BRAVOBRAVO!! LEXINGTON SOCIETY NEWSLETTER VOL. 12 NO. 2 WINTER 2013 HIGH DRAMA MEETS SITCOM Mozart's opera of changing times, morés never grows old is one of the most fre- quently performed and best loved of all the classic . 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

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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!”

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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. Benningfield commented, “I have grown so at UK, I believe I am making strides to bring the much as both a singer and an actress in just the countess to life. It is my goal with this opera to few short weeks we’ve been rehearsing. I love show the audience what this character is go- this cast and I can’t wait to see how far we’ve ing through, both through singing and acting.” all come when it’s time for opening night.” Come support this journey for the cast members and see a professional quality pro- duction of a much-loved classic opera. Another thing to watch for: The swing featured on the show poster shown here will appear on stage and be used. See you at The Opera House! --Anne Taul

BRAVO! Page 5 In the news, briefly .... Undergraduates present two one-acts The UK Undergraduate Opera Studio will present two one-act operas, Curlew River by and Suor Angelica by Giacomo Puccini, this spring. The combination -- a modern work in English and a classic in Italian -- will be performed in the sanctu- ary of First Presbyterian Church in downtown Lex- ington. Performances both days are at 7:30 p.m. Curlew River is a parable in which an abbot acts as narrator, telling the story of a mother driven mad searching for her child who, with another traveler, implores the ferryman to carry her across the river. Suor Angelica, with its famous aria, Senza mamma, is the oft-sung story of a woman’s struggles to come McLaine Beerman worked with Dr. Everett to terms with the past that led her to the convent. McCorvey in Artists-in-Training Program. The Undergraduate Opera Studio was estab- lished in 2010 to give undergraduate vocalists more Our artist in residence in St. Louis chances to perform. Previously, it has presented Dr. Everett McCorvey crossed the Mississippi last and The Pirates of Penzance. fall to work as artist in residence for Opera The- Don’t miss this chance to hear these young singers! atre of Saint Louis’ Artists-in-Training program. Each year, promising high school students from Changes in LOS, Bravo boards the St. Louis area audition to participate in the Longtime Lexington Opera Society volunteer Dr. program, now in its 23rd year. Selected students Clifton Smith has been named a Director Emeritus receive weekly voice lessons, the opportunity to of LOS. Dr. Smith, who has served as co-director attend many arts events and the chance to work of the Metropolitan District Audi- with artists in residence. In 2001 the program, tions since they came to Lexing- funded since it was founded by the Monsanto ton, will continue in that role. Corporation, was recognized by the President’s Committee for the Arts and the Humanities as The Bravo Guild welcomes its new one of 10 model US programs for at-risk youth. vice-president, Mike Nichols. Nichols is “Dr. McCorvey’s 10-day residency with the Mon- Mike Nichols in his 40th year of teaching, currently santo Artists-in-Training program transformed and teaching psychology at his alma mater, Transylvania transported both students and voice faculty to University. Previously he was Director of Counsel- new heights,” wrote Allison Felter, director of the ing at the University of Kentucky, where he received program. “His mastery of and passion for teaching his Ph.D. He credits his love of opera to his Aunt are in a class all their own, and one can only walk Helen, who sang in the Kentucky Opera Associa- away with the motivation and newfound abilities tion and the Louisville Arts Club for many years. to be a better musician, teacher and person.” Nichols also served on the board of the Woodford Pictured here, Dr. McCorvey is working with County Library where, during his tenure, a new li- McLaine Beeman, a sophomore from Triad High brary was constructed. Bravo Guild looks forward School in Troy, Ilinois and one of the 23 lucky stu- to Nichols’ contributions to the Guild and LOS. dents participating in this year’s program.

Winter 2013 Page 6 Calendar UKOT ADVANCES IN MARCH MET AUDITIONS nThe Marriage of Figaro The Metropolitan Opera National Council Audi- Lexington Opera House tions are a nationwide vocal competition. In this March 1,2,3, 7:30 p.m. 60th season of auditions there are 40 district audi- tion sites and 13 regional audition sites in the con- March 2, 2 p.m. Ticketed event. tinental United States, Canada and Puerto Rico. For tickets call: More than 1,500 singers between the ages of 20 Opera House: 859.233.3535 and 30 participate in the district audition of their choice. Winners at the district level nAlltech Vocal Scholarship Competition advance to compete in regional finals. Singletary Center for the Arts, University of For more than a decade The Lex- ington Opera Society has hosted the Kentucky Campus Kentucky District Metropolitan Opera March 3, 2 p.m. National Council on the University Free of Kentucky campus. Last fall's audi- tion was on Saturday, November 17, UKOT's APRIL at Memorial Hall. The distinguished Rebecca nCurlew River and Suor Angelica judges were Douglas Ahlstedt, profes- Farley placed UK Opera Studio sor of voice at Carnegie Mellon Univer- second. First Presbyterian Church sity; Joan Dorneman, assistant conductor of the April 12, 13, 7:30 p.m. Metropolitan Opera; and Gayletha Nichols, execu- tive director of the National Council Auditions. Ticketed event. Twenty-three singers competed, with Associate Tickets available at the door. Professor John Greer as the official accompanist. The winners, who advanced to the Mid-South nBravo Guild meeting, Portofino restaurant. Regional Auditions in Memphis, were Rebecca April 16, 6 p.m. Details pending. Farley, soprano from UK Opera Theatre; Thomas Gunther, baritone from UKOT; and Edward Nel- JUNE son, baritone from Cincinnati Conservatory of nPrelude to It’s a Grand Night for Singing Music. Each received a $2,500 cash prize. En- UK Medical Center Atrium couragement awards of $500 were given to Evan June 1. Time TBA. Johnson, , and Jacob Waid, baritone, both from UKOT. The following day Joan Dornemann Ticketed event. conducted a master class. Both the auditions For ticket information, check the LOS web- and the class were free and open to the public. site at www.Lexingtonopera.com. The Mid-South Regional Auditions in Mem- phis were on January 26, 2013, with 13 singers nIt’s a Grand Night for Singing competing. The winner, Edward Nelson, bari- Singletary Center, UK Campus tone from Cincinnati Conservatory of Music, will advance to the National Semi-Final round June 7,8,13,14,15, 7:30 p.m. in New York on March 3. UKOT’s Rebecca Far- June 9, 2 p.m. ley, soprano, placed second. Mabs Seay, mezzo Ticketed event. soprano, from Northport, AL, placed third. For tickets call: 859.257.4929 ­— Louise Shouse

BRAVO! Page 7 Tedrin’s Recording Corner Sublime Countesses, Scintillating Susannas By Tedrin Blair Lindsay, PhD Hundreds of recordings have been made of Mo- Dr. Lindsay's Lecture Series zart’s brilliant comic opera Le Nozze di Figaro, one of the most popular works of all time, and Saturday, March 2: Mozart and most of them that I’ve heard are quite excellent. The Marriage of Figaro This is partially because the opera itself is so tune- Saturday, March 9: Appreciating ful and so masterfully composed that it is hard to the Opera Orchestra Saturday, April 20: My Favorite Sopranos ruin, even with subpar talent. But naturally, a few Saturday, April 27: My Favorite Mezzos particular recordings stand out as being especially Saturday, May 4: My Favorite superb in my estimation, for the bal- Saturday, May 11: My Favorite ance in casting of this essentially Baritones and Basses ensemble piece and for individual contributions of note in certain roles. Please note: Due to the construction and My favorite, and that of many crit- renovation at the Schmidt Vocal Arts Center, all ics, is the 1981 traversal by Sir Georg Lexington Opera Society Lecture Series classes Solti and the London Philharmonic this spring will be held in the Niles Gallery of the Dr. Lindsay Orchestra (Decca 001621302). Nine Lucille Caudill Little Fine Arts Library, from 10 times out of 10, when I want to hear a.m. until noon on the Saturdays listed above. Figaro, this is the one I choose. The Countess of Kiri Cost: $20 per class session (Students $5) Te Kanawa is absolutely sublime; she is the best, and that’s all there is to it. Her Cherubino is also the very best, Frederica Von Stade. For both singers, Cotrubas and José van Dam, with high spinning these are signature roles, captured in their prime overtones and low meaty vocal tone, respectively. with radiant, plush beauty of tone and charming, Of older recordings, from the so-called Golden legendary characterizations. The Susanna and Fi- Age, one in particular stands out to me, a 1955 Fi- garo, Lucia Popp and , are also scin- garo led by and also with the tillating in their parts, and Popp’s singing in particu- Philharmonic, surely the greatest Mozart orchestra lar is warm and colorful. Thomas Allen as the Count of the 20th century. This cast includes such lumi- is suitably gorgeous-voiced and slimy-acting. naries of the age as Hilde Gueden, Suzanne Danco, And the London Philharmonic responds to Solti’s Lisa della Casa, Cesare Siepi, and Fernando Corena, sure, fleet hand with buoyant, inspired playing. who make a light-hearted yet passionate account Another great recording of Le Nozze di Figaro of the opera. This recording is available on CD comes from the baton of Herbert von Karajan, from the label Musical Concepts, Catalog # 2501. with the Vienna Philharmonic (Deca 001652402). But again, almost any recording of this be- This one dates from 1978, and also boasts Von loved opera will satisfy because, again, it is Stade’s masterful Cherubino. The Count and fairly indestructible. It’s not that singers and Countess are two other great Mozarteans, Anna orchestras can’t be bad in it, it’s just that even Tomowa-Sintow, with a large, rich voice, and Tom so, the work speaks and charms for itself. When Krause, whose singing in this repertoire is the coupled with performances of exquisite cali- epitome of elegance. The Susanna and Figaro are ber, such as those discussed above, it is a taste also memorable proponents of their roles, Ileana- of comic opera paradise here on Earth.

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