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Trouble: The Children of Madame Butterfly

One of the pivotal cast members in Madame Butterfly is the role of Butterfly's son, called Dolore in the Italian, translated usually either as "Sorrow" or "Trouble." The role is a non-singing, non-speaking one, but presents unique challenges: according to the plot, Lieutenant Pinkerton has been away for 3 years, so the child is very young, and yet has a significant amount of acting to do.

We are fortunate to have two wonderful kids filling the role (on alternate nights) in our production: Finnegan, age 3 1/2, and Kaitlyn, age 5. Kaitlyn and Finnegan were chosen in auditions which took place earlier this season, and have been attending rehearsals during the entire rehearsal process.

Here is a photo of Finnegan at his audition:

Madame Butterfly - kids

I attended a recent rehearsal, to get a feel for what the child has to do and to watch one of the kids -- Kaitlyn, on that day -- in action. The role has several entrances and exits, has to play onstage, and pretend to sleep; gets dressed up onstage; has to submit to being picked up and carried by pretty much all the cast members. Then, of course, the child plays an enormous role in the final scene, where Butterfly commits suicide in order to preserve her own honor. It's a lot to remember for anybody, particularly a young child. They have some help: the stage managers are in the wings, reminding the children what they do next before they enter -- and I witnessed some high fives back there as well -- and onstage the principal singers can sometimes give the children guidance if they need it.

Kaitlyn in rehearsal:

Madame Butterfly - kids

Madame Butterfly - kids

For both kids, this role is their stage debut. I asked their parents: what was it about this particular experience that you were interested in for your child (or that your child was interested in him/herself)?  Kaitlyn's aunt is an opera singer -- she played Butterfly at LA Opera! -- so Kaitlyn already had an interest in the art form. Finnegan's mom grew up in theater, both onstage and behind the scenes, and wanted all her children to experience theater in some way. As it happens, Finnegan's older brother will be onstage as the Captain in Grant High School's Twelfth Night the same nights that Finnegan is onstage here with us!

Finnegan's mom, Lisa, writes: "Most importantly, Finnegan himself wanted to audition. Neither J [Finnegan's dad] nor I would have had Finnegan audition if he hadn't shown an interest in doing so. Also, we both felt that he was emotionally ready to take on the challenge and responsibilities and had the natural temperament to be an asset to the production. In a lot of ways, though, it was a leap of faith for all of us."

As for whether or not the families were opera fans before this experience: Kaitlyn's family originally became interested because of her opera-singing aunt, although the whole family has been involved in music and in acting for a long time. Kaitlyn herself "is fast becoming" an opera fan, says her mom, Jacquelyn. (We love to hear that!)

Finnegan's parents have always wanted to be more involved with opera, but this is their first Portland Opera performance! (We love to hear that too!) Finnegan loves music -- the other night in the green room, he told us that he's a big fan of Lady Gaga -- and is especially a fan of "Ms. Kelly Kaduce," as he calls her.

Are the kids having fun? I asked. Kaitlyn's mom said, YES! Very much so. (In rehearsal last week, she definitely looked like she was having a blast). The best part, says Kaitlyn, is just acting and being onstage, but remembering every single part the way it's supposed to be performed is the hardest thing so far. Are you nervous? I asked her. Nope, she says. She just thinks it'll be neat. Brave girl!

Finnegan says that he likes being in his house onstage (and thinks it's funny that he has a whole house up there). His favorite scene is … the death scene! The death scene is also the part he's a little scared about ("because the death scene is not good," he says -- we think he means that it's very intense). Sometimes he finds it hard to be quiet all the time, and sometimes the singers are pretty loud, but he's having fun. He's looking forward to everybody in the audience seeing him and thinking that he's Sorrow.

I asked the kids if there was anything else about themselves that they wanted to share with us:

Finnegan: loves Doctor Who (he came dressed as the Doctor to a recent rehearsal!), and loves playing with blocks. His favorite song is "Brother John," which he has sung with Kelly Kaduce during a rehearsal break (along with playing "Story Dice," which is also enjoyed).

Kaitlyn: loves the color pink, hamburgers, and playing with her friends. She's taking piano lessons and learning to read music -- she can play her scales, and is now learning chords. She is in American Heritage Girls at her church -- a program similar to Girl Scouts. She has an older sister named Desiree and a dog named Lenny (who, she would like me to note, is a Cavalier King Charles Spaniel and is "sooo cute"). Kaitlyn loves to sing and "always has a song in her heart." (We love that!)

Many, many thanks to parents Lisa, J, Jacquelyn and Steven for agreeing to let us feature their kids, and for answering my questions. Both kids have been a total delight to work with, and we can't wait to see them in performance!

Don our party hats!

The Party

As I mentioned in my blog a few weeks ago, the company holiday party was on Tuesday, Jan. 10. And as I've also mentioned many times on this blog, we know how to throw a good one.

Holiday Party 1

Happy New Year!

It's a new year, everybody!  We are in the midst of gearing up for everything. Once we get back from the holidays, things around here are pretty relentlessly busy until the season closes. Here is a taste of what's going on:

Madame Butterfly cast members come in tomorrow night, and we'll hit the ground running with rehearsals on Wednesday. The chorus began rehearsing at the end of December; orchestra musicians already have their music. The set is built downstairs in our rehearsal space. We're so excited to get going again. We've had two months without opera!

Our 2012-2013 season will be revealed this Thursday, January 12. I've known next year's lineup for months, but I'm afraid I'm sworn to secrecy! Just trust me: it's big. Stay tuned.

Soprano Lindsay Ohse will give the second in our Portland Opera Studio Artist recital series on January 31 at Portland Art Museum's Whitsell Auditorium. Lindsay will be performing songs by Mozart, Rachmaninoff, and Poulenc. She is a charming performer -- it's going to be a beautiful recital.

The company holiday party is tomorrow. Those of us on the committee have reached that party planning moment when you're kind of out of your mind with the number of things left to do. You know that moment? Inside my brain right now, it sounds like this: AAAAAAAAAAAAAAAAAAACK!

But despite our half-panic, we'll pull it together as we always do. Much of today and tomorrow will be spent setting up the party rooms, hanging lights, running to the store for last minute items. I've mentioned we throw a great party, right? We throw a great party.

Some of my costumes from years past:

This Old Man

The Portland Opera office -- as you might have guessed from our live-in costume shop cat -- is very pet-friendly. People routinely bring dogs in; some dogs come nearly every day. Having good-natured pets in the office creates a really great vibe; nearly everybody likes to pet a nice dog. Plus, it means that despite the strange and long hours we sometimes work, we still have the option of owning pets.

In the future, I'll share with you all the other pets of Portland Opera, but this week, we'd like to introduce you to a very special dog.

This Old Man Blog 1

All About Auditions

Last week, our Artistic Staff traveled to New York City, to hear more than 50 young singers audition for our Studio Artist program.  Read thoughts on this process from Clare Burovac, Director of Artistic Operations.

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We've now heard about 50 preliminary auditions, and at the end of the day on Tuesday, Rob Ainsley and I had the unenviable task of trying to choose about 10 singers to invite for a callback audition on Wednesday morning.  The level of singing this year was very high, and there were many singers who could easily be considered for a position with our POSA program.  How to choose?  There were a couple of factors that went into the process:

My POSA audition

Sharin Apostolou, former Portland Opera Studio Artist (POSA),  writes about her POSA audition:

I’ll never forget my auditions for POSA program. It was a little over 5 years ago and I remember it like it was yesterday.  It was April and I was thiiiis close to getting my master’s degree. I (unlike a few of my luckier classmates) had not succeeded in getting a job for the next year. I saw the listing for the POSA audition and was determined. Portland? Singing? Yes! THIS GIG WILL BE MINE.
 

The day of the audition, I spent extra time curling my hair and making sure my makeup was fabulous. My green silk audition dress was perfect from the dry cleaners. Extra pairs of stockings? Check. Ridiculous number of résumés and headshots? Check. Throat coat tea in a thermos? Check! Anything else I could possibly need in packed into massive bag? Check! I was ready. Looked outside- bright sunshine. Who needs an umbrella? I got off of the 1 train at 116th Street and nearly screamed when I resurfaced. SNOW. In April. Big, fat, wet, horrible, hair-flattening, silk dress ruining SNOW. Riverside church was a mere 4 blocks away, but still. There was no way around it. I was going to look awful. EPIC FAIL. I covered as much of my dress as my little trench coat could and ran like a tiger was chasing me.

2012 POSA Auditions, Round 1

Next week, at NYC's Symphony Space, Portland Opera will hold its yearly auditions for the Portland Opera Studio Program. The ears listening from behind the table will be Christopher Mattaliano, General Director; Clare Burovac, Director of Artistic Operations; and Rob Ainsley, Associate Music Director.

A fact sheet about the auditions:

-- Of 368 applicants, we will hear 50 in New York, and another 35 at Cincinnati Conservatory of Music (CCM)

-- The auditions take place in two rounds. The first round of auditions takes place Monday and Tuesday, November 28 and 29; callbacks are the morning of November 30.

-- As with most vocal auditions, singers will perform two arias, one of their choosing followed by one of the panel's choosing. For those who have never had the experience of a voice audition -- that's just about all of us, right? -- a singer brings in a rep list of arias he/she is offering. A good rep list has arias of varying styles, often from several different periods of music (unless you're a Baroque specialist or something of that ilk), in several different languages. You get to pick the first thing you sing, and then the panel looks over your rep list and picks the next aria.

-- While the preliminary round is mostly about how you sing, the callbacks are often a chance for the panel to get a feel for your personality. Are you pleasant? Do you have a personality? Are you a good fit for our company? In the callback round, singers probably will just be asked to sing something off their list, without getting to choose.

Bidding Farewell to Figaro

So, Figaro has closed. We had an amazingly successful run, with a totally sold out opening night, and a record number of folks at the matinee. Audiences seemed to just love it -- it was great to stand backstage and hear so much laughter. Comic opera is fun!

We got some great reviews:

James Bash's review in Oregon Music News

Brett Campbell's review in Willamette Week

Ryan Prado's review for Just Out

Ned Lannamann's review in Portland Mercury

And don't forget that you can write your own review right here on our webpage.  We truly love to hear what you liked and didn't like.

This week, I thought I'd share with you a little of what happens once we've closed a show. Most people probably don't think much of it, but all the things associated with the show -- sets, costumes, props, etc -- have to be dismantled and, in most cases, sent away. (The exception to this is when we mount our own productions; then most often the sets return to our warehouse in NW Portland). The official load-out day is the day immediately following closing night, but there's a ton more that goes into sending these productions "home" (or to their next performance venue) than just one day of taking apart the set. Our Technical Director, Scot Burckhardt, very kindly gave me a great summary of the process. In his own words:

Load out:

Meet Studio Artist André Chiang

Bumps, thunks and clunks: offstage with Figaro

Figaro marks the first time in a year I will not be running supertext for one of our shows. I'm actually only the backup supertext operator; our principal accompanist, Tom Webb, is the primary operator. So, unless he is playing in the pit for a show, he runs titles. By some funny circumstance, in the past few years we've had keyboard on almost every show. So Hansel & Gretel was the only show I saw from the house last year; before that, it was 2009's La Boheme. Gone are the days when I used to be able to sit in the house like a regular opera fan!

Anyway, despite being released from title duty, I won't get to watch this one either. For Figaro I will be backstage making noises. On purpose.

Offstage noises -- knocks, crashes, chimes, dings, whistles, wind, etc -- are sometimes made by stage management, sometimes by stagehands, sometimes by orchestra musicians, and sometimes by the singers themselves.
Singers will knock on doors. Percussionists have been known to play wind machines backstage (most recently, in The Flying Dutchman). Stage managers or props crews drop crash boxes.

What's a crash box? A crash box is, well, a box, usually a large wooden or metal crate, that holds an assortment of items and is dropped from backstage to simulate, well, a crash. Typical things inside crash boxes include cutlery, glassware, china, and wooden blocks. This website has an absolutely terrific description of how to create a radio crash box (which is smaller than a theater crash box, since they don't need the sound to resonate over a large space). I love his crash box recipe: