By Alexander Neef, General Director
In case you missed it, read Alexander's European Summer Festivals: Part I.
As in Bayreuth, seeing colleagues from the cultural world mixed nicely with wonderful opera at the Festival d’Aix-en-Provence. When you travel alone, it’s really nice to meet people you know at the theatre in the evenings, so I was very grateful to the people in the festival’s protocol office. They kindly sat three lonely travelers together for three nights: me, Jonathan Friend, the Metropolitan Opera’s artistic administrator, and Catherine Pégard, the President of Versailles (who I knew during my time at the Paris Opera when she was the cultural advisor for the Président de la Republique.)
I was pleased to see Robert Carsen’s new Rigoletto in the Festival’s outdoor Théâtre d’Archevêché, which has been set up in the courtyard of the old archbishop’s palace. Robert has set his new production in a circus, which suited the outdoor setting extremely well.
Evening in Aix-en-Provence
Over at the indoor Grand Théâtre de Provence, Patrice Chéreau’s Elektra was the Festival’s event of the season. Chéreau’s attention to detail and intensity of his direction create one breathtaking moment after another. Esa-Pekka Salonen conducting the Orchestre de Paris was Chéreau’s equal in every way. One member of the fantastic cast was our own Adrianne Pieczonka, memorable in her role debut as Chrysothemis. If you are interested, I believe the Festival has made the production available online for a period of time. Try to watch it if you can.
I especially wanted to go to Aix this year as it’s my last chance to see our co-production of Don Giovanni before it comes to Toronto. I have now seen it three times – at its premiere in Aix in 2010, and in Madrid this past March with Russell Braun in the lead role. Each time I see it, I appreciate its qualities and intelligence more. Tcherniakov’s vision is so specific and so consuming that it demands total commitment from the cast. It requires an equal commitment from its audience, but it’s a truly mesmerizing production, one that, I am happy to report, was very successful with the Aix public.
From Aix, I flew to London for two nights at Glyndebourne and two nights at the Proms. Going to Glyndebourne is a whole ritual. You board a train mid-afternoon in downtown London, with people wearing long gowns and tuxes, carrying their picnic baskets. Dinner is eaten on the lawn both before the show and during the 90-minute intermissions.
Pre-show at Glyndebourne, and, no rain!
Although I admit that my fondness for French baroque opera is limited, I did make a point of seeing Rameau’s Hippolyte et Aricie. William Christie and his Arts Florissants were frequent collaborators with Paris Opera when I was there, and it was lovely to see them again. They are simply the best at this repertoire. In addition, I was happy to see an old acquaintance of mine from the Rurh Festival, Stéphane Degout, as a wonderful Thésée.
I returned two nights later for a delightful production of Don Pasquale, and loved getting a chance to see Alessandro Corbelli in the title role. Not only is he a born comic actor, he also perfectly inhabits every nuance of the Italian text. It was really a masterclass in how an opera buffa should be performed.
When I put this trip together, my plan was to create my own personal Ring Cycle by seeing the first two, Das Rheingold and Die Walküre in Bayreuth, and the final two, Siegfried and Götterdämmerung at the BBC Proms in London’s Royal Albert Hall. I’ve never been there before, and it was an amazing experience! The tight attention of 6000 people listening to Wagner’s work in the vast space – with no amplification! – created some palpable excitement which inspired the amazing casts.
Conductor Daniel Barenboim has been working with the Berlin Staatsoper for so long that the communication with his musicians is almost intuitive. It’s unbelievably impressive, and they play like gods! His total command of every detail and the overall architecture of the piece is absolutely astonishing, and the dramatic urgency he created was masterful. Not a single bar of the piece felt without purpose and, above all, his reading was infused with a visible, deep love for Wagner’s music. It was as good as anything I have heard live or on record. In fact, the Siegfried was probably the best performance of a Wagner opera that I’ve ever heard.
Here’s the curtain call after Götterdämmerung.
Photos: (top) Alexander Neef; (middle)Aix-en-Provence; (middle) Glyndebourne; (bottom) Curtain call at the BBC Proms production of Götterdämmerung, 2013. Photo credits: (top) bohuang.ca; (middle, bottom) Alexander Neef.
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By Meighan Szigeti, Associate Manager, Digital Marketing
Like Wagner's Die Walküre before it, Puccini’s La Bohème is one of those popular operas that seeps into our pop-culture subconscious. Many audience members who are new to opera might hear a duet or an aria from La Bohème and suddenly exclaim “oh THAT’S where I’ve heard that!” or “That was in Moonstruck?! Wow, I need to become more cultured.”
Well, that last point may not be the case... but if you find yourself wondering if La Bohème is well represented in TV and movies (aside from Rent, let's focus on the lesser-known references you may have missed), here are a few examples of where you have have seen Puccini’s most-performed opera referenced by other pop-culture creators:
It took The Simpsons almost 19 seasons to do it, but in episode 402, opera finally makes a significant appearance! In "The Homer of Seville" episode, Homer finds himself unexpectedly acquiring new operatic singing abilities after an injury — but only when he’s lying down. His singing impediment does require a bit of a rewrite of the libretto (“Rudolfo, why are you lying down?” “I hurt my foot.”), but Monty Burns (General Director, Artistic Director and founder of the Springfield Opera) doesn't seem to mind. Even opera stars like Plácido Domingo, or “P Dingo” as he calls himself, made an appearance in that episode and Homer became an opera star — for a short time.
There may have been a few rewrites...
Nic Cage and Cher in front of the Met in Moonstruck.
Remember Moonstruck? It’s easy to think of the famous “Snap out of it!” scene, but Moonstruck uses opera and La Bohème to illustrate a heartbreaking and even illicit passion between Nick Cage’s character Ronny to Cher’s Loretta. (If you don’t remember — in short, Loretta is engaged to Ronny’s estranged brother Johnny, a very operatic plot-line.) As Loretta watches Mimì's heartbreak unfold, her own heart breaks as she realizes her connection to Johnny is a love she also must leave behind. (Trivia time! The opera scene was shot in the Elgin Theatre and the Mimi and Rodolfo on stage are played by Ensemble Studio grads John Fanning and Martha Collins!)
"Listen, under the pillow I left my pink bonnet."
"Se vuoi, Se vuoi" (It's yours, it's yours)"
"Keep it as a memory of our love."
"Addio, addio senza rancor." (Goodbye, no regrets).
Talk about a meta-heartbreak scene.
Kate and Leopold
“Why yes, this is my time-travelling steed…”
Not exactly the finest of movies, but even La Bohème has its place in this cheesy romcom. Kate and Leopold is a story about a time-travelling Duke (Hugh Jackman) from the 19th century who winds up in the 21st century and falls in love with a cynical 21st century woman, played by Meg Ryan. Yes, you read that right. However, by using his knowledge of La Bohème, Leopold schools a rival for Kate’s affections, correcting Kate’s arrogant boss in his many mistakes when talking about Puccini’s masterpiece (though here’s some movie trivia for you: according to moviemistakes.com, Leopold was from 1876 — twenty years before La Bohème even premiered. Maybe he read a little bit of Murger's La vie de bohème, which inspired the opera?) But, oh well, he showed up his lady love’s jerky boss and subsequently won over the girl!
As you can see, references to La Bohème are everywhere. Another favourite? When "O Soave Fanciulla" is used in a key scene in Atonement. But did you also know the music from La Bohème was also used in action movies Deep Impact and The Deerhunter? What are your favourite pop culture references for La Bohème? Let us know in the comments!
You can learn more about our fall production of Puccini's oft-referenced opera here.
Photos: (top) Simpsons, 2007. 20th Century Fox ;(middle) Simpsons, 2007. 20th Century Fox; (middle) Moonstruck, 1987. Metro-Goldwyn-Mayer; (bottom) Kate and Leopold, 2001. Miramax Films.
Posted by Danielle D'Ornellas / in La Bohème / comments (0) / permalink
By Vanessa Smith, School Programs Manager
While it’s true that every child is different, there is one thing about children that stays pretty constant - they’re always on the move! Running, playing, dancing, fidgeting – movement is always present in their bodies and minds. When tackling a subject like opera, which can be difficult and foreign to younger students, it’s good to “start from where you are” – in this case, we decided to start by getting moving!
About a year ago, Howard Park Junior Public School approached the COC education and outreach team to discuss ways to give their entire school an opera experience. In consultation with the school’s Arts Council and teachers, we came up with a plan to teach sections of the dance curriculum through opera workshops this spring. Each class, including both French immersion students and English students, would participate in two to three workshops over the course of three weeks in March and April.
Music teacher Wendy Spademan worked with the students in their music classes to get them familiar with the music, plot and characters of the operas. French classes learned about Ravel’s L’enfant et les sortilèges, while the English classes explored Dean Burry’s The Brothers Grimm, which they saw in the fall as part of the Glencore Ensemble Studio School Tour. COC artist educators then visited each class, from JK – Grade 6, to explore the operas further.
Artist educator Meara Tubman-Broeren leads a kindergarten class through a movement exercise.
Artist educators Meara Tubman-Broeren and Sarah Joy Bennett took the students on a journey through each of the operas using movement, drama, and dance. Students played dance tag, created character bodies, explored how emotions are tied to movement, depicted characters in the operas by creating statues and tableaux, and explored the connections between storytelling and music. It was very evident that the students were having a great time during the workshops, and you could also see how they were thinking about and connecting with the work.
Artist educator Sarah Joy Bennett helps a group of students shape their tableau.
Students pose as statues of various emotions during their workshops.
In the video below, Wendy and Meara explain a bit more about the process and why Wendy wanted to expose her students to opera.
In total, the COC ran 69 workshops as part of this project, and helped introduce approximately 550 students to opera. The best part is how much the students enjoyed it! Programs like these help to ensure an appreciative opera audience in the future. Thanks to Wendy, Meara, Sarah Joy, and the parents and students at Howard Park. We can’t wait to see these students at an opera performance in a few years!
Vanessa Smith is the COC's School Programs Manager. To discuss bringing opera workshops to your school, give her a call at 416-306-2392 or send an e-mail to firstname.lastname@example.org. Further information on our Education & Outreach programming can be found at coc.ca/Explore
Photos: All photos by the COC.
Posted by Danielle D'Ornellas / in Education / comments (0) / permalink
Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001