I’ll be attending this cool-sounding workshop on Persian Miniatures & Calligraphy at the West Kortright Centre (Oneonta). Gerard Gauci’s dazzling designs for next summer’s Armide are actually inspired by Persian miniatures, so I’m excited to have a hands-on opportunity to learn more about this tradition. See you there, I hope!
Quick Q&A: Conductor Kristen Blodgette
American conductor Kristen Blodgette makes her Glimmerglass debut this summer with the production of Annie Get Your Gun. She has conducted The Woman in White and Chitty Chitty Bang Bang on Broadway. Recently Blodgette worked on Mary Poppins and her upcoming project, conducting Evita, will mark the tenth time she has worked on Broadway.
Get to know Blodgette with this quick Q&A:
Kristen Blodgette speaking at a recent event at Glimmerglass.
What inspired you to become a conductor?
I began playing the piano when I was 4. I saw my first musical (THE MUSIC MAN) when I was 6. I was completely hooked. I continued to study classical music—while always having one foot in the world of musical theatre.
I moved to NY to continue to accompany in the operatic studios as well as to pursue Broadway theatre. I knew always—that this was what I wanted to do. I have a journal entry in which I wrote (at age 10) “I want to be a Broadway conductor.”
What opera or musical have you conducted that you would most like to revisit and why?
I have been revisiting THE PHANTOM OF THE OPERA on and off for the last 23 years. It is ever evolving for me.
Is there a particular song in Annie Get Your Gun you appreciate most and why?
When I hear “I Got Lost in His Arms”——I melt. I always have, always will. The lyrics, the harmonic build—-it is a gorgeous song. Such a very simple melody—but it says it all—“there you go”
Do you play golf or other sports?
Nope. No golf. Is reading considered a sport?
Is your family involved in the arts as well and how?
My husband is an artist. He does contemporary, large canvas works in acrylic—-often, politically provocative. Our daughter, Emma, was raised in the theatre (she was the first Phantom baby born into the company—-she is now 22). She is extremely musical and drawn to the arts. She studied ballet at SAB. She is graduating in May (Summa cum laude, Phi Beta Kappa) with a degree in psychology from the Honor’s College at the University of Maine. She is interested in theatre as well as psychology. She will be working as an Intern in the wardrobe department at Glimmerglass this summer.
Are there any artists you feel particularly inspired by and why?
I am inspired by Stephen Sondheim; the complexity of his music yet its accessibility, his masterful and poignant use of language/ lyrics.
What do you listen to for fun?
I grew up listening to Broadway, classical orchestral music, classical piano, opera, Barbra Streisand, Judy Garland and Liza Minnelli. I listen now primarily to Broadway shows. If I want to listen to something to relax—I listen to James Taylor, Carole King, Paula Cole, Jane Monheit…..Barbra Streisand, Bach.
What are your interests or hobbies?
Hmn. My interests; my family and my work
I enjoy gardening though I don’t get to do it enough. I like to read. I am obsessed with New York City and I love walking the streets of the city. I am a dog fanatic. We have two miniature wirehaired dachshunds.
What is your favorite meal? Do you cook it yourself or eat out?
I don’t cook—I order! I love it all; Chinese, Thai, Indian, Mexican, pizza. Thank goodness for delivery and for NYC’s diversity. I am a vegetarian.
Why are you most looking forward to the 2011 Festival at Glimmerglass?
I am looking forward to doing this wonderful show with Deborah, Rod, Francesca and this amazing company and orchestra at such a beautiful setting as Glimmerglass. I am thrilled to be conducting a large orchestra AND without a sound system.
Young Artists Perform Carmen
J'nai Bridges
On August 5, members of the Glimmerglass Young Artists Program (YAP) will perform their very own matinee performance of Carmen. J’nai Bridges is covering the title role for the season, but this Friday, she will have her own moment in the spotlight. Since this performance will incorporate all of the Young Artist covers in a fully staged performance with orchestra, it provides the Glimmerglass audience an opportunity to see two different Carmen performances this season.
I spoke briefly with J’nai Bridges about her approach to this notoriously intense character.
How long have you been preparing the role of Carmen?
I have been preparing the role of Carmen since last summer. I found out that I was singing the role in Tragedie de Carmen at my school, Curtis Institute of Music, in October of 2010. It is an abridged version of Carmen adapted by director Peter Brook, but to really get a sense of her character I started to study the whole score.
What has been most difficult, or most easy, about preparing the role?
For me the easiest aspect about preparing Carmen was simply learning the music. Bizet is such a genius in that mostly everything Carmen sings is so well written, catchy and fun. From the moment I opened the score and sang through it, everything fit like a glove, which always makes it easier to learn. The most difficult aspect for me has been putting myself in a “Carmen” mindset. At times it has been challenging to be a temptress in front of an audience. It’s not in my character offstage, so it has been a great test to my acting ability. Everyday I find myself getting more and more out of my comfort zone with her, which is why this role is so exciting!
How would you describe the character of Carmen?
I do not think Carmen is as complicated as some might think. She is a quick-tempered woman who doesn’t like to answer to anyone. She is very independent and lives by her own code. I believe she is always living in the present moment and will do almost anything to maximize her own pleasure. I also think she has immense interior security. Given the fact that she accepts her fate of death says to me that she is strong and will deal with absolutely anything that comes her way. Basically, she is a free spirit that does what she wants until she can’t do anymore.
In what ways do you personally identify with the character, or not?
In Carmen’s first aria she basically gives us a sense of how she functions by saying, “If you don’t love me, I love you; if I love you, watch out for yourself”. While I am not of this strategy, I do identify with her honesty and bluntness. I am a very honest person, and I tend to share my opinion or how I am feeling even if it is a little sharp. I also find myself sharing a bit of the free-spirit mentality as Carmen. I don’t ever worry about what life will bring, rather I look forward to the next day and take or leave what it has to offer. Lastly, I identify with Carmen most with my persistent mentality. I truly think that anything is possible, and if I want something I will do what it takes to get it. Now sometimes that something may just not be in the cards, but I will at least give my utmost effort.
What do you find most intriguing about Carmen, not only the character, but the opera as a whole?
The aspect that I find most intriguing about Carmen is that you cannot anticipate what she’s going to do next. Yes we know what is going to happen because there is a synopsis for us, but she really keeps us on our toes at all times. Because she is so independent and free-spirited, she does not take shame in any of her actions. Although I don’t agree with the way in which she handles some situations, I respect her because she stands for what she believes!
How do you think the character of Carmen fits on the spectrum of mezzo-roles? In other words, how do you think learning this role prepares you vocally, dramatically for other roles? Or, is the role simply unique unto itself.
I think vocally the role of Carmen is a great introduction to the bigger dramatic mezzo roles. It definitely is a sing where one has to pace oneself. Pacing is an important method that needs to be applied to every role, but especially dramatic ones. Dramatically, I think Carmen is singularly unique unto itself solely because of what she stands for and how she does not budge for anyone. I don’t know of any other mezzo role that is of such a free nature and is so strong- willed.
What is your favorite Carmen recording?
My favorite so far has been the 1975 recording with Troyanos, Domingo, Te Kanawa, Thomas Allen, and Sir Georg Solti conducting the London Philharmonic. I am in love with all of their voices and the tempos that Solti takes.
Who has been your favorite mezzo in the role?
There have been so many legendary Carmen’s, but I have to say I went to the Met and saw Elina Garanca in the role and she absolutely did it for me! Not only is she vocally consistent from top to bottom, but also her dramatic take was so clear. She was extremely sexy while not coming off as “over the top” or “slutty”. As an audience member, I experienced every kind of feeling for her; I loved her, hated her, felt sorry for her, and laughed with her.
Carmen is considered one of the quintessential mezzo roles. Because of this history, how do you put your own personal touch and quality to the role following in the footsteps of some of the greatest who have portrayed it?
I am still figuring out on a daily basis how to put my touch on the role of Carmen. It is very easy to watch a million DVD’s and say “ ooo I like what she did” and alter it in your own way. I however, try to imagine myself in a specific Carmen situation and ask, “What would J’nai do?” I see Carmen as intensely sensual and alluring, and I try to bring that into every scene.
You can see J’nai, as well as Young Artists Dominick Rodriguez (Don Jose), Aleksey Bogdanov (Escamillo) and Andrea Arias-Martin (Micaela), in this one-time only performance this Friday, August 5 at 1:30 p.m. This is a wonderful opportunity to witness some of the best young American singers in the country. All seats are $25 and can be purchased via the Glimmerglass website or by calling (607) 547-2255.
- Zackery Hayhurst
Glimmerglass Orchestra at the Pierstown Grange
On August 15 at 7:30 p.m., members of the Glimmerglass Festival Orchestra will present the 10th annual Florence High Memorial Concert at the Pierstown Grange.
The National Grange, formed in the years following the American Civil War, is the nation’s oldest national agricultural organization, with grassroots units established in 2,700 local communities in 37 states. Individual Granges, like the one at Pierstown, provide service to agriculture and rural areas on a wide variety of issues, including economic development, education, family endeavors, and legislation designed to assure a strong and viable Rural America.
Florence High (1912-2002) graduated from Radcliffe College in 1934 and played cello with the Elizabeth Philharmonic, Westfield Symphony Orchestra and Florence Symphony Orchestra. She enjoyed playing cello and flute with many chamber groups; in addition, she attended the Metropolitan Opera weekly, sitting in the last row of the upper balcony at the old Met. Ms. High spent her summers on the lake at Cooperstown and was a dedicated member of the Pierstown Grange. Her daughter and son-in-law Sue and Don Drake, also active Pierstown Grange members, hope this Grange event honors the memory of a devoted music lover and community member.
En garde!
In Anne Bogart’s version of Carmen, the tension of the bullfight comes through in more than just the Toreador Aria. The dynamics of bullfighting is present in much of the interplay between people. Dancers and singers alike circle one another—gauging their opponent, waiting to make the final strike—tension so thick you could cut it with an Espada.
Throughout the opera we hear a lot of bullfighting jargon from Escamillo and the chorus—like Espada , the sword with which the matador “finishes everything.” A close reading of the thorough vocabulary in the libretto can help us piece together the bullfighting tradition.
The first thing to know is that Toreador (torero)—famously misused in Carmen—refers to any participant in the bullfight, not specifically the killer of the bull. Although Escamillo’s Act II aria talks about the Toreador, he’s actually describing the work of the matador (matador del toros –killer of bulls).
When the chorus is chanting “Voici la cuadrilla” they’re watching a parade of chulos, banderillos, and picadors—all assistants to the matador. Chulos have the least glamorous roleas drivers and servants to the matador. The picadors are the first to encounter the bull in the ring. Mounted on horseback, their job is to jab the bull with a lance in order to weaken it through blood loss. Banderillos are in charge of planting barbed darts called banderillas into the bull’s neck and chest to further aggravate and weaken the bull.
This all takes about 10 minutes. Mind you that a bull can calculate what it takes to kill its opponent in 15 minutes. So the clock is ticking…
Escamillo sets the scene in his aria: “…All of a sudden, people fall silent. What’s happening? No more shouts! The moment has come!” In this final act of the bullfight called the faena (from old Catalan for task or chore) the matador manipulates the muleta (cape) in order to further tire and disorient the bull. When the matador has put on enough of a show for the audience and he feels that he and the bull are on equal footing, he goes in for the estocada, the final thrust of the sword designed to kill the bull.
In Spain the bullfighting tradition has thrived for centuries. As Escamillo describes in his aria, “it is a celebration of courage… of strong-hearted men!” But like Ernest Hemingway once said “it’s a good deal like Grand Opera for the really great matadors except that they run the chance of being killed every time they cannot hit a high C.”
Electrics Load-in
Last week was electrics load-in week. The electrics crew spent several days loading the repertory light plot into the theater. This is actually a complicated process of unloading over 400 lights, hanging those lights throughout the theater, and then running thousands of feet of cable to power the lights. They then need to test and focus the lights. After several weeks of pre-planning and lots of hard work, our 12 person electrics team accomplished the task!
Three days before the load-in begins, half of our electrics team travels to the rental shop in New Jersey to prep the lights for load-in. They label lights and cable, then layout and pack the truck so that the load-in goes smoothly. The trucks arrive at 8 am and the labor-intensive process begins. The electricians will hang the lights in the proper positions on the battens (counter-weighted pipes that can be raised and lowered above the stage). The photo above shows that this is no small task, with some of those lights weighing as much as 85 lbs!
Lights also need to be hung in various positions around the theater. This often involves lifting the lights up on a ladder instead of bringing the pipe down to the floor.
Once these lights are hung, electric and control cables need to be run to each position so that each light can connect to a dimmer. Dimmers are used to vary the brightness of the lights. These dimmers are controlled by the computer light board in the booth at the back of the theater.
Some lights need to hang in difficult positions. The lights on the sides of the stage are particularly hard because they are hung 32 feet above the stage. The electricians use a personnel lift to bring the electricians and their equipment to the correct working height for the lighting position.
The lighting instruments are placed in specific locations specified by the lighting designer and are indicated on the lighting plot. Here at Glimmerglass, we will be running four shows in repertory so we need to have a rep plot. A rep plot is a lighting plan designed to fill the needs of all four shows with as little changeover time between shows as possible. Lighting Director Jeff, Master Electrician Colin, Lighting Supervisors Lily (seen above) and Russell are in charge of making sure the light plot is properly installed and able to fulfill the needs of the Lighting Designers.
Next these lights need to be focused, and this cannot be done down on the ground, so electricians need to go up in the lifts again. But to know where to point the light, someone needs to be on the ground for him or her to focus on. This is because the light really isn’t aimed at the ground but about five or six feet above the ground, since that is about where the performer’s face will be. During this step, color is usually added to the light, which is done by putting a thin piece of colored, translucent polycarbonate or polyester in front of the light that filters the light to the desired color.
The last step in this process is to program the show into the light board. This is done through a process called cueing. A cue is a desired look for the lights during a specific part of the show, indicated by the lighting designer. The cue can be made by dimming or brightening lights, making them move or changing color — if the lights have those capabilities. It is then saved on to the light board. The designer makes hundreds of these cues. These are then played back in a specific order during the show. Cueing will take a while and will be tweaked and modified throughout the tech rehearsals.
Before every rehearsal and show all these lights must be tested in what is called a channel check. During a channel check, the Master Electrician will test every light, and if any have stopped working, he then fixes them. The photo above was taken when they were testing the moving light fixtures above the stage; you can see the beams of light coming from above onto the stage.
When, at last, the show comes together and is ready for an audience, the stage electricians are rewarded by seeing all of their hard work turned into beauty on stage. It is a large task for a team of twelve to support four operas at the same time but they love their jobs and they have a great time doing it.
William Brown
THE ARGONAUTS: TO COLCHIS AND BEYOND!
Early in Cherubini’s opera, Jason and his Argonauts present Glauce, princess of Corinth, with the Golden Fleece. Although the libretto doesn’t differentiate between members of the male chorus, director Michael Barker-Caven assigned each of the chorus men an Argonaut persona to help them enter into the spirit of the piece.
As the story goes, Jason was deprived of his rightful throne by Pelias. When he showed up to claim it, Pelias told him he must first retrieve the Golden Fleece. When Jason set out on the quest, he assembled a group of heroes to sail with him on the ship Argo (hence the name Argonauts). The Argo was no cruise liner; this lovely trip consisted of dragons, huge cliffs that squashed anything that tried to pass between and a slim chance of living to tell about any of it. So, who are these guys who risked their lives, all so Jason could take his rightful throne from Pelias? Let’s take a moment to meet some of these burly men.
Jason: The leader of the pack—he’s on a quest to get his throne back.
Heracles: Let’s just let Odysseus tell us about this son of Zeus:
And next I caught a glimpse of powerful Heracles—
…Around him cries of the dead rang out like cries of birds
scattering left and right in horror as on he came like night…”
Enough said.
Acastus: Son of Pelias—clearly didn’t know what he was getting into when he sailed with Jason. Upon their return from Colchis, he wasn’t too happy when Medea got his sisters to cut Pelias into pieces and boil him.
Asclepius: Jason was smart to bring this guy, the god of healing, along on his voyage. Son of Apollo, Zeus eventually had him killed after he got so good at his job that he raised someone from the dead. He didn’t want the immortality of the Gods to become blasé.
Bellerophon: The greatest warrior before Heracles came along. He was famous for slaying the fire-breathing monstrosity that is the Chimera (left). Yes, that’s a head of a lion, a goat jutting out of her back, and she’s got a serpent for a tail.
Castor: The mortal twin of the Gemini twins born of Leda. He and his brother’s excellent horseman and hunter skills made them a handy pair on the Argo’s crew.
Deucalion and Iphitos: They were Kings of Crete and Phocis, respectively, before the Trojan War. Iphitos’ sons led the Phocians in that battle.
Meleager: His claim to fame was slaying the Calydonian Boar, a giant swine sent by Artemis to ravage the region of Calydon.
Nestor: King of Pylos, he helped fight the centaurs and slay the Calydonian Boar.
Telamon: Like Heracles he was a great warrior and a strong man— killing monsters sent by Poseidon can give you that reputation. He and Jason actually butt heads quite a bit on the Argo.
Even with this all-star cast, and 20 others including, allegedly, Hercules who joined later, Jason still needed Medea to help him complete the three tasks ordered by King Aeetes, current Fleece owner, before he could claim it as his own. Shot by Eros’s arrow (Cupid for the Romans), Medea, the King’s daughter, fell in love with Jason.She gave him fire-retardant ointment for those pesky fire-breathing oxen, endowed him with battle tricks and helped him lull and kill the sleepless dragon that guarded the Fleece. She even murdered her brother so they could escape Colchis and get back to Iolcus. And what does she get in return for her aid and sacrifice? Zilch. Like Medea says herself in Act I of the opera: “Despite everything she did for him, her husband gave her…Ungratefulness!”
Off and running with the double bill!
Today we begin rehearsing for the fourth show of the season – actually, the fourth AND fifth. We will be presenting the professional stage premiere of John Musto and Mark Campbell’s Later the Same Evening, along with the world premiere of Jeanine Tesori and Tony Kushner’s A Blizzard On Marblehead Neck.
You won’t find these shows in the New Grove Dictionary of Opera — or even Wikipedia! For my money, that’s a good thing. How often do you have the opportunity to sit in an opera house and be completely surprised as a new opera unfurls itself before you? Speaking for myself, I would say: not often enough!
At the same time (again, speaking for myself) having a little bit of background can be fun. Follow these links to learn more about the art and artists that inspired A Blizzard On Marblehead Neck and Later the Same Evening.
LATER THE SAME EVENING
A New Yorker piece about Hopper and a Hopper retrospective at Boston’s Museum of Fine Arts (2007). Includes a slide show.
This scrapbook, compiled by the staff of the Smithsonian American Art Museum, offers a glimpse into Hopper’s life, his friends, and the paintings that have fascinated art lovers worldwide ever since Hopper first came to prominence during the mid 1920s.
Avis Berman writes in Smithsonian magazine on Hopper.
The official website of composer John Musto includes bio, work list, article, and links to audio clips.
Resources assembled for the Hopper retrospective at the National Gallery of Art, which co-commissioned Later the Same Evening for the occasion. Includes a short film on Hopper, a discussion of the creation of the opera, a timeline, and a variety of other materials.
A BLIZZARD ON MARBLEHEAD NECK
On the PBS site, you’ll find a documentary transcript, clips of actors performing and talking about works of O’Neill, short articles on important people and events in the playwright’s life, gallery, timeline and more.
The American Theatre Wing hosts a discussion with Jeanine Tesori, Tony Kushner, and cast members of Caroline, or Change.
Enjoy!
American Jukebox
Irving Berlin, composer of Annie Get Your Gun, wrote an estimated 1,500 songs, many of which have become part of our popular culture: “God, Bless America,” “There’s No Business Like Show Business,” “White Christmas” — the list goes on.
Earlier this week, the Library of Congress launched American Jukebox, a new website of over 10,000 rare historic sound recordings available to the public for the first time publicly. Want to hear some rare Irving Berlin songs? Search under “Berlin, Irving” (no quotation marks) and you’ll be amply rewarded.
If you prefer your Berlin rarities live, join us this summer for The Unsung Songbook, a program of less-known works from Berlin and his contemporaries, performed by members of our Young Artists Program. Performances are July 18 and August 2; tickets are just $10 adults/$5 children.
