We had our final Opera San José performance yesterday. The Puccini double bill was great fun, and mostly a no-stress run for principal oboe. It was a fun way to end the season.
BUT … (you knew I had to do that, right?) … it did end up having one tiny bit of stress for yours truly. Prior to the last few shows a dear friend and colleague told me he really loved hearing me play one part of Gianni Schicchi: while the family is reading the will I have two little ditties. After each the family reacts to the sad news that they are out of the will. The solos are typical “pattymusic” really, and I loved playing them. But once he told me he liked them I then was fearful. I didn’t worry about blowing the solos, but I worried that now I wouldn’t play them the way he liked them. Just how crazy can I be, eh?
This was a fun year at the opera. I only wish more people would attend. I think the group is a real treasure, and I think San José doesn’t know what they have here with these young singers.
I’m looking forward to next season, but first there is the Irene Dalis Vocal Competition. I’m hoping to get there, although I’m not sure what this Saturday will bring yet. I’ve been twice and it’s a real treat to hear the amazing voices.
He expects the company’s $4 million operating budget will have to be cut to about $3.5 million. Asked whether the company can afford to keep giving eight performances of each of its productions, he said, “I seriously doubt that that will be possible” in the years ahead. “We’re going to be looking at all the dimes we spend.”
Scary paragraph for those of us who work there.
The article is about Larry Hancock taking over as the head of OSJ.
This is a recorded live performance (September 24, 2011) of Mozart’s opera Idomeneo presented by Opera San Jose and The Packard Humanities Institute in the California Theatre. King Idomeneo returns home to Crete after the Trojan War. Terrified by a violent storm, he vows to Neptune to sacrifice the first person he meets on shore. That person is his son, Idamante, who meanwhile has fallen in love with the captive Trojan pricess Ilia. Idomeneo’s dilemma is how to satisfy Neptune without killing his own son. Idomeneo is set in ancent Crete, and this unique production has sets and costumes based on Minoan art. It also includes Mozart’s ballet msic, which is often omitted. Idomeneo was Moaart’s favorite of all his operas. It was first performed in Munich in 1781.
Where & when, you ask? Here you go: California Theatre, Sunday, March 10 at 7:00PM
I do hope to get to this. Being as it’s in the California Theatre I probably won’t have any playing work, after all!
I just landed at a page that gives the rep for Opera San José‘s next season. I had known about three of the four, but Hansel and Gretel was a surprise. We’ve not done that opera for eons. (I just checked and it was last done in the 1985/86 season.)
General Director Irene Dalis announced today the repertoire for the company’s 30th season to begin Saturday, September 7, 2013 with Verdi’s masterwork Falstaff, conducted by Opera San José’s founding music director and principal conductor, David Rohrbaugh. In November, Opera San José will present Humperdinck’s Hansel and Gretel, a family classic to welcome the holiday season. Acclaimed stage director Brad Dalton returns in 2014 to direct Puccini’s bittersweet Madama Butterfly. The season will culminate with Mozart’s Don Giovanni.
“For our 30th anniversary we will celebrate Verdi’s 200th birthday, present a wonderful holiday opera, bring back to the stage a most beloved Italian opera, and showcase one of the world’s favorite seducers. The best of opera repertoire and a fairytale classic!” said General Director Irene Dalis. “As always, we select operas that are suited to the artists in our resident company, and these operas are a perfect fit.”
The 2013-14 season features the principal artists from Opera San José’s resident company: Melody King (soprano), Cecilia Violetta López (soprano), Nicole Birkland (mezzo-soprano), Tori Grayum (mezzo-soprano), James Callon (tenor), Evan Brummel (baritone), and Matthew Anchel (bass). Former resident, Scott Beardan (baritone), returns as a guest artist to open the season as Falstaff.
All performances will be held at the California Theatre, 345 South First Street in downtown San José. Subscriptions for Opera San José’s 2013-14 season go on sale February 11, 2013, starting at $120.00 for all four productions.
Subscriptions are available at the Opera San José Box Office or by phone at (408) 437-4450. Single tickets will go on sale August 5, 2013, priced from $50.00 to $110.00.
Yes, I’m interested in this, thus the posting even while I’m busy with other “stuff”:
Mimì and Rodolfo face many adversities in La Bohème – a drafty garret, a creepy landlord, tuberculosis. But all are mere annoyances compared to the L train at rush hour.
Puccini’s opera is the subject of “The Bohemians” a film adaptation scheduled for 2013 that updates the story from 1830’s Paris to contemporary Williamsburg, Brooklyn. Now in post-production, it was shot over the past year in the streets, shops and nightclubs of the gritty-yet-fashionable neighborhood. Mimì is an artist and part-time bartender who falls in love with Rodolfo, a struggling writer. Fellow bohemians include Schaunard, a DJ, and Marcello, a photographer.
The film’s well-connected production crew includes Alvaro Domingo, a filmmaker and son of Plácido Domingo. The director is José Luis R. Cortes, whose credits include a documentary on the Washington National Opera’s Domingo-Cafritz Young Artist Program. Several cast members were classmates at the Manhattan School of Music, Juilliard and other conservatories.
Boheme is one of the few operas I feel can be set in our time and actually work. I’m hopeful!
If you click on google.com today you’ll see that Moby Dick is referenced. Why? To quote Wikipedia: “Moby-Dick has been classified as American Romanticism. It was first published by Richard Bentley in London on October 18, 1851, in an expurgated three-volume edition titled The Whale, and weeks later as a single volume, by New York City publisher Harper and Brothers as Moby-Dick; or, The Whale on November 14, 1851. The book initially received mixed reviews, but Moby-Dick is now considered part of the Western canon, and at the center of the canon of American novels.”
So yes it was published on this day, back in 1851.
(And a week here, by the way, is ten days. News to me, but there you go!)
Opera San José joins opera organizations nationwide to celebrate National Opera
Week (October 26 – November 4), coordinated by OPERA America, the national service organization
for opera, with support of the National Endowment for the Arts.
As part of the week-long celebration, Opera San José will launch the company’s one-act touring opera,
Bill Goats Gruff on Thursday, November 1
at 4 pm at the Dr. Martin Luther King, Jr. Library in
downtown San José. John Davies’ Billy Goats Gruff tells the classic fairytale of the three billy goats with
a contemporary twist, as it tackles the issue of bullying and promotes the power of kindness and
tolerance. The engaging performance is set to recognizable melodies from some of opera’s most
beloved composers, including Mozart, Rossini and Donizetti.
I admired her when she sang with Opera San José, and while I was sorry to see her leave, I knew it was because she was moving up very quickly.
To say that Talise Trevigne, the former cheerleader from Los Altos High School, is reaching the heights of the opera world is, well, an understatement. Starting Oct. 10, the soprano literally will fly as she sings, balanced on a wire 30 feet above the stage in San Francisco Opera’s production of “Moby-Dick.”
The acrobatics say something about where her career is headed: up.
“I pinch myself every morning,” says Trevigne, a former singer with Opera San Jose, whose career now takes her to some of the nation’s biggest stages. San Francisco’s War Memorial Opera House is the most prestigious yet. And the aerial aria is one of athletic Trevigne’s main numbers in the role of Pip, the 14-year-old cabin boy, in the high-tech adaptation of Herman Melville’s novel of Captain Ahab and life on the whaling ship Pequod.