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Lexington Opera Society Newsletter Vol. 11 No. 1 Fall 2011

FindingThe Romeo and Juliet theing it notcolors just music but of something tragedy the audi- story dates to before ence will relate to.” Studying Shakespeare’s play Shakespeare, and has been reworked in many helped her “understand why the characters are forms. What is it about the young star-crossed saying and doing what they are.” Turay says the lovers that keeps playwrights, composers, film- libretto lacks “much of Juliette’s character devel- makers and audiences coming back? I posed opment,” so the singer must convey that vocally. that question to the singers who will portray the The same is true for Roméo. “You start out tragic pair in UK Opera Theatre’s production of with your own interpretation,” says Castillo, “and Charles Gounod’s opera—Greg Turay and Manuel you add what the stage director gives you and Castillo, the Roméos, and Rachel Sterrenberg what the conductor gives you, and these layers and Julie LaDouceur, our Juliettes. create the final interpretation.” Their answers: “It talks to the human The characters develop emotion- heart,” and it’s “so beautifully tragic.” ally in the course of the tragic lovers’ Staging Roméo et Juliette is four duets. Juliette’s first aria and the “a tremendous undertaking for first act duet are light and showy, a university,” says Turay, and de- and each succeeding duet deepens mands a great deal vocally and her character. LaDouceur describes emotionally from the singers. “But Juliette as “young and spunky and we have wonderful students who sweet and a little shy, but deep are perfect for these roles,” says down she’s one tough cookie.” UKOT director Everett McCorvey. The singers say Gounod’s music is Preparing to sing the title roles “incredibly beautiful” and “makes it requires a lot of work. There’s easy to find the emotion.” LaDouceur the music, of course. Turay finds Clockwise from upper says, “Juliette displays a huge range left: Turay, LaDouceur, Roméo “probably the most de- Sterrenberg and Castillo of emotions, and Gounod really manding role I’ve taken on.” It paints the images. You know what lies very high, and he’s on stage the composer wants just through the almost the entire time. Castillo agrees. “The music that precedes what you’re going to sing.” tenor part can be straining for the voice. If One feature that makes this opera a special you get too much into the drama you won’t challenge to stage is the Act III sword fight. Bryan get to the end. It’s like running a marathon.” Robertson, a fight choreographer from Cincin- LaDouceur says learning the French text nati, taught form, parrying, and footwork. “Those takes a lot of time—“not just my text but ev- blades aren’t super sharp,” explains Turay, “but eryone else’s, or you can’t really give all you they are sharp, so you have to know every move.” have from your heart. Then you have to trans- The opera will be sung in French with English fer the meaning of the words into the voice. supertitles. Says McCorvey, “Everyone has studied The voice can have so many colors, and one Shakespeare’s play in school, so this is an oppor- of the big things is finding those colors.” tunity to see the operatic version. That’s a rarity!” Sterrenberg says the emotion is critical, “mak- — By Georgiana Strickland Page 2 Lights, action, voice: Opera in grade schools UKOT’s Schmidt Opera Outreach Program Unusual Day features Caleb Ashby, Chris (SOOP) is building a new generation of opera Baker and Susan Rahmsdorff as well as singers and lovers, all while saving Little Red Carson Schneider on keyboard. Riding Hood and sparing the Big Bad Wolf. At times, the singers break character to speak Little Red’s Most Unusual Day, with li- directly to the audience. There are also short bretto by John Davies and music by Rossini talks by the actors before the show and ques- and Offenbach, tells the familiar tale with a tion and answer sessions after when they few twists, such as a suggested romance be- reinforce the lessons of Little Red: “Beware tween Red’s mother and Ranger Dudley. of strangers,” and “Listen to your parents.” “In our show, the wolf doesn’t eat anybody,” The 35-minute show includes general music explained soprano information as well Taylor Coriell, who as insight into dis- portrays Little Red. tinguishing voice “And we don’t kill types and preparing the wolf at the end. a performance. Cori- Some of the kids in ell relishes the fact our audience are that children get to fairly young, and see a place for them- we don’t want to selves in this art form, scare anybody.” The whether as an enthu- target audience siastic audience mem- is kindergarten ber or a performer. through fifth grade. She said many of the In her first year schools they visit have Courtney Turay as SOOP staff “LIttle Red’s Most Unusual Day” is a hit with grade school students. little or no music cur- member, Courtney riculum, so for some Turay has booked children this may be Little Red into 58 schools in 24 counties. It’s their first, or only, exposure to this kind of art. receiving an enthusiastic response, Coriell Turay agreed. “We are exposing many children said. “The kids cheer for Little Red and try to to an art form that they’ve never had any experi- warn her when the wolf is sneaking up.” ence with. It would be wonderful if every student The program began in 2003 as a joint venture in Kentucky not only was exposed to this, but also of UK Opera Theatre and The Lexington Op- felt it was accessible to them. And, that it inspired era Society and is assisted by a generous grant them to enjoy this art form for an entire lifetime.” from the William E. Schmidt Foundation. SOOP Turay said almost every school administrator has performed in schools all over Kentucky and she approaches wants the program but some introduced thousands of children to opera. cannot afford it. The cost to schools is $600 for “Because it’s a story they already know,” Cori- one performance or $950 for two, which cov- ell said, “they don’t have to concentrate too ers the cast and crew and travel expenses. hard on the story line. This allows them to focus People interested in sponsoring a performance on the music. Any preconceived notions they can contact Turay or Marc Schlackman at UK- have about opera being boring are dispelled [email protected]. Performances are scheduled because this is understandable and fun.” through Nov. 22 and dates are still available. In addition to Coriell, Little Red’s Most — By Anne Taul

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UniversityOh, of Kentucky the opera things students and recentthey graduates did..... didn’t take the summer off. From Salzburg to Berlin to Holland America Cruise Line and the Kentucky Speedway, they entertained appreciative audiences and gained valuable performance experience. Here are just a few of the things they did last summer. A more complete list is at www.lexingtonopera.com.

Mary-Hollis Hundley sang Donna El- in The Merry Wives of Windsor, Zerlina in Don vira in Don Giovanni at the Lyric Op- Giovanni, and Adrianna in The Boys of Syracuse. era Studio Weimar, Germany. Philip Eschweiler performed Nick Bottom in A Arianna Afshari performed Donna Anna in Midsummer Night’s Dream and Léon in Signor Mozart’s Don Giovanni at the Lyric Opera Studio Deluso with the Public Theatre of Minnesota. Weimar, and sang in a benefit recital for the Stu- Nick Johnson performed a solo for 1,300 dio. She received a full scholarship to the Franco- youth at Montreat Conference Center American Mozart Academy in Salzburg, Austria, in North Carolina, and played live music to perform Madame Goldentrill in The Impresario, weekly at restaurants in Frankfort. and the Queen of the Night in The Magic Flute. Rachel Sterrenberg played Ciesca in Gianni Antonio Castillo-Ibarra, Jacquelyn Chance, Schicchi, and Mary Warren in The Crucible at and Juelan Brown all studied at the Freie the Chautauqua Music Festival in New York. Universität in Berlin through Fulbright Awards. Ellen Graham sang in the chorus for The program gives students a glimpse A Flowering Tree, Eugene Onegin, and of Germany’s higher education system The Magic Flute at Cincinnati Opera. through an intensive academic curriculum Lisa Clark participated in the Black in German language, history, and culture. Family Reunion with the Cincinnati Matt Turner performed Sparafucile in Opera, and was a vocalist at St. Peter’s Rigoletto at La Musica Lirica, a five-week Episcopal Church in Paris, Kentucky. vocal program in Novafeltria, Italy. Joanna Schnurman performed scenes in Natalie Tyson-Multhaup played Iza in La the American Singers Opera Project in North Grande-Duchesse de Gérolstein at the Franco- Carolina, Agatha in Der Freischutz, Mercedes American Vocal Academy in Périgueux, France. in Carmen and Kate in Pirates of Penzance. Adam Von Almen was a classical lead singer for Rebecca Blackwell attended the six-week one of Holland America Cruise Line’s European week Vocal Arts and Operetta program at tours. He traveled to Norway, Denmark, Interlochen Center where she performed Sweden, the Netherlands and England. Little Buttercup in H.M.S. Pinafore. Mitchell Hutchings was an Apprentice Artist Evan Johnson participated in the Masterworks with Opera Saratoga Springs. He had the role of Festival in Winona Lake, Indiana. Frank in Die Fledermaus, and Ben in The Tele- Taylor Coriell sang Jeanie in The Stephen Fos- phone. He was also in the chorus of Cosi fan tutte. ter Story and played an ensemble role in The Reginald Smith, Jr. was a Young Artist with Wizard of Oz for Stephen Foster Productions. the Janiec Opera Company at the Brevard Mu- Michael Preacely performed several recitals sic Center where he sang Germont in La tra- this summer, including a benefit recital with viata and in the chorus of L’elisir d’amore. doctoral candidate Dione Johnson. He also Ashley Jackson performed scenes at the Opera sang the national anthem for the opening of Training Institute of Chicago, including Mrs. Ford the 2011 Kentucky Speedway NASCAR series.

Fall 2011 Page 4 How do you direct a classic love story? Sundine answers that question and more Stephanie Sundine began directing op- and unaware of the big picture. A certain will- era in 1998 after a distinguished singing ca- ing suspension of disbelief is necessary. reer as a soprano. This fall she directs Roméo Q. Gounod’s music is highly sensual. How et Juliette for UKOT. She recently shared some do you instruct singers to present the mu- of her thoughts on this opera and direct- sic in a way that gets this sensuality across ing with LOS board member Sylvia C. Davis. without demeaning young love? Q. How did you develop the con- A. In any love scene I never let it get embarrass- nection with UKOT? ing or stage it in a way that would make characters A. I met Everett McCorvey in Sarasota, where my or audiences uncomfortable. But there is passion husband, Victor DeRenzi, is Artistic Direc- between Romeo and Juliet and they tor and Principal Conductor of the Sara- must become comfortable with one an- sota Opera. I explained that I not only other and it must be compelling. It would direct operas for professional companies, make no sense if they just sat on the but for university programs as well. Ev- edge of the bed holding hands. They do, erett indicated that he would like for me after all, consummate their marriage. to direct an upcoming opera for UKOT. Q. Do you see the young couple as It was the easiest job I ever landed! victims of fate? Immature judgment? Q. This is your first time to direct Roméo A. They are victims of fate. Friar Laurence et Juliette . What makes you relate to it? Stephanie Sundine does not get to the tomb before Romeo A. How can you not relate to Roméo et does. We don’t know why. He has told Ju- Juliette? I’m a romantic at heart. I have liet that he will be at the tomb with her experience with many versions of the Romeo and husband when she wakes up and she and Romeo Juliet story. Although my favorite work by Gou- will flee to a new life. And, of course, Romeo never nod is his Faust, I am drawn to the story of Romeo receives the letter explaining Friar Laurence’s plan. and Juliet and all the characters. In approaching Romeo and Juliet’s relationship was not Roméo et Juliette for the first time, I have spent a planned. It just happened. They are soul mates. lot of time with the words, checking translations, They have very little invested in the Montague and seeing what Gounod says about the emotion and Capulet fight, as compared, for example, of the words through the music he composes. to Mercutio and Tybalt. It is perhaps similar to a In addition, I look beyond what the composer situation in which a Palestinian woman falls in and librettists have created and spend time with love with a Jewish man. Love just happens. other source material, of which there is much for Q. What else would you like our readers to know? this story. I have studied Shakespeare’s play care- A. I was very impressed with the level of talent fully, especially since the librettists Barbier and among the singers when I was here in April to Carré did adhere closely to Shakespeare’s version. cast the opera. It is now a pleasure to get to know Q. The original Romeo and Juliet were quite them better as we begin our work together. young. How do you direct the singers, who are of I would encourage the audience to read Shake- necessity older, to adjust to the age difference? speare’s play and to view Zeffirelli’s 1968 film ver- A. The body language of the singers must re- sion of the story before coming to the opera. It is a flect the age of the young person, so that we’re good idea to get to know the play by reading and not seeing all-knowing adults trying to be seeing it and then to take notice of the similarities kids. The singers must appear youthful, fresh, and differences in the actual opera production.

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TheStar Lexington lineup Opera Society proudly of anjudges- for Met auditions nounces the distinguished judges for the Met- Radio Opera Returns! ropolitan Opera National Council Kentucky Dis- Central Kentucky opera lovers can once again trict Auditions November 19 at Memorial Hall: enjoy Saturday afternoon broadcasts. Beginning in Anthony Laciura is known for his character roles mid-October, WKYL.FM (102.1), our new classical as a comprimario (next to the first) tenor. A native music radio station, will carry seven Houston of New Orleans, he made his operatic debut in 1965 Grand Opera performances, and from December as a teenager. He earned music degrees from Loyola 3 onward, all 23 from the Metropolitan Opera. and Tulane universities before his debut with the The MET schedule is available at www.Metopera. Metropolitan Opera in 1982 as the major-domo in org. Take note of the different starting times. Der Rosenkavalier. He made 877 appearances at the NPR’s World of Opera is also available now, on Met through 2008. Described as “the clown prince WEKU (88.90 FM) Sundays from 7 to 11 p.m. and of opera,” Laciura said that worked for him. “Choos- on WKYL (102.1 FM) Saturdays from 1 to 4:30 p.m. ing to be the second best turned out to be the best.” He has sung internationally, and frequently at the Santa Fe Opera. In 2010, director Mar- ing with the Chicago Symphony Chorus and tin Scorsese cast him as Eddie Kessler in the on tour with the Goldovsky Opera Theater. He HBO series Boardwalk Empire, which con- sang at New York City Opera in 1964, made tinues this fall on Sunday evenings. his debut at the Met in 1965 and went on to Johanna Meier was one of the foremost Wagne- 655 performances there through 1997. rian sopranos during her 20 year-plus performance Milnes’ technique and style were so flexible career. She made 78 appearances at the Met and that he convincingly sang roles ranging from the her international roles included three years as lowest villains to passionate idealists. Yet his vo- Isolde in Tristan und Isolde at the Bayreuth Fes- cal quality was unique and recognizable. Opera tival, where she was the first American Isolde. News said that Milnes “pretty much owned” the Meier grew up in Spearfish, South Dakota, where Verdi roles he sang at the peak of his career. she and husband, Guido Della Vecchia, still reside. In 2001 Milnes and his wife, Maria Zouves, Born into an operatic family that toured with the founded V.O.I.C.E. (Vocal and Operatic Inten- Luenen Passion Play, Meier grew up performing. She sive Creative Experience). Their workshops are and her husband continued to stage the Passion geared toward understanding the challenges Play until 2008, when it ended after almost 70 years of being a professional opera singer. Milnes is of the Meier family depicting the last days of Christ. professor emeritus of voice at Northwestern Uni- Meier is artistic director of The Johanna Mei- versity and Artistic Advisor to Opera Tampa. er Opera Theater Institute at Black Hills State In 2001 Milnes came to Lexington as the University. The two-week summer program, Artistic Consultant for UK Opera Theatre’s in its 14th year, offers individualized teach- Don Giovanni. In addition to judging the Dis- ing and coaching, with performance oppor- trict Auditions, he will conduct a master tunities, to pre-professional opera singers. class at 2 p.m. Nov. 20 at Memorial Hall. Sherrill Milnes, a legendary dramatic baritone, John Greer, who recently joined the UKOT is best known for his Verdi roles. As a child on a faculty as vocal coach, will accompany the au- farm in Illinois, he sang and played six different ditions and the master class. He comes to UK instruments. Milnes studied at Drake and North- from the New England Conservatory where western Universities intending to teach but, fol- he was Director and Chair of Opera Studies. lowing a summer apprenticeship at Santa Fe The class and the auditions are Opera, focused on becoming an opera singer. free and open to the public. Milnes launched his performance career sing- — By Louise Shouse

Fall 2011 Page 6 Lexington Opera Society Calendar October Ticket Purchase Policy Changes Opera Spectacular with Tedrin Lindsay, Cath- There are important changes to UKOT erine Clark Nardolillo and Jacqueline Rob- ticket purchase policies this season. erts, 5 p.m. Oct. 9. Ticketed event. Contact It’s no longer possible to buy all tickets at the Singletary Center for the Arts box office. Now, tickets [email protected] for more information. for productions at the Lexington Opera House must Roméo et Juliette, Lexington Opera House. be purchased from the Lexington Center Box Office 7:30 p.m. Oct. 22, 28, 29; 2 p.m. Oct. 23. Tick- on the 3rd level of the Shops at Lexington Center or by phone at 859-233-3535, by fax at 859-253-2726, by eted event. mail to 432 West Vine St., Lexington, 40507. A fee is Schmidt Youth Vocal Competition, Single- charged for all tickets except those bought in person. tary Center, UK campus. 8:30 a.m.,Oct. 22, The box office is open weekdays 10 a.m.-6 p.m. Weekend hours vary. The Lexington Center accepts Free. Mastercard, Visa, Discover and American Express. Tickets for UKOT productions at Singletary can be November purchased from the box office there (405 Rose Street), by phone at 859-257-4929, by fax at 859-323-9991, Metropolitan District Auditions, Memorial online at www.singletarytickets.com. Box office hours Hall, UK campus. Time: TBA, Nov. 19. Free. are weekdays 10 a.m.-5 p.m. and Sat. noon until 5 Metropolitan Opera master class, 2 p.m. Nov. p.m. if there is a weekend ticketed event. Processing fees apply to every purchase. The Singletary 20. Free. Center accepts cash, checks, VISA, Mastercard, UK Plus Accounts and Singletary gift certificates. December Prices for Roméo et Juliette, Falstaff, and Grand Alltech Holiday Celebration of Song, Victo- Night 2012 are $40 for adults, $37 for seniors, $37 for U.K. faculty/staff, $15 for students, and rian Square, 6 p.m. Dec. 11. Free. $10 for children under 12. Samson et Delilah is $25 for adults and $20 for seniors/faculty/staff. January Bravo Guild members are eligible for a discount Samson et Dalila (concert version) with for one performance of Roméo et Juliette, Falstaff, and Grand Night 2012. The discount is not available Kentucky Symphony Orchestra, Singletary for Samson et Delilah or any special ticket packages. Center, 3 p.m. Jan. 22. Ticketed event. The discount allows you to buy a second ticket at half price with the full price purchase of one adult/senior/ U.K. faculty or staff ticket. This cannot be used with February-March any other discount or special offer. You may only use Verdi’s Falstaff, Opera House. 7:30 p.m. Feb. one discount for each purchase, and can only use the 25, March 2,3; 2 p.m. Feb. 26. Ticketed event. BG discount for one performance of each production. A special Shakespeare Package is available this Alltech Vocal Scholarship Competition, season: Buy tickets for Grand Night 2012 at the Singletary Center. 2 p.m. March 4. Free. Singletary Center and show them when you buy tickets for Roméo et Juliette and Falstaff at the Lexington Center for a $15 discount on the adult/ June senior/faculty/staff tickets for these two operas. It’s a Grand Night for Singing, Singletary This offer expires Oct. 22. With this discount, Center. 7:30 p.m. June 8-10, 15-16; 2 p.m. on two adult tickets (one for each opera) cost $65, two senior or faculty/staff tickets cost $59. It June 10, 17. Ticketed event. doesn’t apply to student or children’s tickets.

BRAVO! Page 7 Tedrin’s Recording Corner by Tedrin Blair Lindsay, PhD Learn more with Dr. Lindsay Surely Romeo and Juliet are the most sympa- thetic tragic lovers of all time, as immortalized in Dr. Tedrin Blair Lindsay will resume his lecture Shakespeare’s play of tender insight and rapturous series this fall, focusing on Shakespeare. Classes poetry. The lyricism of his setting practically defies meet Saturday from 10 a.m. to noon at the Niles any composer to tell the story in music more effec- Gallery on the main floor of the Lucille Caudill tive than his verse, though many have tried with re- Little Fine Arts Library (except the October 15 sults ranging from the obscure (such as Delius’ 1901 lecture will meet in the downstairs rehearsal room opera A Village Romeo and Juliet) to the celebrated at the Schmidt Vocal Arts Center). Cost: $20 per (such as Bernstein’s 1957 musical West Side Story). class, $5 for students. No reservations required. The most successful operatic adaptation thus far has been Gounod’s Roméo et Juliette (1867). 24 September: I Capuleti e i Montecchi (by Bellini) Like that composer’s other great opera Faust, 1 October: Roméo et Juliette (by Berlioz) and A Vil- based on Goethe’s masterpiece, Roméo et Ju- lage Romeo and Juliet (by Delius) 8 October: Romeo and Juliet (by Prokofiev) and West liette can be shown to suffer from comparison Side Story (by Bernstein) to its literary source’s dramaturgy and charac- 15 October: Roméo et Juliette (by Gounod) terization, yet Gounod’s melodious score offers 22 October: NO Class its own pleasures, and has now held sway for 29 October: A Midsummer Night’s Dream (by Britten) almost 150 years as the best operatic representa- 5 November: Troilus and Cressida (by Walton) tion of its story, as has Faust, for that matter. 12 November: Antony and Cleopatra (by Barber) A fine 1998 recording of Roméo et Juliette fea- For more information, go to: www. tures contemporary opera celebrities Roberto lexingtonopera.com/pages/events/lectures.shtml Alagna and Angela Gheorgiu, conducted by Michel Plasson (EMI Classics 56123), but it can- not compare with the 1969 rendering (EMI Clas- work I do not particularly appreciate, although her sics 65290) by the legendary Franco Corelli and artistry shows well in this role. However, the 1976 re- Mirella Freni, under the baton of Alain Lombard , cording (EMI Classics 86055) led by Giuseppe Patanè although the French diction by both superstars, is more dramatic, more exciting, and boasts stronger especially Freni, is ludicrously Italianate. Their singing. Janet Baker makes a more elegant and ur- voices fill the music with magnificent amplitude gent Romeo than Baltsa, and Beverly Sills as Giulietta and their delivery is the very definition of “pas- sings Gruberova right off the balcony, so to speak. sionate.” I recently encountered two of our com- As viable as these operatic versions of Romeo munity’s musical eminences, pianist Cliff Jackson and Juliet are, two other composers succeeded and musicologist Diana Hallman, and asked them better than either Gounod or Bellini in capturing to name their favorite recording of this opera. the story’s richness through non-operatic musi- Without hesitation, they both said, “Oh, the Corelli/ cal settings: Berlioz’ “dramatic symphony” (1839) Freni!” So there you have it, on the best authority. and Prokofiev’s ballet (1936). My favorite record- Bellini’s rendition of the R & J story, I Capuleti e i ing of the Berlioz was conducted by Muti in 1986, Montecchi (1830), is based on the same source as with Jessye Norman, John Aler, and Simon Estes Shakespeare’s rather than on the Bard’s famous in- as the soloists, and the Philadelphia Orchestra terpretation, so the plot is somewhat less enthrall- (EMI Classics 72640). The Prokofiev was given a ing despite the same basic outline. There are two stunning 1991 performance by Valery Gergiev excellent recordings of this opera. One is Riccardo and the Kirov Orchestra on Philips 432 166-2. Muti’s 1985 traversal (EMI Classics 64846) with Ag- Compare and contrast for yourself how nes Baltsa, one of my favorite singers, as Romeo (a these musical geniuses responded to and mezzo soprano in Bellini’s work), and as Giulietta, expressed the timeless story of the star- Edita Gruberova, an undeniably great singer whose crossed lovers, Romeo and Juliet. Fall 2011 Page 8

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