Tag: opera

REVIEW: Carmen: The Met Live in HD

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The Metropolitan Opera hosts viewings of select operas in movie theaters across the country, under their series “Met Live in HD”. These performances on screen are marketed at an affordable price, to increase accessibility efforts in opera. The 2024 year premieres with Bizet’s Carmen, an iconic staple of Opera literature. 

Young Russian Soprano, Aigul Akhmetshina, takes the stage as the youngest ‘Carmen’ to perform at The Met. Her demanding presence is alluring, along with her spunk and sense of unpredictability. She was a force to watch on stage, equally expressive and keen to the role. She sings alongside Met Opera greats: Piotr Beczała, Angel Blue, and Kyle Ketelsen. This quartet was truly remarkable, each buzzing with personality and vocal virtuosity. Akhmetshina is contracted to sing ‘Carmen’ at opera houses and festivals around the globe until at least August 2024.

The story of Carmen’s success is quite a tragic one for the composer, Georges Bizet. Bizet struggled to get his work on stage, though a fresh winner of the Prix de Rome. 1875 Paris was not fond of his depictions of proletarian life, lawlessness, and a tragic ending with an aggressive on-stage death. However, the historically controversial themes have been embraced by modern viewers and the score has trickled into aspects of pop culture, making songs like “Habanera” one of the most well-known arias to date.

The Met revels in creating the most aesthetically unique productions of Carmen year after year. Director Carrie Cracknell makes her Met debut taking a stab at a modern adaptation of ‘Carmen’s’ adventures and escapades. This production is set in the 21st Century, with references to gun violence, systemic labor abuse, and female empowerment. Her directing choices were clear and concise, revitalizing a story seeping with stereotypes and sexism. 

I would recommend seeing a Met HD Opera in theaters. It is an intimate way to experience some of the most distinguished operas in the United States. 

 

 

235 minutes. Not Rated. Includes gendered violence, cigarettes, and sexual themes. Sung in French with English subtitles.

Synopsis and more on Carmen HERE.

Met Live in HD showings HERE.

 

Image thanks to New York Theater Guide.

REVIEW: Orpheus in the Underworld

Ella Larsen Leave a comment

8:00pm • Saturday, Nov. 4, 2023 • Power Center

SMTD’s production of Orpheus in the Underworld (Orphée aux enfers) this past weekend was campy and aesthetically chaotic. The opera was originally written in 1858 by librettists Hector Crémieux and Ludovic Halévy and composer Jacques Offenbach, and is a humorous, irreverent take on the Greek myth of Orpheus and Eurydice. In this rendition, directed by Mo Zhou, SMTD chose to extend the opera’s original political critique of capitalist power structures into the 1950s, on the cusp of the Kennedy presidential campaign. The result is a complex amalgam of messages and meanings which I will discuss below. 

The notes provided in the program for this performance were essential in interpreting the many points the creative directors wanted to get across. First, the “About the Authors” section conveyed the point that each of the authors drew inspiration from the politics of their time. Mo Zhou elaborated upon that point in her director’s note, drawing from Offenbach’s “turbulent relationship with personal finance” to develop the opera as a statement on the privileged elite and capitalism. Further, the dramaturgical team focuses on how including Public Opinion as an archetypal character frames and translates the plot for the audience. Finally, the dramaturgs suggest that Offenbach wrote feminist meanings into the opera and subverted power structures by making Public Opinion a female character and focusing on Eurydice’s romantic self-determination.

I would not necessarily have read all of these themes into the opera without the program to point them out. In terms of the political and labor meanings of the production, the set did much of the heavy lifting. Larger-than-life vintage advertisements framed the stage, literally presenting each scene through a lens of consumerism. In the scene where the gods revolt against Jupiter’s rule, they carry signs parodying the labor movement with slogans like “Give Me Generational Wealth or Give Me Debt.” 

Despite the dramaturgical efforts to read feminism and liberation into Orpheus in the Underworld, my perception of the gender relations in this story was more cynical. While the role of Public Opinion as a female character was meant to give “the voice of the collective Greek chorus … to someone who historically was not given a voice,” her comparatively minor role in the story didn’t allow a full development of that voice. Personally, Offenbach’s treatment of Public Opinion as a female character felt more mocking of women as arbiters of social control.

All of that said, this performance was a lot of fun to experience, with all of its wacky, unexpected pop-culture references (Elvis as Bacchus?). There was so much going on that I don’t know if my confusion is a critique or a sign of some complex theatrical genius on the side of the production’s creative team. The set and costumes were beautifully and thoughtfully designed, and the cast performed splendidly. Orpheus in the Underworld was both entertaining and intellectually stimulating, and I thoroughly enjoyed picking apart the creative choices which pulled this performance together.

REVIEW: Orpheus in the Underworld

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Unlike what the title suggests, Orpheus in the Underworld (Orphée aux enfers) didn’t focus much on Orpheus being in the Underworld nor did it remain true to the romantic and sorrowful story told in Greek myths. Instead, what SMTD brought to life was a goofy comedy contrasted with powerful French opera, and they described it as “a cheeky twist” on the famous love story between Orpheus and his wife, Eurydice.

In mythology, Orpheus and Eurydice were deeply in love, so when Eurydice met her untimely death, he played the lyre (an instrument similar to the harp) and used his musical genius to charm his way into the Underworld and bring her back to the world of the living. 

In this version, the two shared a terrible marriage and were both cheating on each other. They portrayed Orpheus as a lackluster violinist, which was one of the many things that drove his wife crazy. Eurydice constantly asked for a divorce, but Orpheus always refused with sweet words. He had a different plan in mind to get rid of her. When Eurydice died, he jumped with joy; however, his happiness was short-lived when soon after he was threatened by Public Opinion to save his wife and thus dragged to the Underworld. 

Operas place a greater importance on music than storytelling, so although the dialogue was in English, the majority of the show was in French. Orpheus in the Underworld was performed at The Power Center for the Performing Arts, and they provided screens with English subtitles for the audience to follow along. Some technical difficulties threw off the timing of the words, but I wasn’t that disappointed since the students’ acting and singing were so captivating it felt like a waste to take my eyes off them.

The story took place in the late 1950s, so all of the backdrops, from the farm to Olympus and the Underworld, were all unique. I also loved the wardrobe, especially the outfits of the gods. They were totally different from the traditional white robes I normally associate with Greek mythology. My favorite costume was when Jupiter, also known as Zeus, transformed into what was supposed to be a seductive fly.

Overall, I had fun! It was my first time watching an opera, and it combined humor with musical prowess. I’ve really enjoyed each of SMTD’s productions and look forward to watching more.

REVIEW: Orpheus in the Underworld

musicalsoup Leave a comment

Orpheus in the Underworld (translated title) marks the premiere opera this season for the School of Music, Theater, and Dance’s vocal department at the Power Center for the Performing Arts. This runs for one weekend only, so get your tickets soon! Of the many versions of Orpheus and Eurydice’s tragic tale, this reigns as the goofiest production thus far. This whimsical satire is accompanied by fanciful costumes, a wholly creative set, and an ingenious allegory about the nature of capitalism. Director Mo Zhou brilliantly stated: “[Orpheus] is a mirror that reflects not only the capricious antics of the deities but also our contemporary world. It teases out the subtleties and complexities within the upper echelons of society, a world painted in various shades of grey.” (I don’t think I could give a more brilliant explanation if I tried!) I thoroughly enjoyed this opera and thought it was a refreshing choice after last season’s close with Don Giovanni by W.A. Mozart. If opera-singing and can-can-dancing Greek gods are an interest of yours— this opera is for you!

Orphée aux enfers is a French-language opera composed by Jacques Offenbach with a libretto by Hector Crémieux and Ludovic Halévy (English translation by Jeremy Sams). You may be familiar with the famously known and cheekiest song from the opera, the “can-can”, which is often used in pop culture. In the score, it is called the “Galop infernal,” roughly translating to “the hellish gallop”, as they famously kickline in Hades’ Underworld. This opera is conventionally all performed in French, but for this version, all the dialogue was performed in English with arias performed in French. I came into the performance skeptical of this method for continuity’s sake but left the theater agreeing with the decision for a predominantly English-speaking audience. Since many of the performers were native English speakers, it was much easier to make conscious acting choices since they were not dealing with French diction. For an academic setting, this was a great choice! The arias were beautifully performed in the original French, with phenomenal, stand-out performances by Tyrese Byrd (Arsteus/Pluto), Jack Morrin (Jupiter), Sohyun Cho (Eurydice), and Veronica Koz (Cupid). The chorus was equally thrilling and brought a beautiful liveliness to the atmosphere of the show.

The design for this show was spectacular. Scenic design was created by Kevin Judge, costumes by Sarah M Oliver, lighting by Marie Yokoyama, and hair/make-up by Brittney Crinson. Truly, there was always something to look at, or a small detail to become enamored with. Each tableau filled the entire space on the Power Center stage. Within the first moments after the curtain, the set had transported me somewhere. The world that was about to be created was immediately understood by the audience. The colors, dimensions, and vintage image backgrounds were all so charming. The 1950s setting was a very lovely stylistic choice, and I found it well executed throughout. The style was consistent between direction and design choices and these ideas flourished well throughout the show’s tableaus and costuming changes. SMTD has an undoubtedly polished and impressive design team, consistently dazzling audiences with their work on University Productions.

Orpheus in the Underworld was directed by the infamous Mo Zhou, who is fairly new to the School of Music, Theater, and Dance, having joined as an opera director and assistant professor in 2021. Ms. Zhou is greatly appreciated by the opera community for her innovative and fresh ideas in beloved classical works. She has a decorated resume and has worked with renowned classical music programs such as Glimmerglass and Music Academy of the West. She has worked domestically with the Virginia Opera, Minnesota Opera, Boston Baroque, Lyric Opera of Chicago, Houston Grand Opera, and Dallas Opera. Additionally, Professor Zhou has extended her skills to international levels, working with the National Centre for the Performing Arts in China, Staatsoper Unter den Linden in Berlin, and Elbphilharmonie in Hamburg, Germany. Ms. Zhou’s direction is playful, methodical, and keen. Orpheus was a testament to her brilliance—she created beautiful tableaus and effortlessly hilarious yet dramatic moments between characters. I admire her attention to detail in world-building and the thoughtful intentions behind each character. 

Orpheus in the Underworld proved to be a hit this Friday at the Power Center. There will be performances on Saturday, November 4th at 8 pm and a Sunday matinee on November 5th at 2 pm. Up next for the voice department will be Gianni Schicchi, the hysterically scandalous Puccini opera. This will be performed in McIntosh Performance Hall in the Moore Building on North Campus, on November 30th and December 1st. 

Images thanks to The University of Michigan and the School of Music Theater and Dance Facebook.

REVIEW: Don Giovanni

Ella Larsen Leave a comment

8:00pm • Saturday, March 25, 2023 • Lydia Mendelssohn Theater

I was skeptical of all the articles I read before attending Don Giovanni that said it encapsulated “the full spectrum of human emotion.” I feel that when I attend live performances, I am easily impressed by talent in singing and dancing, but I’m rarely moved. However, this production of Don Giovanni was genuinely moving. The artists onstage deftly wove between moments of comedy and tragedy, creating an emotional journey that was surprisingly engaging.

Some of my favorite examples include Donna Anna’s reaction after the murder of her father and her duet, “Ah, vendicar, se il puoi, giura quel sangue ognor!” with Don Ottavio, which realistically captured her shock and grief and his devotion.  There were also laugh-out-loud moments, such as the opera’s first interaction between Don Giovanni, Leporello, and Donna Elvira and particularly “Madamina, il catalogo è questo” (although I must qualify that I was more entertained by the delivery of that aria than its contents). Throughout the performance, though her character was often used comedically, I was captivated by Donna Elvira’s complicated combination of longing, betrayal, rage and vengefulness, as well as her piety.

Because I love giving shout-outs to my favorite artists, for this production of Don Giovanni, I want to highlight Sitong Liu (Donna Anna) and Joshua Thomas (Il Commendatore), who had, in my opinion, the most beautiful voices of the evening. Liu’s regality and her icy grief were a stark contrast to some of the more comedic elements of the play, and her voice was breathtakingly clear. I regret that the character of the Commendatore has so few arias, because I would have enjoyed hearing quite a bit more of Thomas’s voice. Finally, my favorite all-around performance was probably from the aptly-named Aria Minasian (Donna Elvira) for her ability to embody both the humor and the darker, more painful emotions of the story. She really had the best facial expressions.

There’s so much to talk about with this opera, but I wanted also to note some dramaturgical choices which were made with this production. The program describes how the production crew wanted to be critical and careful of the themes of abuse and violence towards women, a mindset which I feel they executed well. I could see how they emphasized the relationships and support among community members which make accountability possible in the play, as well as realistically and sensitively portraying the impact of the traumas the female characters experience.

In conclusion, this production of Don Giovanni helped me appreciate opera on a new level. Even though the performance was over two and a half hours long, it remained engaging, and as I continue to reflect on the performance I can dive deeper and deeper into my admiration of the story and the art form.

PREVIEW: Don Giovanni

Ella Larsen Leave a comment

What: Mozart’s legendary opera, considered one of the greatest of all time, produced by the SMTD’s Department of Voice and featuring the University Symphony Orchestra

When: 

  • March 24, 2023 8:00PM
  • March 25, 2023 8:00PM
  • March 26, 2023 2:00PM

Where: Lydia Mendelssohn Theater

Don Giovanni tells the story of “an incorrigible young playboy who blazes a path to his own destruction in a single day” (Opera Atelier). It is based on the story of Don Juan, a fictional Spanish libertine and seducer. The opera is regarded as one of the greatest of all time for its ambiguity between comedy and tragedy, and, of course, its music. This production of Don Giovanni is directed by Mo Zhou, who arrived as an assistant professor of music at the University last fall, and whose directing debut with the Boston Baroque was recently awarded a 2023 Opera Grant for Women Stage Directors and Conductors. The last opera I saw here was Cendrillon in 2021, and that performance gave me goosebumps, so I can’t wait to see how the Department of Voice interprets this famous story.