Tag Archives: Roundup
The Magic Flute has started enchanting audiences with its silent film inspired magic. In case you’ve missed the Flute love these past few weeks (or want to learn more before seeing the show), we’ve collected a bunch of articles and videos for you to check out and see why The Magic Flute is a must-see this opera season.
Get To Know The Magic Flute
There is usually a pretty standard way of rehearsing opera. The director has a concept for the production – a vision that has been in play with designers and production staff years ahead of the first rehearsal. When singers do arrive, they spend time with the director, reaching a compromise on character choices, and perfecting their knowledge of the music. Sometimes bits of music are cut out; other times bits of music are added. This whole process starts in rehearsal rooms then moves onto stage within a matter of weeks. The rehearsal process for The Magic Flute is entirely different. Learn more.
Barrie Kosky, Susanne Andrade, and Paul Barritt’s production of The Magic Flute is heavily inspired by the silent film era and the spirit of the roaring twenties. In Kosky’s words, “Papageno is suggestive of Buster Keaton, while Monostatos is a bit Nosferatu, and Pamina perhaps a bit reminiscent of Louise Brooks.” There are a plethora of silent films to check out before seeing The Magic Flute, as the silent film era was a rich time for the industry. Filmmakers explored the artistry of the cinematic medium, creating new stories and adapting classic – even operatic – works for a new audience (King Vidor’s excellent 1926 La Boheme film is definitely worth a movie night). Before you step into the world of The Magic Flute, here are a few silent films to watch to get you in the 1920s spirit.
The Magic Flute is a roaring-twenties set vision. It has the beauty of a classic Louise Brooks film (like Pandora’s Box) , but live. Here, the production team – Suzanne Andrade, Barrie Kosky, and Paul Barritt – talk about the concept behind their vision for Mozart’s fantasy opera.
When it’s freezing out—or cold by Los Angeles standards—it’s the perfect time to relax by the fire with a glass of wine or some hot cocoa and listen to music. For some, that music is Plácido Domingo’s “My Christmas” album; some prefer to buckle down for a little smooth, Kenny G jazz (his latest Brazilian Nights album is a favorite of mine). Other people—like my father—prefer winding down to Puccini’s Madame Butterfly, sung by Maria Callas and Nicolai Gedda. The next time you’re staying in for the night, consider listening to one of these operas instead, with the lights dimmed, and your favorite beverage. You might find yourself a lover of opera by the evening’s end!
The Tales of Hoffmann – Jacques Offenbach
Returning this season, The Tales of Hoffmann is a perfect opera to listen to by the fire (inspiring, in fact!). It follows the story of poet E.T.A. Hoffmann, whose boozy recollections of the women he has loved and lost. Hoffmann recounts the stories of the fascinating women who captured his heart—wind-up doll Olympia, conniving Giulietta, fragile Antonia and elusive Stella. Hoffmann’s doomed pursuit of romance, foiled by sinister figures of darkness at every turn, ultimately lead him to a poet’s artistic salvation.
Listen To: Act IV: “Belle Nuit, o nuit d’amour”
Norma is the go-to opera to hear what the masterful, operatic voice can do. Yet, there’s so much more to this show than the voices. There’s an interesting directorial vision thanks to Anne Bogart, a classic take on the bel canto movement, and cast members that truly define what it means to be a great opera singer. In case you’ve missed the Norma love these past few weeks, we’ve collected a bunch of articles and videos for you to check out and see why Norma is so captivating.
Get To Know Norma
Norma is more than just a love story. It’s also an opera about the cross between the political and the personal , all showcased in the title character’s struggles.
Norma is arguably Vincenzo Bellini’s masterpiece. It’s a vocal fireworks of an opera, where singers utilize every tactic in their vocal range to express the deepest of emotions: love. Director Anne Bogart and designer Neil Patel understand this implicitly. Their Norma is a version that removes the frippery, “the spectacle of the mis en scene” and in turn fuels the vocal energy at the core of Bellini’s storytelling.
Vincenzo Bellini’s Norma is arguably the ultimate girl power opera, with a fiery and dramatic plot that’s sure to be a crowd pleaser. To help everyone get in an empowering mood, we’ve put together a list of our top 10 girl-power anthems for you to listen to until the opening night of Norma this Saturday. Here’s a list of 10 stellar girl power songs.
As I write this, Angela Meade, Jamie Barton, and Russell Thomas are on-stage rehearsing a scene from our upcoming production of Bellini’s Norma. It’s the end of Act I and Norma (Meade) has just discovered the affair between the man she loves, Pollione (Thomas), and Adalgisa (Barton), a younger priestess. If you think the story’s dramatic, you should hear their voices! Unbelievable voices – let’s call them vocal fireworks because of their equally explosive and yet restrained nature – are at the center of Norma. It’s compelling to witness.