Wednesday, April 27, 2016

In Memoriam LINCOLN CLARK

Seattle Opera salutes the life and work of Lincoln Clark, who passed away at the age of 90 at his Edmonds home last week. Between 1975 and 1984, Clark directed almost everything Seattle Opera put onstage, from frothy comedies like La Cenerentola and rarities like Le roi de Lahore to our groundbreaking first production of Wagner’s RING.

Lincoln Clark with Chorus Master Hans Wolf at a reception for the 1982 production of Die Fledermaus, in which Clark directed such Hollywood luminaries as Werner Klemperer (“Colonel Clink”), Paul Sorvino, John Reardon, and Buddy Hackett. Seattle Opera, photo
Clark’s multifaceted early career prepared him well for his job as Seattle Opera’s resident stage director. After studies at UCLA and with Lotte Lehmann at the Music Academy of the West, he won a Fulbright fellowship to the Bavarian State Music Academy in Munich, which led to a three-year contract as a leading tenor with the Hannover State Opera. Guest engagements followed in the opera companies of Hamburg, Braunschweig, Karlsruhe, and Munich, as well as roles in music films and television.

In 1974, he received a National Opera Institute grant to study directing under George London, Italo Tajo, and Georges Hirsch at Seattle Opera. He made his debut in the 1975/76 season directing Der Rosenkavalier. Of that production, Opera News noted: “Clark in particular deserves warm praise for interweaving the drama of the principals with the lively but discreetly understated activities of Hofmannsthal’s rich cameo characters.”

Patricia Wells (Masha) and Lincoln Clark (Dr. Dorn) in The Seagull (West Coast Premiere), 1976 . Photo by Des Gates
During his first season with the company, Clark also sang the tenor role of Dr. Dorn in the 1976 production of The Seagull, by Thomas Pasatieri. After George London built Seattle’s RING 1 from 1972 to 1975, Clark restaged it each subsequent summer, 1976 to 1983.
Shirley Lee Harned (Pauline), Patricia Wells (Masha), John Reardon (Boris), Lincoln Clark (Dr. Dorn), Leon Lishner (Shamrayeff), and Dolores Strazicich (Irina Arkidina) in The Seagull (West Coast Premiere), 1976. Photo by Des Gates
Clark continued to direct and to teach until recently. The Seattle Times has more details of his career; in accordance with his wishes, no funeral or public memorial is scheduled.


Thursday, April 21, 2016

A Lexicon of Wagnerian Gibberish

Wagner considered himself first a writer and poet, and secondarily a composer. So far as he was concerned, he only wrote music because his words made a stronger impression when sung. Unlike most opera composers, Wagner wrote all his librettos himself. Thanks to the curiously dual nature of his genius, his words and music, united, are much stronger than either by itself. When pontificating about his art (a favorite pastime), he loved to speak of a ‘marriage’ between words and music, sense and sound, with the masculine word planting a seed in feminine music, who then brings to bear glorious fruit.

Curiously, despite Wagner’s own bias towards words and ideas, some of the liveliest moments in his operas come when his characters stop singing words and start singing nonsense instead. In The Flying Dutchman, for example, the maritime setting and sea-shanty-soaked score calls for lots of “Yo Heave Ho” sailor/pirate jabber.

Wednesday, April 20, 2016

AIDAN LANG Introduces Our FLYING DUTCHMAN

Seattle Opera’s General Director Aidan Lang introduces the opera which first made him a Wagnerite as a small child. Listen to or read this downloadable podcast to learn more about this beloved opera and the grippingly dramatic (and intermissionless!) production which is coming to Seattle.

Welcome, everyone. I’m Aidan Lang, the General Director, speaking to you today on The Flying Dutchman, Der fliegende Holländer.

We started the 15/16 season with Verdi’s young piece, Nabucco, and we’re finishing it, bookending it if you like, with Wagner’s Flying Dutchman. Both pieces were works which really provided the breakthrough for their composers. In the case of Wagner and The Flying Dutchman it marked the first work in which we see opera as being something beyond just storytelling. It’s very interesting to look at The Flying Dutchman from the audience’s point of view: what is your role in the overall evening? This is quite a challenging piece, precisely because it works at many layers beyond simply that of its narrative. The audience has a part to play in the way the piece is interpreted, and that probably means that everybody who sees this production will get something very different out of it, depending on how each individual wants to engage with the work. The audience’s response to a Wagner work has to be more than just working at a narrative level, because he imbued his works with numerous ideas which he expected you, as an audience member, to connect with in some way.

Friday, April 8, 2016

Celebrating Shakespeare in Opera!

This month commemorates 400 years since the death of Shakespeare, and people around the world are honoring one of the greatest forces in the history of theater. Perhaps you’re heading down to Seattle’s Central Library to check out the FIRST FOLIO that’s on exhibit there. Maybe you’re sharing a personal Shakespeare story on the Shakespeare Theatre Association’s DIGITAL QUILT. If you’re in LONDON, you’ll have a hard time avoiding the Bardolatry.

Thursday, April 7, 2016

How to be a great intern



By Jessica Murphy Moo

Like many nonprofits, Seattle Opera has a robust and longstanding internship program. Talented individuals come to us in every department—from costumes, to development, to education, to finance, to production—and some even return to work with us if a position opens up. We recently spoke to several of our directors and several of our former interns who now work for the company to ask for their advice. How can you make the most of an internship at a nonprofit arts organization? Here are their thoughts:

1. Come with an objective 
What do you want to learn? Knowing your goal will help your supervisor to create a suitable plan. Be sure to communicate your goals up front and during your orientation. Everyone involved will want your time with the company to be mutually beneficial. Think carefully about why you want to spend time with a particular organization and in a particular department. Think about your overall career path. Where does the internship fit on that path? Stating your goals will also be a good way to be sure your goals and the offerings of the internship line up.

2. Be a great colleague
Does this go without saying? For that period of time that you work for the company, be an excellent employee. Be on time. Be great to work with. Show genuine interest in your colleagues and what they might teach you. In some ways the internship can serve as an extended interview. If a job opens up, your colleagues will think back on whether or not you were dependable, but also whether they enjoyed working with you.

Raluca Marinescu, Artistic Services Coordinator and Artistic Administration Assistant started off as an intern at Seattle Opera in 2013. She was able to go from Artistic Administration Intern to full-time employee she says, because of the wonderful mentors she got to work with. She says that multitasking and an ability to stay focused on the work at hand are musts for anyone working in a fast-paced performing arts organization. Photo by Genevieve Hathaway

3. Come ready to work
Nonprofits are typically hives of activity and oftentimes it’s all hands on deck. Having a clear work plan will keep you from making copies all day long, but doing small tasks often does come with the territory for everyone—from directors to new hires.

4. Get a bird’s eye view
In every organization there are the small day-to-day tasks that need to get done, and there is also a big master calendar that the organization has been working on one year or maybe many years out. There is a constant balancing of the pressing needs of the day and the pick-up-your head and look to the future needs. Try to get a sense of both. One way to get a bird’s eye view is to attend department meetings. Ask to attend them. You may even want to attend meetings of departments that are outside the assigned realm of your internship. You may not understand everything that is going on, but you will see how the organization “thinks” and how they set goals. See how your work and your department fits into the bigger picture. By doing this you’ll gain a better sense of how you can see your own interests fitting into this bigger picture.

5. Be an engaged observer
It’s important to be gracious and always willing to lend a hand, but do so while always observing those around you. It will teach you a lot about the types of people and organizations that inspire you. You may even want to ask if it’s appropriate to “shadow” someone at a show or an event, in which case your purpose for attending would be solely to observe.

6. Request an informational interview
During your internship, you may meet someone who has your dream job. Find out how that person got there. Request an informational interview. What prior positions has she held in that company or others? What decisions led her to this point? And don’t be afraid to branch out from the department you are interning in.

Sophy Wong says the two things that helped her be successful in her Seattle Opera internship included being open about her goals as well as welcoming criticism, advice and suggestions from managers and mentors--and then acting on it! She was promoted from Costume Stock Intern to Costume Assistant in 2014.  Photo by Genevieve Hathaway  
7. Check in
At some point in your internship, it’s a good idea to check in with your supervisor. Look at the plan you started with when you stated your goals. Are you sticking to your plan? Have you seen all that you wanted to see? Or are there still a few things left on the wish-list.

8. Request a formal evaluation
This falls in the category of thinking “beyond” the internship. You could get helpful feedback that you could learn from and carry forward. When you are applying for jobs down the line, you may want your supervisor to give you a glowing reference. If your supervisor has her notes on hand from her formal evaluation, she will be able to give you a detailed and compelling reference.

9. Keep in touch
Of course you can’t be pestering your supervisor every week, but make sure your supervisor knows your goals after your internship and how she can get in touch with you. You never know. If a job doesn’t open up at your particular organization, your supervisor may hear about a job at another nonprofit that you’d be well suited for. If she knows how to send that job along to you, you may be on your way.

Seattle Opera Executive Assistant Cathi Turner (right), interned for Seattle Opera during a production of Die Fledermaus in April and May of 1998 in the music library. She says what helped her to be successful is finding an internship that "fed her soul." As a music lover, Cathi loved getting the opportunity to sit in on rehearsals, which are open to staff. Her supervisor, Jay Rozendaal, allowed her to work on projects downstairs in the rehearsal studio.  

What's helped you find success in your nonprofit arts internship?