The plays of William Shakespeare have suffered many disastrous operatic settings. They have also inspired four or five of the greatest operas ever written. Arguably, the greatest of these (and certainly the most faithful to the original) is Benjamin Britten's A Midsummer Night's Dream. The Aldeburgh Festival, an English music festival run by Britten and his partner, Peter Pears, was scheduled to open the new Jubilee Hall in the summer of 1960. There was no time to commission a new libretto, so at the last minute, the two turned desperately to Shakespeare. After cutting the original play in half and redistributing a few of the lines, the opera was complete within seven months. Unlike most operatic settings of Shakespeare, the words are almost entirely those of the bard. Britten was confident that, in his version, "the original version would survive." For the opening night performance, Britten assembled a cast composed of many of his favorite singers-Jennifer Vyvyan as Tytania, Owen Brannigan as Bottom and Peter Pears as Francis Flute. In a stroke of genius, Britten elected to compose the role of Oberon, the king of the fairies, for the noted English countertenor Alfred Deller. In addition, he made the part of Puck a speaking role (often performed by an acrobat or dancer), accompanied by drumbeats and trumpet cadenzas.

A Midsummer Night's Dream is characterized by three very distinct sound worlds. Britten's mastery of orchestral writing is evident in his vivid creation of the perfect sound for each of the groups of characters. Celesta, harpsichord, harps and percussion are used to accompany the ethereal and mysterious world of the fairies; strings and woodwinds accompany the four lovers; bassoon and low brass define the antics of the bumbling rustics. The resulting score is one of Britten's richest and most imaginative. According to the London Times critic, Frank Howes, the atmosphere of the opera is "that of being gripped by a spell, of being objected to a dose of Oberon's potion."

by McB Smith

Two stars of this summer's production of A Midsummer Night's Dream are Randall Scotting and Jane Redding, who will join the Company to sing the roles of Oberon and Tytania, the King and Queen of the Fairies. I recently had a chance to chat with both of these talented singers.

Randall is making his Des Moines Metro Opera debut this summer. A countertenor from Grand Junction, Colorado, he has recently performed the role of Teseo in Ercole sul Termodonte at the Spoleto Festival in Italy. He also sang Oberon at Juilliard Opera Center, Nireno (Giulio Cesare) at Opera Colorado and in the Prism Concerts with the Orchestra of Saint Luke's, New York. After singing with DMMO this summer, he'll travel on to engagements in New York City and Boulder, Colorado.

Randall, is there anything in particular that made you want to perform at DMMO?
RS: There are a couple things, actually. I have known several people who have worked at DMMO, either as principal artists or young artists, and they have all had wonderful things to say about it! About the level of artistry, and the wonderful way you are treated there as a principal singer. I have heard that Robert Larsen is really fantastic to work with and I am excited to get to know him and his unique take on the Midsummer. Everyone has told me Dr. Larsen really puts communication first and that is appealing to me as it is something I always try to do as well. My goal is to work with people who look at the whole character, their emotions, interactions, and what they have to say, I really feel there is so much more than just singing the notes on the page! DMMO has a reputation for being a place that makes connecting to an audience a real priority as well.

Randall's Tytania will be a performer who is quite familiar to DMMO's audience: the lovely coloratura soprano, Jane Redding. Jane returns to our stage this summer after an "off-season" spent singing with Virginia Opera (Poppea, Agrippina), New Orleans Opera (Lucia, Lucia di Lammermoor), as well as with the Virginia, Hartford and Shreveport Symphonies. After performing with DMMO, she can be seen as Musetta in Lyric Opera of San Antonio's La Bohème, as Violetta in Mobile Opera's La Traviata, as Pamina in Pensacola Opera's The Magic Flute and as Yum Yum in Nevada Opera's The Mikado. Jane is an alumna of DMMO's James Collier Apprentice Artist Program and has since sung seven roles for us. Most recently she amazed us as Gilda in last summer's Rigoletto and she sparkled as Zerbinetta in Ariadne auf Naxos in 2004.

Jane, what brings you back to DMMO?
JR: The question should be rather, 'what would keep me away?!' Seriously, I am always grateful and honored when Dr. Larsen invites me back for another season. When I work with DMMO, I can always count on wonderful colleagues, beautfiul sets and costumes, and an awesome musical experience. Dr. Larsen truly loves singers and always creates an atmosphere where we can do our best.

What can you tell us about your preparation for this season and your roles?
JR: I have been giving my metronome a work-out! Britten's music is wonderfully intricate in his use of varied meter and rhythm. Tytania's music simply soars, always encompassing beautiful lines to enhance her position as Queen of the Fairies.

RS: I have been fortunate enough to sing the role of Oberon twice already and am really looking forward to revisiting it. There are so many layers to this opera and the character of Oberon. I love going deeper into his motivations, his personality, his reactions. I really think Midsummer is one of the greatest operas we have, and I'd like to believe I would say that even it wasn't one of the few modern operas with a nice-sized countertenor role. It's brilliant the way Britten was able to tell this story and create such vivid characters with his music. I always go back to the original play and read it several times to get the whole picture in my head as well as brushing up on historical context. I love to look at the music and think about what Britten is trying to portray and then make sure that my musical choices clarify his intentions while bringing some of myself to the character as well. 

Jane, how do you feel the Apprentice Program affected your career?
JR: The program is an incredible opportunity to learn large sections of 'bread and butter' roles for the singers. You have the opportunity to network with the directors, coaches, other opera companies, and use these contacts to start building a career in the business. I have reaped many benefits from my apprenticeship! Thank You!

What was your worst moment in the theater?
JR: I was in the Finale of Act II in Barber of Seville when my petticoat fell off!  Fortunately, everyone was singing at that point, so I simply stepped off stage, kicked it off, and slipped back on stage!

RS: Knock on wood... I have been lucky so far and can't really say I have had any awful moments on stage. I can only say the worst problem I've had is trying to squeeze my size 14 feet into size 12 character shoes, which seems to happen every time I do a show... It can be a little painful - but not too bad in the grand scheme of things.

What is your dream role?
JR: This is always an awkward question for me. Every role I have had the opportunity to sing is a dream! If I had to pick one off the top of my head that I would like to sing, I guess I would have to say Manon.

RS: There are a lot of roles I can't wait to sing. The top of my list right now is probably Cesare (Handel) but I would also love to perform Ottone (L'Incoronazione di Poppea), Baba (The Rake's Progress - which DMMO audiences will know well).  I am lucky enough to get to sing Gluck's Orfeo and Schoenberg's Pierrot Lunaire in April and May of this year and those are two ticks off my list. I love contemporary music and Akhnaten (Philip Glass) is another I would love to sing someday. Baroque heroes in Handel and Vivaldi operas are really appealing too and there are tons of those to sink my teeth into. I have so many... 

If you weren't a singer, what would you do?
JR: I would either work with seniors or some type of animal rescue.

Joining Jane and Randall in the weaving and whimsical tale of A Midsummer Night's Dream are a number of stand-out artists! A small handful are highlighted here, but you can see a complete list of cast members at DMMO's website. 

Adam Alexander, a baritone from New York City, will fill the very acrobatic speaking role of Puck. He is a second-year member of the James Collier Apprentice Artist Program making his mainstage debut. Recently, Adam was in the cast of My Fair Lady with the New York Philharmonic and The Jaded Assassin at the Ohio Theater in New York City. After DMMO's season, he'll be teaching Stage Combat.

Craig Irvin, a bass from Waukee, will sing the role of the tradesman who would be an actor, Bottom. Craig is a former Collier Artist and has appeared in a number of DMMO productions including Madama Butterfly, The Crucible, Candide, La Bohème and Street Scene. Craig recently performed with Orlando Opera, singing the roles of the Pirate King (Pirates of Penzance), Abimelech (Samson & Delilah) and Angelotti (Tosca).

Our next performer is no stranger to the DMMO stage, having sung some 15 major roles with the Company since 1989: the incomparable Gwendolyn Jones returns to us this summer as Hippolyta. A mezzo-soprano from Baton Rouge, Gwen will also sing Emilia in our Otello; bringing her connection to this summer's operas full circle, Gwen sang the title role in DMMO's 1994 production of Carmen. Audiences will especially remember her powerful portrayal of Queen Elizabeth I in Gloriana in 2005. Recently, Gwen sang with both New Orleans Opera and the Opera Company of North Carolina. After the summer season, Gwen will perform La Principessa (Suor Angelica), Ciesca (Gianni Schicchi) and Madame Flora (The Medium) with New Orleans Opera and Amneris (Aïda) with Nevada Opera. 

Brandon Mayberry, a bass-baritone from Chicago, will sing our Theseus in his debut season at DMMO. He is a graduate of the Ryan Opera Center (formerly the Lyric Opera Center for American Artists) at Lyric Opera of Chicago where he took part in a number of concerts. After our season ends, Brandon will head back to Chicago for a series of recitals at the Ravinia Festival in affiliation with the Steans Institute.

Only a handful of recorded versions of Britten's A Midsummer Night's Dream exist. Fortunately for audiophiles, an original cast recording with Benjamin Britten conducting the London Symphony Orchestra is still commercially available on London Records. Another fine recording is Colin Davis's 1995 version available on the Phillips label featuring the London Symphony Orchestra with Sylvia McNair, Brian Asawa and Ian Bostridge. Also recommended is the 1990 recording led by Richard Hickox with the London Symphonia, available from Virgin Records.

Libretto adapted from William Shakespeare by Benjamin Britten and Peter Pears

The Cast
Oberon, King of the Fairies
Tytania, Queen of the Fairies
Puck (Robin Goodfellow)
Lysander
Demetrius
Hermia, in love with Lysander
Helena, in love with Demetrius
Bottom, a weaver
Flute, a bellows-mender
Quince, a carpenter
Snug, a joiner
Snout, a tinker
Starveling, a tailor
Cobweb
Peaseblossom
Mustardseed
Moth
Fairies
The Changeling Boy
Theseus, Duke of Athens
Hippolyta, Queen of the Amazons, betrothed to Theseus
Master of the Hunt
The Court

Before the Opera Begins:
The marriage of the heroic Theseus, Duke of Athens, to Hippolyta, Queen of the Amazons, is to take place at the next new moon and Athenian youths are urged to participate in the revels.  A group of simple, untutored craftsmen are anxious to entertain the royal couple and plan a meeting in the woods to choose a play.

Just at this time, the Duke is called upon by a prominent citizen, Egeus, to evoke the old Athenian law which will force his daughter Hermia to marry the man of her father's choice, Demetrius, or accept the alternative of death or life in a convent.  The Duke, upholding the law, Hermia and Lysander, the man she loves, arrange in desperation to meet in the woods to decide on their fate.  They make the mistake, however, of confiding in Hermia's friend Helena who, in love with Demetrius, tells him of the lover's flight to the woods.  Demetrius follows pursued by Helena.

The wood, which is the destination of both lovers and craftsmen, is filled with fairies who have come from India to wish joy and prosperity to Theseus and Hippolyta, but at the present moment they are disturbed by a quarrel between Oberon, the King, and his Queen, Tytania, over the custody of a little changeling boy whom the Queen insists upon rearing because his mother was a Votress of Tytania's order, while the King wants him for his henchman.  Oberon suddenly recalls having seen Cupid aim at a fair vestal with one of his swift arrows which, missing fire, fell on a little milk-white flower, turning it purple.  He sends his hobgoblin, Puck, on a hasty search of the world for the flower, the juice of which, when dropped on the eyelids of any sleeper, will make the victim dote foolishly on the first creature he sees when awakening.  He plans to embarrass Tytania by causing her to fall in love with some monstrosity while he gains possession of the changeling.

Hermia and Lysander meet in tryst and determine to escape to the home of the youth's aunt where they will be married.  After they are gone, Demetrius appears, seeking the eloping lovers, with Helena close behind and Oberon, perceiving Demetrius' scorn for the girl, instructs Puck to squeeze the fatal juice into the youth's eyes, whom the hobgoblin is to recognize by his Athenian clothes.

The Rustics meet at the Duke's Oak to select parts in a play about Pyramus and Thisbe.  Quince, a carpenter, plans the entertainment with much help from Bottom, a weaver.

Through Puck's error, Lysander, sleeping on the ground near Hermia, is anointed, awakens to see Helena still in pursuit of Demetrius, makes violent love to her and follows her into the wood.

Tytania, surrounded by her fairy attendants, sleeps in a bower and Oberon shakes the enchanted flower over her.

Act II:
The Rustics meet to rehearse.  The knavish Puck gleefully slip's an ass's head upon the foolish Nick Bottom's shoulders.  The rest of the company flees in terror at the sight.  Tytania wakes up, falls madly in love with the absurd monster, adorns his head with musk-roses, orders her fairies to wait upon him and fetch him fairy food, and falls asleep in his arms.

Demetrius, exhausted, lies down to sleep and Oberon, having learned of Puck's mistake, sends his messenger to fetch Helena while he drops the love-potion into Demetrius' eyes.  As Helena comes to the spot, quarreling with Lysander, the noise awakens Demetrius who falls in love with the girl in rivalry with Lysander, and, when Hermia arrives, the confusion deepens and bitter words are exchanged on all sides, with the young men rushing out at length to fight a duel.  Puck sets things straight, however, by interrupting the duelists, causing the four to fall asleep, and removing the spell from Lysander's eyes with the juice of another flower.

Act III:
Oberon, having achieved his purpose in carrying off the changeling boy, curses Tytania's enchantment and orders Puck to release the ass's head as Bottom wakes up, stretches himself and thinks it all a rare dream.

At the break of day Theseus, Hippolyta and their train come to the wood to hunt and enjoy their wedding festivities.  Their horns awaken the lovers who find themselves happy at last.  When the Duke finds that Demetrius, being in love with Helena, willingly gives up Hermia to Lysander, he is so pleased that he invites the lovers to be married in the same ceremony with himself and Hippolyta.

Did you know that you can buy tickets to all 35th Anniversary Season events at our website? That includes Cabaret Night Live, Threads & Trills, Peanut Butter & Puccini and Stars of Tomorrow! Just go to the Calendar of Events page at www.desmoinesmetroopera.org, find the event you want to attend and click on "Buy Tickets Online." A safe and secure order form will open in a new window. If you prefer to order your special event tickets over the phone, give us a call at (515) 961-6221. We're here to help you Monday through Friday, from 8 to 5!

Cabaret Night Live
Saturday, June 2, 7:00 pm
Temple for Performing Arts

Threads & Trills
Wednesday, June 13, 12:00 noon
Wakonda Club

Peanut Butter & Puccini
Thursday & Saturday, June 14 & 16, 11:00 am to 1:00 pm
Amy Robertson Music Building at Simpson College

Stars of Tomorrow
Thursday, July 5, 7:00 pm
Sheslow Auditorium at Drake University

Stay tuned to coming issues of OPERAzzi for details about all of these great events!