Tag: opera

REVIEW: The Turn Of The Screw

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March 28 | 7:30 | The Lydia Mendelssohn Theater

 

 

Slightly haunted, challenging and contemplative— The Turn Of The Screw is a properly spooky ghost story. The novella by 19th-century writer Henry James is a piece of gothic fantasy best known for its adaptation into the opera by English composer Benjamin Britten and librettist Myfanwy Piper.

The eerie disposition felt akin to Sweeney Todd’s dreary Fleet Street or last season’s Elizabeth Cree at SMTD. Britten’s work features just 6 voices from the Department of Voice and Opera and 13 instruments in the orchestra.

We arrive at a remote country house in East England at the turn of the previous century. A young governess (Christina Parson) is hired to care for two children, Miles and Flora (the lively Haley Hunt and Francesca Herrera), alongside Mrs. Grose (Danielle Casós), the housekeeper. As time passes, the Governess becomes convinced that the house is haunted by malevolent spirits of a former servant, Peter Quint, and governess, Miss Jessel (played respectively by Alexander Nick and Jennie Rupp, an earth-shattering soprano). Her obsession with protecting the children intensifies as the line between reality and delusion blurs, leaving the true nature of the threat ambiguous.

Christina Parson as The Governess.

Christina Parson (the Governess) sparkles musically and dramatically, as if the score was written for her. She seldom leaves the stage during the performance, proving a role made for a seasoned soprano with stamina. Her journey is emotional, as she challenges paranoia amid her deep compassion. Parson crafts a beautiful arc for this character, especially as the erratic feelings intensify.

The ambiguity feeds into the tense storytelling, sonically and dramatically, making it the true enchantment of the piece. This opera succeeds on its intellect and the brilliance of the performers. The cast of six performs with a vocal maturity far beyond their years as well as cultivates the most dramatically satisfying opera I’ve seen at the University: the chemistry of Herrera and Hunt was joyful, and Rupp and Nick were a chilling duo onstage. Ms. Casós has enjoyed many fantastic performances in University Operas over the years, and her elegant Mrs. Grose was no less enchanting.

This score is unlike that of Mozart or Puccini—Britton’s score feels more like a soundscape than a dramatic statement. It houses some evocative nostalgia but doesn’t give the audience a memorable tune to carry out of the theater. Though Myfanwy Piper’s libretto is full of vitality, young Miles’ deathly call, “Malo,” still echoes in my head.

 

 

Image thanks to Univ. of Michigan SMTD.

REVIEW: ‘Rinaldo’ at the Detroit Opera

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February 28 | 7:30 pm | Detroit Opera House

 

 

Handel’s “baroque blockbuster” Rinaldo made a stylish return to the Detroit stage last week. This production was transplanted from the 2023 Glimmerglass festival, and unlike the Hero’s Journey that opera admirers will recall. We replace the depths of the First Crusade with a modern hospital ward nestled into the imagination of a young Rinaldo (Anthony Roth Costanzo) recovering from an unspecified brain operation. Director Louisa Proske entertains the idea of inception: Rinaldo playfully distracts himself with stories of knights and magic, distancing him from the bruting hero some remember. Decked out in sandals, a teal hospital gown, and a cape made from his basketball bedding, he’s the hero of his own story.

The curtain rises to a bleached, hopeless hospital facility. An unconscious child lays across the room from Rinaldo, who we learn to be Almirena (Elena Villalón), another recovering child and the woman of his affections. King Goffredo (Kyle Sanchez Tingzon, a silvery-smooth countertenor) doubles as the king laying siege to Jerusalem and a real-life father to the hospital-bound princess. Within Rinaldo’s dreams and Almirena’s recovery, the malevolent sorceress Armida (Nicole Heaston) captures the young maiden, and the call to save her beckons Rinaldo.

Mr. Costanzo is one of the most engaging operatic performers you’ll see today: dramatic, genuine, and ethereal. His countertenor voice glitters above the sweeping Detroit Opera Orchestra (under the baton of Roberto Kalb). Ms. Heaston similarly carries a luminescent voice and powerful presence, which warranted plenty of “Bravas” from passionate audience members. 26-year-old Villalón effortlessly delivered the heart-wrenching “Lascia ch’io pianga”, under the angelic harpsichord player John Etsell. Her youth radiated in her Almirena with apt grace and humility.

Nicole Heaston as “Armida”.

Originally, Armida carries romantic feelings for Rinaldo in Act II—it didn’t quite land in this adaptation. A frisky sorceress suddenly fawning over a young boy felt a bit awkward, though it seemed Proske hoped audiences to realize the character as a manifestation of the children’s illnesses.

Though Rinaldo’s disposition is whimsical, the undertones can feel more bleak. Ms. Proske’s adaptation presents a philosophical question about suffering children, especially in relation to the opera’s theological underbelly. Why would a loving God hurt children? With healthcare at the forefront of many Americans’ minds, a certain empathy arises naturally for our heroes, and their fanciful reality now carries more sympathy.

This adaptation was avoidant of the tacky feel some modern productions can have. Its dramatic roots remained intact while experimenting heavily, and that feat is to be celebrated within an art form over 400 years old. If the power of love resonates (much like all these fantastic voices), I think this opera can work in many new ways.

 

 

 

Images thanks to the Glimmerglass Festival and The Detroit Opera. 

REVIEW: Wicked

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After several disappointing movie-musical adaptations in recent years, I was skeptical that Wicked would be any different. As the first musical I had ever seen, and on Broadway in New York no less, I had especially high expectations. However, I was pleasantly surprised to discover that the hype surrounding the movie was justified. Under the guidance of director Jon M. Chu, with a talented main cast including Ariana Grande (Glinda), Cynthia Erivo (Elphaba), and Jonathan Bailey (Fiyero), Wicked offered a refreshing take with a charm that still retained the essence of the Broadway play that sparked my love for musical theatre.

Based on Gregory Maguire’s novel Wicked, the story is a prequel to The Wizard of Oz. The main character, Elphaba, grows up experiencing hardships due to her unusual green skin. Ostracized by even her own family, she is nonetheless loved by her nanny. Because of this, she grows up with a pure heart. When she sends her younger sister to Shiz University, Elphaba catches the eye of Madame Morrible, played by Michelle Yeoh. Morrible is a famous magical history professor and the object of admiration for Glinda, a beautiful and popular girl who has lived a life essentially the opposite of Elphaba’s. As the story progresses, it explores the complex relationship between the two women. Their character development is one of the highlights of the story, touching on themes of friendship, values, purpose, and societal expectations. Grande and Erivo’s chemistry, both on and off screen, brought this relationship to life brilliantly. 

Despite both the musical and the movie running for roughly three hours, the movie only covers half of the original story. I did feel that the pacing dragged at times, with the plot progressing slowly—almost frustratingly so. However, this slower pace gave more creative freedom to the director and actors. Compared to the stage production, Elphaba and Glinda felt more alive in this version. Their characters were more developed and complex, which created a deeper connection with the audience. I particularly enjoyed Glinda’s nuanced portrayal, whereas in the play, she seemed more ditzy and one-dimensional.

Though I find live singing and dancing more impactful, the movie was still incredibly immersive. The film’s close-up shots of the characters, their costumes, and facial expressions added a level of intimacy that the stage production can’t match. The lighting and camera angles also contributed to a richer atmosphere. The movie was visually striking and the vivid colors truly brought the fantasy world of Oz to life. These added details allowed for more foreshadowing, extensive world-building, and deeper character development. It never felt like a simple recording of the play. 

A friend of mine, who is more versed in musical theatre techniques, also offered some insightful commentary on how film is a unique medium. On stage, only those sitting in the front row get to see the actors’ faces clearly, and even then, it’s impossible to catch all the small details. It’s difficult to compare movies and theatre because they offer different experiences and strengths. Perhaps that’s why I remain skeptical about many movie-musical adaptations retaining a high quality—they’re often unfairly compared to the original. Nevertheless, Wicked is proof that a great musical-movie adaptation is possible.

REVIEW: Hänsel und Gretel

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Photos are provided by Peter Smith Photography

From November 14th – 17th, students from SMTD’s Department of Voice & Opera presented Hänsel und Gretel, a whimsical and comical opera inspired by the Brothers Grimm fairy tale. On opening night, I walked in expecting a darker, more traditional retelling. Having recently read the original story for my English class, the haunting imagery and fast-paced plot were fresh in my mind. What I witnessed instead was a playful and modern reinterpretation that completely reimagined the tale I thought I knew. 

The opera began with Hansel and Gretel doing chores at home while horsing around. At this point, there was no dialogue; instead, the introduction was driven entirely by the music, with decorative trills and glissandos setting the tone. This lack of narration effectively established the scene, suggesting their actions were simply part of their daily routine. What stood out to me was the siblings’ dynamic, which differed from the original story. In this version, Gretel had more depth and independence. For instance, she had some attitude, and the two siblings squabbled early on. By the end, their tumultuous relationship evolved into a partnership where they worked together to overcome their struggles, making their character arcs feel more rewarding.

I was truly amazed by the quality of the music, particularly Hansel and Gretel’s vocals. Their voices projected clearly, and their vibrato and dynamics added a compelling layer to the storytelling. The pit orchestra, which was noticeably larger than those in musicals I’ve seen, played a pivotal role. Their synchronization with the actors heightened the emotional impact of the scenes, particularly in the introduction, and their technical consistency throughout the two-hour performance was impressive. 

The set designs were among my favorite aspects of the production, particularly in Act II and Act III, when the visuals became increasingly surreal. The TVs hanging around the stage were a quirky and creative touch that enhanced the eerie atmosphere of the woods and the chaotic energy of the Witch’s house. By displaying images like green mist and blinding lights, they played a crucial role in establishing the mood of each scene. The Witch’s house, made entirely of brightly branded cereal boxes, was both unexpected and amusing, providing a modern twist on the traditional gingerbread aesthetic.

 

 

The Witch was undoubtedly my favorite character. From the moment she appeared on stage, I was completely captivated by her eccentric and flamboyant costume. It was a riot of bright colors and peculiar accessories—such as eating utensils—and cleverly mirrored her chaotic personality and desire to consume the children. Her absurd and unpredictable presence made her scenes incredibly fun to watch, and I found myself smiling throughout. The audience shared my feelings, as frequent laughter echoed during her antics. 

 

 

Overall, this was an enjoyable performance. The chaotic and playful nature of the plot kept me engaged, especially when the production deviated from the original tale in surprising ways. The opera felt like a magical adventure that breathed new life into a familiar fairy tale. However, since the entire performance was sung in German, I often had to look away from the stage to read the subtitles, which detracted slightly from my experience but didn’t overshadow the production’s many strengths. I highly recommend this production to anyone who enjoys fairy tales and is open to seeing them reimagined in unexpected and creative ways.

REVIEW: Hänsel und Gretel

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November 14th | 8:00 pm |Power Center For The Performing Arts

 

 

Is everyone on drugs in SMTD’s Hänsel und Gretel? That is a question I don’t know the answer to.

Director Gregory Keller brought an eccentric new take on the classic fairytale last weekend, one that was unanticipated by opera’s more familiar audiences. Traditionally, this story is pretty straightforward: young mischievous kids, absent parents, the candy house, the witch and the oven, the whole sha-bang. But Keller took everything up a notch—and academia seems like the right place to do that, right?

Mr. Keller has spent twenty-six seasons at a little place called The Metropolitan Opera in New York City, where he’s staged vibrant and thought-provoking revivals of some of opera’s most notable works. He’s eager to try new things, but is opera itself ready?

This charming opera was written by German composer Englebert Humperdinck with libretto by his sister, Adelheid Wette. His Wagnerian influence is clear in his richly textured orchestration and memorable, complex, and emotional melodies. His magical, atmospheric score lives in a lighthearted fairytale world, but make no mistake—it’s not an easy sing. This production showcased some of the Department of Voice & Opera’s finest talent.

The production took us back to the 1970s: trading in brooms for vacuums and the witch’s oven for an oversized microwave. The dramaturgy note mentioned their intention to mirror the political landscape of the 1970s to today, providing clearer context to the artistic choices made. Hänsel (Daiyao Zhong) and Gretel (Ingrid Kuribayashi) start the opera deprived of food in their home, parentless, and bored. When Mother and Father (a stunning Christina Parson & commanding Andrew Smith) return, they bring battles of their own: a quaaludes addiction and rampant alcoholism.

Hänsel & Gretel’s house, Scene I, Act I.

Ms. Kuribayashi and Ms. Zhong make a playful pair onstage, displaying vocal mastery over Humperdinck’s lush, folk-inspired melodies. They both portrayed a commitment to the fanciful youth of the music and had enjoyable presences onstage (along with stellar vocals). They both seemed to be pushed up an age bracket from the original story: Hänsel is sporting a mustache and smoking cigarettes while Gretel’s lively physicality makes me think she is within the realm of a frisky preteen. Perhaps the age shift brings accessibility to college-age audiences?

 

Ingrid Kuribayashi (left) and Spencer Vandellen.

Mother and Father’s chaos sends them into the woods, where they meet The Sandman (Madeline Surroweic), an Alice In Wonderland adjacent Caterpillar-like ghost who sends the children to sleep with a backpack of hotboxed smoke. The angels (who are supposed to protect the children while they sleep) are replaced with an entourage of leather jacket-wearing goons who send them up mysterious white stairs into the sky, ending Act I. I couldn’t exactly read what was going on— Were they ascending to heaven? Drugged by the Sandman? Part of some master plan orchestrated by The Witch?

They are awakened by the Dew Fairy (Anne-Marie Attanga, who sparkles vocally) in a brief and shimmering aria, right before the children realize they are outside the cottage of The Witch (Spencer Vandellen) decorated in colorful drag. This role was written for a mezzo voice but is also standard to be performed by tenors. Vandellen has a stellar upper range and navigates vocal passages with ease, without sacrificing an ounce of drama from the exuberant Witch.

Perhaps Keller’s unusual choices support deeper messaging regarding Hänsel and Gretel’s need to escape the demons of their own home: addiction-ridden parents, food deprivation, and an understated need to explore layered with teenage angst. All ambiguity aside, the eccentricity of the production kept me intrigued from start to finish.

I’m sure Keller’s nuanced take on this Brothers Grimm tale startled traditionalist opera-goers, but it seems academia is hungry to shake up this 400+-year-old art form, and I appreciate that. With or without drugs, I think it’s time for opera to embrace its hot takes from ambitious directors. Better sooner than later before opera is the next thing in the Witch’s oven.

 

 

Hänsel und Gretel runs November 14-17 at the Power Center for Performing Arts. Images thanks to @umichsmtd on Instagram.

REVIEW: Will Liverman and Karen Slack at Stamps Auditorium

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April 7th, 2pm.

The Department of Voice and Opera eagerly welcomed Will Liverman and Karen Slack to a residency this semester, both of whom have enjoyed wildly successful careers as opera singers worldwide.

Karen Slack is an American soprano known for her powerful and emotive voice, as well as her versatility across a range of musical styles. She has performed with major opera companies and symphonies worldwide, in both traditional operatic repertoire and contemporary works. Slack debuted the role of Billie in Terence Blanchard’s Fire Shut Up In My Bones at the Metropolitan Opera in 2019, as she maintains a strong commitment to performing the work of living composers. She was awarded the Sphinx Medal of Excellence in 2022, a prestigious award for artistic achievement. She is an active educator and coach in Universities across the country, including our own! In addition to her vocal presence, she also hosts an interview web series called #KikiKonvos. It began on Facebook Live in the height of the pandemic and has continued ever since.

Will Liverman is an American baritone with a collection of prestigious operatic credits as well as successful discography and concert work. He debuted the role of Charles in the Metropolitan Opera’s Fire Shut Up In My Bones, by the fabulous Terence Blanchard. (The album of which won the 2023 GRAMMY Award for Best Opera Recording.) Last season, he sang the title role in Anthony Davis’ groundbreaking work, X: The Life and Times of Malcolm X at the Metropolitan Opera. As well as a highly desired singer, Liverman is also a composer. The Lyric Opera of Chicago presented the world premiere of Liverman’s new opera, The Factotum, which he starred in and composed with DJ King Rico. He has performed worldwide in operas and recitals while making time to educate and coach in universities across the country. He also has the most fabulous shoe collection I have ever seen.

The two held a 3-day residency at the School of Music Theater and Dance, holding a departmental Q&A, a vocal masterclass, and finishing out with a stunning recital featuring the two. It was incredible to hear these performers speak about their lives as opera singers, as they have been instrumental figures in modern-day classical music.

The recital featured a collection of songs by Margaret Bonds, Harold Arlen, Nina Simone, Florence Price, Undine Smith Moore George Gershwin, and Shawn Okpebholo! The repertoire choices were predominantly by Black and female composers, a majority that is not often represented in the classical canon. Their performances of these art songs and arias were each thoughtful and provocative, with thoughtful emphasis on the text. There was a true connection and conversation within each piece, along with some of the most virtuosic vocalism I have ever encountered.

The two wrapped up the recital with the iconic duet from Gershwin’s Porgy and Bess, “Bess You Is My Woman Now”. A beautiful and heartwarming duet, I thought a wonderful way to end the evening—until their encores! Liverman performed a beautiful and pensive song he composed, and Slack sang Giordanni’s “Caro mio ben”, a tune brought into the mainstream from Beyonce’s new album.

Their residency was truly spectacular, filled with inspiring vocalism and encouragement for aspiring singers. What a gift to welcome these educators and performers to our University!