The final blog entry of the semester...it's been quite a journey. There have been a lot of wonderful discussions, and many great laughs, during our travels from Candide to Repo! The Genetic Opera.
We started our final week of discussion classes looking at Rosencrantz and Guildenstern Are Dead, an opera based upon the Tom Stoppard play. This brought up a lot of fun memories for me, as the clip we had on YouTube was of the "Questions" scene from the opera. The corresponding scene from the play was something I had competed with during high school acting competitions. My acting partner and I won a regional competition with "Questions" and had a fantastic time doing it.
We also discussed "The Wrath of Kahn: The Opera", a 2 minute Italian opera based upon the second cinematic installment of Star Trek. This lead to a discussion about parodies, and one thing I remembered was a presentation of Star Wars using the melodies of Gilbert and Sullivan songs from H.M.S. Pinafore and Pirates of Penzance and lyrics modified to fit the Star Wars story. The lyrics to many of the songs can be found at the following link:
http://math.boisestate.edu/gas/newsletters/precious_nonsense/star_wars.txt
One of my favorite songs are "When I was a lad", using the tune from Pinafore by the same name. However, in this version you have Darth Vader telling the story of how he became the right-hand man to Darth Sidious, instead of Sir Joseph Port, K.C.B., telling how he rose from a desk clerk to commander of the Royal Navy. The other song I took a particular liking to is "I am the very model of a modern diplomatic droid", sung by C-3PO to the tune of the well-known "I am the very model of a modern major general" from Pirates. Though that is probably the most-parodied Gilbert and Sullivan song, it never ceases to amaze me when patter songs, with their necessity for high syllable counts delivered at a rapid pace, are re-worded in parodies.
It has been an interesting semester, one in which I learned a lot about the direction opera seems to be taking in America. It has also been one of the most enjoyable and informative courses I have ever taken.
Monday, April 19, 2010
Repo! Reflection
This past week, the American Opera Since 1950 class was introduced to Repo! The Genetic Opera. It was quite an interesting experience, and it lead to a lot of discussion. The basic premise seems to be something not too removed from The Rocky Horror Picture Show, and seems to have cultivated a similar following. The music I find similarly addictive to that of Rocky Horror.
Repo! was, luckily, readily accessible on YouTube. Although the entire opera was not on there (and I am still eager to see the entire thing) there were MANY clips to watch. One particularly addictive clip, for me, was "Zydrate Anatomy". The song features The Graverobber, a sort of narrator character who looks very much like the traditional image of Riff-Raff in Rocky Horror. Another connection between those two characters is that in both Rocky Horror and Repo!, a key creator of the show played the character. "Zydrate Anatomy" gives a glimpse into the underworld of this near-future society, where plastic surgery and artificial organs are a standard part of life. Instead of cocaine or heroine or any other of the drugs that are so prominent in our society today, the drug that everyone is addicted to is something called Zydrate, which is apparently drawn from dead bodies. Thus, The Graverobber.
The music is very catchy, with a combination of slow rock singing and a more spoken sprechstimme style of delivery. The lyrics tell the story and keep the listener / audience engaged. I found it very effective, as I did all the clips I could find of this opera on YouTube.
Repo! was not universally enjoyed by the class. There are certainly elements that are shocking and vulgar, bloody and violent. And of course there was the questionable choice of casting, most controversial for a musical / opera being Paris Hilton and Sarah Brightman. However, I personally felt that the presentation is effective and enticing. While I certainly don't consider it a grand masterpiece, I certainly find it entertaining. After all, not every work needs to be La Traviata to have merit.
Repo! was, luckily, readily accessible on YouTube. Although the entire opera was not on there (and I am still eager to see the entire thing) there were MANY clips to watch. One particularly addictive clip, for me, was "Zydrate Anatomy". The song features The Graverobber, a sort of narrator character who looks very much like the traditional image of Riff-Raff in Rocky Horror. Another connection between those two characters is that in both Rocky Horror and Repo!, a key creator of the show played the character. "Zydrate Anatomy" gives a glimpse into the underworld of this near-future society, where plastic surgery and artificial organs are a standard part of life. Instead of cocaine or heroine or any other of the drugs that are so prominent in our society today, the drug that everyone is addicted to is something called Zydrate, which is apparently drawn from dead bodies. Thus, The Graverobber.
The music is very catchy, with a combination of slow rock singing and a more spoken sprechstimme style of delivery. The lyrics tell the story and keep the listener / audience engaged. I found it very effective, as I did all the clips I could find of this opera on YouTube.
Repo! was not universally enjoyed by the class. There are certainly elements that are shocking and vulgar, bloody and violent. And of course there was the questionable choice of casting, most controversial for a musical / opera being Paris Hilton and Sarah Brightman. However, I personally felt that the presentation is effective and enticing. While I certainly don't consider it a grand masterpiece, I certainly find it entertaining. After all, not every work needs to be La Traviata to have merit.
Monday, April 12, 2010
Reflection Upon American Idiot
The rest of the week was spent focusing on Green Day's American Idiot: The Musical. This has been one of the best conversation pieces of the semester. I found myself very much drawn to the idea of the work, and have enjoyed the discussions the class have conducted.
One point that came up yet again, as it has many times this semester, was the question of what actually qualifies today as 'opera'. I remain convinced that opera is best described as a dramatic work in which the drama is primarily driven by the music. To this extent, American Idiot qualifies, as it is nearly entirely through-composed. Also, the fact that it existed first as an album which was expanded into a dramatic work helps with this argument. The musical numbers of the album were the central focus of the development of this show, and thus of course drive the drama of that very show.
Another interesting point brought up in the consideration of labeling American Idiot was the importance of clarification between ROCK OPERA and OPERA. It was basically agreed that as a rock opera, there is an easy connection between American Idiot and the earliest works such as Tommy and Jesus Christ Superstar. The same consensus was not reached about it's qualification as an opera.
The most interesting and unique discussion came up when we were asked about whether a role in a show such as American Idiot should go onto our professional resumes. The general consensus was that it was safe to have it on the general resume if a career is already established, but for young singers such as us, it may be dangerous to audition at traditional big opera houses with such a show on the resume. My personal hope is that it will not be too long before such questions are not as worrisome; that the casting powers in the general realm of opera will begin to recognize the common situations of cross-over required by today's singer. While I know I cannot necessarily sing rock such as that found in American Idiot, I have been hired over the past few years doing more traditional musical theater works that still fall outside the realm of opera. I hope that one day, the full array of a singer's experience can be brought to the table no matter where or for what they are auditioning.
One point that came up yet again, as it has many times this semester, was the question of what actually qualifies today as 'opera'. I remain convinced that opera is best described as a dramatic work in which the drama is primarily driven by the music. To this extent, American Idiot qualifies, as it is nearly entirely through-composed. Also, the fact that it existed first as an album which was expanded into a dramatic work helps with this argument. The musical numbers of the album were the central focus of the development of this show, and thus of course drive the drama of that very show.
Another interesting point brought up in the consideration of labeling American Idiot was the importance of clarification between ROCK OPERA and OPERA. It was basically agreed that as a rock opera, there is an easy connection between American Idiot and the earliest works such as Tommy and Jesus Christ Superstar. The same consensus was not reached about it's qualification as an opera.
The most interesting and unique discussion came up when we were asked about whether a role in a show such as American Idiot should go onto our professional resumes. The general consensus was that it was safe to have it on the general resume if a career is already established, but for young singers such as us, it may be dangerous to audition at traditional big opera houses with such a show on the resume. My personal hope is that it will not be too long before such questions are not as worrisome; that the casting powers in the general realm of opera will begin to recognize the common situations of cross-over required by today's singer. While I know I cannot necessarily sing rock such as that found in American Idiot, I have been hired over the past few years doing more traditional musical theater works that still fall outside the realm of opera. I hope that one day, the full array of a singer's experience can be brought to the table no matter where or for what they are auditioning.
Reflection on discussion with Kiya
This week's classes have been filled with wonderful discussion. It all started with the visit from Kiya to discuss her opera Lying to the Sea Gypsy. A wonderful children's opera, it made me think about works that are suitable as workshop pieces with children. I realized that, in the operatic realm, I couldn't think of anything.
This made me consider Missoula Children's Theater, a touring company based out of Missoula, Montana, that a good friend of mine works for. For the past year, she has been touring from town to town, first in the Texas area and then out on the west coast. The company spends about a week in any given location, where they work with a youth cast and coach them in a production of a certain show. I believe that for the entire year she has been workshoping a version of Jack and the Beanstalk. It seems like such a great way to get young students involved in theatrical productions with a professional cast, and it also works well as a venue for young musical theater performers to begin to get some experience.
What about a similar organization for opera? If we could get composers such as Kiya to write more works like Lying to the Sea Gypsy, it would be a great way to get middle school and high school students involved in opera in a supervised, safe way. I believe it would be much more effective than watching high school sopranos sing "Caro nome" or tenors attempt to survive "Il mio tesoro." It seems to me that this is an instance where the merging styles of musical theater and opera can benefit from looking at things other than the musical aspects. Opera can benefit from adopting a similar format of performing and outreach, I believe, to this musical theater tradition. Composers that understand the need of young singers, like Kiya, are essential to this idea, and it's very exciting to see her work and to imagine what may be in the future.
This made me consider Missoula Children's Theater, a touring company based out of Missoula, Montana, that a good friend of mine works for. For the past year, she has been touring from town to town, first in the Texas area and then out on the west coast. The company spends about a week in any given location, where they work with a youth cast and coach them in a production of a certain show. I believe that for the entire year she has been workshoping a version of Jack and the Beanstalk. It seems like such a great way to get young students involved in theatrical productions with a professional cast, and it also works well as a venue for young musical theater performers to begin to get some experience.
What about a similar organization for opera? If we could get composers such as Kiya to write more works like Lying to the Sea Gypsy, it would be a great way to get middle school and high school students involved in opera in a supervised, safe way. I believe it would be much more effective than watching high school sopranos sing "Caro nome" or tenors attempt to survive "Il mio tesoro." It seems to me that this is an instance where the merging styles of musical theater and opera can benefit from looking at things other than the musical aspects. Opera can benefit from adopting a similar format of performing and outreach, I believe, to this musical theater tradition. Composers that understand the need of young singers, like Kiya, are essential to this idea, and it's very exciting to see her work and to imagine what may be in the future.
Monday, April 5, 2010
Research paper on REGINA by Blitzstein
In the process of writing my paper about Marc Blitzstein's Regina, I have found the focus of my work shift dramatically based upon available material about this rarely performed work.
The initial idea driving my paper was that I would be evaluating performance aspects of the show, both from the perspective of the performers and from the perspective of an audience member. However, there is so little material available pertaining to actual performances of the work, and not much of a variety of recorded materials, that this became very difficult to develop. However, the paper has taken an interesting turn of focus that I believe is much more accessible with the sources I have been able to identify.
The new focus of my paper is the derivation of the story from play to opera. The fact that the playwright herself was involved in the adaptation makes this particularly interesting. By looking at sources related to the play itself, I have established a basis of what the initial intent was at how the characters and story were to be presented. From there, the score was consulted to see what has been retained and what has been altered as the story was adapted to the operatic stage. From this, I am working out conclusions as to how effective the adaptation has been, and can assess what might be altered to overcome any shortcomings identified.
This change in focus has allowed more sources to be identified, since sources about the play itself are far more pertinent in discussing the derivation of the show from play to opera than in discussing performance practices of the opera itself. I also believe that this is a more concrete course of thought that allows for real conclusions to be reached, which I was having a very difficult time doing with my initial idea.
The initial idea driving my paper was that I would be evaluating performance aspects of the show, both from the perspective of the performers and from the perspective of an audience member. However, there is so little material available pertaining to actual performances of the work, and not much of a variety of recorded materials, that this became very difficult to develop. However, the paper has taken an interesting turn of focus that I believe is much more accessible with the sources I have been able to identify.
The new focus of my paper is the derivation of the story from play to opera. The fact that the playwright herself was involved in the adaptation makes this particularly interesting. By looking at sources related to the play itself, I have established a basis of what the initial intent was at how the characters and story were to be presented. From there, the score was consulted to see what has been retained and what has been altered as the story was adapted to the operatic stage. From this, I am working out conclusions as to how effective the adaptation has been, and can assess what might be altered to overcome any shortcomings identified.
This change in focus has allowed more sources to be identified, since sources about the play itself are far more pertinent in discussing the derivation of the show from play to opera than in discussing performance practices of the opera itself. I also believe that this is a more concrete course of thought that allows for real conclusions to be reached, which I was having a very difficult time doing with my initial idea.
Creative Presentation on Blitzstein's REGINA
As we prepare for the final weeks of the semester, we are winding up to the creative presentations each student is working on related to our opera(s) researched independently. The creative aspect of my project is revolving around a set design for the opera Regina by mid-century composer Marc Blitzstein.
The primary set design revolves around a Reconstruction-era southern homestead, roughly turn of the century. A key aspect that is capturing my interest in the interpretation is the furniture within. The script to the play upon which Regina is based, Lillian Hellman's The Little Foxes, takes care to describe the furniture of the upscale residence as showing wealth, but nothing of actual meaning or sentimental value. Basically, my interpretation is that the furniture should create an air almost of a Victorian showroom, instead of a home. It merely shows off the monetary success of its occupants, while at the same time revealing the cold-hearted qualities of the three siblings that lead to that success. It allows for the wealthy characters who actually have compassion, namely Horace and Alexandra Giddens and Birdie Hubbard, to seem a bit alien around the set.
Several scenes of the opera occur on the terrace outside the house. If I were designing the set for the theatrical stage, I would prefer to create this as a side set extension on a traditional proscenium stage. However, for opera, most houses are designed acoustically for the singers to be placed upon the stage proper, my design incorporates a revolving set, similar to what you might see on a production of Les Miserables. This set allows the scenes to flow seamlessly from the room to the terrace, as the door to the terrace is found at the upstage portion of the room that is the primary set.
The primary set design revolves around a Reconstruction-era southern homestead, roughly turn of the century. A key aspect that is capturing my interest in the interpretation is the furniture within. The script to the play upon which Regina is based, Lillian Hellman's The Little Foxes, takes care to describe the furniture of the upscale residence as showing wealth, but nothing of actual meaning or sentimental value. Basically, my interpretation is that the furniture should create an air almost of a Victorian showroom, instead of a home. It merely shows off the monetary success of its occupants, while at the same time revealing the cold-hearted qualities of the three siblings that lead to that success. It allows for the wealthy characters who actually have compassion, namely Horace and Alexandra Giddens and Birdie Hubbard, to seem a bit alien around the set.
Several scenes of the opera occur on the terrace outside the house. If I were designing the set for the theatrical stage, I would prefer to create this as a side set extension on a traditional proscenium stage. However, for opera, most houses are designed acoustically for the singers to be placed upon the stage proper, my design incorporates a revolving set, similar to what you might see on a production of Les Miserables. This set allows the scenes to flow seamlessly from the room to the terrace, as the door to the terrace is found at the upstage portion of the room that is the primary set.
Monday, March 29, 2010
Men and Mad Scenes (plus a FUN VIDEO)
I found the discussion in class last week about the portrayal of men and women in highly emotional states very interesting. As one of the few men in the class, I wanted to continue that discussion from a male perspective.
The discussion really revolved around women being portrayed as irrational beings when overcome with strong emotion, leading to the famous 'mad scenes' that are found throughout the operatic literature. It was the question of why men are not really shown to have the same kind of elaborate mad scenes that really captured my interest. Yes, we see men in opera, and other dramatic arts, succumb to strong emotions and act irrationally. However, the most common culprit behind such acts is an unbridled rage that causes a violent retaliation for some perceived wrong. Examples of this can be found in many operas, including Rigoletto arranging for the Duke's murder after the nobleman dishonored Gilda, or for Don Jose's murderous rage at the end of Carmen. However, this is not the same as the traditional woman's 'mad scene.' Those scenes tend to be brought upon by a crushing loss or sadness, and the reaction is a prolonged, tragic loss of reason. I believe a key reason that we do not find the same occurrence in male roles is the fact that sadness is usually a key contributor. Throughout history, it has been considered by society at large un-manly to be overly demonstrative of emotions such as sorrow. Men are supposed to "toughen up" and keep it pent up inside when facing the rest of the world. Thus, showing a complete melt-down as a result of such emotion is not a "manly" reaction to events. I believe this is a primary factor in why we do not see traditional 'mad scenes' given to the male characters. Perhaps as society moves towards an ever-increasing idea of equality among the genders, this may eventually change; however, I do not expect to see a masculine equivalent of the Ophelia mad scene in Hamlet for some time yet.
Now, for something completely different:
While passing time on Hulu the other day, I watched a recent episode of The Simpsons entitled "Stealing First Base". At approximately 10 mins. 30 secs. into the episode, Homer takes Bart to the movies to watch Itchy and Scratchy in 3D in order to forget a fiasco with a girl. (For those of you, if any, who do not know, Itchy and Scratcy is a very violent show that the Simpsons watch with a mouse that kills a cat in every imaginable, grotesque way). However, in this particular example, there is a parody of Koyannisquatsi with: "Koyannis-Scratchy: Death out of Balance". The episode can be found a the following link: http://www.hulu.com/watch/133207/the-simpsons-stealing-first-base#s-p1-so-i0. Again, it begins just after 10'30" into the episode. It's actually a very clever parody! (WARNING: INTENSE CARTOON VIOLENCE / GORE)
The discussion really revolved around women being portrayed as irrational beings when overcome with strong emotion, leading to the famous 'mad scenes' that are found throughout the operatic literature. It was the question of why men are not really shown to have the same kind of elaborate mad scenes that really captured my interest. Yes, we see men in opera, and other dramatic arts, succumb to strong emotions and act irrationally. However, the most common culprit behind such acts is an unbridled rage that causes a violent retaliation for some perceived wrong. Examples of this can be found in many operas, including Rigoletto arranging for the Duke's murder after the nobleman dishonored Gilda, or for Don Jose's murderous rage at the end of Carmen. However, this is not the same as the traditional woman's 'mad scene.' Those scenes tend to be brought upon by a crushing loss or sadness, and the reaction is a prolonged, tragic loss of reason. I believe a key reason that we do not find the same occurrence in male roles is the fact that sadness is usually a key contributor. Throughout history, it has been considered by society at large un-manly to be overly demonstrative of emotions such as sorrow. Men are supposed to "toughen up" and keep it pent up inside when facing the rest of the world. Thus, showing a complete melt-down as a result of such emotion is not a "manly" reaction to events. I believe this is a primary factor in why we do not see traditional 'mad scenes' given to the male characters. Perhaps as society moves towards an ever-increasing idea of equality among the genders, this may eventually change; however, I do not expect to see a masculine equivalent of the Ophelia mad scene in Hamlet for some time yet.
Now, for something completely different:
While passing time on Hulu the other day, I watched a recent episode of The Simpsons entitled "Stealing First Base". At approximately 10 mins. 30 secs. into the episode, Homer takes Bart to the movies to watch Itchy and Scratchy in 3D in order to forget a fiasco with a girl. (For those of you, if any, who do not know, Itchy and Scratcy is a very violent show that the Simpsons watch with a mouse that kills a cat in every imaginable, grotesque way). However, in this particular example, there is a parody of Koyannisquatsi with: "Koyannis-Scratchy: Death out of Balance". The episode can be found a the following link: http://www.hulu.com/watch/133207/the-simpsons-stealing-first-base#s-p1-so-i0. Again, it begins just after 10'30" into the episode. It's actually a very clever parody! (WARNING: INTENSE CARTOON VIOLENCE / GORE)
Subscribe to:
Posts (Atom)