide.pdf" target="_blank">Met Opera <i>Werther </i>Guide Musical Highlights</a><br />
<br />
• Does Werther really deserve all of this pity? Mike Drucker on Split Sider points out the importance of parody amidst all the emo weeping: “<a href="http://splitsider.com/2010/11/the-sorrows-of-young-werther-and-the-rise-of-parody/" target="_blank"><i>The Sorrows of Young Werther</i> and the Rise of Parody</a>” </div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0tag:blogger.com,1999:blog-2023844878514884915.post-79141216089730622052016-02-01T15:01:00.002-05:002016-02-01T15:01:44.637-05:00Get to Know Lehár's The Merry Widow<div dir="ltr" style="text-align: left;" trbidi="on">
<i>By John Conklin, BLO Artistic Advisor</i><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW3Nr8H1r4U4zUjjQA0NREdzcsDf9y-cngy553-LlqtF_DcGpfjXbEVB3aTqi0NR_DpsJZLRkU_jFvSwwK_2tcFSv0QXBho1MvwNBMwUjaXv18w0OZvbmDbkxRrgCSxUsdI3Z8b73rP9bc/s1600/Franz_Leh%25C3%25A1r.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW3Nr8H1r4U4zUjjQA0NREdzcsDf9y-cngy553-LlqtF_DcGpfjXbEVB3aTqi0NR_DpsJZLRkU_jFvSwwK_2tcFSv0QXBho1MvwNBMwUjaXv18w0OZvbmDbkxRrgCSxUsdI3Z8b73rP9bc/s320/Franz_Leh%25C3%25A1r.jpg" width="225" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Franz Lehár</span></span></td></tr>
</tbody></table>
<b>PREMIERE </b><br />
<i>December 30, 1905 at the Theater an der Wien</i><br />
Contrary to an often-stated misconception, the original production was an immediate success (a success which has been triumphantly replicated worldwide ever since). It was Lehár’s first international hit (he was 35), and although he lived until 1948 and wrote many more operettas, <i>The Merry Widow</i> remains his undisputed masterpiece.<br />
<br />
In the years leading up to 1905, the Theater an der Wien had suffered from a series of recent failures, and so to keep their investment to a minimum, the management decided to use recycled sets and costumes—and to avoid paying rights fees for Meilhac’s original play, the billing read “partly based on a foreign idea.” As rehearsals proceeded, the producers became increasingly pessimistic that Lehár’s innovative use of orchestral color (usually reserved for more serious compositions) would be favorably received. At one point Lehár was offered 5,000 crowns to shut down the production. Wisely, he refused (and thank God).<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlrsAcEiRYb263XZgLMLEN9tcJRraI3u58XN-XcD0LPS-uJTEqkDYcFF7vJqHnZ1ibhTQ4TV5GtNK7y0beMBb-uo-8k0CVwloLYQCBfUS1kxR-SL-vZlJH7l_XourUXQwPeevQXlJxLl6N/s1600/Wilhelm_Gause_Hofball_in_Wien.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlrsAcEiRYb263XZgLMLEN9tcJRraI3u58XN-XcD0LPS-uJTEqkDYcFF7vJqHnZ1ibhTQ4TV5GtNK7y0beMBb-uo-8k0CVwloLYQCBfUS1kxR-SL-vZlJH7l_XourUXQwPeevQXlJxLl6N/s320/Wilhelm_Gause_Hofball_in_Wien.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Court Ball at the Hofburg</i> by Wilhelm Gause, 1900. </span></span></td></tr>
</tbody></table>
<b>THE SOURCE</b><br />
<i>The Merry Widow</i>’s source was an 1861 comedy by the prolific playwright, Henri Meilhac (now best remembered for his role as a co-librettist for many of Offenbach’s hits). The play, <i>L’Attaché d'Ambassade</i>, was not particularly successful in Paris, but a German adaptation enjoyed a profitable run in Vienna and was frequently revived. In early 1905 it caught the attention of veteran librettist Leo Stein, who brought it to his occasional collaborator Viktor Léon. Their updated version was taken on by the Theater an der Wien and the music assigned to the well-known Richard Heuberger, who had given the theater its greatest recent success with <i>Der Opernball</i> (1898). The theater intendant, Wilhelm Karczag, was so disappointed when he heard Heuberger’s resulting music that he took back the script (perhaps to Heuberger’s relief?). Karczag wanted to scrap the project, but his secretary steered him to the up-and-coming Lehár, who had scored some modest success with two earlier attempts at operetta.<br />
<br />
<b>THE LIBRETTISTS</b><br />
Leo Stein (1861-1921) was a playwright and librettist. He collaborated with composers Johann Strauss II, Emmerich Kálmán, and (of course) Lehár, in such works as <i>Wiener Blut </i>(1899), <i>Der Graf von Luxemburg </i>(1909), and <i>Die Csárdásfürstin</i> (1915). He frequently worked with Viktor Léon (1858-1940). After <i>The Merry Widow</i>, perhaps Léon’s best-known work, again with Lehár, is <i>The Land of Smiles</i> (1930). Léon’s property was confiscated after Austria’s annexation by Nazi Germany in 1938. He died of starvation while in hiding in 1940 at the age of 82.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBCT7ERR1PupU3Wqetl012ix_T-u3a0bttpZlANgAjzZUcZ_BM4NoSv-2XRdENvF-mAew8KQ898SQi0IOVuOYbqaFFpDcy5Ioz02P-5e0M7KDmuK6QupvOhA1qDZrNQnmjINs1qULu-a1d/s1600/Lily_Elsie_in_The_Merry_Widow.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBCT7ERR1PupU3Wqetl012ix_T-u3a0bttpZlANgAjzZUcZ_BM4NoSv-2XRdENvF-mAew8KQ898SQi0IOVuOYbqaFFpDcy5Ioz02P-5e0M7KDmuK6QupvOhA1qDZrNQnmjINs1qULu-a1d/s320/Lily_Elsie_in_The_Merry_Widow.jpg" width="205" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Lily Elsie as Hanna in London, 1907.</span></span></td></tr>
</tbody></table>
<b>SUBSEQUENT PERFORMANCES</b><br />
<i>The Merry Widow</i>’s popularity led to productions in Austria, Berlin, and Budapest and then around the world. Revisions, new songs, translations, changed character names, and plot-tweaking ensued. It is said that at one point in 1907, Buenos Aires had five productions running simultaneously. It opened in London in 1907 in its first English-language version. There were some diplomatically motivated changes. The original German libretto had angered the Balkan kingdom of Montenegro, where the royal family’s name was Njegus and the real crown prince was named Danilo. “Zeta” became “Popoff” and was played by the very popular comedian George Graves—much comic shtick was added. That production of <i>The Merry Widow</i> opened at Daly’s Theater and ran for 778 performances. <br />
<br />
The American premiere took place at the sumptuous New Amsterdam Theater on October 21, 1907, using the same English version done in London. The producer, Henry Savage, sent touring companies to cities all across the United States. The success of <i>The Merry Widow </i>produced a outburst of merchandising frenzy perhaps not seen again until Disney: sheet music, piano rolls, chocolates, cigars, shoes, oversize hats, and so on. 1907 also saw <i>Widow </i>in Stockholm. Copenhagen, Milan, and Moscow productions performed the following year, and in 1909, it opened in Madrid and Paris, where it was initially met with suspicion (how would those Viennese foreigners treat their untouchable city?), but eventually declared a success. <br />
<br />
In his biography of Lehár (<i>Gold and Silver</i>), Dr. Bernard Grün estimates that the piece may have been performed half a million times in its first 60 years. No other play or musical up to that time had enjoyed such international success. <br />
<br />
In 1943, it was revived in New York City with Jan Kiepura and Marta Eggerth and choreography by George Balanchine. It ran for 322 performances—in the same year that <i>Oklahoma! </i>opened. The first performance at the Metropolitan Opera was not until 2000 and starred Frederica von Stade and Plácido Domingo.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdwHBa0IlzO-NzfjC2tKRy_4h51_SyT5cRQbqyu6efE8JHDAh_dn9jHmIN_oLyFv-O5peSzxsRBsQYyqk_B_-w_jvu1uoUeRIMYe9yDm4PXAWya7AIDSieeweiLEGWRGupidt3Pm1VSkK9/s1600/Lehar_Lustige-Witwe_KlA-00.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdwHBa0IlzO-NzfjC2tKRy_4h51_SyT5cRQbqyu6efE8JHDAh_dn9jHmIN_oLyFv-O5peSzxsRBsQYyqk_B_-w_jvu1uoUeRIMYe9yDm4PXAWya7AIDSieeweiLEGWRGupidt3Pm1VSkK9/s320/Lehar_Lustige-Witwe_KlA-00.jpg" width="246" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Piano score for <i>The Merry Widow</i>, Vienna, 1906.</span></span></td></tr>
</tbody></table>
<b>SUBSEQUENT VARIATIONS</b><br />
Inevitably, sequels, spoofs, parodies, and burlesques followed. Ballet eventually seized upon the story and Lehár’s irresistibly danceable melodies. In 1953 Ruth Page’s version (titled <i>Vilia</i>) opened in England and subsequently toured, coming to Broadway (retitled as <i>The Merry Widow</i>) with Alicia Markova. Maurice Béjart did a version in 1963, and Robert Helpmann produced yet another in 1975 for the Australian Ballet…it came to London and NYC with Margot Fonteyn. <br />
<br />
The year after<i> The Merry Widow</i> opened in Vienna, the original Hanna and Danilo, Mizzi Günther and Louis Treumann, recorded their arias and duets. <br />
<br />
Film versions were also inevitable, two of the most famous being Stroheim’s (1925) and Lubitsch’s (1934). <br />
<br />
For a utterly chilling use of the “waltz” theme, take a look at Hitchcock’s 1943 film, <i><a href="http://www.amazon.com/Shadow-Doubt-Joseph-Cotten/dp/B000055Y14" target="_blank">Shadow of a Doubt</a></i>.<br />
<br />
<b>A BIT OF HISTORY </b><br />
In 1905, the year of <i>The Merry Widow</i>’s premiere: <br />
• Theodore Roosevelt was inaugurated for a second term <br />
• David Belasco produced his play, <i>The Girl of the Golden West</i><br />
• George Bernard Shaw wrote <i>Major Barbara </i><br />
• The first regular cinema opened in Pittsburgh<br />
• Debussy wrote <i>La Mer </i><br />
• Richard Strauss’ <i>Salome </i>premiered in Dresden <br />
• Einstein formulated his “Special Theory of Relativity”<br />
• Freud wrote “Three Contributions to the Theory of Sex”<br />
• The first neon signs appeared<br />
• The Rotary Club was founded</div>
In the Wingshttp://www.blogger.com/profile/08936518681255777765noreply@blogger.com0