In the Wings

Facsimile of Rossini's original score

2012-03-16T15:15:00.000-04:00

We've certainly had Rossini on the brain recently and our Music Director David Angus was perusing this facsimile of Rossini's original score. Take a look!

ROSSINIANA #26

2012-03-09T08:55:00.000-05:00

HAPPY OPENING NIGHT, ROSSINI!

... and so we come to the end of our tour through the wacky world of Rossini ... now check him out LIVE at the Shubert Theatre ... and you'll see on stage a pretty big version of the portrait above as the Grand Maestro himself quizzically looks out over his witty and melodious masterpiece.

... and since we've seen and heard a number of manic and crazed versions of Rossini in the past weeks I thought we might end on a quieter note.

Rossini Roundup

2012-03-09T07:38:00.001-05:00

Looking for a little reading about Rossini to prepare for tonight's opening of
The Barber of Seville? Check out a couple of articles about Rossini and Beaumarchais,
the dramatist behind The Marriage of Figaro and The Barber of Seville.

The Puzzle of Rossini's Brief Career

How to Stage a Revolution

ROSSINIANA #25

2012-03-08T07:49:00.001-05:00

I guess it was inevitable ... you really couldn't in the end celebrate Rossini without the inclusion at least one iteration of this (in)famous duet (to say nothing of two). And just to complete the Rossinian game playing it probably isn't by Rossini after all.

But hold on ... we're almost at the end ... BARBER opens tomorrow.

ROSSINIANA #24

2012-03-07T08:05:00.000-05:00

A disarmingly crazy and charming Rossini ensemble (from La Cenerentola) strikingly staged by Jean-Pierre Ponnelle.

Announcing the 2012/13 Season!

2012-03-06T22:19:00.000-05:00

Check out our 2012/13 Season!

ROSSINIANA #23

2012-03-06T09:13:00.009-05:00

Of course Figaro, the footloose barber, goes on to further life roles ... valet to the Count Almaviva (who has in the mean time married ... and been unfaithful to ... Rosina ...). In the second of Beaumarchais' plays (and Mozart's opera) his suspicions towards his boss and his potentially amorous connections to his bride-to-be Susanna brings out the angry revolutionary in him.

In THE GHOSTS of VERSAILLES (partially based on Beaumarchais' third play LA MERE COUPABLE) Figaro dreams ...

And a few helpful links:
The Ghosts of Versailles
How to Stage a Revolution
Pierre Beaumarchais
La mere coupable

ROSSINIANA #22

2012-03-05T08:52:00.002-05:00

Another "Una Voce" ... this one with a true twist. Indeed Joyce DiDonato thought she had only twisted her ankle after a fall during a performance of BARBER at Covent Garden and she gamely finished that evening on crutches. Subsequently, doctors found she had broken her leg. Trouper of the first magnitude she played out the rest of the performances in a cast (pink) ... twisting, twirling in a wheelchair and managing to sing the hell out of the role all at the same time.

For more on the story, check out this interview:

First time Figaro, part 2

2012-03-05T07:51:00.000-05:00

So many fun and wonderful things have been happening in our rehearsal process since last I wrote.

One of my favorite parts of the rehearsal process is when we first meet up with orchestra. It was such a thrill for me to meet up with the wonderful orchestra twice this week. It is fun to see David Angus be able to bring different colors out of this tremendous orchestra. During our rehearsals we have had the incomparable Allen Perriello at the piano acting as an orchestra. During our final run of the opera in the Tremont Temple rehearsal space on Tuesday, Allen and I had some fun and played the overture in a Piano Duet/4 hand version.

Wednesday John Tessier, Sarah Coburn and myself were on WGBH in honor of Rossini’s birthday. It was fun to sing excerpts from the opera and do some brief interviews. The broadcast is available on the WGBH website.

Thursday was very thrilling at it was our first day in the theater. This is really an exciting time because we get to finally try out all of our staging on the actual set along with props, costumes, and lights. It is pretty magical and really brings a new energy to the process. The theater is really beautiful and it is fun to see it all come together.

It has been a real pleasure to become close with the cast as we have worked together more and more. Everyone is not only talented but really kind and funny. This has been such a pleasure and we are all looking forward to opening night.

This will be a fun debut for me. When I was a composition major in Boston, I saw my first opera ever. It was Don Giovanni at the Boston Lyric Opera during the 00/01 season and now, a decade later, I get to make my debut at the same opera house in a title role! I feel very blessed.

--Jonathan Beyer

ROSSINIANA #21

2012-03-04T07:41:00.000-05:00

Not for the first time Rossini lifted a piece of one opera and put it in another (but then again so did another supreme master of the theater--Handel) when he took the Count's last act aria in BARBER and gave it to heroine of his newer work LA CENERENTOLA--where it has permanently remained. The BARBER version is sometimes performed but is most often cut (as it is in BLO's upcoming BARBER.) In the video below Juan Diego Flores discusses and performs the aria as first written with his usual panache (albeit with, in my opinion, some lingering unease around the edges)

But the real reason to discuss this is to get a performance by Frederica von Stade onto this blog. She is the best ... a lovely flexible voice, impeccable musicianship ... utterly charming, relaxed, funny but always full of the deepest humanity and feeling.

So here is that BARBER aria now as the more famous "Naque all'fanno" from CENERENTOLA.

As for the vision of Rosina in a wheelchair at the beginning of the Flores video check in tomorrow ... all will be explained.

--John Conklin, Artistic Advisor

ROSSINIANA #20

2012-03-03T08:34:00.003-05:00

Gourmet Rossini--a fine slice of echt Italian ham with a side order of tasty pickled herring followed by (and hoping this metaphor doesn't totally collapse under the strain) a nice piece of NY cheesecake.

Pavarotti

Jussi Bjoerling

John Raitt

ROSSINIANA #19

2012-03-02T08:32:00.001-05:00

I don't know ... I just kind of liked these guys ... they were having fun ...
and they seem to be from Boston ...

ROSSINIANA #18

2012-03-01T07:28:00.014-05:00

Some REALLY SERIOUS opera singers (Hotter sang Wagnerian heavies such as Wotan and the Flying Dutchman ... Warren was famous for malevolent operatic villains such as Iago and Scarpia) getting in touch with their inner Rossianian ham. (I think Warren ... here at least ... even looks a little like Rossini).

ROSSINIANA #17

2012-02-29T08:27:00.000-05:00

HAPPY BIRTHDAY ROSSINI

... why does the fact that your birthday falls on a Leap Year seem so appropriate and fitting? You are probably the MOST FAMOUS Leap Year guy ever (the only other contenders I could dig up were an odd group--Dinah Shore, Jimmy Dorsey, Michele Morgan, Balthus and the coloratura soprano Reri Grist-- incidentally she sang a mean Rosina in her day).

Well, here's a special serenade delivered by one of the few remaining descendants of that turkey you so tragically dumped into Lake Como many years ago (for those of you to whom this is a puzzling reference look back at ROSSINIANA #2). BLO wishes you many happy returns and hopes to see you at the BARBER opening in a few days.

ROSSINIANA #16

2012-02-28T07:19:00.000-05:00

David Angus ... watch out!

ROSSINIANA #15

2012-02-27T07:15:00.000-05:00

hey ... man ... REAL cool ...

ROSSINIANA #14

2012-02-26T10:03:00.003-05:00

hey ... man ... cool ...

ROSSINIANA #13

2012-02-25T09:20:00.000-05:00

"I know of no more admirable occupation than eating"

Rossini

"Caruso can have his spaghetti with chicken livers, Nellie Melba her toast and peaches. When it comes to Rossini it's all truffles, foie gras and Madeira sauce. Tournedos Rossini, perhaps the most famous of the dishes identified with him, consists of a filet mignon sauteed in butter, then placed on a crouton, also sauteed in butter. This assembly is topped with foie gras and truffles and anointed with a rich Madeira sauce. This recipe was one that Rossini is reputedly said to have suggested to the chef at the Cafe Anglais, the Le Cirque of the Second Empire. The name supposedly came about like this: the maitre d'hotel prepared this dish at tableside but with his back to the other customers so that they would not witness its excesses ... thus the French phrase--"tourner le dos"--became tournedos."

Florence Fabricant (New York Times food editor)

"We are unwell. It is from eating too much. The Maestro and I live to eat ... I am the fat woman who is occupied from morning to evening in digesting.

Olympe (Rossini's wife writing to a friend)

"Appetite is for the stomach what love is for the heart ... The stomach is the conductor who rules the grand orchestra of our passion ... Eating, loving, singing, and digesting are, in truth, the four acts of the comic opera known as life."

Rossini

Classic Tournedos Rossini

ROSSINIANA #12

2012-02-24T08:16:00.000-05:00

OK, now it's the LOOK that's a bit bizarre but ... what singing! Rossini in his grandest opera mode (plus a little visit with one of the famous divas).

ROSSINIANA #11

2012-02-23T09:14:00.000-05:00

... and speaking of bizarre ...

ROSSINIANA #10

2012-02-22T09:06:00.000-05:00

A famously bizarre cartoon by Tex Avery from 1952. After its release, it was sometimes censored--the Chinese and black face bits edited out. But it was also selected in 1993 for preservation in the Library of Congress's National Film registry as being "culturally, historically or aesthetically significant." Apologies for the poor visual quality of this clip ... but you get the idea.

First time Figaro

2012-02-22T07:58:00.000-05:00

My name is Jonathan Beyer and I will be singing Figaro, aka “The Barber,” in The Barber of Seville, here at Boston Lyric Opera. I am beyond thrilled to be here. This will be my debut with the company and my debut in this role. Although Figaro’s aria is probably the most famous in the entire repertoire, I haven’t sung any of it until now.

It is a thrilling experience.

I actually am no stranger to Boston. I am from Chicago originally but spent my first two years of college at the Boston Conservatory studying composition and piano. My junior year of college I decided to head back to Chicago and give singing a try. I’m pretty sure I made the right choice. Not only because I've enjoyed success as a singer but because I was a pretty lousy composer! ☺

Performing a role for the first time can be rather daunting. My fellow castmates have already had huge successes in major houses singing these roles. There is a desire to make sure that I keep up with the brilliance and experience they bring to each rehearsal. Each has a fantastic bag of vocal fireworks and hilarious stage gags. Everyone is so fantastic and I am confident that this production will be not only musically astounding but also a laugh riot!

The conductor for our production is Maestro David Angus. He is really spectacular and has such a wonderful feel and energy for the music of Rossini. He has been working with me closely as we determine which ornaments to use for this production. It is tradition to add a great deal of flourishes, additional high notes, and crazy coloratura passages to each piece. We get to start from scratch and pick ornaments that are flashy but tasteful and really represent the drama on stage.

Our director is Doug Varone. He is not only a great director but has a very successful dance company and extensive dance background. He has really been helping us this week create our characters as well as making some fantastic visuals for the audience. It is a very physical and fun production so far! We've finished staging Act 1 … a rather remarkable accomplishment to stage 300 pages in 4 days!

The cast is filled with amazing performers and singers. John Tessier as Count Almaviva has mind blowing high notes and wickedly fast coloratura. As Bartolo, Steven Condy is not only a great singer but an absolutely hilarious actor. His comic antics are matched with the hilarious comic timing of our Berta, Judith Christin. David Cushing has an incredibly impressive sound and Gregory Gerbrandt not only sings a beautiful Fiorello but plays some mean guitar in this show as well.

That leaves us with the Rosina of Sarah Coburn. I have been completely obsessed with her voice since I first heard it when we were singing at Chicago Opera Theater in 2006. I have never experienced such beauty, flexibility, power, and style in a soprano. Her singing is exquisite, she is absolutely gorgeous, charming on stage. Being able to share the stage with this remarkable talent is such an honor.

I cannot wait to perform this show with her!

ROSSINIANA #9

2012-02-21T07:03:00.000-05:00

One piano--six hands

ROSSINIANA #8

2012-02-20T10:00:00.000-05:00

Sir Arthur Sullivan (of Gilbert and Sullivan fame) visited Rossini one morning. When he entered the house, Rossini was feverishly working on a piece of music. Sullivan asked, "Why, what is that?" Rossini answered him most seriously, "It's my dog's birthday and I write a little piece for him each year."

ROSSINIANA #7

2012-02-19T09:58:00.000-05:00

Figaro on ice

ROSSINIANA #6

2012-02-18T08:54:00.000-05:00

This may, in the end, be the most famous performance of Figaro ever.

ROSSINIANA #5

2012-02-17T06:52:00.000-05:00

Great hair

ROSSINIANA #4

2012-02-16T08:47:00.003-05:00

Maria Callas sang Rosina on the stage only once in a run of performances at La Scala in 1956 but her recording made a year later with the feisty Figaro of Titto Gobbi and lovely lyrical Almaviva of Luigi Alva is one of the most persuasive performances of the opera on CD. Her "Una voce poco fa" from a concert in Hamburg reveals Callas's unique take on the role--spicy, mischievous, even a bit dangerous.

An fascinating historic recording of the famous coloratura Amelita Galli-Curci (made in 1917 ) obviously reveals an entirely different approach but one not without charm and revealing some extraordinary singing technique.

ROSSINIANA #3

2012-02-15T07:56:00.001-05:00

And here's another Rossini overture ...

ROSSINIANA #2

2012-02-14T08:38:00.000-05:00

“I love Italian opera- it’s so reckless. Damn Wagner , and his bellowings at Fate and Death. Damn Debussy, and his adverted face I like the Italians like Rossini who run all on impulse, don’t care a damn about their immortal souls, and don’t worry about the ultimate."
D H Lawrence (1913)

"I have cried three times in my life: once at the fiasco of the opening night of Barber; the second when I heard Patti sing for the first time and once when I, while on a picnic cruise, inadvertently tipped a truffle-stuffed turkey into Lake Como."
Rossini

ROSSINIANA #1

2012-02-13T17:37:00.000-05:00

Well it's the opening day of rehearsal and we have 26 more days (of intense work by the singers and production staff ) until you have your first chance to see BLO's colorful production of Rossini's masterpiece THE BARBER of SEVILLE. I thought it might be fun to having a running, daily check-in with Rossini's world here on the blog ... consisting of anecdotes, film clips, various (and wildly varied) performances of his music, etc. I think Rossini himself, a sardonic self critic, fabled raconteur, and creator of exemplary (even manic) musical wit might well be intrigued or charmed at what we turn up--or perhaps in some cases amusingly appalled with what has been done in his name. Enjoy.

--John Conklin

----

What better way to kick off than with an Overture:

What's for Dinner on THE LIGHTHOUSE?

2012-02-10T14:05:00.000-05:00

If you're on a Scottish lighthouse in 1900, it's a family style plate of oatcakes and pilchards. At least, those are the two items mentioned in the libretto of Peter Maxwell Davies' opera The Lighthouse. As the Assistant Stage Manager in charge of props, food preparation falls into my domain, but I'll admit I did enlist the help of fellow ASM Ginger Castleberry when plating the most pungent of the fish.

We learned from our British director Tim Albery, British conductor, David Angus, and Canadian designer Camillia Koo that oatcakes are a familiar sight in English and Canadian grocery stores, but they were not as easy to find in Boston. A specialty shop in Harvard Square carried some, but finally, our props master ordered the preferred brand online for us to use for the show.

The creative team wanted to stay faithful to the story and have the singers eat real pilchards (canned fish), so we brought a variety of sardines to try. Packed in oil? Too messy. Packed in water? Just as smelly. With mustard? Didn't help the appeal. After a couple rounds of deli meat cut in strips stage management hoped would pass as pilchards, the winner was canned chicken - a little bit flaky like fish and moist enough to be palatable for the singers to eat between lines in the opera.

Wash it all down with water dyed brown to look like tea (most performers don't like to drink caffeine during a show), and you've got a balanced lighthouse meal. Don't forget to save some for the rats!

--Courtney Rizzo, Assistant Stage Manager

Lighthouses in peril

2012-02-09T08:49:00.003-05:00

Thanks to everyone who joined us last night for the opening performance of our third Opera Annex, The Lighthouse. Join us tonight for another stunning performance and prepare yourself with this video of lighthouses in peril. The music is Mozart's Requiem, but perhaps it should be Verdi's Requiem ...

Know of other haunted, perilous lighthouse locations? Share them in the comments.

Losing (and gaining the spirit of) two important opera singers

2012-02-08T14:58:00.002-05:00

Patricia Neway, Operatic Soprano Who Won a Tony, Dies at 92

Camilla Williams, Barrier-Breaking Opera Star, Dies at 92

Remarkably, these two important singers died within a day of each other last week and both at the age of 92. Opera history fades so fast and our culture ignores even its recent past, which means it is always good to be reminded, recall (or even learn about for the first time) what our current opera world is built on ... and how so much has changed (opera premiering on Broadway!!) Additionally, we are reminded how much has, unfortunately, stayed the same (the often painful struggle for opportunity, authenticity, and artistic fulfillment.)

Both singers were connected with New York City Opera during the company's better days. Camilla Williams' debut in the role of Madama Butterfly, apart from it's historic ramifications, is fraught with cultural irony. She is also strongly associated with Porgy and Bess which has been much with us this year in a controversial production from A.R.T., now on Broadway in a version that differs from its original operatic aspirations.

"Opera" on Broadway???

Patricia Neway appeared in Menotti there ... as well as winning a Tony for The Sound of Music.

Operatic voices on Broadway? Microphones ... amplification ... many important questions ... and some answers in the dedication and persistence of these inspiring operatic presences.

--John Conklin, Artistic Advisor

The Ghost of the Lady Light Keeper

2012-02-08T07:48:00.010-05:00

Fourth and final in our series of haunted lighthouses:

Location: Gurnet Point/Plymouth Bay
Station Established: 1768
First Lit: 1843
Operational: Yes
Automated: 1986

Near to where the Pilgrims came ashore in the New World, stands one of America's earliest lighthouses, at Gurnet Point in Plymouth, Massachusetts. Originally two towers were built and were first lit in 1769. John and Hannah Thomas were appointed the keepers of both lighthouses since the towers were constructed on their land. Shortly after taking the post John left to fight in the Revolutionary War and left Hannah to keep the lights burning all by herself.

John never came back from the war, and in 1790, Hannah was appointed the first female lighthouse keeper in America. In 1801 both towers caught fire and burned to the ground. The towers were replaced, but the northeast one was dismantled in 1924. Hannah loved the lighthouse and remained as keeper until 1790. Ever since Hannah’s death people have said they have seen her ghost in and around the tower.

Night at Gurnet Point – Lighthouse Photographers Bob and Sandra Shanklin had the opportunity to stay the night in the keeper’s house on Gurnet Point.

Told in their own words: At some point, something woke Bob. He raised up on his elbow and watched the light come around, illuminating the windows for a few seconds each time. Then he looked over toward me (Sandra), who was sleeping soundly. Above me, he saw the head and shoulders of a woman. He described her as being a green blue electric spark color. He said she had an old time hairdo, sunken cheeks and the saddest face he ever saw. Bob told me that she wasn't wrinkled and he didn't think she was an old woman. He said he felt no threat from her, but only her sadness. As he watched her, out of the corner of his eye he could see the rays of light from the lighthouse come around several times, brightening the room. He looked toward the light, then looked back to where she had been and she was gone. While there is no way to ascertain with any degree of certainty the identify of the Gurnet Point ghost, Shanklins claimed he had a "feeling" it was Hannah Thomas.

--Kalina Schloneger, Education & Community Programs Intern

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Resources/for more about this haunted lighthouse visit:

Haunted LighthousesLegends and Lore by Sue Clark

United States Coast Guard

Ghosts of theMassachusetts Lights by Lee Holloway

-------------------------------------------------------------

See our haunting production of Sir Peter Maxwell Davies' The Lighthouse, Feb. 8--12

A word about the music of 'The Lighthouse'

2012-02-07T07:48:00.002-05:00

BLO Music Director David Angus shares his thoughts about the music of The Lighthouse.

One of the most entertaining things about Sir Peter Maxwell Davies' opera, The Lighthouse, is what he does with the little orchestra. There are only 12 players, but they play more than 30 instruments between them, including some very unusual combinations. At the more serious end, he creates wonderful eerie effects with strange harmonics, flutter-tonguing, glissandi, etc., sometimes extremely quietly, so that the instruments sound totally alien. However, for me the greatest fun comes in the loudest parts, which can be totally deafening! The quieter instruments, such as the violin, viola and guitar, wouldn't be heard at all, so instead he asks the players to play percussion instruments, and they really enjoy themselves! Our concertmaster, Sandy Kott, smashes the giant Tam-Tam (gong) several times, and the guitarist thumps the big bass drum like a heartbeat throughout the double climax. But for me the best is that our soft-spoken principal Viola, Kenneth Stalberg, is given two flexatones, one in each hand, and he makes as much sound as he can, shaking both of them as hard as possible. (I'm sure there is a viola joke in there somewhere!) He told me that he had been practicing playing the flexatone weeks before the first rehearsal. The final noise at the end comes from the pianist who, as well as attacking the inside of the piano with a drum stick, blows a referee's whistle as loud as he can. It is total chaos!

"Max" has written possibly the most difficult music for orchestra that I have ever come across; each part is like a virtuoso concerto solo. Our players are achieving the impossible, by playing all the notes (and in the right order!) perfectly synchronized with each other, whilst still being flexible enough to follow the singers. Our singers are, if anything, even more impressive, because their music is just as difficult, but they have to do it all by memory, while acting and sometimes even while lying on their backs or climbing up and down ladders. When you add all this to an intelligent and clear staging on a striking set that has been magically lit, you have the recipe for something extraordinary!

The Ghost of a Pirate's Wife

2012-02-06T07:28:00.006-05:00

Third in our series of haunted lighthouses:

Location: Sippican Harbor off of Buzzards Bay
Station Established: 1819
First Lit: 1889
Operational: Yes
Automated: 1997

William S. Moore (alleged pirate) took the post as keeper of the Bird Island Lighthouse in 1819 after having fought in the War of 1812. Supposedly he owed the U.S. government money and this position repaid his debt. He brought with him his wife, who was a heavy tobacco user, and suffered from tuberculosis. Mrs. Moore was forbidden to leave the island by her husband, since he feared she would be unfaithful.

The lighthouse was damp and lonely which worsened Mrs. Moore’s illness and need for tobacco. The townspeople said they could hear her cries of desperation and would sneak bags of tobacco out to the lighthouse when they could. One evening Moore raised the distress flag and when the townspeople arrived to help they found Mrs. Moore dead. Moore insisted that his wife had died from her disease but some townsfolk believed otherwise. Moore demanded that his wife be buried on the island so she was laid to rest right next to the lighthouse. Moore was always blamed for the death of his wife and for holding her captive on the island. Legend has it that keepers have been haunted by Moore’s wife ever since, the ghost of a hunched-over old woman, rapping at the door during the night.

--Kalina Schloneger, Education & Community Programs Intern

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See our haunting production of Sir Peter Maxwell Davies' The Lighthouse, Feb. 8--12

Tech Week for THE LIGHTHOUSE

2012-02-03T13:48:00.002-05:00

The cast explores the space under the platform,
new to them in the performance space.

Tech week for an opera is always an exciting time: it’s a chance to finally incorporate lighting with full scenic elements and to transform the space where the show will be performed. Our singers for this production of The Lighthouse are, aside from being top-notch singers, great actors who have a lot of flexibility. The transfer from the studio to the stage can be daunting, especially in a show like this where we didn’t have the luxury of having the underside of the main platform available; however, our gentlemen were excited to explore the possibilities available to them by now having the complete set in the real space. The lighting design is one of the most exciting parts of the technical rehearsal process. Our designer, Thomas Hase, has enhanced the story telling that has been created in the staging to portray a menacing, dark world on a remote island. The Kennedy Library has truly transformed into the Flannan Isles …

--Crystal Manich, Assistant Director

Week 2 Roundup of 'The Lighthouse' rehearsals

2012-01-31T08:19:00.000-05:00

David Cushing and John Bellemer sport their costumes
coupled with their blue jeans in rehearsal.

As The Lighthouse came together quite well during the second week of staging in the rehearsal space, we were able to start seeing the process of the singers turning into their characters as more and more of the real costumes were integrated into rehearsal. For the first week we had rehearsal items of what they will be wearing but, as always, it was helpful to get the real items once the costume shop has completed making them. It was fantastic to see the singers working in their jeans coupled with their actual shirts, vests and jackets. 1900 meets 2012. But even with half a costume, the clothes cause a transformation and make the characters real. This week we also obtained real oatcakes from a specialty UK store in Cambridge, since the opera calls for the men to be eating them: “…it’s tea, and no bread! It’s oatcakes!” exclaims a bitter Blazes. I really enjoyed them, but a few of the other staff in the room didn’t care for their dryness. They are great with tea!

--Crystal Manich, Assistant Director

A Haunted Tower Built on the Sea

2012-01-30T08:15:00.004-05:00

Second in our series of haunted lighthouses:

Location: COHASSET ROCKS
Station Established: 1850
Current Tower First Lit: 1860
Operational: YES
Automated: 1947

Minot's Ledge lighthouse was a place no sane person wanted to live. It is just a tower coming out of the sea on a reef located off Scituate, Massachusetts. In fact, the first tower was destroyed by the sea only a year after it was completed! In April of 1851 keeper John Bennet went ashore leaving his two assistants in charge of the lighthouse. While Mr. Bennet was on land, winds kicked up to more than 100 mph and he could not return to the lighthouse until morning. When keeper Bennet finally made it back to the lighthouse there was nothing left of the tower. The bodies of his two assistants washed up later on Nantasket Beach and Gull Island. Since this tragedy fishermen say they hear cries coming from the island and swear they have seen a man hanging from the ladder screaming to passers by “Stay away! Stay away!”

After the tragedy on Minot’s Ledge other strange things began to happen. When an assistant was ordered to clean the lighthouse the windows would always be sparkling clean by the time they reached the top to complete the task. Other keepers heard taps echoing up through the stairs. This was the signal for the two assistants that they could leave their post. Most keepers learned to live with the ghosts but others lost their minds. One keeper could not handle it and slit his own throat another went insane and had to be taken from the lighthouse in a straight jacket.

--Kalina Schloneger, Education & Community Programs Intern

-------------------------------------------------------------

Resources/for more about this haunted lighthouse visit:

Haunted LighthousesLegends and Lore by Sue Clark

United States Coast Guard

Ghosts of theMassachusetts Lights by Lee Holloway

-------------------------------------------------------------

See our haunting production of Sir Peter Maxwell Davies' The Lighthouse, Feb. 8--12

General & Artistic Director Esther Nelson on Opera in Boston

2012-01-27T12:03:00.001-05:00

As we begin rehearsals for Peter Maxwell Davies’ The Lighthouse, our third Opera Annex production (you really should see the film clip on our website showing the evolution of the se t, and also the interview with the composer and our Music Director David Angus), I am experiencing the familiar excitement that comes with turning a production dream into a reality. The tension is even greater with our Annex productions because we are not performing in a familiar theater but in a “found space,” always full of unexpected challenges. Opera is, to me, one of the most exciting art forms, embracing singing, orchestra, acting, set and costumes designs, lighting design, hair and make designs, and much more—it’s really the world’s oldest multi-media art form. Of course, it is costly and we often ask ourselves if we can justify its expense. Is opera still relevant? (more after the jump)

Because of the recent unfortunate demise of Opera Boston and continued press on the subject, we at BLO are reflecting more than ever. A recent letter to the editor expressed concern that public dollars should not be spent on opera, an art form frequently still portrayed as a playground for the rich. It is not! Opera, like symphonies, ballets, and theater, belongs to the public. However, in the absence of any significant government funding in the U.S. it is, in fact, mostly because of the support from generous individuals and institutions that the public gets to enjoy those music and theater companies. Support ranges from large gifts to a multitude of smaller gifts. Cultural institutions have never been self supporting. The community at large is responsible for them. Europeans have opted to be taxed. Their countries, states, and municipalities often support 80% of a theater’s annual budget. The earned income for mid-size opera companies in the U.S. averages between 20-35%. Ticket prices are not geared for the wealthy but in line with the cost of a night out at the movies, dinner at a restaurant, and less costly than most Broadway shows. Our audiences reflect income and age diversity. Additionally, most opera companies offer many free programs and low-cost educational opportunities.

The wealth and health of a society is reflected by its culture. Vibrant cities offer a multitude of cultural opportunities, including opera. Boston actually has more small semi-professional opera producers, than most cities its size, mostly due to the many excellent colleges and conservatories, and the infectious energy created by their young artists. In Matthew Guerrieri’s article in The Boston Globe (Jan. 15, 2012) he reflects on the lack of a proper opera venue as one of the reasons for the city’s fractured opera history and draws interesting conclusions about possible other causes such as strained relations between the city’s old-money elite and the opera loving Italian immigrants. Other articles suggest that Boston is not an opera town because we do not have an opera company the size of Chicago, San Francisco and New York. There is a good reason. Boston is much smaller. BLO’s budget size supports four productions and ca. 18-20 performances a year, reaching more than 23,000 patrons. As such it is actually comparable to most other cities our size but Boston’s largest industries are educational institutions and hospitals, both not-for-profits and not potential contributors to the cultural sector, unlike the corporate support enjoyed by many other cities. Neither is there significant financial support from this state and none from the city. In spite of that reality, Boston was the only city in the U.S. that supported not one but two fully professional opera companies, even if only for a short time. That luxury was mostly made possible by major individual donors. Opera Boston’s closing is not only a loss for audiences but also for the many talented local professional artists whose livelihood depends on freelance work.

Sadly, the unfortunate demise of Opera Boston has resulted in much finger pointing and has left the impression that Boston is a hopeless place in which to sustain an opera company. BLO is celebrating its 35^th season. While this may still be considered the new kid on the block by Boston standards, it is the only opera company in Boston to have survived this long. BLO has grown slowly and carefully, graduating from the charming but small Cutler Majestic to the still intimate but larger Shubert Theater allowing BLO to finally produce some of the repertory’s most popular operas with their full artistic forces, such as Tosca, and Aida, and some of the larger classics such as Verdi’s Don Carlo (one of my favorites). BLO’s history includes world premieres, commissions, esoteric and classic operas. It is misleading to polarize the two opera companies as the bigger, traditional, standard, mainstream (BLO) versus the smaller company offering only rarely produced, esoteric chamber operas (Opera Boston). Opera Boston has certainly focused more on lesser known operas but not to the exclusion of standard opera repertory. BLO’s mission has always embraced all of opera, from well-known to less well-known, from early baroque to commissions, from large to small. The last three BLO seasons included commissions, new operas, rarely produced Handel, Mozart, and Britten operas, and only three operas that might be labeled traditional. We have also been criticized for not producing enough grand opera. Unlike most other opera companies around the country we do not have access to a theater that can accommodate the space for their required larger artistic forces. (That brings up the Boston oddity, however, that we have a named Opera House that has everything in it but opera). In the meantime, BLO has launched the Opera Annex, a concept unique in the country. Last year’s Annex opera The Emperor of Atlantis drew national attention with a wonderful review in The New York Times.

Many of our operas are produced here, not rented or imported. Most of our current standard repertory productions can also hardly be labeled traditional. In fact, there have been heated discussions, pro and con, about some of our recent productions. I believe strongly that a responsible artistic institution has to stretch its boundaries, and by doing so it accepts the risk of not pleasing everyone. An exchange of ideas and trying new approaches leads to discoveries for the producer and the audience alike.

In closing allow me to express the hope that the community can focus on the positive opera climate in Boston and continue to feel energized by the work of the many smaller opera producers in our city, as well as opera’s presence in concerts by the BSO, Handel & Haydn, and others along with work by educational institutions. We can only thrive in a climate of community support, from its elected officials, its philanthropists, funding institutions, and by a public that cares.

“Eating, loving, singing and digesting are, in truth, the four acts of the comic opera know as life, and they pass like the bubbles of a bottle of champagne. Whoever lets them break without having enjoyed them is a fool.” --Gioachino Rossini

Strange and spooky origins

2012-01-26T10:39:00.000-05:00

The story of The Lighthouse caught the fascination of myself and fellow assistant stage manager, Ginger Castleberry, when we looked up the location of the historical events on which the opera is based, see it on a map: http://g.co/maps/gmzw7

Who knows what really happened on this isolated group of rocks? The real-life Northern Lighthouse Board investigation (the opera's Court of Enquiry) concluded that all three lighthouse keepers were swept out to sea by a powerful wave, but no bodies were ever found washed ashore …

Ginger and I initially theorized the Loch Ness Monster was to blame for the disappearance of the men. After all, Nessie would have been hungry after a 300-mile swim between Loch Ness and the Flannan Isles. However, when we staged the final moments of the opera yesterday, director Tim Albery has provided us a more intriguing—and plausible—interpretation of the final moments of the keepers. The score blurs past and present in a way that gave us clues of how the story could fit together. With only a three person cast, the singers have been delving into the mystery from the perspective of the lighthouse keepers when they were confined together on duty, the relief officers who discovered the empty lighthouse, and impartial narrators after the whole event. You'll have to come and see to be your own judge of the keepers' fate!

--Courtney Rizzo, Assistant Stage Manager

Visiting the performance space for 'The Lighthouse'

2012-01-24T09:56:00.002-05:00

Late last week The Lighthouse cast and creative team headed out to the Kennedy Library where BLO will produce the piece. We are charged with the exciting challenge to create an opera in a non-traditional space. The room that will be our “stage” at the Library overlooks Boston Harbor and is the perfect location to create a lighthouse.

The cast of The Lighthouse examine the unfamiliar performances space.

We took the set model with us. In the creation of a new production a set model is built by the designer, in our case Camellia Koo, and enables us to visualize the space as a new and different world. Standing there without the context of the model it would have been difficult to imagine a room used mostly for conferences and public talks converted into a mysterious lighthouse on a remote island located north of Scotland. When we looked at the model and moved around the space to see the placement of each piece, I became excited about the transformation of which we are about to be a part. The view of the bay behind our lighthouse will make the audience feel as if the lighthouse is truly there. This kind of theatrical expression of opera isn’t done as often as it should. That is a pity, for what is more operatic than being in the story yourself?

--Crystal Manich, Assistant Director

Haunted Lighthouses

2012-01-23T07:43:00.005-05:00

The lighthouse of Sir Peter Maxwell Davies' opera is not the only lighthouse with a scary and mysterious tale.

Discover the haunted lighthouses near you as we take you on a tour of the haunted lights of Massachusetts. Tales of other haunted lighthouses will appear each Monday until our production of The Lighthouse opens on February 8.

Stop back for all the spooky details.

The Haunting of America's Oldest Lighthouse

Location: LITTLE BREWSTER ISLAND/BOSTON HARBOR
Station Established: 1716
Current Tower First Lit: 1783
Operational: YES
Automated: 1998

The first lighthouse in America was built on Little Brewster Island and was completed in 1716. Later the original tower was destroyed during the Revolutionary War. The present tower was constructed in 1783 with 14 additional feet added in 1859. The Lighthouse is said to be haunted by its first two keepers, George Worthylake and Robert Saunders. Both gentlemen died within months of accepting their jobs at the lighthouse. After two disasters, some people believed that the island and its lighthouse might be cursed.

The other tale of the old lighthouse on Little Brewster Island is about its very large bell to help warn ships of the dangerous shore line ahead. Despite the size of the bell the ring will not reach a stretch of water several miles east of the lighthouse. The mariners call this area of sea the “Ghost Walk” because ships can not be reached by the guiding sound of the bell. No one has ever been able to explain the Ghost Walk, not even a team of MIT students who spent an entire summer on Little Brewster Island studying the mystery.

--Kalina Schloneger, Education & Community Programs Intern

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Resources/for more about this haunted lighthouse visit:

Haunted LighthousesLegends and Lore by Sue Clark

United States Coast Guard

Ghosts of theMassachusetts Lights by Lee Holloway

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See our haunting production of Sir Peter Maxwell Davies' The Lighthouse, Feb. 8--12

Day 2 of staging The Lighthouse

2012-01-20T08:49:00.000-05:00

Assistant Director, Crystal Manich shares some insights into rehearsing an opera. Crystal joins BLO again after working as the Assistant Director for last spring's production of Agrippina. Her interview with Countertenor Anthony Roth Costanzo is here.

David Angus with the three singers of The Lighthouse

The first few days of staging an opera are very exciting: a new group of people has been brought together to create the show ... and no one really knows what to expect. Even though the show plays under 80 minutes, what makes this show particularly challenging is the music. It’s very complicated and intricate. The three gentlemen in this production go over a large section of music with David Angus, our conductor, before putting it onto its feet. This makes for a smoother rehearsal: if the music is fresh, the singers can more easily focus on the staging.

Designer Camellia Koo looks on as Tim Albery leads a staging rehearsal

Our director Tim Albery creates a really nice atmosphere in the room by providing a clear framework for the piece while also allowing the singers to explore character and movement. It seems that he is also appreciative of his set and costume designer, Camellia Koo, being in the room with us. It’s a rare luxury these days to have a designer be a part of early staging rehearsals. Cami is very helpful when anyone has a question about a costume, a prop or part of the set, and she is able to help make decisions with Tim on the spot as well.

By the end of this week we should be about ¾ of the way through staging the piece. I look forward to seeing where this is going!

--Crystal Manich, Assistant Director

Program Change: Opera Night at the BPL

2012-01-19T10:57:00.000-05:00

Overcoming Obstacles: Producing Opera in Boston

Tuesday, January 24, 2012
6:00--7:00pm
Rabb Lecture Hall

Boston Public Library, Copley Square

In opera, perhaps the most dramatic of art forms, the danger, peril and passion are not always exclusively on the stage. Behind the scenes are a multitude of challenges to be met. Join a panel of Boston opera producers, Esther Nelson of Boston Lyric Opera, Aliana de la Guardia of Guerilla Opera, and Sharon Daniels of the Boston University Opera Institute, to discuss what must be overcome and what must go right to bring opera to the stage.

Building 'The Lighthouse'

2012-01-16T09:33:00.001-05:00

This February BLO produces the third annual Opera Annex production; Sir Peter Maxwell Davies' The Lighthouse. In this chamber opera Davies explores the ominous maritime tale of three lighthouse keepers who mysteriously disappeared in 1900 from Northern Scotland’s Orkney Islands. The Opera Annex productions hold a special place my heart because BLO seeks to produce opera in a found space with each Opera Annex. In its first season (2009/2010) BLO brought Britten's The Turn of Screw to the Park Plaza Castle and then in the 2010/2011 Season, BLO transformed the Wimberley Theatre at the Calderwood Pavilion at the BCA into the Emperor's tyrannical world with Ullmann's The Emperor of Atlantis. This season BLO brings the Opera Annex to the John F. Kennedy Presidential Library & Museum

Using a wall of windows overlooking Boston Harbor as the backdrop for the set, designer Camellia Koo created a stunning design--another world of its own. Now, the A.R.T. scene shop is bringing that vision to life. I've had the privilege of observing the set in various stages along the way--beginning with the set model.

Model of the set, created by Koo.

Base of the platform as seen in the set model photo,
in progress at the A.R.T. scene shop.

Crew installs the platform at the rehearsal hall.

As a life-long theatre-geek, I love to see the progression from the designer's vision to finished product. Koo envisioned several pieces to transform Smith Hall at the Kennedy Library from a hall with a wall of windows to the mysterious world of Davies' The Lighthouse.

Watch a video of the set pieces coming together:

Building The Lighthouse

--Karen Robichaud, Design & New Media Manager

Opera App is more than a Toi! Toi! Toi!

2012-01-04T12:20:00.001-05:00

I come from a household of teachers. Both my parents teach and raised me in the classroom. I graded papers (multiple-choice only) and ran ditto copies (yes, kids, that was how people made copies before Xerox). During summer breaks in college I worked as a teaching assistant with special education elementary children. Now, I run a box office which requires me to ‘teach’ on a daily basis – from ‘teaching’ my intern how to sell tickets to ‘teaching’ new subscribers about our production -- I ‘teach’ opera in 2 minute or less.

My wife, a volunteer coordinator for elderly services, works with many student volunteers from BHCC so I jumped at the opportunity to work with these students. The Office of Community Engagement oversees these partnerships. The office helps students develop tangible skills through community service, civic engagement, and student activism. Through civic-centered or service-centered involvement, the Office of Community Engagement demonstrates to students the connection between community involvement and professional and personal development. What teaches personal development better than a 400 year-old art form associated with the socially elite and performed in a foreign language, right!? This challenge called for a creative lesson plan. (More after the jump)

I paired up with Professor Jaime L'heureux’s IT Problem Solving course. The class aimed to develop mobile applications for Boston Lyric Opera. The students worked in groups to build mobile apps, using App Inventor software for Android mobiles. The process began with an introductory visit. These students hail from different backgrounds, financial brackets and native languages. When I presented to the class, I showed them how much opera knowledge they already had! We discussed popular opera references such as, Looney Tunes and The Simpsons. We referenced The Godfather, car commercials and discussed how the musical Rent found inspiration in La Boheme. I introduced them to BLO’s mission and shared the company’s goals for mobile apps. The primary challenges of this assignment were:

1.) Learn the software and build a functioning mobile app

2.) Develop a relationship and an understanding of Boston Lyric Opera

Throughout this community engagement course, students worked to find solutions, completed research and learned about mobile application technology. Students identified the needs and expectations of the client (BLO), learned to communicate effectively with the client while developing a strong work ethic and discovering their individual strengths within these potential career paths.

I worked with students to create a list of requirements for the app. We included calendars, production information, basic media and news updates. I then made a wishlist. As a technology junky I wanted games, an interactive seating map, allowing patrons to ‘meet their seat.’

This fall students attended our opera, Macbeth, emailed me requests for images, music clips and b-roll of recent BLO productions. Students poured over our new website to absorb the branding and message of the company. In November I returned to classroom with Julie House (our Education and Community Programs Manager) to check on how each had developed. A representative from each group presented a basic model of their application and the goal functions.

I returned for the final presentations in December.

The first group built an app focused on instant access to information. The app, and each page of the app, opened with music (tracks which could be interchanged to reflect the current season). The app provided direct access to the BLO Facebook page, YouTube channel, and links to our homepage, the ticketing terminal on our website and a forum for news and discussion. The group’s intended to provide key information available in as few click-throughs as possible alongside visual and audio stimulation. This technique created many touch points throughout the interaction.

The second group created an app with a similar purpose, but with a different method. Instead of linking directly to certain portions of the web this app used multiple buttons that accordion expanded into brief informative pages. These pages have links to targeted topics within our website. This application also included a calendar hosted through Google, allowing users to utilize the full functionality of a Google calendar. (i.e. add an opera event to a personal calendar and invite friends to join the event.)

The third group produced a very different app from the other two groups. This group presumed that apps are frequently downloaded for 2 reasons: (1) they are free and (2) they are entertaining. The group, influenced by their own new experiences with opera, sought to inform and entertain with the app. Using the game Rock Band as inspiration, the group built a game into the app. A small ball pops up on screen in time with a well-known opera song (dynamic feature on the back-end, allowing BLO to change the selection based on the season) and the user earns points for the opera singer (in a Viking helmet) each time the ball is correctly touched. Upon winning the game, a glass breaks for hitting a high note. This game demonstrates a method I call “sneaking spinach in a brownie”. While playing the game the user is indirectly exposed to opera.

Working with these students on app development offers BLO an opportunity to increase our presence online and on mobile devices. Additionally, this project served as the beginning of a partnership between BLO and Bunker Hill Community College. After my final visit with the class, the Dean of Professional Studies requested I partner with Prof. Bryan Craven, Computer Media Technology Chair, to work on a similar project for his game design class.

--Kate Curtis, Audience Services Manager

Happy New Year!

2011-12-29T12:32:00.000-05:00

35 Seasons of opera and we couldn't do it without you!

Watch a holiday message from Esther Nelson, General & Artistic Director.

From our family to yours, best wishes for a happy new year!

It's your BLO. You make opera happen.

Opera Expectations

2011-12-21T10:16:00.000-05:00

Before interning with Boston Lyric Opera, I had no exposure to opera. However, working behind-the-scenes during Macbeth allowed me to learn what opera is really about through I a story I already knew. I broke through many of the preconceived notions I held about the opera.

These are a few of the misconceptions about the opera that I had:

“I won’t be able to understand an opera because I don’t know {insert language here}.”

When I attended the new Broadway production of West Side Story, in which Spanish lyrics were incorporated, I felt concerned about seeing a show in another language. I know everything about West Side Story and I studied Spanish for five years, yet I left feeling confused. How could I appreciate and enjoy an opera I know nothing about, told in a language I don’t understand? However, my fears were assuaged when I learned many opera companies project English translations (called supertitles) on screens during the performance, allowing the audience to follow the story and appreciate the amazing vocal talent. Additionally, there are operas composed in English, like Peter Maxwell Davies’ The Lighthouse, which BLO will produce in February as this season’s Opera Annex.

“Opera is just a bunch of people singing. Only people with intense vocal training can really appreciate it.”

When I first entered the Citi Performing Arts Center^SM Shubert Theatre for Macbeth, I initially noticed the display of bodies hanging from the ceiling of the stage. The scenery was awe-inspiring. Don’t get me wrong; opera is about the amazing vocal talent. However, it is also a performance, which makes it a theatrical experience.

I have a bit of vocal training, (as much as high-school chorale can provide), enabling me to appreciate how talented and well-trained the singers are. However, even someone who has never sung a note would be impressed.

“Operas are so long!”

Although many operas run longer than a typical movie, musical or play, an opera production tends to have more intermissions. Although the run time of an opera performance may be four hours, the audience isn’t expected to stay seated the entire time. There are two to three intermissions! This provides time for the audience to stretch their legs, visit the restroom, grab a snack and get excited to experience the rest of the show.

“I don’t think opera is my thing.”

If one has never seen an opera, how does one know? Take a chance; Carpe Diem!

Attending the opera is a unique and interesting experience that enriches the individual. While it may be a new and scary experience for many, I encourage everyone to take a chance and try something new, see an opera! I think you’ll figure out for yourself if it really “ain’t over till the fat lady sings.”

-- Elyssa Sternberg, Boston University ‘15

It's YOUR BLO #2

2011-12-20T08:42:00.003-05:00

We’re celebrating 35 seasons of opera by sharing your BLO stories. Your story is unique and makes BLO what it is today.

Here’s one from Yuen:

The first BLO performance I attended was Verdi's Rigoletto in October 1994 when I was 21 (yes, I still have the program book)! I saw my first opera 2 years earlier in London's Royal Opera House when I was doing a junior year abroad.

Although I don't remember any particular divas or divos in that performance, I cried at the end when Gilda died and Rigoletto was calling out her name. The cast, the director, the conductor--they all must have done something right to achieve this.

Now, almost 20 years later and having seen over 130+ opera productions, I can count with one hand the number of performances that were so moving they made me cry. And among the few, the 1994 BLO's Rigoletto was one of them.

What’s your BLO story? Please share it with us below. Or send it to yourblo@blo.org.

In appreciation of sharing your story, all storytellers will receive an invitation to the 2012/2013 Season launch party in spring 2012.

Provocative Opera at 2 Extremes

2011-12-18T15:36:00.002-05:00

Last season's Opera Annex production, The Emperor of Atlantis was featured in this article by The New York Times. Our Opera Annex is a fully staged production designed for an alternative space outside the traditional theater environment, all at a lower ticket price. The New York Times praised, The Emperor of Atlantis as the "most tantalizing" production of the 2010/2011 Season in its original review of the production and in this weekend's article includes that same production as one of "the most memorable performances [...] by groups that specialize in the repertory’s extremes, early and new music. And thoughtful, often provocative opera productions figured prominently at both ends."

This season's Opera Annex, Peter Maxwell Davies' The Lighthouse, is modern piece based on the stories about the lighthouse on the Isle of Shoals. The opera is an unforgettably gripping and overwhelming portrait of growing madness and possession. A chamber orchestra and Davies’ own compelling and mysteriously deep libretto, conjure up an isolated world, terrifying and moving. Don't miss it!

Looking for something to do during school vacation week?

2011-12-15T14:07:00.005-05:00

Did you know that Boston Lyric Opera has a December program for your young opera lover?
For the second year, BLO and Wheelock Family Theatre are collaborating to bring young people opportunities to enhance their performance skills in theatre and opera. Join us for a five-day intensive workshop for fun explorations of both art forms!
This December we present “Dynamic Duo: Movement and Music,” a five-day institute for ages 9-12. It's not too late to register. Check it out!

Photo by Erik Jacobs.

Intern Ramblings: Opera & Gum

2011-12-12T09:36:00.003-05:00

I only chew gum when I’m at work. I used to chew gum all the time, but gave it up when I was seven because my mom said I chew like a cow.

Don’t tell my mother, but every time I work at my internship at Boston Lyric Opera, I pop a piece of gum in my mouth and start filling subscription orders and filing ticket forms. Initially, I thought this gum habit began because the first couple of days I worked at BLO I didn’t want to offend my new colleagues with any lingering lunchtime breath. I chewed a piece of gum. The habit stuck. However, I think that this habit is more than just a way to freshen my breath.

Freshman year of college is like throwing your life into a blender and praying the end result isn’t too messy. I find there are very few constants as my life changed over the past few months: my hair still doesn’t cooperate, I still like to talk, (much to my roommates’ dismay) and I still love the rush of putting on a show, from anywhere, playing any role in the process.

So here I am -- at Boston Lyric Opera -- learning what happens behind the curtain. It may seem odd, but filing paperwork and will-call tickets is therapeutic. I chew my gum, file forms, sing “Merrily We Roll Along” to myself and work alongside some really cool people. I learn not only about the mechanics getting a ticket into the patron’s hand, but also about this little thing called opera.

I admit the extent of my opera knowledge is limited to the episode of "Hey Arnold" where the students of PS 118 dream themselves in Carmen (Lyrics include: “My name’s Don Arnold, please have a caramel; your hair is lovely, do you like my pants,” it is a must-see). I don’t speak Italian, German or French. However, I speak theatre.

I know the excitement of sitting in a seat, program in hand, gazing around at the architecture of the performance space. And the only way you get there is with a ticket. Maybe I handled yours.

Although the rush of college is great, sometimes, in between T-rides and Anthropology homework, what I need is to organize will-call tickets, listen to The Barber of Seville and chew some gum. Working for Boston Lyric Opera is an entirely new experience for me and I appreciate every second of it.

--Elyssa Sternberg, Boston University '15

#internupdate6

2011-12-09T12:40:00.001-05:00

The joy of the holiday season is frequently accompanied by susceptibility to illness: the sniffles, coughing, or even the flu. Regardless of season, one of the responsibilities of being an opera singer is to avoid sickness at all times. Being sick can put a singer out of commission for weeks at a time, taking them away from performing and earning money. The majority of dedicated singers are probably the healthiest people you will ever meet. Especially as the weather continues to cool, take these few simple trick singers rely on so you feel your best and can face this blustery season!

SLEEP: What a concept!

We all know the recommended number of hours sleep an adult should get is about 6-8 hours per night to ensure we are fully rested for the day ahead. Unfortunately, many people are not able to achieve this. Sleep is not only crucial feeling energized, but keeps the on a cycle. For example, if you have work or a big assignment to finish, it is more effective to go to sleep at a reasonable hour and wake up earlier, maintaining the body’s stable cycle. Singers value sleep above everything else; because our body is our instrument, it needs the main source of revitalization that sleeping brings. Try going to sleep 30 minutes earlier this season--the perfect pillow and a heavy down blanket should make that easy!

Also, if you are easily affected by winter dryness, invest in a humidifier. Singers use them year round to keep their throats moist and to avoid sore throats caused by the dryness in the air (and they are relatively cheap -- check CVS or Target!) Turn it on before you go to sleep and you will wake up feeling fresh!

VITAMIN C: The Godsend

Many people get sick during the winter months simply because of a weak immune system, which is why I recommend everyone try The Godsend, also known as Vitamin C, into their daily vitamin supplements, especially in the winter. Vitamin C is a proven, safe method to significantly boost your immune system (and also has great skin benefits). It can be found in fruits and vegetables like oranges, cantaloupe, broccoli and peppers, but there are also supplemental Vitamin C products on the market; one of which is my personal favorite, Emergen-C. These individual powder packets each contain 1,000mg of C (the recommended safe dose is between 500-2,000mg per day) and you can mix the wide array of flavors into your favorite drink. Before auditions, many singers chug Emergen-C, to ensure their health. By taking any Vitamin C supplement, colds become less frequent. It is an easy addition to an everyday routine! I also recommend Airborne. This is an easy supplement to put into a drink, and works well when you feel the start of cold symptoms. It can help decrease the time of a cold by a few days if taken consistently.

As always, follow product directions or the recommendation of your doctor.

Here are few more tips to keep you healthy this winter!

- Drink at least 8 cups of water per day (for every cup of coffee you drink, make sure to drink one glass of water)

- Don’t share drinks

- Stretching or yoga (increases circulation for the blustery weather and also is a great mental and physical stress reliever)

- Keep your body at a comfortable temperature (dress warmly!)

- Focus on eating foods rich in protein and fiber

Being sick during the sometimes dreary and bitter cold winter is never fun. Think like a singer, and treat your body like a beautiful instrument to keep yourself healthy so you can make it to spring!

--Melanie Burbules, Boston University '14

Whistle While You Work, Part 2

2011-12-07T09:36:00.002-05:00

Last week we revealed what some of our staff listens to at work. We may work for an opera company, but it's not all opera all the time for us!

Here's another peek inside our work-music habits!

Erik Johnson, Artistic Coordinator:

Britten for contracts, Pärt for budgets, and Handel for everything else.

Joa Stenning, Audience Services Coordinator:

Before I arrive at work, I start my day with the sounds of Nicki Minaj’s “I’m the Best,” which helps me to feel good about myself and feel motivated for the day ahead. Most people get along just fine waking up to the beep of an alarm clock, but I feel much more positive waking up to something loud and dance-able. Once I’m settled in at work and I begin a project, I like to listen to Ingrid Michaelson or Neko Case. Ingrid’s music is light, catchy, and fun to sing along with, which helps me get through the more mundane tasks. Neko’s music is soft, soothing, and soulful, which is much better to listen to when I need all of my focus on the project at hand. I also love listening to Neko’s music because she and I are both cowgirls at heart. I spend my days in an office in bustling downtown Boston, but sometimes I wish I was roaming the prairies like “Dr. Quinn, Medicine Woman” instead.

Sarah Blume, Senior Major Gifts Officer:

Currently have Pandora tuned to Arvo Pärt. Good work music. I tuned to Pärt following Boston Ballet’s Bella Figura, which I loved, last season which used music by Pärt. I thought it was the first time I’d heard Pärt, not realizing that I’d heard his music at Providence Waterfire one year and was so struck by Tabula Rasa that my mother-in-law hunted down the CD for me.

The Pärt station occasionally plays the Henryk Górecki Symphony No. 3 – which I love. It just makes you want to weep ....

Julie House, Education & Community Programs Manager:

Cello concertos and almost always one of the big three: Dvorak, Shostakovich or Elgar. I like them because I know them well enough that they can make nice background music, but if I really need to be inspired by something I can just turn up the volume. Sometimes I need something totally different and the last time that happened I turned on Jeff Bridges’ new country album. It’s excellent.

Cassidy Fitzpatrick, Development & Artistic Associate:

It’s a range, sometimes Usher, or other loud dance music when I’m particularly stressed. Mostly I find I just get fixated on one song, be it rock, pop, hip hop, folk or otherwise, and listen to it on repeat for an entire day, seems to soothe the nerves and helps me to block out everything so I can get stuff done.

Karen Robichaud, Design & New Media Manager:

I really enjoy having something in the background to even out the general 'white noise' of working in an open office; be it music (pop, musicals, movie soundtracks) or radio programs. I find the news weirdly soothing, even though I don't actually listen to the stories. Some of my projects are so involved that focused concentration is the only way to complete them, and listening to something helps me concentrate.

Whistle While You Work

2011-11-30T08:56:00.001-05:00

Behind the scenes at Boston Lyric Opera we have administrators of diverse backgrounds and interests working away to bring you beautiful opera. Do we listen to music at work? What do we listen to while we work? It's not all opera all time around here.

Here's what a few of our staff have to say about their listening habits at work:

Heather Laplante, Annual Fund Manager:
Music by Matt Nathanson is my go-to during the workday. It’s mellow, fun, and I’m a sucker for a boy with a guitar.

Nicholas G. Russell, Director of Artistic Operations:

Daytime, I tend not to be listening to music as background--but occasionally am checking recordings or youtube on certain singers.

If I am working late, or weekends, I am more likely to put on 'unsolicited' recordings either of singers seeking work, or composers, looking for a house to put on their work.

With so much listening involved in my day to day activity, I rarely put on music as 'background' as I find myself getting distracted from the work I am doing--listening too much to the music, evaluating it, and not focusing on the task at hand ... so sometimes the best music for me is the white noise of whatever is going on in the background ...

David Cullen, Accounting Manager:

I listen to a mix of opera and Broadway show tunes. When I’m working on a difficult project, I find that Bach, Mozart and Philip Glass help me to concentrate quite well.

What do you listen to while you work? What helps you focus?

More selections from the BLO staff next week!

Tis the season!

2011-11-29T09:43:00.004-05:00

Please join BLO and your fellow Bostonians this Thursday (12/1) at the 70th Annual Boston Common Tree Lighting when two of our 2011/2012 Emerging Artists Michelle Trainor and David Cushing will sing a few holiday selections to warm the crowd!
The event is scheduled from 6 to 8pm, with Michelle and David singing around 6:15pm.
For more information, visit the full event listing.
Happy Holidays!

It's YOUR BLO

2011-11-21T08:15:00.000-05:00

We’re celebrating 35 seasons of opera by sharing your BLO stories. Your story is unique and makes BLO what it is today.

Here’s one from Noah:

"Macbeth at BLO was the first opera I've ever seen. As a child of the ‘80s, the theater I grew up with had more Schwarzenegger than Soprano; I didn't know Pre-Madonna from Prima Donna. But opening night at Macbeth changed that for me. My husband and I were captivated by the story and enchanted by the chorus--but most of all we loved Lady Macbeth. She had us from open to close. Even after her death we were both hoping that a new ghost scene might get added to the plot just so she could give an encore."

What’s your BLO story? Please share it with us below. Or send it to yourblo@blo.org.

In appreciation of sharing your story, all storytellers will receive an invitation to the 2012/2013 Season launch party in spring 2012.

Operatic Recipes

2011-11-17T11:07:00.000-05:00

Tired of boring old roast turkey and pumpkin pie?

Try a few new recipes from some operatic kitchen wizards (or in this case to be more specific ... witches). These are excerpted from A Book of (Culinary) Spells which was published by the Medea Press in neighboring Salem for our Hocus Pocus Gala patrons in October and we'd like to share some of them with you ... but be careful in your preparation ... strange things can happen! Bon Appetit!

Do you have a favorite seasonal dish? Perhaps you have an operatic recipe waiting in the wings? Share yours and win your own copy of A Book of (Culinary) Spells for more spooky recipes!

the wilder things at Macbeth

2011-11-15T13:52:00.000-05:00

Charlotte Wilder, creator and author of the wilder things, attended our production of Macbeth and as an ardent classical music and opera fan, shares her thoughts with us.

Wilder Happenings: Boston Lyric Opera's "MacBeth"
(and what one wears to go see it)
Opera is in my blood. Literally. My grandfather Hugo Weisgall was a composer who wrote over ten operas; his last, Esther, was the season opener for New York City Opera's reopening in 2009. It therefore follows that I grew up listening to opera and classical music (my parents met when my father studied music with Hugo). In fact, when I was in elementary school the only music I listened to was classical, with the exceptions of big band jazz and the occasional Beatles or Rolling Stones album. You can imagine how embarassing it must have been to live through the Spice Girls and not know it, but that's for another post. I can assure you I'm more up-to-date these days.

Read the entire piece over at the wilder things.

BLO Exposed, continued

2011-11-15T10:41:00.001-05:00

During last Wednesday's performance of Macbeth, we held our first ever BLO Exposed: An intermission conversation bringing you closer to the opera. We featured BLO Music Director David Angus in conversation with artists from Macbeth live from the stage. We took questions from the audience, who tweeted us their questions. (@BostLyricOpera)

We didn't get to all the questions, so we've answered more of them here! Join us at a Wednesday performance during intermission for the next installment of BLO Exposed.

To David Angus:

How do you think Macbeth compares to Otello and Falstaff?

Those other two are his final works and are in a much more developed style of writing, where the orchestra plays much more complex music and everything is much more dramatic and continuous. Macbeth is an early work, in the older style of separate "tunes" for each character to say how they feel. I love both styles--the simple and attractive one that makes us all smile with pleasure, and the richer one which is more exciting and real.

What is your favorite part of the performance?

In most operas my favourite bits are the big ensembles, when everyone is singing together about their own feelings. It is so complex and overwhelming. If they really all sing the same things together, like the ends of Act 1 and Act 2 of Macbeth, the emotional power of the music blows me away! There are also fantastic arias (solos) and duets which I also love.

Can you tell us about how unusual it was in Verdi's time to have three trombones in opera? And can you tell us about the Cimbasso?

It was quite normal to have 3 trombones and either a bass trombone or a Cimbasso which is just a giant member of the trombone family. What they didn't have was a modern tuba, which makes a much fatter sound and doesn't fit so well with the trombones in this sort of music, although the tuba has been used instead for the last 100 years. I am very glad that we are going back to bass trombone and cimbasso, to get a harder brighter and clearer sound.

Was that the Italian anthem when the king arrived?

Absolutely not! It is a very light-hearted bit of music. However, the unofficial Italian "Anthem" is a very famous chorus by Verdi from his opera Nabucco (Va pensiero) which everyone here would recognise but in Italy everyone would sing along with the correct words. It was written before Macbeth, and those big ensembles that I talked about above are in the same style--a big unison melody (without any harmony) sung mostly very quietly by a large chorus, accompanied by a simple pattern--like a waltz--in the orchestra. It is very beautiful and moving.

How true to Shakespeare is Verdi's Macbeth?

Very true to the spirit and story, but not the actual words, because they were translated. Verdi simplified the story greatly (it would have been much much too long if he had set it all to music) but kept the characters and the relationships the same. He added a few bits, such as the wonderful chorus of the Scottish Refugees, probably to please his political audience.

What goes into preparation for conducting Macbeth?

About a year of study--on and off--listening to very many recordings, studying the vocal score at the piano, studying and marking the full orchestral score at my desk for weeks, reading all about it in reference books, and then working with the singers and orchestra for 4 weeks solidly before we perform it.

To Carter Scott:

What is your dream role?
I have two...one is Minnie in Puccini's La fanciulla del West, which I will be singing with Knoxville Opera for the first time, the second is Bruennhilde in The Ring Cycle by Wagner.

To Daniel Sutin:

Is it hard to sing while lying down?

I do not mind it is a challenge to see how close you can get to the Director"s vision.

Is this part a dream role for you? How does it feel? What's it like to portray a villain?

This part is truly a dream role for me that I waited for twenty years to sing. It is one of the greatest Verdi roles for the baritone. I am glad I debuted this role at BLO; working with a great team of David Angus and David Schweitzer. Boston is a town that really appreciates opera. Villains in opera have much more music to sink their teeth into, that for the most part are the most interesting of the baritone roles and everyone can enjoy watching them. Of all the roles I have sung Scarpia, Iago, Paolo,and Tonio, Macbeth is one of the greatest musical challenges.

To the witches (answered by Marie McCarville):

It seems like you carry the opera. Is that a lot of pressure?

Rather than carry the opera as if it were a large weight, I see the chorus of witches as an integral force of controlled energy and sound that push the main characters to their limits of depravity and nobleness. Instead of pressure, I feel challenged in the best sense of the word. Every chance I have to be on stage, to create the witch persona, to literally vibrate with sound singularly or in unanimity with my fellow choristers is absolute exhilaration. It is also absolutely exhausting!!!

About the production:
How many singers and orchestra members and directors are involved with this production?

36 choristers

1 conductor

54 orchestra members

8 principal singers

7 supers

2 directors (Stage and Assistant)

1 movement director

1 fight director

Meet the 2011/2012 Emerging Artists!

2011-11-14T12:29:00.000-05:00

BLO Emerging Artist Trading Cards! Collect all 9!

Boston Lyric Opera’s Emerging Artists are selected annually by invitation resulting from their presence at Company auditions or in BLO performances. The Artists have, in most cases, already established themselves professionally and are drawn primarily from the post-graduate and post Young Artist fields. In certain exceptional cases, younger candidates who are appropriate for specific repertoire with the Company will be considered.

To celebrate this year's group, BLO asked a local artist to share his interpretations of what it means to be chosen for this prestigious honor.

"I likened it to a coming-out party for new stars-in-the-making, much like the rookie cards of baseball's heroes of tomorrow," says Ben Henry, the man behind the cards. "These artists have already accomplished so much, I felt that what better way to showcase this than by creating a card for each of them?"

Henry based his cards on some of the most iconic baseball-card designs of the 1950s, 1960s, 1970s, and 1980s—with a few tweaks of his own.

"Topps—the card company that originally created these designs—highlighted individual achievement by creating badges, icons, and flourishes (like images of trophies). I took this idea and created an image of a small trophy using a pose of Meredith Hansen, one of this season's Emerging Artists. I also appropriated the 1958 Topps All-Star design for Michelle Trainor's card, the Shrestinian Award-winner."

Henry used a different year's design for each of the cards:

1954 Topps - Brett Hodgdon

1958 Topps All-Star - Michelle Trainor

1959 Topps - Neal Ferreira

1960 Topps Rookie Star - John Irvin

1961 Topps - Allen Perriello

1963 Topps - Meredith Hansen

1967 Topps - Julius Ahn

1971 Topps - David Cushing

1980 Topps - Nicole Rodin

This is not the first time Henry has "tweaked" baseball cards. In 2008, he gained national attention for his interpretation of Ernest Thayer's classic ode to futility, "Casey at the Bat." His work can be seen on his blog, The Baseball Card Blog.

What are your favorite trading card styles for opera singers?

MACBETH MURDERS (at the MOVIES)

2011-11-12T06:44:00.000-05:00

I'm breezily skipping over some of the more familiar MACBETH movies (which are certainly not to be thus ignored) Polanski, Welles, what I call the Judi Dench MACBETH (with Ian Mckellen ... directed by Trevor Nunn ... highly recommended by the way), etc. to get at some other takes.

MACBETH ... it's a cinematic natural--ruthless power struggles, violence, murder, insatiable ambition, ghosts, madness, a bit of kinky sex. In that direction MACBETH has translated with apparent ease from royal Scotland to a gang or criminal empire milieu--from JOE MACBETH (1995) a Ken Hughes film with Paul Douglas and Ruth Roman to the 2006 Australian MACBETH starring Sam Worthington (who went on to deal with all those blue people in AVATAR). Set and filmed in Melbourne it overlays Australian accents on top of Elizabethan blank verse for more or less maximum incomprehensibility. The expected violence and buckets of blood plus the seemingly inevitable nudity of the crazed Lady M seems generic and ultimately tiresome. Australians coping with blank verse, Shakespeare and a contemporary vision and psychology are on better display with Baz Luhrmann's ROMEO + JULIET (to my mind a pretty brilliant movie-- but others disagree violently).

SCOTLAND

, PA. is a 2002 film by Billy Morrissette set in 1970s and revolves around the desperate (and bloody) and eventually grotesque struggle for not a throne but a hamburger drive--in emporium in semi-rural Pennsylvania. Broadly satiric often very funny, it is ultimately dark and disturbing. Containing no verbal Shakespeare to speak of (and a lot ... a lot ... of profanity) it has a kind of manic charm and, yes, a kind of Shakespearean vitality and exuberance and madness. You'll probably either love it ... or hate it ... but you might check it out.

The MACBETH of Patrick Stewart (a film made for PBS and the BBC in 2011 from the stage production seen in New York and London) is for the most part a intense and gripping (and often truly terrifying) vision of the play but the Wes Craven--George Romero horror film trappings can get a little overdone and hence lose their shock. Kate Fleetwood is a neurotic very scary lady and Patrick Stewart speaks the intricate verse and illuminates the depths (both repellant and sympathetic) of Macbeth with profound conviction and even beauty. Set in a kind of mad underground world of a Soviet era dictatorship it is brutal and effective ... and you'll never be comfortable around nurses again. [http://www.youtube.com/watch?v=JaLBfH3o1TU]

Just for fun (and after the Stewart film you may need some) check out Hogwarts:

And for the best Shakespearean film of all (at least in my opinion ... and many others) look at Kurosawa's THRONE OF BLOOD if you don't know it. MACBETH infiltrates a Japanese samurai culture and everybody wins (except for Macbeth...but then he gets one of the greatest death scenes in film) …

--John Conklin

#internupdate5

2011-11-11T10:39:00.001-05:00

“Blood and murder ignite us”–Lady Macbeth and Macbeth, duet, Act II

Blood and murder fueled the intense production of Boston Lyric Opera’s Macbeth this past Wednesday at The Citi Performing Arts Center Shubert Theatre. Although many people know the story of Macbeth—from those who studied the play in school to those who are Shakespeare aficionados-- the libretto and composition of Giuseppe Verdi’s Macbeth do not always follow the source material.

The score is filled with both sinister and powerful musical themes matched well with equally ominous text or parts of the plot. But, Verdi also composed interesting and specific harmonic choices, some that almost seem too bright or “major” sounding for what is actually being communicated. Those elements of the score, accompanied by David Schweizer’s abstract directorial choices and John Conklin’s somewhat primitive-looking artistry, are very creepy. In many instances this eerie juxtaposition comes to life through the chorus, whose controlled sound and jagged movements dominate several scenes.

At the outset during the overture, a stark stage of a single metal platform greeted the audience. Above this hung dozens of body bags; an unsettling images even for the most “seasoned” opera patron. The Macbeth’s lust for power increases as do the number of unjustified murders, and this progression is visually represented as death on the stage. With each murder (Duncan, Banquo, Lady Macduff and Lady Macbeth), the dead haunt the stage dressed in white. Whether depicted in the dangling body bags or lingering in poignant scenes, it seemed that the dead never quite leave this world, which provided the supernatural effect to the production. At the same time, this highlighted the underlying psychological effects each death has on the progression of the plot. The presence of the dead continues until the final moments of the opera when Macbeth is murdered by Macduff after his one final bloody attempt to maintain his position of power. He is then engulfed by the chorus, who wrap him and raise him up to join the other portentous body bags.

Throughout all of this, the chorus represented the supernatural (the Weird Sisters) and reality (many times portraying soldiers, mobs, etc): another interesting choice by Verdi. Although sometimes the attention distracted from the nuances in the music by the busy staging, overall the energy on the stage and the energy within the music were matched. The driving force was the orchestra, which was especially good, thanks to an elegant approach to the score by Music Director David Angus. When at their full sound, along with the full force of the chorus, the musicians created some magical and pivotal moments. The role of Macbeth was played by Daniel Sutin and Lady Macbeth by Carter Scott, both making their BLO debuts. Each had strong musical moments individually, but were most effective as a conspiring, enabling couple. Banquo (Darren Stokes) had a full voice and had an effective ghostly presence. The moment that seemed to be the favorite of the night was Macduff’s famous aria “Ah, la paterna mano,” sung effortlessly and with elegant line by tenor Richard Crawley. John Irvin (Malcolm), Michelle Trainor (Lady in Waiting) and David Cushing (Doctor), all BLO Emerging Artists, sang well and were memorable despite their smaller roles. Overall, Macbeth was solid across the board and served as an artistic pioneer for the BLO productions to come!

As a singer, attending opera is essential for my education as a musician. But, it is something I also truly enjoy, because the experience is very different and beautiful each time! It was so great to see all of the other eager Boston students come to Wednesday’s Macbeth Student Night. For many of the students that attended, it was their first or second time at the opera, but said it is a cool experience for any age, and that they will definitely return! (Hope to see familiar faces at The Lighthouse!)

--Melanie Burbules, Boston University '14

For the first time ever: BLO Exposed!

2011-11-10T10:53:00.001-05:00

An intermission conversation series designed to bring you closer to the opera

On November 9 we held the first installment of BLO Exposed, featuring BLO Music Director David Angus in conversation with artists from Macbeth live from the stage. We took questions from the audience, who tweeted us their questions. (@BostLyricOpera)

Talking with Carter Scott (Lady Macbeth)

Tell us a bit about being an opera singer. What does it take to become a real singer?
I went through years of training: voice lessons, coaching, auditions, in addition to school and grad school. I continue to receive coaching and will throughout my career. My voice teacher attended the Final Dress Rehearsal, who was so insightful from dress rehearsal to opening that helped me make many wonderful adjustments to my performance. I've never had a voice teacher so involved before.

What do you think of the color yellow as the representation of hell?
Perhaps it was chosen because it contrasts so much with the red, I’m not sure.

What is the most challenging part of singing the role of Lady Macbeth?

The stamina! In this production, we’ve condensed the first two acts. You can sing an aria, but can you sing the whole show for five performances?

Talking with Kurt Hakansson (Supernumerary)

Supernumeraries (known as supers) are non-singing roles who volunteer to be a part of the show. They do it for nothing! Why?
How can you not love being in a theater like this, being surrounded by people like here? It’s incredible for you to hear, but even more for me to hear being surrounded by 40+ singers. Got started as a super years ago with La Boheme.
How does it feel being onstage with those creepy body bags?
I get to poke out the eyes and carry them around; it’s gruesome and fun.
How many shows have you been in with BLO?
This is my 9^th show. The most challenging moment is the synchronized stomp, watching David in the pit.

Talking with Marie McCarville (Chorister)
Tell us a bit about your training and background.
I didn’t realize I’d end up living in Boston for so many years. I started at Oberlin in Ohio and then moved back to NY to be near my family. I wanted to sing more, so I applied to NEC and got accepted, which enabled me to audition for BLO. And I have been a proud member of the BLO since ‘07 La Boheme.

Do you think the chorus witches are meant to be undead zombie like creatures?
The director and choreographer told us: this is YOUR show—make YOUR character whomever you want it to be, so I chose to be a sociopath who likes to wear a lot of tribal makeup, but the witch to my left prefers to consider herself to be a zombie.
Tell us about what it is like to be backstage?
It’s way smaller than you think! You look at the stage and you think it’s huge, but it’s not! This is where you really start to bond with your castmates. Especially since you see us all wearing this warm leather and undergarments, I never expected it to be so hot back there, when you have a 38-person chorus ready to jump up on stage, you really need to stay hydrated.

----------------

Thank you for all your fabulous questions! We received so many questions we didn’t have time to answer, so we’ll answer more of them over the next few days here on the blog. We hope you enjoyed the first ever BLO Exposed and look forward to hearing from you at the next intermission conversation!

You can you join the conversation:

1) Tell us YOUR BLO story. We can't wait to hear from you. (yourblo@blo.org)

2) Tweet your questions to @BostLyricOpera using the hashtag #BLOexposed

3) LIKE us on Facebook and post your question there!

Opening Night!

2011-11-09T14:38:00.000-05:00

Last Friday night marked the opening of the 2011/2012 season at Boston Lyric Opera. I was honored and excited to be a part of the evening, particularly with the opening of Macbeth at the Shubert Theatre. I think the excitement was indeed infectious as everyone dressed up in their best opera-going and party attire for the occasion.

Macbeth is a new production for BLO as well as the commemorative opening of the 35^th Anniversary Season for the company; so the evening was much anticipated. I could definitely tell that everyone was anxious to start the show and enjoy the opening night festivities over dessert and champagne afterwards at the Four Seasons in Downtown Boston.

Even though I love running a show, the real pay off comes when the curtain comes down and I talk to those who were in the audience and experienced the music and the action on the stage. It was wonderful to be able to talk to fellow opera lovers who attended the social festivities after the Macbeth opening to hear how each person reacted to the juxtaposition of Verdi’s music and story.

However, the good feedback for a stage manager comes when the audience notices the smooth run of a performance. So, not only did the singer/conductor/orchestra do their jobs well, but the stage management staff complemented their work by making sure that they could give a superb performance without distraction. That’s what makes a successful opera and opening night.

There are only three performances left! I hope to see you at the show!

--Claire

BLO Exposed

2011-11-08T16:54:00.000-05:00

An intermission conversation series designed to bring you closer to the opera

Join us on November 9 for the first installment featuring BLO Music Director David Angus in conversation with artists from Macbeth live from the stage. No need to go anywhere special—just stay in your seat during intermission and let this insider access come to you. You can even join the conversation on Facebook and Twitter.

To join the conversation:

1) Tweet your questions to @BostLyricOpera using the hashtag #BLOexposed

2) LIKE us on Facebook and post your question there!

We hope you’ll join us during intermission!

Loving that $3.50 ticket!

2011-11-06T09:24:00.000-05:00

With so many great shows playing in the Boston area, and most only playing for a week or so, it’s hard to decide which ones to see and which ones to forgo … what’s a girl to do? On Friday night it came down to two shows for my friend Regina and I, one of them being BLO’s Macbeth. When we saw on BLO’s facebook page that they were selling a limited number of tickets for $3.50 in honor of the 35th Anniversary Season we knew that was a deal that we couldn’t pass up. We arrived at the Shubert at around 6pm, nervous that there were already 35 people in line in front of us–but we made it in time! We were about 10th or so in line and were able to get excellent seats (Orch Row B, seats 9 and 11) … but couldn’t believe we only had to pay $3.50 for a ticket. With our tickets now in hand, we went to grab a quick dinner before the show and arrived at the theatre for the 7:30pm curtain, and were still amazed at how close our seats were. From our seats we were able to appreciate the intricacies of the costumes and set pieces, and really tune in to all of the action onstage. Regina mentioned how much she loved the opportunity to experience the opera at such a great price: “It was an economical, enriching choice for a Friday night and now that I have been, I will definitely attend another show." When given the option of all these great productions it is hard to know if you made the right choice, but you definitely cannot beat awesome seats to such a great production for only $3.50!

--Katie McNamara, Emerson College

Musical men about town

2011-11-04T15:02:00.006-04:00

By David Angus, Music Director

Well, tonight’s the opening of Macbeth–very exciting–and we are all winding ourselves up for a high energy performance. The Dress Rehearsal was a big success and the invited audiences were thrilled with it. First Night is always quite a nervous affair, wondering if everything will go right and if the audience will like it, but having such a good Dress Rehearsal sets us up well and means that the nervous excitement should all be positive.

Meanwhile, life goes on, and we are already getting going with the next project–The Lighthouse--in the background. We have been extremely lucky that the composer, Sir Peter Maxwell Davies, happens to be in the USA for a short tour at the moment, and is spending nearly 3 days in Boston. He lives on a remote island off the north of Scotland and is 77 years old, so he doesn’t travel to the US very often any more. He will be attending Macbeth tonight, but I spent most of yesterday with him.

We began with a visit to the JFK Memorial Library, where we will perform his Lighthouse, and we showed him around and explained why we had chosen that location. I interviewed him (you will be able to see this on our website) and we caught up with each others' news. We had worked together many years ago at Glyndebourne Opera and had also crossed paths at the Scottish Chamber Orchestra a few times. We also both studied at the Royal Northern College of Music in Manchester, and both began our careers as music teachers in schools, so we have a lot of common background.

The view of Boston from Smith Hall, our venue for The Lighthouse

Sir Peter, or “Max” as we all know him, is a remarkably sprightly man with a very alert mind, and he is highly articulate, so talking with him is very stimulating. I found out many new things about the opera, including several very spooky coincidences which you will hear about on the interview.

We visited the museum while we were there and were taken back in time to our childhood memories by all the history and artifacts of that time. It was a real nostalgia trip. When JFK was assassinated I was an 8-year-old at boarding school in Cambridge, and Max was studying over here at Princeton. We both remembered clearly hearing the awful news.

We travelled back into Boston for a lovely lunch of Scallops at Legal Seafoods, where the waiter turned out to be a Musicology Major from Harvard, who was thrilled to meet Sir Peter–what a coincidence!

The trip ended with a visit to see the set for the Lighthouse under construction in Cambridge, and to have the model explained. Everyone is very excited about the whole concept and it is really going to be a very strong show.

We finished the day with a lovely dinner at the home of Esther Nelson, our General and Artistic Director, with some VIP guests and a delicious meal cooked by her husband, Bernd. All in all, a great way to relax before tonight’s big event!

Turning back the clock on ticket prices!

2011-11-02T17:20:00.003-04:00

BOSTON LYRIC OPERA TURNS BACK THE CLOCK ON TICKET PRICES FOR ONE NIGHT ONLY IN CELEBRATION OF 35^TH ANNIVERSARY SEASON
WHAT
The first 35 people to arrive at the Shubert Theatre on the evening of Friday, November 4th will enjoy Boston Lyric Opera’s Opening Night performance of Verdi’s Macbeth for only $3.50. In celebration of its 35^th Anniversary Season, the Company is reserving 35 seats and selling them at 1976’s opera ticket prices. Tickets may only be purchased in person and in cash; first come, first served. Macbeth runs through November 13th at the Shubert Theatre.
WHEN
Friday, November 4, 2011 6:00PM – Ticket sales open; 7:30PM – Performance begins
WHERE
Citi Performing Arts Center^SM Shubert Theatre
265 Tremont StreetBoston, MA

Celebrate 35 years of excellent entertainment!

Flying with 200% concentration

2011-11-01T12:57:00.004-04:00

Music Director David Angus, photo by Michael Dwyer

David Angus, BLO’s Music Director, on the final rehearsals for Macbeth

Tonight’s the BIG one, where everything comes together for the first time.

The thing I love about working on opera is the way it grows and grows. We start preparing at home on our own, then we get together and sing it through with piano, begin to sort out the staging, gradually add props, substitute costumes, bits of pretend scenery, and bring in the chorus. The director and designer know what they want it to look like, and I know what I want it to sound like, but we have to get to know each other and work together for several weeks to make a complete picture where everything coordinates and drives the piece forward in an exciting and intelligible way.

On the side, I prepare the orchestra and then we add the singers, but this week is the exciting week, when we first try things out on the actual stage. Tonight is the “Stage and Orchestra” where all the elements are put together and we see our show complete for the first time, with full costumes, wigs and makeup, and, for me, the most exciting element that has been missing, the lighting. It is an old joke in the business–whenever you see a tatty old bit of scenery or costume, someone always says “just wait until it’s lit”, but it’s true–lighting can transform everything, give instant atmosphere, change night into day, excitement into fear, just at the press of a button.

Darren K. Stokes, Carter Scott & Daniel Sutin

Opera is incredibly expensive to put on with all these different departments working so hard, quite apart from the actual performers–soloists, chorus and orchestra, so rehearsal time with everyone together is extremely limited by cost. Tonight I will have just under 3 hours with everyone to race through the entire opera, stopping to fix anything that is wrong in the music, whilst allowing the staging and lighting to run with minimal interference. It is an intense balancing act. I have to get to the end of the opera, but I have to fix things as well, so every time I am aware of anything wrong I have to make an instant analysis of how serious the problem is, whether it will fix itself next time, or if I really have to stop, explain, go back and do it again. Performances are easy in comparison–I just have to do the show, without any analysis or decision-making.

We started planning this show nearly 2 years ago, and tonight it will all come together for the first time, and we will know if we have a great show, just a good show, or a disaster! From all the elements that we have worked on so far, it has the makings of a great show, with wonderful singing and playing, and a very strong visual presentation. In 2 day’s time, we’ll know for sure, when we have the Dress Rehearsal and add the final element, an audience. But for me, tonight is the really exciting one, when I am flying with 200% concentration in a race against time, but also when we really see our show properly. I can’t wait!

(Rehearsal photo by David Angus)

Notes from Tech Week

2011-10-31T07:09:00.001-04:00

While the rest of Boston is out donning their Halloween costumes this weekend, the Macbeth production team and cast are busy in the theatre preparing for our own ghostly and murderous event. There's no time for trick-or-treating when we're knee deep into tech week--as Claire, fellow Assistant Stage Manager explained, the most crucial time to prepare the show and bring all the scenic, prop, costume, lighting, and musical elements together.

We start the day with a lighting session dedicated to bringing the right mood to each scene. We have volunteers called lightwalkers who help us by standing in for the different characters while lights are focused. The lightwalkers are the first outsiders that not only get to look at the set, but get to climb around on it!

The evenings are our busiest rehearsals. Although we work with the crew throughout the morning sorting out details, there is a whole new set of logistics to work out once over 50 singers and actors descend on the scene. As stage managers, we are responsible for answering most of the "when," "where," and "how" questions from the cast. While the director and designers are in the seats of the theatre looking at the big picture, Claire and I are backstage relaying information and organizing the most complex moments of the show so that when the audience arrives, it all runs like clockwork!

--Courtney Rizzo, Assistant Stage Manager

Full Speed Ahead

2011-10-28T23:00:00.000-04:00

Macbeth rehearsals are moving to the Shubert Theatre! Everyone is busy at work to assemble all the pieces of the puzzle and create our collaborative Macbeth. This morning, I was at the orchestra read with our Maestro, David Angus and our principal cast. Everyone sounds fantastic and the feeling in the air is nothing but excitement for the week that lies ahead …

Loading set pieces in at
the Shubert Theatre

In the performing arts world, we call this “tech week”. Our schedules are packed with on stage rehearsals under lights, adding all of the production elements together: props, costumes, set pieces, and of course, the orchestra. All of the hard work continues as everyone is working together to produce the finished product in time for opening night. Things can get hectic, but in the end it all pays off. It takes a lot of people working very hard behind the scenes to get everything done.

My partner in crime, Courtney Rizzo (your Stage Right ASM), and I will be working to gather information about the show to pass along to the prop and wardrobe departments in order to help them understand the running of the show and which pieces get added and taken away to tell the story. It’s almost like explaining the action of the opera Macbeth to another group of people who haven’t seen what we have during rehearsals. In short, we lay out the details to everyone.

Check back for updates--we’ll be on stage with Wandelprobe tomorrow evening. Wandelprobe is the German word for when the singers “wander” the stage, marking through their staging motions, and sing with the orchestra playing from the pit.

Until then…

Claire

#internupdate4

2011-10-28T08:50:00.000-04:00

Tuxedos, floor-length gowns, champagne by the bottle…witch hats? Witches and ghouls (and even Macbeth stage director David Schweizer dressed as a devil!) attended this Saturday’s Hocus Pocus Gala. Located at the beautiful Mandarin Oriental Hotel ballroom, the Gala welcomed Boston’s opera enthusiasts--many who embraced the witchy, Halloween theme. Hocus Pocus celebrated BLO, highlighted the 2011/2012 Emerging Artists and instilled the spirit of Halloween. The night was filled with hilariously entertaining musical acts, a delicious three-course meal and most importantly, an inspiring reminder of why we all support the arts, and in particular, opera, which led to half a million dollars in generous donations.

As a BLO intern, I not only got the opportunity to attend (any excuse to wear a fancy dress!), but arrived early to help set-up the ballroom to assist my hard working colleagues. It took a lot of helping hands to transform the ballroom into a spooky, woodsy witch’s lair! Just as the place settings were perfected and final rehearsals were finished, attendees began to arrive for cocktail hour, and I had time to live-tweet the event, as well as chat with some of my BU colleagues--vocalists in the Opera Institute--who were invited to perform at the event with the Emerging Artists. At the end of the night, as the singers toasted to all with their final performance of the ‘Brindisi’ from Macbeth, spirits were high and the event was truly enjoyed by all.

The Hocus Pocus Gala was a success! Now, onto Macbeth (Student Night is only 2 weeks away!)

-- Melanie Burbules, Boston University '14

SEIZE THE POWER - OK, BUT THEN WHAT DO YOU DO WITH IT? (Part 2)

2011-10-27T08:33:00.002-04:00

By, BLO Artistic Advisor John Conklin

In the end, is what the artist meant important? The production result (not the process or even the intent) is what matters. Good artists work on many levels within themselves and often (thank God) produce work that they may not completely understand. Accepted ambiguity can provide meaning, stimulation, involvement. (It can also, of course, in less skilled hands produce uninteresting muddle.) A group of artists producing an opera on the stage creates a stimulus—the stage production. They need to commit themselves totally to the evolution of that stimulus through discussion, conceptual thinking, research, but they must, in the end, give it over to the recipients, the members of the audience. The artists in a sense lose control, but that is the glory and often the misery of being an artist. You don’t own the piece any more—your audience member now does. Is it possible for an artist to be misunderstood or misinterpreted? This is a question that goes to the heart of the artistic exchange.

Personal anecdotal case study number two: After a performance of Don Giovanni, which I designed, I was accosted by a audience member—red in the face, veins throbbing. I thought, “Oh, great, now I’m going to cause the death of an irate operagoer.” He sputtered, “I didn’t understand ANYTHING that you did in that production. Was Giovanni in a wheelchair because he had syphilis?” He went on and on. After a bit I gently stopped him gently, “Sir, you said you didn’t understand anything, and here you have just give a quite thorough and detailed explanations of what it meant—to you.” “But is that what you meant?” “That makes no difference.” (Actually his explanation of Giovanni’s wheelchair was a completely new thought for me, and in some ways a more interesting interpretation than what the director and I had discussed.) Pause. The furious red drained away. As he walked slowly away, he said, “Maybe I should go back and see this again.”

I had somehow given him permission to have his own thoughts, interpretation, to OWN the production for himself, which was his right... and responsibility. The power to take over and experience a piece in your mind is a joy and a rush. We live in culture which tells us all the time what to think and what things mean—critical reviews, experts’ comments, labels on pictures in museum which explain what to think. Fear of being wrong, fear of appearing stupid, colors people’s reactions and make them passive receptors. We as producers need to make each audience member unafraid, to give the control back to them.

Three Witches

2011-10-26T08:18:00.019-04:00

A few guests at our Hocus Pocus Gala got into the spirit of the evening!

In honor of the 2011 production Macbeth, Hocus Pocus Gala and the Halloween season, we present …

MACBETH inspired photo contests!

Want to win a FREE Macbeth t-shirt?

Here’s what you do:

1) Get a group of three friends together and pose for a picture as the three Weird Sisters from Macbeth

2) Tweet “Double, double toil and trouble… #Macbeth #BLO” with the picture to @BostLyricOpera

1) Take a picture posed in a witch Halloween costume

2) Tweet the picture to @BostLyricOpera and include a short ‘witchy’ phrase, along with #Macbeth #BLO

Not on Twitter? Post one of the above pictures to our Facebook wall along with a ‘witchy’ phrase.

This contest begins on Friday, October 28^th and concludes on November 4^th (opening night of Macbeth!) One entry per person.

Winners will be randomly selected.

Check back on ‘In the Wings’ on Tuesday, November 8^th to find out if you are a winner!

Just for fun

2011-10-22T12:43:00.001-04:00

We're counting down the hours until we begin our annual Gala, HOCUS POCUS tonight at the beautiful Mandarin Oriental Hotel. Just last night a few of our singers were preparing for an evening of fine food, performance and spooky fun. This little diddy is just one part of the evening's festivities!

(on screen: David Cushing, Nicole Rodin and Michelle Trainor)

TO THE AUDIENCE--SEIZE THE POWER (Part 1)

2011-10-21T11:17:00.000-04:00

By, BLO Artistic Advisor John Conklin

This is an excerpt from an article I wrote for Opera America Magazine. I am very interested in the "problem" of how an audience member might approach an opera performance--whether for the first time or the 50^th--whether a standard repertory piece or a new or unfamiliar work. Do you need to "prepare"? .... and if so how? I'd love to have your feedback on these questions or others raised in the article. Let's get a discussion going here. Next week, another excerpt.

With the coming of projected supertitles, the somewhat ridiculous notion of having to do “homework” before attending a foreign language opera performance should have receded. In those far-off days before titles, what was one actually supposed to do? Study a detailed but inevitably too generalized synopsis of the action (insufficient) or memorize the libretto’s text by heart (impossible)? The theatrical experience is a moment-to-moment accumulation of words, visual images, sounds, music, narrative action and psychological development given from the stage and received by any given audience member in a detailed and complicated exchange.

But with the growth of opera company education departments (ostensibly a positive development) this notion of homework has, if anything, become more pervasive. I myself have put together a number of programs designed to somehow prepare people for a production. Is this a good thing?

Personal anecdotal case study number one: I attended a performance at English National Opera of Nicholas Hytner’s production of Handel’s Xerxes. I was familiar with Handel’s stage works in general but I didn’t know at that point any of the specifics of this one. I had read no reviews, I deliberately avoided looking at any of the publicity pictures, I didn’t read the synopsis in the program or even look at the cast of characters. I was thrown into the midst of a complicated plot whose character relationships I had to work out as they came up. Plot twists, betrayals, misunderstandings were surprising, unexpected, sometimes shocking. The opera was sung in English and, this being the era before titles, you were compelled to really listen to what they were saying ... at the moment. The design and the staging were complicated, witty and allusive—unexpectedly combining Baroque elements with Assyrian motifs. In other words, there was a lot going on, but the result, rather than one of overwhelming confusion was one of the most compelling (and totally entertaining) evenings of opera I have ever experienced. Much of that engrossing delight and interest was, I think, generated by the unfolding of a surface narrative—a good story that I was receiving and understanding for the first time as it unfolded.

In the American opera world generally, a dearth in the repertory of new operas and the seemingly obsessive dependence on the “standard” repertory has led to loss of the sense of surprise, of a journey into unknown territory, of the excitement of discovery based on unexpected revelations of plot or character or idea. We have so often lost one of the basic attractions and pulls of theater—an attraction and pull that seems to live on the surface but which can draw one in deeper and deeper and lead one beneath that surface into whatever depths are appropriate and available. And this pull is the simple storytelling question—“what’s going to happen next?”

I understand how sharing a bit of the plot line might be useful in selling the opera in a brochure or advertisement, but I believe suspense, curiosity and good old-fashioned dramatic storytelling are time-honored ways of drawing an audience member in. You notice I say “audience member.” I am opposed to thinking of “the audience” as an abstract entity to be educated or performed AT. Each person is different, with a totally different and unique set of emotions, experiences that interact with the stimulus emitted by the stage and the pit to produce a totally unique event.

Confusion sets in when we think of a performance as an event that is prepared and delivered by a group of artists to a more or less passive public that more or less receives it. In the end, a theatrical event doesn’t actually happen on the stage; it happens in the mind and heart and guts of each individual audience member.

The New Girl In Town

2011-10-19T16:30:00.010-04:00

Claire Friday, Assistant Stage Manager

Boston! My first time in this big city. So much history, culture, and things to see–but first and foremost, I’m here with Boston Lyric Opera on one contract to Assistant Stage Manage on David Schweizer and John Conklin’s production of Macbeth.

Since I’m the new girl here, I should probably tell you a little bit about myself. I’m from Los Angeles and grew up a Southern California native before moving off to The University of Illinois at Urbana-Champaign to pursue my graduate degree in Stage Management with a concentration in opera stage management. (Yes! There is such a thing.) I knew that I wanted to pursue opera production and management as a career very early on while I was still in college. I currently reside in LA and work in opera stage management at various companies including LA Opera, Arizona Opera, Opera Colorado, and San Diego Opera. I grow to love this business more and more each day. I meet so many fascinating people and incredibly talented singers and musicians. Not many people can claim to have those different and creative experiences day after day. I consider it a privilege to be here working in such a unique and beautiful art form. I couldn’t see myself doing anything else.

But enough about me. Let’s talk about this ghoulish and wicked (don’t you use that word in Boston?) production of Macbeth! I’m really enjoying my first couple of weeks at BLO. Great staff, talented creative team, and fantastic vision for this production on everyone’s part. We are well into rehearsals for the show and the singers and production team are working hard to create a well-thought-out and visually avant-garde interpretation of one of Verdi’s masterpieces. I’m looking forward to collaborating with the team towards a successful production. I’ll keep you updated as we move from the rehearsal room to the stage and fit all of the pieces of the puzzle together into a beautiful, polished opera.

Cheers!

The Assistant Stage Manager on Stage Left,

Claire

#internupdate3

2011-10-13T10:21:00.000-04:00

Fall is slowly but surely starting in Boston. What I love about this season is this stark change that occurs from summer. Like the weather, we can use this new time of the year to make changes. I know most people talk about making changes or trying new things at the beginning of a new calendar year, but what’s stopping us from doing those right now? Now is the perfect time!

Something I love about my generation is the general openness to new experiences, and the desire for change. But, I haven’t seen that same openness into the arts, mainly, opera. When I tell students outside of the College of Fine Arts at BU that I am training to be an opera singer, they react with surprise, mainly because they don’t know what opera is. It’s not that these students don’t want to experience opera, but they have yet to see a production, and you can’t really know what something is until you have experienced it. The general consensus after seeing a classic opera is clear: it is beautiful music, and simply hard not to enjoy. So, try it! What do you have to lose?

If you have things you want to try or change, you can do them. Try the parts of Boston’s immense culture scene, like seeing an opera, going to Symphony Hall or visiting the MFA. If you make it a goal to experience more of Boston (like me), compile a list of places you want to see, grab your T pass and go. Don’t wait to make these changes or try new things until it’s too late; use each day as your inspiration for change!

--Melanie Burbules, Boston University '14

Office space on the road

2011-10-10T10:15:00.000-04:00

When one is on the road for auditions, one must find office space wherever it is available ...

Where do you work when you are on the road?

Spooky start to the season, indeed!

2011-10-04T11:12:00.000-04:00

The air is cooling, the leaves are falling and at BLO we are revving up for a spooky start to our season. On Sunday we explored interpretations of Lady Macbeth's madness at the MFA, Boston with our Signature Series and in just a few weeks we hold our annual Gala, Hocus Pocus, An Operatic Trip to the Dark Side. We open our 35th Anniversary Season on November 4 with Verdi's Macbeth. What better way to get in the spirit of the season??

#internupdate2

2011-09-28T08:12:00.001-04:00

I am a multi-tasker. However, I find it difficult sometimes to focus on the task at hand and avoid external distractions like Facebook, Twitter, and e-mail. The key to the most effective level of concentration is that the focus must be intense yet relaxed. I am a “whistle-while-you-work” type and right now I’m listening to Act II of Verdi’s Macbeth (which is getting me SO excited for the BLO production!) I find that a well-constructed playlist can help get the job done. Furthermore, I think opera and classical instrumental music provides a stimulating balance to ease the stress of project management.

The positive effect classical music has on the brain as one learns is well established and I find it allows me to concentrate on the task at hand. Tonal opera and classical music provides a relaxing atmosphere with the beauty of the composition itself, but does not distract my attention: it is simply an “easy” listen. Whether you are an opera buff familiar with these pieces, or someone who never considered listening to opera while working, check out a few of the pieces I find to be perfect additions of inspiration and beauty for my study playlists and everyday life!

1) Song to the Moon (from Rusalka)

2) Meditation (from Thaïs)

3) Sous le dôme épais (from Lakmé)

4) Chopin Etude in E Major

5) Ev’ry Valley (from Handel’s Messiah)

6) ANY Mozart Piano Concerto (the Allegro from No. 5 is a personal favorite)

7) Au fond du temple saint (from Les pêcheurs de perles)

8) Dove sono (from The Marriage of Figaro)

And, maybe when you complete your next big project, or cross off the last item on your to-do list, you can blast the end of “Nessun Dorma” or “Ride of the Valkyries” for some dramatic effect.

--Melanie Burbules, Boston University ‘14

#internupdate

2011-09-15T08:14:00.002-04:00

As the New Media Intern for BLO, it is so exciting to be focusing on the promotion of our season through social media and being a Student Ambassador to the community! I am eager to show why I find opera so incredible and to get everyone as excited as I am for the season, one tweet at a time (that’s one small tweet for man, one giant tweet for mankind…)

As I work, I can’t help but be distracted by the tabs I have up on Mozilla: Facebook, Twitter, YouTube…basically the standard for any college student who doesn’t want to do their work quite yet. But, Facebook is part of my job! Extended work and updates to social media sites like Facebook will be a big part of what I do here at BLO. For example, this week I added tabs to allow users to access the Boston Lyric Opera YouTube and @BostLyricOpera Twitter accounts from BLO Facebook page. It’s a small task, but it connects three of the leading social media outlets together into one. That’s what this generation is about: connection. These are “gotta-have-it-now” times, and with one click you can have news briefs, links to deals on Groupon, relationship status updates or even numerous videos of cats. The way we get our information is different than say, 30 years ago; it’s quicker, personalized and always readily available. We are constantly connected to information, and most importantly, each other, and I love it!

The need and desire for constant connection is what I think sets us apart from previous generations, and what I’m most looking forward to focusing on as a BLO intern! With access to these amazing social media outlets, what’s our excuse not to be connected? We should be connected to each other just as we feel connected to a dying heroine as she sings her last soaring high note or to solo cello during a heart wrenching interlude.

My posts won’t always be dorky rants and raves about social media, though. As a singer and enthusiastic opera listener, I am so excited to share updates/my thoughts on the BLO season, and read about yours, too! See you all at Macbeth!

-- Melanie Burbules, Boston University, 14

Tell Us a Story

2011-09-14T07:18:00.001-04:00

They say it takes a village to raise a child. It certainly takes a village to create meaningful arts experiences for children. Here at Boston Lyric Opera (BLO) we often hear stories about what got people interested in opera. Sometimes it’s a production they attended as a child. Sometimes it’s a moment that comes later, like marrying an opera-lover. Last year at BLO’s annual Open House we put up a giant wall mural with the staff members’ stories and gave guests a place to write their own memories of what got them into opera. Now we want to hear from you. Leave us a comment and tell us about the person, performance, or production that sparked your interest in the arts (opera or otherwise). All those who leave comments will be entered into a random drawing for a free Macbeth t-shirt!

Arts in Education Week

2011-09-12T08:45:00.001-04:00

“Whereas art is integral to the lives of United States citizens and essential to the health and vitality of communities and the Nation…”

Happy Arts in Education Week! In July 2010 the U.S. House of Representatives passed a resolution designating the second week of September as “Arts in Education Week.” The resolution (H.Con.Res. 275, excerpted above) was proposed and introduced by Rep. Jackie Speier from California. Representatives from all over the country supported the resolution, and many made comments about why the arts are important to the nation’s children and why they themselves cared so deeply. In light of the economic circumstances in July 2010, this gesture was not a small one, but it still takes action to make things happen.

So, how can you help celebrate Arts in Education Week? The wonderful people at the Arts Education Partnership have put together some ideas and we’d love to hear what you can think of. Leave us a comment below!

How are we celebrating at Boston Lyric Opera? Well, we will have special features on our blog and social media all week. And on Thursday and Friday we will have live updates from our Education & Community Programs Manager, Julie House, who is attending the Arts Education Partnership’s conference in San Francisco to learn about Transforming Urban School Systems Through the Arts.

By the way, if you know of a college or graduate student looking to get some experience in arts education, BLO is looking for an Education & Community Programs Intern to spend the season with us. What better way is there to celebrate?

Happy art-making!

Macbeth Research in Birnam Wood

2011-09-08T14:33:00.002-04:00

Our Director of Artistic Operations Nicholas Russell travels quite frequently for research and auditions. This week he is traveling through the UK and had the chance to visit the Birnam oak which dates back to the time of Macbeth (so the story goes). Check out the photos! First reader to name his location wins a Macbeth t-shirt!

Opera Around the World: Das Rheingold

2011-08-22T10:16:00.000-04:00

Rob Tedesco, former member of The BLO Bunch and doctoral candidate at the University of Auckland shared his thoughts on a recent production of Wagner's
Das Rheingold.

July 29, 2011

Wagner: Das Rheingold

Auckland Town Hall

On Friday, July 29, 2011, I went to a concert performance of Richard Wagner’s Das Rheingold, the prelude opera to Der Ring des Nibelungen.Wagner considered this opera to be a prelude and the remaining three operas the trilogy itself. This was not the first Wagner opera I have ever seen. It was, however, the first opera of the Ring cycle that I had seen live. I now want to see them all!

Need a synopsis?

The opera basically tells the story of how the gold from the Rhein gets turned into an all-powerful ring (if this sounds familiar, it is). Both J.R.R. Tolkien and Richard Wagner used the same Norse legend to complete their respective works. After the ring has been forged, everyone wants it. This will be a theme during the entire opera trilogy.

It was quite the performance. The opening with the leitmotifs brought back memories of the all the operas (as the leitmotifs certainly should, since they are the musical depictions of the characters). I thought the orchestra did an amazing job (considering the stage was jammed packed too). The Horns were struggling briefly (but did great overall). It was really nice to have Wagner Tubas. You don’t see them in concerts enough!!

The singers were mostly very good. The tenors were a little light. The orchestra almost covered them up. I mean, it was a concert performance of Wagner, which could happen, of course. Wotan was underpowered. I give a lot of credence to the APO for evening doing this concert since it is such a tough piece (and expensive with all the extra instrumentalists and singers).

After the concert tonight, which was after 10:30pm; the concert started at 7:30, There was a Wagner Tuba concert!! They even have Wagnerian Helmets on their heads. Great idea (how can they still be playing after a 3 hour concert I don't know). So many people came, both from the orchestra and audience. It seems they are having lots of fun. People are drinking and talking and just having lots of fun. Friends are hanging out. Who thought of having this concert genius. Wagner tubas are awesome. Next they need to do Bruckner 8!!

This was the perfect way to end the concert. I really enjoyed seeing Das Rheingold in concert. I will be even happier when I actually get to see the entire Ring Cycle myself. For all the trouble that Wagner has gotten into because of his political views, the genius of this man cannot be overstated. All four musical dramas (as Wagner called them) are a testament to Wagner’s compositional prowess.

-- Rob Tedesco

University of Auckland, New Zealand

UPDATE: MACBETH T-shirt Giveaway!

2011-08-19T17:48:00.000-04:00

Thank you to all our super-fans who shared what you love about BLO and Macbeth!

Ten lucky winners were randomly selected to win a MACBETH t-shirt.

And the winners are:

Blog alias: AF
Blog alias: Mcbeth
Blog alias: Kym Phelan Meyer
Blog alias: Kat
Blog alias: Loren Lieberman
Twitter handle: Y2000K
Twitter handle: Vnook1
Twitter handle: KnEzmom
Twitter handle: Sean_ct
Twitter handle: 88k8y

Congratulations to all our lucky winners!
Please contact marketing@blo.org to claim your t-shirt!

Stay tuned for more giveaways, contests and more!

Follow Boston Lyric Opera on Twitter.

Follow Boston Lyric Opera on Facebook.