NEWSLETTER

August 2010 NEW LECTURE SERIES

By Steve Zilles The Fall Lecture Series of the San José Op- el by Goethe and tells of a young romantic era Guild is almost upon us. We have a terrific idealist, Werther, and his disappointed love for line-up of events all of which will be at 10 AM Charlotte, who is engaged to a man 11 years on a Tuesday at the LDS Church in Los Gatos her senior. Only too late does Charlotte realize (15985 Rose Ave.). There will be five lectures her feelings for Werther. Our lecturer is Ste- on operas that will be presented by San Fran- ven Huebner, who is a specialist on French and cisco Opera and two season previews by Opera Italian operas of the 19th and 20th centuries. San José and West Bay Opera, respectively. He teaches at McGill University in Canada, The season begins, earlier than in the past, where he currently holds the position of James on August 24th with a lecture on Verdi’s Aida McGill Professor. by Phillip Gossett. Aida, one of the ultimate On September 14th, our third lecture is on spectacles, the grandest of grand operas, is set Le Nozze di Figaro by Wolfgang A. Mozart. in Egypt. It tells the story of a bitter love tri- This comedy shows the valet, Figaro, outwit- angle among the Egyptian Princess Amneris, ting Count Almaviva. Figaro is helped along her Ethiopian slave Aida, and the heroic Ram- the way (and confused) by his bride, Susanna, fis, captain of the guard. The lecturer is Phil- and the Countess. The story is both amusing lip Gossett, who is a world renowned scholar and bittersweet, one of Mozart’s best known on Verdi and Rossini. He last lectured to us works. Evan Baker, who last lectured to us on on Verdi’s La Forza del Destino in 2005. He Abduction from the Seraglio in 2009, is our is the Robert W. Reneker Distinguished Ser- lecturer. He is is an internationally published vice Professor in the Department of Music at and recognized scholar in the history of opera The University of Chicago where he has been production, who specializes on the interplay of since 1968. He has produced critical editions theatrical traditions, the requirements of pro- of a number of operas used in performance duction, and the musical inspiration required by many of the world’s most important opera to produce an opera. companies, including the MET. Our next event, on September 21st, is not Our second lecture, on September 7th (the really a “lecture”. It is a preview of the West day after Labor Day), is on Werther by Jules Bay Opera season given by José Luis Mosco- Massenet. This tragic opera is based on a nov- vich and singers from West Bay Opera. Their NEW LECTURE SERIES Continued from P. 1

season includes: La Forza del Destino by Ver- no’s “soaring lyricism”. Prof. Taruskin is well di, Turandot by Puccini, and the double bill known to us, having last lectured on Strauss’ of Dido and Aeneas by Henry Purcell and La Salome in 2009. Prof. Taruskin is known for Vida Breve by Manuel de Falla. many things, as a performer, conductor, mu- The week following the above season pre- sicologist and critic. His writings range from view, on September 28th, we have a preview program notes to scholarly papers, and he is of the last three operas in the Opera San José recognized for his contributions to the Oxford season. (Their first opera, the West Coast pre- History of Western Music. His lectures give miere of Anna Karenina, will have already refreshing new insights into the works that he been performed by this time.) Larry Hancock, describes. the Director of Productions and General Man- The final lecture of the Fall Season is on ager, and singers from Opera San José will November 2nd. The topic is an opera by Leos give us an introduction into what is to come: Janácek, The Makropulos Case. This opera Tosca by Puccini in November, The Barber of tells of the 300 year old daughter of a 16th Seville by Rossini in February and La Bohème century alchemist, Markropulos, who has dis- by Puccini in April-May. covered an elixir of life and given it to his In a season in which Puccini is already daughter, Elina. This daughter, who is also well represented, our fourth lecture on San an accomplished singer, has left a trail of in- Francisco Opera operas, on October 5th, will teresting incidents (and people) in her rather be on Madame Butterfly. This is the tragic tale long life. Our lecturer is Derek Katz who is an of a naïve teenage girl’s faithfulness to a naval Associate Professor of Music History at the officer who sees her as a mere incident in his University of California Santa Barbara. Dr. life. This has some of Puccini’s most beauti- Katz is the author of a book, Janácek Beyond ful music. Our lecturer is Timothy Flynn, who the Borders which has just been published by last lectured to us on Il Trittico in 2009. He the University of Rochester Press. He has also currently holds the chair of Performing Arts written for the New York Times and the San at Olivet College (which is between Lansing Francisco Chronicle. and Battle Creek, Michigan). He directs cho- ### ral groups, and the opera and musical the- ater performances on campus and also plays the organ. He has published recent books on Saint- Saëns and Gounod. NOTICE October 19th is the date for our fifth lecture If a current SJOG member is interested in which is given by Prof. Richard Taruskin on being on the San José Opera Guild Board, or in Franco Alfano’s Cyrano deBergerac. This is a volunteering for a committee (such as educa- story known to many of us even if the opera is tion outreach), please contact Peggy Heiman not so well known. In San Francisco, Placido ([email protected]) or Hannelore Romney Domingo and the rest of the cast will bring ([email protected]) for more information. Cyrano (and his famous nose) to life via Alfa- ### PAGE 2 SAN JOSÉ OPERA GUILD Opera Travelers World of Opera Coming to Our Doorsteps This Fall by Mort Levine To the opera fan, more choice is always bet- in Bologna which is on now, August 8 at 11 ter. And this fall season bodes especially well a.m. and August 11 at 7 p.m. to fulfill those wishes. Let’s take a quick look The ambitious lineup just ahead includes around at the gusher of opera offerings.There Götterdämmerung from Valencia’s stunning are a number of exciting live performances opera house on August 29 and Sept. 1, followed without the need of packing even an overnight by Shakespeare’s Love’s Labor Lost Sept. 12 bag. Opera San José’s west coast premiere and 15 from London. Tosca will be presented of Anna Karenina will bring in lots of travel- on Sept. 26 and 29 and a La Bohème will show ers from elsewhere when it opens this fall at on October 10 and 12. Tchaikovsky’s magical the California Theatre in San Jose. Likewise Queen of Spades from Barcelona runs Octo- a mecca for opera lovers is promised by San ber 24 and 27. Francisco Opera’s first time roll out of Cyrano Two ballets are on view over the next two de Bergerac with Placido Domingo. months: a Bolshoi offering of Les Flammes de The Metropolitan Opera is coming on Paris on Nov. 7 and 10 and a Nutcracker from strong with a lineup of 11 high definition Covent Garden before Christmas. There will films from its extensive 2010-2011 season. also be a Carmen from Barcelona on Dec. 5 These will be presented in real time Saturday and 8. mornings (in our time zone) and then will re- All of Camera 7’s shows run at 11 a.m. peat in a later evening performance midweek. Sundays and at 7 p.m. Wednesdays. Prices At least six different multi-screen complexes are $20 with a discount to $17 for purchase of will show the Met series in our own valley. three tickets at the Camera 7 box office. These sites provide a marvelous opera experi- And, if all these didn’t begin to appease ence at reasonable cost literally minutes away that opera hunger, perhaps you might want from most of our members. to help San Francisco Opera make a bigger The exciting new development this season splash with its HD roll out. SFO’s only venue is the expanded lineup from the world’s most close to us has been as part of a film series at famous stages which will be at Camera 7 in Fremont’s Ohlone college Smith Center the- Campbell’s Pruneyard center. Not only will atre. They are showing San Francisco Opera’s the number of operas expand from previous Samson and Delilah on August 7. For infor- years but there will be added ballet and theatre mation and tickets call 510-659-6031. performances from such venues as the Bol- But San Francisco Opera’s Jessica Koplos shoi in Moscow, and London’s Covent Gar- is actively interested in finding additional ven- den and the Old Globe Theatre. ues in Santa Clara county. If you have some The operas at Camera 7 were already un- leads, why not give her a call at 415-565-3234 derway this summer with Barcelona’s Abduc- or email her at [email protected]. tion from the Seraglio concluded July 28 and Looks like we’re all going to enjoy an op- Bellini’s Norma from the Teatro Communale era-packed season. ### AUGUST, 2010 PAGE 3 Bold and Beautiful: Anna Karenina

Opera San José proudly launches its 27th for .its orchestral models while utilizing arch- Anniversary Season with the West Coast pre- ing melodic utterances unique to composer miere of Anna Karenina, an American opera Carlson’s personal style. by composer David Carlson with libretto by In collaboration with noted British libret- the late Colin Graham. Eight performances tist and stage director Colin Graham, Florida are scheduled from September 11 through Grand Opera commissioned David Carlson to 26 at the California Theatre, 345 South First compose Anna Karenina in celebration of the Street in downtown San José. Opera San José 2007 opening of the Ziff Opera House in Mi- will present Anna Karenina with a new scene ami, with a co-production by Opera Theatre of added by the composer following the opera’s Saint Louis. The premiere production attract- 2007 world premiere at Florida Grand Opera. ed sold-out audiences and received wide criti- Tickets are on sale at the Opera San José Box cal acclaim. The New York Times applauded Office, by phone at (408) 437-4450 or online Carlson’s “well-crafted lyrical score” and “ro- at www.operasj.org. Anna Karenina is spon- mantic and luxuriantly textured music.” Op- sored by a grant from the Carol Frank Buck era News praised the “powerful, entertaining, Foundation and is made possible, in part, by and moving” orchestrations, and The Toronto a Cultural Affairs Grant from the City of San Star lauded the production as one of Graham’s José. “major successes.” Anna Karenina--beautiful, wealthy, aris- Anna Karenina at Opera San José is the tocratic—is nonetheless vulnerable, unhap- third production of the opera, presented with py, and caught in a rigid society that crushes a new scene written by Carlson and Mark anyone who does not follow the rules of the Streshinsky, director of the world premiere in game. Her deeply personal,tragic story has Florida. “Both director Mark Streshinsky and long been familiar through the practically per- I felt that [the character] Vronsky needed fur- fect novel by Leo Tolstoy and the two most ther fleshing out, to have it make sense that memorable film versions starring Greta Garbo Anna would fall for him, and we both saw that and Vivien Leigh. Told with compassion and a new scene could fix that to some degree,” unsentimental observation, the story follows Carlson remarked. “It’s only four minutes an upper-class woman in 19th-century Rus- long, but it seems to fill the missing link. I had sia through a loveless marriage, burning love a lot of fun with this new scene, evoking for a affair, wrenching heartbreak, and finally her few moments the style of Tchaikovsky.” sudden death. Yet more than a terminal end Opera San José is pleased to welcome re- to an unfortunate existence, Anna Karenina nowned music director and conductor Stewart concludes with the transcendent beginning of Robertson to conduct Anna Karenina. Maestro new life underscoring both the tragedy and the Robertson conducted the premiere produc- happiness of Tolstoy’s masterpiece. It is op- tion in Florida and has long been associated era at its most affecting, combining Tolstoy’s with composer Carlson, having conducted the very human drama with powerfully expressive premieres of The Midnight Angel in 1993 and American music that draws on Tchaikovsky Dreamkeepers in 1996. Robertson was music

PAGE 4 SAN JOSÉ OPERA GUILD Anna Karenina Continued from P. 4 director of Glimmerglass Opera from 1988 to Three former artists from Opera San José’s 2006, and from 1998 until 2009 he was music resident company return as guest artists for director and principal conductor of the Florida Anna Karenina. Soprano, Khori Dastoor (resi- Grand Opera. He has also served as music di- dent company member 2007-2010) performs rector of the Zürich Ballet and Scottish Opera the role of the beautiful, yet vulnerable Kitty Touring Company and conducted New York Scherbatsky. Dastoor thrilled Opera San José City Opera productions broadcast on Live audiences during the 2009- 2010 season with From Lincoln Center. her performance as Susanna in The Marriage Award-winning stage director Brad Dal- of Figaro and the title role in Manon. Recent ton returns to Opera San José to direct Anna performances featured Dastoor as Blondchen Karenina. Dalton’s previous credits with the (The Abduction from the Seraglio) in her de- company include Così fan tutte and Madama but with the Midsummer Mozart Festival. Butterfly for which he received critical ac- Appearing in the role of Anna’s elder broth- claim. He has directed productions for opera er Stiva Oblonsky will be tenor Christopher companies throughout the United States and Bengochea (resident company member 2005- abroad, including San Francisco Opera, The 2008). During Opera San José’s 2009-2010 Metropolitan Opera, Washington Opera, and season Bengochea received praise for his the State Opera of South Australia. Dalton performance of Ruggero in Puccini’s La Ron- is joined by a distinguished creative team to dine. His previous roles include Rodolfo in La bring Anna Karenina to the opera stage - cho- Bohème, the title role in Roméo et Juliette, and reographer Lise La Cour, set designer Steven Pinkerton in Madame Butterfly. In addition to C. Kemp, costume designer Elizabeth Poind- Opera San José, Bengochea has appeared with exter, lighting designer Kent Dorsey, and wig Opera Idaho, Atlanta Opera, and Opera Saska- and makeup designer Jeanna Parham. toon, to name a few, and was a featured solo- Alternating in the role of the beautiful and ist with the San Juan Symphony and Modesto passionate Anna are sopranos Jouvanca Jean- Symphony. Bass, Kirk Eichelberger (resident Baptiste and Jasmina Halimic, two new mem- company member 2001-2003, 2005- 2006) bers of Opera San José’s resident company. takes on the role of Alexei Karenin, Anna’s Jean-Baptiste made her mainstage debut with husband and a highly placed politician. Eichel- Florida Grand Opera in the role of The Abbess berger has performed numerous roles with in Suor Angelica and has been a semi-final- Opera San José including Frere Laurent in Ro- ist in The Jensen Foundation Vocal Competi- meo and Juliette, Leporello in Don Giovanni, tion. Halimic received accolades for her Op- Guglielmo in Così fan tutte and Colline in La era San José debut as Magda in the company Bohème. He was recently seen as The Emper- premiere of Puccini’s La Rondine during the or in Tan Dun’s Tea: A Mirror of Soul with 2009 - 2010 season. Other recent performanc- the Opera Company of Philadelphia and sang es include the Countess (Le nozze di Figaro) the roles of Timur in Turandot and Mephis- for the Intermezzo Foundation in Belgium and topheles in Faust with The Festival Opera of Mimì (La bohème) with Amore Opera in New Walnut Creek. ### York City. AUGUST, 2010 PAGE 5 TOSCA A study in political and audience upheaval By Susan English The Munich Opera Festival premiered Luc els, and patrician smiles. Men made sure their Bondy’s production of Tosca at the Nation- tuxedos didn’t obscure their oversized gold or altheater on June 28, 2010. This is the same platinum watches. Many on the street came to production the Met performed on their opening admire the procession of beautifully dressed night last September. The New York Times re- audience members as they climbed the broad view was titled “For Opening Night at the Met- stairway to the Bayerische Staatsoper. Once ropolitan, a New Sound: Booing.” Quoted in the opera began, however, the focus was riveted the review was Renaud Machart, chief critic of on the stage. the French newspaper, Le Monde, “the booing A reviewer noted that the director’s vision is resulted from ingrained expectations based on a sparse one. The sets and costumes are stark. ‘fake traditions’ of opera directions.” (This is There are violent and lewd touches. Tosca the same production broadcast in HD for the gashes the portrait of the Magdalene, Scarpia Met.) clasps a statue of the Madonna in a sacrilegious At the Munich premiere, audience members embrace, and three lascivious women drape were delighted with the singing of Karita Matti- and fondle him in his study at the outset of Act la and Jonas Kaufmann in the two starring roles. II. But Mr. Bondy said that his direction was The audience also supported Juha Uusitalo as rooted in the text. He seemed to capture the the villain Baron Scarpia, and Fabio Luisi as root of the booing when he noted, “To think one the conductor. However, when the production work exists, and it has a final interpretation, is team, including Luc Bondy, was brought on a problem.” stage, many boos could be heard. The director All of this controversy has apparently pro- blamed a “strain of hidebound traditionalism” duced a positive outcome. All further perfor- for the lusty boos. mances of the opera were sold out, so on July This audience member was enthralled by 10 an audio-visual transmission was broadcast the experience of Munich’s opera experience. at Max-Joseph-Platz, and television stations Women arrived in flowing gowns, flashing jew- televised the performance that same day. ### VOLUNTEERS NEEDED At the end of August, West Bay Opera will the end of October. If you are interested in vol- email Bay Area schools to announce their opera unteering your time to help promote this opera in the schools program. Helpers are needed to in the schools program, please call Thelma Dry telephone an assigned batch of schools to verify at 408-356-7276 or email at thelmadry@yahoo. their receipt of the email and to determine inter- com. est in the program. Whenever a school says that If you are interested in volunteering for Op- it wants to schedule a program, others will take era San José, please contact Virginia Perry, Se- over and handle all the details. With enough nior Director of Marketing and Development, telephone help, the schedule is usually full by at [email protected] or 408-437-4463. ### . PAGE 6 SAN JOSÉ OPERA GUILD CALENDAR

August 5,6,7,8 L’Elisir d’Amore by Gaeta- garo by Wolfgang Amadeus Mozart, see Aug. no Donizetti, Merola Opera, Cowell Theater at 24th for further information. Fort Mason Center, San Francisco Opera Box September 21 San José Opera Guild Lec- Office, (415) 626-1729, $40-$60, Students ture, Jose Luis Moscovitch from West Bay Op- $25. era with a Season Preview, featuring singers, August 21 Merola Grand Finale, War Me- See Aug. 24th for further information. morial Opera House, San Francisco, San Fran- September 28 San José Opera Guild Lec- cisco Box Office, (415) 626-1729, $25-45, Stu- ture, Larry Hancock from Opera San José with dents $15. a Season Preview featuring OSJ Resident Art- August 24 San José Opera Guild Lecture, ists, see Aug. 24th for further information. Philip Gossett speaking on Aida by Giuseppe October 5 San José Opera Guild Lecture, Verdi, 10 am, LDS Church , 15985 Rose Av- Timothy Flynn speakng on Madama Butterfly enue, Los Gatos, SJOG Members free or $10 at by Giacomo Puccini, see Aug. 24th for further the door. information. August 31 Preview for Anna Karenina, October 10 Save the Date “The Big Birth- San Jose Woman’s Club, 75 South 11th street, day Bash and Variety Show”. Join Opera San San Jose. $25. Wine and light hors d’oeuvres, José for a Champagne benefit and tribute to 6:30pm; Program 7-8pm. Vocal preview from General Director Irene Dalis, featuring the cur- members of the cast followed by a lecture by rent and former resident artists of OSJ, 1-3 pm, General Manager, Larry Hancock. Reserva- The San Jose Improv, Tickets $250 and $150. tions required; 408 437-4450. For reservations call 408 437-4450. September 7 San José Opera Guild Lec- October 15, 17, 23, and 24 West Bay Op- ture, Steven Huebner speaking on Werther by era, La Forza del Destino by Giuseppe Verdi, Jules Massenet, see Aug. 24th for further infor- tickets $55-$60 general admission, $45-$50 for mation. seniors, box office 650 424-999. September 11 Opening Night Dinner for October 19 San José Opera Guild Lecture, Anna Karenina Arcadia Restaurant, downtown Richard Taruskin speaking on Cyrano, by Fran- San Jose, $125 pp. No-host reception with com- co Alfano, see Aug. 24th for further informa- poser David Carlson at 5pm; dinner at 6pm. tion. Reservations are required: 408-437-4450. November 2 San Jose Opera Guild Lec- September 11, 12m, 14, 17, 19m, 23, 25, ture, Derk Katz speaking on The Makropulos 26m (m=matinee) . Opera San José presents Case, by Leos Janácek, see Aug. 24th for fur- the West Coast premiere of Anna Karenina, an ther information. American opera by composer David Carlson, November 13, 14, 18, 20, 21, 23, 26, 28, based on Leo Tolstoy’s literary classic. Califor- Opera San José presents Tosca by Giacomo nia Theatre, 8 pm except Sundays at 3pm. Tick- Puccini, California Theatre, 8 pm except Sun- ets: 408-437-4450 or www.operasj.org. days at 3pm. Tickets: 408-437-4450 or www. September 14 San Jose Opera Guild Lec- operasj.org. ### ture, Evan Baker speaking on Le Nozze di Fi-

AUGUST, 2010 PAGE 7 San José Opera Guild Nonprofit Organization c/o Argo Gherardi U.S. Postage P.O.Box 33025 PAID Los Gatos, CA 95031-3025 Saratoga, CA Permit No. 5

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AN INVITATION TO JOIN Established in 1947, the San José Opera Guild was formed to promote the appreciation and enjoyment of the operatic arts and to provide both volunteer and financial support to opera. The Guild incorporated in September 1958 as a non-profit corporation under the laws of California. The origi- nal purpose of the Guild has not changed over the years since its founding. Financial support of promising young artists in the community is a high priority for the Guild, which helps sponsor singers each year at Opera San José, and the Merola Opera Program, as well as other opera groups. Throughout the year, the Guild sponsors lectures and previews at three different venues to coincide with the San Francisco Opera and Opera San José’s seasons. Membership Individual $45 Name______Levels: Under 30 $30 Family $60 Name of Family Member______Organization $75 Donation $____ Address______Total $____ Make check payable to SJOG City______Zip______Mail this form and check to: Membership Chairman Telephone (______) ______- ______San José Opera Guild P.O. Box 33025 Email______Los Gatos, CA 95031-33025 The San José Opera Guild is a nonprofit 501(C)(3) organization. Contributions are deductible to the extent provided by law. Does your company have a matching grant program? PAGE 8 SAN JOSÉ OPERA GUILD Visit our website at www.sjoperaguild.org