Die Frau ohne Schatten at the Met Opera

Noah insisted that I see Strauss' Die Frau ohne Schatten at the Met.  It's the only opera this season we planned to definitely see at the Met and actually purchased tickets for in advance.  I am completely and thoroughly dazzled by every aspect of this masterpiece and production.   The music is other-worldly and I possibly floated right out of my seat.

We started out in the Family Circle, but ended up being upgraded to third row orchestra. It's hard to describe the thrill of being able to see the faces and hear gorgeous gigantic voices over a 200 piece orchestra. And what voices!   Everybody was marvelous: Christine Goerke, Anne Schwanewilms, Johan Reuter, Rosten Kerl and Ildikó Komlósi.  

This was Anne Schwanewilms' Met Debut.  I was fortunate to hear her as the Marschallin in Strauss' Der Rosenkavalier in her Chicago Lyric 2006.  It was not a voice or a stage presence I could forget.  I was delighted at the opportunity to witness another thrilling performance from her. 

 I had also heard the dynamic Christine Goerke as Chrysothemis in Strauss' Elektra in 2008.  WHAT A VOICE OF ASTOUNDING DYNAMICS! 

See a pattern here?  RICHARD STRAUSS!   As we were leaving the Met, I found it unable to describe the emotions I was feeling.  It's not that I don't find Verdi, Donizetti, Puccini, Wagner, Massenet (and probably others) fulfilling, entertaining and completely worthy of my time, but Strauss takes me to another place.  It's a complete adrenaline rush and my heart feels like it will beat right out of my chest.  Noah said,  "It sounds like God."  Surely, he must be right. 

There are two opportunities to see it at the Met again...I'm double-checking my calendar because I really think I need to see this one again.  It's rarely produced and it has been at the Met for the last ten years.

David Sedaris and Lena Dunham at Carnegie Hall

On Thanksgiving Day 2001, my college roommate and I were on vacation in New York. We had just seen the parade and noticed kids dressed in letter jackets with clipboards at the Ed Sullivan Theatre. Being nosey as I am, we checked them out and ended up going to the Thanksgiving Day taping of David Letterman's Show. David Sedaris was the guest and he read from his book "Holidays on Ice." I've never been the same since. Both Davids did me in.

Now, I'm banned from reading David Sedaris in public because I cannot keep from laughing louder than is publicly acceptable.

So I can never resist an opportunity of hearing David Sedaris read aloud.  It's the delivery as much as it is the words, for me.

This evening was billed as "Alone Together at Last:  Lena Dunham and David Sedaris."   Lena writes and stars in the HBO show "Girls."  She also writes essays and has a book on the way.  They were introduced by Zadie Smith.   Lena and David took turns reading from their various essays and stories.  I laughed louder than is publicly acceptable.    Go read David's books.  You won't regret it.  He's also on a reading tour right now - check your local listings.

I had planned to go with my friend Tracee, who would have laughed louder than is publicly acceptable right along with me.  She broke her foot and climbing to the heavens of Carnegie Hall just wasn't possible.   Fortunately, my friend Alicia was waiting in the wings and bonus - it was her first time in the hall.  I do love being with a person on their first time in a New York sanctuary.

The Battle of the Two Vivienne Westwood Gowns or The Tucker Gala 2013

The 2013 Richard Tucker Gala marked the one hundredth birthday of its name sake American tenor Richard Tucker with an all American affair. American opera singers Stephanie Blythe, Stephen Costello, Joyce DiDonato, Renée Fleming, Susan Graham, Greer Grimsley, Angela Meade, Eric Owens, Ailyn Pérez, Matthew Polenzani, Isabel Leonard (2013 Richard Tucker Award Winner), along with Maestro Riccardo Frizza, Members of the Metropolitan Opera Orchestra and the New York Choral Society gathered at Avery Fisher Hall for the 38th annual Tucker Gala Concert.

Richard Tucker (1913-1975) is considered one of America's greatest tenors. He sang 724 performances with the Metropolitan Opera plus was broadly recorded. He was profoundly civic and religious minded and devoted himself to helping others both in the music world and general community assistance. After his death in 1975, The Richard Tucker Music Foundation was founded as a "non-profit cultural organization dedicated to perpetuating the artistic legacy of the great American tenor through the support and advancement of the careers of talented American opera singers by bringing opera into the community."

The Foundation offers free performances in New York Metropolitan area and supports music education programs. Each year the Richard Tucker Music Foundation annually awards cash prizes to individual U.S. born singers. There is no application process, only nomination. Prestigous in name and in association to previous winner, it is monetarily generous and acts to further highten the winning artist's career, usually one who is already on the brink of success.  The next top award to be granted will be in the amount of $50,000.

The first winner, in 1978, was Rockwell Blake. Other winners were Brandon Jovanovich, Lawrence Brownlee, Eric Cutler, Matthew Polenzani, John Relyea, Joyce DiDonato, Christine Goerke, Gregory Turay, Stephanie Blythe, Patricia Racette, David Daniels, Dwayne Croft, Paul Groves, Jennifer Larmore, Ruth Ann Swenson, Deborah Voigt, Renée Fleming, Margaret Jane Wray, Richard Leech, Harry Dworchak, Dolora Zajick, Aprile Millo, Roger Roloff, Susan Dunn, J. Patrick Raftery, Barry McCauley and Diana Soviero. The foundation also awards the Richard Tucker Career Grant (notably Susan Graham) and the Sara Tucker Study Grant.

I have seen many of recipients of each of these awards perform in recital or concerts in and around New York and in operas at the Met, the Chicago Lyric, San Francisco Opera, the Washington National Opera, and the Vienna State Opera. Each year the Foundation presents a concert of past winners and current winners. This was my seventh year in a row to attend and I'm already counting the days until next year's concert.

Even though the program was a bit more subdued (and very French) without any of our European friends, the evening was stellar and full of thrills and laughs. Believe it or not, it was a mere 40 bucks* for two and half hours of many of American's greatest voices. You just can't beat a bargain like it and it's seriously my favorite event of the year.

Angela Meade stole the vocal show with her "Tu al cui sguardo onnipossente" from Verdi's I due Foscari.  Her high notes are absolutely on fire!   Susan Graham gave us the most fun with Offenbach's "Ah,, que j'aime les militaires" from La Grande-Duchesse de Gerolstein, complete with choreography with four cute "soldiers."  Tenor Stephen Costello showed us he knows how to have fun with his "Caro elisir!..Esulte pur la barbara" from L'elisir d'amore by Donizetti, which he did as a duet with his wife, and last year's Tucker winner, Ailyn Perez.   Joyce DiDonato was not to be outdone as she showed off her own fireworks with Rossini's "Tani afeti" from La donna del lago.

Everybody looked gorgeous in their gowns and tuxes...but Renée and Joyce really glammed the evening with their Dame Vivienne Westwood gowns.   Bling was abundant too - especially Susan Graham who was practically weighed down with rocks courtesy of Ann Ziff for Tamsen Z.  Renée didn't hide her envy as she and Susie took the stage for their duet from Lakme.  Special mention goes to the percussionist in the Met Opera Orchestra who was kept busy all night with some fantastic triangle playing.

The evening was filmed for Live from Lincoln Center and will be aired on PBS on January 10th.  Check your local listings and set your DiVaR accordingly.

The Program:
Verdi - Overture to La Forza del destino
Isabel Leonard - Vivaldi - "Ombre vane, ingiusti orrori" from Griselda
Matthew Polenzani (with Andrew Stenson) - Offenbach  - "Kleinzach" from Les contes d'Hoffmann
Joyce DiDonato (with Andrew Stenson & Brandon Cedel) - Bellini - "Se Romeo t'uccise un figlio" from I Capuleti e i Montecchi
Ailyn Perez - Charpentier - "Despuis le jour" from Louise
Stephanie Blythe & Greer Grimsley - Saint-Saens - "J'ai gravi la montagne" from Samson et Dalila
Stephen Costello - Gounod "Salut! Demeure chaste et pure" from Faust
Renée Fleming & Susan Graham  - Delibes - "Viens, Mallika...Sous le dome epais" from Lakme
Angela Meade (with Jennifer Johnson Cano) - Verdi - "Tu al cui sguardo onnipossente" from I due Foscari
Eric Owens (with Andrew Stenson) - Puccini  - Te Deum" from Tosca
Ailyn Perez & Stephen Costello - Donizetti - "Caro elisir!...Esulte pur la Barbara" from L'elisir d'amore
Isabel Leonard - Granados - "Gracia Mia"
Susan Graham - Offenbach - "Ah, que j'aime les militaires" from La Grande-Duchesse de Gerolstein
Renée Fleming - Refice - "Ombra di nube"
Renée Fleming - Johann Strauss - "Frag mich oft, woran's den wohl liegt"
Joyce DiDonato - Rossini - "Tanti affeti" from La donna del lago
Ailyn Perez, Jennifer Johnson Cano, Stephen Costello, Eric Owens, Brandon Cedel - Rossini - Finale from Guillaume Tell

*I buy the least expensive seats in center third tier, but I also make a separate donation to the Richard Tucker Music Foundation.

Angie at the Oscars

Angela Lansbury earned two Oscar nominations in succession when she was only a teenager - for Gaslight in 1944 and The Picture of Dorian Gray in 1945. She earned her third nomination for the role of a lifetime as Mrs. Iselin in The Manchurian Candidate in 1962. Angie has five Tony Awards for her stage work and six Golden Globes for various film and television work. She holds the record for the most Emmy nominations, eighteen so far, and has yet to win. She just celebrated her 88th birthday on October 25th. It's rumored that she's about to head to London for another revival of Blithe Spirit. She's also talking about returning to Broadway in a revival of The Chalk Garden. Yesterday, she finally was awarded the much deserved honorary Oscar for her body of work - 70 years in show business with over 50 films, numerous television and stage credits. Brava and thank you, Angie, for continuing to inspire me.

More Sondheim: A Bed and a Chair at Encores! at City Center

Oh, good grief: yet another Sondheim revue.  How many does this make that I've seen?   Who am I kidding?  I can't resist especially when it's starring Bernadette Peters.  COME ON!  

It's billed as "A Bed and A Chair, a New York Love Affair" at Encores! at City Center.

This one ups the ante by bringing the inimitable Wynton Marsalis to the table.  Marsalis and members of Jazz at Lincoln Center arranged Sondheim's songs into big band jazz numbers. Marsalis performed them with his Jazz at Lincoln Center Orchestra.  Can't even beat that.  It sounded fantastic!   

Along with Broadway performers Norm Lewis, Jeremy Jordan and jazz singer Cyrille Aimée, we heard Bernadette sing a compilation of very well as well as lesser known or cut songs from a variety of Sondheim shows.   All of the songs were taken out of the context of their individual shows and ordered to make a new story that was an intimate love story between these four and the City of New York.   Also telling the story were four dancers, Meg Gillentine, Tyler Hanes, Grasan Kingsberry and Elizabeth Parkinson.  Part of the act were projections of photos and panoramic film of the City of New York onto a screen behind the orchestra and, luckily for those of us in the gallery, on to the side walls. 

This was a story told only thru movement and song and projections.  The dancing was quite exciting and singing was very satisfactory.   The singing was a mixture of jazz  - even skatting by Miss Aimee and Bernadette! - and Broadway vocalizing.  I loved it all.   Director John Doyle's staging was interesting - provocative and sometimes downright funny.   It was thrilling to hear songs that we love and especially songs we rarely get to hear performed live.  Bernadette tackled The Ladies Who Lunch - and she brought the house down as it was hysterically combined with Agony, Can That Boy Foxtrot and Uptown/Downtown.   I was pleasantly surprised by Jeremy Jordon - quite a looker with a great set of pipes.  He nearly stopped the show with Giants in the Sky.

The combination of the Sondheim, the jazz, the Broadway, Bernadette all exploded into a thrilling evening!
Song List:

Merrily We Roll Along Overture
What More Do I Need?
Another Hundred People
So Many People
Broadway Baby
That Old Piano Roll
Live Alone and Like It
Losing My Mind
Who's That Woman?
Happily Ever After
I Remember
Everybody Says Don't
Someone Is Waiting
It Would Have Been Wonderful
You Could Drive a Person Crazy
Like It Was
Giants in the Sky
Isn't He Something!
Buddy's Blues
With So Little To Be Sure Of
The Ladies Who Lunch/Agony/Can That Boy Foxtrot!/Uptown/Downtown
Loving You
Send In the Clowns
Rainbows
I Wish I Could Forget You
What More Do I Need? (Reprise)
Broadway Baby (Reprise)

Men in White at the Seeing Place Theater

The Seeing Place Theater is staging a revival Men in White.   It is playwright Sidney Kingsley's first major work and he won a Pulitzer for it in 1934.  About a medical resident, it is ahead of its time in focusing on abortion and medical procedure.   I found it to a be a particularly timely subject and surprisingly relevant given the volatility on the subject that has lately been plaguing my home state of Texas.   No doubt, the play was ahead of its time.  

Leading the large ensemble cast, Brandon Walker plays Dr. George Ferguson, the young resident torn between his passion for medical advancement and living a more care-free life.   As the play went on, I saw Brandon become more and more the weary young resident doctor we see on tv shows - a very impressive and palpable performance.  

 

The cast was one of the largest I've seen in off-off Broadway and did a good job.   It felt improvised - at time very natural and off the cuff, mixed with awkward pauses.   Although the pacing was a bit slow, my attention was captured and I kept thinking about the timeliness of the subject.  

 

Seeing Place Theater focuses on the actor-driven ensemble.  They are committed to the development of actors, directors, writers, and designers.   They perform at ATA's Sergeant Theatre on West 54th, just off 8th Avenue and tickets are just $12.  

 

This revival of Men in White is an excellent opportunity to see a rarely performed masterpiece that is often thought of as the model for medical dramas.  It runs until November 24th.  Tickets are available via SmartTix.

 

 

 

A Bloody Give Away: Tickets to Macbeth at Lincoln Center

Something wicked this way comes!  Again!   Yes, there's another production of Macbeth in New York again.  This promises to be a very sexy and sumptuous production at Lincoln Center Theatre - all black, white and especially blood red - directed by Jack O'Brien with costumes by Catherine Zuber.   Ethan Hawke and Anne-Marie Duff star as the Macbeths. The other principals are Richard Easton as Duncan, Francesca Faridany as Hecate, Brian D'Arcy James as Banquo, Jonny Arsini as Malcom and Daniel Sunjata as Macduff.   There should be plenty of fun with the witches played by John Glover, Malcolm Gets and Byron Jennings.

I love Macbeth!   My favorite Shakespeare is still The Tempest, but having seen the Scottish play twice already this year, I was surprised to realize how much I really do love it.  The sex and politics juxtaposed against the supernatural lends to a thrilling experience, no matter the setting or size of production. 

I just can't resist seeing this production of the Scottish play, which is currently in previews at the Vivien Beaumont.  Tickets are available via Telecharge...or to win a voucher for two tickets, tell me why you want to see it in the comment section below.  I'll throw your name in a hat and draw a winner at random in honor of Opening Night on November 21st.  (Mention this post in a tweet and that will count too - I'm @adventuresarahb)

Aunt Beth Talks about LBJ

Click here to listen to my Aunt Beth, Elizabeth Woolls Johnson, talk about LBJ. It's so thrilling to hear her voice again! We lost her on April 12, 2007. She was 98 years old and lived a terrific, happy life filled with teaching, family, many nieces and nephews, and travel. In 1928, she taught at the Welhausen School in Cotulla, Texas with Lyndon Baines Johnson.  Over the years, she followed his rise to be our president and sometimes corresponded with him and Mrs. Johnson.  This is Oral History: Elizabeth Johnson interviewed by Ted Gittinger about President Lyndon B. Johnson. Recorded February 19, 1986 at Aunt Beth's home on Tildon Street, Cotulla, Texas.

Midsummer's Night Dream at the Met Opera

I went to the Met Opera last Thursday night for the first time this season.  Sally rushed for $20 orchestra seats for us (thank you Sally and to the late Dr. Agnes Varis and the other patrons who are generously bringing the weekday rush program for the 7th year in a row!).  

We saw Britten's opera of Shakespeare's Midsummer's Night Dream.   It was gorgeous, magical, weird and wonderful.   The colorful set and costumes by Antony McDonald were as exciting as the music and the singers. 

It was great to see Maestro James Conlon back on the podium.   I had met him at the stage door after An American Tragedy on the occasion of his 250th performance at the Met back in 2005. 

The principals Iestyn Davies and Kathleen Kim as the King and Queen of the Fairies and as the humans Joseph Kaiser, Michael Todd Simpson, Erin Wall and Elizabeth DeShong were all amazing.  The mechanicals were hysterical, especially Matthew Rose as Bottom and Barry Banks as Flute.    Barry basically stole the show.   What a clown! 

The Met Children's Chorus was precious as the fairies and sang more beautifully than I have ever heard them.

It was a great night to finally be back at the Met.

Since we were at the Met, we took the opportunity to view the finally unveiled portrait of Renée Fleming as Rusalka.   The Met has continued the tradition of sitting its great principal artists for portraits.  These portraits are usually on display in the concourse level of the Met after the singer has retired or passed away.   Temporarily on display is Renée's portrait: she is reprising her great role of Rusalka at the Met beginning in January.  The portrait was painted by Nelson Shanks.  It's quite beautiful.

 

 

Opera Travel: Vienna

I traveled to Vienna for the first time from October 22nd-27th, with stops in Berlin and Prague first. I built my trip around seeing Renée Fleming sing the Marschallin for the first time in Vienna, where Der Rosenkavalier is set. I had the most brilliant time and going to the Wiener Staatsoper was everything and more that I believed it would be. I love Renée in this role - and she loves singing it and acting it. I really believe it's her performance of this character is her best and most interesting and possibly most beautiful. Der Rosenkavalier is one of my most favorite operas and I've seen it at Chicago Lyric and many times at the Metropolitan Opera (with and without Renée).

While in Vienna, I was able to see a second opera - Anna Bolena, which I also love.  I had attempted to purchase tickets in advance but it was sold out.  A few hours before the opening night performance, my friend and I were able to get the last two returned tickets at the box office.  It was fabulous and I loved Krassimira Stoyanova as Anna.   I sat in a loge seat above the orchestra and had the most amazing view of the stage and of all of the opera house. 

I've now seen Renée in five countries and countless cities in the U.S. I want to visit these cities anyway, so why not put a cherry on top with seeing my favorite opera singer? It's very satisfying for sure. The Berlin and Prague legs of my adventure were on my own. I really, really loved Berlin and I will definitely go there again. After the opera in Vienna and time in Berlin, my next favorite part of the trip was the train ride along the Elbe River into Czechoslovakia. The beer everywhere was pretty amazing as well. In Vienna, I met up with friends all of whom I've met because of Renée - wonderful friends who love Renée and opera and travel, from England, France, the Netherlands, Finland and Austria. I can't wait to see them all again...and I think I'll give Renée a list of the places I'd like to visit next.

Wiener Staatsoper, a set on Flickr.

Jamie Barton in Recital

 Today, we went to the first Voce at Pace: Rising Opera Stars in Recital supported by the Richard Tucker Music Foundation in honor of the late Dr. Agnes Varis.  The first singer to kick of the series was mezzo-soprano Jamie Barton.  

Jamie sang cycles by Purcell/Britten, Brahms, Sibelius, Ives, and Elgar.  Her encores included Neverland from Peter Pan and Stella del marinar from La Giocanda.   The Purcell/Britten and Brahms were lovely and she really let loose on the Sibelius.  I swear I levitated right out of my seat during the Elgar "Sea Pictures" cycle.   Jamie, along with accompanist Bradley Moore, presented an absolutely thrilling recital!

Jamie has a huge creamy voice that is supremely gorgeous. Jamie's low notes wrap around you like a blanket while her top notes thrill and chill. Her stage presence is that of an old pro and she has a joyous smile that stops the show.   She's absolutely charming: during the Brahms, one of her earrings fell off and she quipped that hopefully it would be the only wardrobe malfunction.  I've been wanting to hear her live again since hearing her at a Tucker Gala, and of course since seeing her in the documentary The Audition.   (She's recently been in the production of Norma at the Met, but I haven't been able to fit it in my schedule.)

Jamie won the 2013 BBC Cardiff Singer of the World competition.   Watch and be thrilled:

HAMLET at Frog and Peach Theatre Company

Last night I walked 10 minutes from my apartment to Denmark and I never left the Upper West Side.   The Frog and Peach Theatre Company has mounted another terrific Shakespeare production:  this time it's Hamlet, The Prince of Denmark.

I always have a great time at the Frog and Peach and this was no exception.   Director Lynnea Benson pointed out to me that it has been a while since they've done a Shakespeare tragedy and I found it immensely satisfying. (I prefer the tragedies.)  When in fact Hamlet is a categorized as a tragedy, there is much to find amusing within it and Lynnea didn't miss a chance to coax the humor as well as the angst from the company. 

As I've come to expect from Frog and Peach, this Hamlet is a sexy, rock and roll production.  With rock music and modern dress setting the tone, it's sleek and the momentum is fast and exciting.    Brando Boniver plays the crown prince and with his good looks it's not hard to believe.  He played the prince with great momentum.   Making it even sexier and bending the typical gender guidelines, the back-stabbing double agents Rosencrantz and Guidenstern are played by the very hot actresses Amy Frances Quint and Ilaria Amadasi.

Regular company members of the Frog and Peach Theatre Company were present and never disappoint.  However, it was Alfred Gingold as Polonius who absolutely stole the show.   Beautifully natural as a father and counselor, he was at once gripping and hilarious in his delivery.   I could have listened to him for hours.  

Full casting is Brando Boniver as Hamlet, Jonathan Reed Wexler as Horatio, Vivien Landau as Gertrude, Brad Holbrook as Claudius, Eric Doss as The Ghost/Gravedigger, Alfred Gingold as Polonius, Megan McGarvey as Ophelia, Stephen Siano as Laertes, Ryan Dreyer as Osric, Philip Oros as Fortinbras, Roger Rathburn as The Player, Hamish Carmichael as The Captain, and Amy Frances Quint as Rosencrantz and Ilaria Amadasi as Guildenstern.

A few weeks ago a friend from Texas, who happens to love literature and live performance almost as much as I do, told me that she just doesn't get Shakespeare.  Actually, she was there when I saw my very first Shakespeare at the Globe Theatre in Odessa, Texas, when we were in 8th grade.  I suggested maybe it's just because she hasn't had the opportunity to hear it and see it where she lives.   I know I'm privileged to see so much of it in New York City - and especially right in my own neighborhood on the Upper West Side of Manhattan.  It simply transports me and I couldn't care less if it's off-off Broadway or the Royal Shakespeare Company.   I just love hearing that text.  I particularly loved hearing Hamlet again, wherein so much of its text is part of our every day language (albeit usually misquoted).  

Frog and Peach never disappoints and this particular production had me on the edge of my seat from lights up to  the bows.   You should check them out at the West End Theatre, (on the second floor at St. Paul/St. Andrew United Methodist Church) at 263 West 86th at West End Avenue.   It's a great space and the price can't be beat, especially for such classy acting:  always 18 bucks!   Senior citizens are only $12!

Buy tickets online via Smarttix or take a chance and just show up.  I know they'll find a spot for you.     They have a matinee today at 3 pm and will run Thursdays, Fridays, Saturdays and Sunday through November 10th.