BRAVOBRAVO!! LEXINGTON OPERA SOCIETY NEWSLETTER VOL. 12 NO. 2 WINTER 2013 HIGH DRAMA MEETS SITCOM Mozart's opera of changing times, morés never grows old The Marriage of Figaro is one of the most fre- quently performed and best loved of all the classic operas. The beautiful music of Mozart combined with the familiar tale of servants and masters, young love and a romantic comedy of errors combine into a show that is at once poignantly moving and laugh-out-loud funny. Written around the time of our country’s founding, much of this piece draws on changes that were occurring in that world, such as the decline of the aristocracy, educated servants, the unfolding of democracy and the failure of arranged marriages to supersede love unions. Director Richard Kagey says, “It has all the emotional depth and drama of high Richard Kagey depth of talent we director theater but, at the same time, the Figaro feel and lightness of a sitcom. It’s fun have here at UK.” March 1-3, This will be a tra- and funny. Audiences will definitely laugh.” Opera House. ditional production Although this is Kagey’s fourth production of Fi- Tickets at garo, he still loves the show and finds it exciting. http://www. of Figaro set in the He says this will be a fresh approach because, lexingtonopera.com 18th century. The “We’re working with the cast to understand what first and second they are really doing.” Many of the famous arias acts will be per- are often performed as stand-alone pieces, but formed together, as will the third and fourth, Kagey says, “I want the cast to learn how these with an intermission between. This trims the arias fit into the context of the entire show.” running time to a manageable three hours. Kagey has nothing but praise for that cast. Kagey has some hints for the audience: "Be “They are all wonderful. It’s remarkable to especially aware of the relationships between have a university that is able to double cast the characters and watch the countess care- such a challenging show. It really highlights the See Page 4 Page 2 OPERA ON THE ROAD AGAIN Outreach program reaches 47,000 children, 32 counties The sun has not yet begun to rise when the cast members of the Schmidt Opera Outreach Program roll out of their beds to travel the state’s highways to bring opera to Kentucky school children. At their destination, after they unload the set, vocal- L to R: Caleb Ashby, Manuel Castillo, Ashley ize, don their costumes, and check the piano, the Jackson, Dannica Burson, Martha Green. magic of opera and live performance begins. Through a generous gift in 2007 from the William -designs a mobile set, props and costumes. The cast E. Schmidt Foundation, the opera outreach pro- rehearses for two weeks before beginning the tour. gram created in 2003 by the University of Kentucky Voices are not amplified, so singing voices are Opera Theatre and the Lexington Opera Society presented in a normal, true-to-life operatic set- became SOOP. That gift, coupled ting. After performances, singers with the creative team's talent KMEA honors SOOP take questions. This year, Pinoc- and dedication, made it possible The Kentucky Music Educators chio demonstrated how he grew to reach more children with tour- Association chose the Schmidt his nose and, when the mask ing performances of operas such Opera Outreach Program came off, students learned about as The Three Billy Goats Gruff, The to receive its 2012-2013 opera pants parts since Pinoc- Freedom Trail, and Get Stuffed. Friend of Music Award. The chio was played by a woman. When Courtney Turay joined award, presented February Taylor Coriell, who sang the as coordinator, the schedule 8th at KMEA’s Professional role of Little Red, remains ex- exploded. Her first year, 2011, Development Conference in cited about SOOP. Teachers, Little Red’s Most Unusual Day Louisville, is "a great honor. It "said they were so happy to reached more than 25,000 chil- serves as a validation of the have us, that this was the first dren in 72 performances. In success of SOOP," said SOOP live performance some of these 2012, 47,000 school children in Director Marc Schlackman. children had ever seen, and 32 counties saw Pinocchio. might be the only one they ever The short operas combine fairy tales, children's saw, unless we could come back the next year.” stories and American history with music of op- Caleb Ashby has toured twice with SOOP, creat- era’s great composers. Morals or character traits ing Forest Ranger Dudley in Little Red and Wolf/ propel the stories. Little Red learns not to talk Dr. Dulcamara in Pinocchio. “Marc and Court- to strangers. Pinocchio learns to always tell the ney have put an enormous amount of time, ef- truth. Performances are accompanied by a study fort and work into developing the program. The guide coordinated to meet Kentucky’s Com- measure of success and growth of the program mon Core Standards for Arts and Humanities. is a direct reflection of their efforts,” he said. SOOP’s creative team -- Artistic Director Dr. Ever- For more information about SOOP, to book or ett McCorvey, Director Marc Schlackman, Stage Di- sponsor a performance, contact Courtney Turay rector Richard Kagey, Music Director/ Vocal Coach at (859)402-6946 or [email protected]. Stephen Penn, and Costumer Susan Wigglesworth-- --Madeleine Baugh BRAVO! Page 3 Jacob Waid as the Phantom and Rebecca Farley as Christine in Phantom of the Opera. PHANTOM A HIT! The Phantom of the OperaArt,, with its audience, spectral bottom line central character, floating scenery and haunt- Phantom by the numbers ing music, is a show that has become bigger Audience: 10,000-plus Total company: 263 than life. An international hit, it is still running Box Office: $500,000 Performances: 11 on Broadway after more than two decades. Income after all Casts: 3 Offering it in Lexington was a daunting, expen- expenses: $116,000 Orchestras: 2 sive and technically ambitious project for the Uni- versity of Kentucky Opera Theater to undertake. this giant step forward in producing Phantom.” But UKOT has long experience exceeding ex- The excitement spilled beyond the walls of the pectations and Phantom was no exception. historic opera house, he said. “It was so wonderful The Lexington Herald-Leader’s Rich Co- experiencing the hustle and bustle of vibrant down- pley acknowledged that staging this huge town Lexington as people from near and far came spectacle is a challenge in itself, but said to have dinner, shop and attend the show. Many that in the end the performances of the cast, restaurant owners also commented on the fact that largely undergraduate, made it work. business was great during the run of the show.” “The chandelier could defy gravity, the boat And, it made money. Typically, arts productions, could not float and there could be nary a spark on and particularly opera and musical theater, with the stage, and this still would be a great produc- their elaborate sets, costumes and big casts, de- tion because of the student singers and actors who pend upon donor support. But UKOT’s Phantom grace the stage. Lexington has waited nearly 25 ended in the black to the lovely tune of $116,000. years for this show, and it is getting a good one.” No wonder McCorvey is encouraged for the fu- And Lexington responded in kind, said UKOT Di- ture. "We want to continue the tradition of pro- rector Dr. Everett McCorvey. “I was very proud of ducing shows of this nature during the fall slot. UK and also proud of the city for helping us make I’m looking forward to the next project!” Winter 2013 Page 4 Figaro is “beautiful to look at. It’s a giant valentine: pretty, colorful, light, frothy and wonderful.” Director Richard Kagey Kagey feels this show is a logical transition for audiences who enjoyed the recent production of Phantom of the Opera. It is a recitative opera, so all FIGAROFrom Page 1 the dialog that would be spoken in a musical the- fully.” His fascination with this character arises ater show is sung in the speech-like recitative form from her emotional journey, a cornerstone of and accompanied by a harpsichord, which gives it the story. “She travels emotionally more than an authentic 18th century feel. Like the previous anyone else. She grows up right before us and show, the arias and ensembles are filled with glori- becomes the driving force of the last moments.” ous music. The music often reflects the changes Soprano Brittany Benningfield, one in the countess’s demeanor, so supports the emo- of the singers portraying the countess, tionality and action on stage in unique ways. echoes this. “We see her grow from a “For all their ups and downs, Figaro and victim of his (the count’s) wandering Susanna are so well matched as a couple,” eye to a woman who decides to take comments Kagey. “This is, ultimately, the charge of her life and win him back.” story of how their love triumphs as well.” Brittany “Preparing the emotional role of the Kagey says this Figaro is “beautiful to Benningfield countess has been the biggest learn- look at. It’s a giant valentine: pretty, col- ing challenge of my singing career to orful, light, frothy and wonderful.” date,“ she said. But her current training is help- And this production is also providing a won- ing her work through the challenge. “Through derful learning experience for our young sing- working with the incredible teachers and coaches ers.