Tag Archives: Marriage of Figaro

Yo, next week Mozart has a new zip code — 90210!

 

Figaro 90210

Morningside Opera’s upcoming production: June 11-16

Morningside Opera is presenting a fresh, new multi-cultural take on Mozart’s The Marriage Of Figaro, set in present-day Los Angeles.

The debate over immigration reform takes center stage in ¡Figaro! (90210) as the title character from Mozart’s beloved opera is recast as an undocumented worker on a Beverly Hills estate. These concert performances showcase the original music note-for-note but with an entirely new English (and Spanglish) libretto that makes “the world’s most perfect opera” as fresh, as funny, as relevant – and as revolutionary – as ever.

‘Illegal’ immigrants Figaro and Susana can’t wait to get married, but on their way to the altar they’ll have to navigate a world of lecherous bosses, Botoxed starlets, bumbling human traffickers, ambitious hip-hoppers and pothead gardeners in an unpredictable adventure that turns The Marriage of Figaro into a thought-provoking comedy about citizenship in 21st-Century America.

Mixing classically trained voices with performers from more popular styles respects the integrity of the original, while allowing newcomers to appreciate the show like never before, as does the abbreviated running time, which cuts the nearly four-hour opera down to a brisk two-and-a-half, including one 15-minute intermission.

After sold-out performances in November 2012 at Dixon Place, ¡Figaro! (90210) is returning for a limited run of concert performances from June 11-16, 2013. The accomplished cast of opera and theater performers will be directed by emerging Latina director Melissa Crespo, and accompanied live onstage by a five-string ensemble under the direction of pianist and music director Raphael Fusco, whom The New York Times has described as “accomplished and winning.”

If you’ve never seen the opera before, ¡Figaro! (90210) offers the perfect introduction to this timeless work; if you know the music by heart, you’ll be surprised how fresh and relevant the show feels with words and settings that directly address the way we live today.

¡Figaro! (90210) will be performed from June 11- 16, 2013 at The NSD Theater, 151 Bank Street, New York.

Click here for in interview with librettist Vid Guerrerio.

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Through tonight (Sunday, June 9) at 10pm, you can get discounted tickets by going to:

 
The discount code is: COMPANY90210
You can also visit them on Facebook.

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Filed under 21st Century Opera, Modern opera, Mozart, Opera Marketing

fave Mozart works–the Twittersphere has spoken (part trois)

The delightful classical connoisseur @amzenon responded to my Tweet requesting the name of their very favorite Mozart piece, saying one word, “Figaro.”

Apparently, Le nozze di Figaro (The Marriage of Figaro) was Operatoonity readers’ favorite, too, having won the favorite Mozart opera poll with more than 34% of the vote compared to next best, Die Zauberflöte, with 25%.

In the final installment of “Fave Mozart works,”  in honor of Mozart’s birthday, here is the overture to Le Nozze di Figaro performed by the Miyazaki International Music Festival Orchestra, 2009 (a splendid version, I might add). Hope you like it, too.

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Filed under Audience participation, Classic Opera, Classical Composers, Mozart

have you met the Ginger Trietto?

I have a little secret. I have a supplier . . . of nifty opera guides. My fellow writer Ginger travels 200+ days a year for her job and frequents secondhand shops. Whenever she finds a book about opera, no matter where she is in the country, she packs it up and ships it to me.   

Without further adieu, let me introduce the Ginger Trietto, coming to opera lovers at Christmastime as a trunk show:   

The Standard Opera and Concert Guide

The first book in the triad is The Standard Opera and Concert Guide, by Upton and Borowski. This old chestnut was last published in 1930. This is a wonderful guide for learning all about classic opera, organized by composer. Sometimes the book offers brief biographical information about the composer. Sometimes it jumps directly into an analysis of their seminal work. I love the voice of the book almost as much as the information it provides. The authors sound like perfect gentlemen–they never shred any work, they always find some redeeming quality or they haven’t included it in the volume. I used this book to write many posts for Operatoonity, including a post about Englebert Humperdinck, another about a Ravel opera, and a post about a classic premiere in MayThe Marriage of Figaro, my favorite. This is a full-bodied reference book that goes well with a glass of Cabernet Sauvignon.   

Fifty Favorite Operas, also goes well with Cabernet

Next up, we have the always delightful, Fifty Favorite Operas by Paul England, no relation to the Queen of England. I used this lovely text–organized by work, not by composer–to write a post called “Fifty Favorite Operas,” a truly fruitful post because of the comments it evoked. Several commenters left a top-ten list of their favorites, which led me to investigate and write posts about Pelléas et Mélisande (which happens to be one of my favorite posts if you haven’t read it) by Debussy as well as a wistful post about Der Freischütz by Weber. I absolutely adored Pelléas et Mélisande, the story, yes, but especially the music–soaring and transcendent, which I might never have been introduced to without Ginger sending me this book. As a result, I’m seeing the show at the Met on December 17, and reviewing it for Bachtrack.   

The Penguin Opera Guide

The most recent tome is the comprehensive Penguin Opera Guide edited by Amanda Holden. This beefy paperback (530 pages) is organized alphabetically by composer. This text is the most modern of all three and offers generous bios of each composer. It’s broader in scope because it includes modern opera composers like Adams (Nixon in China) and Britten (Turn of the Screw). I remember feeling like I hit the jackpot with this text. Every time I encounter a new work, I check it out in this book. It’s also great for fact-checking. And coincidentally, like the Cabernet with which it’s paired, it is likewise full-bodied and intriguing.   

To sum it up, I have three wonderful texts to use to create meaty and accurate posts for this blog. And I have one wonderful friend to thank for them.

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Filed under Classic Opera, Classical Composers, favorites, Heartstoppers