BLO welcomes the next generation of opera-goers to the Shubert Theatre by inviting high school classrooms and college students the opportunity to attend the Final Dress Rehearsal of each production for free. On October 31, 178 students and teachers attended the Final Dress Rehearsal of Madama Butterfly. In exchange for the dress rehearsal passes, students were asked to write short reviews of their night at the opera. This year we received a number of insightful, inventive, and candid responses from students across the Boston area. One of these reviews, written by Megan Dineen, is highlighted below. 
I enjoyed [Madama Butterfly] because it was the first [opera] I have ever seen. It was interesting how there was not just spoken words, but everything was sung in Italian. Even though the story was sung in a different language it was very clear and easy to understand. Without reading the subtitles you could easily see that it was about a woman with a lot of struggles who fell in love. You could feel their pain and emotion through their tones and through the music. I was really able to connect to the characters and understand her even though it was in a different language. The live music was something different and something I really enjoyed. The music played a big role in the tone of the opera. Since the tone was constantly changing I got to hear many different tempos of music. I even liked hearing and seeing the last and final changes being made to the opera. It was almost like a backstage pass into how they put on that type of production. Overall this opera was a very interesting and educating experience. I do plan on going to more operas in the future because of this one. 
BLO would like to thank everyone who participated in this BLO Exposed event and for continuing the conversation with us post-performance here and on our social media pages! To have your questions featured here in the future, join us at a Wednesday night performance of Così Fan Tutte or The Flying Dutchman for BLO Exposed. |
| Mae West |
"I love to watch opera singers at a sitzprobe - this is a German term ( a "sitting rehearsal" )- used for a run through of the opera with the orchestra and singers. There is no stage movement - or any sets or costumes or lighting. (The same basic set up occurs at a recording session.) The singers usually sit (or stand) in a row at the front of the stage. They almost always have a music stand with the score although by that time in the rehearsal (or recording) process they certainly know the music. They are dressed as they choose - often in very comfortable casual outfits (like athletes exercising); though often oddly formal for such a basically unpublic occasion, (as if loathe to yield any hard won diva status). They seem to carry the music into their bodies - gesturing, weaving back and forth, almost dancing, revealing the essence of the musical line, and often the inner voice of their character - in a way they (correctly) never would in the context of a regular stage performance. It seems very personal, very private and often very revelatory. They are basically singing out front - and how or if or when they choose to look (or react) at each other is fascinating. The banality of the physical world around them and the workaday tools of their trade that aid them (those flimsy music stands in the Gotterdammerung excerpt seem to be barely able to standup under the passion of the singers) only serves to sharply illuminate and focus the uniqueness and complexity of the art of singing and performance in a context we don't often see." - Dr. von Lyric 
"Yma Sumac - a name that arose in conversation a while ago (what on earth could we have been talking about?) and set off some vague but tantalizing memories. I checked her out and here is part of the result... I make no claims here for anything but a deep abiding strangeness. Add Ernie Kovacs (and while we're at it "The Minute Waltz") into the mix and you have a very definitive definition of a very deep and very abiding strangeness. " Dr. von Lyric  |
| Geishas, Katrina Holden and Dana Schnitzer |
Thanks for supporting BLO, and I hope you will come see the next show! - Signing off, Dana SchnitzerYou'll never see a more dramatic performance of the scene between Tosca and Scarpia in Act 2 of Puccini's TOSCA, or a more moving performance of "Vissi d'Arte" than in this excerpt from the 1985 documentary Tosca's Kiss by Daniel Schmidt filmed at the Casa di Riposo - a retirement sanctuary for singers founded by Giuseppi Verdi in 1896. Track down the whole movie (on Amazon or Netflix) - one of the most powerful evocations of the indomitable spirit of the performing artist and unquenchable strength of music itself. A transformative delight!" - Dr. von Lyric 
Confused at first, I suddenly realized that I had stumbled on the key to a musicological mystery many decades old. Scholars have long known that Puccini used Chinese tunes in his opera “Turandot” (set in China and left incomplete on Puccini’s death in 1924). But they have been puzzled by the origins of two “Japanese” tunes in his “Madama Butterfly” (set in Japan and first performed in 1904). What I had found were Chinese sources for two major themes in “Butterfly” and a surprising connection between that opera and “Turandot.” 
Was it possible that Puccini had heard this very box in Italy and that it provided crucial inspiration for “Madama Butterfly”? 
Over the centuries there have been countless books and movies written on the allure of the Geisha. Amazon.com lists 1,188 books alone. But to Western society there is still so much confusion surrounding these Japanese cultural icons. It is a common misconception that the geisha was a prostitute. To the contrary, Wikipedia gives us this definition: Geisha (芸者), geiko (芸子) or geigi (芸妓)
are traditional Japanese female entertainers who act as hostesses and
whose skills include performing various Japanese arts such as classical
music, dance and games. 
Are Maiko and Geisha prostitutes?
More interesting links on the Geisha:
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| Backstage at BLO |
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| Backstage at BLO |
