Confessions: Episode 3

In the third episode of Confessions of a First-Time Opera Goer, Cassidy plays with fire, gets an up-close look at some of the The Ring sets, and tries out her flying skills out as a Rhinemaiden.

You can read more about "Confessions of a First-Time Opera Goer" and host Cassidy Quinn Brettler, as well as watch more videos by visiting the Seattle Opera website.

Confessions: Shoot #5!

So, there are only a couple more weeks until the Ring opens, and I think I’m almost ready!

Today, I met Star, who plays the horse in Götterdämmerung, the last opera in the Ring cycle. Turns out, there was another horse who had previously performed in multiple Ring cycles for Seattle Opera, but this is Star’s first one! She’s never performed in an opera before. Today was her first time onstage at McCaw Hall, and she seemed to be handling it pretty well! Apparently, Corliss, the horse's owner has been playing music from the Ring in the barn, so Star has gotten used to it by now! I watched once first, as Corliss walked Star up the backstage ramp and onto the set of Brünhilde's ledge. Then, the second time, I got to walk ahead of Corliss and Star on the set! Star got a little uneasy around the Reel Grrls’ boom microphone (she thought it was a snake!), but, for the most part, she seemed to be getting used to the spotlight! But I could tell she was a tad nervous, because she left some horse poop on the stage!

I took a few pictures from offstage with my phone:


Then I met with Jonathan Dean, Education Artistic Administrator (who I know you all know from his frequent posts on the blog!), who told me all I needed to know about the Ring! He told me all about the main characters, and how everything I’ve seen and learned about so far in the “Confessions” project all fits together to create four epic operas! I also learned that it took Wagner 25 years to write the Ring cycle – I haven’t even been alive that long! Hopefully I remember everything he told me by the time I see the show…!

Then I headed back to McCaw Hall, where the Ring orchestra was rehearsing. I don’t think I’ve ever seen that many musicians or musical instruments in one room before! The orchestra was rehearsing in a huge rehearsal space, and there were over a hundred musicians in there! I felt totally out of my element! Everyone in there seemed so focused, whether their job was to play a ton of notes, to follow along with the sheet music, or to take notes of what needed to be fixed. This was the first time I’d actually gotten to hear live orchestra music from the Ring, so it was really exciting for me! The music has so much depth to it – it’s almost overwhelming! I can’t believe Wagner actually wrote sixteen hours of intense music!

The next Ring activity I see from the Seattle Opera will be the final product – I’m so nervous and excited I can’t stand it! Wish me luck – I mean, hope I break a leg!

The Road to Valhalla Video Series

The Road to Valhalla is a five part video series that covers all aspects of pre-production for The Ring. Each installment, released weekly starting in July, features artists or production and technical staff discussing what they are preparing over the summer. Episodes cover rehearsals, costumes, sets, props, special effects, and the orchestra/ chorus.

Here is part 4 of the series which takes a behind-the-scenes look into some of the most exciting special effects that happen during The Ring.

To watch the other videos in this exciting series, visit The Road to Valhalla page on the Seattle Opera website.

We Want YOU to Blog!

Want to be a Ring Blogger? We know we have an audience full of knowledgeable Wagner lovers, and we want to hear all the unique insights, perspectives, and opinions you’re bringing to Seattle this August! Guest bloggers will post entries right here on our blog throughout the month and can include critique(s) of the performance(s) you’ve seen as well as any Wagner related topics of your choice. Prior blogging experience is not required to participate!

Interested? Email ringblogger@seattleopera.org with a brief description of any topic(s) you might like to cover, which cycle you are attending, and a link to a previous blog post (if you have one; again, no prior experience is absolutely required).

Happy blogging!

Audio Introduction to GÖTTERDÄMMERUNG

And here, last but far from least, the audio trailer for my Götterdämmerung pre-performance lecture. This opera is my favorite of Wagner's four Ring operas; the journey through its vast sweep and scale, taking in its intricate beauties and complexities, has become a beloved part of my life, like an annual trip to a favorite vacation spot. I hope you'll join me for the journey this August.

Confessions: Episode 2

In the second episode of 'Confessions of a First Time Opera Goer,' Costume Shop Manager Susan Davis gives Cassidy a tour of the Seattle Opera Costume Shop, as well as turns her into a Valkyrie!

You can read more about "Confessions of a First-Time Opera Goer" and host Cassidy Quinn Brettler, as well as watch more videos by visiting the Seattle Opera website.

Audio Introduction to SIEGFRIED

Jonathan Dean here, excited to talk about Siegfried later on this summer. (My pre-performance talks will be held in McCaw Hall's lecture hall, not up at Bridal Veil falls in the North Cascades where we went recently looking for Rhine daughters.)

Audio Introduction to DIE WALKÜRE

Hi, I'm Jonathan Dean, up in a tree. Continuing the series introduced yesterday, here's the six minute audio trailer for my Overture to Die Walküre, most popular opera in Wagner's Ring and the opera with the greatest number of performances at Seattle Opera:

Audio Introduction to DAS RHEINGOLD

I'm Jonathan Dean, translator of English captions for Seattle Opera and a big fan of both the beautiful Pacific Northwest and the music of Richard Wagner. I'll be giving lectures in McCaw Hall before each performance this summer, and have created a series of audio trailers so you can find out what my "Overtures to the Opera" will be like. You can download these as podcasts at the iTunes Store, or listen to them on this blog over the next couple of days.

Here's my 5 and a 1/2-minute trailer for Das Rheingold:

Confessions: Episode 1

You've seen the audition videos, you've read Cassidy's blog posts, and viewed the video shoot photos. Now, check out the first episode of "Confessions of a First-Time Opera Goer"! In this video, we meet our host, Cassidy, as well as some of her close friends and their thoughts about her hosting the documentary. Watch her first visit to the Seattle Opera office and her first sit down meeting with Seattle Opera General Director Speight Jenkins.

You can read more about "Confessions of a First-Time Opera Goer" and host Cassidy Quinn Brettler, as well as watch the entire uncut version of her sit down interview with Speight Jenkins by visiting the Seattle Opera website.

Confessions: Shoot #4

Today was another exciting day shooting “Confessions!”

First, I got to sit in on a rehearsal of the dragon, Fafner, at McCaw Hall. It was amazing to see Fafner in action – the dragon is huge! One of the crew members stood in for Siegfried and practiced fighting Fafner and stabbing his tail. At one point, Fafner’s head was being lowered down onto the set, and it kept moving for a little too long, and all the sudden, I heard a “creeeeak” – the tusk almost broke! Whoops…the crew fixed it promptly though!

Above, the film crew shoots Fafner from the house.

Then they shot my reactions to seeing the dragon for the first time:

Later, I met with Chuck Whitmore, who works with the supertitles and the images projected on stage. He even put my name into the computer and made my name come up as a supertitle! That was really exciting; I felt so honored! He also showed me some of the projections for the end of the Ring cycle, with fire and water. I only got to see it on a computer screen, so I’m really excited to get to see the large projections during the full performance!

Then I went back to the Seattle Opera offices and rehearsal spaces, and met up with Luretta Bybee and Emma Grimsley, two artists in the Ring cycle. And they’re mother and daughter! Luretta plays the First Norn and a Valkyrie, and Emma plays the Woman in Black. But that’s not all of their opera family! The father of the family, Greer Grimsley, plays Wotan! I asked them what it’s like being an opera family, and if it’s common to have a whole family of opera singers. They said they’re pretty much the only one! I also talked to Emma about what it’s like being a younger person involved in opera – she’s still in high school! She said she tries to get her friends interested in opera, and to get them to come see her shows. In this picture, the Reel Grrls crew captures the interview; Luretta is sitting on the steps to the left, Emma is sitting to the right, and I'm interviewing from the left side.

As always, I learned a lot today! I’m seeing more and more pieces of the Ring cycle, and I can’t wait to see how they all fit together – only a few more weeks until the show!

Photos by Ilona Rossman Ho.

A Message From Speight Jenkins

At Seattle Opera’s Annual Meeting yesterday, General Director Speight Jenkins announced that the company expects to end its fiscal year with a balanced budget. In a video released today, he offers a message of hope and perseverance to Seattle Opera’s dedicated supporters. Jenkins acknowledges the economic challenges, but notes that “art flourishes when forced to be innovative,” which is exactly what Seattle Opera will do—search for innovative ways to continue to provide audiences with the level of quality they have come to expect.

Stephanie Blythe and François Racine Named 2008/09 Artists of the Year

At Seattle Opera’s Annual Meeting yesterday, Speight Jenkins announced the winners of the 2008/09 Artists of the Year Awards. Mezzo-soprano Stephanie Blythe won the award for her portrayal of Amneris in Verdi’s Aida in August, and director François Racine won for his re-staging of Robert Lepage’s original production of Bartók’s Bluebeard’s Castle with Schoenberg’s Erwartung in February and March.

If you missed Aida or just enjoy Stephanie Blythe’s performances, you have another chance to see her—and a whole host of wonderful singers—in this summer’s Ring. She sings Fricka and the Second Norn (which she has sung in all of Seattle Opera’s Ring productions since 2000), as well as Waltraute in Götterdämmerung.

Congratulations to both Ms. Blythe and Mr. Racine, and thanks to all the amazing artists who made the 2008/09 season memorable!

Photo Credit
Stephanie Blythe in Aida, 2008 © Rozarii Lynch Photo
François Racine, 2009 © Bill Mohn Photo

Bluebeard’s Castle/Erwartung Named Favorite Opera of 2008/09

The votes are in, and Bluebeard’s Castle with Erwartung was Seattle Opera audiences’ favorite production of the season! You loved François Racine’s “jaw-dropping” staging of Robert LePage’s production, the performances of John Relyea, Malgorzata Walewska, and Susan Marie Pierson, the lighting design of Robert Thomson, and the overall “impeccable performances by everyone involved.” As commenter Tony Kay said, “Bluebeard and Erwartung was, simply put, one of the most hypnotic nights I’d ever had at the opera. Just stunning.”

In a close second was The Marriage of Figaro, which commenter Michelle called “lively and full of humor that had the audience laughing out loud while capturing the tremendous beauty of Mozart’s arias.” Read all the comments here.

Thanks to everyone for a wonderful season and for sharing your impressions with us! We’re deep in Ring mode here, but also eagerly anticipating next season. We hope to see you at McCaw Hall again soon!

Confessions: Shoot #3!

My body is sore right now. And I can’t figure out if it’s sore because of wakeboarding this morning or the third “Confessions” shoot yesterday.

The shoot started out simple – I showed up at McCaw Hall and got a tour of onstage, backstage, the audience – everything! I interviewed Pete Olds, the Properties Master, right in front of the stage! He told me all about the recently renovated McCaw Hall and the sets that were on the stage. Pete also showed me a bunch of the props from the Ring cycle! I got to hold some swords, and I even got to touch the ring!

Then I met up with Julianne Gearhart, who plays one of the Rhinemaidens in the Ring cycle. She told me all about what it’s like to fly in the air while singing! I’m sure glad I don’t have to do that! She basically has to pretend she’s swimming around every time she’s on stage!

Then I interviewed Richard Paul Fink, who plays Alberich in the Ring cycle. He has to do a ton of stunts in the show, like flips and jumps and climbing! After I interviewed him, we went on the stage and he showed me some of the moves he has to do! The stage was set for the first scene, on the river bottom, so he showed me how to pretend I’m walking on a slimy surface (even though it’s really just made of Styrofoam!). He also taught me how to climb up the set (from the audience you’d never know how he does it!), and jump from one part of the set to another! I think that all might be the reason my body is sore right now! But luckily, I had my athletic clothes and kneepads on, so I came out without needing any band-aids.

After all of that excitement, I got to play with fire! Tom Cowdery, the pyrotechnician for the Ring, showed me how to light parts of the stage on fire! And it was so easy! All I had to do was move a tiny little switch, and, voila! Flames! I was very entertained. If they left me alone there I would’ve played with the fire for hours.

After I got my pyromania out of my system, other members of the crew gave me another backstage tour, so I got to see even more of the sets! I even got to see the dragon, which, right now, is in pieces, but I’m excited to eventually see it all put together! They also showed me how some of the sets rotate around, so they can be used for multiple scenes! I’m looking forward to seeing those in action!

The last part of my day was spent watching a rehearsal of the first scene from the whole Ring cycle. I got to watch the Rhinemaidens get into their costumes (it took a while to put those complicated harnesses on!), and then sing and fly (or swim!) around on stage! I saw Richard Paul in action with a few of his stunts. So I got to watch a few of the aspects of the Ring that I had already learned about fit together!

Slowly but surely, I’m learning a lot about the Ring! So many new and exciting things happened today – I don’t know if next week can top it!

Photos taken by Bill Mohn.

Backstage at THE RING: A chat with Stephanie Blythe

Today we have the opportunity to hear from Stephanie Blythe, world-renowned mezzo-soprano, who will play the roles of Fricka, the Second Norn, and the Gotterdammerung Waltraute.

SG: For this production of The Ring you are reviving your roles as Fricka and the Second Norn, but you're taking on a new role as well, with Waltraute in Gotterdammerung. Which of these are you most looking forward to this summer? What do you like about each of these parts?



SB: I will always hold Fricka close to my heart as she was the first role I assumed in the Ring Cycle. Coming back to her feels like visiting an old friend. Being a Norn is also a total joy, as she is part of a beautiful ensemble. It is especially wonderful this summer as the original Norns from 2001 have been reunited - Lyretta Bybee, Margaret Jan Wray and I have so enjoyed putting this scene back together, as well as discovering new nuances in the relationships with each other and the music and text. It is a gorgeous scene of which we are all quite proud.

As for adding Waltraute to the mix, well, that is a special challenge and a treat for me. The scene with Brunnhildes is so glorious - two sisters meeting again after a long, painful separation, discovering themselves totally at odds and struggling with opposition and the love that still exists between them. The music is incredibly difficult and totally satisfying. I must add that having an opportunity to share the stage with such a committed singer and actress as Janice Baird is a thrill. The scene work that we have done with Stephen Wadsworth was a painstaking and slow development, and the result is a scene that we love to play.

One of the most interesting things about playing several roles in a work like The Ring, is that you get a unique perspective on each character - for instance, knowing the story from the viewpoint of Fricka cannot help but influence my thoughts as Waltraute, but I have to be sure not to get to much of each girl into the mix - it's a really fun challenge. Going from one girl to the next on some days is really interesting, but hey, some of my colleagues, Wotan for example, can rehearse two or even three different operas in one day of rehearsal - that is amazingly difficult.

SG: This particular production is unique in that Fricka is sympathetic and we can relate to her character more so than in most productions. How have you and Stephen gone about creating a real three-dimensional character for the part of Fricka, who can often come off as the shrewish wife?



SB: I get very prickly whenever Fricka gets called things like a shrew. Let's look at the whole situation from Fricka's point of view. Your husband promises to build you a glorious home which makes you extraordinarily happy, because perhaps that will mean that he stays home more often, and spends a little less time straying. Great. But he decides with the help of his friend Loge, that he should pay for said house by giving your sister to the contractors. He says he never meant to honor the deal, so that should make it all ok. Then he proceeds to make one horrifying choice after another, and you, as the woman who loves him, has to stand there and watch, all the time knowing that the consequences of these choices with bring about the end of their very existence. So, by the time Walkure comes along, Fricka cannot stand and watch anymore. Her arguments are totally justifiable, and we as the audience see that because even Wotan sees it. Is it painful and horrible to see this couple having an argument on this scale? Absolutely - but Fricka is no shrew, because she make s her demands of her husband all the while knowing that this will end their relationship, and she is willing to sacrifice her love for the sake of what she knows is right.

Stephen and Greer and I have created this sympathy because we all believe that these two gods love one another. When we see them at first in Rheingold, they are constantly touching, Wotan always reassuring Fricka. They look to one another for answers and strength. The situation is horrid, to be sure, but Fricka does have faith in him, and it is wonderful to see and hear Greer as this young, impetuous, free god. The way we play together onstage is so endearing and full of joy, as well as trepidation. That way, when we get to Walkure, the pain of their argument is made all the more terrible, and her final demand of him followed by his oath to fulfill her wishes is agony for both of them.

I cannot tell you how may times audiences members have come to us and thank us for showing a real couple - all the love and the difficulty too. That contrast is the key - just as you cannot understand white unless you know black, so you cannot know the pain of loss if you never saw the love in the first place.

SG: Have you seen an evolution of Fricka from the summer of 2000 when the first two operas in the Cycle premiered?

SB: I think she has evolved because I have evolved. I am not the same woman that I was back then. I have essayed new roles and grown as a singer and a performer with each new experience. I am also nearly ten years older now, and I can tell you that those years have brought a new perspective on this character.

SG: When preparing for Wagner and The Ring do you do anything special for the roles?

SB: I prepare in a similar fashion for all my roles. I study the text, learn the notes, take the part to a coach who really understands the style - The Ring is a bit of a special case, as it is so long, and though my roles are not the longest in the Cycle, there is a stamina that has to be learned as well.



SG: Later this season you will be taking on the role of Dame Quickly in Falstaff and you played the title character in Italiana several years ago. Can you talk a bit about the difference in playing comic characters like these compared to the uber-serious roles in Wagner? Do you enjoy one over the other?

SB: I can honestly say that I enjoy all the characters I play equally. Comic roles and serious roles are both difficult to play, but the difference between them is the way you react to information. As many great actors and directors have said - Acting is all about reacting. I could make Quickly deadly serious if every reaction was delivered in a expressionless, straight-faced fashion. Likewise, I could make Fricka hilarious if I turned a few glances into double takes, etc. It's all in the vocabulary of reactions.

SG: Some of the roles in this production are being performed by the same people as before and some are new to this production. Does this alter the rehearsal process for you? How do you establish relationships on-stage with these new singers? How do you re-establish relationships with the people you have worked with in the past?

SB: The only way that new performers alter the process is that we need to take a little more time to establish the scenes because that work hasn't been done before. We took five rehearsals to shape the Brunnhilde/Waltraute scene because I was new to the role and Janice was new to the production. By contrast, Greer and I only took two rehearsals to re-establish our scene in Walkure. It just came back to us rather quickly, and then was able to grow even stronger because we have both brought new things to the table.

One of the great joys of doing this work in Seattle is that we get so much rehearsal time. Yes, it is difficult to have to dedicate three and a half months to one (very sizable) project, but rehearsal is the only way to establish relationships with our new colleagues. With some of my friends here, coming back to The Ring feels like we are just picking up where we left off - that is always a joy.

I can honestly say that I believe that we have an incredibly strong cast this year, in every possible way. What may have become old hat for some of us who are returning has been revitalized by new blood, and the process of putting this particular Ring together is made all the more wonderful because it isn't easy, it's bloody hard work. When this show opens on August 9th, we will all have the satisfaction of knowing that the hard work has truly paid off - nothing this wonderful comes easily.

Vote for Your Favorite Opera of 2008/09!

You saw them all—the majestic Aida, the riveting Elektra, the shimmering Pearl Fishers, the intriguing Bluebeard’s Castle with Erwartung, and the charming Marriage of Figaro. Now it’s time to share your thoughts! This week Seattle Opera is conducting a People’s Choice poll where you can vote for your favorite mainstage production of the season. Separate from the company’s Artist of the Year awards, where donors, trustees, and staff vote for their favorite singer and favorite creative team member from the past season, this poll is just for fun. Tell us—and your fellow audience members—which production you found to be the most impactful, thought-provoking, well staged, or just an all-around wonderful evening of opera. Don’t forget to visit the comments section of this post to tell us why you chose the opera that you did! Vote Now!

The Ring, By The Numbers Part 2

In the first installment of The Ring, By The Numbers, we looked at the amount of time, effort, and staff support that goes into the rehearsal process. Now, let’s put some more figures behind the world that you will see onstage and see the elements that make The Ring cycle so monumental.

Running time:
Figaro – 3 hours, 16 minutes
The Ring – 17 hours, 3 minutes

It takes a heightened level of endurance from the singers and staff (not to mention the audience members) to present 17 hours of music. It certainly brings a convincing argument to the “opera is long” stereotype!

Artists onstage:
Figaro – 15 principals, 20 choristers, and 4 supernumeraries (39 people)
The Ring – 34 principals, 68 choristers, 31 supernumeraries, and 8 actors (141 people!)

In the pit:
Figaro – 41 orchestra members who play for 2,400 hours
The Ring – 94 orchestra members who play for 109,395 hours

The musicians make The Ring stellar. Not only do the singers portray gods and giants, they do it in a way to humanize these mythical characters and make them relatable. The orchestra players also have to rise to the challenge of playing some of the most colorful and dramatic music written for the stage.

Props:
Figaro – 104 props
The Ring – 454 props

Dry ice:
Figaro – 0 pounds
The Ring – 1,500 pounds

Animals:
Figaro – 0 animals
The Ring – 2 animals (1 real animal and 1 person in an animal suit)

These odds and ends are the bits that transport the audience into the world of The Ring – from coveting Freia’s magic apples, to witnessing Brünnhilde on her lonely ledge, to bounding through the forest with Siegfried and his companion.

All and all, the numbers add up to be one incredible experience for everyone involved. Hope to see you there!