The BLO Bunch gets a new attitude!

In light of BLO's sleek new look, The BLO Bunch now dresses to match:

Will YOU be test driving The BLO Bunch experience? Join us on May 4th to close the student series with a bang!

~ See you at the theatre ~

Backtrack: Kevin Burdette

The fabulous author of Tastee McBea joined us last week at Jacob Wirth following Wednesday's performance of Agrippina and shared her interview with Kevin Burdette, who recently played the role of Death in BLO's production of The Emperor of Atlantis, or Death Quits.

Check it out.

Why opera? Why me?

Opera can be tough.  It’s long, it’s expensive and the audience is full of older people.  Not to  mention, expensive tickets!  So, why would I want to be part of an organization that creates opera?

Opera is a vibrant art form!  It encompasses instrumental musicians, dancers, singers, fantastic sets and beautiful costumes.  This is one of the only art forms that can reach a vast audience due to the complexity of the production.  Coming from a classical music background in trumpet, opera wasn’t on my immediate radar.  During my undergraduate career, I was part of the pit orchestra for two operas and had gotten my first taste.  It was super fun to be part of the artistic experience!  I loved to work with the singers and production team, but I was focused solely on orchestral music at the time.   However, my internship with the BLO has given me the ability to appreciate the multi-faceted opera scene.  Not only is opera incredibly interesting, it expresses the human condition in a way that can touch anyone’s heart.  So, why not take advantage of the reasonable ticket prices and experience live opera today? 

- Katherine Ludington, Boston University

A Gripping 'Agrippina'

Who can get enough opera puns from Agrippina? We've selected such witticisms:

If it ain't baroque, don't fix it.

We're going for baroque.

Can you Handel Agrippina?

Is Agrippina too hot to Handel?

Seriously, the puns floweth. All this to say that Clio C. Smurro The Harvard Crimson posted a review of Agrippina titled A Gripping 'Agrippina'. Fitting, yes?

- The BLO Bunch

Opera Etiquette

Just like Jessica and her friends shared with us earlier this year in her post “Law and Order: Opera Unit," no one wants their Opera experience to be affected by what other audience members are doing around them. Most of these rules are general courtesy for any type of performance, but just in case you need a refresher, here are a few opera do’s and don’ts to ensure that you and everyone around you shares an enjoyable experience!

Do turn off all electronic devices. Cellphones, Blackberries, Ipods, Ipads, etc. Just like in the movies, the theatre, a meeting or even in church – no one wants to hear your ringtone or see your texting conversation. You should be enjoying the performance that you paid to see – your missed calls and messages will still be there when the show is over!

Don’t bring cameras or any type of recording devices. Something like this might happen…(Not really, but it should scare anyone out of trying to take videos or pictures during a performance!)

Do arrive on time. And by on-time, I mean in your seats, ready to watch the performance before the curtain goes up. However, if for whatever reason you do not make it on time, BLO does have a late seating policy: “Patrons arriving after the start of the performance may miss substantial portions of the opera — perhaps as much as the first act."

Don’t talk. Just like with cellphones, no one else in the audience wants to hear your conversation, (if they did, you would be on stage, not the performers!) so please save all conversations for the intermissions or after the performance.

Do take a break during the Intermissions – get up, go to the bathroom, enjoy some refreshments (But remember Jessica’s story, you may think your eating candy doesn’t bother anyone around you – but someone in the row behind you might think differently. Just be conscientious when eating during a performance if it is allowed.)

Do applaud! Every performer wants to hear applause, and the opera is no different. There are, however appropriate times to applaud – such as after a big aria, at the end of each act, and of course, when the singers come out to take a bow. If you are unsure whether or not it is an appropriate time to applaud, following the lead of other audience members is a safe bet. If you really want to show your appreciation, you can yell “Bravo!” for a male singer, “Brava!” for a female singer, or “Bravi!” for a number of singers, but yelling anything else is considered inappropriate.

Don’t forget to enjoy the performance! Although this list of do’s and don’ts may seem long, just remember to be courteous to others and show respect for not only the performers, but for other audience members as well. If you remember to do that, then you along with everyone around you will be sure to have a great opera experience.

Fun + Opera = 'Agrippina'

After a fun night at the opera (fun and opera in the same sentence? Who knew?) and some mingling with the BLO Bunch after the show, I have to reflect on some highlights of BLO’s production Agrippina. Overall I was pleasantly surprised by my experience at Agrippina. I knew a little bit about Baroque opera before the show  (mostly thanks to this blog), but I definitely was not expecting to laugh as much as I did. From David Trudgen’s portrayal of Nerone as a spoiled, cocaine snorting, martini-toting mama’s boy; to the girl talk scene in which Agrippina (Caroline Worra) gets Poppea (Kathleen Kim) unwillingly drunk, I was laughing, along with the rest of the audience, for most of the show.

When I wasn’t laughing, I was feeling sorry for Ottone, the one true honest character in the show.  Ottone’s aria in the 2^nd act where he learns everyone believes him to be a traitor because of a lie started by Agrippina was just heart-heartbreaking. Countertenor Anthony Roth Costanzo’s soothing voice emphasized the innocence of Ottone and made the audience sympathize with the character even more.

What stood out for me the most (fabulous singing aside, of course), was that the show took the extravagant, corrupt characters from centuries ago and made them hilariously relevant and appealing to us in 2011. From the costumes to the subtle choices made by each character, this production made this ancient story feel applicable in many ways to modern times.

Overall, Agrippina combined aesthetically pleasing sets and costumes with tremendously talented singers (who appeared with such natural ease and comic timing upon the stage) to create a refreshing take on one of Handel’s classic works.

- Katie McNamara, Saint Anselm College 

Agrippina: Tufts Daily

Emma Bushnell of the Tufts Daily reviewed BLO's production of 'Agrippina'! Check out what she has to say.

'Agrippina' offers a gripping opera experience.

Tips for Handel-ing a Baroque Opera!

With all this talk of BLO’s current production Agrippina and references to Handel, the baroque period, counter tenors and the like, there have been various opera terms thrown about in conversation that may have you scratching your head. Well if this is the case, then we’ll answer all of your baroque questions and prepare you for Agrippina!

The Baroque period generally refers to the years between 1600 and Handel’s death in 1759, and is credited as the period in which opera became a musical form. It was in the baroque era that operas were no longer strictly for select groups of people – opera became a recognized art form supported by ticket sales. Many baroque operas are comedic in nature, and were influenced by the Commedia dell’arte (or Comedy of art) type of improvisational theatre that developed in the 16^th century Italy. In the early 18^th century, two distinct types of operas were developing: the Opera Seria and the Opera Buffa.

Agrippina is an example of an Opera Seria, and refers to the serious style of opera that was considered to be the opera of the court, monarchy and nobility. When early Baroque operas combined broad comedy with tragic elements it struck people the wrong way and sparked the first of many opera reforms (out of which came the Opera Seria) . The genre made famous the da capo aria, an aria consisting of  three sections: an A section which establishes a certain tempo and mood, a B section which offers a contrasting tempo and mood, and then a return to the top (“da capo”) to repeat the A section which the singer is expected to add ornamentation.

In contrast to the Opera Seria, the Opera Buffa, which was developed parallel to the former, first used as a description of Italian comic operas characterized by everyday settings, local dialects and simple vocal writing. They usually involved the use of comic scenes, characters and plotlines in a contemporary setting, and generally had 2 acts and dealt with comic situations. The Opera Buffa used the lower male voices to exclude the countertenors and castrati so commonly used in Opera Seria.

Many operas during the baroque period engaged in gender-bending since there were roles written for castrati but they weren’t always available. The interchangeability of men and women’s voices resulted in men being cast as women (especially in parts of Italy where women were banned from the stage), and women cast as men, and a fair amount of disguises were used.  Counter-tenors (such as the ones Aggripina) are male singers whose vocal ranges are equivalent to that of a contralto, mezzo-soprano or even a soprano; usually through use of falsetto or rarely their normal voices. A Castrato is a man with a singing voice equivalent to that of a soprano, mezzo-soprano, or contralto voice produced either by castration of the singer before puberty.

Another characteristic of Baroque operas is that tragedies were typically given happy endings because operas were originally performed at celebrations – they made sure to resolve all of the plots and subplots in happy endings. As for Agrippina’s happy ending, you will have to attend BLO’s production to find out what type of ending Handel and Cardinal Vincenzo Grimani (who wrote the libretto) had in store for her!

'Agrippina' opens TONIGHT!

Boston Lyric Opera’s production of Handel’s Agrippina opens tonight!

In celebration, we thank Barihunks for mentioning members of this fabulous cast, Christian Van Horn and David McFerrin. You can follow Christian on tumblr and twitter (@VanHornCVH)

Read the post about BLO’s most recent barihunks!

Get your tickets for The BLO Bunch night – March 16.

~ See you at the theatre ~

Opera's most excited audience

While everyone (or mostly everyone) gets excited before going to see a live performance- whether it be a play, a concert or sure, even a live sporting event – I think it would be hard to reach the excitement level of a child. Children usually get excited about the smallest stuff, but giving a child the opportunity to see a performance kicks the anticipation level up even higher. If the child has never been to a performance before they aren’t sure what to expect; while for the old pros, they know the “proper theatre etiquette”.  Kids think it is just the coolest to see the story come to life right before your eyes and I think that excitement, to some extent, never leaves us.

What I’m trying to get at is that after seeing the audiences at BLO’s Opera for Young Audiences “Hansel & Gretel” these past few weekends, I realized how thrilling it really is to be able to experience an opera live. Seeing little kids unsure of what to expect walking into the show with their parents and grandparents to reassure them what exactly is going to happen made it clear to me that opera really can be enjoyed by everyone. Whether you are 7 years old seeing a show for the first time, or 70 years old and seeing your favorite show for the 5^th time, the emotions you feel in the time between walking into the theatre before the curtain rises and leaving the theatre after curtain call don’t change or fade with age. 

- Katie McNamara, Saint Anselm College

THREE QUESTIONS: Christian Van Horn

Anthony Roth Costanzo takes readers into the world of rehearsing an opera, BLO's upcoming Agrippina.

Our exalted King Claudio in BLO’s production of Agrippina is played by the stellar Christian Van Horn. Christian has appeared in many celebrated opera houses including the Lyric Opera of Chicago Opera (where he is an alumnus of the Lyric Opera Center), San Francisco Opera, Los Angeles Opera, Bayerische Staatsoper, Santa Fe Opera, and the Salzburg Festival. His roles include the title role in Le Nozze di Figaro, Raimondo in Lucia di Lammermoor, Timur in Turandot, Colline in La Bohème, Oroveso in Norma, the Sprecher in Die Zauberflöte, Nourabad in Pearl Fishers, and many others. Not only do we both play the three-name card extremely well, but we also share the same extraordinary managers. To take at look at what they do, visit them at Opus 3 Artists.

ARC

Would you say that there is one thing Handel provides you with as a singer which is distinct from any other composer?

CVH

I would say that Handel really lets you explore a LOT of colors in the voice. The light orchestration allows for a huge dynamic range, rather than just sheer volume. I would say that basses RARELY get to sing pianissimo, and Handel leaves room for that -- especially in the recits.

ARC

You play King Claudio in BLO's Agrippina; is he a good guy or a bad guy and how do you communicate that either vocally or dramatically?

CVH

Claudio is a GREAT guy, even if a bit promiscuous.  As soon as anyone becomes Ceasar his days are immediately numbered. This is not lost on Claudio, and so he is definitely living for the moment. His heart is good, despite his lack of fidelity. After all, Agrippina (his wife) does not exactly make it easy for him to be faithful to her. Vocally, I think Claudio must be very powerful -- at times. He needs to make it clear who the boss in the room is, especially when there are many characters present. Claudio's softer side must also be represented but can really only appear one on one -- with Lesbo, his confidant, or with one of the ladies. 

ARC

In your experience thus far, what's the most fun thing about being a bass-baritone?

CVH

The best part of being a bass-baritone is the characters we get to play. While the tenors and baritones usually get to play the love interest or hero, the basses and bass-baritones generally get to pull the strings and make everyone dance! We often get to play very old men, which presents a fun challenge; and, the "bad guys" are always low voices. Nothing is more fun than playing a bad guy! Also, there are very few operas that don't require a bass-baritone -- which from a practical standpoint is fantastic.   

To read more about Christian, visit his website, www.christianvanhorn.com

Opera at Brown University

It’s been a few weeks since last we met, but the opera never stops! I wanted to write about what I've been up to lately. Most of it involves my two favorite things, opera and my peers:

Student Dress Rehearsal of Nixon in China at the Metropolitan Opera—you haven’t lived until you’ve eaten a brown-bag lunch sitting on the floor of the Family Circle lobby (waaaay up in the nosebleed seats), surrounded by young people all doing the same.  I took the bus down from Providence to NYC and back (all in one action-packed day) to attend a special free student dress rehearsal, for undergrads and third-graders alike. Nixon in China is nothing short of spectacular, and also a very important work for modern opera. I actually didn’t mind sitting so high up, because the visuals were so striking from a distance—the large clumps of brightly-dressed chorus members seamlessly converged and melted into other formations during Pat Nixon’s tour of the Chinese countryside in Act II.   I could also really appreciate the immense size of the stage when characters appeared alone. I was psyched to hear Kathleen Kim (APPEARING AS POPPEA IN BLO’S AGRIPPINA) sing “I am the wife of Mao Zedong.” This is one of my favorite arias of all-time—the piece teeters on the brink of madness, and contains very difficult coloratura. Ms. Kim nailed it. 

Rehearsing for Die Fledermaus! I'm directing an entirely student-run production of J. Strauss's classic operetta. We’re two weeks out from opening night, which is exciting and terrifying. This show is bigger than any production I have directed before, even in terms of sheer numbers (20 cast, 25 orchestra, at least 15 production staff)! We've begun rehearsing with the orchestra, which is terribly exciting--the feeling of singing accompanied by such a rich sound is truly magical. Rehearsal has been a ton of fun so far—we’ve had all-cast waltz lessons and clown workshops, vocal coachings and improv work, and we’ve hammered out the blocking.  It’s great to work with such a diverse group—there are freshman playing leading roles, and performers entirely new to opera.  It’s also challenging to work with singers who are superstars in other fields as well—my lead soprano is presenting at an anthropology conference over tech weekend! I’m really excited to see it all come together.

See you at Agrippina!

- Audrey Chait, Brown University

THREE QUESTIONS: Gary Thor Wedow

Anthony Roth Costanzo takes readers into the world of rehearsing an opera, BLO's upcoming Agrippina.

Our brilliant conductor Gary Thor Wedow is unique in his sensitivity, skill, and knowledge of early music. He also has a seemingly bottomless treasure trove of wonderful historical anecdotes that inform the way he crafts opera. Gary went to graduate school here in Boston at the New England Conservatory of Music where he studied with John Moriarty. Later, he was the Associate Conductor of the Handel & Haydn Society. He has conducted an enormous amount of early music: Cavalli, Monteverdi and of course Handel -- no less than 9 Handel operas for New York City Opera, Juilliard, Seattle, and Miami, among others. Next, Gary returns to Seattle to conduct Magic Flute, and then goes to Wolf Trap for Wolff Ferrari's Le Donne Curiose. Gary began our interview with his characteristic exuberance saying that, “It's terrific to come back to Boston where I got a great beginning to a very happy life and I’m so glad to be working with such a dynamite cast in this beautiful and genuinely funny production.”

ARC

Can you explain the fabrication, function, and feeling behind the ornamentation in Boston Lyric Opera's production of Agrippina?

GTW

Ideally the ornamentation comes from the emotional heart of the drama, outlining and embroidering the line both dramatically and melodically.  The character, during the course of the aria goes through an emotional journey and upon the return to the beginning of the aria, their inner life is transformed, so the ornaments reflect the transition or intensification of their emotional life through melody.  There are the 'essential' ornaments: the appoggiatura or leaning note, the messa di voce or spinning out of the note and the trill or warbling, shaking of the voice. Then there are the 'divisions' which divide up one note into many.  Handel's singers (as today's) spent hours training and practicing patterns. As you know, the ornamentation should come from the singer and our beautiful cast has all shaped their own ornamentation.

ARC

We were talking the other day about Handel's life and how it had an impact on his music. Can you speak to the intersection of life and art in Handel's oeuvre as well as in any musician's life?

GTW

Handel for a long time was deified with the virginal morality of the saint. Though he was certainly the composer of heavenly music, his personal life seems very human and emotional. Here is an immensely talented young composer who gets into a quarrel with a fellow composer (Matheson) over who should play the harpsichord in an opera and challenges him to a duel. Later, he becomes the center of a group of wealthy patrons in Italy who were probably gay and where he was known as the Saxon bear; the same circle of intellectual artists surrounded him in London. I feel the evidence points to him being gay and he had a passionate nature and knew well the value of his great gift. I feel an intense responsibility to infuse this music with deep emotion, plugging into primitive and deep wells of primal feelings. Handel felt these emotions first and we recreate and experience these passions ourselves, along with the audience. That's music.

ARC

How do you balance the exigencies of the director, singers, orchestra and administration while trying to craft your take on an opera?

GTW

Bernard Shaw said that opera was an art form which tried to combine five art forms, which is four art forms too many. Everyone feels that their corner of the opera is the most important, and of course they are right because opera needs all of these elements. Music is the heart of opera and if you take good care of your heart, the body is healthy. Opera is all about people; I love people and love working with them, learning from them.  Everyone wants to perform at their optimum, so if you enable people to do their best work, you can fulfill your vision of the opera at the same time.  I'm incredibly grateful and excited to be working on this beautiful opera.

Measure your pleasure

You are invited!

The BLO Bunch attends Boston Lyric Opera's Agrippina, a "fun, sexy" opera.

Never attend the opera alone again.

Don’t miss the next event with The BLO Bunch.

 Join The BLO Bunch following the March 16th performance of Agrippina for a students-only reception generously hosted by Jacob Wirth

When: Wednesday, March 16, 2011 at 7:30pm

Where: After the performance at the Citi Performing Arts CenterSM Shubert Theatre (265 Tremont Street), 

head over to Jacob Wirth (37 Stuart Street) to meet up with other members of The BLO Bunch and 

keep the conversation alive!

Bonus: sneak backstage and follow Counter Tenor Anthony Roth Costanzo on the blog!

~ See you at the opera ~

THREE QUESTIONS: Crystal Manich

Anthony Roth Costanzo takes readers into the world of rehearsing an opera, BLO's upcoming Agrippina.

This is the first in a series of posts entitled "Three Questions" where I ask collaborators from the Agrippina team about art, life, and everything in between. My first victim is our production's assistant director Crystal Manich. Crystal, an accomplished director in her own right, just finished helming Handel's Rinaldo for Pittsburgh Opera. She has directed nationally and internationally and received praise from The New York Times and The Wall Street Jouranal, among many other publications, for her extraordinary work. In addition to her engagements as a director and assistant director, she is the co-founder and co-artistic director of Opera Omnia, a company which produces baroque opera. I asked Crystal to elucidate the process of bringing an opera to life:

ARC:

You've just come from directing a Handel opera and will be working on another this summer; while this composer's unique dramatic format is not new to you, does Agrippina represent any firsts, big or small?

CM:

What makes Agrippina unique is the way that Handel writes comedy. The thought that Handel put into deciding whether a text is serious or not is all based on how he sets that text to music.  Musical setting also effects whether a character is telling the truth, lying, flirting, or becoming murderous... the range of possibilities is endless.  Also, as with all Handelian operas, the singer has so much control with regard to the delivery of a line during the recitatives.  One small adjustment, emphasizing a word in one way rather than another, makes all the difference in the world.  Then, of course, one has to consider the physicalization of this text: it's a lot of work!

ARC:

In your experience what role does the atmosphere of rehearsals play in the final product? Can you give us an example?

CM:

Atmosphere in the rehearsal process is essential for the success of a show.  No question.  There is an amazing connection that people build naturally.  Usually it takes less than three days of rehearsal before you feel as if you have known everyone for a long time.  The work is very intimate.  If for some reason there were to be a bad relationship between one person and another, no matter on what side of the stage they work, the performance would be greatly affected.  A positive and nurturing atmosphere guarantees a team effort onstage as well as cohesive storytelling.

ARC:

As a director, do you feel you have a role in changing the face of opera or do you feel there is no change necessary? In creating productions, how can we keep opera alive and relevant?

CM:

I think that opera is just like any kind of live performance: it is always morphing.  That's what good art should do.  When it stops being spontaneous, then it isn't art anymore.  Why would we want to repeat the same staging techniques over and over again?  Puccini (as just one example) wasn't afraid to change the form, so why should we be?  With regard to creating productions, I don't believe in "relevance."  These works survive because there is something universal and true in their stories that is not specific to any time or place.  These are stories about people just like us.  I truly believe that if you present real human relationships onstage--all of the time--then it will always be relevant despite the "style" or time period in which it is set.  It's only when there is dishonesty that it becomes a mere museum piece.  An emperor is a human.  A man who has had his heart broken is no stranger to us.  The greed that is so prominent in Agrippina is recognizable in many aspects of society today.

To read more about Crystal, visit her website: crystalmanich.com  

Backstage with Anthony Roth Costanzo

Anthony Roth Costanzo

Hear from countertenor Anthony Roth Costanzo, featured in BLO's upcoming production of Agrippina (as Ottone). Countertenor Anthony Roth Costanzo began performing professionally at the age of 11 and has since appeared in opera, concert, recital, film, and on Broadway. Anthony will share backstage insights from rehearsals and the life of a singer working for BLO. Email theblobunch@gmail.com with your questions for Anthony!

DA CAPO

The da capo aria is the structural foundation and the emotional heart of baroque opera, and there are no fewer than 16 in Boston Lyric Opera's upcoming production of AGRIPPINA. Da capo translates literally from Italian to mean, "from the head" or, "from the top", and refers to an aria in which there is an A section, followed by a B section, and then a return of the A section (hence, "from the top"). In the recap of the A section, it is customary for the singer, conductor, or both to come up with ornaments and decorations to embroider the original vocal line. In Agrippina rehearsals, as we begin the process of staging this parade of da capo arias, I have been thinking (beyond ornamentation) about the ways in which this strict formal construct can be rendered both extremely human and psychologically revealing. It is easy to construe these arias as undramatic in their repetitiveness, or antiquated in the way they approach narrative. However, through our work with conductor Gary Thor Wedow and director Lillian Groag, we have all been developing the journey of each individual da capo within the context of our characters' arc throughout piece. What I have come to realize is that our minds often work in da capo fashion. For example, the equivalent of an A section in real life might be the thought, "I can't believe this is happening to me". The first time we have this thought, it might be with a sense of trepidation. But our minds, especially in this day and age, rarely stay focused on any one thought for too long... and that is where life's B section comes in: "This morning's bowl of Cracklin' Oat Bran really put me in a good mood." Inevitably, we return to the original thought, but now with more perspective and perhaps a slightly different take. Instead of trepidation, we think with cautious optimism, "I can't believe this is happening to me". We could easily have two dozen such da capo episodes in any normal day, let alone a day when our world is turned upside down, as in Agrippina. Thinking of it this way, I realize that Handel is coloring our internal human processes with his prolific musical ingenuity. I encourage you all to come see how the psychological progression of each da capo aria plays out.

STAY TUNED: More behind the scenes musings, interviews, photos, and gossip to come.

- Anthony

Comedy & Irony: 'Agrippina'

Caroline Worra

Let's take a look at the BLO's upcoming production, Handel's Agrippina. The libretto, by Cardinal Vincenzo Grimani, describes the Roman queen Agrippina (CAROLINE WORRA) trying to secure the throne for her son, Nerone (DAVID TRUDGEN).  What happens next is a story full of comedy and irony. 

David Trudgen

Grimani's libretto is full of irony, which Handel reflects in the music (sometimes by having the music completely at odds with the text). His settings sometimes illustrate both the surface meaning, as characters attempt to deceive each other, and the hidden meaning of the text. For instance, in her Act I aria "Non hò che per amarti" Agrippina promises Poppea (KATHLEEN KIM) that deceit will never hurt their new friendship, while tricking her into ruining Ottone's (ANTHONY ROTH COSTANZO) chances for the throne. Handel's music illuminates her deceit in the melody of the piece and minor key tonal scheme, while a simple, emphasized rhythmic accompaniment hints at clarity.

In Act III, Nerone's announcement that his passion has ended and that he will no longer be bound by it ("Come nubbe che fugge dal vento") is set to bitter-sweet music which suggests that he is deceiving himself. In Ottone's "Coronato il," the agitated nature of the music is the opposite of what the "euphoric" tone of the libretto suggests. Contrasts between the force of the libretto and the emotional color of the actual music would develop into a constant feature of Handel's later London operas.

- Rob Tedesco, University of Auckland

Check your expectations at the door.

The show had closed, I was still reeling in my seat, and finally the lights went back up. As my friend and I started packing to leave, I felt a little apprehensive. Usually I would immediately leave to start my long, arduous trek back to campus. But tonight was different—the club 28 Degrees beckoned me.

I didn’t know what to expect. Was it going to be a dance club? Get down on the floor with Harlequin and Death? I was hoping to keep my horrifyingly embarrassing dance moves to myself, and vowed to keep myself from venturing too far away from my seat. But when I got there, the atmosphere was not what I expected.

Instead of a bumping dance party, or a coalition of highly mature and arthritic septuagenarians (the demographic traditionally thought of as the average opera patron) what I found was a group of like-minded young adults, sophisticated in taste and passionate about opera. No one was like to shirk in the corner or try and hide from the crowd. I’d made a couple friends when I was at 28 Degrees, enjoying my complimentary hors d’oeuvres, and chatting up the patronage and even the actors. I talked about the show we’d all just seen, the nightlife in Boston, favorite Disney movies, best types of eyeliner. No subject was bane to the cosmopolitan group of theater-goers. I had a great time, enjoying my talks with talented and

As I left the club, what I’d really experienced started to hit me. This was the generation of arts patrons that were going to keep the opera tradition alive. These young, driven, passionate and sophisticated people are what the opera needs. And with their help, shows like The Emperor of Atlantis can still be put on. I’m glad to have met with them and can’t wait to see them again after Aggripina.

- Sujin Shin, Brandeis University

Hello! Hello!

If you missed The Emperor of Atlantis, or Death Quits, I am truly sorry for you.
 

Allow me to make you feel worse via this review.

Weeks later…I’m still thinking about it. THAT’s how good it was… ;)
 

Prior to viewing the production, I knew quit a bit of the history behind the work. Ullmann and Kien were both captives in the Theresienstadt concentration camp, where many of the “privileged” Jews were moved.  These “privileged” included a host of composers, instrumentalists, artists, writers, and intellectuals. Though the Holocaust brought an immense darkness, Terezin brought an immense light. Despite the horrors around them, these artists created works that would not only surpass time, but would be the successors of their death.

Such is the case of Ullmann and Kien who were both killed in Auschwitz.
 

This new BLO production is a testament to the power and legacy of their work. This new production of The Emperor of Atlantis, or Death Quits, was in a few words brilliant, witty, and breathtaking. But, when it comes down to it, I cannot really describe the experience, how empowering or unique it was. There was comedy, drama, love, and sweet bliss and relief.
 

The rundown:
Singers – Every single singer/actor was brilliant. Bravo and brava to all!  Notables…

o       Kevin Burdette was, as put by fellow cast member John Mac Master, the “Jim Carrey of Opera Theater”. Funny, frightening, and awe-inspiring, Mr. Burdette was truly a presence to be reckoned with in this production. As Death/Loudspeaker, he really set the tone at times to how the audience should feel.

o       John Mac Master’s role as Harlequin very much reminded me of Pierrot, the sad clown of the comedia dell’arte stock. He played the role well, with a constant sarcastic twist on his humor. However, there is one eerie “It” moment, when he sings a lullaby, which in the context of the doom and gloom just gives one the chills.

o       Jamie Van Eyck…purely charming. She was commanding as the Drummer, boldly following Emperor Overall. Her character could inspire a mass, convincing anyone to do anything she wanted. Much like Death, her sharp, prcise marches ruled the stage. She was the eyes, ears, and arm of the Emperor, and Van Eyck made it clear in her bold and precise performance

The setting – Confused…in a creepy-good way. From the moment you entered the theater, the experience was in motion. Ushers (who were actually supernumeraries to the show), never ceased in repeating this marvelous line: “Welcome to our performance. We are sorry, but our venue is under repar. What is your name?” If that didn’t unsettle you, walk into the theater. It felt like walking into a body bag. The entire room was “under repair”, covered in plastic sheeting, dangling wires, and it seemed to be emitting strange noises from everywhere.

He would have loved it...

The sets were also very “improv”, made out of various parts and pieces of junk or “stuff”. Also, nothing was hidden. There were no blackouts for scene changes. It was all left for you to watch.

Honestly, I could tell you everything about this opera, but it just wouldn’t do the production justice. At the core of the opera was this: the message of tyranny, murder, deceit, humanity, and escape from pain. Imagine a the torture of pain, of not being able to die! How terrible it is that someone could feel so much pain, that death is the only way out, but it is not there! This was the reality for some of the Jewish people held in concentration death. By the end of the opera, Death says it the best. “I do not bring pain…only relief from pain.” That moment, when Death takes back his job, is the most haunting moment. To see Death in action is actually beautiful. It is freedom.
 

This production will have life. If you ever see this BLO production being put up at Boston Lyric Opera again, or else where, please see it. It will certainly change you (ESPECIALLY if you have not seen opera). 

Don’t miss out on another “shoulda been there moment”.

xoxo,
Jessica Trainor, Boston College

Welcome to our performance

“Welcome to our performance. Our venue is under repair. We apologize for any inconvenience.”

The venue was like Disney World, like a creepy, under-construction version of Disney World. Complete with “friendly” ushers lining your path in, repeated a mildly unsettling monologue over and over to each person, the theatre was topped off with a solid covering of plastic-wrap and scaffolding and ladders about the stage, obscured by black and red banners. It was like something out of the Alan Moore-inspired movie V for Vendetta, and I knew I was in for a show unlike any other.

The Boston Lyric Opera’s production of The Emperor of Atlantis, at the Calderwood Pavillion on February 02, 2011, was a tribute to both the heroic men who devised it as well as to contemporary triumphs in the world of opera. Utilizing lighting and media, unconventionally unfinished set design, and haphazard costuming to turn a few heads on the runway, the holocaust opera became an entirely new animal to those who may have seen it before, and to those who haven’t, an entirely new animal compared to what they thought it might have been.

Hello Hello! Bravo Bravo!

- Bryan Cardillo, Boston College