Virginia Opera, The Official Opera Company of the Commonwealth of Virginia, and Lyric Opera Virginia jointly announce that Virginia Opera will now present previously scheduled Lyric Opera Virginia productions of both Lerner & Loewe’s Camelot and Giacomo Puccini’s La Fanciulla del West (The Girl of the Golden West) to audiences throughout the Commonwealth.
Lyric Opera Virginia publicized its 2012-13 Season to include productions of both Camelot and Fanciulla; however, Lyric Opera Virginia announces that it will not present either production. As neither opera company wishes for subscription purchasers to be left with unredeemable tickets, Virginia Opera will produce Camelot in January 2013 and performances of Fanciulla, originally scheduled for Fall 2012, will now take place in January 2014 in addition to Virginia Opera’s soon-to-be-announced 2013-14 Season. Virginia Opera will present both works in the same venues originally planned by Lyric Opera Virginia.
Both companies, wishing to ensure that audiences will avail themselves of the Virginia Opera performances, also announce that in lieu of the previously scheduled “Jewel Box” production of Charles Gounod’s Romeo & Juliet, Lyric Opera Virginia ticket holders may trade those tickets for one of four Virginia Opera offerings during the 2013 calendar year, including André Previn’s A Streetcar Named Desire and Wolfgang Amadeus Mozart’s The Marriage of Figaro, as well as the first two productions in the upcoming 2013-14 Season. Current Lyric Opera Virginia subscribers will be notified in January 2013 of their options for this exchange following the announcement of Virginia Opera’s 39th Season.
Both Virginia Opera and Lyric Opera Virginia are heavily invested in supporting the art form of opera by increasing education and outreach programs, developing emerging talent, and cultivating new audiences. As such, both companies look at this effort as a favorable move for not only their own organizations, but also for audiences throughout the Commonwealth of Virginia.
Virginia Opera President and CEO Russell P. Allen stated “Virginia Opera and Lyric Opera Virginia have both worked to expand opera and musical theater audiences. With Virginia Opera producing Camelot and La Fanciulla del West, the audience-building groundwork implemented by Lyric Opera Virginia will continue unabated.”
Lyric Opera Virginia Artistic Director Peter Mark stated “Lyric Opera Virginia has already accomplished much of its mission. We put on three magnificent productions attracting audiences of over 13,000 to quality opera and music theatre productions in an array of new venues.”
Virginia Opera Chair of the Board of Directors Alan D. Albert stated “When Lyric Opera Virginia was founded two years ago, we welcomed the advent of an organization with which we shared a common passion: the advancement of opera throughout Virginia. Today, we are pleased to take an important new step in advancing the art form we all love, by providing LOV subscribers with two wonderful productions and an opportunity to attend an additional Virginia Opera production at no added expense. We extend a warm welcome to the LOV family and look forward to working together to advance opera in the months and years to come.”
Lyric Opera Virginia President of the Board of Directors Victor Sonnino stated “Lyric Opera was created with the intent of expanding operatic opportunities as well as presenting opera to a new public by performing in new venues and presenting opera in creative and innovative styles. In spite of its incredible artistic success, LOV has found itself in a similar situation to many other performing arts organizations, that is, the need to identify, in a timely fashion, significant and recurring sources of income. This is why the agreement with Virginia Opera presents itself as an excellent way of preserving staged operas in venues that LOV has developed as well as allowing Lyric Opera to continue to present master classes and discovery concerts that showcase young and aspiring vocal talents.”
Virginia Opera will present both Camelot and Fanciulla as fully-staged productions in three venues: the Sandler Center for the Performing Arts in Virginia Beach, Va., Christopher Newport University’s Ferguson Center for the Arts in Newport News, Va., and the Landmark Theater in Richmond, Va. Camelot will be a production conceived by Lyric Opera Virginia; Peter Mark and Joseph Walsh, Artistic Directors. Times and dates for performances of La Fanciulla del West will be released when Virginia Opera announces its 2013-14 Season. Performance dates for Camelot have changed from those originally announced by Lyric Opera Virginia and are now scheduled as follows:
Sandler Center for the Performing Arts – Virginia Beach, Va.
Friday, January 11, 2013 at 8:00 p.m.
Sunday, January 13, 2013 at 2:30 p.m.
Christopher Newport University’s Ferguson Center for the Arts – Newport News, Va.
Wednesday, January 16, 2013 at 7:30 p.m.
Landmark Theater – Richmond, Va.
Sunday, January 20, 2013 at 2:30 p.m.
Current Lyric Opera subscribers may confirm their already purchased Camelot tickets for these four performances at the Virginia Opera Box Office by calling 1.866.OPERA.VA (1.866.673.7282). Single tickets for Camelot are expected to go on sale to the public the first week of December, once all of Lyric Opera Virginia’s current subscribers have been accommodated. All details regarding individual ticket purchases for Camelot will be released separately on December 3, 2012.
For more information, contact Marci Falvey, Virginia Opera Media and Communications Manager, at email@example.com or by phone at 757.627.9545, ext. 3323. For any questions regarding Lyric Opera Virginia, contact Joseph Mayes, Board Member, at firstname.lastname@example.org or by phone at 757.473.5339.
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.