Showing posts with label opera. Show all posts
Showing posts with label opera. Show all posts

Sunday, August 18, 2019

Bravo! 'Pavarotti'!



It's one of the finest documentaries I've seen.

Pavarotti delivers his life from beginning to end with stills, videos, clips, and interviews with his ex-wife, his wife, his protege, his daughters, partners, critics, agents, other singers, lovers, and, of course, the star.

Many performances and the change in his focus from opera to rock star to charities (especially after his friendship with Princess Di develops) are included.

The editors leave in enough of his songs to avoid audience frustration when they are cut too short

Playing an important role in the film is a long interview (shown in segments) with Placido Domingo, 78, in the news this month charged with harassment by nine females. Domingo's planned performances in San Francisco and Philadelphia have been canceled, and investigations are underway in New York, where he's set to sing next month, and Los Angeles, where he serves as the opera's general director, but "no cancellations in Europe" say the headlines.

Had the charges surfaced earlier, I wondered if the producers would have left him in. Domingo's contributions are significant to the movie's success, adding depth and perspective, and, despite his supposed assaults, I am glad he's there
Bono is also interviewed extensively, especially about the humorous blossoming of his relationship with Pavarotti which led to Pavarotti's rock star concert appearances, stirring criticism from opera buffs.
 
Pavarotti was all glee and smiles, at least, that was his public persona. He was nervous before each performance and always thought he had room to improve.

Watching the film I sadly waited for the advent of the younger, lovely woman to displace Wife #1, Adua Veroni (married 39 years) which inevitably happens. More than once. 

As famous, wealthy men are wont to say and do as they leave their spouses and children: "Who cares?  It's all about me and my happiness." 

Pavarotti died in 2007 at age 71 of pancreatic cancer but given his weight and the burden his heart carried, he lived a long life and still brings us joy. At the end of the film I was glad to have Three Tenors on my shelf at home.

One minor film flaw I found was the repeated (though infrequent) omission of the names of the interviewees to refresh them for viewers like me who asked myself: "Is she the oldest daughter?" and "Which soprano is she?" 

Except for the first two rows in the theater where I went, every seat in the screening was taken.

A great, great doc!  Enjoy!

Ron Howard directs.

patricialesli@gmail.com


Wednesday, May 29, 2019

Egyptian Embassy hosts 'Aida'


Rochelle Bard was "Aida" and Arnold Rawls was "Radames" in Washington Opera Society's concert opera at the Embassy of Egypt/Photo by Patricia Leslie
Lisa Chavez, "Amneris," and Jeremy Harr, "Ramphis" in Washington Opera Society's concert opera, Aida, at the Embassy of Egypt/Photo by Patricia Leslie
Rochelle Bard, "Aida," with Kevin Short, "Amonasro," in Washington Opera Society's concert opera at the Embassy of Egypt/Photo by Patricia Leslie
The Aida chorus played a critical role in Washington Opera Society's magnificent concert opera at the Embassy of Egypt/Photo by Patricia Leslie
H.E. Yasser Reda, the ambassador from the Embassy of the Arab Republic of Egypt to the United States, welcomed guests to Washington Opera Society's concert opera, Aida, at the Embassy of Egypt/Photo by Patricia Leslie
The buffet dinner provided by the Embassy of Egypt preceded Washington Opera Society's concert opera, Aida, at the Embassy /Photo by Patricia Leslie
The Embassy of Egypt  was the venue for dinner and Aida, sponsored by the Washington Opera Society/Photo by Patricia Leslie 



If there were a better setting in Washington for a presentation of the 150th anniversary of the commissioning of the opera Aida than the Embassy of Egypt, prithee, where would that be?  

Lucky opera lovers recently converged on the Embassy for the Washington Opera Society's Aida and a sumptuous Egyptian dinner provided by the embassy chef and staff before the really big show.


Giuseppi Verdi wrote Aida for the grand celebration of the opening of Khedivial Opera House in Cairo in 1869* and since its premiere, Aida has been sung thousands (millions?) of times around the world, including more than 1,000 times at New York’s Metropolitan Opera after its first performance there in 1886.  

On its website the Embassy says the venue and Egyptian dinner were gifts to the Embassy's "dear guests who came to enjoy the masterpiece of Italy’s great composer Giuseppe Verdi," and we, the guests, were indeed grateful to Ambassador H.E. Yasser Reda, his wife, Nahla Reda, the embassy staff, and the Egyptian government for a night to remember.



Rochelle BardArnold Rawls, Lisa Chavez, and Kevin Short, sang the title roles, all exceptionally talented in every way, but it was Mr. Rawls who, in the second act, practically stole the show, not only with his commanding voice, but his jacket of many colors and his antics to seize the moment(s).  

The other soloists, Jeremy Harr, Christian Simmons, Adia Evans-Ledon, and Michael Butler, were equally as impressive.

The 25-member chorus played a powerful role in brief interludes, never dominating the principals but adding welcome background and depth.
 
Julien Benichou conducted the orchestra of 29 musicians, and the Opera Society's artistic director, Scott Beard, served as humorous narrator, bedecked in different Egyptian clothing embellishments every time he came out to introduce the next act.

Next up on the Opera Society's calendar is the Society's Director's Garden Party on August 24 ("back by popular demand") followed by Verdi's II Trovatore  ("rarely done in Washington") on September 28 with dinner. (Venue:  tbd)

*Technical reasons, namely the Franco-Prussian War, blocked Aida's premiere at the Khedivial Opera House until 1871.

patricialesli@gmail.com




Saturday, April 13, 2019

BSO and Morgan State will take you to the Promised Land


A commemorative stamp issued in 1973 celebrating the life and works of George Gershwin, including Porgy and Bess/U.S.Postal Service


Hurry to Baltimore tonight or tomorrow for a knockout performance by the Baltimore Symphony Orchestra and the Morgan State University Choir in concert with national opera stars who present George Gershwin's Porgy and Bess.

You ain't heard nuthin' 'til you hear (and see) this.
Another commemorative stamp issued in 1973 celebrating George Gershwin's Porgy and Bess/U.S.Postal Service


It's performed with spine-tingling songs, duets and trios, ("Summertime," "It Ain't Necessarily So," "I Got Plenty o' Nuttin,'') by singers who act, move, and dance, far more than anticipated for a concert opera.

Who needs sets with glamour like this flowing across and above the stage? Which is where the Morgan State Choir stood in all-black ensembles, about 50 voices strong, under the direction of Eric Conway.  

The show's director, Hana S. Sharif, excels with her cast and crew, including effective, unnamed fight and sound managers.


The words to the music are screened above the performers, but the production stands on its own, and the words are unnecessary.
In 2015 the Morgan State University Choir sang at the White House for President and Mrs. Barack Obama in a televised live performance/Photo, Morgan State University Choir

Excellent, essential contributions by the BSO's xylophonist and pianist produce a hush in several places when they play solo, always under the capable direction of Conductor Marin Alsop.

While I waited in line to order my dinner at Strathmore before the Thursday evening performance, the couple behind me told me they had come just for the choir.

"Have you heard them?" they asked me.

No, I had come just for Porgy and Bess which I've heard and seen many times.

"Well, just you wait!" they exclaimed.  "They are outstanding!" And they were, combined with the soloists and orchestra. 

One of the soloists is the talented tenor, Larry Hylton another star graduate of the Duke Ellington School of the Arts, who played Sportin' News, and there he was, a'prancin' and dancin'  across the floor, back and forth, in yellow pants and a top hat made to stand out. 

The show is a fast-paced exhibition by George Gershwin (1898-1937) which takes place in Charleston, S.C. during the Great Depression, when a woman, Bess, becomes the property of one man, Crown, then another, Porgy, and finally, Sportin’ Life, who carries her away to New York.
 
No matter how many time you have seen this show, the exceptional tunes endure.


Bass-baritone Robert Cantrell is Porgy who carries the role fittingly, strong and rich, while he limps in  suspenders across the stage, aided by a crutch, but it's the powerful voice of baritone Lester Lynch as Crown who makes his presence keenly felt even before he enters the stage. He commands the crowd's attention and sets the pace for the action, whisking Bess away to his land of no forgiveness.

Soprano Laquita Mitchell is the beautiful Bess who dashes out in a bright red, sexy dress to catch the hand of the most available.
  
The first mid-act applause followed soprano Reyna Carguill's incredible solo as Serena, who delivers "My Man's Gone Now," after Crown's murder of her husband, Robbins (Joshua Jones). 

Another show-stopper is soprano Jasmine Habersham
who plays Clara and begins the show serenading "Summertime" to her baby until her husband, Jake (Cameron Potts) comes on stage to cradle their child and croon "A Woman is a Sometime Thing." 


Alexandra Crichlow Bradshaw is the distinguished Maria who joins Ms. Carguill and Mr. Cantrell in the closing of "Bess, Oh Where's My Bess?"

Porgy takes leave of the stage singing "Oh, Lawd, I'm On My Way" to follow Sportin' Life and his Bess to New York.

Not to miss!

What:  Porgy and Bess by the Baltimore Symphony Orchestra  and the Morgan State University Choir and more

When:  Tonight at 8 p.m. and Sunday at 3 p.m. 

Where:  Meyerhoff Symphony Hall, 1212 Cathedral St.
Baltimore 21201


How much:  Tickets information is at the link.  For special "Young and Free" discounts at the Sunday performance, click here

For more information: Call 410-783-8000.

I'm on my way....
to Baltimore
I'm on my way
to a heav'nly land
for in that town
I'll hear the grand
music o'er the land

Oh Lawd, I'm on my way
I'm on my way to a heav'nly land
I'll ride that long, long road
If You are there to guide my hand

Oh Lawd, I'm on my way
I'm on my way to a heav'nly land
Oh Lawd, it's a long, long way
But You'll be there to take my hand 






Oh, I got plenty o' nuttin'
An' nuttin's plenty fo' me
I got no car, got no mule, I got no misery
De folks wid plenty o' plenty
Got a lock an dey door
'Fraid somebody's a-goin' to rob 'em
While dey's out a-makin' more
What for?
I got no lock an de door
(Dat's no way to be)
Dey kin steal de rug from de floor
Dat's okeh wid me
'Cause de things dat I prize
Like de stars in de skies
All are free
Oh, I got plenty o' nuttin'
An' nuttin's plenty fo' me
I got my gal, got my song
Got Hebben de whole day long!


patricialesli@gmail.com