Tag: 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!

REVIEW: Elizabeth Cree

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Some criticize opera for its long-winded and shallow storytelling—but Mark Campbell and Kevin Puts are determined to obliterate those expectations with their thrilling adaptation of Elizabeth Cree, a new opera based on Peter Ackroyd’s 1994 novel The Trial of Elizabeth Cree. At just 90 minutes, Campbell and Puts craft a vigilant and intriguing operatic narrative about female angst, murder, and socioeconomic expectations.

The scene is set in 1880s London, in a grimy Victorian town reminiscent of a Sweeney Todd-like “Fleet Street”. The story follows the titular character Ms. Elizabeth Cree (formerly known as Lambeth Marsh Lizzie), in her younger years and after meeting her husband, John Cree. It begins with Elizabeth standing trial for the murder of John, and then traces her cautious trail backward from daughter to performer to wife, culminating in the climax of the opera where she is discovered as a mass murderer.

The Department of Voice and Opera double-casts leading roles in their performances, so this review is regarding the Thursday/Saturday performance of Elizabeth Cree. This performance featured Aria Minasian (Elizabeth Cree), Robert Wesley Mason (John Cree), and Katelyn Brown (Aveline Mortimer, Elizabeth’s ex-colleague at the troupe).

Minasian’s portrayal was truly spectacular—her Elizabeth was deep and seductive, precociously balancing beauty and terror. Her luxurious contralto voice pulled the audience into Elizabeth’s madness and gripped until we were left begging for more. Mason’s complement to her was grounding, with a voice effortlessly demanding attention.

Campbell and Puts are true trailblazers for the next generation of American Opera with their work on The Manchurian Candidate, Silent Night, and Puts & Greg Pierce’s wildly new successful opera The Hours. Puts created a whimsical score for chamber orchestra in Elizabeth Cree, bringing a hauntingly dark narrative into a world different from our own yet totally understood. Campbell’s libretto brings ultimate life to the characters with mystery, wonder, and grit. Elizabeth’s libretti was specifically complex and refreshing, with many female opera roles lacking depth in older works.

The Department of Voice will return in November with Humperdinck’s Hansel und Gretel — a story making up for its lack of murder with candy and witches.

 

 

Read more about Elizabeth Cree in the Dramaturgy Packet here.

Photos thanks to @umichvoice on Instagram.

REVIEW: The Pigeon Keeper (Sitzprobe)

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In the world of opera, new compositions are blossoming in opera houses throughout the country. SMTD’s own Voice & Opera Department is currently working alongside the Santa Fe Opera (SFO) to workshop a new chamber opera entitled The Pigeon Keeper. Commissioned by the SFO, the score was composed by David Hanlon with Stephanie Fleischmann’s touching libretto. This piece is still in progress here at SMTD and will have select open performances before its final showing with the SFO in March. This open sitzprobe rehearsal was presented at the McIntosh Theater (Moore Building) last Thursday to a small audience of students and faculty.

The opera showcases six main characters: Orisa, Thalasso (her father), The Schoolteacher, The Widow Grocer, Kosmo, and The Pigeon Keeper. Additionally, a women’s chorus (SSA), serving as crooning pigeons and schoolchildren, accompanies them. The Contemporary Directions Ensemble, under the direction of Jayce Ogren, collaborates with this cast comprised of auditioned singers and chorus members from The University.

The opera takes place on “an archetypal Mediterranean island”, following a young optimistic girl named Orsia and her father. They go on a fishing trip together on the anniversary of Orsia’s mother’s death and find a refugee boy in the water. The two take the boy in, but Orsia’s father proclaims he must stay somewhere else, or he will be sent to “the other side of the island”. With great worry, Orsia searches the island to find him somewhere to live, only to be confronted with shut doors and unwilling neighbors.

“Sitzprobe” comes from the German word for “seated rehearsal” an unstaged rehearsal where the orchestra and vocal parts will first come together. There are no costumes or set pieces, and the focus is entirely on the music In the moment. But the music truly lent itself to creating its own atmosphere. I rather preferred the lack of distraction from any technical aspects, leaving me to fixate on the captivating text. Fleischmann’s lyricism is quite prolific: she depicts such reality through an art form that is praised for being boisterous and grand. Likewise, Hanlon’s music is gracefully whimsical, while rooted in truth about the pressing immigration crisis in the United States and abroad.

The SFO website describes the piece as “[an exploration of] how we respond to those in need in a time of hardship and scarcity; and celebrates the kindness of strangers, the power of human connection, and the unexpected places we find family.”

The final performance will be conducted by Kelley Kuo, alongside soloists Laura Soto-Bayomi, soprano; Bernard Holland, tenor; and Aubrey Allicock, bass-baritone. It will be a free fully-staged performance on March 10th at 4 pm in the Stamps Auditorium at the Walgreen Drama Center. The opera will have its professional debut at the Santa Fe Opera later this year.

 

March 10, 4:30pm. More on the Santa Fe Opera here.