Tag Archives: Glimmerglass Festival

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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Filed under 21st Century Opera, Opera festivals, young artists programs

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?

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.

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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:

YouTube Preview Image

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Filed under 21st Century Opera, Festival Opera, Interviews, North American Opera, Regional opera