Throughout this series, countless operas have been given the title of an "opera that changed my life." An art form such as opera, that is so diverse in terms of artistic output, is going to appeal to people in different ways. Here is the next instalment in our blog series that explores the moments when normal people became opera lovers.
I am 81 years old. I hated opera until the time that I was 17 or 18 years old. To me, it was just loud noise and screaming. Then, my best buddy lent me his recording of Turandot and said, “Try it, you'll like it.” I did, and it is still my favourite opera. But, more than that, it introduced me to a new and magnificent world of music. However, I still do not care much for Wagner, with one or two exceptions.
Above: a recording of Franco Corelli singing "Non piangere, Liu" from Puccini's Tosca.
Something lasting I took away from [Die] Meistersinger [von Nürnberg]: embedded in enchanting music, that without respect for the wisdom of the old, it is very hard to create something new.
Above: a recording of the overture to Wagner's Die Meistersinger von Nürnberg by the Vienna Philharmonic, conducted by Sir Georg Solti.
Banner image: A scene from Turandot (COC, 2004), photo by Michael Cooper.
Posted by Tanner Davies / in TOTCML / comments (0) / permalink
For those who are fortunate enough to have been exposed to opera from a young age, the connection often lasts a lifetime. Here is the next instalment in our blog series that explores the moments when normal people became opera lovers.
As a young girl growing up in the Lower East Side of NYC in the 1940s, I was fortunate to have a teacher who convinced my parents to let me take the test to attend the Hunter College High School junior high program that would lead into the high school. While there, a student teacher from the college came to my music class and sang the arias from Aida. I had wanted to sing since I was very young and even told my aunt at the age of five that I would be a singer. When I asked the young woman which high school she attended she told me it had been The High School of Music and Art. I was determined that I would attend there and began the preparations. When my parents wouldn’t sign the papers necessary for me to take the exam, I signed them myself and after the test I was accepted.
I have sung for the rest of my life and credit Aida for my good fortune. I was even a regional finalist of the Metropolitan Opera National Council Auditions and have had church and synagogue jobs, sung opera leading roles with the Rochester Opera Theatre, and with the Pittsburgh and Syracuse symphonies.
Aida changed my life, and all for the better!!
World War II was not long over when an Italian opera company came to Australia. My father met one of the tenors (Plinio Clabassi) who gave him two free tickets to Madama Butterfly. My mother, who had seen Toti Dal Monte in the role, took me, aged 10, to the performance that enchanted and imprinted me on opera for the rest of my life. It wasn't a major opera company, but I still remember the names of the principals: Aldo Feracucci was Pinkerton, Mercedes Fortunati was Madama Butterfly, Maria Huder was Suzuki, and the conductor was [Manno] Wolf-Ferrari. I have "Googled" the singers' names in vain. The entrance of Madama Butterfly remains as one of the most beautiful scenes in opera that one could ever see and hear. Since that Madame Butterfly so long ago, opera has been one of the lights of my life.
Photo credits (top - bottom): A scene from Madama Butterfly (COC, 2014), Sondra Radvanovsky in Aida (COC, 2010), (l) Elizabeth DeShong and (r) Kelly Kaduce in Madama Butterfly (COC, 2014), Photos: Michael Cooper.
Harry Somers’ Louis Riel is the epic presentation of an intensely contentious moment in Canada’s political history dramatizing the story of the Métis leader, Louis Riel, and Canada’s westward expansion, while also being a landmark work in the canon of Canadian opera.
In reviving the opera for 2017, the COC/NAC co-production confronts the traditions and demands of an art form that make Louis Riel a dynamic and compelling opera and its collision with the voice, culture and representation of indigeneity. This production uses historical research and multiple community perspectives to expose the lines between truth and mythology and co-existing perspectives of settler and indigenous stances as Riel’s story is told and retold.
“The challenges are many and well worth the undertaking. We’re looking at this opera from a more inclusive perspective,” says Louis Riel director Peter Hinton. “We’re not changing the intentions of the piece, but revisions are being made that honour the virtuosic complexity of the music, while allowing for the introduction of voices that have not been heard before.”
Louis Riel distinguishes itself from other operas with its musical diversity. In addition to incorporating original folk music and traditional melody lines, Somers wrote in an abstract atonal orchestral style which heightens the dramatic intensity and sets the orchestra entirely apart from the singing. Electronic music also comes into play, creating at times an auditory surrealism that mirrors the distortion and confusion of events unfolding in the narrative.
Louis Riel demands singers to demonstrate a range of vocal techniques and dramatic intonation, sometimes in harmony with the orchestra and sometimes in conflict, and other times delivering gripping musical lines with the voice completely laid bare to scrutiny and unsupported by the orchestra. An orchestra of 67 musicians, including strings, woodwinds, brass, piano, and large percussion ensemble requiring six players, accompanies the cast and chorus.
Unique to the score of Louis Riel is the “Kuyas” aria which opens Act III and is sung in Cree by the artist in the role of Marguerite Riel, Louis Riel’s wife. The music for the “Kuyas” aria was based on a Nisg̱a’a mourning song called “Song of Skateen” that was recorded by Marius Barbeau and and transcribed by Sir Ernest MacMillan on the Nass River in 1927. The words for “Kuyas” were selected by Somers from Cree Grammar by Rev. H. E. Hivers and the English-Cree Primer and Vocabulary by Rev. F. G. Stevens, as well as from a story told by Coming Day to Leonard Bloomfield on the Sweetgrass Reserve in Saskatchewan. The composer was further assisted in ascertaining pronunciation and feeling for the language by Mrs. Lou Waller of Cree descent from Alberta, to whom Somers dedicated the “Kuyas” aria. With respect to both the Nisg̱a’a and Métis peoples and in recognition of how the songs of one nation are not the same as another’s, the COC and NAC’s co-production of Louis Riel acknowledges the current holder of the hereditary rights to this song: Sim'oogit Sg̱at'iin, hereditary chief Isaac Gonu, Gisḵ'ansnaat (Grizzly Bear Clan), Gitlax̱t'aamiks, B.C.
For the 2017 production, Louis Riel will continue to be sung in English, French and Cree, however, it will now feature a new translation of the Cree and include spoken dialogue in Michif, the official language of the Métis that would have been spoken in the 19th century, in select scenes between Métis characters. The new Cree translation is by Manitoba-born actor and writer Billy Merasty, who is of Cree descent, and the Métis dialogue is translated by Norman Fleury, a Métis elder, Michif language expert and translator, professor, and historian. The 2017 production of Louis Riel will also feature English, French, Cree and Michif SURTITLESTM.
The role of the chorus in Louis Riel has also been redesigned. The original opera called for a single large chorus to act and sing a variety of groups and assemblies in the narrative. For the 2017 revival, there will be two choruses performing in contrast to the historical figures represented by the principal cast, representing the modern dynamic of debate and protest that continue of this history, both in the houses of parliament and on the land.
The COC Chorus takes on the role of the Parliamentary Chorus and represents a group of settler and immigrant men and women. The Parliamentary Chorus sings and is seen but does not participate in the physical action of the narrative, only commenting and debating on what should take place. They serve as a modern-day Greek Chorus while also representing the functions of Members of Parliament who legislate and validate the struggles of all Canadians in Ottawa. Additional members of the COC Chorus will be members of the Métis Nation.
A group of Indigenous men and women will be cast as the physical chorus known as the Land Assembly. On stage throughout the opera, the Land Assembly is a silent chorus in protest, and stands for the people for whom the opera has not provided a voice. The Land Assembly shift and transform in response to the actions on stage and are a constant, physical representation of the Indigenous men and women who are directly affected by the outcomes, victories and losses of Riel. The players in the Land Assembly will be announced at a later date as part of the COC’s complete casting release for Louis Riel.
New characters have been introduced to bring Indigenous voices into the opera as well as present a more informed history of the Métis and Indigenous peoples in Riel’s history. The previously unattributed opening vocal line is now delivered by a character known as The Folksinger, to be sung by a contemporary Métis singer. The role of The Activist, to be played by a Métis actor, will deliver the Land Acknowledgement as the opera unfolds, setting the tone for interpreting the action playing out on stage. The artists in these roles will be announced at a later date as part of the COC’s complete casting release for Louis Riel.
Louis Riel is onstage at the Four Seasons Centre for the Performing Arts from April 20 to May 13, 2017. For more information or to purchase tickets, please click here.
Posted by Tanner Davies / in Louis Riel / comments (0) / permalink
Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001