Das Rheingold Baywatch

Tonight I went to the final performance of Opera Theater Oregon's latest production and had just the best time! I am delighted to report that not only was the Clinton Street Theater almost totally full but, that some of Portland's brightest and best were in attendance. Our very own Chris Mattaliano was there with Director of Music Administration for Portland Opera, Clare Burovac, and they were both clearly entering into the spirit of the evening. Stephen Marc Beaudoin was there and in great form. He is currently involve with the Electric Light Opera Company. We agreed that he and I should meet over a glass of wine very soon so he can tell me all about this organisation. With Stephen involved, much fun is pretty well guaranteed. I'll tell you all about it after he and I have chatted. Angela Niederloh, who was such a hit in our recent production of Così fan Tutte, was there and was, of course, her usual shy and retiring self - not!

This show was a huge success for Opera Theater Oregon and I cannot tell you how proud I am to be associated with the organisation. Particular plaudits are due to Artistic Director, Katie Taylor, who brought this delicious idea to fruition and to Erica Melton, for somehow managing to distill Wagner's opera to a reasonable length and to score it for orchestra and rock band.

Sister Act?

Last week I noted that one of my very favourite tenors, Juan Diego Flórez would be singing the title role in the Met's production of Le Comte Ory. As I knew next to nothing about this opera, save that it is by Rossini and contains a good deal of music recycled from his previous opera Il Viaggio a Reims, I exercised my Google-fu and scoured the internets for information. One of the more interesting - but bizarre - things I came across was the photo at the head of this post, which shows JDF in costume. My first thought was "Is this a cross-dressing production of Suor Angelica?" but, no, gentle readers. This is indeed a publicity still from Le Comte Ory, showing the count disguised as Sister Collette. Um, okaaay. I have a feeling that the plot for this opera is going to be weird even by the lax standards one must apply to the libretti composers choose to set. Here is a summary of Act II which I found online.

The ladies are eagerly awaiting the return of their men from the crusade. Cries come from a group of nuns (Ory and company in disguise) claiming that they are running away from a harassing Count Ory. Adèle lets “Sister Colette” (Ory) seek refuge at the castle. “Colette” and the “other nuns” thank Adèle for rescuing them and they find themselves in a wine cellar. Isolier warns Adèle that Ory is in the castle. Adèle, hiding behind Isolier in her dark bedroom, tricks Ory into embracing Isolier rather than her. The Crusaders arrive and Count Ory and his men (still dressed as nuns) make a hasty escape.

This reads as though it is some sort of cross between Monty Python and The Holy Grail and The Millers Tale from the Canterbury Tales. We shall see.

National Medal of Arts

Many congratulations to diva Jessye Norman who has been named one of this year's recipients of the National Medal of Arts. This is a great and much-deserved honour. I only saw Ms. Norman on one occasion and that was when she came to Hong Kong to sing a recital. I remember two things particularly about the event: she wore the most stunning gowns and turbans I have ever seen on a woman, and her singing of the Habanera from Carmen brought the normally-staid Chinese audience to its feet. Oh, and me as well.

Ms. Norman received her award in good company; other recipients included Bob Dylan, Clint Eastwood and Oberlin Conservatory of Music.

Advisory: This has nothing to do with music

But how could I have not shared that with you?

Where are they now?

In my very first post on Operaman's Blog on 10th October 2007 I wrote about Hannah Penn who at that time was a newcomer to the Portland Opera Studio Artists programme and who, on less than 24 hours notice had to step into shoes vacated by Jossie Pérez and sing the title role in the production of Carmen that had already had two performances. Hannah did a wonderful job. She is currently rehearsing the role of Cherubino in Mozart's Le Nozze di Figaro for this week's production at Tacoma Opera. I adore this opera, and am a fan of Hannah and, indeed of her new husband Joe. As I have never been to Tacoma Opera I am giving serious thought to making a road trip north next weekend to see how things are there. This production is being directed by my friend Elise Sandell, who directed our most recent production, Così fan tutte. So, lots of good reasons to go to Tacoma. I shall report, of course.

Tenor Ryan MacPherson, who sang the role of Ferrando in Così is currently in London and on Friday night appeared at a private function given by Sir Sydney and Lady Lipworth. Sir Sydney is a Queen's Counsel and, the legal world being almost as small as the opera world, someone I had met a few times in the '90's. Ryan tells me he had a good time and sang duets from La Bohéme and La Traviata and an aria from Traviata.

I have a busy week ahead, including the Meet 'n Greet for the cast of Bernstein's Trouble in Tahiti, so do check back on Thursday and I'll try to have something for you. In the mean time have a happy and productive week.