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Ravel's Magical Opera

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Ravel's Magical Opera 2019 MAY 40TH SEASON RAVEL’s MAGICAL OPERA 2018-19 HAL & JEANETTE SEGERSTROM FAMILY FOUNDATION CLASSICAL SERIES Carl St.Clair, conductor Prokofiev PETER AND THE WOLF Magic Circle Mime Company Magic Circle Mime Company Robert Neu, director Ravel Pacific Chorale—Robert Istad, Artistic Director L’ENFANT ET LES SORTILÈGES CSUF Singers Southern California Children’s Chorus CAST: The Child: Tess Altiveros, soprano Mama; The China Cup; The Dragon Fly: Nicole Birkland, mezzo soprano A Country Lass; The Bat; The Screech Owl: Patricia Westley, soprano The Fire; The Princess; The Nightingale: Liv Redpath, soprano A Shepard; The White Cat; The Squirrel: Leandra Ramm, mezzo soprano The Armchair; A Tree: Benjamin Sieverding, bass The Black Cat; The Grandfather Clock: Gabriel Preisser, baritone The Teapot; The Little Old Man; The Frog: Brian Wallin, tenor TECHNICAL TEAM: Matt Scarpino, scenic designer Hannah Welter, scenic designer Kristin Campbell, scenic designer Alethia Moore-Del-Monaco, costume designer Kathy Pryzgoda, lighting designer Thursday, May 16, 2019 @ 8 p.m. Friday, May 17, 2019 @ 8 p.m. Saturday, May 18, 2019 @ 8 p.m. Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall OFFICIAL HOTEL OFFICIAL TV STATION OFFICIAL MUSIC STATION This concert is being recorded for broadcast on Sunday, July 21, 2019, at 7 p.m. on Classical KUSC. PacificSymphony.org 40TH SEASON | MAY 2019 15 DIRECTOR’S NOTE has a sense of theater and collaboration. had been working intensively for Obviously, none of these have to do about two years on his ballet setting with the accessibility, playfulness, joy and of Shakespeare’s Romeo and Juliet— Robert Neu: depth that this opera provides. So leave now a beloved score that seems like it to Pacific Symphony to figure out that an effortlessly inspired expression of L’Enfant et les Sortileges this is the perfect piece for an orchestra to romantic drama in music. Inspired, yes, It’s always a little humbling when you’re program in a situation that is much more but hardly effortless: Prokofiev not only asked to direct a piece you don’t know. flexible, nimble and freewheeling than sweated the details of its crafting, but also Since I’ve been working in the opera most opera houses are able to be. And knew the Kremlin’s cultural bureaucracy business for a while I pride myself on thank you, Pacific Symphony, for inviting was looking over his shoulder as he knowing the repertoire. So when I recently me and a first-rate group of performers worked. He even composed a happy had this happen—with a work by Ravel, and designers to have the rare treat to ending for the musical narrative on the one of my favorite composers—I was produce this masterpiece, and to have assumption that it would be deemed more immediately curious to figure out why this the pleasure of presenting it to your in keeping with government standards for great work had never been on my radar. audiences. the people’s music. (Wrong assumption.) I quickly figured out it wasn’t that the You and I—we’re all richer for being able Perhaps as a relief from the tension of music is in any way inaccessible. If you to add L’enfant to our repertoires! larger commissions, Prokofiev turned to love Ravel’s greatest hits—Boléro, Daphnis writing music for children—piano pieces et Chloe, La Valse—you’ll love this piece. that don’t require virtuoso technique to L’Enfant is unmistakably pure Ravel! Then play, but disciplined musicianship to play could it be the text? But this was written PROGRAM NOTES well. During that same period, he brought by Colette—that amazing and provocative his own children to the Moscow Children’s early 20th century French writer who also Musical Theatre, where together they penned Gigi and was nominated for the Sergei Prokofiev: attended performances that delighted Nobel Prize for Literature. (There was even him. When the director invited him to a recent movie about her starring Keira Peter and the Wolf compose something for the venue, he was Knightley!) Looking at glad to accept. The text he was given, a Maybe it was the subject matter? composers’ naïve story comprised of crude rhyming Let’s see—a charming quasi-fairy tale portraits is couplets, proved unsatisfactory, so he about a misbehaving young child who has always interesting took matters into his own hands and wrote encounters with dancing chairs, a grumpy and usually his own. His diary spells out the process: grandfather clock, and two amorous cats instructive, if only “In the spring of 1936 I started a symphonic and nurses an injured singing squirrel back because they tale for children titled Peter and the to life. What’s not to like about that? challenge our Wolf, Op. 67, to a text of my own. Every And then I figured it out—why L’enfant preconceptions. character had its own motif played each is rarely produced: 1) It’s an unusual length. In the case of time by the same instruments … Before At just 52 minutes, it barely counts as one Sergei Prokofiev, each performance, the instruments were act in the opera house. So any theater almost every likeness shows us an ascetic- shown to the children and the themes producing it needs to find a companion looking man of serious demeanor. His played for them; during the performance, piece—and there are very few operas of eyes smolder behind severe, wire-rimmed the children heard the themes repeated comparable length. 2) Along with eight glasses, and his gaze is penetrating—not several times and learned to recognize principal singers covering 21 roles, the the sort of visage we might associate with the timbres of the different instruments.” piece requires a children’s chorus and an a composer who loved to tell tales in music Leitmotifs! If Peter and the Wolf is here, adult chorus, and a sizeable and virtuosic and had a special feeling for children. Yet can Wagner’s monumental Ring cycle be orchestra. 3) L’enfant needs that rare these are the qualities we hear in Peter far behind? conductor who is equally at home with and the Wolf. Despite its brilliance, the success vocalists and instrumentalists and who In 1935, the 44-year-old Prokofiev of Peter and the Wolf was not quite Sergei Prokofiev Maurice Ravel Born: 1891. Sontsovka, Ukraine Born: 1875. Ciboure, France Died: 1953. Moscow, Russia Died: 1937. Paris, France Peter and the Wolf L’enfant et les sortilèges Composed: 1936 Composed: 1917-1925 World Premiere: May 2, 1936, with the Moscow Philharmonic World premiere: Feb. 1, 1926, with Opéra-Comique Most recent Pacific Symphony performance: May 1, 2016, with Most recent Pacific Symphony performance: May 7, 1992, with Richard Kaufman conducting Carl St.Clair conducting Instrumentation: Flute, oboe, clarinet, bassoon; 3 French horns, Instrumentation: 3 flutes including piccolo, 3 oboes including English trumpet, trombone; timpani, percussion; strings horn, 4 clarinets including bass clarinet and e-flat clarinet, 3 bassoons Estimated duration: 25 minutes including contrabasoon; 4 horns, 3 trumpets, 3 trombones, tuba; timpani, percussion; harp; celesta; piano; strings Estimated duration: 47 minutes 16 MAY 2019 | 40TH SEasON PacificSymphony.org instantaneous. Prokofiev’s story of a boy The meanings and sheer beauty of husband (whom she divorced), saw the alone in nature and who triumphs by dint L’enfant et les sortilèges go far deeper possibilities for mature music-drama of his own resourcefulness and bravery than its surface enchantments; in fact, in a children’s story. She had met Ravel was a tested favorite with the cultural it can be said to be an allegory about socially, and when Rouche proposed him apparatchiks, so there was no official World War I, the conflict that unleashed as composer, she was delighted with the resistance. His masterfully simple motivic unprecedented violence upon Europe. choice. Ravel’s reticence and vulnerability structure, with its abbreviated narration, Even those who saw war coming were had impressed her, and we can hear these is now an accepted template for such unprepared for the scale of its horrors, qualities in the tenderness of his music, works. And it was well received in its first which descended on the continent like a which fit the scenario like a glove. performance, which Prokofiev directed collective trauma at a time when human In performance, L’enfant et les from the keyboard. But subsequent psychology was just beginning to emerge sortilèges immerses us in a story that performances were lackluster until several as a science. bears more than a passing resemblance weeks later, when a better performance in We know that Ravel was deeply to Sendak’s Where the Wild Things Are (or, Moscow won raves. Prokofiev biographer affected by his experience of World War actually, vice-versa): wayward and willful, Harlow Robinson notes: “Long after I. He made many attempts to enlist, a child refuses to do his homework, and his his own idyllic childhood, [Prokofiev] first with the French Air Force and later maman—we see her from his point of view, continued to love children for their with the French Army, finally joining just a giant skirt with keys and scissors unfettered imagination, sense of play and the Thirteenth Artillery Regiment as hanging from her belt—scolds him. Soon inability to dissimulate. That he never a lorry driver in 1915 at the age of 40. we realize that everyone and everything forgot what it meant to be a child, and how Transporting munitions by night under in the little boy’s world has been hurt by children think, is evident in the playful German bombardment, Ravel suffered his misbehavior: his toys, the household but never condescending music he wrote the risks and stress of combat without pets, the princess in his storybook, the for them, most of all the phenomenally actually fighting.
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