Start out right, with Die Fledermaus, as produced by the Virginia Opera. Light hearted, free-wheeling and fast paced, under the stage direction of reliably inventive Dorothy Danner, with music by the waltz king Johann Strauss II, Die Fledermaus should be the perfect first opera for folks who have never attended one.
It's about a husband and wife, crossing paths at a masked ball, each unaware of the other's identity. Extra-marital liaisons are hinted, but only hinted. All one really sees or hears about is extra-marital flirtation, and it's quite reasonable to believe that nothing more ever has happened between the opera's mix-and-match character pairs. (Though Danner does keep using the word "seductive" to describe both music and story.)
Danner was responsible for the singularly lovely staging of La Traviata for the VOA seven years ago, for directing the modern opera Susannah here, for The Mikado more recently, and for a host of other highly praised and well received VOA productions. This version of Fledermaus is a restaging of a production she did here in 2003. She's acted on Broadway, TV and in films, taught extensively, and directed a legion of operas and plays.
Her sister is actress Blythe Danner, and she's kin to the whole ensemble of Danner and Paltrow arts and entertainment celebrities.
Die Fledermaus means, literally, The Flying Mouse – which is to say, The Bat. That's a reference to the costume one character had worn to a masked ball – this is 19th Century Vienna – that had been held some time before the opera takes place.
Humiliated then by a friend with a taste for harsh (albeit harmless) practical jokes, The Bat – that is, the man who had been dressed as one – sets out to turn the tables on his mischievous friend – the husband mentioned above – at another high society ball. Again, costumes and disguises are in order, and those will allow The Bat to set up a properly effective payback, with compound interest.
Fun is the word that keeps cropping up in Danner's remarks about the production – with "lightness," it makes up the guiding principle behind her staging.
To this three-quarter-time fueled farce of flirtation, disguise and harmless revenge, she has brought her dance trained sensibilities of pacing and motion, so the whole show unfolds in a waltzing whirl. (To keep the story flowing, intermissions uniquely serve as mime-like narrative bridges between acts.)
In the end, "sauce for the goose, sauce for the gander" justice prevails for the marrieds with wandering eyes, no lasting harm comes to anyone, The Bat has his thoroughgoing revenge and everyone, including the audience (one assumes), goes home remembering a romantic farce with the champagne sparkle of a princely masked ball.
By Johann Strauss II
Nov. 10 – Nov. 18
Virginia Opera Association
Harrison Opera House
160 E. Virginia Beach Blvd.
Norfolk, Virginia 23510
757 – 623 – 1223
-Montague Gammon for VEER Magazine
With its formal dress, foreign languages and shouts of bravo, attending the opera can seem a bit daunting to the outsider. But it doesn’t have to be. If your closest brush with the art form is Bugs Bunny and Elmer Fudd in “What’s Opera, Doc?” here’s a quick, dirty and highly subjective guide on how to attend.
Why I like opera: In a sense, it’s a combination of the best of all art forms — the best music, sets, costumes and dancing. Furthermore, it gets darker than many other art forms. I’ve seen musicals in which nearly every character dies, only to have them come back for one last rousing number to send the audience into the streets humming. Not so with opera, where the stories often end with the most devastating things imaginable happening.
Starting off, stick with the classics: I’m not trying to wave you off of Richard Wagner or any other composer, but if you’re worried that one bad opera experience will scar you forever, the tried-and-true audience favorites are the way to go.
Georges Bizet’s “Carmen” may seem like opera’s equivalent of ballet’s “The Nutcracker.” But it’s popular for a reason. “Carmen” has a fantastic story, great characters, Spanish dancing and a score that you can probably already hum most of.
Georges Bizet is my favorite — I think the tenor-baritone duet in “The Pearl Fishers” is the most beautiful piece of music on the planet — but Giuseppe Verdi is generally considered the gold standard. It’s hard to go wrong with Giacomo Puccini and Wolfgang Amadeus Mozart as well.
Do your homework: Like William Shakespeare, your enjoyment of the opera will be magnified by how much effort you make ahead of time. It’s common for audience members to listen to a recording of the show or read the libretto beforehand to refresh themselves. I recommend at least reading a synopsis of the plot.
Wikipedia can do the trick, but if you prefer your synopses in book form, I’m a fan of Eyewitness Companions’ “Opera,” by Alan Riding and Leslie Dunton-Downer. It’s accessible, attractively laid out, and provides a good synopsis of the most popularly performed operas. For something more in-depth, try Sir Denis Forman’s “A Night at the Opera.”
Supertitles: Worried that you don’t speak French or Italian? Don’t panic. Most opera companies — including the Virginia Opera — project the dialogue above the stage in English (it’s usually someone ranting about love or jealousy). Even operas in English like “Porgy and Bess” often have supertitles, because it can be hard to make out the words. At some opera houses, the supertitles are displayed on small seat-back screens.
Tickets and seating: If you don’t mind sitting in the nosebleeds, tickets are less expensive than you think, starting around $25 for the Virginia Opera. While closer seats might give you a better view, opera is such a showy medium that you won’t miss as much of the action as you would at a standard play. The visuals translate well, and you can still hear everything perfectly. Also, just because a seat is more expensive doesn’t mean it’s a better spot. In many opera houses, the best place to hear is at the front of the balcony, not the orchestra level. Savings also come from subscribing or buying group tickets.
Run time: Though it won’t be exact like a movie run time, a little research can let you know how long an opera will be. Most operas are in the two- to four-hour range, with a varying number of intermissions. Take advantage of the restroom during these breaks.
What to wear: Traditionally, opera garb consists of tuxedos for men and formal wear for women, but Richmond prides itself on being a casual city. Friday openings will have a few tuxes, but mainly business suits for men and formal or cocktail dresses for women. Sunday matinees are very casual here, with anything other than jeans and a T-shirt seemingly OK. Perhaps business casual or casual chic is the mark to hit. Virginia Opera performs its shows in three cities: Norfolk, Richmond and Fairfax. If you happen to attend an opening night in Norfolk, many men will wear tuxedos, so dress appropriately.
Audience participation: When it comes to clapping, simply do what everyone around you does. A pause in the singing is sometimes only for dramatic effect, or to bring attention to an orchestral interlude. Just relax, and wait for everyone else.
After an aria — a long-song solo — shouts of “bravo!” are meant to applaud male singers, “brava!” for female — though “bravo!” seems to be fine for both sexes in modern times.
Just don’t shout “bravissimo.”
It sounds pretentious.
The Fall Season
Virginia Opera is staging three performances this fall, starting with a doubleheader of “The Seven Deadly Sins” and “Pagliacci” (Oct. 14 and 16), followed by “The Barber of Seville” (Nov. 18 and 20). Both are at the Carpenter Theatre.
Best known for “The Threepenny Opera,” Kurt Weill collaborated again with playwright Bertolt Brecht on “Seven Deadly Sins.” This sung ballet is about sisters, named Anna I and Anna II, who travel through seven American cities in seven years to encounter each of the seven deadly sins. Virginia Opera’s production will star Weill specialist Ute Gfrerer in her American operatic stage debut.
Meta before meta was a thing, Ruggero Leoncavallo’s “Pagliacci” tells the story of Canio, a clown who must play an onstage character who’s been cuckolded after finding out about his wife’s real-life infidelity. Before things end horrifically for all involved, we’re treated to “Vesti la giubba,” one of the best tenor arias around.
Gioachino Rossini’s “The Barber of Seville” is an opera buffa, or comic opera, about men seeking the same woman’s hand in marriage. Figaro, Italy’s answer to Falstaff, is a mischievous barber who helps the Count Almaviva woo the beautiful Rosina. Filled with comic antics, disguises and such great Rossini tunes as “Largo al factotum,” “Barber” is considered by many to be the greatest comic opera ever written.
If you've been hesitant to give Lyric Opera Baltimore any attention (and from the empty seats Friday night, I'd say that means a whole lot of you), the company's season-ending presentation of Gounod's "Romeo et Juliette" ought to win you over. It's a very respectable venture, thanks to vivid music-making and a handsome staging.
Filling the title roles are singers with the assurance and style to meet the opera's vocal demands. They also possess the acting finesse to create persuasive portrayals of the unfortunate lovers who dare to cross the long-monitored lines drawn in the sand by their respective feuding families.
On Friday, Jonathan Boyd used his sizable tenor elegantly, nowhere more so than in his balcony scene aria. Top notes were not always effortless, but there was an exciting metal in the tone when the music heated up, especially in Romeo's passionate outburst at the news of his banishment after the deaths of Tybalt and Mercutio.
As Juliette, soprano Sarah Joy Miller could have been singing in any number of languages, but what she lacked in clarity of French enunciation, she more than made up for in the theater-filling brightness of her voice and her unfailingly beautiful phrasing. She's an unusual talent. It would be great to have her back in town soon.
The veteran bass Kevin Langan gave a sympathetic performance, vocally and theatrically, as Frere Laurent, whose efforts to help the lovesick couple get so tragically derailed. Among those also making vibrant contributions: mezzos Kimberly Sogioka (as Romeo's page Stephano) and Susan Nicely (as Juliet's maid), baritone Luis Alejandro Orozco (Mercutio) and tenor Daniel Curran (Tybalt).
The chorus produced a warm, mostly cohesive sound. In the pit, the Concert Artists of Baltimore hit a few bumps but played Gounod's finely crafted score with considerable fire and nuance (that score has been trimmed a bit for this production). Conductor Adam Turner provided sensitive guidance for singers and orchestra alike; he sculpted the post-wedding bedroom scene and finale with particular tenderness.
Visually, the finely costumed production hits the spot. The sets, designed by Michael Baumgarten and Bernard Uzan, evoke old Verona nicely enough, with projections filling in details as needed. Baumgarten's lighting, more subtle than usual at the Lyric, is a major asset, right from the opening scene's lovely golden hue. Uzan generally maintains a firm pace and freshens up several scenes, but also falls back on some old-fashioned stand-and-deliver poses for the singers.
Whatever provincial elements pop up in this "Romeo et Juliette," the overall quality affirms what Lyric Opera Baltimore is capable of doing to keep the art form a part of this city's cultural fabric. That's what the old Baltimore Opera Company managed to do for decades; its successor deserves a chance to do the same.
The Baltimore Sun
When it comes to tragedy, it's still hard to beat the one about "a pair of star-crossed lovers" named Romeo and Juliet, who defy their feuding families and are denied happiness by a dreadful series of circumstances. If there's anything that can intensify Shakespeare's compelling drama, it's music.