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Opera Company of Middlebury UPDATE Fall 2013

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Opera Company of Middlebury UPDATE Fall 2013 Opera Company of Middlebury UPDATE Fall 2013 From our Artistic Director Douglas Anderson A lot of comic opera isn’t very funny. Granted, in the largest sense “comedy” simply means that everything ends well. You know the drill: the good guys win, the bad guys are punished, and they throw in a couple of marriages for good measure. But I like comic opera to be We received a lot of laughs a few years back with our production of Rossini’s Barber of Seville every day to work with his music. That music—effervescent, irreverent, and faster than all get out—accomplishes a very rare thing. Even if you don’t understand the Italian lyrics, the music makes you laugh. The music alone can carry an audience (and a cast of singers) to a giddy height. I was determined to get back to Rossini, especially as our recent productions have been in the heavier, more tragic repertory. So next June Maestro Plasson and I will tackle Rossini’s L’Italiana in Algeri (An Italian Girl in Algiers), which to my mind is one of the funniest operas ever written. Someone once said that if the Three Stooges had written an opera libretto, it would look something like L’Italiana. (Continued on Page 6) From our Music Director Emmanuel Plasson Rossini’s operatic music has this wonderful sparkly and bouncy spirit to it that can inspire and excite our audiences. It doesn’t only offer a fantastic showcase for singers but also L’Italiana in Algeri is one of Rossini’s most accomplished and brilliant comic operas. It offers great bel canto displays among incredibly funny stage situations. This opera is probably one of the most entertaining pieces coming from that era. Some of my recent and upcoming opera engagements: Over the last two years, I have been fortunate to work closely with Opéra de Montréal, which is a wonderful group of people. In 2012, I conducted a beautiful production of Gounod’s Faust and did a revival of Lakmé in September 2013. Cendrillon and will be returning next February for a production of Gounod’s Romeo et Juliette. At the Toulon Opéra in France in March 2015, I will conduct Jacques Offenbach’s Tales of Hoffmann. I look forward to returning to Middlebury in May and June 2014 for L’Italiana. Editor’s Note: Opera reviewer Nancy Maxwell in the Addison Independent said of Eugene Onegin: “Tchaikovsky and Tatiana triumph at THT.” She added, “The wonderful Emmanuel Plasson returns to conduct the artists who make up the orchestra and bring the gorgeous music to life.” Our 10th Anniversary Celebration - August 2013 OCM marked its 10th anniversary with a recital that celebrated both its past and its future. From Carmen, Weiss and Yonghoon Lee to lead off the concert. Yonghoon has gone on to perform at the Met, La Scala and Covent Garden. From our recent They are both on the path to wonderful careers. Ted Taylor, well-known conductor, accompanist, coach and teacher in New York City, provided piano accompaniment. Three spectacular panels painted by artist Fran Bull for our Carmen served as the backdrop for the recital. We began the recital with a video of highlights from our ten years. At the conclusion of the recital, we watched a video that had a salute to OCM L to R: Ted Taylor, Stephanie Weiss, Yonghoon Lee, from Peter Gelb, General Manager of Bevin Hill, and Branch Fields. the Metropolitan Opera. Bevin Hill and OCM Board member Chip Malcolm Mya Fields, Nancy Malcom, and Gayl Braisted After the recital, champagne was served in the lobby and the Jackson Gallery, while performers mingled and chatted. The celebration was capped with a dinner at the Swift House Inn. OCM thanks everyone who supported this anniversary fundraiser. We raised $7,589.55 which Maestro Plasson and Ted Taylor will go toward our next ten years. Yonghoon Lee, Debby & Doug Anderson Yonghoon Lee and OCM President David Clark at the Swift House Inn. 2 Production Manager and Stage Manager There’s something about our Mary Longey. First of all, she is both Production Manager and Stage Manager, two roles that in other companies are usually handled by two people. Mary handles both roles, yet she does so much more. Artistic Director Douglas Anderson says, “You can’t have an opera company—or any kind of theater company—without a Mary Longey.” He adds that in her dual roles she is at the center of everything they do, keeping track of rehearsals, stage business, budgets, the creative staff, and even working out where all the singers stay when they’re in town. It takes a person with a head for details and the ability to multi-task—if by “multi-task” you mean doing a hundred things simultaneously. And doing Mary is seen here with Stephanie Weiss. them all very, very well. That’s Mary, and we simply wouldn’t exist without her. Stage Technician Dora Greven has worked with Mary in many theater events and says that Mary is the consummate arts. She brings a high level of knowledge, humor, support and experience to all their shows. Soprano Suzanne Kantorski-Merrill says that Mary is truly one of the most important and extraordinary women she knows. So much so, that she dedicated her OCM performances of Tatiana directly to Mary—a gesture of the most personal kind from a singer, and RARELY ever done. Follies in 1995 at the high school. She said Oliver! as stage manager. They hit it off, in fact, he refused to direct Chicago managers. A series of collaborations at the Town Hall Theater ensued. When Anderson declared his intention to start an opera company in Middlebury, he asked Mary to be his Production Manager and Stage Manager. After Carmen and then Tosca, Mary was completely hooked on opera. Her duties expanded as the company grew. As Anderson says, there is no area of the production in which Mary does not take part: from establishing the budget and preparing for auditions in Middlebury and New York, to working on the supervising the movement of percussion instruments from Middlebury College to rehearsal space then to THT. She also oversees travel plans and housing for performers (and helps them relocate if their allergies act up). She is in charge of all the committees for the show that deal with lights, cues, set-building, props, special technology Matching Grants effects, and “calling the show.” She follows the score, warns and calls cues to lightboard and spotlight operators, and to Some companies offer a matching program for the backstage person for actors’ entrances and curtain up your support of OCM. Some businesses noted show, she turns immediately to striking the show. She has for their generosity are: Aetna, Ben & Jerry’s, been observed loading furniture and other assorted props Boeing, General Electric, Green Mountain Coffee into her SUV and returning them to their rightful owners. Roasters, Goodrich, IBM, Merrill Lynch, Tennant She also edits and proofs playbills and newsletters. place of work about their gift matching program. Mary often says that she would love the theater to be her School do without her! 3 Photos by Max Kraus Suzanne Kantorski-Merrill as Tatiana Bray Wilkins and Dawn Pierce as Lenski and Olga Once again the live performances of our Eugene Onegin sold out. And, once again, we happily read the rave reviews from various sources. Jim Lowe of the Times Argus: “Eugene Onegin proved to be the best production in its 10-year history.” He added: “...it was consistent vocally and theatrically to the consistency and cohesion of all of them.” the spectacular cast, for the conductor, and especially for the hard-working and beautifully-playing orchestra members. Thanks for a very moving and memorable performance of this great work.” Nancy Maxwell of Addison Independent: the gamut from peasant to princess and do so perfectly, while always giving a clue Jenni Bank as Filipievna to character.” Darik Knutsen as Eugene Onegin - with ensemble 4 OCM 10th Season - Eugene Onegin See more photos on our website at www.ocmvermont.org – click on Photo Gallery to see photos of all previous productions, . Lisa Chavez as Madame Larina - with ensemble 5 Artistic Director (cont’d) Douglas Anderson’s Notes (continued from front page) The plot revolves around Mustafà, an Algerian king who is bored with his harem. He wants, he needs, he MUST HAVE an Lollobrigida.) Miraculously, a sexy Italian girl shipwrecks on his shore, and Mustafà thinks he has it made. But she’s All of this is draped in the most delicious music imaginable, with several famous arias and a classic end-of-Act I smash- up in which everyone is totally shocked and dumbfounded, at great speed and at high volume. Chaos never sounded better. In October we’ll follow Rossini with something very different—a concert staging of Verdi’s La Traviata. Following the success of our concert staging of , we’re eager to continue to explore classic works in this elegant and surprisingly theatrical format. So it’s a very rich season for us, our 11th. Hope to see you there. Be a friend on Facebook Founding Artists Douglas Anderson Carol Christensen Beth Thompson Meredith Parsons McComb Greg Vitercik Board of Directors David Clark, President Joann Langrock, Vice President Michele Brown, Secretary Don Devost, Treasurer Debra Anderson Dana Engel Chris English René Langis James Malcolm Sally Molnar J. Scott Morrison Patricia Mraz Jim Pugh Artistic Director Douglas Anderson Music Director Emmanuel Plasson Production Manager Mary Longey Opera Company of Middlebury P.O. Box 803 Middlebury, VT 05753 802.388.7432 Newsletter: Marian Wright Photography: Max Kraus www.ocmvermont.org 6 OCM Board by Joann Langrock OCM Membership The story goes like this.
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