La Vie Parisienne! La Vie Masion Rose!

“It’s said that St-Jean is the prettiest of the countless pretty villages in the Perigord.  It’s also said, to our embarrassment, that Maison Rose is the most beautiful house in the village.  There’s some stiff competition for both of those titles.  All we know is that we feel unbelievably privileged to have found a house here, and to be able to share it with our friends.”  --Jim and Mary Oppel, owners of Maison Rose in Dordogne, France

(Photo by John Nation) - The back terrace; people who visit in the warm weather months say this is the best part of the house.

Kentucky Opera has printed just 30 raffle tickets and the lucky winner and five friends/family members will have a week in this beautiful home.  There are three bedrooms so go in with two other friends and the $500 ticket price is only $166 each.  What a wonderful vacation!  Those who have visited Maison Rose describe it as a gorgeous home in an equally gorgeous setting, convenient to many day trips and activities.

The second prize is a wonderful dinner for eight with French food and wine at the beautiful Cherokee Triangle home of Tanja Eikenboom and Rick Albrink here in Louisville.  Not quite Maison Rose in France, but a prize more than worth the price of a raffle ticket.

The winners of these two fabulous prizes will be drawn at Kentucky Opera’s black tie event--Carnevale. . .la vie parisienne! at the Louisville Marriott Downtown Hotel
at 10 pm on Saturday, January 21, 2012. 
The winners need not be present to win.  Airfare and ground transportation are not included.  Commonwealth of Kentucky Charitable Gaming License #0534.

To be one of the 30 entries in this raffle, contact Michael Miller at Kentucky Opera at 502.561.7934 or via email at Michael_Miller@KYOpera.org.

More information on Maison Rose can be found here.

Read a Wall Street Journal review here.

The Weddings were a Great Success!

We had sold out audiences for the Marriage of Figaro!

 

 Check out the review from Arts-Louisville.com - where reviewer J. Barret Cooper says, "All are strong in voice, showing that Kentucky Opera does not scrimp on getting the best available talent in Opera today."

Selena Frye of Louisville.com stated "All in all, I think the night was a success -- and something of an experiment for both artists and audience." You can read her full review here. 

We were overwhelmed with the great support from the community and our loyal subscribers who let us know they understand our situation by showing up! We received a lot of anecdotal feedback about the lack of an orchestra in the pit. Most of the patrons who spoke to Opera staff acknowledged the difficult decisions that had to be made. We heard multiple times, "I expected to not enjoy this performance, but by the beginning of the second half I was won over." Or “at a certain point I forgot the orchestra wasn’t there.”

We gave the opportunity for people put pen to paper to tell us how they felt. While only a small number actually wrote out their comments, the written responses were varied and honest for the most part. 

"A wonderful effort! It would have been superlative with an orchestra."

"A Mozart Opera without an orchestra despite the stellar performances of the cast, is simply an incomplete opera."

A surprising number of people seemed to think that Kentucky Opera has 
influence over the contract between the Louisville Orchestra and it's musicians with statements like:

“The LO is entitled to a contract”

“Pay the musicians and orchestra their due. Give them their unemployment benefits.”

"I wonder where are the 'benefactors' for our orchestra like Louisville has for its sports programs."

But the majority of our patrons made statements like:

"We were comforted by the beauty of the music, our laughter and the strength of the performances today."

“Mozart is probably somewhere applauding wildly! What a masterpiece - masterfully sung, staged, acted.”

“The piano & harpsichord seemed appropriate accompaniment for this particular opera.”

“We appreciate the hard decisions that must be made. - You have our full support.”

Did you see Marriage of Figaro?  What did you think?  Leave a comment here or email us at info@kyopera.org.

One Last Chance

We had an amazing weekend! Carmen is definitely one of Kentucky's favorite operas, and people came out in droves to the Brown Theater to prove it!

There is still one more chance to see this spectacular presentation.  Perhaps you have heard we added a a performance to fulfill demand.  Next Friday, September 30 at 8pm, Tara Venditti and Scott Piper will thrill the third crowd of the Brown Theater.  We haven't sold out yet, so if you want to see it again - bring a friend.  Call 502.584.7777 or just click here.

Scott Dowd wrote on Arts-Louisville.com "Vendetti and Piper, both making their Kentucky Opera debuts have magnificent voices that easily fill the Brown, supported expertly by conductor Joe Mechavich and the orchestra." Read his full review here.

And Selena Frey of Louisville.Com enjoyed herself as well saying, "Tara Venditti captures not just Carmen's powers of seduction, but also her passionate vigor and independent spirit. Singing the famous "Habanera" about the fickleness of love, Venditti is playful and appealing."  Read her full review here.

If you are not yet convinced, just watch the video, and you will be ready to see the whole show!

News, Reviews and lots of to dos...

Our dear friend, Charles Parsons from Opera News wrote a review of Madame Butterfly which closed Kentucky Opera's Brown-Forman 2010 Fall Season. The review made Opera News' online version and you can read it here.

Perhaps some of you who joined us at Kentucky Opera's black-tie fundraiser on January 11, Carnevale noticed a "news crew" in the early part of the evening. That was Becca White and Chris Caswell from the CW Louisville with Laura Snyder from NFocus Magazine who chatted with David Roth and Kara Shay Thomson. Carnevale was the first on-location event for NFocus and they have posted the video online.

You can pick up a copy today (Wednesday, February 2) at the NFocus February launch party at the Peterson-Dumesnil House at 301 S. Peterson Ave from 5:30 - 7:30pm.

If you can't make it tonight, the issue will be available on newstands throughout the city. Pick one up!

Tomorrow (Thursday, February 3) is a big day for Kentucky Opera, with one of the last public performances of OH FREEDOM! at 5:30 at the Frazier International History Museum AND the opening night for our co-production with the The Burning Fiery Furnace at St. Francis in the Fields Episcopal Church, 6710 Wolf Pen Branch Road. Tickets are $20 general admission, $15 for seniors and $10 for students. For more information, call (502) 228-1176.

Congratulations to the Fund for the Arts for another successful campaign kick off lunch. It was a great presentaiton of the great arts our city shares! When the Fund comes knocking on the door of your business, remember they are our largest individual donors and we appreciate all they do for us.

Elixir Final Dress Rehearsal Video

Clips from the dress rehearsal of Kentucky Opera's performance of The Elixir of Love.
It's going to be a fun production, tickets are still availalbe!
Call 5020.584.7777 or click here.




Selena Frye from Louisville.com was at the rehearsal and seemed to really enjoy herself.
Read her rehearsal review here.

A Review of Reviews

We had such rave reviews for Cavalleria Rusticana & I Pagliacci:

"The principal glory was soprano Kara Shay Thomson's explosive, altogether astonishing Santuzza. As a young woman disgraced in her village, bearing the anguish of excommunication, Thomson acted with honest, unaffected intent. She sang powerfully, wrapping every phrase in sumptuous tone retaining its core focus no matter how far above the staff."

Andrew Adler, Courier Journal

"...as the magnificent productions of these two outstanding operas were not only beautifully sung, but staged with elegant grace and acted with depth of emotion that resulted in characters that were fully realized."    J. Barrett Cooper, TheArtsLouisville.com

"Caballero and Mayes make an attractive and believable pair as they sing their lovely duet of yearning and promise. And when MacMaster sings the centerpiece aria, he makes you feel the wounded pride and pain that the betrayed feel, even as you have just left off identifying with the star-crossed lovers who caused it. When you manage to pull off that duality, you have gone a long way toward successfully performing I Pagliacci."

Selena Frye, Louisville.com.

Cavalleria Rusticana photo by J. David Levy: Lester Lynch as Alfio and Cara Shay Thomson as Santuzza.

I Pagliacci photo by J. David Levy: John Mac Master as Canio.

Rave Reviews of Oh Freedom!

Don't miss the last public opportunity to see the OH FREEDOM concert live,  tonight (Thursday 2/11/10) the Frazier History Museum (9th & Main).  Come at 5pm and share a refreshment and experience a concert that has been met with outstanding success at 5:30pm.  The event is free and open to the public thanks to the generosity of The Fund for the Arts. 

Metro TV (insight channel 25) will air the concert in its entirety on Sunday March 7 at 9pm.  Classical 90.5 FM WUOL has the 2/10/10 concert from their performance studio available online now.  

The Studio Artists Program is sponsored by GE Appliances. 

School performances sponsored by Yum Brands and PNC Bank.

Phillip Morgan and Erica Cochran Zimmer perform "A Chorus of Hope" at the Celebrate Your Dream Concert 1/17/10.  Photo by Frankie Steele.

What the schools are saying: 

From Kristine Larson at Whitney Young Elementary:

I (and the kids) were enthralled! It was so wonderfully written, and an amazing retrospective of our American history all inside 45 minutes!
I didn't know how the Gullah culture had influenced Porgy and Bess- I knew about the fabulous talent of Paul Robeson so was intrigued to hear him mentioned;  all the details in the performance were so relevant to fifth grade topics, as well as what any informed American should know.
The performers were so talented and engaging, I loved how they answered the kids' questions so deftly and were able to do what we call "code switching" to meet the kids at their level of cognition (a talent not every adult has).  I have had lots of feedback from the kids, they loved the instruments that were featured and one child told me he loved the "call and response" (from Swing Low,,,,,)  Hats off to Kentucky Opera and its energetic and talented performers!  Fabulous! We are in your debt at Whitney Young.  Thanks for fitting us into your schedule!  As a long time season ticket holder to KY OPERA, I say "BRAVO!"

From Tammi Metcalf at Fort Knox military base:

I want you to know they were wonderful! I enjoyed it and so did the soldiers!

From Susan Johnston at Holy Spirit School:

Just to touch base and let you know how much I enjoyed the O Freedom performance. It went right along with what I am teaching and the performers were excellent. Thank you so much for this opportunity!!

From Julie Stith at Layne Elementary:

The performance was wonderful! I have heard many positive things from teachers and students about Oh Freedom!

From Gaylinn Mix-Foley at Ten Broeck Dupont:

40 students attended our performance here at The Brook Dupont.  The performance was incredible!  Definitely the best program we have seen this year by far!  The students were mesmerized, which, for the kids here at the hospital, is a small miracle!  Thank you so very much! 

From Tim King, Director of Performing Arts at JCPS commenting on Lincoln Elementary performance:

Your artists this morning did a fine job of presenting “Oh, Freedom!”  The artists were collegial and engaged our students from the outset.  The material was relevant and timely with Black History Month upon us.   The principal and teachers all commented on what a wonderful program it was.  Well, congratulations!  You have a winner on your hands.

From Mary Lasley at Hancock County Schools (middle and high school performances):

“Oh Freedom” performed here this morning and I have heard nothing but good things.  Please let the performers know that they did a beautiful job and we really appreciate all that you did in bringing this performance to our school.

From Eleanor Hawkins at Engelhard Elementary:

Students had a marvelous time today with the KY Opera Program!   They were making LOTS of connections to music, culture, social studies and reading.  Thank you!

From Paula Little, Supervisor of Instruction for the Clinton County School District:

I heard the performance went very well.  The G/T teacher said that many of the students were amazed.  Thanks again for working with us to set up this performance and the dress rehearsal this year.  They were both outstanding!

Post your own review by leaving a comment here.  

The Wagnerian on Of Mice and Men

Dear Opera Lovers,
When I was young my maternal grandmother used to take me grocery shopping with her. I soon came to realize that my grandmother was extremely rigid with her grocery buying list. The two of us used to pass aisle after aisle of products just to find the one that my grandmother had bought for the past 50 or so years in a row. I am now grateful for the extra exercise my grandmother subjected me to (good physique, tight buns…you get the idea) but I remember I could not understand why she did not want to try something new. “Grandmother”, I used to ask, “Why don’t you try this new brand of brown mustard?” hoping I would score a new treat waiting patiently to be discovered. “Oh no” she would reply with a horrified expression on her face, “you know as well as I do (insert brand name here) is the one I have been buying for years and the one I trust.” So we continued our shopping trips month after month, always going through this strange routine as if we were a broken record.

Yes, my dear friends, this is Christos “The Wagnerian” Dimitriadis and I am not writing about my childhood traumas. This is my usual opera review column and you are on the right page. I just wanted to start my article this way, in order to make a comparison between my childhood experience and the similarities I find with many of my fellow opera lovers. Of Mice and Men was indeed something new for our Louisville palate; it was indeed an opera that most of us might not even have heard of before. It was, however, a great American opera, a great American story of our roots, of pain, turmoil, dreams and yearning. We, however, did exactly what my grandmother used to do when I was a little kid, stick with the usual same brand of mustard!! I have nothing against the standard repertory; in fact, I wept uncontrollably at the Kentucky Opera performance of La Traviata with Mrs. Futral in the lead role, and I’m sure I will have a similar response to Madame Butterfly next season. Nevertheless, why do we, as the operatic audience, continue to be so limited in our selection of opera performances? Why do we want to listen to the same thing twenty times a year but never venture towards something new? Some of you may argue it is because you believe these are the best selections, the best operas and that is why we always love them. I would disagree 100% with this notion because even with famous composers we have not even scratched the surface of their operatic genius. For example, Donizetti composed a total of 70 operas but unfortunately most of us have only heard of 3 or 4 of his works. Few know other Donizetti masterpieces such as Poliuto, Fausta or La Favorita. I do not mean to be abrasive but I did feel great disappointment inside my heart when I realized that Louisvillians did not fully support Of Mice and Men (especially with Mr. Floyd being present and visiting our town) the way it should have been supported; and without wanting to be harsh with my fellow sports fans, if the Cardinals were facing a 3rd grade team in basketball or football tickets would be selling faster than one can say “sesame.” It is a true shame indeed for a town that boasts on its plethora of artistic offerings.

In my usual articles, I would continue by analyzing how I felt about the performance, not so much as a critic because I am not (we have critics in our community, please see Mr. Adler, who are great at what they do) but more as an opera lover and a regular human being. And I can tell you, I was moved, I was thrilled, and I was elated to be in the Brown Theatre for Of Mice and Men. I was glad to experience an opera company who is a leader, who is not afraid to take risks and showcase operas that will expand its operatic audience to a new breed, a new appreciation status, a Kentucky Opera Company that chooses to try another brand of brown mustard!! Thus, I rest my case and I implore you to read the critique that Mr. Adler, our respected critic, printed for the Courier Journal; it says it all and I have to say it is the first time that Mr. Adler and I fully agree and see eye to eye. So, as you read it just think that I would have written the exact same thing. I applaud Kentucky Opera for having a vision outside of the ordinary and for bringing to the forefront a boldness which will become a trademark and guiding light for the future. So, please join me for the opera next season and also in my quest for other, bolder, spicier and more flavorful brands of brown mustard!! VIVA VOCE!!

Christos “The Wagnerian” Dimitriadis

Other Reviews:

Andrew Adler for the Courier Journal

Marian Allen's WEBLAHG

Sherry Deatrick for Theatre Louisville

What did you think?

Were you amoung our full house last night for Kentucky Opera's grand gala opening of the 2009 Brown-Forman Fall Season of La Traviata?

Tell us what you thought? Did you enjoy the Gala atmosphere?
Did you enjoy the intimacy and opulance of the Brown Theatre?
Were you mesmirized by the new sound of the expanded orchestra pit?
Did you fall in love with the voice of Metropolitan Opera star, Elizabeth Futral?
Did you get to meet Sébastien Guèze at the cast party following the show?

Tell us everything, we want to hear your review! Post your reviews in the comment area and thanks for joining us!

Iolanta Review by the Wagnerian

Dearest Opera Lovers,

Greetings from the humble pen of the Wagnerian!

Those of you that have followed my previous critiques know that I usually begin my writings by describing the performance while offering my opinion as to which parts where the strongest and which parts needed some form of improvement. It would be futile for me to go into detail concerning this Saturday’s performance of Tchaikovsky’s last opera “Iolanta” which he finished composing barely ten months before he passed away from this earth and into the pantheon of the greatest composers ever lived. Only by attending the performance on Saturday, March 21 at Kentucky Center's Whitney Hall, one could understand the full effect this offering had for the Louisville audience.

I have to admit, I love Opera more than life itself; I live, I breathe, I inhale into the deepest parts of my existence pulsating, invigorating, seductive opera…just like the finest perfume draped gracefully on the silky skin of a lovely lady. However, I always thought that opera concerts were not to my full liking and taste. How can one take away the theatrics, the costumes and stage grandeur of opera and expect the same pleasing effect? Thus, I entered Saturday’s performance with the same mindset…only to be absolutely transformed for life. I will never, EVER again feel that opera concerts are the red headed step child of this performing medium. On the contrary, Kentucky Opera presented an amazingly tight cast of talented performers with a brilliant collaboration between their own studio artists, visiting distinguished soprano from Canada (Anna Shafajinskaia) and distinguished cast from the Mariinsky Theater in St. Petersburg and the United States. The Louisville Orchestra performed in top notch fashion (Bravo Maestro Mester – he possessed such grace, control and power), the Louisville Chorus charmed with its presence (Bravo to David Roth for those of you who were paying attention!!) and the Louisville audience showed its appreciation with cheers and loud applause. I personally acquired quite a hoarse throat at the end from the continuous bravo’s that were rolling out of my mouth. I do not need to go into detail concerning each one of the performers individually; I am sure you will read about it in the Courier Journal. I would like to urge you that if the review is excellent please believe it fully; but if not take it with a grain of salt (with no ill will towards our distinguished critic Mr. Adler who most of the time I do not see eye to eye with).

The applause was deafening and continued over and over again; at the end of each aria, at the end of the concert and during the reception. I am thirsty for more and I hope that Kentucky Opera will present another brilliant opera concert this coming year (make sure you keep this coming David). The people of Louisville have spoken louder than I can ever print with this pen (or should I say keyboard?). BRAVO, BRAVO and BRAVO again!! Thank you to Kentucky Opera executive director David Roth and its staff for having the vision to bring such brilliant performances to our city. Bravo to our studio artists for their tenacity and brilliant talent (we shall miss the ones who are departing-best of luck to your new endeavors and come back to visit your friends). Bravo to those of you who continue to support great art such as our Kentucky Opera company and push it to thrive towards new horizons…together we can and shall overcome obstacles presented by this economic crisis and continue to make our society better through art, through my greatest love – OPERA!!

Remember to buy season tickets for the coming sensational performances and I shall see you where voice meets theater, where theater meets music, where music meets the soul. VIVA VOCE! Thank you Kentucky Opera for a season that I will never forget and for tears that have been forged on my cheeks and in my heart forever!!

Christos “The Wagnerian” Dimitriadis

A review from an opera fan

Dearest Opera Lovers,

When the Kentucky Opera 2008-2009 season was announced, a good friend of mine told me that if anyone missed the opportunity to attend one of the performances of Massenet’s Werther (and I quote) “you might as well go hang yourself.” Although I laughed wholeheartedly at his remark, I never thought that his prediction would be so prophetic. Indeed one needs to mourn and subsequently head for the gallows if by any chance he or she missed the opportunity to attend. Werther was by far the best offering this season has exhibited.

It would be futile on my part to try and explain through mortal words this sensational presentation by Kentucky Opera. I was fortunate to attend both performances; thus, I will simply touch upon specific key points. A big bravo to maestro Mechavich for his brilliant interpretation of Massenet’s score; it was touching, alive and without exaggeration. Mr. Kaplan’s costumes were exceptional as always. The direction under Ms. McIntyre created an absolutely dream-like atmosphere (especially with the phenomenal lighting). Ms. McIntyre completely “got it” as far as the heart of this French opera is concerned. Forget about the grandeur of Italian opera and the bombastic “over the head” pounding of German opera. The direction reflected the spirit of the concise, slow unfolding, soft, passionate yet restrained character of French opera which dives into a study of the individual soul and turmoil of the characters and builds slowly but gradually until the end when catharsis is achieved. The ones in attendance only need to bring to mind the bloody letters swirling in the snow, drifting away in the wind denoting the suicide attempt of Werther. Brilliant!! Mrs. Batton and Mr. Sorenson were absolutely breathtaking and exhibited talent which is at the highest level of today’s opera standards. I happen to possess this opera in a three vinyl set with interpretations by renowned Metropolitan Opera stars Jose Carreras and Frederica Von Stade. Mrs. Batton and Mr. Sorenson’s performances have nothing to be jealous of their Metropolitan counterparts. The same holds true for Ms. Vuong who electrified the theater as Sophie as well as the children’s choir which was delightful. Tenors Mr. Angell, Mr. Robinson, Mr. Collins, Mr. Cook and Mr. Sheehan did a wonderful job to complete a very successful performance.

Unfortunately, this is the point where my review takes a different tone…a tone of disappointment for a number of distasteful and out of line comments made by our respected arts critic Mr. Adler. Where should I begin? This time there are too many to mention. I will not spend too much time elaborating on his Werther review calling the tenors “mediocre” because it is obvious by now Mr. Adler and I disagree on our assessment of the talent that these young tenors bring to our Kentucky scene. I would assume it would probably not even interest you because it is simply my artistic opinion versus his. I still believe these young tenors did a magnificent job and they are on their way to fabulous developing careers; thus, I will continue to voice my opinion in opposition to Mr. Adler’s. I do, however, feel great disappointment and deep surprise on his Sunday November the 30th newspaper article (once more my coffee went down the wrong way!!) “3 chances to enrich were missed.” In short, Mr. Adler accused the Ballet, the Orchestra and the Opera of “sins” of omission; failing to inform the public about the works they are presenting!!! WHAT!?!? WHAT!?!? It is obvious that our respected critic has forgotten to do one thing that critics need to do before they critique…their homework!! Since I am writing about the Opera, I will just mention all the venues the Kentucky Opera company offers for public education concerning their works. Well in advance (15 to 20 days) before each performance the Kentucky Opera embarks upon a collective effort to educate its public on its prospective offerings. For starters, the “Lunch and Listen” program is an initial introduction to the upcoming performance offering music as well as a synopsis of the work. “Sights and Sounds” at the Speed Museum comes in second to continue and build upon where the “Lunch and Listen” left off. In between, at least one party follows where patrons and friends of the Opera can attend and continue their educational experience. And if your schedule was busy and all this was missed, an hour before the performance you can attend for free the “Opera Preview” and receive a crash course on the synopsis of the opera, the music, the composer, the libretto etc., etc., etc…(which the Louisville Orchestra does as well. Maestro Mester should be outraged…) plus let’s not forget the radio interviews and the Metro TV appearances in between. Should I even continue? I am already out of breath and overeducated thinking about these opportunities that I have relished the past three months. If we lived in centuries past, I would have firmly taken my glove off, engaged Mr. Adler’s cheek and invited him to a duel to bring this issue to an end once and for all. Since this is not a possibility, I will continue to express my frustration because being an arts critic means being first and foremost informed. Maybe a phone call to the Kentucky Opera or the Louisville Orchestra before the writing of this review would have helped. Bottom line: Mr. Adler, if your intention is to enlighten the public with your critical opinion, please come to the Opera at least an hour in advance, not a minute before the performance begins!!!

Christos “The Wagnerian” Dimitriadis

Edited with the help of Miss S.

Audience Reviews

Lots of feedback coming from the Otello Audience:

David,

OTELLO was magnificent last night.
Truly a memory that will stay with us for a very long time. During the performance I found myself looking at what I thought was an oil masterpiece from one of the great masters from the period. WOW!!!

Best regards,
Juan and Cindy

Dear Kelly -

I saw both the Opening Night and the Sunday Matinee of Kentucky Opera's production of Verdi's Otello. In over 25 years of seeing opera around the world, I have never seen two more professional gestures that those you made this weekend.

First, despite that sinus infection, you sang beautifully on Friday night. As a matter of fact, many of my friends wondered, "If she sounds this good with a sinus infection, I can only imagine how great she sounds without it!!" Second, your generosity with the understudy at the matinee was truly a first rate, professional act. I'm sure Julianna appreciated it, and I wanted you to know that it did not go unnoticed in the audience.

Again, thanks for being KO's Desdemona. I hope to hear you again in the future!!

Roger

Pretty damn good for a sinus infection! Made the kissing scenes a little... "interesting." though. Great job all around. -

J

Feel free to leave your review in the comments section!

Photo by J. David Levy

NOTES From Friday, August 1st, 2008

After staying up late to pack up my Fiesta Room at the Bobcat Inn, I slept little and woke up out of sorts at an all too early hour. While my assistant back in the Eastern Time zone, two hours ahead of the New Mexican time zone, was earnest in her desire to get work done on a Friday morning, her early call did nothing to clear my head. An hour later, at 8:30am MST, I was enjoying a fresh cup of Amy’s brewed coffee and more wafting smells of grilled bacon. I kept the breakfast repose light this morning because I have a 10:00am meeting with an agent friend, Ana de Archuleta, at the Tesuque Market, just down the hill from the opera house. Shaded from the bright morning sun, Tesuque maintains its hidden charms as a favorite breakfast or lunch escape for meetings. Following a cup of good joe and a great plate of American Fries, Ana and I wrapped up some quick business and proceeded back up the hill for the second day of the Santa Fe Opera Apprentice Auditions.

Now for a couple of thoughts on last night’s performance of Benjamin Britten’s Billy Budd. Having gathered a strong cast for this production, one of Britten’s most tragically intense opera’s, Santa Fe Opera baited our anticipation as they sought to make their mark on this powerful and complex composition. The cast, led by the lyric baritone Teddy Tahu Rhodes, and joined by Richard Stilwell, Timothy Nolen, John Stevens and William Burden, absorbed their roles and created the ensemble necessary to manifest the tension in the relationships that fatefully move the conflict forward. They didn’t perform Britten’s masterful score as much as they became willing partners with the music, losing themselves in the passion and drama, in such a complete manner that pulled the audience into the fray. All onstage, including the accurately prepared men’s chorus, deserved the ovation they received at the end of the performance.

I finished the auditions on Friday a little after one, offered several surprises, particularly with the baritones. I headed back to Santa Fe for lunch with my dear friends, David and Lucy, at the Santa Fe Bar and Grill, which serves a wonderful southwestern Cobb Salad and the best grilled cheese sandwich. If you go, get a table outside, under the shade of the canopy. This keeps you and your guests comfortably cool while enjoying a sun-filled Santa Fe afternoon. I first met David and Lucy when I worked with their son (and now Director of Production of Kentucky Opera) at Opera Theatre St. Louis in the mid-nineties. Beyond his passion for opera, David, the elder, has developed an artist’s eye for photography and is rapidly developing an impressive portfolio of his travels with Lucy and his archival production shots for his beloved Opera Theatre St. Louis. We are fortunate to have him join us in Louisville this fall to photograph the Brown-Forman 2008 Fall Season productions. Although we had minor business/travel arrangements to discuss at lunch, the bulk of our lunch-time conversation consisted of dear friends catching up in a far-off land not overwhelmed with humidity or the Ohio River Valley mold count. David and Lucy also have a residence in St. Louis, with the Mississippi River feeding an equally high mold count for them. No wonder they spend their late summers enjoying the dry mountain air in Santa Fe.

Later in the afternoon, I met up again with my friend, Franco, to set off into the hills above Santa Fe for a much appreciated hike. Another of the rich pleasures of northern New Mexico is the abundance of mountain trails, some rugged and best reserved for the experienced adventurer and some tailor made for a brief escape away and a quiet conversation with a friend. This particular series of trails is just off Bishops Lodge Road overlooking the north side of Santa Fe and Highway 84/285, which heads to Taos, Los Alamos and my favorite hide-a-away, Tesuque. Within minutes we were at the trail head and hiking up to a beautiful overlook of the city, as well as the valley stretching to the south. Both Frank and I were impressed with the solitude offered by the relatively short trek up into the hills while we reflected on the intense vistas of the ever expanding city below us. In a brief hour our sturdy pace led us back to our rental car and we were driving back, refreshed and ready for another night at the opera.

While much could be said about Friday evening’s production of Handel’s Radamisto, controversial it was not. Vocally, one could describe it as stellar fireworks with countertenor David Daniels exceeding all expectation in the title role and supported by a truly exceptional cast of unparalleled vocal beauty. This writer would be remiss toward the tremendous talent in this production if I left unmentioned all onstage rose to challenge Mr. Daniels’ pure artistry in the act one, including: Lucas Pisaroni as Tiridate, Heidi Stober as Tigrane, Laura Claycomb as Polissena, young bass Kevin Murphy as Farasmane and finally, mezzo Deborah Domanski, a sudden replacement in the role of Zenobia. Kudos to all. One final comment about the evening’s event: the stage director of this production has a reputation in the industry for being unconventional, perhaps at times controversial, but certainly, no one would expect to see the usual in his work. That said, I was disappointed in how unemotionally moved I was throughout the first act of this production, neither connecting with the dramatic intent nor repelling from a contentious interpretation. It just wasn’t, and in that, I felt satisfied in having experienced an incredible performance of baroque opera by an exceptional group of artists, and headed out for a nightcap of Woodford on the rocks.

Photo: by Garry Smith, Seattle Opera's Billy Budd

Posted by David

NOTES from Thursday, July 31st, 2008

Woke up this morning to the enticing aroma of fresh brewed coffee and sizzling bacon emanating from the Bobcat’s kitchen. Amy has a talented for stimulating the appetite of those of us who swore off breakfast long ago. While fresh fruit and yogurt are always served in abundance at her table, I generally leave those as a garnish to her handsomely prepared dishes containing carbs, dairy and protein. I ran a couple of miles on the desert highway last night to prepare myself for this morning ritual at the Bobcat. By 10:30, I was driving down St. Francis on my way to the opera house for auditions of the Santa Fe Apprentices beginning at 11:00am. Not only is this an exceptional opportunity to hear the best of the young artists coming up in the field today, it is also an opportunity to connect with other peers, agents and artists in our industry, exchanging ideas and negotiating future plans. While this is not the time or place to be signing the bottom line on deals, one can’t help feeling inspired by the energy and creativity that swirls through the conversations at these auditions.

At 8:30pm last night, Adriana Mater made its American Debut on stage at the Santa Fe to a sold out audience. With the critical success of L’Amour de Loin in the 2002 season, composer Kaija Saariaho was welcomed back to Santa Fe with a passionate, congratulatory ovation. Along with her collaborator, writer Amin Maalouf, she has crafted a poetically beautiful composition that reveals the emotional path of four characters seeking redemption for one moment in time that tragically bound them together. The cast of four broke through the misplaced visceral if not down right ordinary staging with emotionally compelling performances only to be outmatched by their vocal and musical prowess. Kudos to Monica Cooper performing the title role of Ardriana Mater, Pia Freund as her sister Refka, Matthew Best singing Tsargo the father of Yonas, Adriana’s son, performed by Joseph Kaiser, and finally to Maestro Ernest Martinez Isquierdo who masterfully led the Santa Fe Opera Orchestra through this rich, new score.

Tonight we are all looking forward to the new production of Benjamin Britten’s Billy Budd.

Next Post: NOTES From Friday, August 1^st, 2008

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David Roth's Santa Fe trip

NOTES from Wednesday, July 30^th, 2008:

On Tuesday afternoon I arrived in Albuquerque via Burbank, compliments of Southwest. Easy flight, with this traveler happy to use the online check-in that allots a boarding number in lieu of a seat assignment. The Sunport airport in Albuquerque has perfected the art of getting travelers to their rental cars with the most efficient shuttles. In minutes, I was on the road to my favorite B&B in the world, the Bobcat Inn, located one driveway away from the Bobcat Bite serving the world’s finest hamburger. Since I hadn't eaten through the day of transit and it was now working on 4:30pm, the aroma of grilled beef wafting across the highway called to me and my stomach. I'm pleased to report neither were disappointed. After a quick nap in my room at the Bobcat, I freshened up and headed off to the opera.

This time of year, because of its open auditorium design and the late arrival of sunset, curtain time at the Santa Fe Opera is 8:30pm. The offering on Tuesday was Giuseppe Verdi's final opera Falstaff, based on Shakespeare's comedy, The Merry Wives of Windsor. Verdi and his cherished librettist Boito took the essence of Shakespeare's play but focused their attention on the ladies’ ardent admirer, Sir John Falstaff. My ol' university pal, Franco Pomponi sang the role of FORD, while Anthony Michaels-Moore was making his debut in the title role. The cast did not fail us, vocally or dramatically, with a delightful ensemble that brought playfulness and spontaneity to the evening’s proceedings. In general, the sets by Allen Moyer were quite effective except for the final scene in the forest that was seemed surprisingly unmagical and sparse compared to the creative scenes that came before it. Paolo Arrivabeni made his American debut, leading the Santa Fe Opera Orchestra in a well paced, colorful performance that matched the lively performances of the artists onstage.

Tonight, Wednesday evening, I will attend the American premiere of Kaija Saariaho's new opera Adriana Mater. At this time, I’m off to the Coyote Cafe on Water Street for lunch with Franco , his wife Chris and parents Joe and Gila visiting from Northbrook Illinois. Joining us for lunch will be Maestro David Jackson from New York.

Photo from Diana Ross concert at the Hollywood Bowl.

Next Post: Notes from Thursday, July 31st.

posted by David