Blog – Page 65 – Madison Opera

Spotlight on Bertolt Brecht

December 20, 2010

Brecht is the key figure of our time, and all theatre work today at some point starts from or returns to his statements and achievement. – Peter Brook

Bertolt Brecht, along with composer Kurt Weill, created Madison Opera’s next production, The Threepenny Opera. This is our first venture in to Brecht’s works and we’re excited to have our return to musical theatre be with a piece of this caliber. Here’s an introduction to one of the most influential figures in theatre of all time: Bertolt Brecht.

When Brecht entered the theatre world in the 1920’s, he started a revolution. Brecht was devoted to the concept that theatre should serve a social purpose. To encourage his audience to think critically about the political themes in his plays, he developed a style that he named ‘Epic Theater.’ This style is now commonly referred to as ‘Brechtian.’

Brechtian theatre techniques are designed to alienate or distance the audience. However, the goal is not that the audience does not feel any emotions, but instead that they feel different emotions than the characters on the stage. So it is perfectly acceptable to feel sympathy for the characters, but not empathy. Brecht believed that when the audience identified emotionally with the characters, they lost the ability to think critically about what was happening on stage and apply it to the world around them. In Brecht’s words:

As we cannot invite the audience to fling itself into the story as if it were a river and let itself be carried vaguely hither and thither, the individual episodes have to be knotted together in such a way that the knots are easily noticed. The episodes must not succeed one another indistinguishably but must give us a chance to interpose our judgment.

Brecht had specific techniques designed to create that critical distance. These included using unusual vocabulary and language, harsh lighting and the removal of the ‘fourth wall.’ The fourth wall refers to the imaginary line between the play and the audience. To break the fourth wall, characters in Brecht’s work would often speak directly to the audience, which reminds the audience that the play is a representation of reality, not actual reality.

Another distancing technique Brecht employed was inserting songs in to his works to break up the action. This, as well as Brecht’s strong belief in collaboration, led to a partnership with Kurt Weill that lasted for years. In addition to Threepenny, Brecht and Weill collaborated together on a number of musicals, including Happy End and Rise and Fall of the City of Mahogany. However, The Threepenny Opera is by far their most successful and widely produced musical.

Today in Germany, Brecht’s works are produced more often than Shakespeare. While Brecht was socially motivated, his works are still dazzling, entertaining and powerful.

Art ought to be a means of education, but its purpose is to give pleasure. –Bertolt Brecht

Sources:

Eddershaw, Margaret. Performing Brecht: Forty Years of British Performances.

Reinelt, Janelle. After Brecht: British Epic Theatre.

–Laura, Development/Marketing Associate

Fifty Years of Madison Opera: La Boheme, 1963 (Part 2)

December 9, 2010

The Wisconsin winter is conducive to reflection, and so it feels right that we continue our series on Madison Opera history today. It perhaps is especially appropriate because it was in December 1962 that plans were busily coming together for Madison Opera’s first fully staged, full length performance of an opera.

Last we left off, the Johnsons had arrived in Madison, the Opera Workshop had been born, and the new ensemble debuted with “A Night in Vienna.” The reviews were encouraging, and a May 28, 1962 profile in The Milwaukee Journal was titled “Opera Sounds New Note in Madison: Roland Johnsons lead renaissance.” The piece opened by stating “The birth–and apparently successful debut–of the Madison Civic Opera Workshop surprised no one more than Mrs. Roland Johnson.” The writer goes on to note that though Arline Johnson had determined to retire temporarily from music after leaving Alabama, the enthusiasm of local singers to venture into operatic repertoire upon her arrival in 1961 made her continuing involvement inevitable. After “A Night in Vienna,” plans had already been laid for a full production of La boheme the next year:

“Next May we plan to do a full length ‘La Boheme,'” [Roland] Johnson said, “and we think we have enough local singers to do a good job. It is terribly familiar and we will do it in English, so it should be a good bridge for reaching the audience for musicals.”

Puccini came knocking sooner than expected. On November 8, 1962, Viola A. Ward wrote to her friends and peers in the community that Madison had determined to launch its own Civic Opera Group, which was to present a fully staged production of La Boheme. She stated that it was imperative to form a supporting guild to sponsor the event: “This is not a money making event as such. If the enthusiastic support of an opera guild can achieve sell-out performances, the project will support itself financially.” She invited guests over for desserts and coffee on November 15th, and it is safe to conclude that on that evening opera in Madison started to look like a sustainable venture, as a Guild was formed with the purposes of:

Personal promotion for this project.
To inspire a group of patrons and guarantors.
To co-ordinate and handle ticket sales and publicity campaign.
Public schools as liason (as the youth are our future public).

The local papers were abuzz. Sets were being built with the cooperation of the Madison Theater Guild. Over 75 local singers, as well as the Madison Symphony Orchestra, were set to perform. And despite the fact that no auditorium in Madison had a pit for the orchestra, a suitable situation was arranged at Madison East High School. The Capital Times wrote in December that “The atmosphere for the initial presentation will be colorful and intimate as though it were being done in France.” The Wisconsin State Journal published an editorial with the headline, “Don’t Miss City’s New Opera.” Tickets for $3, $2, $1.50, and $1 were sold in advance at Manchester’s, Ward-Brodt, Forbes Meagher, Victor, and Monona Grove Music House. A dress rehearsal was broadcast on local radio station WHA the Sunday prior to the premiere, featuring intermission interviews with Roland and Arline Johnson.

Performances of La Boheme took place on January 11 and 12, 1963, at 8:30 PM, with an additional “Matinee for Young People” at 2 PM on January 12. The production was cast as follows:

By all accounts, La Boheme was a huge success. In The Wisconsin State Journal society pages, Louise C. Marston wrote:

It came off with professional finesse before a loyal but critical audience which enjoyed every second of it – and showed it by enthusiastic clapping and a few sophisticated “Bravos” at the right moments. The audience, which filled the rather hard seats of East High School’s auditorium to overflowing, managed to look quite “dressy” despite jillions of boots and galoshes, sensibly donned in view of the night’s heavy snowfall.

Carmen Elsner’s review in The Wisconsin State Journal was equally enthusiastic:

Madison’s fledgling Civic Opera tried its wings Friday night, and its first flight was a delightful one into musical fancy…The music and action had its desired effect – one wanted to cry. But shouted “Bravo” instead. The whole performance, using all home talent and sung in English, was a valiant effort and a good one…But it was Roland Johnson, director of the orchestra, and Mrs. Johnson who masterminded the whole production, and have given this city a budding opera troupe.

And like that, the Opera Workshop of 1961 and 1962 became the Madison Civic Opera, a true company with the goodwill of the city of Madison behind it. Enjoy these photos of the first La Boheme in Madison:

Give the gift of opera

December 7, 2010

Yes, we say it every year, but hey, it’s true: opera tickets make a great holiday gift! This year especially, we can promise that tickets to the remaining productions of our irresistible 50th Anniversary Season will be a hit with aficionados and newbies alike:

The Threepenny Opera, FEB 4 – 13, 2011 | The Playhouse: Kurt Weill’s jazz and operetta infused score, Brecht’s gritty drama, and the star power of James DeVita and Tracy Michelle Arnold: what’s not to love? Have we mentioned Dorothy Danner is directing, and John DeMain is conducting? Mack the Knife is coming to town, and you don’t want to miss him.

La Traviata, APR 29 & MAY 1, 2011 | Overture Hall: Verdi’s classic tells the story of the free-spirited Parisian party-girl Violetta, who falls hard for the romantic Alfredo, and it’s all brought to life with some of the most memorable operatic music ever written. Madison Opera’s production features gorgeous sets from the Lyric Opera of Chicago, the return of soprano Elizabeth Caballero, and the US debut of Italian tenor Giuseppe Varano.

Lock your doors, and call the law…

November 18, 2010

…because Macheath’s back in town

These lyrics are from “Mack the Knife”, the famous Kurt Weill song that opens The Threepenny Opera. According to Wikipedia, at least 29 pop versions of “Mack the Knife” have been recorded, and lucky for us, many of them are on YouTube. In the coming months, before Macheath really is in town, I think it’d be fun to examine the many incarnations of “Mack the Knife”, or “Die Moritat von Mackie Messer” in the original German. The big question is, how did such a dark song, composed in Berlin on the eve of historic political instability, become an upbeat, popular American staple?

Let’s start at the beginning. The first version on record is by Bertolt Brecht, the revolutionary playwright who wrote the text for The Threepenny Opera:

From Wikipedia:

“A moritat (from mori meaning “deadly” and tat meaning “deed”) is a medieval version of the murder ballad performed by strolling minstrels. In The Threepenny Opera, the moritat singer with his street organ introduces and closes the drama with the tale of the deadly Mackie Messer, or Mack the Knife, a character based on the dashing highwayman Macheath in John Gay’s The Beggar’s Opera. The Brecht-Weill version of the character was far more cruel and sinister, and has been transformed into a modern anti-hero.

The play opens with the moritat singer comparing Macheath (unfavorably) with a shark, and then telling tales of his robberies, murders, rapes, and arson.

The song was inserted in the play shortly before its première in 1928, because Harald Paulsen, who created the role of Macheath, wished a more effective introduction of his character. The original German text is:

Und der Haifisch, der hat Zähne,
Und die trägt er im Gesicht.
Und Macheath, der hat ein Messer,
Doch das Messer sieht man nicht.

And the shark, it has teeth,
And it wears them in its face.
And Macheath, he has a knife,
But the knife one doesn’t see.”

Serious stuff, with not much for a swinging Sinatra-type to grab on to. We’ll see how that came to be next time.

Tommy Awards Student Critics go to the opera

November 15, 2010

Madison Opera was thrilled to welcome the Tommy Awards Student Critics to our production of Mozart’s The Marriage of Figaro. The Student Critics program aims to foster critical thinking and writing skills among area high school students and is a component of the Overture Center’s Tommy Awards. Here are some excerpts from their reviews:

Fiorella Fernandez

…As the lights dimmed on the opening of Madison Opera’s 50th anniversary season, there was an unspoken excitement radiating from the sold out theatre. Maestro DeMain led the orchestra playing Mozart’s sweet melodies in beautiful harmony, and clarity. Then the curtain rose, and there appeared an elaborate set featuring a black-checkered floor, and painted blue draped curtain in the background behind imposing columns that portrayed wealth and power….

All in all, a fun and memorable production (though a little lengthy in its three-hour run) filled with unique, and smooth voices, a playful cast, and many laughs. Congratulations Madison Opera… on your 50 years and your lively, and entertaining production!

Julianna Jerosch

…The costumes reflected the personality of each character vibrantly. The set is an elaborate set-up which makes up the scenes for each of the four acts, changing by a quick removal a few panels. It is an accurate neoclassical design which was the fashion of the day. Lighting designer Jeff Harris has many skilled effects, such as sunlight shining in through the windows. On the other hand, the shadows of those entering or exiting the stage can be seen the entire third act. The superscript was helpful to fully understand the goings-on during a scene. The sections of harmony of the music were outstanding, and they outshone many solo parts.

The Marriage of Figaro, directed by A. Scott Perry, is a sure choice for a night at the opera. This comic story is impressive with its overall quality and appeal.

Bat-Zion Hose

Why do people go to the opera? It’s long compared to other forms of entertainment. It’s essentially a play set to music. On the other hand, opera won’t put you to sleep unless you are bored by jealousy, revenge, and lust. Plus, opera is NOT a dead form of art as many believe it to be. In fact, the fastest growing opera audience in the United-States is 20s to 30s…

…Opera’s are typically longer than most plays, but The Marriage of Figaro is definitely worth the sacrifice of time. This opera was easy to understand and comical. Jason Hardy, who made his Madison Opera debut, was a perfect fit for the role of Figaro. He’s appearance was forceful and strong. Not surprising because it was his third time playing the role of Figaro. He and Anya Matanovic made the perfect couple of Figaro and Susanna. The cast worked well together and are all well known. Jeff Mattsey, who was Count Almaviva is known worldwide for his signature baritone roles.

Abby Taylor

…The second the curtains opened, I was overwhelmed by how beautiful the show was visually. From the extravagant sets to the intricate and gorgeous costumes, it was clear the opera was not going to be a disappointment. As the show continued, I was swept away by the music’s beauty and how wonderfully the singers performed it. The two most impressive players, however, had to be Susanna, played by Anya Matanovic, and the Countess, played by Melody Moore. Their voices blended perfectly together and their talent was clear in their many duets and interactions throughout the show. Their comedic timing was also near perfection, and they never failed to get a laugh. Honestly, the only negative I could truly find about the show is the length of the opera itself…

Kristina Rodel

Before attending Madison Opera’s production of “The Marriage of Figaro” (directed by A. Scott Parry, a Madison Opera newcomer), many seasoned opera-goers assured me that Figaro is an excellent “starter” for those of us who are only beginning to test the waters of the opera world, and based on my experience at the Overture Center on November 5th, their judgment is keen.

The plot unfolds over the course of a single day- and it sure has a lot of unfolding to do. Figaro (Jason Hardy) is the Count’s valet, and is ready to marry lovely Susanna (Anya Matanovic). On their wedding day, however, Susanna confesses to Figaro that the Count has been making advances on her, and Figaro is determined to thwart the Count’s prowl with his own cleverness. It becomes much more than the basic love triangle when an old housekeeper Marcellina (Melissa Parks) has plans of her own for Figaro, who did not repay a loan she granted to him, and for which he must atone by marrying the old woman. Factor in a lovesick pageboy named Cherubino (Emily Lorini) whose heart pounds for nearly any woman, and gossipy music master Don Basilio (James Doing), and the resulting shenanigans complicate not only Figaro and Susanna’s wedding plans, but the peace of just about everyone else…

Jesse Bossingham

Opera is considered a truly great cultural experience, so as a first time opera-goer, the only emotion I can honestly say I felt at first is overwhelmed. Before the show even began, I saw people far more dressed up than my collared shirt and black pants. The lieutenant-governor and the mayor of Madison both appeared to give a speech opening the fifth anniversary of the opera. And then, once the strains of the overture (classical music, already intimidating on its own), the curtain rose on a beautiful Greco-Roman set and the waves of that operatic soprano began to echo over the crowd. As an opera newcomer, it was initially terrifying. But when Figaro began using his ruler to perform an air guitar solo in time with the orchestra, I realized that I would not be in for the stilted, formal experience I was expecting. The Marriage of Figaro grew on me as it became a farce of miscommunication and botched plans.

Every marriage is complicated, but generally most partners do not have to deal with a jealous Count watching their every move, hoping to find a way to reinstate the policy of primae noctis in order to take advantage of the young bride. Figaro and Susanna, the lucky couple, cook up plans in order to escape the Count’s wrath. Unfortunately, they aren’t very good at explaining these plans to each other. From there, everything spirals out of control…