Facsimile of Rossini's original score

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

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

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

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.

Announcing the 2012/13 Season!

Check out our 2012/13 Season! 

ROSSINIANA #22

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:

      

ROSSINIANA #21

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

Opera Expectations

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

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.

Tis the season!

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

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.

the wilder things at Macbeth

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.

Loving that $3.50 ticket!

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

Turning back the clock on ticket prices!

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!

Notes from Tech Week

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

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

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

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

OR

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!

#internupdate3

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

#internupdate2

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

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