{"id":23366,"date":"2014-11-19T20:59:37","date_gmt":"2014-11-20T01:59:37","guid":{"rendered":"https:\/\/www.ludwig-van.com\/?p=23366"},"modified":"2014-11-19T20:59:37","modified_gmt":"2014-11-20T01:59:37","slug":"the-classical-traveler-a-fresh-take-on-verdi-at-austin-opera-2","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2014\/11\/19\/the-classical-traveler-a-fresh-take-on-verdi-at-austin-opera-2\/","title":{"rendered":"THE CLASSICAL TRAVELER | A Fresh Take on Verdi at Austin Opera"},"content":{"rendered":"
\"Photo:
Photo: Marty Sohl<\/figcaption><\/figure>\n

Verdi: Un ballo in maschera<\/strong><\/h3>\n

Mardi Byers(Amelia);Dominik Chenes(Riccardo);Michael Chioldi(Renato);Sara Ann Mitchell (Oscar)<\/strong>
\n Austin Opera Orchestra and Chorus\/Richard Buckley<\/strong>
\n Stage Director: Leon Major<\/strong>
\n Projection Designer: Wendall J. Harrington<\/strong>
\n Long Center for the Performing Arts<\/strong>
\n Austin, Texas<\/strong>
\n November 13, 2014<\/strong><\/p>\n

\u201cThis opera setting was not the wisest of choices for Verdi,\u201d stage director Leon Major rightly points out in his program note for this production.<\/p>\n

Verdi and his librettist Antonio Somma had used the real-life assassination of Swedish King Gustav III – an assassination that had taken place only 65 years earlier – as the scenario for their opera. It was recent history for Italian audiences. Even more recently, there had been numerous political murders in Europe. To \u201cstage\u201d an assassination in the face of such recent activity was inviting trouble. \u201cNo way, Mr. Verdi,\u201d ruled the authorities!<\/p>\n

As a result of this (likely) wise censorship, Verdi changed the setting of the opera to Boston in the 1690s. For audiences today, it really doesn\u2019t much matter where the opera is set. A story of political intrigue entwined with a love story, it could happen anywhere. With this perspective in mind, Major decided to set the opera in present time; the characters wear contemporary dress, use cell phones and carry guns. Projections, in lieu of sets, show us a city much like Austin, Texas.<\/p>\n

Does it work? Indeed it does. We really don\u2019t need elaborate staircases and mid-nineteenth century costumes to tell the story or bring out the beauty and power of the music.<\/p>\n

Major went even further. He not only changed the time and place of the opera, but also told the story in a more stylized fashion than we\u2019re used to seeing. This was restrained, rather than \u201cGrand Opera\u201d acting. The lead characters rarely emoted wildly with extravagant gestures. Their feelings were often internalized or expressed through the music. Verdi was a master of conveying emotion through music. The singers don\u2019t need to draw pictures of what they are feeling; it is already in the music.<\/p>\n

Major\u2019s thespian minimalism also extended to the chorus. Directors of large groups often go out of their way to encourage each singer or actor to be different. \u2018Come up with a costume quirk, a facial expression or a bit of business to make yourself an individual,\u2019 they say. The goal is to achieve greater naturalism. Real people in crowds don\u2019t all look or behave the same; on stage they shouldn\u2019t either.<\/p>\n

But Major\u2019s crowds consisted of people who wear the same clothes and move the same way. Does that make them \u2018unreal?\u2019 Not necessarily. In fact, Major is making a statement about crowd behavior. Individuals in groups don\u2019t always look the same, but they tend to behave in the same way – especially when they have been brainwashed by forces such as government propaganda, political parties, media and advertising. Major\u2019s crowds in Un ballo in maschera<\/em> are followers. They speak (sing) the same words, and in one telling scene, they all point together.<\/p>\n

The robotic groups in Un ballo in maschera<\/em> have no effect whatsoever on the action of the drama. The intrigue goes on as if they weren\u2019t even there. Just as in real life.<\/p>\n

I have had a lot to say about Leon Major\u2019s staging of Un ballo in maschera<\/em> because it was new and fresh, and thought-provoking. Ultimately, however, this is Verdi\u2019s Un ballo in maschera<\/em>. This is a story told through music \u2013 some very great music. Verdi wrote a lot of derivative and forgettable music in his early years but by the time he got to Un ballo in maschera<\/em> in 1859, his genius was clearly taking shape. The opening bars of the Prelude with divided violas and celli, blended with clarinets and bassoons is a wonderful inspiration and the score abounds with such touches. Think of the laughter from the conspirators in Act II when they discover Renato in a tryst with his own wife. Verdi renders the laughter in music that is as effective as it is unexpected.<\/p>\n

Fortunately, the musical side of the production was in the capable hands of conductor Richard Buckley, by whom I never cease to be amazed. He is equally at home in all styles of music and routinely works wonders with both singers and orchestra.<\/p>\n

I have never heard the music accompanying the drawing of lots in Act III Scene 1, rendered with such power and intensity, and Riccardo\u2019s death scene was simply electrifying. On the technical side, Buckley expertly saved the day when Dominick Chenes as Riccardo botched an entry earlier in the opera. The Austin Opera Orchestra contributed first-class playing under Buckley\u2019s direction. One of the high points was Douglas Harvey\u2019s cello solo in Amelia\u2019s aria \u201cMorr\u00f2, ma prima in grazia\u201d in Act III Scene 1.<\/p>\n

\"Photo:
Photo: Marty Sohl<\/figcaption><\/figure>\n

The cast was solid but vocal honours were clearly taken by Michael Chioldi as Renato. Chioldi came late to the production, taking over for a cast member who fell by the wayside, but provided charisma and sheer vocal power that thrilled the audience. His rendering of \u201cEri tu\u201d in Act III Scene 1 was splendid.<\/p>\n

As Amelia, Mardi Byers exhibited warmth and control, but in her love scene with Riccardo in Act Two, she lacked the passion this music requires. She clearly got the message that Leon Major discouraged superfluous gestures, but Amelia\u2019s fire and angst<\/em> must match the music in this scene and that did not happen.<\/p>\n

Tenor Domenick Chenes hit most of the right notes but lacked the ringing authority both the role and the music requires. Whatever Riccardo is \u2013 King, Duke, Governor, President, or CEO \u2013 he must clearly stand out as a leader. He didn\u2019t get his position by accident. He is obviously a man with serious human weaknesses, but he is also a man who gets what he wants and who has the ability to make men (and women) want to follow him. Mr. Chenes didn\u2019t convince me he was such a man.<\/p>\n

Coloratura soprano Sara Ann Mitchell (as Oscar) demonstrated impressive technical gifts in her arias and her voice soared beautifully in the ensembles. In the original opera he\/she (Verdi conceived Oscar as a male character but a female singer) is listed as \u201cA Page.\u201d In the present version, we are probably meant to see her as Riccardo\u2019s closest advisor.<\/p>\n

It should be noted that this was a collaborative effort between Austin Opera (until earlier this year known as Austin Lyric Opera) and the University of Texas at Austin Department of Theater and Dance. At the suggestion of Austin Opera artistic director Richard Buckley, the two organizations came together to create a production of Verdi\u2019s Un ballo in maschera<\/em>. Wendall K. Harrington, a guest faculty member at UT, together with her students, designed the projected scenery sets for this production. Let\u2019s hope this excellent partnership continues.<\/p>\n

Paul E. Robinson<\/a><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Verdi: Un ballo in maschera Mardi Byers(Amelia);Dominik Chenes(Riccardo);Michael Chioldi(Renato);Sara Ann Mitchell (Oscar) Austin Opera Orchestra and Chorus\/Richard Buckley Stage Director: Leon Major Projection Designer: Wendall J. Harrington Long Center for the Performing Arts Austin, Texas November 13, 2014 \u201cThis opera setting was not the wisest of choices for Verdi,\u201d stage director Leon Major rightly points […]<\/p>\n","protected":false},"author":10,"featured_media":23361,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"jetpack_post_was_ever_published":false},"categories":[117,43,52,4933],"tags":[5117,5118,3460],"yst_prominent_words":[],"acf":[],"jetpack_featured_media_url":"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2014\/11\/get-attachment.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9bakr-64S","amp_enabled":true,"_links":{"self":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/23366"}],"collection":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/comments?post=23366"}],"version-history":[{"count":3,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/23366\/revisions"}],"predecessor-version":[{"id":23369,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/23366\/revisions\/23369"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/media\/23361"}],"wp:attachment":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/media?parent=23366"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/categories?post=23366"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/tags?post=23366"},{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/yst_prominent_words?post=23366"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}