San Francisco Opera Holds Auditions July 2, 2011

San Francisco Opera is holding auditions for boys ages 7–12 with soprano or alto voices for the role of Cyril Rescorla in the Fall 2011 world premiere production of Christopher Theofanidis' Heart of a Soldier.

Auditions will be held on Saturday, July 2, 2011 at 1 p.m. at the War Memorial Opera House (301 Van Ness Avenue, San Francisco).

Seattle Opera Presenting at the NCPA World Theatre Forum

Seattle Opera will represent the United States in discussions regarding the future of opera at the third annual National Centre for the Performing Arts (NCPA) World Theatre Forum, to be held in Beijing, China, on June 20 - 23, 2011. Representatives from Seattle Opera include Executive Director Kelly Tweeddale, Technical Director Robert Schaub, and Artistic Administrator and Director of the Young Artists Program Aren Der Hacopian.

Ring Cycle 1: Die Walküre Musings

Since Opera Tattler (pictured left dressed as Brünnhilde with Herr Feldheim as Wotan) has already done such a fine job reviewing Die Walküre, I've decided to take another angle and explore the relationship between "love" and "free will." Could the former exist without the latter?

I've always been a huge romantic, but never particularly cared for the institution of marriage. When asked why, I oft reply that I would rather wake up each morning knowing that the man lying next to me is there because he wants to be, not because he feels obligated to be there, fulfilling a duty. A relationship should be allowed to run its course and the two people involved free to exercise their will to stay or leave. But marriage binds husband and wife together by law, an artificial vehicle created by society that stifles free will in the interest of order and stability.

It is Wotan who understands that love is an independent, organic entity, ever changing and evolving, much like what Kant describes as the thing-in-itself (das Ding an sich) and also basis for Schopenhauer's concept of the will. Being the progressive that he his, Wotan is accepting of change while his wife, Fricka, who upholds the law of marriage, constantly fights against it. This is apparent in their argument when she rebukes him for allowing not only adultery, but incestuous love to flourish between Siegmund and Sieglinde:

Fricka
If you deem praiseworthy
the violation of marriage,
then bluster away,
and praise and sanctify
the incestuous fruit
of a twins' union.
My heart shudders,
my brain swims:
brother and sister
in nuptial embrace!
When did this ever happen
that brother and sister were lovers?

Wotan
Today you have seen it happen:
experience then
that which of itself has come about,
though it may never have come about before.
That they love each other
must be plain to you;
take then some honest advice!
As your blessing
with sweet joy is rewarded,
then smile on love, bless
the union of Siegmund and Sieglinde!

It is society that defines what is "acceptable" vs. "unacceptable" love. Adultery (a common byproduct of people trapped in loveless marriages), incest, the love between a young child and a mature adult, even homosexual love are all frowned upon, some more so than others. But according to Wotan, love is love. Whichever form it takes, who are we to judge what is right or wrong if it is governed by free will from both parties?

During the final scene in Act III when Wotan sings, "denn Einer nur freie die Braut, der freier als ich, der Gott!" (For only one shall win the bride, one freer than I, the god!) I always weep. Wotan is bound by his oath to Fricka, but just as one cannot be forced to love, the converse is also true. Not even Fricka can force Wotan to stop loving Siegmund - his will dictates the objects of his love and Brünnhilde, being the physical manifestation of Wotan's will, understood this. She knew Wotan loved the Wälsung and thus could not carry out his orders as they were false and contradictory to his true will. On the surface, it is heartbreaking to see a father say goodbye to his favorite child, the most sacred pride of his heart, for the very last time. But on a deeper level, the moment Wotan bids his beloved Brünnhilde farewell is also the moment he forsakes not only his Will, but also Love.

SF Opera Cycle 1: Das Rheingold

Das Rheingold may be my least favorite of the tetralogy, partly because it's really hard to sit for 2 hours and 45 minutes without any breaks. Really, Richard, what were you thinking? Some of us find standing room to be a more comfortable alternative, but it's important to pack a pair of extra cushy shoes (see photo) so you can slip out of your 6 inch stilettos when the lights go down.

I have to admit I enjoyed the final dress more than the prima, which was littered with snafus. The set changes were obnoxiously loud, the prompter was audible at times even to us standees way in the back, and the kiddies (Nibelungs) ran amok on stage. Overall the singing was not bad, but not great either. The stand outs were Stefan Margita (Loge) and David Cangelosi (Mime). Both were excellent in their respective roles. They not only delivered beautiful singing, but succeeded in portraying the various dimensions of their complex, multifaceted characters. With the exception of a few mistakes from the horn section, the orchestra sounded lush and beautiful under Donald Runnicles. I found it amusing that Francesca Zambello had Freia fall in love with Fasolt after her brief abduction - a touch that brings to mind Patty Hearst's kidnapping and her Stockholm syndrome.

Spotted: Nina Stemme looking radiant in a printed dress in the audience with her husband. It's so nice to see principal singers supporting their colleagues!

Seattle Opera Ring in 2013

Seattle Opera's Das Rheingold in 2005, photo by Rozarii Lynch

Seattle Opera officially announced its summer 2013 production of Wagner’s four-opera epic, Der Ring des Nibelungen, as well as the composer’s Die Meistersinger von Nürnberg, which will open the 2014/15 season the following summer. Seattle Opera’s beloved "Green" production of the Ring, first seen in 2001, returns in August 2013. In August 2014, the company presents Meistersinger for the first time in more than 20 years. These back-to-back Wagner summers celebrate several important milestones:  the 2013 bicentenary of Wagner’s birth, the 50th Anniversary of Seattle Opera, and the conclusion of Speight Jenkins’ 30 years as general director of Seattle Opera. Performances of the Ring are scheduled as follows: Cycle #1, August 4, 5, 7, & 9; Cycle #2, August 12, 13, 15, & 17; and Cycle #3, August 20, 21, 23, and 25, 2013. Subscription performances of Die Meistersinger von Nürnberg are scheduled for August 2, 7, 10, 13, 17, 20, and 23, 2014.

Met Multimedia for Summer HD Encores

La Fille du Regiment, Photo: Ken Howard/Metropolitan Opera

Beginning June 15, the Met will once again present Summer HD Encores, a series of screenings from the Live in HD series, in more than 425 movie theaters across the United States. This summer’s Encores series offers six classic Live in HD transmissions: Puccini’s Madama Butterfly (June 15), Donizetti’s Don Pasquale (June 22), Verdi’s Simon Boccanegra (June 29), Donizetti’s La Fille du Régiment (July 13), Puccini’s Tosca (July 20), and Verdi’s Don Carlo (July 27).

Encores screenings will take place on Wednesday evenings at 6:30 p.m., local time. You can find local theaters and showtimes here.