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OPERAzzi
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March 5, 2008
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Welcome to March's OPERAzzi Spring is here...or almost here! With the warm-up in the weather, we'll begin to see more and more activity as we gear up for the summer festival season. Thursday, March 6 will be the annual Evening with the Maestro at the Des Moines Art Center. March also brings the beginning of the opera preview series hosted by all three Guild chapters. This month also heralds the return of the Opera Spotlight. We're featuring Verdi's A Masked Ball in this issue...read on to learn more about the opera, our cast, recommended recordings and more. Enjoy!
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Save the Date:
March 6--Evening with the Maestro at the Des Moines Art Center. Dr. Robert Larsen will reminisce about the Company's history with special guests. More info below. Click here to reserve tickets now.
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Spend An Evening With The Maestro
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You are invited to the Second Annual Evening with the Maestro, hosted by the Des Moines chapter of the Des Moines Metro Opera Guild. Join our very own Dr. Robert L. Larsen, and longtime Company friends Carol Stuart Iverson and Michael Patterson, as they reminisce about some of the most memorable people and productions highlighted in the Company’s recently published book, Des Moines Metro Opera: A 35-Year Retrospective. This educational and entertaining discussion is free and open to the public! Click here to reserve tickets now. Carol Stuart Iverson was DMMO’s very first “diva.” She was our first Butterfly, our first Manon, our first Violetta, our first Magda…the list goes on! She remains a dear friend and loyal patron to this day. Dr. Michael Patterson is a pianist, a composer and a professor at Simpson College. He has assisted the Company in countless ways during every summer season, save one. Dr. Patterson is the composer of two operas for children: The Tale of Peter Rabbit and the forthcoming A Dream Fulfilled: The Saga of George Washington Carver.
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Opera Spotlight: A Masked Ball
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by Michael Egel 19th Century Opera composers and their works were the subject of scrutiny on several levels, not the least of which was the need for music and subject matter to pass the approval of government sponsored censors who were charged with protecting the public from anything the current local government didn't want them to see. No one was more aware of this than Giuseppe Verdi and perhaps none of his many works suffered more drastically at the hands of the censors than did A Masked Ball. Based on a Eugène Scribe play drawn from the real life assassination of liberal Swedish King Gustavus III, who was shot by his best friend and advisor at a masked ball in 1762, the opera was composed at a time when Napoleon III had recently escaped an assassination attempt and was sitting himself rather uneasily on his throne in Italy. The censors in Bourbon-ruled Naples objected to an opera that dealt with regicide. In addition to the murder at the end of the story, the censors objected to the drawing of lots to determine which conspirator would fire the gun; they asked that the female lead, Amelia, be Anckarström's sister and not his wife; and they even went so far as to suggest that the story be relocated to "the distant, far off and little-known city of Boston." Indeed, early versions of the opera still suggest that locale as the setting for the story. Verdi refused to compromise and the opera was removed from the schedule in Naples. Eventually, the opera found its way to the stage in Rome in 1859 with a few of the original censors' suggested changes in place. For a piece that is many afficionado's favorite Verdi opera, A Masked Ball sits rather uneasily next to the great works from Verdi's middle period (Rigoletto, La Traviata). In comparison with those two works, A Masked Ball lacks the nuance of character and subtlety that the composer achieves in those operas, but harkens back to the heated passion and drama of Il Trovatore. In a sense, this work represents more of an unexpected lateral move for a composer whose style was constantly evolving throughout his long compositional life. The music is extraordinary and one can hear the fire and passion of the earlier works beginning to point the way to masterpieces of the late period (Falstaff, Aïda and Otello). The musical and dramatic crux of the entire opera hinges on an episode in Act II between King Gustavus and Amelia in which the two characters confess their love for each other in an extended duet that skillfully moves between passion and lyricism. Gustavus convinces Amelia to abandon her honor in favor of love and, although never consummated, this one moment together proves to be the downfall of both. Musical highlights include two arias for Amelia that rank among the most stunning and difficult arias in the soprano canon, "Ma dall'ariddo" which opens Act II and the agonizing "Morrò, ma prima in grazia" in Act III. The music for both Gustavus and Amelia definitely shows the influence that composing for French grand opera had recently had on Verdi. Amelia's husband, Anckarström, has the great baritone aria "Eri tu" in the middle of Act III. Two of Verdi's most remarkable secondary characters are given music and characteristics that bring Italian traditions together with French influences. Oscar, the page boy, is a trouser role for a coloratura soprano. In two arias and several ensembles, Oscar provides a bit of vocal and theatrical levity in this dramatic work. Appearing in only one scene, Ulrica is the sorceress/fortune teller who predicts Gustavus' demise. A coveted contralto role, she opens the second scene of the opera with her sepulchral aria "Re dell'abisso." Also present are the usual rousing Verdi choruses and, thanks to the influence of the French, even a few dance numbers! With all of its wonders and flaws, it's easy to see why several opera historians have called A Masked Ball the most operatic of operas.
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Getting To Know You: Lise Lindstrom
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by McB Smith This summer's production of A Masked Ball brings Lise Lindstrom, an exceptionally talented and gracious artist, back to DMMO's stage for her role debut as Amelia, the woman torn between her duty to her husband and her love for the king. Opera News recently exclaimed of Lise's performance of Turandot "every laser-like high note [was] a brilliant, rock-solid monument to her voice and technique. The warmth came through, too, in the caressing of phrase after phrase, both in the aria and in the final duet. Her carefully conceived transformation from ice princess to woman in love was riveting.” Of course, I had to talk with Lise from a great distance, since she is performing in Salome for her Italian debut! You can see pictures of Lise from productions around the world at her website: www.liselindstrom.com. Tell us a little bit about yourself.
I grew up with my mom and brother in a little town in Northern California. My mother was the high school music teacher. Her performing arts department produced two musicals, four choral concerts, and four theater productions each year. Needless to say she was a busy lady. I went to undergrad at San Francisco State University and then received my Masters of Music from San Francisco Conservatory of Music.
How did you decide to be an opera singer? What do you love about opera?
Being an opera singer was definitely not my plan when I started university. I was sort of hooked on the idea of going to Broadway and auditioning for musical theater. However, my freshman year I auditioned and got into the chorus of the university opera production, which was directed by the famous American mezzo, Blanche Thebom. She encouraged me to start voice lessons, and once I did, I was hooked on the challenge of learning how to sing. These days, the main thing that I love about opera is that it is such a perfect amalgamation of many art forms with a true spirit of collaboration. I love the challenge of bringing a true character to life onstage, within someone else's vision of the production and within the conductor's vision of the music. It's the best kind of collaboration I can think of.
Lise, it's been a few years since we've seen you here at DMMO. Tell us what you've been up to. Any highlights from the last two seasons?
Funny that you should ask that. As I am typing to you, I'm actually in Torino, Italy, where I am performing the role of Salome with Teatro Regio di Torino. This is truly a highlight for me as it is my debut in Italy and a wonderful experience. Since I was last in Des Moines, I have also sung in Berlin for a premiere of the little known opera Germania that was written in 1908. That was with the Deutsche Oper Berlin, and there is a DVD released of that performance. On a more personal note, my husband and I just bought our first home in Bloomington, Indiana -- certainly something we have looked forward to for many years!
What is your favorite role? What would your dream role be?
My favorite role always seems to be the one that I'm currently performing. So, I guess right now that would be Salome! And I have always wanted to sing the compositions of Richard Strauss. However, I've also spent quite a bit of time performing the role of Turandot and I still find that it thrills me. As far as a dream role, I'm just overwhelmed with all the possibilities! Perhaps Wagner, perhaps more Verdi, perhaps more Strauss? We'll have to see what the future holds!
This will be your role debut as Amelia. How do you prepare a new role? How do you get into character?
First, I gather as much research material as I can on the opera. This includes the history, information regarding the composer and librettist, and I try to really digest the piece from a broad perspective. Sometimes I listen to older recordings of operas to hear how the great conductors interpreted the score. Usually however, I only listen in the very early stages of learning something lest I be influenced too greatly by someone else's interpretation. Then comes the real nuts and bolts process of learning the notes, the words, the phrasing and making it my own. The actual process of making a role personal probably even takes a lifetime. But, once I have established a foundation, so to speak, of the character, history, opera, then I find myself within that and proceed.
How do you get ready for each performance? Anything you have to do before going onstage?
My pre-performance practice: sleep, eat, drink water -- get more sleep, eat well, drink more water. Oh, exercise and don't drink alcohol, don't go to loud bars, don't hang out in a smoky room. Focus, focus, focus.
If there were one thing you could tell audience members, what would you want them to know?
It is a joy and honor to be a performing opera singer. All of us are called to this work because it is deeply important to us and I can only hope that what I am able to share somehow positively impacts those that come to enjoy. In simple words, I hope you like it!
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Opera Spotlight: The Cast
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Arnold Rawls and Todd Thomas
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DMMO's production unites on our stage a trio of fantastic performers from the Company's recent history. Arnold Rawls, last seen as Calaf in Turandot in 2002, returns to us to sing his first Gustavus. Arnold has enjoyed tremendous success in regional, national and international houses over the past few years with a Metropolitan Opera debut on the horizon. Todd Thomas, our Rigoletto and Iago (Otello) of recent years, returns to take on the role of Anckarström. Lise Lindstrom returns to our stage following acclaimed American and European performances as Salome, Senta and Turandot in places like Berlin and Torino. DMMO audiences will remember Lise from her performances as Ariadne in Ariadne auf Naxos in 2004 and Giulietta in The Tales of Hoffmann in 2005. New to our stage is Gwendolyn Bowers, who will ably take on the role of Ulrica, and rising young star and member of the James M. Collier Apprentice Artist program Melanie Long returns to sing the role of Oscar. Melanie made an indelible impression on audiences in 2006 in the short but pivotal role of Papagena in The Magic Flute.
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Opera Spotlight: Recordings
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There are a number of excellent recordings of A Masked Ball available. You could get the 2002 Metropolitan Opera DVD featuring Luciano Pavarotti, Amrile Millo and Leo Nucci conducted by James Levine. If you prefer to listen and let your imagination set the stage, try the CD featuring Rome's Santa Cecilia Academy Orchestra with Carlo Bergonzi and the incomparable Birgit Nilsson conducted by Sir Georg Solti on The Decca label. There are also great recordings available on the Arkadia, EMI and RCA labels. A quick search at your favorite library, music store or online will yield lots of results!
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Updates from DMMO's Guild
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The Des Moines Chapter will host the second annual Evening with the Maestro on Thursday, March 6 at 7:00 pm in Levitt Auditorium at the Des Moines Art Center. See the article above for more information or click here to reserve your tickets now. The Ames Chapter will meet on Tuesday, March 11 at 7:30 pm. DMMO's Executive Director, Tom Smith, will present a preview of Verdi's A Masked Ball at St. John's Episcopal Center. The chapter's Mardi Gras party on February 1 was a great success! Click here to see pictures. The Indianola Chapter will meet on Tuesday, March 25 at 7:00 pm for a presentation by Dr. Maria DiPalma on Stage Makeup at the home of Hugh and Nancy Lickiss. Des Moines Metro Opera's three Guild chapters are dedicated to supporting the Company, learning more about opera and having fun with other opera lovers. Each chapter has great programs, events and fundraisers lined up for the coming year! Click here to learn more about joining the Guild.
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The Mascheranda Gala Ball: A Great Success!
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DMMO's Mascheranda Gala Ball was a huge success, with 250 masked guests enjoying a great night with wonderful food, amazing music and an overwhelming outpouring of support for the programs of DMMO's Education Division. You can see a few pictures from the evening at the Juice website or you can view photos and order prints from our photographer, Mark Hommerding of Jolesch Photography. (These photos may not be loaded until March 7.) Thanks to all who participated in this fantastic event!
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My First Opera
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by Don Zytowski I remember hearing opera as a young person, like others, in the Saturday Met broadcasts. The first live opera I attended was memorable. I had completed Army basic training and was assigned to Fort Dix, New Jersey to await shipment overseas. We were restricted to the base, but being so near to New York City, I wanted to experience a live performance. On the assumption that no Military Police would be lurking around the ticket office, I went AWOL to catch a Saturday matinee. For a two dollar standing room admission, I saw the golden curtain (at the old house) and an unforgettable performance of Tosca! A month later, for two dollars in Deutchmarks, I was seated in the orchestra for a performance, in German, of La Bohème. I overheard the American in the row in front of me remark to his friend, "I went to an opera once back in Philly. I didn't understand it there, either."
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Don't forget...DMMO's development office is always open online! Visit http://www.desmoinesmetroopera.org/support.htm to make a donation to the Company any time of the day or night. Stay tuned for next month's Opera Spotlight, when we'll feature Marc Blitzstein's great American opera, Regina. In the meantime, don't hesitate to share your questions, thoughts and feedback with us. Just drop an email to msmith@dmmo.org.
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