Tag Archives: Glimmerglass Festival

odd duck ‘Ariadne’ is oddly satisfying at Glimmerglass

Operatoonity.com reviewAriadne in Naxos presented by Glimmerglass Festival
Live performance: Monday, July 28, 2014
Alice Busch Opera Theater; Cooperstown, NY
4-stars

 

Ariadne in Naxos presented by Glimmerglass Festival, 2014 | photo by Jessica Kray

Ariadne in Naxos presented by Glimmerglass Festival, 2014 | photo by Jessica Kray

To put it plainly, Ariadne in Naxos is an odd show. It’s a mashup of German slapstick that is not nearly as funny to Americans as Germans think it is and obscure if not obsolete homage to Greco-Roman mythology. So, why not do something completely unexpected and set the show smack in the middle of the Great State of New York? On a farm. Did I mention in a barn…with live goats and chickens?

The Glimmerglass Festival's 2014 production of Strauss' "Ariadne in Naxos." Photo: Karli Cadel/The Glimmerglass Festival.

The Glimmerglass Festival’s 2014 production of Strauss’ “Ariadne in Naxos.” Photo: Karli Cadel/The Glimmerglass Festival.

Glimmerglass Festival’s new production of ‘Ariadne’ (music by Richard Strauss) employed an English adaptation of von Hofmannsthal’s original libretto by Kelly Rourke for most of the show–the second half “real” opera scenes were sung in German. Again, another interesting twist that worked.

The premise is silly. Two different classes of performers have been invited to this New York farmstead to perform both an opera and a burlesque. After arguing over which portion of the entertainment will go first, at the last-minute they are told that they have to combine both styles in one show, which comprises the second act.

Director Francesca Zambello made other signature choices that stamped this new production as hers besides the barnyard setting and English/German libretto: the diva played by Christine Goerke was riotously comic as the Prima Donna in the first act, mugging unabashedly for the audience:

Christine Goerke as Prima Donna in The Glimmerglass Festival's 2014 production of Strauss' "Ariadne in Naxos." Photo: Karli Cadel/The Glimmerglass Festival.

Christine Goerke as Prima Donna in The Glimmerglass Festival’s 2014 production of Strauss’ “Ariadne in Naxos.” Photo: Karli Cadel/The Glimmerglass Festival.

The burlesque troupe was attired and comported themselves like a hip hop gang:

L to R: Gerard Michael D'Emilio as Truffaldino, Carlton Ford as Harlequin, Rachele Gilmore as Zerbinetta, Christine Goerke as Ariadne, Andrew Penning as Scaramuccio and Brian Ross Yeakley as Brighella in The Glimmerglass Festival's 2014 production of Strauss' "Ariadne in Naxos." Photo: Karli Cadel/The Glimmerglass Festival.

L to R: Gerard Michael D’Emilio as Truffaldino, Carlton Ford as Harlequin, Rachele Gilmore as Zerbinetta, Christine Goerke as Ariadne, Andrew Penning as Scaramuccio and Brian Ross Yeakley as Brighella in The Glimmerglass Festival’s 2014 production of Strauss’ “Ariadne in Naxos.” Photo: Karli Cadel/The Glimmerglass Festival.

The temperamental Composer sung by Catherine Martin was in trousers, but it was no trouser role. Nor did she play it “straight” since she winds up in a girl-on-girl relationship with Zerbinetta played by Rachele Gilmore.

Rachele Gilmore as Zerbinetta and Catherine Martin as Composer in The Glimmerglass Festival's 2014 production of Strauss' "Ariadne in Naxos." Photo: Karli Cadel/The Glimmerglass Festival.

Rachele Gilmore as Zerbinetta and Catherine Martin as Composer in The Glimmerglass Festival’s 2014 production of Strauss’ “Ariadne in Naxos.” Photo: Karli Cadel/The Glimmerglass Festival.

It was also the most sexualized version of  ‘Ariadne’ I’ve ever seen, with the burlesque troupe doing more twerking than you’ll likely find in a Rihanna video and Zerbinetta strutting her stuff in skin-tight leggings held up by  a garter belt, while fanning herself with black ostrich feathers.

Rachele Gilmore as Zerbinetta in The Glimmerglass Festival's 2014 production of Strauss' "Ariadne in Naxos." Photo: Karli Cadel/The Glimmerglass Festival.

Rachele Gilmore as Zerbinetta in The Glimmerglass Festival’s 2014 production of Strauss’ “Ariadne in Naxos.” Photo: Karli Cadel/The Glimmerglass Festival.

All distinctive choices that, strangely enough, all made this show succeed in a unique way.

The production values were to be savored. A  charming, original, and functional set by Troy Hourie, inspired costumes by Erik Teague, atmospheric lighting by Mark McCullough, fun and funny hair & makeup by Anne Ford-Coates, and comedic choreography by Eric Sean Fogel all combined seamlessly to carry out Zambello’s distinctive vision for the production.

Of course, what would classic opera be without voices of exceptional character? It would be nothing, which is why opera is so very challenging, perhaps the most challenging of all art forms to pull off.

The singers in ‘Ariadne’ were all extraordinary. Christine Goerke exhibited tremendous vocal power and control. Her comic timing as the Prima Donna was so glorious that I missed her Divine-Miss-M spark in the second act while singing the character Ariadne in the legit opera. Jen Houser, Beth Lytwynec, and Jacqueline Echols were a sheer delight as the vocal trio Naiad, Dryad, and Echo, showcasing some of Strauss’s most beautiful and soaring composition abilities in Act II.

L to R: Jeni Houser as Naiad, Beth Lytwynec as Dryad and Jacqueline Echols as Echo in The Glimmerglass Festival's 2014 production of Strauss' "Ariadne in Naxos." Photo: Karli Cadel/The Glimmerglass Festival.

L to R: Jeni Houser as Naiad, Beth Lytwynec as Dryad and Jacqueline Echols as Echo in The Glimmerglass Festival’s 2014 production of Strauss’ “Ariadne in Naxos.” Photo: Karli Cadel/The Glimmerglass Festival.

Despite their twerking or perhaps because of it, the Back-Street-Boys-Meets-Sweeney-Todd comedy troupe of Gerard Michael D’Emilio as Truffaldino, Carlton Ford as Harlequin, Andrew Penning as Scaramuccio, and Brian Ross Yeakley as Brighella were sheerly delightful and outrageously costumed. All happened to be talented singers and actors and captured focus every time they appeared on stage.

Clockwise from top: Brian Ross Yeakley as Brighella, Christine Goerke as Ariadne, Gerard Michael D'Emilio as Truffaldino, Andrew Penning as Scaramuccio and Carlton Ford as Harlequin in The Glimmerglass Festival's 2014 production of Strauss' "Ariadne in Naxos." Photo: Karli Cadel/The Glimmerglass Festival.

Clockwise from top: Brian Ross Yeakley as Brighella, Christine Goerke as Ariadne, Gerard Michael D’Emilio as Truffaldino, Andrew Penning as Scaramuccio and Carlton Ford as Harlequin in The Glimmerglass Festival’s 2014 production of Strauss’ “Ariadne in Naxos.” Photo: Karli Cadel/The Glimmerglass Festival.

But this show really belonged to Zerbinetta. And it is supposed to the way it is written, despite its being titled Ariadne in Naxos. It is Zerbinetta who has the biggest transformation amidst an 18-minute aria in Act II. Yes, an 18-minute aria, which Rachele Gilmore sung as if she was born to do it. I was stunned to read other critics’ reviews of this show that lacked significant mention of Ms. Gilmore because she makes this show at Glimmerglass. Yes, she is very shapely and attractive and works every single feminine wile God has endowed her with, which, by the way, does not diminish her talent, not one iota. She also has tremendous operatic chops and deserves highest praise for her performance. So, why such stingy reviews for this performer, compadres?

Conductor Kathleen Kelly has a graceful, fluid conducting form on the podium. While ‘Ariadne’ did not constitute the most ideal balance between orchestra and performers that I’ve encountered at Glimmerglass, the singers were overall capably supported. I did notice a few times that singers were struggling to be heard. Some such as Catherine Martin even lost notes, and the conductor needs to be mindful not to overpower the performers and leave them “stranded” during difficult passages.

Several break-out performances and super-solid production values make this an ‘Ariadne’ worth seeing. And I can almost assuredly guarantee, you’ve never seen an Ariadne like this one. Ariadne in Naxos continues through August 23.

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Glimmerglass Festival offers greenery, melody—magic

Glimmerglass Festival

The 2014 Glimmerglass Festival Season kicks off on July 11 with my favorite opera Madame Butterfly

Tucked into the rolling hills of Central New York State, edged into the western tip of Lake Otsego, lies an opera experience—the Glimmerglass Festival—pairing artistry and aspiration, elegance and enterprise, greenery and gravitas.

Nathan Gunn as Sir Lancelot

Nathan Gunn sang Sir Lancelot in last season’s “Camelot”

Like swallows to Capistrano, happy patrons return to Glimmerglass season after season to enjoy professional opera, informative talks and lectures, and a growing roster of programs both educational and entertaining in relaxed, comfortable surroundings.

The Glimmerglass Festival has the humblest of origins. It began in 1975 as the Glimmerglass Opera Theater housed in a local high school auditorium. In the intervening years, it has amassed an impressive number of supporters and abundant resources—capital and artistic. Within one generation it transformed itself into a summertime destination where opera lovers can enjoy the most sophisticated of art forms in an atmosphere of pastoral beauty. In 1988, they added a Young Artists program providing performance experience and advanced training for dozens of emerging singers. That’s in addition to gainful employment for hundreds of professionals who make their living in the performing and classical arts.

Abby speaks with Cat Hennessy, a draper forThe Music Man | Photo: William M. Brown/The Glimmerglass Festival

Glimmerglass’s Abby Rodd speaks with Cat Hennessy, a draper for ‘The Music Man’ | Photo: William M. Brown/The Glimmerglass Festival

Glimmerglass is nestled into 26 acres of farmland. The grounds are dotted with a half dozen or more outbuildings including performance spaces, a scene shop, costume barn, wardrobe trailers, and an administrative pavilion. The physical layout of the campus all around you serves as a tangible reminder that it takes a village to produce opera, something we tend to forget whenever we filter our opera experience solely through selected principals’ performances, i.e., whether the tenor hits all his top C’s.

The costume shop wall at Glimmerglass--an organizer's dream

The costume shop wall at Glimmerglass–an organizer’s dream

The centerpiece of the Glimmerglass experience is the Alice Busch Opera Theater, towering stories over the landscape’s rolling hills, with barnlike lines and neutral colors complementing rather than clashing with the natural setting. Inside, however, is housed an acoustically engineered, state-of-the-art theater designed expressly for opera performance that rivals and (in some cases) betters big city venues. The 914-seat theater, which opened in 1987, is the first built specifically for opera performance since the Metropolitan Opera Theater in Lincoln Center was completed in 1966.

Despite the fact that the theater is one-quarter the size of the Met, you still might want to bring along opera glasses if you enjoy seeing close-ups of the performers. The audience seating is generously raked, providing great sightlines and ample legroom but ultimately more distance between the house and the stage. Also, the theater isn’t climate controlled. They use fans to cool things down and blankets to warm you up. It can get unseasonably cold and rainy in Central New York during any summer month, so you might want to bring a wrap or dress in layers.

Before performances and during intermission, festival concessions are available and include hearty salads and wraps (even vegan items), snacks, and ice cream, just outside the theater. Beverages include a range of wines and beers, including local brews and varietals worth sampling. New York State wines are often compared favorably to those grown in the German Rhine. Festival goers may enjoy picnicking on the grounds before evening shows and after matinees. And in the event you forgot your picnic basket, one local restaurant delivers. Whether you buy a meal there or bring it in, you can avail yourself of the plentiful spaces set aside for al fresco dining—from café tables to benches to picnic tables situated under a large canvas tent.

Last season's Gents Night Out at Meet Me at the Pavilion was a tremendous showcase--memorable and fun.

Last season’s Gents Night Out at Meet Me at the Pavilion was a tremendous showcase–memorable and fun.

If you are considering a trip to Glimmerglass, a name derived from James Fenimore Cooper’s description of Lake Otsego in Leatherstocking Tales, plan to spend several days in Central New York. You need at least three to four days to take in all the productions Glimmerglass offers in repertory (for exactly that purpose). Fleshing out this year’s mainstage schedule are a growing number of informative opera events and recitals including “Showtalks” on and around the festival grounds and a new “Meet Me at the Pavilion” series of special performances showcasing this year’s Artist in Residence Deborah Voigt as well as other guest artists. There’s also a world-class museum in nearby Cooperstown—the Baseball Hall of Fame (which includes the American history of cricket)—as well as boutiques, baseball-kitsch shopping, and café- and fine-dining in and around the museum.

If you favor lakeside lodging, hotels and motels line the shore of Lake Otsego, roughly nine miles long from tip to tip. Some lovely restaurants operate lakeside, too, affording scenic views of the lake while dining. Numerous B&B’s in the region are worth investigating. Many are an easy commute to the festival grounds while possessing more charm and actually costing less than more popular chain motels.

Cooperstown, New York, is a charming place to shop or even window shop

Cooperstown, New York, is a charming place to shop or even window shop

Walking shoes are a must for Cooperstown where’s there’s limited parking within city limits but good public trolley service. You may also be more comfortable wearing your Keds  to the opera, too, especially if you’ve trekked to the middle of a shady grove for your pre-performance picnic. Since there’s no dress code at Glimmerglass, people don everything from walking shorts and sandals to shifts and high-heels. However, if you get caught in a midsummer cloudburst, it’s a hike from the parking areas across the front lawn to the theater entrance, so you might want to pack a pair of boots. For those who can’t make such a trek (elderly or handicapped patrons), they offer golf cart shuttle services between the theater and the parking areas.

From the moment you pull into one of the gravel parking lots until the last note the orchestra sounds, literally hundreds of people have worked long and hard, months before you arrive, to deliver the entertainment experience at Glimmerglass. Since they’re all professionals or devoted volunteers, you’re not likely to see them sweat. Unless, of course, you take the free backstage tour. You’ll be amazed at the hours of artistry, the pluck, the pure perspiration that must be invested for every second on stage.

 

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Glimmerglass Festival is for lovers…

GPhoto FAI’d hoped to grab your attention with that headline. But it’s true. As I wrap up my vacation time in Cooperstown, New York,  home to the Glimmerglass Festival, I am reminded of what a rich and fulfilling experience I have there each year. And not just as a lover of opera, musical theater, and dance.

Did you know that Glimmerglass Festival also appeals to lovers of:

  • Picnics–you can have one before or after a show on the grounds
  • Ice cream–Hagen Dazs bars–yum!
  • Beer–they have delicious craft beers for sale at intermission
  • Wine–New York and California labels available, also at intermission
  • Strolling–roam the grounds during intermission
  • Hobnobbing–meet opera greats and near-greats after audience Q&A’s
  • People watching–nuff said
  • Scarves–they have dozens of lovely scarves and other items for sale. Kitschy stuff too if you fancy that.
  • Cabaret–during their “Meet Me at the Pavilion” series, you can see cabaret style entertainment and intimate talks.
The lovely pavilion at the Glimmerglass Festival for intimate and cabaret entertainment

The lovely pavilion at the Glimmerglass Festival for intimate and cabaret entertainment

It was “Gents Night Out” at the Pavilion on Monday, July 29. The leading men of the 2013 offered solos and duets–cabaret style. What a fun show. Highlights for me included Jason Hardy’s witty little ditty “And Her Mother Came, Too,”   a beautiful rendition of “Turnaround” by tenor Jay Hunter Morris who accompanied himself on acoustic guitar, and “Ive Got Rhythm,” a surprise song-and-dancer number by countertenor and aerialist Anthony Roth Costanzo.

If you’ve never been to Glimmerglass Festival, you really should give it a go. I love the show talks before every performance–I swear I have more convolutions in my brain as a result. I learn many new things each time I go, and most importantly, I can relax and have a little FUN.

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the best and worst of the operasphere in 2012

This year was one for the books, so to speak. My 2012 marked many new and challenging review opportunities–thirteen in all, ranging from Philadelphia to New York.

You can read all my reviews on Bachtrack at this link.

Melodic contemporary operas, classic operas done in outlandish contemporary style, never before seen operas, and even opera/musical theatre mash-ups. I saw some pretty good productions with some singularly splendid moments. I watched some not so good productions with several redeeming moments.

Rarely did a see a wonderful opera replete with splendid moments. But it happened at least twice this past year.

Herewith are my best and worst moments of the 2012 season, occurring both on and offstage.

The Best of 2012

For me, the best single production was a tie between Nico Muhly’s Dark Sisters presented by the Opera Company of Philadelphia and Glimmerglass Festival’s Lost in the Stars.

Dark Sisters: The wives of The Prophet, left to right sung by Margaret Lattimore, Eve Gigliotti, Jennifer Zetlan, Caitlin Lynch, and Jennifer Check, appear on a news show to appeal for the return of their children. TV personality “King” is sung by Kevin Burdette.| c. of Opera Company of Philadelphia | Kelly and Massa Photography

I was enthralled by Dark Sisters, a contemporary opera about the plight of women trapped in plural marriage—one husband with multiple wives. You can read the full review here, but suffice it to say that it was a moving, beautifully sung, and technologically stunning production.

Met star Eric Owens (center) in “Lost in the Stars”

Likewise, the Glimmerglass Festival’s Lost in the Stars, an opera/musical mash-up written by Kurt Weill adapted from the novel Cry, the Beloved Country by Alan Paton was a first-rate show.  It was a co-production with Cape Town Opera where it first played with performers who themselves experienced apartheid. Interestingly, Weill wrote this show  as a way to “deepen the American musical theater experience.” Lost in the Stars actually deepened and broadened my opera-going experience.  The full review is available here.

The Worst of 2012

I don’t really want to denigrate any single production or performer–that’s not what Operatoonity is about.  I prefer civility first.

However, I will say that having no #Operaplot Contest this year was a huge personal disappointment.

I can scarcely begin to describe how much I enjoyed participating and reading other entries. I’m sure it is a bear to organize and judge, but that doesn’t diminish the fact that mounting no annual contest was one (of  precious few ) Twitter campaigns sorely missed.

The other disappointment I grappled with was being emailed by a young performer after I didn’t include his name in a review. Yes, he was a lead performer, and he was understandably disappointed not to have been mentioned. However, since he was a young artist, I took the high road and excluded him rather than write an unfavorable review. I asked him if I could interview him on this blog about the challenges of preparing for a professional career singing opera, kind of as a makey-up, and he  declined to participate, another major disappointment.

To all stage performers out there, I need to remind you that reviewer is more than likely a working person who does opera reviewing in his or her spare time. She is overworked, tired, traveled a distance to get there, and endeavors to write an honest review. Therefore, if you don’t intend to bring everything you have to your performance, your overworked, overstimulated, and simultaneously exhausted reviewer (who has seen more than 35 full-length operas and recitals in venues from D.C. to the Met in the last 28 months) is likely to notice.

That’s it for Operatoonity’s birds-eye view of the best and worst of 2012.

Here’s to happy opera viewing and greener musical pastures in 2013.

 

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Filed under Best of Operatoonity, favorites, Festival Opera, Performers, Rant, Regional opera, Reviews

gearing up for Glimmerglass Festival opening

Glimmerglass Festival Technical Director Jake Josef and Director of Production Abby Rodd | Photo: William M. Brown/The Glimmerglass Festival.

The 2012 season at Glimmerglass Festival in Cooperstown, New York, an internationally renowned summer opera festival featuring four innovative new productions annually, kicks off Saturday with Verdi’s Aida.

With preparations building to a fever pitch, I thought it would interest readers to learn how they prepare for their season. Here to talk with Operatoonity.com readers is Abby Rodd, Glimmerglass’s Director of Production, who has been with the festival for 21 years in various roles but always behind the scenes.

Welcome to Operatoonity.com, Abby. Thanks for taking the time to talk with us. What departments or functions are under your supervision?
Scenery, Costumes, Props, Lighting, A/V, Stage Management, Wardrobe, Rigging, Stage Operations, Hair & Makeup, Wardrobe

What’s your typical day like in June, the month before the Festival opens?
We are in technical rehearsals by mid-June.  So, in the morning (9a.m.-1 p.m.) we are working on the notes we received the evening before from the artistic team on stage and in all of the various shops. We have a tech rehearsal from 2-5 p.m. and another tech rehearsal from 7-10 p.m. During the break we receive more notes, which we work on onstage, and we catch a dinner break when we can. After the rehearsal comes down at 10 p.m. we have a production meeting and go through the events of the day to work out any issues that came up – perhaps a door isn’t shutting properly or a hem needs to be raised. I find that during this time in the season, I am spending most of my time sharing information with as many people as possible and getting everyone on the same page.

Abby and Jake in the scene shop | Photo: William M. Brown/The Glimmerglass Festival

What is the most taxing part of your job?
Winter is too long.  It is difficult to be in a creative job but only be actively creating something for a few months out of the year.

Any particular challenges this year in view of the season? (Oh, I don’t know–corralling elephants? Obtaining archaic horns?)
The reason that I do this job is for the challenges.  There is something new every day.  I have a department of 97 artisans and technicians that are ready to take on any challenge we can throw at them.

Anything you are particularly excited about regarding the upcoming season?
The beginning of every summer season is an exciting time for us.  To go from 20 or so people in the off-season to 300+ in the summer is a pretty staggering difference.

One of the most interesting things to witness, in my opinion, is the interns and how much they grow over the course of the summer.  Many of them have never worked on an opera before – much less four of them in repertory. I get a lot of satisfaction out of knowing that they have had an amazing experience here and they can go back to their university and show off their stuff.

How do you keep your cool (on long, hot days)? What do you do to blow off steam?
Well, there’s not much time for extra-curricular activities when we are in season.  But, if I need to escape, I have a kayak behind the office and we are right on the water so I can just paddle into the middle of the lake.  That can usually get me back on track.

Abby speaks with Cat Hennessy, a draper for The Music Man | Photo: William M. Brown/The Glimmerglass Festival

Pretend this interview is a bullhorn. What is something you wish you could tell every member of the Glimmerglass Festival audience?
BRING ALL OF YOUR FRIENDS

You’ve been with Glimmerglass a long time. What surprises you most when you consider all the changes you’ve experienced in the intervening years?
I guess what surprises me most is that I’m still here.  It started out as a summer job after high school.  I had no idea that you could actually get a degree in technical theater or that you could turn it into a career.

I have seen  a lot of changes here over the years and I hope that we will continue to change or evolve.  That is what keeps it fresh.

Were you an opera fan when you started? Are you one now?
I wasn’t a fan specifically of opera – unless Bugs Bunny counts, and I think it should.  But, I did grow up with a lot of classical music and theater.  These days, when we are rehearsing a show in the theater I will sometimes allow myself (if the rehearsal is going really well) to shut my eyes and just listen.  It can be very relaxing and I am grateful for those brief moments.

* * *

You can fan Glimmerglass on Facebook, follow them on Twitter at @GOpera, and read their blog. For more about the upcoming Glimmerglass season, click here. Here’s a great little video on what it takes to put the Glimmerglass Festival together:

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