Fun Fact:

Irving Berlin, who wrote the music and lyrics to last summer’s Annie Get Your Gun, also composed what many call the second (only to the National Anthem) most patriotic song in our country’s history – God Bless America. This popular tune has netted more than $10 million since it was written, and not a penny of it went to Berlin or his estate. Berlin arranged for all royalties generated from the song to go directly the Boy Scouts, Girls Scouts and Campfire Girls, insisting that he shouldn’t profit from patriotism. This one act has provided a great deal of financial support to these organizations for more than 70 years.

There are many ways to donate to non-profit organizations, whether it be items, money or time, and all are appreciated by recipients. How do you give back?

“I’m a fan of Handel’s Messiah. Or check out Chanticleer. They sing a lot of early music but also have quite a few Christmas albums.”

Kristin Cook, Box Office Manager

“I love the Trans-Siberian Orchestra’s Carol of the Bells.”

June Dzialo, Marketing & Public Relations Manager

“‘I’ll be Home for Christmas’ by Bing Crosby. It was co-written by James Kimball Gannon, who lived in my hometown of Greenwich. He was a legend in my town.”

Andi Lyons, Director of Administration and Operations

“Handel’s ‘The Messiah’”

Corinne Peretin, Accounting Associate

“I’m a big fan of Harry Simone’s 1958 album ‘The Little Drummer Boy,’ and the Charlie Brown Christmas album.  Also, the music nerd in me loves any and all old-school madrigals and carols related to Christmas and otherwise, especially ‘The Holly and the Ivy,’  ‘The Coventry Carol,’ and ‘Bring a Torch, Jeanette Isabella.’”

Carolyne Hall, Assistant to the Artistic & General Director

“One of my favorite Christmas albums is ‘A Very Special Christmas, Volume 1.’ There are eight in the series, but this one includes everything from the Eurhythmics with ‘Winter Wonderland’ to  John Mellencamp  with ‘I Saw Mommy Kissing Santa Claus’ to Stevie Nicks with ‘Silent Night,’ and  proceeds from the sale of any of these benefit Special Olympics International. Definitely worth a listen.”

 Dianne Ciano, Director of Housing & Transportation

“I hope that everyone knows that the John Denver and the Muppets Christmas album is the best Christmas album out there.”

Abby Rodd, Director of Production

“No offence to the Muppets or the late John Denver, but I think a very strong case could be made for the Carpenter’s ‘Christmas Portrait.’ Karen Carpenter’s ‘Merry Christmas, Darling’ is just fantastic.”

Richard Blanton, Company Manager

“My all-time Christmas favorite is José Feliciano’s ‘Feliz Navidad.’  I literally stop what I’m doing and dance whenever I hear it while I’m Christmas shopping.

Linda Jackson, Managing Director

“I think the most beautiful Christmas Carol is ‘In the Bleak Midwinter,’ and the one that’s most fun to sing with children is ‘The Friendly Beasts.’

Tara Sumner, Development Manager

LONDON | ROYAL OPERA HOUSE | DON GIOVANNI
January 21  – February 29

LYRIC OPERA OF CHICAGO | SHOW BOAT
Feb 12 – March 17

SYDNEY HARBOUR | LA TRAVIATA
March 24- April 15

Ingredients

1 pound ground beef
1 medium yellow onion, diced
2 cloves garlic, chopped
3 cups cooked black-eyed peas
1 medium jalapeno, diced
1 (10-ounce) can diced tomatoes (recommended: Ro-tel)
1 (10-ounce) can cream of mushroom soup
1 (10-ounce) can cream of chicken soup
1 (10-ounce) can mild enchilada sauce
A few dashes of Louisiana hot sauce
1 package corn tortillas
Butter
2 cups grated cheddar
Chopped green onions, for garnish

Directions

Brown the ground beef in large skillet. Drain the excess grease and the add onion, garlic and jalapeno. Cook the mixture for 3 to 5 minutes or until the onion has softened. Add the peas, tomatoes, mushroom soup, chicken soup and enchilada sauce. Add a few dashes of hot sauce. Simmer until warm, about 10 minutes.

Preheat oven to 350⁰ F.

Tear the tortillas into large pieces. Grease the bottom of a large casserole dish with butter and then line the bottom with the torn tortilla pieces. Spoon on the ground beef mixture into a thin layer and then add a layer of cheese. Add another layer of tortillas and repeat with the beef mixture, finishing with a layer of cheese on top. Cover the casserole dish with foil to prevent the cheese from burning and place in the oven. Cook for 35 to 45 minutes. Remove from the oven, cut slices approximately 2 by 2 inches and serve. Garnish with chopped green onion.

Photo: Claire McAdams

I’m currently in Switzerland, directing a new production of Rebecca (which you can see on Broadway this coming spring), but as always I have Glimmerglass on the mind. So below is my list of recommended reading for the year leading up to our 2012 Festival.

I’ve linked to the books on Amazon. I hope you will take some time to become familiar with our 2012 Festival shows, and let me know what you think of the reading selections!

AIDA

Egypt on the Brink:  From Nasser to Mubarak by Tarek Osman

ARMIDE

The Liberation of Jerusalem by Torquato Tasso & Mark Davie; translation by Max Wickert

Understanding Islam and the Muslims:  The Muslim Family and Islam and World Peace by T.J. Winter & John A. Williams

LOST IN THE STARS

Cry, the Beloved Country by Alan Paton

Kurt Weill: A Handbook by David Drew  (This book is out of print, so it unavailable brand new.)

MUSIC MAN

And There I Stood with My Piccolo by Meredith Willson

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.

David Pittsinger as Eugene O'Neill in "A Blizzard On Marblehead Neck"

It’s not often that the Audio/Video team is asked to make audio sound worse, but that was the case in Later the Same Evening and A Blizzard On Marblehead Neck. In Later the Same Evening there is a scene which involves music being played from an old radio, and in Blizzard On Marblehead Neck music must play from an old phonograph. Instead of recording the singing and modifying the sounds to create the desired effect, it was decided that this piece would be queued into the music, so they set out to create a way for live singing to sound as if it were coming through the tiny radio or phonograph.

The solution was to put the singers in a large, concrete room behind the orchestra pit. In order for the singers to receive their cue, a television monitor showing live feed from the conductor, along with a speaker streaming audio from the orchestra, was installed in the room. This enables the singers to see their cue from the conductor and hear the orchestra.

Even with all of these installations, the singers sounded too good. By turning down the bass and mid-range frequencies, the desired result was finally achieved. At The Glimmerglass Festival, singers never use microphones for volume enhancement, however in this case it was necessary to use microphones in order to create the desired effects.

Darren, A/V Intern, checking his cues on the sound board

Alexandra Deshorties in the title role of Medea.

The artists on the stage of the Alice Busch Opera Theater get the lion’s share of attention each summer, but some of the most distinguished guests of our 2011 festival appear in more intimate venues. Our “ShowTalk” series gives a new name to a long-standing Glimmerglass tradition: for many years, we have invited visiting scholars and artists to share their insights on topics related to the season. Last Saturday, in a morning devoted to American art and artists, we heard from Carol Troyen, Curator Emerita of American Paintings at the Museum of Fine Arts, Boston and a noted expert on the works of Edward Hopper; Terrence McNally, award-winning playwright and librettist; and Arthur and Barbara Gelb, authors of O’Neill: Life with Monte Cristo (2002), a definitive life of the playwright.

This Saturday, we’ll be joined by classicist Gregory Nagy and musicologist Peter Bloom to discuss Medea. The morning will also feature live performance of excerpts from the play by Euripides and the opera by Cherubini. The August 6 ShowTalk takes place from 10:00 – 12:00 in the Thaw Pavilion, on the Glimmerglass Festival campus. The price is only $10 ($5 for youth under 18).

We hope to see you there!

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