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Don Giovanni: A Perspective

2012-05-10T23:11:41Z

by Hong-My Basrai

There is so much to say about Don Giovanni that I do not know how to begin. Giovanni, or Juan, is a character larger than life, hated and revered altogether.

An unrepentant womanizer, John Dunne’s Don Juan “can love both fair and browne——I can love her, and her, and you and you….” Lord Byron’s Juan, contrarily, is a Mama’s Boy whose virginity was pilfered by the manipulative Julia, who “vow’d she never would see Juan more, and next day paid a visit to his mother….”

But never mind how he was turned into a playboy, never mind his original loving nature and inclination to seek solace in his maternal lap. Who is this legendary playboy, this Don Giovanni set forth by the librettist Lorenzo Da Ponte, whose first breath was drawn from the first note W. A. Mozart had given him, and who, for a few days of May this year, would be portrayed by ROC?

Wondering, I set out eager to meet my date. Giovanni has to convince me that a man like him, known worldwide for centuries to be corrupted, can truly still impress the hearts of today’s sensible women, and that the dazzling, sweet-talking Giovanni in days of yore is still lovable.

As the first musical chords (Brian Farrell, pianist, Musical Director) struck the air three times, the music alone, unassisted by the dimming light or lifted curtain, places the audience securely in a time and place where men still sheathe their swords and virgins sleep inside the four walls of their parents’ properties.

The legend of Don Giovanni (Colin Ramsey, bass baritone) unfolds right before our eyes in the garden of the Commendatore—Knight of a Chivalry Order (Joel Huanca, bass), underneath the marbled colonnade. We hear footsteps—four strides followed by quick tiptoeing—in a rising succession of detached eighth and rising sixteenth, then Leporello (Arthur Freeman, bass), Don Giovanni’s male servant, appears. A brown, broad-brimmed hat covers the man’s head. With bag slung across his shoulder, the middle-aged servant dejectedly kicked about while waiting for the return of his master from somewhere within. Listening in like spies, we share his feelings as he pitifully lists his grievances, addressed to no one but the silent columns: “Notte e giorno faticar per chi nulla sa gradir—slaving day and night for whom nothing pleases.” It is too late for him to seek a better life with another master, as it is too late for us not to warm up to him, although we soon discover he is nothing but Giovanni’s spineless accomplice for the attempted rape of Donna Anna (Leslie Dennis, soprano).

And so, throughout the plots, the meek servant, Giovanni’s sounding board and terrified conscience, never loses our compassion; as when he escapes with Don Giovanni from Donna Anna’s shriek, her father murdered, her household staff and betrothed Ottavio summoned too late; or when he confronts his master about his debauched lifestyle. Our compassion for the old man only increases as his master’s ugly nature is revealed to him time and again, as when Giovanni devises to trick Donna Elvira (Jade lin Hornbaker, soprano) a second time, Elvira whom he married and left within three days for other conquests like Zerlina (Lawren Donahue, soprano).

Through Leporello, we acquaint with Giovanni’s past. To Elvira Leporello handed a notebook with hundreds of female names, a record of Giovanni’s victims he has kept for himself, telling her, “e v’han donne d’ogni grado, d’ogni forma, d’ogni età —women of every rank, of every size, of every age.”

Leporello holds our sympathy because he represents many of us, weaklings trapped by life’s circumstances and made impotent in inextricable situations. But how do I explain our fascination with Mozart’s Giovanni? His inexpiable freakish nature is plain for all to see. Throughout his life, he remains a constant liar, a brute who bites the hand that feeds him and bleeds the hearts of those who love him. He never stops to reflect on his exploitative motives. His first aria arrives only toward the end of Act I when he urges Leporello to “Fin ch’han dal vino calda la testa, una grand festa fa preparar—now prepare a great feast until the wine makes all heads reel.”

Yet, the women he continuously deceives actively pursue him. Is it really for revenge or for his love? More mysterious still, Mozart’s Giovanni evokes positive feelings in men, even the ones he has wronged. Leporello remains faithful, even protective of him. Ottavio (Matt Dunn, tenor), a Don of equal station, admires him: “Bisogno abbiamo della vostra amicizia—we have sore need of your friendship,” and secretly, is ready to question his guilt: “A chi si crederà? Certo moto d’ignoto tormento dentro l’alma gigare mi sento—which am I to believe? I feel some strange suspicion stirring in my breast.”

Men like Masetto (Kevin Wiley, bass), whose lowly background has taught him to be instinctively distrustful of the dazzling Don, cannot avoid from being duped and beaten by Giovanni, even right after he has almost lost his wife-to-be, the frivolous Zerlina, to the Don, not once, but twice.

Having met Giovanni in person, I ask myself this question: can Giovanni ever spring alive in a setting outside the opera’s stage, through the means of more sophisticated media like, say, a 3D movie? My guess is no—as long as we remain human. Human’s senses crave for Don Giovanni in flesh and blood. He can only time travel to us on live, energetic long limbs, waltzing from those pairs of arms to these pairs of breasts, his boyish good looks most enhanced, most enticing when he raises his baritone timbre and fills the air with mirth and derision.

Kiss me before we part, Giovanni. See you again soon.

Read about Hong-My's book at http://behindtheredcurtainamemoir.blogspot.com/

Repertory Opera Company Delivers an Exuberant Don Pasquale

2012-02-21T21:05:45Z

by Denise A. Hamilton

Don Pasquale, Donizetti’s comic opera, was a welcome surprise this weekend as performed by the Repertory Opera Company of Pomona. Its cast was led by professionals you may not know but whose training and accomplished voices, along with fine acting, made me wish that operas of this caliber were not so few and far between.

The title role of Don Pasquale was performed by the seasoned Arthur Freeman, who seemed to grow into the demands of the role as the opera progressed. He fully embodied the frustrations and foolishness of an old man looking for young love – with just the right amount of confusion to endear him to the audience.

Joséph von Buhler, baritone, was solid as the pivotal character of Malatesta. He had a physical ease and expressiveness that the role needs, in addition to his strengths as a singer. It’s not an easy balance, but he managed great presence and command that did not overpower other performers or their characters. His comic timing was excellent, and he held his own in demanding scenes with Mr. Freeman while driving the narrative to its conclusion.

Keiko Clark, soprano, was exceptional in every way as Norina. She brings a charisma that lifted this comic opera to something more than laughter – let’s call it “joy” – as she filled the venue with delight. Ms. Clark inhabited Norina with a confidence and playfulness that brought just the right amount of weight to a comic role. The clarity and brightness of her voice was stunning, making a leap in sheer artistry that created an emotional connection with the audience. If we hope to draw more audiences to opera, the world should see and hear a lot more from Ms. Clark.

As the lovesick Ernesto, tenor Kyle Patterson did not have the built-in fun that lets us laugh at Don Pasquale or enjoy the devilishness of Norina. But he did a good job of conveying poor Ernesto’s plight, including hitting the high notes that characterize his despair.

In addition to the lead roles, the chorus was exceptionally strong. While their appearance was not uniform and included a wide age range of performers, they sang together with a beautiful and uniform power and grace that was not expected. It’s a shame that such talented singers have so little opportunity to showcase those glorious voices.

Overall, the production values were adequate, but there was one idea that worked exceptionally well. This production relied on two narrators who step in and explain the upcoming scenes to the audience. While it might be awkward in a tragedy, it worked well in this comic opera as the narrators blended into the overall production. It’s also a great help for novices like my teenage son, who was able to follow the story all the way through during his first opera.

Also noteworthy: The costumes were a wonderful surprise that shouted “professional,” and gave the actors some of that nearly intangible support they certainly deserved. Where there may be no time or budget for very complicated sets, the costumes took me to the early 19th century and I never left.

The piano accompaniment by music director Brian Farrell was a perfect fit with this crisp, yet rich and fanciful production of an old favorite.

Don Pasquale continues next Saturday, February 18, at 2 p.m. For information and tickets, go to the Repertory Opera Company website, or call (909) 230-4949.

Don Pasquale: A Perspective

2012-02-10T02:05:50Z

By Hong-My Basrai

No matter what the groundhog says, we, Californians, can never tell if winter is indeed over. Has it even arrived? But love is definitely in season when the red hearts are plastered all over town. The message is clear: it is time to empty your pocket for your Valentine. So stated, I find February a perfect month to appreciate Repertory Opera Company’s (ROC) masterful production of Donizetti’s Don Pasquale, a comic opera about love and money, and their muddling-meddling in a person’s life.

A short, happy prelude (Brian Farrell, piano) begins the opera. The main characters appear on stage: Don Pasquale (Arthur Freeman, bass), a delightful character whose peaceful existence is attested by a smooth forehead and protruding belly, and his doctor and confidante, Malatesta (Joséph von Buhler, baritone) in a long-tailed coat, effusing cunning mannerism. Dazzlingly dressed in epoch costume, two narrators (Coril Prochnow, Geoff Curtiss) step forward to speak directly to the audience in everyday English, giving the background story. They appear subsequently at the beginning of many scenes to offer the crucial details of the fast-moving plot; sometimes jostling in farcical manner to cut short each other’s elaboration before clearing the stage.

Act I opens with Pasquale, dressed in his best and surrounded by servants. No man approaching his golden years should be happier than Don Pasquale, yet his bonhomie betrays a fretful soul. “Son nov’ ore…!—‘Tis nine o’clock…” he drones, impatient for Malatesta’s return. His friend arrives, rendering in a beautiful solo the good news that a young, pretty bride, “Bella siccome un angelo!—Beauteous as an angel born!” is found.

Equally refreshing is the character of Norina (Keiko Clark, soprano), as whimsical as a spring bird, as cute as a doll to contrast Pasquale’s meek nature in a timeworn frame. We see her in a red gown worn casually over her negligée, reading a romance and giggling to herself in her florid boudoir. When approached by the scheming Malatesta, she readily plays the part of the bride-to-be and skillfully switches on different personas to conspire with him how best to charm Pasquale, alternating between coquettish and beguiled femininity. Poor old goat! If the sight of her is a vision, then her soaring voice, “Tutto d’Amor conquiso—to own as conqueror, Love..,” carrying in it the music of lute and chime, would be to him the enraptured heaven.

Pitted against those well-defined personalities, the more subdued Ernesto (Kyle Patterson, tenor), Pasquale’s nephew, provides a counterbalance, a touch of seriousness, to the comical opera. Crooning in harmony with the cello-like resonance of the baritone in “La morale e molto bella—it is very clever moral…,” his higher timbre, like a tremulous viola, enhances the depth of Pasquale’s cavernous bass and anchors the soaring soprano.

From the primo act to curtain call, the pervading mirth craftily disguises a lesson: never confuse love with money. Bravo, ROC!

Read about Hong-My's book at http://behindtheredcurtainamemoir.blogspot.com/

A Don Pasquale for the Whole Family

2012-02-08T17:10:31Z

by Steve Moritsugu

The Repertory Opera Company performed a vibrant joy filled production of Donizetti's greatest comic opera, Don Pasquale, on Saturday at the First Christian Church of Pomona. Opera of this period often has long boring stretches where characters almost chant in rapid fire Italian (called recitatives) and then express how they feel in glorious soaring melodies. Director LizBeth Lucca has found a wonderful way to replace the recitatives with two narrators who tell us in English what is happening so that we not only enjoy the beautiful melodies but we understand the plot that has caused the characters to sing in Italian as they do. Bring your friends and family to this production, even if they are new to opera. You can see future dates, times, and buy tickets at www.repertoryoperacompany.org

The two narrators, Geoffrey Curtis and Coril Prochnow, put the whole audience in a comic mood as they playfully interact with the singers and explain in English what is going on before each scene.

Arthur Freeman sang Don Pasquale who is the center of the opera. He is the victim of all the other characters' schemes but his selfishness caused the problems in the first place. Arthur's characterization is always fascinating and fun to watch at every moment. He has a beautiful, full baritone and can shade the sound for whatever effect he wants. He could play this role for any major company.

Keiko Clark sings Norina who loves Don Pasquale's nephew Ernesto but masquerades as Sofronia, whom Don Pasquale marries so he can disinherit his nephew. The narrators really help when the plot is this complex. Keiko is one of the treasures of this opera company, a supreme coloratura soprano who easily sang the vindictive Queen of the Night in a previous opera. She seems to get younger every time I see her perform, perfectly embodying and singing the young lover, yet with a voice that can soar over the ensemble when called for.

Making his debut with the company is tenor Kyle Patterson, a true tenore di grazia, not a heroic tenor, but a voice of great beauty that seems to float effortlessly.

At the center of the plotting is Dr Malatesta sung by Joseph von Buhler. His ringing baritone was last heard as the young corporal in Carmen. In this opera, he shows a gift for comedy, matching the seasoned Arthur Freeman, turn for turn.

Music director Brian Farrell provided a sparkling accompaniment at the piano, while directing the ensemble in key places.

Director Lucca has assembled and guided a wonderful supporting chorus who provide deft touches throughout the opera, such as a quick aside in English you will hear near the start of the opera by Carolyn Wilson. Kevin Wiley is a sure hand as the Notary and also the chorus master of this production. Tenor Wai Chan got applause two times for picking up paper and some nice dance moves.

The costumes are rich and colorful and fit the period. The set is minimal but supports the action perfectly. The church has a high ceiling and wonderful acoustics, there is not a bad seat in the house.

There are different singers on different days but this production is worth seeing on any day. The next performances are Wednesday Feb 8 at 7 PM and Saturday February 11 and 18 at 2 PM.

Il Trovatore: An Audience Perspective

2011-10-12T19:00:06Z

Il Trovatore: An Audience Experience

By Hong-My Basrai

Four gray columns in the center stage suggest a courtyard. High above the emptiness and silence, a soft light glows inside an arched window. The first sound rumbles through (Brian Farrell, piano), the felt hammers straddling the low octave repetitively, punching the air drum-like. As Fernando (Sean Hughes, bass) appears in brown habit, the notes soar and swirl, inundating Pomona’s First Christian Church with the first waves of sound. Again, muteness imposes. Then Fernando’s sonorous, three-syllable cry, twice uttered, “All'er-ta, all'er-ta!” plunges the audience into the four-act drama of persecution, revenge, and filial loyalty caught in a love triangle.

Sparing Verdi’s Il Trovatore of visual distractions, Repertory Opera Company (ROC) relies instead entirely on its vocalists’ lung power and dramatization skills to enchant its audience. The sublime music engages us from scene to scene through the acts. Like the soldiers (ROC chorus) assembling around Fernando, bewitched by the recitative about a witch burned long ago, my husband and I let the music cast a strange spell on our senses. An alternate reality sets in with each come-and-go movement upstage. When Leonora (Lindsay Feldmeth, soprano), in celeste blue garb over burgundy gown and accompanied by Ines (Rachel Payne, Mezzo-soprano), claims the air with her soaring timbre, her angelic face holds us spell-bound by the torment of her love for the troubadour. “…s'io non vivrò per esso, per esso io morirò…—…if lived without my heart I’d rather die….” I find myself gasping for air at the end of her crystalline aria.

Trailing on beautiful Leonora’s steps, Count di Luna (Raul Matas, baritone), a handsome figure in dark uniform, strides in, serenading his belle in a deep, cavernous tone, his masculine vibe undoubtedly conquering all the female hearts in the audience. Before he can catch his next breath, in the distance, the singing of Manrico, the troubadour (James Salazar, tenor), echoes, “Deserto sulla terra….” Running out to meet him in the imaginative shadow of a beguiled moon, Leonora throws herself into the waiting arms of the amorous count instead. Animated with mutual hatred, the two love rivals pull out their swords and fight, swapping melodies of low and high baying, ignoring Leonora’s strident supplication. Their blending voices, intoned in a wide vocal range, train our ears to new heights of pleasure.

Between scenes, as ROC’s staff sets up the stage in quick and silent motions, they involuntarily provide us with an educational diversion. We realize then, however little or simple, change to the setting in opera is necessary to create the illusion of time and space movement, so that the inspired imaginations can take wings.

The lively gypsy camp replaces the solemn courtyard towered by the gray columns. Giggling girls, with hair loosely wrapped in red kerchiefs, run about happily amidst old gypsies. The rhythmic punctuation of hammers on metal in the resuming music hints at the famous Anvil Chorus. The merry, four-beat tune incites our feet to tap and hands to clap along in an abandoned festivity. Steadily, the clanking of anvils becomes more urgent and haunting, more like the striking of a clock announcing the evil hours. Sitting away in a corner, the witch’s daughter, Azucena (LizBeth Lucca, contralto), swaying in a clipped and grave incantation, “Stride la vampa—up leaps the flame,” works up the memory of an infant son cast into the flame of a fire.

Aria after aria, the vocalists fill the air alternately with hope, love, desperate jealousy, and wickedness to move the story forward role by role until the finale. In the end, I wish for the return of the Anvil Chorus to hammer away Azucena’s triumphant shriek, like the devil’s laughter, “Sei vendicata, o madre!--Oh Mother! You’re avenged,” and Count di Luna’s anguished cry, “E vivo ancor!--And I still live,” finally realizing he had murdered his own brother.

Wicked, hauntingly wicked! Somehow I have the impression that ROC’s Il Trovatore is a perfect gift for the month of October.

Read about Hong-My's book at
http://behindtheredcurtainamemoir.blogspot.com/

Take Three Anvils and Call me in the Morning

2011-10-12T18:59:54Z

Take Three Anvils And Call Call Me In The Morning

by Steve Grabe

When asked what it takes to perform Giuseppe Verdi’s Il Trovatore, the legendary tenor Enrico Caruso once said, “Four of the best singers in the world.” Portions of the opera—such as the “Anvil chorus,” “Di quella pira,” and “Stride la vampa,” are part of the collective conscience of the Western world. Repertory Opera Company (ROC) is a community-based troupe; and while one may not get world-class production values, the audience gets to witness up close the enthusiasm and elation/fear that are no less real for the amateur than the seasoned professional when performing a truly great work.

With ROC’s Trovatore, the simplicity of sets and costumes allowed me to concentrate on the performances and the sheer volume of great tunes I was unaware the show contained. The program notes amply provided the background for the stage action. I enjoyed the chorus’ rousing singing and sure entrances along with the clanking steel of the anvil chorus. The adult ensemble members did an excellent job, however one can’t be blamed for loving the children dressed in gypsy garb and smiling from ear to ear. The leads did an admirable job with this daunting score, which was masterfully played by music director Brian Farrell.

There is always the question of which character commands the most focus of Il Trovatore: Manrico, Azucena, or Leonora. Poor Count di Luna never seems to be in contention. As I write this I keep going round and round myself. This may be one of the problems and yet virtues of the show. Regardless of the story the show is a progression of one great tune after another and I just can’t pick which is best.

One of the greatest pleasures I get from listening to operas is hearing excellent ensemble work among the leads, and I heard it with both casts. The Manricos, Steve Moritsugu and James Salazar, along with Raul Matas’ Count di Luna, are to be commended.

The two Azucenas, Debbie Dey and LizBeth Lucca, owned the second act with commanding but different renditions “Stride la vampa” and the 4th act duet with respective Manricos were at once beautiful and heart wrenching. This was the first time Ms. Lucca has performed in a show she has directed since ROC moved to Pomona.

Call me a tenor but in this production the Leonoras stole my heart. Lindsay Feldmeth and Coril Prochnow truly wowed me with their arias.

The singers helping the leads move the story along: Mark Palmer/Sean Hughes (Ferrando), Lawren Donahue/Rachel Payne (Ines), Eddie Sayles/Jonathan Tran (Ruiz), Darby Eccles (Gypsy Leader), and Joe Prokop (Messenger) carried out their charges with confidence and aplomb.

Lastly, I must note what a pleasant experience was provided by the First Christian Church from having ample parking, joyfully sharing their Sanctuary and facilities, to having an excellent and well-tuned piano. The Church helped make the performances a community event by embracing this small company. This Saturday at 2:00 pm is the last performance.

Comments from Hong-My Basrai About Opening Night.

2011-05-12T15:44:00Z

The simplicity of the stage is as beguiling as the white handkerchief in the hand of a magician. On the left sits a black stove furnace, and a few steps from it, an easel. The pianist in his black outfit slides into his chair and merges as one with his instrument, quiet for the moment and seemingly lifeless.

Once the light dims, bathing the audience in a shadowy darkness, the center stage comes to life in bright, flooded light and fast music. Marcello, the painter, in brown shirt and checkered red scarf, is seen absorbed in front of his easel. In a corner, a few steps higher and to the right of the stage, is Rodolfo, the poet, shivering under a blanket.

Thus, Act I of Puccini’s La Bohème opens to transport the audience of Repertory Opera Company (ROC) into another time and place far away from the wooden benches of First Christian Church in Pomona. The dissociation with reality is immediate, for at once, the audience is thrust into a world of lyrical communication in lovely but incomprehensible Italian—without subtitles. Those who attend with little preparation are baffled at first by the strange words that Rodolfo and Marcello pass back and forth to one another in a throaty tenor. What are they singing, shivering thus in an imagined coldness?

The uninitiated to opera arrive like tourists in a strange land. We try to interpret the characters’ emotions by the rise and dip of their voices, gestures and facial expressions. Slowly, steadily, the music lures us into their drafty Latin Quarter loft. We follow Mimi, the beautiful Mimi and her crystalline voice, a candle trembling in her hand. Her soprano voice soars in distress. She does not find her key but Rodolfo’s hand instead; and he, bellowing, “Che gelida manina...,”—“how cold is your hand,” is thankful for the darkness and Mimi’s chilled hand.

Opera, the intriguing performing art that brings love, death, sword fight, and laughter to the multitude, is like coffee. One learns to appreciate the bitter taste one sip at a time. In La Bohème, the arrival of the toy vendor Parpignol and the merry group dance in Act II is the spoonful of sugar that improves the taste of this exotic cup. Musette’s flirtatious entrance with “Quando Me'n Vo'” is the rich cream that flavors the dark liquid and sweetens the untrained tongue.

ROC’s simplicity is the magic under the white handkerchief that, once lifted, transforms the experience of the first operagoers. Once the refined taste of this rich cup of roasted bean is acquired, addicted, one would go back for more.

Comment provided by Hong-My Basrai.

Opens in Four Days!

2011-05-04T05:40:00Z

Another free picture collage by Smilebox

Thoughts about La Boheme from Arthur

2011-05-02T18:10:00Z

Henri Louis-Murger (1822-1861), a writer who, after leaving school at 15, supported himself with various menial jobs published his first novel Scènes de la vie de bohème in 1847. In 1849, the story became a play and was taken up into later incarnations as a zarzuela (Bohemios by Amadeu Vives), an operetta (Das Veilchen von Montmartre by Kálmán) and, most recently, the Broadway musical (Rent). Of course, the story also received two full operatic treatments by Leoncavallo (La bohème) and Puccini (La Bohème).

As background, Leoncavallo (1857-1919) wrote about twenty opera, only one of which, his first, I Pagliacci (1892), achieved a lasting life on the international stage.

Puccini (1858-1924), on the other hand, became an operatic legend – just think of La Bohème, Madama Butterfly, Tosca, Manon Lescaut and Turandot. (Birgit Nilsson once remarked that Tristan and Isolde made her famous, Turandot made her rich. A 26 year old Luciano Pavarotti made his debut as Rodolfo in April 1961 at the Teatro Municipale in Reggio Emilia and it was that role that was eventually to propel him to stardom.)

But I digress …

History shows us that Puccini's version not only eclipsed Leoncavallo's setting, but ranks among the most popular operas in the world based on performance numbers. At present, according to ArkivMusic.com there are some 90 recordings and 16 DVDs in the market!

Full disclosure: I admit to having never heard Leoncavallo's version, and there is, no doubt, beautiful, inventive and inspiring music. This is an opera story that can surely benefit from the verismo style that Leoncavallo championed in his music.

The theme of the Leoncavallo's and Puccini's operas is similar – starving artists striving to celebrate life while making a living in an inhospitable and hostile world. As four artists – a painter, a musician, a poet and philosopher – they contemplate and express the world to enlighten it as they perceive it best. In the process, they discovered the true value of the expression A penny for your thoughts.

To read a synopsis of the Leoncavallo treatment, today, reads a little like a parody. A thoughtful hearing might be in order here.

By way of background, the story is based on Henri Murger's own life as a struggling and starving artist along with the company of his friends who called themselves the "Water Drinkers" since they couldn't afford wine. In an irony of fate, even with the popular novel and stage play, Murger never really got to enjoy the fruits and comforts of success and died in poverty at 39. Were he alive, what would he have thought that at his funeral he was honored with the attendance of some 250 luminaries of journalism, literature, theater and the arts. Would have have found comfort that Le Figaro launched a fund in his honor and that, within two months, hundreds of people contributed about 6,500 francs to raise a monument which today graces the Jardin du Luxembourg in Paris. He may have died in penury, but the celebration of irony richly lives on.
Back to La Bohème -- what impresses me about the dueling operatic versions is how they are framed in the context of time– Leoncavallo's goes from Christmas to Christmas, while Puccini's goes from Christmas to Shrove Thursday (Berlinghaccio – a Tuscan version of Mardi Gras). The framework, I believe, can lead to the telling of very different stories.

Christmas to Christmas completes a cycle which, in this case, would be one of arising in darkness (and and that is associated with that) and expiring in darkness -- a kind of Three Penny Götterdämmerung -- while Christmas to Shrove tells me that the earthly trials of love, hunger, and the search for meaning through hope and despair do not go unnoticed according to lessons from Heaven. As darkness and chaos eventually are blessed with light, so goes this story.

A brief reading of the Puccini's libretto (authored by Luigi Illica and Giuseppe Giacosa) includes a host of references to biblical imagery if you choose to closely follow the imagery. (The music is so beautiful and seductive that that alone is a kind of trial.) The images can serve as a metaphor to underscore the subtler subject of the opera, which I believe is: questions of life to which religion is the answer – Why am I here?; How am I to live?; and, What part, if any, does love play in this experience of life?

The spark of love that leaps between Rodolfo (name: noble wolf) and Lucia (name: source of light) begins with the lighting of a single candle on Christmas eve – among the darkest, and in their case, hungriest nights of the year when all celebrate in faith the rebirth of the sun and the promise of lighter and happier days.
The end of the opera, or rather the next phase of Rodolfo's and Lucia's love, abruptly interrupts the heady frolicking on Shrove Thursday, the night before the season of serious contemplation begins. As Lucia lays dying, we attend the scene with an understanding which the music plays on our heartstrings and which we recognize as a scene of love transcending death.

There is a reason why this opera is so beloved the world 'round. There is, of course, the opulent music, the vocal beauty, the humor and the spectacle. There is the story which tells of the love of Rodolfo and Mimi and the friendships they share with their life's cohorts. There is another story that the opera richly refers to -- our own. ***

(Arthur Freeman is one of the founders of Repertory Opera Company and he will be singing Benoit in our upcoming production of La Boheme.)

Young People in La Bohème

2011-04-22T17:17:00Z

Click on Image to enlarge

Here are some of the younger members of our
La Bohème cast.
Don't miss this great show.
For tickets go to http://www.repertoryoperacompany.org/Buy_Tickets.html

La Bohème opens in Three Weeks!

2011-04-16T03:35:00Z

La Bohème
May 7, 14 and 21 at 2 pm
at First Christian Church of Pomona
1751 N. Park Ave., 91768
Tickets are $30
For tickets go to www.repertoryoperacompany.org
For more information, call (909) 230-4949.

Rehearsing Swordplay for Roméo et Juliette

2011-01-20T16:48:00Z

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New Poster for Release

2011-01-20T16:47:00Z

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HISTORY: Romeo and Juliet

2011-01-20T16:43:00Z

by Arthur Freeman

Masuccio Salernitano may not be among the first names that comes to mind when discussing Great Playwrights of the World, but a play he penned in 1476, Mariotto and Gianozza, became the springboard for one of the most recognizable and popular stories that ever captured our collective imagination, namely, Romeo and Juliet. Like the Hatfields and the McCoys, the Montagues and Capulets were bitterly feuding rivals and the story of the spark of love that lep’t between one child from each family leaps to us from generation to generation. Almost anyone can tell you what happens in the story. But what is this story about? Is it about love, death, love & death? Is it about fate steering our destinies? (Romeo and Juliet – the “star-cross’d lovers.”) Is it about astrological time and life’s passages? The need to resolve our differences? Maybe it’s about how an obscure play by an obscure writer can, with the right touches, be transmogrified into an eternal story. Many great lessons present themselves for consideration.

There have certainly been enough artists to give us their take on the story. A sampling of the works might be in order here: William Shakespeare’s play (Romeo and Juliet) is a gold standard among theatrical repertoire; there are ballets from Tchaikovsky and Prokofiev; operas by Bellini (I Capuleti ed i Montecchi), Gounod (Romeo et Juliette) and Delius (A Village Romeo and Juliet); a musical by Leonard Bernstein (Westside Story) and even a comedy (Romanoff and Juliet) along with countless movies. Like any universal story, it can appeal to any age and offer differing insights to different ages.

In Gounod’s Romeo & Juliette, a 19th century Juliette tells us of her ecstatic love of life in the opera’s most famous aria Je veux vivre! (I want to live!). Fast forward to the latter half of the 20th century and we hear Peggy Lee sing: “Romeo loved Juliet / Juliet felt the same / When he put his arms around her / He said Juliet, baby, you’re my flame / Thou givest fever …” With ROC’s upcoming R&J, we’re eager to get the fever.

Roméo et Juliette Rehearsals

2011-01-20T16:31:00Z

Photos by William Domb.
Click on Image to enlarge

Roméo et Juliette - Feb. 5th, 12th, & 19th

2011-01-06T22:58:00Z

Repertory Opera Company continues it’s second season in Pomona with Roméo et Juliette, presented in French. Based on The Tragedy of Romeo and Juliet by William Shakespeare, it is the passionate story of young lovers, together, against the odds, even rather choosing death than to be driven apart.

Roméo et Juliette
February 5, 12 and 19 at 2 pm
at First Christian Church of Pomona
1751 N. Park Ave., 91768
Tickets are $30
For tickets go to www.repertoryoperacompany.org
For more information, call (909) 230-4949.

Magic Flute Dress Rehearsal Photos

2010-10-03T17:05:00Z

Photos by William Domb.
Click on Image to enlarge

SINGER PROFILE: Keiko Clark (Queen of the Night)

2010-09-30T22:22:00Z

Keiko Clark, soprano, has thrilled audiences across the globe with a voice remarkably pure and clear, and a stage presence fresh and engaging. From performing the most demanding arias, to an emotional rendition of the U.S. National Anthem at Dodger Stadium, Ms. Clark takes command of her stage with a warmth and generosity of spirit that audiences take to heart. Her portrayal of Olympia in Les Contes d’Hoffmann, was hailed by ReviewPlays.com, “The audience loved her staccato moves as her voice flirts with almost unreachable heights with the most natural ease and style.”

Ms. Clark is excited to be back with the Repertory Opera Company as the Queen of the Night in The Magic Flute. Loyal fans of Repertory Opera Company will remember Ms. Clark’s performances of past seasons including the title role of Lucia in Donizetti’s Lucia di Lammermoor, Norina in Don Pasquale, and Olympia in Les Contes d’Hoffmann. Later this season, she will also be performing the role of Juliet in Romeo and Juliet.

Keiko’s other operatic roles include both Constanza and Blondchen in The Abduction from the Seraglio, Adina in The Elixir of Love, Madame Goldentrill in The Impresario, Dew Fairy in Hansel and Gretel.

A native of Tokyo, Japan, Ms. Clark trained under a scholarship with legendary tenor Carlo Bergonzi. She holds a Masters of Music degree in Vocal Arts from the University of Southern California, a Bachelors degree in Vocal Performance from New England Conservatory in Boston, as well as a teaching credential from Cal State Long Beach, Calif. In addition to her live performances, Ms. Clark teaches voice in her private studio. Ms. Clark’s activity can be followed at www.keikoclark.com or www.youtube.com.

Keiko Clark as the Queen of the Night in rehearsal for Magic Flute. Photo by Liz Welker.

SINGER PROFILE: John Hansen (Papageno)

2010-09-27T18:44:00Z

John Hansen as Papageno and Aneta Augustyn in rehearsal for Magic Flute. Photo by Liz Welker.

John Hansen has worked as a bass/baritone in opera, operetta and musical theater. He has sung for Utah Festival Opera Company, Dallas Opera, Nevada Opera, Opera Idaho and El Paso Opera as well as many other companies. His roles have included Dulcamara in L’elisir D’Amore, Figaro in Le Nozzi di Figaro, Frank Falke and Frosch in Die Fledermause and Don Bartolo in Il Barbiere di Siviglia. His roles in Operetta include Pooh Bah and the Mikado from The Mikado, Captain Corcoran, Dick Deadeye and Sir Joseph in H.M.S. Pinafore, Bunthorne and Col. Caverly from Patience, the Pirate King, the Major General, the Sergeant and Sam from Pirates of Penzance and other roles in Ruddigore, Trial by Jury, Yoeman of the Guard and Iolanthe.

He has worked as a faculty member at Brigham Young University Idaho where he taught private and group voice, Pedagogy and opera workshop.

He has worked as a stage director directing shows at Idaho Falls Opera, Riverside Lyric Opera Intimate Opera and Opera West. He studied voice with Paul Kiesgen, George Massey and Giorgio Tozzi and received his Bachlors and Master in Music from Oklahoma City University. He spent 3 years working with John Reed of the D’oyly Carte Opera Company. He has been married 27 years to JoAnn Hansen and has 6 children and two grandchildren.

SINGER PROFILE: Coril Prochnow (First Lady)

2010-09-25T17:25:00Z

Coril Prochnow is performing as the First Lady in The Magic Flute. Ms. Prochnow performs regularly as soprano soloist with the Camerata of Los Angeles, a chorale which specializes in the sacred music of the great masters. She has been a soloist with the Celestial Opera Company, Opera Nova and Repertory Opera Company, as well as a concert soloist with various chorales in the Southland. She studied Italian Bel Canto style with UCLA Opera professor, Mario Carta, and follows the vocal instruction of the acclaimed Russian baritone, Leonid Smetannikov, People’s Artist of Russia.