Tag: Opera

  • Cosi fan tutte Last Chance Princeton

    Cosi fan tutte Last Chance Princeton

    Mozart’s “Cosi fan tutte” is a farce with humanity. You have one more chance to see it at The Princeton Festival. The opera concludes its run at the performance pavilion on the grounds of historic Morven Museum & Garden, 55 Stockton St. (Route 206), on Tuesday at 7 p.m.

    Did you know that originally Antonio Salieri took a crack at composing it? In 1994, two fragments in Salieri’s hand were discovered in the Austrian National Library. That was before Lorenzo Da Ponte’s libretto was taken up by “the creature.”

    Of course, Mozart had an “in,” as he had already collaborated with Da Ponte on “The Marriage of Figaro” and “Don Giovanni.” And anyway, with all respect to Signor Salieri, the subject matter seems much more in line with Mozart’s saucy sensibility. While the Viennese of 1790 were worldly folk, “Cosi” would be given the side-eye in the 19th century, when the opera was deemed risqué or even immoral. If it was done at all, it was presented with tasteful alterations. It was only in the 20th century that the work’s reputation was restored.

    Yeah, the characters are knuckleheads – flawed, irrational, and stupid – but they are also capable of great beauty. It’s all right there in the title, often translated, if anyone bothers, as “So Do They All.”

    The festival’s final week will continue to embrace a variety of genres. A Juneteenth celebration will culminate in a concert of Black choral music, sung by the Capital Singers of Trenton and friends, under the direction of Westminster Choir College’s Vinroy D. Brown, at the pavilion on Wednesday at 7 p.m. The program will include Robert Ray’s “Gospel Mass.” Earlier, there will be a flag raising ceremony, food, reflection, and fun. For details, visit the festival website at the link below.

    On Thursday at 7 p.m., The Sebastians will return for a program of Baroque favorites, with a selection of Bach’s Brandenburg Concertos, along with works by Telemann and Vivaldi. That concert will be held across the street at Trinity Church Princeton (33 Mercer St.).

    On Friday at 7 p.m., back at the pavilion, the Juilliard-trained, genre-defying trio Empire Wild will unpack its signature mix of original music, inventive covers, and twists on the classical canon.

    Finally, on Saturday at 7 p.m., Tony Award winning Santino Fontana, star of stage (“Tootsie,” “Cinderella”), film (Disney’s “Frozen”), and television (“Crazy Ex-Girlfriend,” “The Marvelous Ms. Maisel”), will bring the festival to an uplifting conclusion with an evening of pops, cabaret, and Broadway, accompanied by the Princeton Symphony Orchestra, again under the performance pavilion at Morven.

    For tickets and information about parking, concessions, and more, visit the Princeton Festival website, at princetonsymphony.org/festival.


    Video samples:

    Behind the scenes of “Cosi fan tutte”

    The Sebastians perform Bach’s Brandenburg Concerto No. 6

    Empire Wild in 5 minutes

    Santino Fontana

  • Così fan tutte at Princeton Festival

    Così fan tutte at Princeton Festival

    A wager on the inconstancy of young love leads to farcical complications in Mozart’s “Così fan tutte.” The title has always been as uncomfortable to translate as the comic anguish endured by its leads. Variously known in English (if at all) as “So Do They All” and “Women Are Like That,” it’s probably best to stick with the Italian. Whatever you call it, it is generally bracketed in the composer’s top-four operas. Unsurprisingly the libretti for three of them were quilled by the flamboyant Lorenzo da Ponte, poet, priest, and profligate, friend of Casanova, and eventually professor of Italian literature at Columbia University.

    The opera forms the centerpiece of this year’s The Princeton Festival. You’ll have three chances to see it, on Friday at 7 p.m., Sunday at 4 p.m., and Tuesday at 7 p.m. Performances will be held outdoors in the open-flapped, state-of-the-art performance pavilion on the grounds of historic Morven Museum & Garden, at 55 Stockton St. (Route 206).

    The stage direction is by James Marvel, who, with a game cast and scenic design by Blair Mielnik, ensured last year’s production of Rossini’s “The Barber of Seville” was such an imaginative romp. This year, the team promises a fresh, contemporary take on “Così,” setting it in a pastel-colored dreamhouse villa, high above the glamorous Amalfi Coast. Attired by costume designer Maria Miller, the high-styled, jet-setting characters’ loyalty to one another is tested as the plot – and hilarity – unfolds.

    The opera will be sung in Italian with English subtitles. The Princeton Symphony Orchestra will be conducted by its music director, Rossen Milanov.

    Two pre-performance talks, “Not So Cozy Così,” with Julian Grant (on Friday), and “Exploring Così fan tutte,” with Timothy Urban (on Tuesday), will be offered at Morven’s Stockton Education Center at 5:30 p.m.

    Also coming up: the Abeo Quartet will perform chamber music by Reena Esmail, Shostakovich, and Schubert, tomorrow, Thursday, at 7 p.m., across the road at Trinity Church Princeton (33 Mercer St.).

    American Repertory Ballet will bring dance to the pavilion, with choreography by Arthur Mitchell and Meredith Rainey, and Milanov conducting members of the PSO in music by Philip Glass (“Quartetsatz”), Miranda Scripp (“Intrare Forma”), Jean Sibelius (“Impromptu for Strings”), and Edvard Grieg (the “Holberg Suite”), on Saturday at 7 p.m.

    Wednesday, June 19, will be a big day, with a program of Black choral music, featuring the Capital Singers of Trenton and friends, under the direction of Westminster Choir College’s Vinroy D. Brown, providing the capstone to a Juneteenth celebration. The program will include Robert Ray’s “Gospel Mass.” The concert will be held at the performance pavilion at 7 p.m.

    A Juneteenth flag raising ceremony will take place next door, at the Municipality of Princeton, at 1 p.m. The festival will continue at Morven at 4 p.m., with plenty of food, reflection, and fun, leading up to the choral concert.

    On Thursday, June 20, The Sebastians will return to Trinity Church Princeton for a program of Baroque favorites, with a selection of Bach’s Brandenburg Concertos offered, cheek-by-jowl, with works by Telemann and Vivaldi.

    The Juilliard-trained, genre-defying trio Empire Wild will electrify the pavilion with its signature mix of original music, inventive covers, and twists on the classical canon, on Friday, June 21, at 7 p.m.

    Finally, on Saturday, June 22, at 7 p.m., Tony Award winning Santino Fontana, star of stage (“Tootsie,” “Cinderella”), film (Disney’s “Frozen”), and television (“Crazy Ex-Girlfriend,” “The Marvelous Ms. Maisel”), will bring the festival to a lively conclusion with an evening of pops, cabaret, and Broadway, accompanied by the Princeton Symphony Orchestra, again under the performance pavilion at Morven.

    For additional events, like Yoga in the Garden and the Juneteenth oral history project, as well as information on tickets, parking, and concessions, visit the Princeton Festival website, at princetonsymphony.org/festival.


    CLOCKWISE FROM LEFT: “Così fan tutte,” American Repertory Ballet, Empire Wild, and Santino Fontana

  • Gance’s Louise Film Charpentier’s Opera on YouTube

    Gance’s Louise Film Charpentier’s Opera on YouTube

    Having featured highlights from the composer-supervised recording of Gustave Charpentier’s opera, “Louise,” today on my radio show, “The Lost Chord,” I was moved to search for the Abel Gance-directed film version that came out a few years later, in 1939. Gance is probably best known for his silent masterpiece, “Napoleon” (1927; once running close to 9-and-a-half hours; the latest restoration puts it at 7). And what do you know? I found it on YouTube, clocking in at a comparatively lean 1 hour and 25 minutes.

    American soprano Grace Moore, nominated for an Academy Award for Best Actress for her performance in “One Night of Love” (1934), sings the lead. (“One Night of Love” was the first recipient of an Academy Award for Best Original Score, even though much of the soundtrack is devoted to opera arias and traditional songs.) Tenor Georges Thill and bass André Pernet recreate their stage roles as Julien and Louise’s father, respectively.

    Charpentier was very hands-on throughout the production, as he was with the 1935 recording, making cuts and alterations, coaching Moore, and advising Gance. At the time, the composer would have been about 79 years-old.

    Charpentier died in 1956 at the age of 95. Until then, he lived pretty much as he always had, since at least 1885 (the year “Louise” is set) – an eternal bohemian in an artist’s garret in Montmartre.

    Take a gander at Gance’s “Louise” here:

    https://www.youtube.com/watch?v=2uBLMfLyaSQ

    The opera’s biggest hit, the aria “Depuis le jour,” begins at 49:41. Here, I cued it up or you.

    https://www.youtube.com/watch?v=2uBLMfLyaSQ&t=2981s

    Vive Louise!

  • Angel Blue Kicks Off Princeton Festival 2024

    Angel Blue Kicks Off Princeton Festival 2024

    Last season, when soprano Pretty Yende had to cancel her appearances with the Princeton Symphony Orchestra due to illness, Angel Blue stepped up at the eleventh hour to deliver possibly the finest “Knoxville: Summer of 1915” I have ever heard. With the audience in the palm of her hand, she went on to sustain the spell with a selection of gorgeously-rendered operatic arias, the capstone being an impromptu duet on Puccini’s “O mio babbino caro” with a music student she invited to join her onstage. It was a memorable weekend of performances that sent everyone into the winter nights aglow with warm fuzzies.

    This week, Princeton will have another chance to experience Blue’s enchantment when she returns for opening night of The Princeton Festival, this Friday at 8 p.m.

    On the program will be arias by Puccini, Verdi, and Gershwin, with music director Rossen Milanov conducting the PSO in additional orchestral works by Puccini, Dvořák, Delius, and zarzuela master Ruperto Chapí.

    The festival, continuing through June 22, will include concerts that embrace a wide variety of genres. As always, the centerpiece will be opera, with this year three fully-staged performances of Mozart’s “Cosi fan tutte” (June 14, 16 & 18).

    But there will also be a Tina Turner tribute show (including Broadway star and “American Idol” finalist LaKisha Jones, June 8 ), a Latin American family program (with Sonia De Los Santos and her band, June 9), chamber music by Shostakovich, Beethoven, and Reena Esmail (with the Abeo Quartet, June 13), dance with American Repertory Ballet (with choreography by Arthur Mitchell and Meredith Raine and music by Philip Glass, Grieg, Miranda Scripp, and Sibelius, June 15), Black choral music (with Capital Singers of Trenton and friends, directed by Westminster Choir College’s Vinroy D. Brown, Jr., June 19), Baroque favorites, including a selection of “Brandenburg Concertos” (with the ensemble The Sebastians, June 20), genre-bending classical crossover (with the trio Empire Wild, June 21), and cabaret (with Tony Award winning artist, for his tour de force performance in Broadway’s “Tootsie,” Santino Fontana, June 22).

    Most of the concerts, including opening night with Angel Blue, will be presented in the performance pavilion on the grounds of Morven Museum & Garden at 55 Stockton St. (a.k.a. Route 202). Concerts featuring the Abeo Quartet and The Sebastians will be held across the road at Trinity Church Princeton (technically 33 Mercer St.).

    For more information and additional events, including pre-performance talks, the Juneteenth celebration, an art exhibit opening, and Yoga in the Garden, visit the festival website at princetonsymphony.org/festival.


    Clockwise from upper left: Angel Blue, Sonia De Los Santos, Santino Fontana, and Empire Wild

  • LOTR Opera: A Worthy Musical Champion?

    LOTR Opera: A Worthy Musical Champion?

    Has “The Lord of the Rings” at last found a worthy musical champion? Many composers have perished on the slopes of Mount Doom in their quest to bring Tolkien’s magnum opus to the stage, but at last it appears the Tolkien Estate has given its benediction to Paul Corfield Godfrey to write a “Lord of the Rings” opera. Not just any opera, mind you, but, as one would hope, a multi-evening event, in the manner of Wagner’s “Ring Cycle” (which Tolkien disliked, by the way, for what he perceived as Wagner’s cavalier treatment of the legendary and mythological source material). Godfrey’s LOTR will consist of 17 hours of music, to be presented over six nights.

    Does he have the chops? He is a lifelong fan, who appears to have been crafting Tolkien settings for decades. He lacks for neither energy nor ambition. Who writes that much music about “The Silmarillion?” At least he seems to be able to do atmosphere and, judging from the samples of his work posted online, it doesn’t sound like the characterless noodling with no big moments that makes so much contemporary opera seem so colorless.

    At any rate, with the amount of passion this guy has for the material, it’s got to be more than just a “Rings of Power” cash grab. Right? RIGHT???

    Among Godfrey’s teachers were Alan Bush, a reputable English composer, and David Wynne, less well-known, but his Symphony No. 3 was conducted by Bryden Thomson and the audio is posted on YouTube.

    I imagine the musical language for a LOTR opera can’t help but be old-fashioned, but if anyone were going to do it, I would hope that would be the case. It needs to be big and tonal, with plenty of heaven-storming and heldentenors.

    The recordings will appear – on 15 CDs! – in 2025. The project enlists the talents of Volante Opera Productions, with singers drawn largely from the Welsh National Opera. Godfrey’s LOTR will be followed in 2026 by an opera inspired by “The Hobbit.” Both have been in the making for over 50 years.

    From the samples of his work posted online, I think this guy understands “The Lord of the Rings” better than Peter Jackson. Then, the bar has been set very low. May the stars shine upon his face!

    Samples from “The Silmarillion”

    More about the composer

    https://britishmusiccollection.org.uk/node/68299

    Volante Opera Productions

    https://www.volanteopera.wales/

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