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Kurt Weill Newsletter FALL 2012 VOLUME 30 NUMBER 2 Kurt Weill Newsletter FALL 2012 Lost in the Stars at The Glimmerglass Festival, starring Eric Owens as Stephen Kumalo FEATURES Street Scene Goes to School The Prodigal Returns: Weill’s Broadway Shows in Germany On Johnny Johnson, Piano Reductions, and Eggs IN THIS ISSUE VOLUME 30 Kurt Weill Newsletter NUMBER 2 3 In the Wings - Upcoming Performances FALL 2012 FEATURES 4 Street Scene Goes to School ISSN 0899-6407 © 2012 Kurt Weill Foundation for Music 7 A Word from the Sponsor: 7 East 20th Street CCM Presents Year-Long Weill Festival New York, NY 10003-1106 tel (212) 505-5240 8 The Prodigal Returns: fax (212) 353-9663 Weill’s Broadway Shows in Germany Published twice a year, the Kurt Weill Newsletter features articles and reviews 11 On Johnny Johnson, Piano Reductions, and Eggs (books, performances, recordings) that center on Kurt Weill but take a broader John Baxindine look at issues of twentieth-century music and theater. With a print run of 5,000 copies, the Newsletter is distributed worldwide. Subscriptions are free. The editors REVIEWS welcome the submission of articles, reviews, and news items for inclusion in future Performances issues. 13 Happy End A variety of opinions are expressed in the Newsletter; they do not necessarily Theater Heidelberg represent the publisher’s official viewpoint. Letters to the editors are welcome Andreas Hauff ([email protected]). 14 Aufstieg und Fall der Stadt Mahagonny Staff Oper Leipzig Jürgen Schebera Kate Chisholm and Dave Stein, Co-Editors Brady Sansone, Production and Circulation 15 Lost in the Stars Glimmerglass Festival Kurt Weill Foundation Trustees Mark N. Grant Kim H. Kowalke, President Philip Getter, Senior Vice President and Treasurer 18 Magical Night Guy Stern, Vice President Ravinia Festival Edward Harsh, Secretary Hedy Weiss André Bishop Victoria Clark Books Joanne Hubbard Cossa 19 Marc Blitzstein: His Life, His Work, His World Susan Feder by Howard Pollack Corey Field Carol J. Oja Walter Hinderer Welz Kauffman SECOND LOOKS Trustees Emeriti Honorary Trustees 20 “Wouldn’t You Like to Be on Broadway?” Stephen Hinton Redraws the Map Milton Coleman James Conlon David Savran Paul Epstein Stephen E. Davis Harold Prince Teresa Stratas 21 Aufstieg und Fall der Stadt Mahagonny Julius Rudel Wiener Staatsoper Larry L. Lash Websites NEWS http://www.kwf.org 22 Lotte Lenya Competition http://www.threepennyopera.org 23 More Weill Festivals! E-mail Information: [email protected] Weill-Lenya Research Center: [email protected] Cover photo: Stephen Kumalo (Eric Owens) solemnizes the Kurt Weill Edition: [email protected] marriage of Irina (Brandy Lynn Hawkins) and his son Absalom (Makudupanyane Senaoana) after Absalom is sentenced to death. Photo: Karli Cadel/The Glimmerglass Festival 2 Kurt Weill Newsletter Volume 30, Number 2 IN THE WINGS UPCOMING PERFORMANCES Zaubernacht Kurt Weill Fest The Seven Deadly Sins Dessau Landestheater Linz 22 February – 10 March (See p. 23 for details.) Jochen Ulrich, director/choreographer; Dennis Russell Davies, conductor; Marianne Faithfull, Anna I. Die Dreigroschenoper (concert) 13 October – 30 January (12 performances) London Philharmonic Vladimir Jurowski, conductor; Ted Huffman, director. Aufstieg und Fall der Stadt Mahagonny 28 February: Théâtre des Champs-Élysées, Paris Oper Leipzig 2 March: Royal Festival Hall, London Kerstin Polenske, director; William Lacey, conductor. 23 November – 31 May (6 performances) Die Verheißung Premiere of a new oratorio version of Der Weg der Verheißung The Seven Deadly Sins Anhaltisches Theater Dessau Kleine Dreigroschenmusik Antony Hermus, conductor. Weill songs 28 February – 1 March Symphony Silicon Valley, San Jose James Holmes, conductor; Lisa Vroman, soprano. Die sieben Todsünden 12–13 January Orquestra Nacional España, Madrid Lawrence Foster, conductor; Ute Lemper, Anna I. Violin Concerto 8–10 March St. Paul Chamber Orchestra Edo De Waart, conductor; Steven Copes, violin. Der neue Orpheus, op. 16 17–19 January Weill songs BBC Concert Orchestra, Southbank Centre Kurt Weill Week Keith Lockhart, conductor; Charles Mutter, violin; Ilona Domnich, soprano. Komische Oper Berlin 12 April 18–24 January (See p. 23 for details.) Der Jasager Walt Whitman Songs Staatsoper Unter den Linden (Schiller-Theater Werkstatt), Berlin La Monnaie, Brussels Aniara Amos, director. Ian Bostridge, tenor; Julius Drake, piano. 2–21 May (9 performances) 23 January The Seven Deadly Sins Symphony No. 2 Oregon Symphony Suite aus Aufstieg und Fall der Stadt Mahagonny Carlos Kalmar, conductor; Storm Large, Anna I. Weill songs 3 May: Benaroya Hall, Seattle WDR Rundfunkorchester, Köln 4–5 May: Arlene Schnitzer Concert Hall, Portland Niklas Willén, conductor; Charlotte Hellekant, soprano; Johanna Schall, moderator. The Seven Deadly Sins 26 January Detroit Symphony, Carnegie Hall Spring for Music Festival Leonard Slatkin, conductor; Storm Large, Anna I. Street Scene 9 May Young Vic/Opera Group production on tour John Fulljames, director; Tim Murray, conductor. Théâtre du Châtelet, Paris, 25–31 January Gran Teatre del Liceu, Barcelona, 1–5 March To learn about the many other Weill performances coming up around the world, view the performance calendar at www.kwf.org. Volume 30, Number 2 Kurt Weill Newsletter 3 FEATURES Street Scene Goes to School Most Weill fans know that Street Scene has appeared much more frequently on the stages of U.S. opera companies in the last two decades. A less-noticed, but even more pronounced trend has been occurring at the same time: universities and conservatories have turned to Street Scene again and again in recent years. In 2008 alone, Manhattan School of Music, North Carolina School of the Arts, Colorado State University, University of Kansas, University of Tennessee, and Vanderbilt University all offered fully staged productions. This season, the opera departments of the University of Cincinnati College-Conservatory of Music (CCM) and the Eastman School of Music have chosen Street Scene for their students. And it’s not just big schools and conservatories presenting Weill’s Broadway opera; in the past five years, smaller institutions such as Pacific Lutheran University, Hardin-Simmons University, Hope College, and St. Olaf College have also selected Street Scene as a teaching tool. Recent conservatory productions in Canada, the U.K., and Germany indicate that Street Scene is gaining a foothold abroad as well. Why is Street Scene so effective for training young singers opera singing and legit musical theater singing.” Singer-actress and so appealing to such a broad spectrum of programs? and teacher Judy Blazer, who played Rose Maurrant at Manhattan in 1976, notes that “it provides a wonderful exercise in how to Conversations with performers, conductors, directors, and make various styles seamless, how to make it one, cohesive piece, faculty who have been involved in student productions reveal from a pizzazz-y Broadway number like ‘Wouldn’t You Like to Be some common themes. The bottom line, it seems, is thatStreet on Broadway?’ to Mrs. Maurrant’s aria. It has everything but the Scene deeply engages students both as actors and as singers. An kitchen sink stylistically, and it’s good for performers to have to American opera steeped in realism and performed in English, it lean in those different directions artistically.” offers a large cast of ethnically diverse characters, a tremendous variety of musical styles, and roles that require different levels of skill and experience. Jay Lesenger, who has directed the opera at “Street Scene is the perfect choice for an academic the Manhattan School of Music (pictured above), Northwestern production. It has a wide variety of roles, excellent University, Chautauqua Opera, and New York City Opera, attests vocal/dramatic challenges, and offers tremendous to the universal appeal of the work: “Young singers just love doing Street Scene. It is a distinctly American work with a great opportunities to young singers and actors.” score. The plot and characters engage their imaginations. I’ve — Jay Lesenger, director watched young performers grow so much through the process of producing it. And audiences love it!” This is especially true in the 21st century as more and more opera companies add Broadway musicals to their seasons and Polystylism directors move away from highly stylized conventions of operatic Perhaps the most obvious advantage of Street Scene as a teaching performance. As Jay Lesenger points out, “Singers now more tool is its polystylism. Mark Gibson, who will conduct the work than ever have to be versatile if they want to succeed. Very few at CCM this fall, hails Street Scene as “one of the first and best singers can afford to focus only on opera and operatic repertoire examples of the ‘crossover work’—an opera with dialogue written and hope to establish a career.” Gretel Mink Hansen, who played for a musical theater venue,” and looks forward to exposing his Rose at Northeastern Illinois University in 2012, confirms that students to “a variety of musical theater and operatic styles, Street Scene opens a number of doors for young singers: “It including blues, jazz, arioso and ensemble singing.” Assistant bridges the gap between opera and musical theater because of its Dean Gordon Ostrowski of the Manhattan School of Music also strong script and powerful orchestration. It made me feel like I cites it as a good work for students “because it involves legit could do both and be successful.” 4 Kurt Weill Newsletter Volume 30, Number 2 Acting Challenges Originally billed as a “dramatic musical,” Street Scene is notable among operas for its realism and extensive dialogue, taking as its subject ordinary characters in a commonplace setting. Young singers must stretch more than their voices. Judy Blazer recalls how wonderful it was that opera students “were forced to act very, very true-to-life scenarios. When you’re in opera, you get so used to playing out of the realm, that you don’t remember how to play what’s in your back yard.” CCM Associate Professor of Acting Steven Goldstein, who is directing the opera this fall, points out that the equal importance of the dialogue presents an excellent acting challenge for opera students.
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