Anthony Tommasini wrote an interesting article for the New York Times on Sunday about current productions of the Ring.
I have to quibble with Mr. Tommasini when he says about the Seattle Ring:
The one miscalculation the director Stephen Wadsworth made in his imaginative “Ring” for the Seattle Opera, which I saw at its premiere in 2001, was the ending of “Götterdämmerung.” This outdoorsy, environmental staging, the “green ‘Ring,’ ” returns to the company this summer.
At its conclusion, as the river overflows its banks and the ring is returned to the Rhinemaidens, the gods appear out of nowhere in some nether realm, exchanging congratulatory hugs, now that the curse is broken and the natural order restored. No! The gods should be kaput.
I'm sorry if it looked to Mr. Tommasini, in 2001, as if our gods survived the apocalypse. In 2005, with the increased technical possibilities of McCaw Hall (as opposed to 2001's Seattle Opera House), it was more clear that the gods were hugging each other in farewell; that they would not in fact survive.
I'm also fascinated by his description of Seattle's Ring as 'outdoorsy' and 'environmental'. More to come on that later; for the time being, I have to head up to REI, to get my bicycle back from the shop. Really!
While I hope everyone enjoyed a beautiful memorial day weekend, there's no rest for the wicked, at least not until the Ring is over in September. Our cast and crew worked through the long weekend -- well, they took a break on Sunday -- and were proud to get a shape worked out for the dreaded Rheingold Scene Two. Left, Director Stephen Wadsworth studies the placement of Wotan (Greer Grimsley, with spear) while Loge (Kobie van Rensburg, in black), Donner (Gordon Hawkins, with ax) and Froh (Jason Collins, crouching) hang out.
Rhinegold Scene Two is a particularly challenging scene because it introduces eight wild mythological characters and features a huge amount of exposition of the world where this story takes place and the plot. It's also none too short, and Tom Lynch's beautiful Forest Ledge set isn't the easiest place to stand for hours on end. Yet in its previous incarnations, this scene proved a great success, probably because Stephen Wadsworth has organized it as a courtroom drama. (That's exactly what it is, although many directors lose track of that fact, caught up in the strangeness of the world being revealed.) Wadsworth is a favorite of Seattle audiences both for his ability to tell a story about real people clearly and for his strong stage pictures. Below, Loge (Kobie van Rensburg) is in position to tell Wotan (Greer Grimsley) how the giant Fasolt, who's just exited, has Freia slung over his shoulder. Justina Lee has to be at the piano for all the rehearsals...but at least she doesn't have to stand on that crazy Forest Ledge!
Richard Wagner was born 196 years ago today (yes, that's right; 2013 will be a big year for the opera world) and May 22 has always been a holiday at Seattle Opera. Some years, we're actually able to take the day off! Today, however, they're hard at work rehearsing the Ring. Enormous sets have already been loaded into the theater; the Rhinedaughters have been building up their muscles in our flying harnesses (and at the Queen Anne pool); our terrific music staff--Maestro Robert Spano, Cover Conductor Evan Rogister, Assistant Conductor Phil Kelsey, and coaches David McDade, Justina Lee, Kelly Kuo, and Jay Rozendaal--are busily putting the singers through their paces, while Director Stephen Wadsworth and Associate Directors Gina Lapinski and Tomer Zvulun are blazing a path up Wagner's mountain of scenework.
Roll up your sleeves, everybody! It's going to be quite a summer!
Now that we're in full swing of rehearsals for The Ring of the Nibelung we thought we should recommend some nice, light summer reading to get you all ready!
J.R.R. Tolkien wrote his own version of the Siegfried myth. The Legend of Sigurd & Gudrun is Tolkien's retelling of the Norse epic that he worked on throughout his life. His son, Christopher, edited and compiled these poems and includes a fair amount of commentary regarding the text as well. While the original sagas, the Volsung Saga, as well as the Edda's, are great stories, they aren't always the most accessible. Tolkien's retelling captures the grandeur of the originals, but also brings them to life with the passion of a true master of languages. The action jumps off the page in these tales in a vivid and life-like manner. Here is Siegfried's encounter with the dragon Fafnir:
In deep hollow on the dark hillside long there lurked he; the land trembled. Forth came Fafnir, fire his breathing; down the mountain rushed mists of poison.
The fire and fume over fearless head rushed by roaring; rocks were groaning. The black belly, bent and coiling, over hidden hollow hung and gilded.
Gram was brandished; grimly ringing to the hoary stone heart it sundered. In Fafnir's throe were threshed as flails his writhing limbs and reeking head.
Black flowed the blood, belching drenched him; in the hollow hiding hard grew Sigurd. Swift now sprang he sword withdrawing: there each saw other with eyes of hate.
Every Ring goer will find this book an indispensable part of their collection as another great artist tells the tale of the old Norse myths. It may not be exactly the story you know, but it sure makes for great reading!
Call Amusements, the Seattle Opera gift shop, at 206.774.4990 and get your copy today!
Seattle Opera celebrates the life and the supreme artistry and mourns the passing of American baritone Julian Patrick, who died peacefully Friday, May 8, 2009.
A versatile singer, Mr. Patrick had a prolific fifty-year career singing concerts, musicals, cabaret, and opera. Well-known as an acting, dramatic singer, his career took him from Broadway to the great opera houses throughout the country and world. Mr. Patrick was an important singer of American contemporary work as well as a respected Wagnerian opera singer. He garnered national press for his performances as George in Of Mice and Men and Alberich in Der Ring des Nibelungen.
Above, Julian Patrick as Napoleon taking Moscow by storm in Seattle Opera's 1990 War and Peace.
Born in Meridian, Mississippi, in 1927, Mr. Patrick came to music early in his childhood. After high school, he joined the Navy and served as a singer with Special Services.
Mr. Patrick earned his BA in Music from the Cincinnati Conservatory. His first professional singing engagements were with Cincinnati Symphony and the Brevard Festival in 1949.
At 23, he made his operatic debut in Mobile, Alabama, as Giorgio Germont in La traviata. Mr. Patrick was drafted into the Army in 1951 and was stationed in New York where he sang with the first Army Band.
When he completed his service, he sang in night clubs and began auditioning for Broadway, where he made his debut in 1954 in Jerome Moross’s The Golden Apple. Mr. Patrick was in the original companies of Once Upon a Mattress, Ziegfeld Follies, Bells are Ringing, and Fiorello. He revisited the musical stage often in his career for roles in works like 1776, Sweeney Todd, and The Most Happy Fella.
In the mid-1960s, Mr. Patrick returned to the operatic stage as a member of the Metropolitan Opera National Company, where his roles included Marcello in La bohème, Sharpless in Madama Butterfly, Figaro in Il Barbiere di Siviglia, and Count Almaviva in Le nozze de Figaro.
Above, Julian Patrick returned to bel canto for his final Seattle Opera mainstage appearance, as Dr. Dulcamara in L'elisir d'amore in 1998.
He made his New York City Opera debut in Douglas Moore’s Carrie Nation in 1968. During his tenure at NYCO and throughout his career, Mr. Patrick sang in many world premieres and revivals of contemporary American operas.
His world premieres include The Tempest by Lee Hoiby, Nine Rivers From Jordan by Hugo Weisgall, and Leonard Bernstein’s Trouble in Tahiti. He worked with Dominick Argento on two world-premieres, singing the lead in Casanova’s Homecoming and the role of Movie Mogul specifically written for him in The Dream of Valentino. Mr. Patrick’s most prominent work in contemporary American opera was with Carlisle Floyd in Of Mice and Men. Mr. Patrick sang the role of George in the world premiere of Of Mice and Men in 1970 at Seattle Opera. He reprised his portrayal of George throughout the United States and Europe. Later in his career, he returned to the opera in the role of Candy.
Above, Julian Patrick as George in Of Mice and Men at Seattle Opera in 1970, with Carol Bayard
In an interview by Robert Wilder Blue, Mr. Patrick talked about American operas. “[It’s] wonderful. [Carlisle] Floyd has his own voice. Dominick Argento has his own voice. Philip Glass has his own voice…I think returning to singable lines and to pieces that are dramatically convincing is the right step. There are so many wonderful new pieces now. The greatest of them take compelling stories and set them to music that enhances them and connects to the audience. Honestly, I think American opera is alive and well and kicking and advancing.”
Above, Julian Patrick played Judge Townsend in Carlisle Floyd's Passion of Jonathan Wade at Seattle Opera in 1992, with Dale Duesing in the title role.
Mr. Patrick sang at major opera houses throughout the United States including the Metropolitan Opera, Seattle Opera, New York City Opera, San Francisco Opera, Houston Grand Opera, Washington National Opera, Dallas Opera, and Lyric Opera of Chicago. His career also included international engagements with Netherlands Opera, Opera Marseille, Grand Théâtre de Genève, Lyons Opera, Welsh National Opera, and the Vienna Volksoper.
Although his career took him all over the globe, Mr. Patrick ultimately made his home in Seattle, Washington -- onstage and off. He made several appearances in musicals at Seattle's Fifth Avenue Theatre including 1776, The Most Happy Fellow, and Sweeney Todd. Mr. Patrick sang in nearly 30 productions with Seattle Opera. In 1984, Mr. Patrick sang his first Alberich at Seattle Opera, his other signature role, which he reprised in five presentations of the Ring at Seattle Opera. He made his house debut at the Metropolitan Opera in 1988 as Alberich in Wagner’s Rheingold and went on to sing the role for the complete cycle. Mr. Patrick’s Alberich received great critical and audience acclaim.
Above, Julian Patrick as Alberich at Seattle Opera in 1995, with Peter Kazaras as Loge
Mr. Patrick served as a professor of voice at the University of Washington from 1990 until 2005. He served as head of the vocal department from 1996 until 2005. He continued to teach and coach young singers until his passing.
Says Seattle Opera's General Director Speight Jenkins, "Julian Patrick will be severely missed in the city of Seattle, both as artist and teacher. He never gave less than his all, and we were all the richer for it."
Mr. Patrick’s work was recorded for RCA, Columbia, Desto, and various other labels. His discography includes recordings of Bernstein’s Trouble in Tahiti, Floyd’s Of Mice and Men, Puccini’s Madama Butterfly, Massenet’s Manon, Douglas Moore’s Carrie Nation, Robert Starer’s Ariel, Jake Heggie’s For a Look or a Touch, and several Bernstein compilations.
Mr. Patrick is survived by his partner of fifty-six years, Donn Talenti; Donn’s sister Santa May; his nieces and nephews Mark and Melanie May, Linda May and Dr. Lisa and Roland DePietto; and grandnephews Evan and Alexander May and Anthony and Rocco DePietto. A memorial service is scheduled for Saturday, June 27th at McCaw Hall in Seattle. In lieu of flowers, the family requests that memorials and tributes be made to Seattle Opera, PO Box 9248, Seattle, WA 98109.
--Memorial by Rebecca Chawgo
FROM THE SEATTLE OPERA ARCHIVES
BECKMESSER (in 1989's Die Meistersinger von Nürnberg, Seattle Symphony conducted by Hermann Michael) tries to serenade the girl, accompanied by the lute of John Walwick and the incessant cobbling of Roger Roloff as Hans Sachs:
ALBERICH (in 1995's Das Rheingold, Seattle Symphony conducted by Hermann Michael) curses the ring:
MAGNIFICO (in 1996's La Cenerentola, Seattle Symphony conducted by Yves Abel) interprets his dream; he himself is the donkey, his daughters will become the most fertile of queens and will present him with grandchildren by the dozen, and the glory will be his:
You guys are great! We loved all your answers, but here’s this week’s winner:
Jonathan Caves said...
Gardener: I'll start to whistle and you can join in when you remember the lyrics.
Now that you’ve got a taste for caption-writing (and are pretty darn good at it, too!), we hope you’ll be back for the daily photo contest during our August production of Wagner’s Ring des Nibelungen.
Every morning during the three weeks of our Ring cycle, we’ll post a new photo for your creative opera minds to caption. The following morning we’ll announce the previous day’s winner and post that next day’s image. Winners will receive some Ring memorabilia, so be sure to give us your best shot!
We had so much fun with this first photo contest that we’re going to go for round two! You know the drill: leave your best caption in the comments section, and we’ll announce a winner next week. Good luck!
Seattle Opera is launching a photo caption-writing contest and we want to hear what you’ve got! The below photo is from our current production of The Marriage of Figaro, but don’t let that limit your imagination—we know the story of Figaro, tell us what other crazy things could be going on in this picture!
We'll pick a winner by the end of the week, so be sure to check back to see if your caption is selected as our favorite!
Have a great caption? Post it in the comments section.
We'd love to hear your thoughts, feelings, opinions, comments, and questions about Seattle Opera's Nozze di Figaro. If you have questions for a specific member of the cast or crew, I'll do my best to get and post an answer...but it might not be immediate.
A final Figaro interview, this time with Seattle Opera's beloved tenor and stage director Peter Kazaras.
JD: Peter Kazaras, you’ve now directed Le nozze di Figaro a number of times. But before you began directing this opera, how did you come to know it? Did you ever sing in it? Attend performances you loved (or hated)?
PK: I never sang in a production of Le nozze di Figaro. I would have loved to sing Don Basilio, the slimy music teacher, but this was not my fate. On the other hand, now I actually AM a music teacher. Hmmm. On the other hand, I have known and adored this opera since I was a teenager. It is one of my top 5. Productions I have been impressed by include Giorgio Strehler's Paris production (which I saw at the Met during the Paris Opera's US Bicentennial Tour in 1976), Jean-Pierre Ponnelle's beautiful production for Salzburg, which I saw in 1973, and Peter Sellars's landmark production setting this "crazy day" in Trump Tower.
JD: Although you’ve done a number of updated opera productions in contemporary dress (such as your hilarious Gianni Schicchi, or our recent British boarding-school Midsummer Night’s Dream), you’ve often set Le nozze di Figaro in period. Is that an intentional choice? Do you dream of someday setting the Figaro, for example, in the Clinton White House?
PK: I dream of many things. Not of that, though. The point is not about the period, but about the power relationships and sexual relationships between the protagonists. That's what makes the world go 'round, no matter when the time period. And as to updating -- ugh, it's such a tired word. I set The Turn of the Screw for the Seattle Opera YAP in 1940, and no one even noticed. It didn't matter. Few productions of La bohème are set in the "proper" 1820-1830 period because the costumes are so incredibly unflattering. No one cares. People only notice when something looks contemporary (to them.) And if you show me a production of Suor Angelica set in the 17th century (when it was supposed to have been set), I will show you a production with the hugest damn habits you have ever seen in your life. You could only fit about 10 of them on the McCaw Hall stage. But it's nuns, so only Perry Lorenzo would notice. And a stage director.
JD: Tell us what’s been different about Le nozze di Figaro, between your various productions. Were there scenes or moments you staged one way, for one company, but then did something completely different with a different cast?
PK: Figaro is constructed like clockwork, a suitable homage to Beaumarchais, the author of the original Figaro plays, who was obsessed with timepieces. Plot device D can ONLY happen after Plot devices A, B, and C have taken place and have been put into action in the proper order. So for me, there are certain things that have to happen in a certain way for the show to work. That said, I am not reluctant to change staging so as to reflect the strengths of my current cast members. Certain things I insist on in order to give the piece a cohesive look and feel, but I am flexible about other things. I am happy for someone to try something new, and if it works, it's in the show!
JD: What advice would you give an audience member, attending this Figaro, who’d never heard the opera before? What would you say to the opera veteran who’s been to Figaro dozens of times?
PK: I'd say the same thing to both kinds of audience members: If you liked it, please tell your friends. If you didn't, how many home runs do you think Junior is going to hit this year?
Below: in Seattle Opera's 2002 Salome, Peter Kazaras sang Herod to Joyce Castle's Herodias. Currently at Seattle Opera, Kazaras directs Castle as Marcellina in Le nozze di Figaro.
One fifth character to consider before tomorrow's opening night of Le nozze di Figaro, and that's Cherubino, every opera-goer's favorite hyper-sexed teenage androgyne. (Right, Daniela Sindram, who makes her debut tomorrow night.) Cherubino gets a little less stage time than the two principal couples, the Count and Countess, Figaro and Susanna; but his comical charm really becomes iconic for the effect of the entire opera. He is libido, pure and simple. But there's nothing dark or the least bit PG-rated about it. In his adorably bumbling awkwardness Cherubino, that little Cupid cherub of love, stands for the irrational force pulling Susanna and Figaro, the Count and the Countess all towards one another. He could grow up to become any of them; he's in love with both ladies and ends up kissing the Count (the only kiss in the stage directions and music) and mysteriously transforming into Figaro while diving out the window. The only guarantee with Cherubino is that no matter what it is, he'll never, ever get it right.
He sings two arias, both about the libidinous love that's driving everyone so crazy on this one crazy day. But the two arias are brilliantly paired by Mozart and Da Ponte to give us two opposing perspectives: first, his breathless, panting puppy-dog aria of 'I don't know who I am or what I'm doing anymore,' the frisky "Non so più":
(Suzanne Danco; Erich Kleiber, Vienna Philharmonic; Decca "Legends" 466 369-2)
Then, the song-within-a-song of "Voi che sapete." The idea here is that Cherubino, a little Mozart and Da Ponte in-training along with all his other responsibilities, has written a love song according to the conceits of traditional (probably Petrarchan) Italian verse; music teacher Don Basilio knows about the song and Susanna accompanies him when she forces him to sing it for the Countess. This aria is the only moment in the opera in which Cherubino isn't ridiculous -- here he is graceful, elegant, eloquent, and beautiful.
(Danco; Decca "Legends" 466 369-2)
Will he grow up to be Mozart and Da Ponte? Or, were these two great artists and oddballs musing on art's power to find, even in the most absurd of men, something beautiful?
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