Tag Archives: chamber opera

Haunting #TheCell Hits Philly for Nat’l Opera Week; Opera Upper West Not Phoning It In

the-cell

A special seasonal prediction from the all-knowing and all-seeing Mme. Operatoonity:

Listen to me, darlings. Your favorite haunts for Halloween weekend are going to be the Ruba Club in downtown Philly and the Kevin D. Marlo Little Theatre at Harcum College in Bryn Mawr because of a powerful double bill of immersive opera theatre, courtesy of Opera Upper West.

The New York based company announces three Philly-area performances of #TheCell, a contemporary pairing of Menotti’s The Telephone and Poulenc’s La voix humaine in celebration of National Opera Week.

Thematically, the work combines two amazingly complementary sides of dramatically different pieces featuring young lovers whose passions are obscured in the technology that binds them–the dreaded cell phone–in one clever and often haunting masterwork. Though both pieces revolve around a mobile device, I promise you that this talented and spirited young company is definitely not phoning it in.

The chamber opera runs Friday, October 28 at 8pm at the Ruba Club (416 Green Street, Philadelphia 19123) and on Saturday, October 29, and Sunday, October 30 at the Kevin D. Marlo Little Theatre at Harcum College (750 Montgomery Avenue, Bryn Mawr, PA 19010).

The production stars Rachel Sigman as Elle, Meghan Mae Curry as Lucy, and Matthew Lulofs as Ben and is directed by Alexandra Fees, artistic director of Opera Upper West, who promises that operagoers will never hear their phones ring the same again after experiencing this work.

Rachel Sigman sings Elle in Poulenc's La voix humaine

Rachel Sigman sings Elle in Poulenc’s La voix humaine

The New York Times has lauded the work as a “A captivating experience…almost voyeuristic,” and by New York Classical Review as “beautifully crafted, and troubling to watch.”

Meghan Mae Curry as Lucy and Matthew Lulofs as Ben in Menotti's The Telephone

Meghan Mae Curry as Lucy and Matthew Lulofs as
Ben in Menotti’s The Telephone

I stopped in on a run-through yesterday at Harcum College. #TheCell augurs to be perfect Halloween weekend fare because its powerful themes, shared in such an intimate setting, will haunt you–that’s the trick part. The performances will delight you–and that’s the treat.

Alexandra Fees took time out of her busy schedule to answer a few questions about #TheCell for Operatoonity readers.

How did you decide to combine these two pieces in a single bill?
The Telephone and La voix humaine feature strong female leads obsessively immersed in their phones to gain connections that have already been lost. The two operas of 30 minutes each are musically and dramatically opposite: The Telephone (Menotti) is a fresh and hilarious farce, revealing a snapshot of modern relationships as Ben tries to propose to Lucy who can’t stop texting. La voix humaine (Poulenc) is an exposed and sensual drama in which a woman is stuck in a murderous room on the phone with her ex-lover. Thematically, however, these two pieces intertwine as young lovers attempt to bypass the technology that isolates them.

As Isaac Mizrahi, honorary chairman of National Opera Week, said of social media: “The greatest parts of our civilization are being tested.” Our cell phones simultaneously connect and isolate us. Rachel Sigman, starring in La voix humaine, calls phones our “modern monsters”: Phones carry our secrets. Phones are with us at all times. Phones create intense anxiety at the thought of their death. Phones, as in #TheCell, create multiple levels of truth at any moment, separating the voice from the body — what is said from what is meant. A person can be anywhere and convince you they are somewhere else.

The compositions of Menotti and Poulenc, at one time dramatized, now seem eerily prophetic and on target in today’s world.  This work is especially appropriate at Halloween, where we come face-to-face with our monsters that are typically overlooked.

Where did this show premiere and when?
This show premiered this summer at Cafe Tallulah’s underground cocktail lounge for the inaugural NY Opera Fest hosted by NY Opera Alliance, a consortium of independent opera companies in New York.

How did you choose Philadelphia for a location for this production?
At the production’s conception, we were looking to give more opportunities to emerging singers, especially women, by performing the chamber opera with several different casts and observing how the show would change based upon the actors in each role.  The Philadelphia cast features Rachel Sigman as Elle, Meghan Mae Curry as Lucy, Matthew Lulofs as Ben, and is accompanied by Kat Bowman.

We are thrilled to be hosted by two great venues: Ruba Club (Oct 28) is a historic Russian Club in downtown Philadelphia with a vintage cabaret space and cocktail bar. At Friday night’s kickoff, we will have an after party with drinks, dancing and billiards! The Kevin D. Marlo Little Theatre (Oct 29-30) at Harcum College is an intimate space in the heart of Bryn Mawr. Holding a rich history of experimental theatre, the facility was recently restored in honor of Kevin D. Marlo, a passionate actor who was killed during the September 11th attack on the World Trade Center.

How was Opera Upper West founded?
Opera Upper West was founded by myself (Alexandra Fees) and Aine Hakamatsuka, two New York based singers, to explore immersive opera as authentic drama rooted in the human experience. The first season featured The Marriage of Figaro as a real-time wedding in which audience members were the guests, complete with champagne toast, wedding cake, and throwing of the bouquet.

Can you characterize Opera Upper West’s niche?
Opera Upper West draws people who are looking for unique entertainment and social experiences, who want to explore something new, and who are interested in experiencing music theatre (opera) for the first time. For those who are seasoned operaphiles, our events are an opportunity to breathe in the musical drama from up close.

What are your future plans for the company? Short-term? Long-term?
Opera Upper West invests in educating emerging singers in a new approach to acting in opera, beginning with understanding the human experience and applying that understanding to the roles we play onstage. In the future, we would love to set up sister-boutique companies throughout the United States so that Americans have the opportunity to feel ownership over the art form and can look forward to experiencing chamber opera theatre as a social event.

Is there a role for chamber opera (a more intimate opera experience) the way to attract more millennial operagoers?
Creating a social event within a chamber opera, especially one concerning technology and its ironic ability to break down lines of connection, is a riveting experience for anyone involved in these digital platforms. We guarantee that you will never hear your phone ring the same way again.

Anything else you want to tell me about this show or yourselves?
Tickets are $35 General Admission and $45 VIP Premium Seating and can be reserved at www.OperaUpperWest.Eventbrite.com. Cash Bar available at Ruba Club, and Halloween after-party included every night.

For more information, please contact
Alexandra Fees, Artistic Director
operaupperwest@gmail.com
(256) 682-9912

 

 

 

 

Leave a Comment

Filed under 21st Century Opera, North American Opera, opera and irony, Opera and social media, opera and technology

San Fran chamber opera offers contemporary double bill this weekend

OP-logo-siteHave you heard of Opera Parallèle? It is a young San Francisco company bringing high level performances of contemporary operas to the Bay Area (at great prices, nonetheless).

According to their website, Opera Parallèle is a professional, nonprofit organization that develops and performs contemporary chamber operas that are internationally acclaimed but rarely performed in the region.

In recent years, the company has expanded, even in a down-turned economy, receiving fabulous reviews such as this notice for their 2011 production of Philip Glass’s Opera, Orphée. The San Francisco Chronicle had this to say about Opera Parallèle:

“a San Francisco company devoted to contemporary chamber opera, scored a full-on triumph over the weekend…ravishing and delicate, haunting and playful, somber and romantic, the production fused story, music and stagecraft into an engrossing evening of music theater.”

Its upcoming double bill performance of Bernstein’s Trouble in Tahiti (see trailer below) and Barber’s A Hand of Bridge will be performed in San Francisco this weekend: April 26-28.

Here to introduce Operatoonity readers to the couple that runs the artistic direction of the company are Artistic Director Nicole Paiement and her husband, Concept Designer/Stage Director Brian Staufenbiel.

photo of Nicole Paiement

Artistic Director Nicole Paiement

Welcome to Operatoonity, Nicole and BrianHow intimate is your venue?  We generally perform at YBCA, which has approximately 700 seats. However, for our upcoming Bernstein/Barber production this weekend, we are excited to be at ZSpace, which only holds around 225. This will bring the audience that much closer to the stage and the performers. The intimate story of both “Trouble in Tahiti” and “A Hand of Bridge” make this the perfect venue.

What excites you about contemporary chamber opera?  The subject matters of most chamber opera will have more of an intimate and direct story line. I am a curious conductor who enjoys the challenges of mounting new works that are either rarely done or even have never been performed. I love the idea of bringing opera into the 21st century and helping redefine the form.

So many things excite us. First, because the orchestration is not as large, singers can sing with an even wider spectrum of colors, without worrying about being heard. You can truly hear pianissimo moments.

A smaller orchestra greatly widens the venue possibility – thus bringing opera to a variety of spaces and audiences to many more venues to see contemporary chamber opera.

photo of brian stauffenbiel

BRIAN STAUFENBIEL
Resident Stage Director, Production Designer

How did you two find each other and decide to found Opera Parallèle? (Okay, that might be two questions.)  I met Brian the first year I moved to California. He sang in some of my performances as a tenor. We quickly realized that we had a similar positive energy and artistic dreams.  I first founded Ensemble Parallèle – which was a broader organization. We focused on contemporary music and collaborative work.

After a few years, I realized that we needed to focus on one area and that contemporary opera was the most attractive form. It combines contemporary music with the narrative form, an important aspect in today’s film and television society and also has endless collaborative possibilities with other art forms.

How do you decide what productions to present? How long is that process, and what does it entail?  We are constantly working on repertoire and have a five year plan that keeps being revised as needed. Repertoire is a key element to a successful company. As we look at scores, we think of many things. Certainly, the quality of the piece is crucial. We also try to diversify our musical selection to enlarge our audience base. This is why we will have ranged from Berg to Glass; Harbison to Golijov.

We think of collaborative possibilities in an opera. With the Golijov this year, we were able to collaborate with the SF Girl’s chorus and Flamenco dancers including choreographer La Tania.

We consider the venue. Many works are venue specific.

We also try to balance between new works and masterworks. Wozzeck in the new chamber reorchestration brought back to life a great masterpiece of the 20th century. Same for Harbison (we commissioned that reorchestration). Golijov is a more recent work and our commission of Gesualdo, Prince of Madness, which will receive a workshop reading this June, brings new work in the repertoire.

We think of American versus works from other countries and try to present a variety of composers. Next year we will do a French opera and an English opera.

We try to bring “premieres” to the area, since SF is such a curious city. Once we identify works, we have some many things to consider before finalizing the choices. Cost is certainly an important one. Number of musicians needed in the pit since there are few venues with sizable pits.

a photo from Harbison's Great Gatsby

Opera Parallèle presented John Harbison’s The Great Gatsby in 2012 | Photo by Rapt

What is the difference between contemporary opera and modern opera?  I think everyone has their own definition of this and I am not sure of the answer.  Contemporary comes from the latin root tempor – tempus, meaning something “of our time”–thus opera of “our time.”

Modern can have the sense that it departs from a more traditional style. Not all contemporary operas are modern, if you think of it this way. There are “modern” operas that are not necessarily contemporary. Wozzeck is a good example.

For me, contemporary opera has a broader possibility of embracing a variety of styles.

Are those who worship classic opera disposed to appreciate the contemporary works produced by Opera Parallèle?  Definitely. Contemporary opera is in many ways a continuation of classic opera. It was not created in a vacuum. Our productions serve the music and the artform as a whole and I think any lover of the arts would enjoy our production.

How did you select “Trouble in Tahiti”? Does it exude the same kind of middle-class dysfunctional ennui as Revolutionary Road? There are definitely similarities between Yates’ novel and Bernstein’s opera. Both speak of the hopeless emptiness of their repetitive lifestyle in suburbia. However, in the opera, there is a feeling of redemption at the end that we certainly do not get in Yates’ book.

We were looking for an opera that would balance our opera in February, Golijov’s Ainadamar.  We wanted something American that would embrace a completely different style that would work well at Z Space.

How did you discover “A Hand of Bridge”? What made you pair it with “Trouble in Tahiti”?  In Barber’s opera, two couples play a hand of bridge, during which each character has a short aria in which he or she expresses their dissatisfaction with life. They are obviously also not happily married. We have cast one of the couple as being Dinah and Sam of “Trouble in Tahiti.” So in this way, Barber’s opera becomes the prologue to a Hand of Bridge – and the epilogue since we will repeat it in the lobby at the end of the evening. The 10 minute opera is brilliantly composed on a libretto by Menotti.  All these wonderful artists from the mid-1950’s come together in one program.

You can definitely hear that the work is a precursor to “West Side Story”? What is it about the score that creates that aha moment with the more familiar work?  When Dinah sings her first aria – “I was standing in a garden,” we hear the great lyricism that Bernstein will later write in West Side Story.  The “train” music when Sam leaves the house to get to his office,  we recognize the great syncopated rhythmic style of Bernstein – so unique and powerful.

As promised, here is the promo video for “Trouble in Tahiti”:

YouTube Preview Image

* * *

Stay In Touch with Opera Parallèle!

facebooktwitteryoutube

 

Leave a Comment

Filed under 21st Century Opera, chamber opera, contemporary opera, Interviews, North American Opera, opera milestones, Q&A

Jane Austen and opera

Jane Austen!

Now that I have your attention, let’s talk opera. I woke up in the middle of the night, asking myself whether anyone had written an opera based on one of Jane Austen’s books. Because I hadn’t heard of any while researching the opera world, I comforted myself that a Jane Austen opera was virgin territory and went back to sleep. Once I had my morning coffee in me and the fog of sleep lifted, I Googled Jane Austen opera…and guess what?

You guessed it.

Of course, there have been operas written about Jane Austen books, Pride and Prejudice mostly. A few years ago, a contemporary composer presented the first act of his opera Pride and Prejudice at the North Carolina School of the Arts.

Without much clicking, I found a chamber opera in Australia based on Pride and Prejudice. (In the  musical world, chamber always implies small and intimate. This opera had two characters in it.)

What started out as a bald-faced attempt to drive Internet traffic to my blog turned out to be  a legitimate post on Jane Austen and opera.

Of course, Mark Twain loathed both Jane Austen (he detested her characters without reserve) and opera (he’d prefer to be skinned–alive–presumably).

Maybe opera and Jane Austen have more in common than I ever imagined.

4 Comments

Filed under 21st Century Opera, Terminology