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DMMO Receives Challenge Gift
Despite a sagging economy, Des Moines Metro Opera has set its most ambitious fundraising goal ever in 2009 to support the creation of the highest quality opera. We need to raise $970,000 by August 31. The great news is that we are already 85% of the way to achieving that goal! But we need your help to reach that target. Click here to make your gift online.
DMMO has weathered economic storms before, thanks to the unwavering support of loyal friends like you. Each year, we reach (and often exceed) our fundraising goals, because you understand the importance of supporting the arts...no matter what.
Because they also understand how vital Des Moines Metro Opera is, our long-time friends Doris Salsbury and Chuck and Marilyn Farr have issued a special challenge: "If you raise $90,000 of new or increased support for Des Moines Metro Opera, we will match every penny of that amount!"
That means that if you make a gift of $100 right now, DMMO will receive $200! We can't afford to let any of these dollars slip away; please make your gift today.
If you make your gift before May 31, your name will be included in the festival program among a very special group of people-the donors who have stepped up in support of DMMO!
Presenting world-class opera to you, our loyal supporters, is an enormous challenge each year. Each gift helps us build the bridge between the income generated by ticket sales and the costs associated with bringing you the very best opera!
If you're already a donor, please consider both the renewal and maybe even a small increase. If you are a new donor, there has never been a better time to join with other DMMO fans to support this magnificent art form--you won't be sorry!
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| Mark Your Calendars for Season Events
As always, there are many, many events in addition to our three mainstage productions that make up DMMO's Summer Festival Season. There is something for everyone and we're looking forward to seeing you! You can order tickets online at www.desmoinesmetroopera.org or by calling our box office at (515) 961-6221.
Peanut Butter & Puccini
June 11 & 13, 11:00am
Our annual family opera adventure includes a tour of the theater, a special performance of a kid-friendly opera and a peanut butter sack lunch. Tickets are just $10 per person.
Der Freischütz Opening night gala dinner
June 20, 5:00pm
Join us in the dining tent for the opening night, pre-performance gala dinner for Der Freischütz. Tickets are $100; a limited quantity of opera tickets can be purchased separately. Black tie optional.
Vino & Verdi
June 23, 6:00pm
See how opera goes from the page to the stage with a behind-the-scenes look into the rehearsal process, a backstage tour and insider's notes from the production staff at this unique event presented by The OPERAtors. The event is free, but reservations are required.
Chamber Music Concerts
June 28 & July 5, 7:30pm
DMMO's resident Festival Orchestra takes center stage for this series of free concerts in Lekberg Hall.
Sherrill Milnes Masterclass
July 7, 1:00pm
World-renowned baritone Sherrill Milnes will present a masterclass within the James Collier Apprentice Artist Program, working with individual singers on musical and dramatic interpretations. Held in Lekberg Hall, this class is open to the public.
Stars of Tomorrow Gala Recital
July 9, 7:00pm
DMMO's acclaimed James Collier Apprentice Artists shine as they are accompanied by the Festival Orchestra in the annual Stars of Tomorrow concert, presenting arias, duets and ensembles at Sheslow Auditorium on the Drake University campus. Tickets are $20 for adults and $10 for students and include a dessert reception with the artists following the concert.
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Apprentice Artists Scenes Programs
Each summer season brings several opportunities to hear 40 of America's brightest up-and-coming opera singers! These talented young singers make up the Apprentice Artist program and give a series of performances that are free and open to the public.
May 23--6:30 pm at Blank Performing Arts Center,
May 31--1:30 pm at the Art Center,
June 3, 6, 11, 13, 20, 24, 27, July 4--1:30 pm at Lekberg Hall,
July 2--7:00 pm at the Des Moines Social Club (One-Acts: Abu Hassan by Carl Maria von Weber, Gianni Schicchi by Giacomo Puccini).
Drawn from every corner of the repertory, this free scenes series provides the James Collier Apprentice Artists and opera lovers with an opportunity to delve into the study of the music and the characters under the guidance of a stage director and a musical coach.
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Win a Week of Luxury in New York City!
You could be living like a Rockefeller and enjoying autumn in New York! In a special fundraising drive, DMMO is raffling off chances to stay in a luxurious, two bedroom suite at the St. Regis Hotel in the heart of midtown Manhattan, just blocks from Central Park, Broadway and more.
The Prize: A week's stay (October 26 through November 1, 2009) in the penthouse at the St. Regis New York, dinner and a show with Dr. Robert Larsen, and an invitation to attend Des Moines Metro Opera's New York auditions. The St. Regis suite is large, with two bedrooms and an additional pull-out in the living room area. It includes 24-hour butler service. (Transportation to and from New York not included. For tax purposes, the total prize value is $27,500.)
The raffle will run from February 18 until all 250 tickets are sold. The drawing will be held on June 20, 2009, at the Der Freischütz opening night gala. You need not be present to win.
The Cost: Raffle tickets are just $100 each and are available by calling (515) 961-6221 or by visiting DMMO's website.
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"The Met Live in HD" Broadcasts in May
Iowa Public Radio is offering discounted ticket vouchers for just $12 each! These discount vouchers are only availailable online and must be presented to the theater box office to be redeemed for a valid ticket (please allow enough time before the opera begins to complete the redemption process). Click here to order your discount vouchers.
Des Moines Metro Opera and Iowa Public Radio have teamed up to host the Met's broadcasts in Iowa. We are trying to have a presence at each show at Movies 12 in Ames and at Jordan Creek Mall to share info about DMMO's live performances and IPR's classical music service. If you would like to be a volunteer host at one of the Met broadcasts, please contact McB McManus by email or at (515) 961-6221.
La Cenerentola - Rossini
Saturday, May 9, 2009 (11:30 am CT)
Wednesday, May 20, 2009 (7:00 pm CT)
Running time: 3 hours, 0 minutes.
Hot on the heels of her triumphant Met debut as Rosina in last season's Il Barbiere di Siviglia, Elîna Garanèa portrays another Rossini charmer in this bel canto Cinderella story. Lawrence Brownlee is her Prince Charming. Veteran baritone Alessandro Corbelli demonstrates his impeccable comic timing to match the gravitas of Met favorite John Relyea.
Conductor: Maurizio Benini; Production: Cesare Lievi; Elîna Garanèa, Lawrence Brownlee, Simone Alberghini, Alessandro Corbelli, John Relyea
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Opera Spotlight: The Barber of Seville
by Michael Egel
Gioacchino Rossini (1792-1868) was the creator of nearly 40 operas in only 20 years but his career was long enough to secure his place as one of opera's most important composers. He was born to a musical family in Pesaro, Italy, and by the time he was only 14, he had mastered the basics of composition, developed a fine boy soprano singing voice and was proficient on the harpsichord, piano, horn and cello. He secured many important commissions after studies at the Bologna conservatory and by his 21st birthday he had already written ten complete operas. A early string of very successful comic operas (La Cenerentola and L'Itlaliana in Algeri) culiminated in the composition of The Barber of Seville in 1816, after which he turned the majority his attention to primarily serious subjects. His marriage to Isabella Colbran, a famous contralto of the day, led to her creation of many of his leading roles and a revived interest in the uses of the lower female voice type as the leading lady. In 1824, at the age of 32, he moved to Paris where he took up the directorship of the Theatre-Italien. He subsequently composed only four more operas; among them is William Tell, with its famous overture, which was to be his last stage work. He retired from musical composition at the age of 37 and spent the rest of his days as a true 'bon vivant,' entertaining in his Parisian salon, cooking and eating, and enjoying his reputation as one of Europe's greatest living musicians. Great composers such as Beethoven, Wagner, Verdi, and Berlioz made visits Paris to pay homage to the musical giant.
Rossini was a longtime admirer of the French playwright Beaumarchais. His trilogy of "Figaro" plays, in which a wily servant gets the best of a noble master, were wildy popular in Europe following the French Revolution. The second of these, The Marriage of Figaro had already been set to music, quite masterfully, by Wolfgang Amadeus Mozart in 1786. No composer would have dared to try to improve on what Mozart had done, but it seemed to Rossini that the first of these plays, The Barber of Seville was fair game. By the time Rossini turned his attention to Beaumarchais' Barber, it had already been set to music by Giovanni Paisiello. Rossini approached the older composer for permission to reset the work and Paisiello gave his permisision, incorrectly assuming that it would be impossible for the young upstart composer to best him.
Rossini composed his three-hour score in just 14 days. When he heard this, fellow composer Donizetti is claimed to have said that it didn't surprise him, because Rossini 'has always been lazy.' While 14 days is a remarkably short time for the composition of an opera, there is some truth to Donizetti's opinion that Rossini was lazy, or at least a procrastinator. The Teatro Argentina was desperate to get the music for the opera and even resorted to locking Rossini in his room and forcing him to compose in order to get the opera finished on time. As soon as Rossini finished a page of music, it was handed off to copyists and delivered to the musicians - page by page. No stranger to the art of 'borrowing' from earlier works, Rossini recycled tunes for Barber from his earlier operas - even the famous overture was a piece that he had already used twice before!
Paisiello's supporters packed the opera house for the first performance and proceeded to heckle and jeer Rossini's work to ensure that its first performance was not successful. By the second performance, however, the dissenters were silenced and Rossini's opera was on the way to its rightful place as one of the greatest comic operas ever written. Melodic, tuneful and energetic in its use of vocalists and the orchestra, Barber is an opera of remarkable vivacity. Its first two acts contain some of the repertory's most famous pieces of music. Rossini was a master of harnessing musical energy by the use of a device later named the "Rossini crescendo," whereby musical tension is created and released through a series of short, patter-like articulations that become louder and faster as the aria or ensemble proceeds, ultimately finishing in a volcanic musical explosion.
Rossini's impact on the development of opera was immense. In his works that came after Barber, he was among the first to do away with secco-recitative, making the opera a continual musical fabric, and he was the first to write out ornamentation and embellishments for his singers, exactly as he wanted them sung. The most obvious quality of his music is its sheer tunefulness, which seemed to cause him little effort as he was able to create operas filled with memorable melodies in a matter of days. Rossini's music was basically an expansion of ideals and practices from the 18th century, but its pyrotechnic use of the voice coupled with a kind of kinesthetic musical propulsion and energy create music that glitters rather than glows and still enchants listeners nearly 200 years later.
The story is a simple one. Count Almaviva, a wealthy nobleman, has observed a young lady named Rosina and has fallen instantly in love with her. Rosina is guarded very strictly by her ward, the bumbling old Dr. Bartolo, who would like to marry the girl himself. In order to get access to Bartolo's house and thereby Rosina, Almaviva seeks the aid of the wily servant Figaro. With a series of disguises and ploys, the duo proceeds to irritate and confuse the poor old doctor through a variety of hilarious misadventures. In the end, true love triumphs over all and even the doctor realizes that the right man has won Rosina's hand. Click here to read a complete synopsis of the opera.
Click here to order your tickets to The Barber of Seville.
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The Barber of Seville Recordings
There are many, many excellent recordings of The Barber of Seville available. A visit to your local music shop or a quick search of the online retailers will turn up dozens of possibilities! Here are a few of our favorite audio recordings:
- EMI Classics' two-disc set features Beverly Sills, Sherrill Milnes, Nicolai Gedda, Ruggero Raimondi, and the London Symphony Orchestra conducted by James Levine.
- If you want to hear a mezzo-soprano (and one of the greatest Rossini singers of all time) in the role of Rosina, check out the Sony Classics version starring Marilyn Horne, with Leo Nucci, Samuel Ramey, Enzo Dara and the La Scala Theater Orchestra conducted by Riccardo Chailly.
- London Records' version has three discs featuring another mezzo, Cecilia Bartoli, William Matteuzzi, Leo Nucci, Enrico Fissore and the orchestra and chorus of the Teatro Comunale di Bologna conducted by Giuseppe Patanè.
There are several DVDs available also. Here are a couple that we like:
- Decca's version stars Juan Diego Florez, Bruno Pratico, Pietro Spagnoli, Maria Bayo, and the chorus and orchestra of the Teatro Real (Madrid) conducted by Gianluigi Gelmetti. The video was directed by Emilio Sagi.
- Art Haus Musik's DVD was recorded at the Schwetzingen Festival in 1988 and features Cecilia Bartoli, David Kuebler, Gino Quilico, Carlos Feller, and the Radio Symphony Orchestra Stuttgart conducted by Gabriele Ferro, with stage direction by Michael Hampe.
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Getting To Know You: John Osborn
by McB McManus
John Osborn will bring his glorious tenor to the the role of Count Almaviva. Almaviva is one of Osborn's signature roles, having recently stepped in for performances last season at the Lyric Opera of Chicago. After his professional debut with DMMO in 1994's Regina, Osborn has gone on to sing at many of the world's greatest opera houses including the Metropolitan Opera, Los Angeles Opera, San Francisco Opera, and the Salzburg Festival. Learn more about him here.
Tell us a little bit about yourself.
I was raised in Sioux City, Iowa. I have four brothers and a sister, and we all played sports and sang growing up. I'm the only one who decided to have a singing career, and I went to Simpson College to study music and learn about opera. I now make my home in Laguna Niguel, California, with my wife, Lynette Tapia, and my eight-year-old daughter, Ana.
How did you decide to be an opera singer? What do you love about opera?
I loved singing in High School, and I knew I wanted to sing for a career; but, I had no idea which genre I was going to make it in. I didn't have any dance training, so I pretty much thought musical theater was out of the question. Then, I saw The Barber of Seville on Iowa Public Television when I was 16 years old, and it was the first time I had actually seen an opera. I saw that it was a lot of fun, and also that it was the DMMO production, sung in English, at Pote Theatre, in the Blank Performing Arts Center at Simpson College. I thought, "that looks like fun, I should try that." I attended Simpson College from 1990 to 1994, and I performed in eight complete operas while an undergraduate student, under the direction and care of Dr. Larsen. I was a quick study, and I loved performing opera. The more I did it and learned about it, the more I liked it and appreciated it. I love the costumes, the sets, and singing with the orchestra. As a student at Simpson, I learned to do my own makeup and wigs, we helped design and build sets, we learneed about lights, stage management, and stage movement and combat. All of these things added to my knowledge and appreciation of opera as an art form as well as a production.
It's been three years since you sang with us. Give us the highlights of your time since then.
Since the Rigoletto in 2006, I've made important debuts in San Francisco, Paris Bastille, Rome Academy of Santa Cecilia, Opernhaus Zürich, Bologna Teatro Communale, Lisbon Sao Paulo, Salzburg Festival, Menorca Spain, and recently, Netherlands Opera and right now, La Monnaie Bruxelles. I recently produced two CDs with the English Chamber Orchestra in London. My wife, Lynette Tapia, and I are singing arias and duets from a few of Donizetti's operas on an album called "La coppia degli acuti" (The Couple of the High Notes), and one CD is devoted to French opera arias and duets called "L'amour consacré" (Devoted Love). Our friend Christopher Larkin conducts.
You sang the role of Almaviva last season at the Lyric Opera of Chicago, filling in at the last moment for Juan Diego Flórez. Tell us about that.
Well, I received a call from my agent, saying that I was going to Chicago to sing 12 performances of The Barber of Seville. I was like, "When is that?" They were like, "You leave in a few days." There was news that Mr. Flórez had canceled due to a throat infection caused by the lodging of a fish bone in his throat. Fortunately for me, I was available for the entire rehearsal and performance period, except for a gracious release I obtained from Palm Beach Opera where I was contracted to sing Nemorino in L'Elisir d'amore. I was thrilled at the opportunity to sing the role again with two of my favorite American artist friends, Joyce DiDonato and Nathan Gunn. It was a reunion that turned out to be a huge success for all of us!
What excites you about coming to DMMO for this role?
I am excited that I finally get to share with the Iowa audience of my friends, family and local music lovers, the role that I absolutely have sung the most. Thus, I have great experience to bring to the part of Conte d'Almaviva, along with another Simpson College graduate and success story, John Michael Moore. Dr. Larsen, whom I count as my mentor all of these years, will be at the helm as director and conductor. A well-rounded and familiar cast finishes off the evening with great company and stately splendor!
Has being someone who grew up here in Iowa and has gone on to have a successful international career given you a unique perspective on the opera world?
I believe it is as unique as anyone else's. One of the most important things to remember is that we all get our starts somewhere. Whether it be Iowa, New York, California, Mexico, Canada, Europe, Asia, etc. It is so important to remember where you've come from, and never to forget that it was there that it all began, that you first became noticed, that this is where your first real support group dwells. I will never forget the old "biddies" at church growing up who encouraged me to keep singing because it brought them such great joy. It is a gift from God, and it is my responsibility to share it with as many as possible.
Perhaps my Iowa "charm" has helped me continue to make good relationships with my colleagues, opera companies, directors, and conductors. It's so important to have a positive, open-minded, flexible, and enthusiastic working environment!
You travel a great deal and must spend lots of time away from home. How do you balance your career with your family life?
That's one of the toughest things of all! I have a wife, who also sings, and a daughter, who is constantly growing and changing. My wife home-schools our daughter, because it is the only way that we can spend enough time together. Lynette can bring Ana's school materials along on trips, and we sometimes have to send it in to the school from overseas. It's crazy sometimes, and it costs a bit of extra time, money and effort. But, doesn't everything that you are passionate about? My wife is also a genius, which certainly helps!
What is your favorite role? What would your dream role be?
My favorite role that I've performed so far would have to be the Duke in Rigoletto. The role I plan to sing until the day I die is Rodolfo in La Bohème.
You are going to sing "Cessa di piu resistere," the often-omitted last-act aria. What are the special challenges associated with preparing for the role?
Rossini's work, in itself, requires virtuosic singers. The coloratura passages, the high tessitura, the long and challenging ensembles, make it difficult for some of the best artists to execute. This last aria, as you will see, is a fine example of how, after singing difficult music and acting like crazy all night long, you still have to sing one last big hurrah, even before the final number!
What is on your iPod right now (in addition to opera)?
Funny question... I wish I had an iPod. But, if you're interested, I do have a MacBook Pro, which has iTunes, of course. Right now, there is a Carreras/Caballe recording of Lucia di Lammermoor, which is the opera I'm doing right now in Bruxelles; a Rossini opera called Zelmira which I will NOT be singing in Pesaro this summer (LOL)!; Massenet's Manon (a 1956 recording with Doria and Vanzon); Marschner's Der Vampyr which I sang recently in Bologna; Les Huguenots with Nicolai Gedda and Rita Shane, which I'm studying to sing in a couple of years; a bit of Enya and Harry Connick Jr., two of my favorites.
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Des Moines Metro Opera and the Blank Performing Arts Center Renovation
by Robert Montana
Des Moines Metro Opera will begin fundraising for the Blank Theatre Renovation Project. Although everyone will benefit from the renovation project, DMMO will focus its efforts on support for the new lighting system in the theatre. This state of the art lighting system is projected to cost anywhere from $250,000 to $350,000; it is imperative that we begin fundraising for it now so it will be in place by the summer of 2010. By replacing the old system, we will alleviate the $30,000 to $50,000 spent each year on renting lighting equipment.
Phase I of the renovation project will include the lighting system in the theatre as well as electrical updates, new stage floor, brand new theatre seating, carpeting in the lobby, new classrooms, larger restrooms, the installation of an elevator, and expanded parking. Architectural drawings will be available for viewing in the lobby during the Festival Season and the renovations will begin directly after our season ends!
If you are interested in donating to this wonderful cause you may do so directly to DMMO. A fund is being created through the Des Moines Metro Opera Foundation which will then go to underwrite the Blank Performing Arts Center Theatre Renovation Project. You may also contact Robert Montana at 515-961-6221 or rmontana@dmmo.org.
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