This is Willis-Sørensen’s third production of Otello. She has sung in a wide range of operas from Puccini to Wagner to Beethoven. She recorded the final aria from Otello for her album Rachel, which was released last year. Two months ago she released her second album, Strauss: Four Last Songs by Richard Strauss.

I recently spoke with Willis-Sørensen about Otello and her various experiences with it, the present-day resonance the opera has and the experience of performing Otello with a Black singer in the title role. What follows are excerpts from my conversation with Willis-Sørensen that have been edited for length and clarity. To see the full interview, please go to our YouTube channel.

How much does the philosophy expressed in Bird Set Free by Sia, where she says, “Sing for love, sing for me,” resonate with you as you’re preparing yourself before going on stage?

I love that song. My daughter actually showed it to me. It’s so beautiful. “I don’t care if I sing off key. I found myself and my melodies. I sing for love. I sing for me. I let it out like a bird set free.” That’s what it feels like to me when I’m singing. There’s this incredible freedom of expression. Everyone is sitting there looking at me and it’s like I’ve been given the platform to express myself. It’s just the most incredible feeling.

To me there’s something more valuable in expressing something honest than in doing it perfectly. I’ve been varying degrees of toxic perfectionist all my life. With singing the best performances I’ve ever given, I would never say they are the ones that were the most technically perfect. It’s more the ones where I accessed something very real and shared it with the audience. That’s where I feel the most rewarding fulfillment.

Can you tell when you’re in a good production versus when you’re in one that isn’t working as well?

Yes. I’ve been wrong a couple of times, to be fair. I mean, no one’s perfect! But generally when the story is discernible, it’s legible – so to speak from the audience perspective – it’s going to be a good production. If it is not, then it’s going to be a concert with some weird, confusing nonsense happening in front of the audience. Which is not my favorite, obviously, given that I described it that way. It’s hard. I don’t envy a director the task of trying to coordinate all of those multitudinous moving parts.

This is your third production of Otello. How much does a production itself influence your approach to the role?

I’m finding that each nuance that I learn from an old production sort of informs the next one. It’s only my third. But it seems if you are asked to look at something from a different perspective, potentially it enriches your viewpoint on the role. Then depending on the flexibility of the director or the amount of time, you can really hone something.

I think it’s never identical. There are no two performances that are identical. The first production was very traditional. I think making a role debut in a production like that is a gift because you’re just doing the show, you’re just telling the story as well as you can, which is always ideal for a role debut.

The second production that I did was very modern in Munich and the take on the character was so different. I find that the strength of presentation from the second has informed this third one significantly. This is more traditional, but I think that my telling from day one has become a lot stronger than it was previously. 

LA Opera conductor James Conlon is a passionate fan of Verdi’s. Are you that passionate about Verdi as well? 

Absolutely. I’m in a very fortunate position where I get to sing a wide variety of repertoire, probably wider than is normal to do you could argue. But Verdi is certainly, if not my absolute favorite, then somehow among the top two favorite composers to sing. It’s just written in such a grateful way and the characters are always really interesting to play. I just love it. It suits my throat. I find singing Verdi feels very physically satisfying. Very often you die in the end, which is nice in a weird way. I mean, it makes you really think about your own mortality to die on stage. It makes you more grateful to be alive, but also the act of doing this somehow…I don’t know. I almost recommend it as a therapy, enacting your own death physiologically and then trying to lie there. 

Let’s talk about Desdemona’s death. The audience is led to believe that Desdemona has been killed. Then she seems to come back to life to sing her final passage in the opera before she does die. How do you navigate something like that to make it the serious moment it needs to be?

She’s dead. She’s not dead. Wait, is she dead? I know it’s very strange. It’s not very logical. Maybe it wasn’t common knowledge that it takes 3 to 5 minutes to choke a person. But I think [Otello’s] just knocked her unconscious. Clearly something is physically wrong enough that ultimately she dies from it. But she comes two for a second after the fact.

After the physical struggle, I don’t want to think. I want it as absolutely clean as possible. So that’s what I’m trying to focus on during those moments. Then I just try to not breathe visibly for the rest of the show.

Sonya Yoncheva said in 2015 about this role, “Desdemona is a strong woman who knows exactly what she’s doing. The only thing that escapes her is the level of craziness attained by Otello. I personally think she’s very brave. Her greatest strength is her love for Otello. She defends her love, her man, to the very end.” History has not really viewed the character that way. She is viewed more as a tragic victim. Where do you find her?

I think she’s strong in that she marries Otello against her parents wishes. She’s somehow emotionally healthy enough to believe she didn’t have a poor relationship to her parents. She didn’t escape them to marry Otello. They didn’t want her to marry him. She was so in love that she made this decision to stand by him and run away with him. That represents some kind of chutzpah, right? Who does that? 

But her love for Otello is so big. His specificity, his difference from all the other men she’s interacting with, I think is part of what contributes to that. She is a tragic victim. I just don’t see her as weak because I think it’s too easy to say that only weak people become the victims of abuse. I don’t think in the real world that’s how that plays out. When your tenderness is taken advantage of by another person, in whatever way, that could basically happen to anyone. It takes so much to be able to stand up to an abuser if they are someone you love.

So I think it’s a very relevant story. We have to feel like it’s a terrible mistake, it’s a terrible misunderstanding, and that Otello has done something very wrong. 

I also think there’s something even more topical than that, which is the whole idea that lies take on a truth of their own. If you repeat something often enough, you get a huge percentage of people to believe you. Social media is a hotbed of complete and utter falsehoods. 

It’s enough just to have an accusation. That’s enough to ruin you. Just the accusation. There doesn’t have to be any proof. There doesn’t have to be any investigation as soon as an accusation is made. That is another part of the story that’s really relevant.

I have three little children: a nine-year-old daughter and twin sons who are almost eight. My son was saying to someone, “It’s okay if you like something and I like something different. We can both like different things and still be good friends.” We can have divergent opinions and not be accusing one another of stupidity. That’s a beautiful notion that I’m trying really hard to teach my children. I think that’s really missing in public discourse.

What was once acceptable in opera for this role is no longer acceptable. Your other Otellos were not Black performers/singers. Creatively does it make a difference to see Russell Thomas, a Black man as Otello, singing opposite you? Do you think it’s important that that continue to be what is done on opera stages?

I have loved working with all of the Otellos that I’ve worked with. They have been very impressive and interesting storytellers. I think that Russell also is an incredible storyteller. I think he has experience to access in order to tell this role in a different way based on being an actual Black man. So when he talks about being a Black man among white people – I think they water down for the supertitles – but it’s something that he is able to tell in an different way. He’s very passionate and he’s a wonderful colleague. Singing with him is a joy.

I’m not entitled to have an opinion on the controversy because I am a white woman. But I do think that what differentiates opera from other art forms is the singing. At any given time in the world there may be five men who can do the role of Otello. So to make their skin color be requisite, we will just never get to do the piece.

I think Aida is the same. There are actually a few really wonderful African-descent singers who could sing either really well and they should do it. For that reason, I’m nervous about undertaking that task myself, even though it’s been offered a couple of times, because I don’t want to be part of the controversy.

It just doesn’t have an easy answer. In the productions I’ve done where we altogether ignored it, it’s fine. We’re still telling a story about jealousy. It just becomes not an issue of race. So I guess you can see much more clearly the issue of the racial dynamic, if the tenor is actually Black. So I think that it’s worthwhile doing either way. But this does definitely make this particular production of Otello extra special. 

Verdi wrote in a letter he sent in 1871 to Giulio Ricordi, “I deny that either singers or conductors can create or work creatively. This, as I have always said, is a conception that leads to the abyss.” If you had the opportunity to either refute or concur with Verdi, what would you tell him?

I tend not to agree with that because, and I always say this, if there were only one right way of doing it, just record it and be done. But we do it again and again. The beauty of the live experience is one thing. But I think the diversity of experience with different casts, I felt that myself in different casts, every singer brings themselves into what they’re doing. I would argue you have to work creatively.

But on the other hand, maybe what he meant, which I do agree with, is that you follow what is written on the page and you will make magic. We don’t have to create magic. We get to make the magic that Verdi already wrote down on the page. I do think his articulations, the expressive markings, the tempi, the dynamics, there’s room, of course, for rubato, there’s room for naturalistic interpretation. But most of that information is already on the page. When you follow those guidelines in a naturalistic way, you tend to do better than if you go rogue and ignore them.

To see the full interview with Rachel Willis-Sørensen, please go here.

Main Photo: Russell Thomas and Rachel Willis-Sørensen in LA Opera’s “Otello” (Photo by Cory Weaver/Courtesy LA Opera)

The post Rachel Willis-Sørensen: Desdemona Is Strong appeared first on Cultural Attaché.

Since he composed 12 operas, it is inevitable that there will be some operas being presented in both weeks. In fact, the same seven operas are being presented this week that were presented back in September. However, to the Met’s credit, there is only one production being shown this week that appeared in the previous Puccini Week.

Amongst the stars in this week’s operas are Roberto Alagna, Barbara Daniels, Plácido Domingo, Angela Gheorghiu, Karita Mattila, Luciano Pavarotti, Renata Scotto, Nina Stemme, Paulo Szot and Shirley Verrett.

All productions become available at 7:30 PM EST/4:30 PM PST and remain available for 23 hours. Schedules and timings may be subject to change.

The Met is heavily promoting their Met Stars Live in Concert series and the planned resumption of performances in the 2021-2022 season, so you’ll have to go past those announcements and promos to find the streaming productions on the Metropolitan Opera website. 

If you read this column early enough on July 12th, you’ll still have time to see the 2016-2017 season production of Strauss’ Der Rosenkavalier that concludes Richard Strauss week.

Here is the full line-up for Week 70 at the Met:

Monday, July 12 – Puccini’s Manon Lescaut – 2nd Showing

Conducted by James Levine; starring Karita Mattila, Marcello Giordani and Dwayne Croft. This revival of Gian Carlo Menotti’s 1980 production is from the 2007-2008 season.

Puccini’s Manon Lescaut was based on Abbé Prévost’s 1731 novel, Histoire du Chevalier des Grieux, et de Manon Lescaut. The libretto is by Luigi Illica, Marco Praga and Domenico Oliva. Manon Lescaut had its world premiere in Turin in 1893.

This is another opera about an ill-fated couple. Manon is taken by her brother to live in a convent. A local student, Des Grieux, feels it is love at first sight and persuades Manon to run away with him. Poverty doesn’t suit her, nor does a life of having everything she wants when she leaves Des Grieux for Geronte, the man her brother had chosen as a possible husband. Passion cannot be denied, but doesn’t mean Manon and Des Grieux will live happily ever after.

Anthony Tommasini said in his New York Times review that there was basically one reason the Met brought back this production of Manon Lescaut after 18 years: Mattila. He said she did not disappoint. Going further he added, “Though a lovely and mature Finnish woman, Ms. Mattila is such a compelling actress that she affectingly conveyed Manon’s girlish awkwardness. She acted with her voice as well, singing with burnished sound and nuanced expressivity.”

Tuesday, July 13 – Puccini’s La Bohème – 3rd Showing

Conducted by James Levine; starring Renata Scotto, Maralin Niska, Luciano Pavarotti, Ingvar Wixell and Paul Plishka. This Fabrizio Melano production is from the 1976-1977 season.

Easily one of the most popular operas in the world, Giacomo Puccini’s La Bohème had its world premiere in Turin, Italy in 1896. The libretto is by Luigi Illica and Giuseppe Giacosa. The opera is based on Henri Murger’s 1851 novel, Scènes de la vie de bohème.

The story centers on four friends who are unable to pay their rent. Successfully getting out of a potentially bad situation with their landlord, all but one go out on the town. Rodolfo stays home and meets a young woman named Mimi. They fall in love, but Mimi’s weakness may be a sign of something far more life-threatening than they know. (If this sounds like the musical Rent, it is because La Bohème served as Jonathan Larson’s inspiration for that musical.)

Pavarotti made his Met Opera debut in 1968 in La Bohème. This 1977 production of Puccini’s beloved opera was actually the very first Live at the Met broadcast. 

Harold C. Schonberg, writing in the New York Times, said of Pavarotti’s performance, “Nobody around today can sing a better Rodolfo, and this despite the fact that the voice has changed somewhat in recent years. It is a little heavier passages above the staff are not produced as effortlessly as before sometimes there is a decided feeling of strain. One hopes that the Manricos he has been singing have not taken the lyric bloom from his voice. With all that, he sang most beautifully last night. Only Mr. Pavarotti can spin out long phrases with such authority and color.”

Wednesday, July 14 – Puccini’s Tosca – 4th Showing

Conducted by James Conlon; starring Shirley Verrett, Luciano Pavarotti and Cornell MacNeil. This Tito Gobbi production is from the 1978-1979 season.

It is quite likely that Puccini’s Tosca was the first opera to premiere in 1900. Its first performance was on January 14 in Rome. Based on Victorien Sardou’s 1887 play of the same name, Tosca‘s libretto was written by Luigi Illica and Giuseppe Giacosa.

The setting for Tosca is Rome in 1800. The Napoleonic wars were raging and political unrest was omnipresent. The opera takes place over the course of slightly less than 24 hours. Floria Tosca is the object of Chief of Police Baron Scarpia’s lust. He uses suspicions that her lover, Mario Cavaradossi, aided a political prisoner who has escaped as an opportunity to get him out of his way which will leave Tosca for himself. After capturing Cavaradossi, Scarpia says that if Tosca doesn’t become his lover, he will have Cavaradossi killed.

Donal Henahan, in his New York Times review, praised Verrett’s singing. “Miss Verrett, in appearance the most persuasively starlike Floria Tosca the Met has offered in years, also succeeded in satisfying the purely vocal demands of her role. There was little strain anywhere, and many passages of extraordinarily fine, intelligently nuanced singing.”

He went on to say about Pavarotti, “Mr. Pavarotti, though a bit thin of voice in such outpourings as ‘Recondite armonia,’ pitched himself into the action, vocally and theatrically, with his usual infectious enthusiasm. Puccini is notoriously hard on voices—perhaps more so than Verdi or even Wagner— and Mr. Pavarotti is taking a calculated risk in moving into emotionally heavy and tone‐shredding roles. But his ‘Vittoria!’ rang out excitingly, without sounding strident, and in the lyrical passages he was nothing less than glorious. Bravissimo is not good enough for such singing. How about pavarotissimo?”

Thursday, July 15 – Puccini’s Madama Butterfly – 2nd Showing

Conducted by Pier Giorgio Morandi; starring Hui He, Elizabeth DeShong, Bruce Sledge and Paulo Szot. This is a revival of the 2006 Anthony Minghella production from the 2019-2020 season.

Puccini’s Madama Butterfly is every bit as popular as La Bohéme. Luigi Illica and Giuseppe Giacosa wrote the libretto based on John Luther Long’s short story, Madame Butterfly and on the 1887 French novel Madame Chrysanthème by Pierre Loti. David Belasco turned Long’s story into the play Madame Butterfly: A Tragedy in Japan. Puccini saw the play in 1900 in London. His opera had its world premiere in 1904 at La Scala in Milan.

Cio-Cio San falls in love with an Lieutenant in the U.S. Navy named Pinkerton while he is stationed in Japan. They hold a wedding ceremony that Cio-Cio San takes very seriously. When Pinkerton has orders to go back to the States, she awaits his return. Unbeknownst to Pinkerton, Cio-Cio San has gotten pregnant and given birth to a son. When he finally does return with his American wife, Cio-Cio San is devastated. (If this sounds like the musical Miss Saigon, it is because Madama Butterflyserved as the inspiration for that musical.)

Seth Colter Walls, writing in the New York Times, praised much of Hui He’s work as Cio-Cio San:

“Ms. He’s work in ensembles could also give off a stranded feeling — and not just because of the strain evident in ascents to high notes. Yet during more intimate passages, she pulled the night together by delivering a Cio-Cio-San full of subtle yet fascinating changes. Some darkly rich tones provided dramatic dimension for her first-act work before a brighter, brassier sound underlined the character’s hopeful delusions in the second act. Tellingly, the soprano was at her most moving when interacting with her young son, depicted in this production through Bunraku-style puppetry. In these moments, the intensity that was missing from the flesh-and-blood interactions became plainly obvious.”

Friday, July 16 – Puccini’s La Fanciulla del West FIRST SHOWING

Conducted by Leonard Slatkin; starring Barbara Daniels, Plácido Domingo and Sherrill Milnes. This Giancarlo Del Monaco production is from the 1991-1992 season.

Giacomo Puccini’s La Fanciulla del West had its world premiere at the Metropolitan Opera in 1910. It was Puccini’s follow-up to Madama Butterfly. Like that work, this was also inspired by a play by David Belasco. The Girl of the Golden West was adapted by Guelfo Civinini and Carlo Zangarini.

Set during the Gold Rush era in California, Sherriff Rance is told by a Wells Fargo agent, Ashby, that he is chasing a bandit named Ramerrez. Minnie is the owner of the bar where Rance’s unrequited love for Minnie remains just that. A stranger arrives and successfully flirts with Minnie. He identifies himself as Johnson, but in reality he is the bandit Ramerrez. Can he avoid recognition and capture? Will their love save the day?

Martin Bernheimer, writing in the Los Angeles Times, was very impressed with the production. Here are excerpts from his review:

“The Metropolitan Opera has expended rousing, loving care on its new production of La Fanciulla del West…The most striking contribution to this emphatically successful project would seem to come, however, from the stage director: Giancarlo del Monaco…His Fanciulla may be the most realistic, the most detailed, the most atmospheric version since the world premiere, which happened to be presented by the same company 81 years ago…Perhaps Del Monaco has given us the ultimate oxymoron: a thinking person’s Fanciulla del West.”

Saturday, July 17 – Puccini’s La Rondine – 4th Showing

Conducted by Marco Armiliato; starring Angela Gheorghiu, Lisette Oropesa, Roberto Alagna, Marius Brenciu and Samuel Ramey. This Nicholas Joël production is from the 2008-2009 season.

Puccini’s La Rondine had its world premiere in Monaco in 1917. The libretto, based on a libretto by Alfred Maria Willner and Heinz Reichert, was written by Giuseppe Adami.

Multiple people collide in this opera about love. Magda is Rombaldo’s kept mistress. While entertaining friends, including the poet Prunier, she realizes how much she misses being in love. Prunier is in love with Lisette, who is Magda’s maid. A young man enters their group, Ruggero, who falls in love with Magda. Could he possibly provide the true love she so desperately desires? Who will end with whom and will they all live happily ever after?

Gheorghiu and Alagna were the hottest couple in opera when this production happened. They first met in 1992 while performing in La Bohème together. They were married four years later while also doing a production of the same opera. In late 2009 they separated. They reconciled two months later, but did end up divorcing in 2013.

But the chemistry was still very much alive in this production. Anthony Tomassini wrote in the New York Times:

“…in this sensitive staging, thanks to the expressive performances of Ms. Gheorghiu and Mr. Alagna, this excess of Italianate emotion just makes “La Rondine” more appealing.”

Sunday, July 18 – Puccini’s Turandot – 2nd Showing

Conducted by Paolo Carignani; starring Nina Stemme, Anita Hartig, Marco Berti and Alexander Tsymbalyuk. This revival of Franco Zeffirelli’s 1987 production is from the 2015-2016 season.

Puccini’s opera had its world premiere in 1926 in Milan. The libretto was written by Guiseppe Adami and Renato Simoni. The composer died two years before its premiere and the opera was completed by Franco Alfani.

Set in China, Turandot tells the story of Prince Calaf who has fallen in love with the title princess. She, however, isn’t very interested in him. In order for any man to marry Turandot, he is required to correctly answer three riddles. Should any answer be wrong, the suitor is put to death. Calaf is successful, but Turandot remains opposed to their marriage. He strikes a deal with her that will either lead to their marriage or his death. 

By the time this production of Turandot was broadcast on Met Opera in HD, Nina Stemme was the fourth woman to sing the title role. Christine Goerke, Lise Lindstrom and Jennifer Wilson had all performed in the production prior to Stemme. It should be noted that having multiple singers for a given role during a season is not at all unusual.

Vivien Schweitzer, in her review for the New York Times, said of Stemme’s performance that she, “managed to render the grisly ice maiden surprisingly vulnerable. Ms. Stemme sounded more grief-stricken than angry during “In questa reggia,” the aria in which she recalls her violated ancestor.

“Her powerful, luxuriant voice retained its warmth throughout the evening, with blazing high notes that were never forced or shrill, even when projected over the massed ensembles of orchestra and chorus. Her transition from powerful to helpless seemed particularly acute when she begged her father not to be given to the “stranger” (the prince Calaf), who has solved the riddles that will allow him to possess her.”

That’s the line-up for Week 70 at the Met. For those following the labor issues at the Metropolitan Opera, a tentative agreement has been reached so it looks like there will indeed be a 2021-2022 season. That will mean more LIVE in HD presentations to experience.

Enjoy your week! Enjoy the operas! 

Photo: Nina Stemme and Marco Berti Puccini’s Turandot. (Photo by Marty Sohl/Courtesy Metropolitan Opera)

The post Puccini: Week 70 at the Met appeared first on Cultural Attaché.

Our top pick this week is actually a twofer. Jazz vocalist Jazzmeia Horn, who has taken the world by storm since her 2017 debut album A Social Call, is featured in two concerts you’ll want to watch this weekend.

With several operas, a very wide range of dance, play readings and more, it will seem at first glance like a pretty intense selection of programs. However, nothing is what it seems this week. Read about each of these programs and you’ll find they almost all represent a new way of telling both familiar and new stories.

Here are the Top Ten Best Bets: June 18th – June 21st.

*TOP PICK* JAZZ: Jazzmeia Horn – SFJAZZ – June 18th – 8:00 PM ET/5:00 PM PT and Cal Performances on demand through July 21st

This week’s Fridays at Five offering from SFJAZZ is a 2019 performance from the 37th San Francisco Jazz Festival in support of her second album, Love and Liberation.

She rose to prominence after winning the 2015 Thelonious Monk Institute International Jazz Competition.

In a 2017 review of a performance Horn gave at Dizzy’s Club Coca-Cola in New York, Giovanni Russonello wrote in the New York Times after calling her one of the most talked-about jazz singers to emerge since Cécile McLorin Salvant and Gregory Porter:

“…she’s possessed of some distinctive tools, all of which were on display: a pinched, sassy tone in the highest register; a fondness for unguarded duets with her bassist (at Dizzy’s, it was Noah Jackson); an array of rough, pealing nonverbal sounds that add drama to codas and interludes, hinting at meanings in the music that go beyond what fits on the page.”

Should you be unable to catch the streaming of this concert on Friday, there is an encore showing on Saturday at 1:00 PM ET/10:00 AM PT. Tickets are $5 which includes a one-month digital membership to SFJAZZ.

If you want to explore more of what Horn can do (and perhaps see and hear how she evolved her performances and her set list almost two years later), you can check out a concert filmed at New York’s Le Poisson Rouge in February of this year for Cal Performances.

That concert is available for on-demand streaming with prices ranging from $5 for Cal students and $15 per non-student viewers up to $68 for those who have the ability to pay.

Horn is a force to be reckoned with. These two concerts allow you to chart her growth as, we hope, a new album will soon be on the horizon.

OPERA: Stravinsky’s Oedipus Rex – LA Opera – Now – July 18th

Igor Stravinsky composed this opera/oratorio in 1927. Based on the tragedy by Sophocles, it is a work for orchestra, speaker, soloists, and male chorus. If you believe you know well the story of Oedipus, I think you’ll be surprised at all the ultimately timely material to be found in this story.

For this filmed performance of Oedipus Rex, Los Angeles Opera has assembled a terrific ensemble.

Singing the title role is tenor Russell Thomas. The role of his mother, Jocasta, is sung by mezzo-soprano J’Nai Bridges. Creon and the Messenger are sung by John Relyea. Tiresias is sung by Morris Robinson. The role of the Shepherd is sung by Robert Stahley. Serving as narrator is Stephen Fry (via video).

James Conlon conducts the LA Opera orchestra.

I attended a rehearsal of this production two weeks ago (prior to a live performance in Los Angeles – LA Opera’s first live performance back in their home at the Dorothy Chandler Pavilion). Collaborating with them is Manual Cinema. They are the Chicago-based company that did a truly memorable production of A Christmas Carol that was streamed last December (and was also a Best Bet).

At 50 minutes, this is a terrific way to get some opera into your weekend. And it’s free; though donations to LA Opera are encouraged.

If you want to see more of what Thomas and Bridges have to offer, let us remind you of LA Opera’s Signature Recital Series which has recitals by each of them available for streaming through the end of the month. Check out our preview here.

PLAY READING: Dear Elizabeth – Spotlight on Plays from Broadway’s Best Shows – Now – June 21st

You don’t need to know who poets Elizabeth Bishop and Robert Lowell were. You don’t need to know that they became very good friends, mostly through the hundreds of letters they wrote to each other. Nor that they had an affair. You don’t even need to know that this play, which had its New York premiere in 2015, is written by award-winning playwright Sarah Ruhl.

All you really need to know about this reading is that it stars Kevin Kline and Meryl Streep. The two famously appeared together in Sophie’s Choice. This was the film that earned Streep her second Academy Award. They also appeared as exes in Jonathan Demme’s Rikki and the Flash in 2015.

Not to be outdone, Kline won an Academy Award for his performance in A Fish Called Wanda.

They appeared on stage in the 2001 production of The Seagull and the 2006 production of Mother Courage and Her Children at the Delacorte Theater as part of The Public Theater’s Shakespeare in the Park series.

This seems like a pretty easy choice to make for your weekend plans. Why not see these incredibly talented actors together again? This is the final play in the Spotlight on Plays series. They are clearly going out on a high note.

Kate Whoriskey directs.

Tickets are $19 and allow for streaming through Monday, June 21st at 6:00 PM ET/3:00 PM PT. Proceeds benefit The Actors Fund and The Acting Company.

OPERA/MINI-SERIES: desert in – Boston Lyric Opera – Now available

As befits a project from the mind of James Darrah, desert in does not fit easily into any one category. It is a mini-series. It is an opera. It contains nudity. There’s strong sexual content and adult language. It also comes from the minds of playwright christopher oscar peña and Pulitzer-Prize winning composer Ellen Reid.

In other words, it’s like nothing you’ve seen before.

The stories of multiple characters swirl around a lodge in the desert and its swimming pool. A combination of trysts, betrayals and shamanic ceremonies result in the lodge’s owners Cass and Sunny and new guests Ion and Rufus caught up in its mysterious ways.

Appearing in desert in are mezzo-soprano Isabel Leonard (for whom the project was written), soprano Talise Trevigne, Tony-nominated performer Justin Vivian Bond (Kiki & Herb Alive on Broadway), actors Carlis Shane Clark, Alexander Flores, Anthony Michael Lopez, Jon Orsini, Ricco Ross and Raviv Ullman with vocal performances by tenor Neal Ferreira, Tony Award-winner Jesus Garcia (La Bohème), baritone Edward Nelson, tenor Alan Pingarrón, soprano Brianna J. Robinson, mezzo-soprano Emma Sorenson and bass-baritone Davóne Tines.

Joining Reid in composing music for desert in are Michael Abels, Vijay Iyer, Nathalie Joachim, Nico Muhly, Emma O’Halloran, Wang Lu and Shelley Washington. Each one a truly fascinating composer.

Six of the eight episodes have been released and are available for viewing on operabox.tv. The final two episodes will be released in the next couple of weeks.

You have several options for viewing with varying price points. You can subscribe to operabox.tv, purchase on-demand streaming of the entire series or for individual episodes. Details can be found here.

CLASSICAL MEETS HIP-HOP: Common with the Los Angeles Philharmonic – Debuts June 18th

We’ve previewed the second season of the LA Philharmonic’s Sound/Stage series, but can attest from personal experience that seeing Common on the stage of the Hollywood Bowl with the orchestra is an event like few others. Frankly, it’s almost one of a kind, except that they created this 17-minute film available for free streaming that didn’t come from that concert.

Common is one of the most important and exciting performers in hip-hop. Gustavo Dudamel leads one of the most adventurous orchestras in this country. This pairing is going to please those who can’t imagine hip-hop with classical music institutions and those who can’t imagine a symphony orchestra with hip-hop.

Other episodes in this series are available for streaming and can be found at the link above.

OPERA: This Little Light of Mine – Kentucky Opera in collaboration with the Santa Fe Opera – June 19th – 6:00 PM ET/3:00 PM PT

Here’s a great opportunity to see a work truly in development. The Santa Fe Opera commissioned this opera inspired by the story of Fannie Lou Hamer. She was a voting rights activist whose relentless efforts lead to the passage of the Voting Rights Act in 1965.

Chandler Carter is the composer of This Little Light of Mine. The libretto is by Diana Solomon-Glover.

The two had previously collaborated on No Easy Walk to Freedom about Nelson Mandela. Solomon-Glover portrayed Winnie Mandela in that work.

On Saturday they will be streaming a workshop of This Little Light of Mine that was filmed on Monday at Kentucky Opera. This opera had been scheduled for a workshop last fall, but was cancelled due to the pandemic.

Nicole Joy Mitchell sings the role of Fannie Lou Hamer. Aundi Marie Moore sings the role of Dorothy Jean Hamer and Heather Hill sings the roles of June Johnson and an Student Nonviolent Coordinating Committee Worker. The workshop is directed by Beth Greenberg.

There is no charge to watch This Little Light of Mine. It will be available on Kentucky Opera’s YouTube channel.

ONE-ACT PLAYS: Unmasked: A Theatrical Celebration of Black Women’s Liberation – The Wallis – Debuts June 19th

The Wallis collaborated with Black Rebirth Collective on Unmasked, one-act plays by four Black female playwrights that was filmed in the Lovelace Studio Theatre at The Wallis.

Those writers are: Ngozi Anyanwu, Jocelyn Bioh, Dominique Morisseau and Stacy Osei-Kuffour.

Anyanwu is best known for Good Grief, an award-winning play that was first performed at the Kirk Douglas Theatre in 2016. Her play is called G.O.A.T. which finds three close friends who try to determine who is the greatest of all time (hence the title) through a sacred ritual.

Bioh, best known for School Girls; Or, The African Mean Girls Play, has written White-N-Luscious. While appearing on a talk show a Nigerian pop star and an Afro-British scholar face issues of self-representation and beauty standards.

Morisseau, who was Tony nominated for writing the book for Ain’t Too Proud and also wrote The Detroit Project trilogy of plays, contributes Jezelle the Gazelle. As the title perhaps alludes to, the title character is a young female runner who is easily the fastest on her block. But does she have the skill set to navigate what life has in store for her and still remain on top?

Osei-Kuffour’s work is called Madness. While handling an issue at work on a phone call, the protagonist is offered a new way to address the situation by a new colleague whom she doesn’t know. Osei-Kuffour’s ANIMALS was recorded by the Williamstown Theater Festival and can be heard on Audible.

The ensemble cast – Kelly M. Jenrett, Masha Mthembu, Candace Thomas and Jonah Wharton – are accompanied by violinist Katherine Washington. Unmasked was co-drected by Kimberly Hébert of Black Rebirth Collective and The Wallis’ Camille Jenkins.

Tickets are $19 for all four plays. If you only want to watch one of the plays, you can purchase a single ticket for $5. Please go here for details on ticket sales. Unmasked will be available for streaming on demand through July 2nd.

BROADWAY VOCALS: Jenn Colella – SETH Concert Series – June 20th – 3:00 PM ET/12:00 PM PT

I’ve never been lucky enough to see Broadway star and Tony-nominated actor Jenn Colella in any of the shows in which she’s appeared (Come From Away, If/Then, Chaplin, High Fidelity and Urban Cowboy). But that last show did lead to a chance to see her early in her career and I realized how special she was immediately.

Colella was a guest at a concert by composer Jason Robert Brown in North Hollywood. (He music directed Urban Cowboy). When she sang a couple songs with him it was like the best possible hurricane just blew into and through the theater.

I can only imagine what Colella will do this weekend as Seth Rudetsky’s guest in his concert series.

If you’re unable to see the live stream on Sunday as scheduled, there will be a re-stream of the show at 8:00 PM ET/5:00 PM the same day. Tickets for either showing are $25.

DANCE: Broadway Bares: Twerk from Home – Broadway Cares/Equity Fights AIDS – June 20th – 9:00 PM ET/6:00 PM PT

Just as Broadway is on the cusp of coming back comes an annual tradition that is one of the toughest tickets in town. And because Broadway isn’t back yet…we all get a front row seat.

Broadway Bares is an annual dance/performance fundraiser, usually performed on a Broadway stage.

For the uninitiated, it is one where clothes become less necessary as each performance goes on. This year’s show is called Twerk from Home and it will debut on Sunday night.

Two-time Tony Award winning choreograph Jerry Mitchell (Kinky Boots, the 2005 revival of La Cage Aux Folles), is the creator of Broadway Bares and once again he directs this year’s show. Joining this year as co-directors are Laya Barak and Nick Kenkel.

Over 170 dancers are participating in Twerk from Home. Joining them will be Harvey Fierstein, J. Harrison Ghee, Jay Armstrong Johnson, Robyn Hurder, Peppermint and Jelani Remy who make special appearances. This year’s Broadway Bares culminates in a finale extravaganza that was filmed outdoors in Times Square.

There is no charge to watch Twerk from Home, but donations are encouraged. This is one of their biggest fundraisers of the year. Last year’s virtual edition raised $596,504 for Broadway Cares. You can watch the show on BC/EFA’s YouTube Channel.

MODERN DANCE: Future Dance Festival – 92Y – June 21st – July 4th

From a pool of 185 applicants, seven panelists selected 21 choreographer finalists to be part of the 92nd Street Y’s first Future Dance Festival. The goal of the festival is to pair emerging choreographers and creators with working directors.

Beginning on Monday, those 21 finalists will have their work showcased in three different programs that will all be available for free streaming.

Program 1 features work by Annie Rigney, Max Levy, Madison Elliott, Leonardo Sandoval, Burr Johnson, Nicole von Are and Brian Josiah Martinez.

Program 2 features works by Barkha Patel, Adrienne Lipson, Jessie Lee Thorne, William Ervin, Vera Kvarcakova & Jeremy Galdeano, Brian Golden and Caroline Payne.

Program 3 features works by Taylor Graham, Baye & Asa, Patrick Coker, Charly and Eriel Santagado, Jamal Callender, Beatrice Panero and Nicholas Ranauro.

The panelists, who come from Ballet Hispánico, Dance Magazine, Martha Graham Dance Company and other organizations, will introduce each work.

Registration is required.

Here ends the Top Ten Best Bets: June 18th – June 21st. But just a couple reminders:

The Metropolitan Opera celebrates Father’s Day with Verdi’s Rigoletto from the 1981-1982 season Friday; his Don Carlo from the 2010-2011 season on Saturday and his Luisa Miller from the 1978-1979 season Sunday. If you’re not a father, consider this the end of Verdi Week.

Next week the Met will be celebrating Pride Week. Monday that program gets launched with the 2017-2018 season production of Thomas Adés’ The Exterminating Angel. We’ll have the full line-up for you on Monday. We strongly recommend this opera.

Your last chance to watch A Tribute to John Williams from the Boston Pops Orchestra is Saturday. Film music fans, what are you waiting for?

On Monday South Coast Rep starts streaming the final production of their Pacific Playwrights Festival. It’s a concert performance of Harold & Lillian. You can find details here.

You’re now fully loaded with options to enjoy the performing arts this weekend. That’s all for this week’s Top Ten Best Bets: June 18th – June 21st.

Enjoy your weekend!

Photo: Jazzmeia Horn (Photo by Emmanuel Afolabi/Courtesy imnworld.com)

The post Top Ten Best Bets: June 18th – June 21st appeared first on Cultural Attaché.

Amongst the stars performing in this week’s productions are Kathleen Battle, Angel Blue, Lawrence Brownlee, Maria Ewing, Denyce Graves, Jessye Norman, Eric Owens, Florence Quivar, Leontyne Price and Shirley Verrett.

All productions become available at 7:30 PM EST/4:30 PM PST and remain available for 23 hours. Schedules and timings may be subject to change.

The Met is heavily promoting their Met Stars Live in Concert series and the planned resumption of performances in the 2021-2022 season, so you’ll have to go past those announcements and promos to find the streaming productions on the Metropolitan Opera website. 

If you read this column early enough on February 1st, you might still have time to catch the 2007-2008 production of Macbeth by Giuseppe Verdi that concludes The Antiheroes week.

Here’s the full line-up for Week 47 at the Met:

Monday, February 1 – The Gershwins’ Porgy and Bess

Conducted by David Robertson; starring Angel Blue, Golda Schultz, Latonia Moore, Denyce Graves, Frederick Ballentine, Eric Owens, Alfred Walker and Donovan Singletary. This James Robinson production is from the 2019-2020 season. This is an encore presentation of the production previously made available on September 5th and 6th and December 11th.

DuBose Heyward’s 1925 novel, Porgy, was the inspiration for a play written by DuBose and Dorothy Heyward. That play served as the inspiration for this opera by George Gershwin with a libretto by DuBose Heyward and Ira Gershwin. Porgy and Bess had its world premiere in 1935 at Boston’s Colonial Theatre.

In the opera, Porgy lives in Charleston’s slums. He’s disabled and spends his time begging. He is enamored with Bess and does everything he can to rescue her from an abusive lover, Crown and a far-too-seductive drug dealer, Sportin’ Life.

If you saw the Broadway version which went by the name The Gershwins’ Porgy and Bess, that was a truncated version and it was also modified to fit more contemporary times. The Metropolitan Opera production is the full opera as originally written by George Gershwin, Dubose and Dorothy Heyward and Ira Gershwin.

Gershwin’s score features such beloved songs as Summertime, I Loves You Porgy and It Ain’t Necessarily So.

Anthony Tommasini, writing for the New York Times, raved about the production and, in particular, its two stars:

“As Porgy, the magnificent bass-baritone Eric Owens gives one of the finest performances of his distinguished career. His powerful voice, with its earthy textures and resonant sound, is ideal for the role. His sensitivity into the layered feelings and conflicts that drive his character made even the most familiar moments of the music seem startlingly fresh. And, as Bess, the sumptuously voiced soprano Angel Blue is radiant, capturing both the pride and fragility of the character.”

Tuesday, February 2 – Verdi’s La Forza del Destino

Conducted by James Levine; starring Leontyne Price, Giuseppe Giacomini, Leo Nucci and Bonaldo Giaiotti. This John Dexter production is from the 1983-1984 season. This is an encore presentation of the production that was previously available on June 18th and 19th and November 6th.

This frequently performed Verdi opera had its world premiere in 1862 in St. Petersburg, Russia. The libretto is by Francesco Maria Piave, based on an 1835 Spanish drama, Don Álvaro o la fuerza del sino by Ángel de Saavedra.

Leonora is the daughter of the Marquis of Calatrava. She falls in love with Don Alvaro, but her father is dead-set against their getting married. A tragedy befalls all three leaving Leonora to find solace in a monastery.

This was one of Price’s greatest roles throughout her career. Bernard Holland, writing in the New York Times, raved about her performance.

“This was truly Miss Price’s evening. There were some jolting shifts of register, and Miss Price must protect her fragile upper notes with tender care; but her dramatic presence on stage and the overall impact of her singing went far beyond matters of technique. ‘Madre, pietosa Vergine’ had a stunning muted eloquence, and ‘Pace, pace, mio Dio!’ at the end had a sonorous beauty and power of communication that this listener – and I think everyone else in attendance – will think back upon for many years to come.”

Wednesday, February 3 – Poulenc’s Dialogues des Carmélites

Conducted by Manuel Rosenthal; starring Maria Ewing, Jessye Norman, Betsy Norden, Régine Crespin and Florence Quivar. This John Dexter production is from the 1986-1987 season. 

Francis Poulenc’s Dialogues des Carmélites had its world premiere in 1957 at La Scala in Milan. The composer wrote the libretto based on a rejected screenplay by Georges Bernanos.

The setting is France during the French Revolution. Blanche de la Force, who is impossibly shy and fragile, wants to retreat from all that is going on in the world and chooses a Carmelite monastery. The prioress tells her that a monastery is a place for devotion to God, not escape from the world. Blanche convinces her to let her stay. What happens to Blanche and the other nuns proves not to be the escape she was hoping for.

Will Crutchfield, in his New York Times review, said of this production, “The revival is cast from strength: the Carmelite sisters are being played by Maria Ewing, Jessye Norman, Florence Quivar, Regine Crespin and Betsy Norden. It has always been easy to get good singers interested in this work…This is not because the opera is old-fashioned. It is a severe drama of the spirit; its questions are not of romantic passion or political freedom but of the relationship of these nuns to their vows, to God, to one another and to their consciences as they face a terrible fate in Revolutionary France. There are no star turns, no big vocal payoffs, yet the writing is essentially vocal in the sense of treating the human voice with love and respect. It does not ask singers to degrade their art, even though it does ask them to cede a part of it: there is a lesson here for willing composers.”

Thursday, February 4 – Rossini’s La Cenerentola

Conducted by Maurizio Benini; starring Elīna Garanča, Lawrence Brownlee, Simone Alberghini, Alessandro Corbelli and John Relyea. This revival of Cesare Lievi’s 1997 production is from the 2008-2009 season. This is an encore presentation of the production that was made available on July 17th and September 17th.

Gioachino Rossini’s opera of the Cinderella story is based on Charles Perrault’s Cendrillon. The libertto, by Jacopo Ferretti, was based on two previous libretti for operas based on the same story: Charles-Guillaume Étienne’s libretto for Nicolas Isouard’s 1810 opera Cendrillon and Francesco Fiorini’s libretto for Stefano Pavesi’s 1814 opera, Agatina o La virtú premiata. La Cenerentola had its world premiere in 1817 in Rome.

The story is exactly you expect. After being relegated to chores around the house by her Stepmother and her Stepsisters, Cinderella dreams of going to the Prince’s ball. They mock her before leaving themselves for the event. Cinderella’s fairy godmother appears to make her dream a reality, but only if she returns by midnight.

In Steve Smith’s New York Times review of this production he raved about Brownlee. “As Don Ramiro, the Prince Charming of the tale, the young American tenor Lawrence Brownlee was outstanding, with a sweet sound, impressive agility, ringing high notes and a smile that resonated to the core of his interpretation. Mr. Brownlee’s performance of the prince’s big aria, ‘Si, Ritrovarla Io Giuro,’ drew the evening’s most rousing applause.”

Friday, February 5 – Mozart’s Le Nozze di Figaro

Conducted by James Levine; starring Carol Vaness, Kathleen Battle, Frederica von Stade, Thomas Allen and Ruggero Raimondi. This Jean-Pierre Ponnelle production is from the 1985-1986 season.

Mozart’s Le Nozze di Figaro is based on the 1784 play La folle journée, ou le Mariage de Figaro (translated: “The Mad Day, or The Marriage of Figaro”) by Pierre Beaumarchais. Lorenzo da Ponte wrote the libretto. La Nozze di Figaro had its world premiere in Vienna in 1786.

Figaro and Susanna are getting married. They are in a room made available to them by the Count who plans to seduce the bride-to-be based on an old law that gave permission to lords to have sex with servant girls on their wedding night. When Figaro gets wind of this plan he enlists several people to outwit the Count using disguises, altered identities and more.

In his New York Times review, Donal Henahan seemed particularly impressed with Battle. “The greatest strength of this performance lay in its pair of servant lovers, Kathleen Battle as Susanna and Ruggero Raimondi as Figaro, with Frederica von Stade’s Cherubino and Carol Vaness’s Countess adding vocal quality to a cast that had its weak spots. Miss Battle’s spring-water soprano and pert acting were a delight all evening, and her last-act aria, ‘Deh vieni, non tardar,’ caught Susanna’s whole character in one affecting moment.”

Saturday, February 6 – Strauss’s Ariadne auf Naxos

Conducted by James Levine; starring Jessye Norman, Kathleen Battle and Tatiana Troyanos. This revival of Bodo Igesz’s 1962 production is from the 1987-1988 season. This is an encore presentation of the production that was previously available on May 13th and December 5th.

Richard Strauss’ Ariadne auf Naxos had its world premiere in Stuttgart in 1912. The libretto is by Hugo von Hofmannsthal.

This is really an opera-within-an-opera. Two different sets of performers have been brought together at the home of a rich man. One group is a serious ensemble of opera singers who embrace the highest of dramatic operas. The other is a group of comedians who are set on acting out an Italian comedy. Their host, seeing that time is quickly running out, asks them to perform their separate works together.

Donal Henahan had some fun with his review of this production in the New York Times. “Jessye Norman, as the monumentally offended Prima Donna, played Ariadne with a dignified horror that put one in mind of Margaret Dumont trying to ignore a particularly egregious Groucho caper.

“Miss Norman, pacing herself a bit too obviously, as she often does, muted her glorious soprano early in the evening. However, she allowed it to expand to Wagnerian proportions in the final duet a purple-passioned caricature of the High Romantic style. Miss Battle gave a strangely reticent performance, singing half voice much of the time, most frustratingly in Zerbinetta’s coloratura showpiece, ‘Grossmachtige Prinzessin.’ In this aria, one of the most strenuous 10 minutes in all of opera for a light soprano, Miss Battle sang with supple accuracy and grace but rarely with the cutting brilliance and clarity of a true Zerbinetta. One had to conclude that she was either out of sorts or purposely saving voice.”

Sunday, February 7 – Puccini’s Tosca

Conducted by James Conlon; starring Shirley Verrett, Luciano Pavarotti and Cornell MacNeil. This Tito Gobbi production is from the 1978-1979 season. This is an encore presentation of the production that was previously made available on June 4th and December 29th.

It is quite likely that Puccini’s Tosca was the first opera to premiere in 1900. Its first performance was on January 14 in Rome. Based on Victorien Sardou’s 1887 play of the same name, Tosca‘s libretto was written by Luigi Illica and Giuseppe Giacosa.

The setting for Tosca is Rome in 1800. The Napoleonic wars were raging and political unrest was omnipresent. The opera takes place over the course of slightly less than 24 hours. Floria Tosca is the object of Chief of Police Baron Scarpia’s lust. He uses suspicions that her lover, Mario Cavaradossi, aided a political prisoner who has escaped as an opportunity to get him out of his way which will leave Tosca for himself. After capturing Cavaradossi, Scarpia says that if Tosca doesn’t become his lover, he will have Cavaradossi killed.

Donal Henahan, in his New York Times review, praised Verrett’s singing. “Miss Verrett, in appearance the most persuasively starlike Floria Tosca the Met has offered in years, also succeeded in satisfying the purely vocal demands of her role. There was little strain anywhere, and many passages of extraordinarily fine, intelligently nuanced singing.”

He went on to say about Pavarotti, “Mr. Pavarotti, though a bit thin of voice in such outpourings as ‘Recondite armonia,’ pitched himself into the action, vocally and theatrically, with his usual infectious enthusiasm. Puccini is notoriously hard on voices—perhaps more so than Verdi or even Wagner— and Mr. Pavarotti is taking a calculated risk in moving into emotionally heavy and tone‐shredding roles. But his ‘Vittoria!’ rang out excitingly, without sounding strident, and in the lyrical passages he was nothing less than glorious. Bravissimo is not good enough for such singing. How about pavarotissimo?”

That concludes Week 47 at the Met and the first week of their Black History Month series. Next week the Metropolitan Opera continues their celebration of Black History Month with a second week in this series.

Enjoy your week and enjoy the operas!

Photo: Shirley Verrett and Luciano Pavarotti in Tosca (Photo courtesy Met Opera Archives)

The post Black History Month Part I – Week 47 at the Met appeared first on Cultural Attaché.

Some of the operas find Pavarotti singing signature roles and/or roles in which he performed on a regular basis at the Met. All of the productions are Italian operas with, predictably, Verdi and Puccini represented the most.

They are heavily promoting their Met Stars Live in Concert series, their New Year’s Eve Gala and the planned resumption of performances in the 2021-2022 season, so you’ll have to go past those announcements and promos to find the streaming productions on the Metropolitan Opera website.

All productions become available at 7:30 PM EST/4:30 PM PST and remain available for 23 hours. Schedules and timings may be subject to change.

If you read this column early enough on December 21st, you might still have time to catch the 2013-2014 production of Falstaff by Giuseppe Verdi that concludes last week’s Holiday Fare week.

Here is the all-Pavarotti line-up for Week 42 at the Met.

Monday, December 28 – Puccini’s La Bohème 

Conducted by James Levine; starring Renata Scotto, Maralin Niska, Luciano Pavarotti, Ingvar Wixell, and Paul Plishka. This Fabrizio Melano production is from the 1976-1977 season. This is an encore presentation of the production that was previously made available on May 8th.

Easily one of the most popular operas in the world, Giacomo Puccini’s La Bohème had its world premiere in Turin, Italy in 1896. The libretto is by Luigi Illica and Giuseppe Giacosa. The opera is based on Henri Murger’s 1851 novel, Scènes de la vie de bohème.

The story centers on four friends who are unable to pay their rent. Successfully getting out of a potentially bad situation with their landlord, all but one go out on the town. Rodolfo stays home and meets a young woman named Mimi. They fall in love, but Mimi’s weakness may be a sign of something far more life-threatening than they know. (If this sounds like the musical Rent, it is because La Bohème served as Jonathan Larson’s inspiration for that musical.)

Pavarotti made his Met Opera debut in 1968 in La Bohème. This 1977 production of Puccini’s beloved opera was actually the very first Live at the Met broadcast.

Harold C. Schonberg, writing in the New York Times, said of Pavarotti’s performance, “Nobody around today can sing a better Rodolfo, and this despite the fact that the voice has changed somewhat in recent years. It is a little heavier passages above the staff are not produced as effortlessly as before sometimes there is a decided feeling of strain. One hopes that the Manricos he has been singing have not taken the lyric bloom from his voice. With all that, he sang most beautifully last night. Only Mr. Pavarotti can spin out long phrases with such authority and color.”

Tuesday, December 29 – Puccini’s Tosca 

Conducted by James Conlon; starring Shirley Verrett, Luciano Pavarotti and Cornell MacNeil. This Tito Gobbi production is from the 1978-1979 season. This is an encore presentation of the production that was previously made available on June 4th and December 6th.

It is quite likely that Puccini’s Tosca was the first opera to premiere in 1900. Its first performance was on January 14 in Rome. Based on Victorien Sardou’s 1887 play of the same name, Tosca‘s libretto was written by Luigi Illica and Giuseppe Giacosa.

The setting for Tosca is Rome in 1800. The Napoleonic wars were raging and political unrest was omnipresent. The opera takes place over the course of slightly less than 24 hours. Floria Tosca is the object of Chief of Police Baron Scarpia’s lust. He uses suspicions that her lover, Mario Cavaradossi, aided a political prisoner who has escaped as an opportunity to get him out of his way which will leave Tosca for himself. After capturing Cavaradossi, Scarpia says that if Tosca doesn’t become his lover, he will have Cavaradossi killed.

When Pavarotti took on this role it was one of his first forays into more demanding roles that were tougher on his vocal chords. 

Donal Henahan, had this to say about Pavarotti in his New York Times review, “Mr. Pavarotti, though a bit thin of voice in such outpourings as ‘Recondite armonia,’ pitched himself into the action, vocally and theatrically, with his usual infectious enthusiasm. Puccini is notoriously hard on voices—perhaps more so than Verdi or even Wagner— and Mr. Pavarotti is taking a calculated risk in moving into emotionally heavy and tone‐shredding roles. But his ‘Vittoria!’ rang out excitingly, without sounding strident, and in the lyrical passages he was nothing less than glorious. Bravissimo is not good enough for such singing. How about pavarotissimo?”

Wednesday, December 30 – Verdi’s Rigoletto 

Conducted by James Levine; starring Christiane Eda-Pierre, Isola Jones, Luciano Pavarotti, Louis Quilico and Ara Berberian. This revival of John Dexter’s 1977 production is from the 1981-1982 season. This is an encore presentation of the production that was previously made available on August 12th.

Victor Hugo, the author of Les Míserables, was also a playwright and it was his play, Le roi s’amuse, that served as the inspiration for Giuseppe Verdi’s opera. Francesco Maria Piave, who regularly collaborated with the composer, wrote the libretto. The opera had its world premiere in Venice, Italy in 1851.

The title character is a jester who serves the Duke of Mantua. The Duke is a seductive man who, upon learning that the woman with whom Rigoletto lives is his daughter and not his wife, makes the young woman, Gilda, his next target. Curses, assassination plots and more leave this clown without much to smile about. 

For most opera fans, Pavarotti’s appearance in this production was the selling point. But for New York Times critic Edward Rothstein, he found something, or rather, someone else to admire.

“Though Luciano Pavarotti as the Duke may attract the most attention, Louis Quilico, as Rigoletto, was at the center of the drama; his passions and fears could be heard in his voice as well as seen in his face and body. His ‘La ra, la ra, la la’ seemed sobbed out by a jester who has lived too long and seen too much.”

Thursday, December 31 – Verdi’s Ernani 

Conducted by James Levine; starring Leona Mitchell, Luciano Pavarotti, Sherrill Milnes and Ruggero Raimondi. This Pier Luigi Samaritani production is from the 1983-1984 season. This is an encore presentation of the production that was previously made available on August 1st.

The trio of Giuseppe Verdi, Victor Hugo and Francesco Maria Piave served as the foundation for this opera that had its world premiere in Venice in 1844 (seven years before Rigoletto.) Hugo’s 1830 play, Hernani, inspired the composer and Piave, his librettist for Ernani.

Set in 16th century Spain, the centerpiece of this opera is our heroine, Elvria, who finds herself the object of three men’s desires: Carlo, the King of Spain; Silva, her abusive uncle and our title character, Ernani who is a bandit formerly known as Don Juan of Aragon. Disguises, deceit, mercy, suicide and tragedy ensue.

Donal Henahan, a critic from 1967 – 1991 for the New York Times, was a very pithy writer. He began his review of this production with some historical perspective as only he could:

“Ernani is an important opera because it is by Giuseppi Verdi. Other than that, its attractions are modest. It is, in fact, third-rate Verdi, which makes it second-rate anyone else, or better. It is a mass of musical and dramatic cliches, but operagoers with an ear tuned to history find it fascinating for what it led up to.” 

Henahan won the Pulitzer Prize for Criticism in 1986. He passed away in 2012.

Friday, January 1 – Verdi’s Il Trovatore 

Conducted by James Levine; starring Éva Marton, Dolora Zajick, Luciano Pavarotti and Sherrill Milnes. This Fabrizio Melano production is from the 1988-1989 season. This is an encore presentation of the production that was previously made available on July 7th.

Giuseppe Verdi’s Il Trovatore is based on the play El trovador by Antonio García Gutiérrez published in 1836. The libretto was written by Salvadore Cammarano with additions by Leone Emanuele Badare. The opera had its world premiere in Rome in 1853.

The setting is Zaragoza, the capital of the Kingdom of Aragon, circa 1412. To offer up a quick synopsis here would be a fool’s game to play. Several stories happen simultaneously and sometimes share the same characters. The opera has rarely been hailed for its story, but it certainly ranks as one of Verdi’s finest compositions.

When this production first opened that season at the Metropolitan Opera, Joan Sutherland sang the role of Leonora and Richard Bonynge was conducting. Pavarotti sang the role of Manrico throughout. While critics were not so keen on Melano’s direction, Donal Henahan, writing for the New York Times, liked much of Pavarotti’s performance.

“Mr. Pavarotti was in good vocal health, immediately making ears prick up with his offstage song in the duel scene. Later, his ‘Ah, si, ben mio’ was meltingly ardent and unmistakably the work of a genuine lyric tenor. In the opera’s most famous aria, ‘Di quella pira,’ his voice simply lacked the bite and thrust required for this showpiece of the Italian robust tenor.”

Saturday, January 2 – Verdi’s Un Ballo in Maschera 

Conducted by James Levine; starring Aprile Millo, Harolyn Blackwell, Florence Quivar, Luciano Pavarotti and Leo Nucci. This revival of Piero Faggioni’s 1989-1990 production is from the 1990-1991 season. This is an encore presentation of the production that was previously made available on August 20th.

Verdi’s opera, translated A Masked Ball, had its premiere in Rome in 1859. Librettist Antonio Somma used the libretto written by Eugène Scribe for the opera, Gustave III, ou Le Ballo masqué, written by Daniel Auber in 1833. 

The opera is based on the real life assassination of King Gustav III of Sweden who was killed while attending a masquerade ball in Stockholm. 

Verdi takes some dramatic liberties which certainly enhances the drama. Riccardo is in love with Amelia. She, however, is the wife of his good friend and confidante, Renato. Riccardo is warned by his friend that there is a plot to kill him at the ball. Paying no attention to the warning, Riccardo instead seeks out Ulrica, a woman accused of being a witch. In disguise he visits Ulrica to have his fortune read. She tells him he will be killed by the next man who shakes his hand. That next man turns out to be Renato. What follows is a story of intrigue, deception, questions of fidelity and, of course, the assassination.

Pavarotti made his Metropolitan Opera debut in 1968. He performed over 375 times at the venue. This production of Un Ballo in Maschera was the second production of Verdi’s opera in which he appeared. He originally performed the role at the Met in a production from the 1979-1980 season. That production was helmed by Elijah Moshinsky.

Sunday, January 3 – Donizetti’s L’Elisir d’Amore 

Conducted by James Levine; starring Kathleen Battle, Luciano Pavarotti, Juan Pons and Enzo Dara. This John Copley production is from the 1991-1992 season. This is an encore presentation of the production that was previously made available on June 26th.

Gaetano Donizetti’s opera had its world premiere in 1832 in Milan. The libretto, by Felice Romani, was based on Eugène Scribe’s libretto for Daniel Auber’s Le philtre. 

Poor Nemorino doesn’t have anything to offer the love of his life, Adina. Sergeant Belcore is also in love with Adina, but she spurns his offer of marriage. Knowing that Adina has read the story of Tristan and Isolde, Nemorino asks Dr. Dulcamara for the same love potion that Tristan used to win over Isolde. Will this elixir of love truly works its magic?

Edward Rothstein, in his review for the New York Times had mixed feelings about certain performances and elements of the production, but he singled out Battle for praise. “Ms. Battle can send a note out into space, sustain it there, playing subtly with its shape and dimension, then call it back into her throat and gently bring it to a close so one awaits the next moment of sensuous sound. When Adina realizes that she really does love this slightly clumsy peasant, Ms. Battle’s sighs of recognition soared. Donizetti might have preferred a lighter timbre, but he would certainly have recognized his elixir in use.”

That concludes Week 42 at the Met. Happy New Year! Enjoy Pavarotti Week and enjoy the operas!

Photo: Luciano Pavarotti in Ernani. (Photo courtesy Metropolitan Opera Archives)

The post Luciano Pavarotti: Week 42 at the Met appeared first on Cultural Attaché.

This week you can see and hear Roberto Alagna, Kathleen Battle, Renée Fleming, Elīna Garanča, Dmitri Hvorostovsky, Jonas Kaufmann, Anna Netrebko, Jessye Norman, René Pape, Luciano Pavarotti and Leontyne Price.

Each production becomes available at 7:30 PM EDT/4:30 PM PDT on the Metropolitan Opera website. Every opera remains available for 23 hours. They are heavily promoting their Met Stars Live in Concert series and recently announced the cancellation of the full 2020-2021 season, so you’ll have to go past those announcements and promos to find the streaming productions. Schedules and timings may be subject to change.

If you read this column early enough on November 30th, you might still have time to catch the 1994-1995 season production of Simon Boccanegra by Giuseppe Verdi that concludes last week’s Family Drama series. It’s a good lead-in to this week as it features Plácido Domingo and Kiri Te Kanawa.

Here is the full line-up for Week 38 at the Met:

Monday, November 30 – Tchaikovsky’s Eugene Onegin

Conducted by Valery Gergiev; starring Renée Fleming, Ramón Vargas and Dmitri Hvorostovsky. This revival of Robert Carsen’s 1997 production is from the 2006-2007 season.This is an encore presentation of the production that was previously made available on March 22nd.

Pyotr Ilyich Tchaikovsky was inspired by Alexander Pushkin’s verse novel of the same name for this opera that had its world premiere in Moscow in 1879. The composer co-wrote the libretto (using much of Pushkin’s text as written) with Konstantin Shilovsky.

Onegin is a rather selfish man. Tatyana expresses her love for him, but he rejects her saying he isn’t suited to marriage. By the time he comes to regret the way he treated her, he has also come to regret the actions that lead to a duel that killed his best friend.

Anthony Tommasini, in his New York Times review raved, “You will seldom see better acting in opera then the scenes between Ms. Fleming and Mr. Hvorostovsky. With his white mane, commanding physique and earthy voice, Mr. Hvorostovsky projects charisma naturally, making him perfect for this diffident character.

“Everything and everyone seems to come to Onegin, which accounts for his passivity. In the scene in which he gently chastises Tatiana for having sent him a rash love letter, his paternalistic arrogance, as projected by Mr. Hvorostovsky, would have been infuriating had it not seemed so tragically clueless.”

Tuesday, December 1 – Verdi’s Aida

Conducted by James Levine; starring Leontyne Price, Fiorenza Cossotto, James McCracken and Simon Estes. This revival of John Dexter’s 1975 production is from the 1984-1985 season. This is an encore presentation of the production that was previously made available on May 1st.

Giuseppe Verdi’s Aida had its world premiere in Cairo in 1871. The libretto is by Antonio Ghislanzoni.

Aida is in love with General Radames and he feels just as passionately about the Ethiopian princess being held captive in Egypt. Radames chooses to wage war against Ethiopia and Aida must reconcile her love for her native land and the General about to wage war against her people.

This video clip does not represent the quality of the film the Met will be streaming. But it does reflect both the power of Leontyne Price and the immense popularity of this particular performance.

This film marked Price’s farewell to opera. From a purely historical perspective, that alone makes this opportunity to see it unmissable. Reviews were mixed on the production, but by the end the ovation Price received acknowledges more than just a production or a performance, but also her career.

As Donal Henahan said in his New York Times review, “The 57-year-old soprano took an act or two to warm to her work, but what she delivered in the Nile Scene turned out to be well worth the wait. In her most taxing aria, ‘O patria mia,’ there were powerful reminders of the Price that we remember best and want to remember, a Price beyond pearls. It was, intermittently but often enough to make the evening a memorable event, the singing of an artist of distinctive vocal timbre and personality.”

Wednesday, December 2 – Wagner’s Parsifal

Conducted by Daniele Gatti; starring Katarina Dalayman, Jonas Kaufmann, Peter Mattei and René Pape. This François Girard production is from the 2012-2013 season. This is an encore presentation of the production that was previously made available on April 9th and October 11th.

Richard Wagner was inspired by Wolfram von Eschenbach’s poem about the knight Percival who was in search of the Holy Grail and served at King Arthur’s Round Table. Parsifal was the composer’s last completed opera. It had its world premiere in Bayreuth in 1882. Wagner wrote both the music and the libretto.

Young Parsifal is woefully unaware of right or wrong. He has no concept of sin nor redemption. Raised by his mother, he’s unfamiliar with the ways of the world. He meets one of the Knights of the Grail and is given the opportunity to see the Holy Grail. While at the Castle, he hears King Amfortas, crying in pain. Though Amfortas was given a life of immortality by the Grail, his pain comes from a wound inflicted by Klingsor who took the Holy Spear from the King. Parsifal makes it his mission to return the Spear and destroy Klingsor and his kingdom in order so that the King’s suffering can end.

Anthony Tommasini, in his New York Times review, praised Kaufmann’s performance as the title character. “At 43 Mr. Kaufmann is in his glory, equally adept in German, Italian and French repertory. Handsome and limber, he is a natural onstage. The baritonal colorings of his sound, his clarion top notes, the blend of virility and tenderness in his singing, his refined musicianship — all these strengths come together in his distinctive Parsifal.”

Thursday, December 3 – Verdi’s Macbeth

Conducted by Fabio Luisi; starring Anna Netrebko, Joseph Calleja, Željko Lučić and René Pape. This revival of Adrian Noble’s 2007 production is from the 2014-2015 season. This is an encore presentation of the production that was previously made available on April 4th.

William Shakespeare’s Macbeth was the first of his plays to inspire an opera by Giuseppe Verdi. The libretto was written by Francesco Maria Piave with additional work by Andrea Maffei. The opera had its world premiere in Florence, Italy in 1847. Verdi re-wroked Macbeth and changed the language from Italian to French. The revised version had its premiere in Paris in 1865.

This is not Shakespeare set to music. Verdi did take much of what Shakespeare wrote about a Scottish general who is told by three witches that he will be the King of Scotland. With the help of his wife, Lady Macbeth, he stops at nothing to do so. However, Verdi couldn’t include the whole play in his opera, nor did he want to. The relationship between Macbeth and Lady MacBeth truly anchors this opera.

This production marked the first time Netrebko had sung the role of Lady Macbeth at the Met. Anthony Tommasini, writing in the New York Times, set up the challenges she was facing. “…the lead soprano role in Verdi’s Macbeth is not just a daunting challenge. For Ms. Netrebko, who turned 43 last week, it represents a shift from the lyric soprano and bel canto roles with which she made her reputation to vocally weightier repertory. Lady Macbeth is particularly risky and demanding.”

He was more than pleased with the result. “The years that Ms. Netrebko spent singing bel canto heroines paid off here in the skillful way she dispatched the trills and runs that Verdi folds into the vocal lines. One such place is the Act II banquet scene after Macbeth, having murdered King Duncan, has been proclaimed the new monarch. Lady Macbeth sings a drinking song, a brindisi, inviting the guests to join in a toast. Yet there was something eerily malevolent in the way this Lady Macbeth tossed off the song with insistent good cheer. Wearing a ruby red evening gown, her eyes wild, Ms. Netrebko almost willed her guests into having a good time, or else.”

Friday, December 4 – Bizet’s Carmen

Conducted by Yannick Nézet-Séguin; starring Barbara Frittoli, Elīna Garanča, Roberto Alagna and Teddy Tahu Rhodes. This Richard Eyre production is from the 2009-2010 season.

Georges Bizet collaborated with librettists Henri Meilhac and Ludovic Halévy on this immensely popular opera. It was based on Propser Mérimée’s novella of the same name. 

When Carmen was first performed in Paris in 1875 it was considered both shocking and scandalous. 

Set in Seville, Spain, Carmen is a gypsy who has caught everyone’s eye. A soldier, Don José, plays coy and gives her no attention. Her flirtation causes troubles for both when Don José’s girlfriend, Micaëla arrives. Tensions escalate between the two women and after a knight fight, José must arrest Carmen. When she seduces him it sets off a series of events that will not end well for the gypsy woman.

Anthony Tommasini, in his New York Times review raved about this new production. “In the naturalness of the performances, from that of the Latvian mezzo-soprano Elīna Garanča in the title role to those of the children in the chorus who scamper into the town square to watch the changing of the guard, it is clear that Mr. Eyre has lavished attention on everyone. The singers benefited immensely from the work of the rising 34-year-old Canadian conductor Yannick Nézet-Séguin, in his Met debut, who led a bracing, fleet and fresh account of the score, although he started the rousing prelude at a breakneck, frenetic tempo.”

Saturday, December 5 – Strauss’s Ariadne auf Naxos

Conducted by James Levine; starring Jessye Norman, Kathleen Battle and Tatiana Troyanos. This revival of Carl Ebert’s 1962 production is from the 1987-1988 season. This is an encore presentation of the production that was previously made available on May 13th.

Richard Strauss’ Ariadne auf Naxos had its world premiere in Stuttgart in 1912. The libretto is by Hugo von Hofmannsthal.

This is really an opera-within-an-opera. Two different sets of performers have been brought together at the home of a rich man. One group is a serious ensemble of opera singers who embrace the highest of dramatic operas. The other is a group of comedians who are set on acting out an Italian comedy. Their host, seeing that time is quickly running out, asks them to perform their separate works together.

Many critics believe the opening 40-minute prologue is vastly superior to the rest of the work.

Obviously having Norman and Battle in an opera together is reason enough to watch Ariadne auf Naxos. But here’s some trivia you might not know: Barbara Bonney (in her Metropolitan Opera debut) and Dawn Upshaw play nymphs in this production.

Sunday, December 6 – Puccini’s Tosca

Conducted by James Conlon; starring Shirley Verrett, Luciano Pavarotti and Cornell MacNeil. This Tito Gobbi production is from the 1978-1979 season. This is an encore presentation of the production that was previously made available on June 4th.

It is quite likely that Puccini’s Tosca was the first opera to premiere in 1900. Its first performance was on January 14 in Rome. Based on Victorien Sardou’s 1887 play of the same name, Tosca‘s libretto was written by Luigi Illica and Giuseppe Giacosa.

The setting for Tosca is Rome in 1800. The Napoleonic wars were raging and political unrest was omnipresent. The opera takes place over the course of slightly less than 24 hours. Floria Tosca is the object of Chief of Police Baron Scarpia’s lust. He uses suspicions that her lover, Mario Cavaradossi, aided a political prisoner who has escaped as an opportunity to get him out of his way which will leave Tosca for himself. After capturing Cavaradossi, Scarpia says that if Tosca doesn’t become his lover, he will have Cavaradossi killed.

When Pavarotti took on this role it was one of his first forays into more demanding roles that were tougher on his vocal chords.

Donal Henahan, had this to say about Pavarotti in his New York Times review, “Mr. Pavarotti, though a bit thin of voice in such outpourings as ‘Recondite armonia,’ pitched himself into the action, vocally and theatrically, with his usual infectious enthusiasm. Puccini is notoriously hard on voices—perhaps more so than Verdi or even Wagner— and Mr. Pavarotti is taking a calculated risk in moving into emotionally heavy and tone‐shredding roles. But his ‘Vittoria!’ rang out excitingly, without sounding strident, and in the lyrical passages he was nothing less than glorious. Bravissimo is not good enough for such singing. How about pavarotissimo?”

Which star and opera most appeals to you about Week 38 at the Met? Whichever opera or stars you choose, enjoy yourself!

Photo: Anna Netrebko, René Pape and Željko Lučić in Macbeth (Photo by Marty Sohl/Courtesy Metropolitan Opera)

The post Stars in Signature Roles: Week 38 at the Met appeared first on Cultural Attaché.

Wouldn’t it be ironic if I had selected thirteen Best Bets? Relax…I didn’t. I fifteen options for you this weekend. Our top pick is Long Beach Opera’s 2020 Songbook. We have dance, classical, cabaret, jazz, ballet and two opera productions for your consideration.

Here are our Best Bets at Home: November 13th – November 15th:

Chicano Batman – Los Angeles Philharmonic – Starts November 13th

A performance by Los Angeles band Chicano Batman is featured on this penultimate episode of the Los Angeles Philharmonic’s Sound/Stage series. Along with (still-available) performances by Andra Day and Kamasi Washington, their performance does not feature the LA Phil.

Chicano Batman released their self-titled first album in 2010. They followed that up with 2014’s Cycle of Existential Rhyme, 2017’s Freedom Is Free and this year’s Invisible People. The members of the band are Eduardo Arenas, Carlos Arévalo, Bardo Martinez and Gabriel Villa.

There is no charge to watch the performance. Donations are, of course, encouraged.

Sierra Boggess Streamed from Birdland! – November 13th – 7:00 PM EST/4:00 PM PST

Broadway star Sierra Boggess made her Broadway debut as “Ariel” in the Broadway musical version of the Disney animated film The Little Mermaid. She appeared as “Christine” in the long-running musical, The Phantom of the Opera in 2013. She went on to originate the role of “Rosalie” in School of Rock – the Musical.

Boggess has filmed a concert at New York’s Birdland. She will be joined by her sister, Summer, on cello and by her music director Brian Hertz. This marks the first time Boggess has performed since the quarantine was put in place in New York.

Amongst the songs she’ll be singing are “Come to My Garden” from The Secret Garden, “Think of Me” from The Phantom of the Opera, “Beyond My Wildest Dreams” from The Little Mermaid and the title track from Andrew Lloyd Weber’s sequel to Phantom, Love Never Dies. Boggess received an Olivier nomination for her performance in the latter show where she originated the role of “Christine.”

Tickets (including the service charge) are $23.50 and can be purchased here.

Chris Thile and Madison Cunningham – New Jersey Performing Arts Center – November 13th – 7:30 PM EST/4:30 PM PST

The New Jersey Performing Arts Center’s fall virtual programming includes this conversation and performance with Chris Thile and Madison Cunningham.

Cunningham recently received a Grammy Award nomination for Best Americana Album for her 2019 record “Who Are You Now.”

While it might seem strange to have her listed on Cultural Attaché, Rolling Stone hailed her “jazz-school chord changes” when it included her in a July 2018 story about “The 10 New Country and American Artists You Need to Know This Month.” Frankly, her music speaks for itself.

Cunningham’s new EP, “Wednesday,” was released one week ago and features a cover of Tom Waits’ song “Hold On.”

Which makes the pairing of her with 3-time Grammy Award winner and MacArthur Genius Grant winner Chris Thile a natural fit. His collaborations range from Yo-Yo Ma to Brad Mehldau.

Mehldau told me two of Thile’s qualities as a musician he admires: “First, I knew from hearing and seeing him that he is a true improviser – and that is what I like to do a lot. Second, his singing really affects me, and I was excited about the idea of making music with that kind of vocal expression.”

You will find this show on NJPAC’s Facebook page. There is no charge to watch the show.

Sons of Kemet – SFJZZ – November 13th – 8:00 PM EST/5:00 PM PST

You don’t immediately think of dancing when you think of jazz music. Saxophonist Shabaka Hutchings forces you to reconsider that combination with his band Sons of Kemet. They will be performing on this week’s Fridays at Five concert from SFJAZZ.

Formed in 2011 in London, they fuse jazz, afro-beat and world music influences into a mix that yielded a 2013 MOBO Award as the Best Jazz Act.

This concert is from the summer of 2019 and finds the band supporting their 2018 recording, “You’re Queen is a Reptile.” The album was nominated for the 2018 Mercury Prize.

As with all Fridays at Five concerts, you will need either a one-month membership ($5) or an annual membership ($60) to watch the concert.

Fiddler: A Miracle of Miracles – PBS Great Performances – November 13th – check local listings

You’ll be forgiven for not knowing all the nominees for Best Musical at the 1965 Tony Awards. After all, Golden Boy, Half a Sixpence and Oh, What A Lovely War! haven’t had remotely the same impact as the musical that won. Not only did Fiddler on the Roof win Best Musical, it won nine of the 10 awards for which it was nominated.

This musical about a milkman who finds his homeland of Russia changing just as his three daughters are leaving home to pursue their own lives ran for 3,242 performances. There have been five Broadway revivals. The lead role of Tevye has been played on stage by Zero Mostel, Herschel Bernardi, Alfred Molina, Harvey Fierstein, Danny Burstein and Topol, who played the part in the 1971 film.

Why has this musical resonated so profoundly for 55 years? That is has is celebrated in the documentary Fiddler: A Miracle of Miracles. Filmmaker Max Lewkowicz features interviews with composer and lyricist Jerry Bock and Sheldon Harnick, librettist Joseph Stein, original producer Harold Prince, filmmaker Norman Jewison, multiple cast members from the various productions, Stephen Sondheim, Lin-Manuel Miranda, Joel Grey and many more.

Grey directed the most recent production of Fiddler on the Roof. The musical was performed completely in Yiddish and ran for over a year-and-a-half off-Broadway. There had been discussions about a possible transfer to Broadway prior to the pandemic.

As with all PBS programming, check your local listings.

Matthew Bourne’s Swan Lake – Center Theatre Group – November 13th – November 15th

Center Theatre Group’s Digital Stage program includes a selection of programming that falls under the category Digital Stage Plus. These are select events that are free for subscribers and $10 for non-subscribers.

The first program they are showing is a film of Matthew Bourne’s Swan Lake. The show was performed most recently at the Ahmanson Theatre in 2019.

The film features the 2018 cast which appears to be some of the same performers including Will Bozier as The Swan/The Stranger. Liam Mower dances the role of The Prince.

If you are wondering if you read that correctly, perhaps you didn’t know that all the swans in this production are male. For more information about the production, read my interviews with Will Bozier and Max Westwell who alternated the roles of The Swan/The Stranger when the show was in Los Angeles.

The performances are on November 13th at 11:00 PM EST/8:00 PM PST; November 14th at 5:00 PM EST/2:00 PM PST and 11:00 PM EST/8:00 PM PST and November 15th at 4:30 PM EST/1:30 PM PST and 9:30 PM EST/6:30 PM PST.

Boris Godunov – San Francisco Opera – November 14th – November 15th

Conducted by Vassily Sinaisky; starring Samuel Ramey, John Uhlenhopp, Vladimir Ognovenko and Vitalij Kowaljow. This Stein Winge production is from the 2008-2009 season. This is the original 1869 version of the opera.

This opera by Modest Mussorgsky had its world premiere in St. Petersburg in 1874. The libretto, written by the composer, was based on Aleksandr Pushkin’s Boris Godunov. Mussorgky completed an earlier version of the opera in 1869, but it was rejected. He revised the opera and included elements from History of the Russian State by Nikolay Karamzin to gain approval and ultimately a production in 1874.

In the opera, a retired and very reluctant Boris Godunov assumes the throne as Tsar. He is bedeviled by a constant foreboding and hopes his prayers will help him navigate what lies ahead. An old monk named Pimen discusses the murder of Tsarevich Dimitri with Gregory, a novice. Had he lived, Dimitri might have ascended to the throne. Godunov was implicated in his murder years ago. What follows is one man’s pursuit of forgiveness, his being haunted by the Dimitri’s ghost and the Russian people who demand justice.

Joshua Kosman, writing in the San Francisco Chronicle, explained the differences in his review of this production. “The lack of any romantic element – or even of women – seems to have been the reason that government bureaucrats denied the piece access to the stage. In revising “Boris” for its eventual 1874 premiere, Mussorgsky added a female love interest for Grigory, the ex-monk who claims to be the rightful heir to the throne, as well as two major sequences (the so-called “Polish” act and the final scene in Kromy Forest).

“But Mussorgsky went even further, making the new work more formally balanced, more conventional in tone, and more musically integrated. He sprinkled little songs and character pieces around, the better to contrast with the moments of greatest dramatic charge; he arranged his acts to move with assurance toward a surefire curtain.”

He later said in the review that, at least in this production, “the rewards are great.”

Blue 13 Dance – LA Soundscapes at The Ford – November 14th – 2:00 PM EST/11:00 AM PST

With this free program you can watch Blue 13 Dance perform Bollywood, Bhangra, and Classical Indian Dance and also receive some instruction on how you can bust out some of the same moves.

Founded in 1999, Blue 13 Dance celebrates and preserves the cultural and classic forms of India. They are lead by Artistic Director Achinta S. McDaniel.

The 8 person company brings to joyous life the rich tradition of the Indian culture from the past and guides it fully into the future.

The program is free to watch on LA Soundscapes at The Ford’s Facebook page. Thirty minutes before this program starts there is a crafts program with Nasimeh B.E. If you RSVP at theford.com/crafts you can get a free Craft Box.

Dee Dee Bridgewater – JazzAid Live at the Banyan Bowl – November 14th – 8:00 PM EST/5:00 PM PST

South Florida’s Pinecrest Gardens launches a series of live streaming concerts on Saturday, November 14th with Tony Award and Grammy Award winner Dee Dee Bridgewater. The shows fall under the umbrella of their new program, JazzAid Live.

Regular readers of Cultural Attaché know how much I love Bridgewater and the music she performs.

Her most recent studio album was 2017’s Memphis…Yes, I’m Ready! Earlier this year Dee Dee’s Diamonds was released which is a compilation of songs from some of her earliest recordings. The Tony Award came for her performance as “Glinda” in the musical The Wiz.

Other concerts in this series are Kurt Elling (December 12th); The Glenn Miller Orchestra (January 16th); Wycliffe Gordon (February 13th); Grace Kelly (February 27th); Joey Alexander Trio (March 13th) and The Manhattan Transfer (April 10th).

Each concert will stream live and only once at the announced start time.

Tickets for each individual concert are $15. You can buy all seven concerts in a bundle for $87. Part of the proceeds from the JazzAID Live concerts will go to Chef José Andrés’ World Central Kitchen which, in addition to providing assistance to impoverished and hungry communities worldwide, is providing assistance to families impacted by the pandemic.

Save Tip’s: A Benefit for Tipitina’s – November 14th – 9:00 PM EST/6:00 PM PST

Like many a venue that has had to suspend operations due to the Pandemic, New Orleans institution Tipitina’s is struggling to stay alive. So they are holding an online fundraiser that will feature new and archived performances from many of the legends who have played on their stage since it opened in 1977.

Amongst the performers that will be shown are Professor Longhair, Fats Domino, Willie Nelson, Dr. John, Widespread Panic, Wilco, Billy Strings, Jon Batiste & Stay Human feat. Trombone Shorty, Dinosaur Jr, Manu Chao, The Radiators feat. Gregg Allman, Michael Franti and Spearhead, St. Paul and the Broken Bones, Funky Meters, Preservation Hall Jazz Band feat. Allen Toussaint, Galactic feat. Anjelika “Jelly” Joseph, Les Claypool’s Flying Frog Brigade, The Revivalists, Big FreediaTank & The Bangas, Rebirth Brass Band, Zigaboo Modeliste, Juvenile, Samantha Fish, Dumpstaphunk, George Porter and Runnin’ Pardners, Big Chief Monk Boudreaux + Donald Harrison Jr., Anders Osborne, Ivan Neville, Cha Wa, James Andrews, Papa John Gros, The Dirty Dozen Brass Band, Kermit Ruffins, Corey Henry, Roger Lewis, Leo Nocentelli, The Soul Rebels, Davel Crawford, John Cleary + Walter “Wolfman Washington”, The Naughty Professor Horns, Taj Mahal, North Mississippi Allstars + Big Sam and tributes to Art Neville, Dr John and Allen Toussaint.

The show is free to watch. But donations are encouraged by texting “SAVETIPS” to 24365.

Rachmaninoff and Chopin – Pasadena Symphony – November 14th

Pianist Inon Bartanan is featured in this Pasadena Symphony concert. He will start the program with his own transcriptions of Sergei Rachmaninoff’s Symphonic Dances. He will then be joined by a string quartet of Pasadena Symphony members for a performance of Frederic Chopin’s Piano Concerto No. 1 in E Minor, Op. 11.

The musicians joining Bartanan are Amy Hershberger and Nancy Roth on violin; Suzanna Giordano Gignac on viola; Nadine Hall on cello and Peter Doubrovsky on bass. David Lockington conducts.

Tickets are $25.

2020 Songbook – Long Beach Opera – November 15th – 8:00 PM EST/5:00 PM PST

Like many an organization, the Long Beach Opera had to be creative when it came to raising money for its work and finding a suitable replacement for an annual gala. The result, a fascinating idea, is 2020 Songbook.

Hosting the show is one of opera’s most exciting performers, countertenor Anthony Roth Costanzo.

He can be seen on November 14th in the Metropolitan Opera’s 2019-2020 production of Philip Glass’ Akhnaten.

Here’s what makes this show exciting: Donors this year commissioned new art songs instead of purchasing gala tables. All the commissioned works had to follow a few rules:

They had to be 3-5 minutes long, feature voice plus accompaniment and thematically had to address or reflect events or experiences from the year we all know and love, 2020.

Composers Anthony Davis (2020 Pulitzer Prize for Music winner for The Central Park Five which premiered at Long Beach Opera); Annie Gosfield (The War of the Worlds with Yuval Sharon and the Los Angeles Philharmonic); David Lang (2008 Pulitzer Prize for Music winner for The Little Match Girl Passion); George Lewis (his opera based on the W.E.B. Du Bois short story “The Comet,” will be paired with Monteverdi’s L’incoronazione di Poppea in a world-premiere production in collaboration with Anthony Roth Costanzo and Yuval Sharon in the 2021 Long Beach Opera season) and Du Yun (2017 Pulitzer Prize for Music Winner for Angel’s Bone).

Tickets are $25 and $75 and includes the ability to watch the show for 72 hours.

Modern Beauty Part 3 – Pittance Chamber Orchestra – November 15th – 6:00 PM EST/3:00 PM PST

Part 3 of Modern Beauty from Pittance Chamber Orchestra features the world premiere of Austrian composer Gernot Wolfgang’s Decisions.

This eleven-minute work was composed in 2016 and was written for piano and oboe. There are three movements in the piece. Joining Gloria Cheng, who curated all three concerts that make up Modern Beauty, is Jennifer Cullinan.

There is no charge to watch the performance, but donations are encouraged.

The Anonymous Lover – Los Angeles Opera – November 15th – November 29th

Born nearly 11 years before Mozart was composer Joseph Bologne, Chevalier de Saint-Georges. Not only was he a composer, he was a violinist and quite the fencer. More importantly he was, particularly for the time, one of just a few Black composers. (George Bridgetower and Francis Johnson were two other important Black composers from around this era.)

LA Opera is presenting a newly-filmed performance of his third opera, L’amant Anonyme (The Anonymous Lover). The work dates back to 1780, written when the composer was in his mid-30s and has a libretto inspired by a play by Caroline-Stéphanie-Félicité, Madame de Genlis. The opera had its premiere in Paris.

The Anonymous Lover tells the story of Léontine, a woman who has eschewed love. She is young and is a widow. Her good friend, Valcour, also has sworn off love – or so he claims. Secretly he’s been in love with Léontine. Unable to express his feelings, he chooses to anonymously send her letters and gifts. Can two friends become lovers when Valcour finds the nerve to reveal himself to Léontine?

James Conlon conducts the LA Opera Orchestra. The production stars Tiffany Townsend, Robert Stahley, Alaysha Fox, Michael J. Hawk, Gabriela Flores and Jacob Ingbar.

The film was directed by Bruce Lemon, Jr. and incorporated social-distance guidelines during production. Press notes indicate that the staged setting blends both modern film and traditional opera staging.

The Anonymous Lover is free to watch beginning at 8:00 PM EDT/5:00 PM PDT on November 15th.

Lillias White with Seth Rudetsky – November 15th – 8:00 PM EST/5:00 PM PST $25

I personally find it hard to believe that Tony Award winner Lillias White made her Broadway debut in 1981 (replacing Terri White in the musical Barnum.) Roles in Dreamgirls, Cats, Once on This Island, the 1995 revival of How to Succeed In Business Without Really Trying and the never-ending revival of Chicago all lead to her role as Sonja in The Life.

Following her Tony Award win for The Life, she spent time doing concerts (both her own and fundraisers including an incredible turn singing “Don’t Rain on My Parade” from Funny Girl) before returning to Broadway for 2009’s Fela! She received a Tony nomination for her role as Fela’s mother.

White will join Seth Rudetsky for his concert series this weekend. If you can’t watch the live performance on Sunday, there is an encore performance on Monday, November 16th at 3:00 PM EST/12:00 PM PST. Tickets for either showing are $25.

That’s our list of your Best Bets at Home: November 13th – November 15th. But you know we won’t leave you without a few reminders:

Metropolitan Opera‘s streaming productions this weekend are the 2007-2008 production of Benjamin Britten’s Peter Grimes on Friday, Philip Glass’ Akhnaten on Saturday and Thomas Adés’ The Exterminating Angel on Sunday.

Don’t forget Laura Benanti’s Live from the West Side: Women of Broadway concert on Saturday.

Table Top Shakespeare: At Home wraps up this week with The Comedy of Errors rather appropriately on Friday the 13th; Timon of Athens on Saturday and The Tempest on Sunday.

That does it. With so many wonderful opportunities to get lost inside these wonderful programs, who has time to be superstitious?

I hope you enjoy our Best Bets at Home: November 13th – November 15th.

Photo: Countertenor Anthony Roth Costanzo (Courtesy Opus 3 Artists)

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This marks the tenth anniversary of LA Opera’s first Ring Cycle – thus the audio only streaming of their production. You will be able to find this at LA Opera’s website and also on their Facebook page.

The Ring Cycle is comprised of four operas that tell one continuous story. The operas are:

Das Rheingold – begins at 11:00 AM EDT/8:00 AM PDT

Die Walküre – begins at 2:00 PM EDT/11:00 AM PDT

Siegfried – begins at 6:00 PM EDT/3:00 PM PDT

Götterdämmerung – begins at 10:00 PM EDT/7:00 PM PDT

Fans of The Lord of the Rings will find this story somewhat familiar.

Wotan, King of the Gods, steals a magic ring from Alberich, a draw. He, in turn, has the ring stolen from him by two giants. Wotan spends a lot of time in these operas trying to get the ring back.

Siegfried, who is Wotan’s grandson, ultimately gets the ring back. Brünnhilde, who is revealed to be Wotan’s daughter, also happens to be Siegfried’s lover.

To get more details about each individual opera you can clip on the opera title and it will take you to thorough synopses written by LA Opera’s Mark Lyons.

Each opera will be complemented by supertitles and photos from the production.

In addition to the music itself, LA Opera will intersperse commentary and interviews with several of the participants in their production. This includes Morris Robinson (who sang the role of the giant Fasolt in Das Rheingold; Ronnita Miller (who sang the roles of Rhinemaiden Flosshilde in Das Rheingold and Götterdämmerung and Schwertleite, daughter of Wotan, in Die Walküre), Resident Conductor Grant Gershon and Jeff Kleeman who was the Technical Director for the Ring Cycle.

James Conlon, who conducted all the performances and Christopher Koelsch, President and CEO of LA Opera, will launch the 15-hour marathon.

In revised notes Conlon wrote about the Ring Cycle for this marathon (and published on LA Opera’s website), he says of this gargantuan piece:

“This poetic, four-movement, symphonic music drama, this colossus of Western civilization, ends not with the false idolatry of Wotan’s godly pomp, but with Wagner’s vision of spiritual transformation. An epic myth, conceived in a spirit of revolutionary activism, has, in the course of time, transformed itself. Through Wagner’s years of reflection, resignation and philosophical metamorphosis, that myth, culminates in a message of cosmic redemption.”

All photos of LA Opera’s Ring Cycle by Monika Rittershaus/Courtesy of LA Opera

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LA Opera will be streaming their Grammy Award-winning recording of The Ghosts of Versailles on Thursday, July 16th at 8:00 PM EDT/5:00 PM PDT. The opera will be streamed on LA Opera’s Facebook page as part of their LA Opera at Home programming.

It’s audio only, but there is a reason it won the Grammy for Best Opera Recording and a second Grammy for Best Engineered Album, Classical. It’s that good.

This meta opera by John Corigliano and William Hoffman takes the third Figaro play by Beaumarchais (who wrote the plays that inspired The Barber of Seville and The Marriage of Figaro) as the opera within the opera.

The story takes place after Marie Antoinette has been beheaded. Beaumarchais, trying to calm down a very upset Antoinette – who is now a ghost – puts on an opera for her. The opera, based on the real Beaumarchais’ play La Mère coupable, uses the characters and situations from his first two Figaro plays.

In the opera created within the opera, Count Almaviva is an ambassador from Spain living in Paris. Along with Figaro they try to rescue Marie Antoinette well before she is set for beheading. Unfortunately, things don’t go as planned and Beaumarchais enters the opera in an attempt to rescue Antoinette with the help of Figaro and Susanna, Figaro’s wife.

Here are a few video excerpts from LA Opera’s production from the 2014-2015 season:

The cast of The Ghosts of Versailles included Patricia Racette as “Marie Antoinette,” Christopher Maltman as “Beaumarchais,” Lucas Meachem as “Figaro” and Lucy Schaufer as “Susanna.”

You might have noticed Broadway star Patti LuPone in the clips above. Her character, Samira, comes on late in the first act. It is one of the most hilarious numbers I’ve seen staged in any opera.

Darko Tresnjak, the Tony Award-winning director of A Gentlemen’s Guide to Love and Murder, directed this production. James Conlon lead the Los Angeles Opera Orchestra.

I attended opening night of this production and frankly wished I had attended a second or even a third performance. This was truly one of the best nights of opera I’ve ever experienced.

When Richard S. Ginell reviewed The Ghosts of Versailles for the Los Angeles Times he concluded his review by saying, “…there will be a ghostly afterlife for this production, for L.A. Opera is recording it in audio for release sometime ‘next fall,’ according to L.A. Opera President and Chief Executive Christopher Koelsch. It ought to be a treat.”

It is indeed a treat and one I recommend you enjoy when LA Opera streams the recording on Thursday.

Photo of the LA Opera production of The Ghosts of Versailles by Craig T. Mathew/Courtesy of LA Opera

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Whether or not you are familiar with Conlon’s vast knowledge of opera (and for that matter classical music), if you’re a fan of either or both you will want to consider tuning in to a live conversation he will be having on Viking.Tv.

What is Viking.TV? It’s the digital platform of cruise line Viking.

Every Wednesday they program conversations with artists from multiple aspects of the performing arts. Sometimes it might be a composer, or a performer. In this week’s episode of Art and Music Wednesdays, Conlon is the guest.

Conlon is more than just a fan favorite. He’s conducted over 375 performances at LA Opera and nearly 300 performances with the Metropolitan Opera in New York. In his spare time he is Principal Conductor of the National Symphony Orchestra of the RAI in Torino.

He is the recipient of three Grammy Awards. One for Best Opera Recording for LA Opera’s production of John Corigliano’s The Ghosts of Versailles (a recording LA Opera will soon be streaming) and a second Grammy for Best Opera Recording for Kurt Weill’s Rise and Fall of the City of Mahagonny. That recording also won the Grammy for Best Classical Recording. That 2007 LA Opera production starred Audra McDonald and Patti LuPone.

When I last interviewed Conlon in 2018, he talked about his desire to be known as much for concert conducting in Los Angeles as he is conducting operas.

“I’ve always tried to split my professional activities 50/50 between symphony and opera. In Los Angeles I’ve been predominantly exposed as an opera conductor. I did conduct the LA Philharmonic for a certain amount of time. But I do not have an orchestra here with which I can do that. We don’t give concerts. I would love us to give concerts. I think the musicians of LA Opera would love to give concerts. Someday if there is the money, we will do it. If Los Angeles residents want to know me as a symphonic conductor, they have to dig around for recordings or come and travel with me. We haven’t done Shostakovich operas. I conduct Shostakovich all the time. I’m obsessed with Shostakovich. That’s also true for Mozart. The fact is it is half my life.”

Wednesday’s conversation should be quite interesting. I know from personal experience how fascinating and intelligent James Conlon is. Since we won’t have an opera productions for some time, I, for one, am looking forward to hearing him share his passion.

Arts and Music Wednesdays will stream live at 2:00 PM EDT and 11:00 AM PDT here. If you missed this as it was happening, it will become available on Viking.Tv on July 9th for viewing at your leisure.

Photo of James Conlon courtesy of Los Angeles Opera and Viking.

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