Everything's coming up Joyce DiDonato: the 45-year-old American soprano is the only singer to be nominated in two categories of the 2015 Opera Awards. DiDonato is nominated for the Female Singer award as well as for the Operatic Recital category — for her album Stella di Napoli.
Among companies, the English National Opera dominates with four nominations, including the overall Opera Company award and the World Premiere award for Julian Anderson's Thebans.
This year's awards will be presented on April 26 at the Savoy Hotel in London. See the complete list of nominations here.
Photo courtesy Joyce DiDonato(0 Comments)
Actress Meryl Streep (Brigitte Lacombe)
Yesterday, we speculated on which actors might play composers in an imagined series of biographical films. Today, we've learned actress Meryl Streep has been cast (in real life) to play two different opera singers in two different films.
Streep is to star in a biopic of the famously awful opera singer Florence Foster Jenkins for director Stephen Frears, reports Variety.
The three-time Oscar-winning actor will take the role of Jenkins, an heiress who used her wealth to embark on a singing career that took her to concert halls across the U.S. in the 1920s, '30s and '40s despite her complete inability to hold a note or stay in time. Hugh Grant is in line to play the soprano's partner and manager, St Clair Bayfield, with the film titled simply Florence.
And, as reported this past summer, Meryl Streep is to star in an HBO film as legendary opera singer Maria Callas, the U.S. network has confirmed.
Based on the Tony-winning 1995 play by Terrence McNally, Master Class shows Callas in later life, teaching students at New York's Juilliard school.
Marni Nixon is an American soprano and a highly successful overdub singer for film actresses.
In this week's Flicks in Five, Lynne Warfel describes the use of overdubs in films. Overdubbing doesn't necessarily mean an actor can't sing; for example, as Lynne points out, Audrey Hepburn was a fine singer, but overdubs were used in My Fair Lady simply because it would have taken too much time (and time equals money) to transpose the film's entire score to Hepburn's mezzo-soprano range.
Sometimes actors will lip-sync to a backing track recorded in a studio, often because the desired audio quality can't be achieved on a sound stage (or because an army of studio musicians aren't immediately to hand on a TV set Glee, I'm looking at you).
But overdubs can also be a source of good fun. For example, here's one person's re-imagining of Phantom of the Opera if it were overdubbed by Miss Piggy and Kermit the Frog:
And this one is more of a lip-sync, but here's Mr. Bean giving his performance of the soprano aria "O mio babbino caro" from the opera Gianni Schicchi by Giacomo Puccini:
Finally, this video combines Muppets and actual operatic singing, as Sesame Street's Murray Monster and Ovejita travel to Lincoln Center to join Metropolitan Opera mezzo-soprano Isabel Leonard, who using her real voice performs Rosina's aria from Rossini's Barber of Seville. There's a bit of informative intro and a couple vocal exercises singers will recognize, but the music starts right around the two-minute mark.
Wolf Trap Opera of Vienna, Virginia has announced that at a July 25 production of Carmen, tech journalist David Pogue will be onstage as a supernumary (a non-singing chorus member), using Google Glass "to capture brief bits of the onstage action. His short video clips and still photography will be shared to Wolf Trap's online and social properties in near real-time, providing a 'second screen' experience and offering a unique perspective of the onstage action at the Filene Center."
If this experiment is a hit with audiences, what's next? Here are a few of my own ideas:
• Outfit John the Baptist with Google Glass in a production of Salome, allowing the audience to look straight into the aroused eyes of the distraught antiheroine while she sings to the prophet's disembodied head.
• Broadcast a live video feed from a Google Glass headset worn by Despina in Così fan tutte, subtitled with what the maid is actually thinking about the onstage shenanigans. ("These jerks deserve each other.")
• Put Google Glass on a soprano singing the role of Aida, and allow audience members to use a hashtag to give her feedback in real-time. ("That last aria was a little pitchy." "Maybe move a few steps downstage to heighten the drama in this next scene.")
• One word: Valkyriecam™.
Mezzo-soprano Tara Erraught (photo courtesy IMG Artists)
Here's the story that's been tearing up the Internet in the last day or so at least in the classical music department. It even shows up on the News Cut blog from MPR's Bob Collins.
The Irish singer Tara Erraught recently appeared in the title role of the opera Der Rosenkavalier. As Bob notes, "five different male writers used stocky, chubby, puppy-fat, scullery maid, unsightly, and unappealing to describe her 'performance.'"
Did the critics cross a line? Were their editors asleep at the switch? Would a male singer have been treated differently?
As this summary in The Telegraph suggests, opera singers, music writers, and the opera-loving public have not been slow to join the debate.
Last night I sat in on the final dress rehearsal of the Minnesota Opera's production of Arabella by Richard Strauss. If you go, here are a few things you might notice. First of all, there is no overture to set the scene. Music Director Michael Christie walks into the pit, the oversized orchestra of 62 musicians plays a few notes, and the singers are off. This opera is an athletic feat of endurance, especially for Jacqueline Wagner, who plays the lead, and her betrothed Mandryka, sung by baritone Craig Irvin. These musicians are well-trained Olympians.
The composer intended this music to be a bit frenetic; however, the tension is relieved every time Arabella graces the stage. Wagner's elegance as an actor and her rich, velvety voice melts more than one suitor's heart. There is plenty of comic relief starting with Arabella's sister, Zdenka, sung by Elizabeth Futral. Zdenka was a wild child, so even as a young woman she dresses and behaves as a boy. She even proclaims, "I will be a boy until I die." However, she does discover her womanhood in Act II.
You'll also notice the detailed whitewashed set as the curtain goes up on Act I. The scene is a hotel in Vienna in the 1920s. As Arabella blossoms, so does the color on the stage, in the form of flowers, the Downton Abbey-styled costumes and the set itself.
One incredible highlight is the love duet in Act II between Arabella and Mandryka. Irvin and Wagner are beautifully matched; if you aren't moved by this duet, you don't have a pulse!
And because this was a press event, live tweeting was not only permitted, but encouraged. Here are some of the photos I live-tweeted from the rehearsal to give you a taste of the production: