Musicals and Operas
Rossini's "Le siège de Corinthe" was what originally got me into opera as a kid. I practically wore out my LP's of Beverly Sills' recording of it. I still have the album, and listened to it again a few weeks ago. It has a couple of scratches and one repeat - not bad for all the hundreds of times I played it.
Anyway, some friends and I got together last month and recorded the trio from Act III. Enjoy!
Céleste Providence from Rossini's Le siège de Corinthe
Anyway, some friends and I got together last month and recorded the trio from Act III. Enjoy!
Céleste Providence from Rossini's Le siège de Corinthe
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Primula Baggins
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Bravo! 
“There, peeping among the cloud-wrack above a dark tor high up in the mountains, Sam saw a white star twinkle for a while. The beauty of it smote his heart, as he looked up out of the forsaken land, and hope returned to him. For like a shaft, clear and cold, the thought pierced him that in the end the Shadow was only a small and passing thing: there was light and high beauty for ever beyond its reach.”
― J.R.R. Tolkien, The Return of the King
― J.R.R. Tolkien, The Return of the King
Re: Musicals and Operas
Bumping this old thread for Mossy!
I'm currently working on my own production of "Man of La Mancha", directing this time. Its a huge challenge for me. I've been doing a lot of research, and recently watched a bootleg of the Brian Stokes-Mitchell and Mary Elizabeth Mastrantonio version. I was really very disappointed. Although the costuming was great, I felt the completely cheated the staging. As written, all the action takes place in the confines of a communal prison waiting area, and all props are either found within the prison or brought in with Cervantes and his manservant in their wicker basket. In this production, the very walls of the prison were movable, which somewhat defeats the purpose. The challenge is in creating the world of Quixote from the confines of a prison. If you're not going to do that, you lose the point of the setting.
On the other hand, when you're a first time amateur director and you're looking at a Tony Award winning production thinking "Meh, I can do better", maybe you're slightly delusional!
I'm currently working on my own production of "Man of La Mancha", directing this time. Its a huge challenge for me. I've been doing a lot of research, and recently watched a bootleg of the Brian Stokes-Mitchell and Mary Elizabeth Mastrantonio version. I was really very disappointed. Although the costuming was great, I felt the completely cheated the staging. As written, all the action takes place in the confines of a communal prison waiting area, and all props are either found within the prison or brought in with Cervantes and his manservant in their wicker basket. In this production, the very walls of the prison were movable, which somewhat defeats the purpose. The challenge is in creating the world of Quixote from the confines of a prison. If you're not going to do that, you lose the point of the setting.
On the other hand, when you're a first time amateur director and you're looking at a Tony Award winning production thinking "Meh, I can do better", maybe you're slightly delusional!
The Vinyamars on Stage! This time at Bag End
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MaidenOfTheShieldarm
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Re: Musicals and Operas
Ah, just the thread we need!
Congratulations on your first outing as director! On the one hand I can see the justification for moving the walls if the idea is that Don Quixote is so free in his mind that the prison walls cease to exist for him? But I also do understand your point, and haven't seen the production so can't really say. Besides, what's the fun in directing if you don't think you can do better! Are you also starring in?
I did recently see Brian Stokes Mitchell in the sadly short lived Shuffle Along, though. Besides being a good old fashioned tap spectacular.... in fact, the original tap spectacular... it was a very interesting bit of theatre history.
Congratulations on your first outing as director! On the one hand I can see the justification for moving the walls if the idea is that Don Quixote is so free in his mind that the prison walls cease to exist for him? But I also do understand your point, and haven't seen the production so can't really say. Besides, what's the fun in directing if you don't think you can do better! Are you also starring in?
I did recently see Brian Stokes Mitchell in the sadly short lived Shuffle Along, though. Besides being a good old fashioned tap spectacular.... in fact, the original tap spectacular... it was a very interesting bit of theatre history.
And it is said by the Eldar that in the water there lives yet the echo of the Music of the Ainur more than in any substance else that is in this Earth; and many of the Children of Ilúvatar hearken still unsated to the voices of the sea, and yet know not what for what they listen.
Re: Musicals and Operas
No, much as I'd love to play the role, if I did, either the direction or my performance would suffer, and most probably both! I'll sit this one out.
With regard to the prison walls, I see it as cheating the audience. Its like, if you establish in a play that there's a fireplace in the fourth wall in act one, you can't have somebody stand there in act two. In Man of La Mancha, Quixote is not in the cell, Cervantes is. So everything Quixote does in the play is bound by the rules that apply to Cervantes. For example, in the play you could choose to have Quixote sprout wings and fly if you wanted to, but in the prison that would have to be shown by Cervantes standing on a table, or dangling from a rafter. Cervantes can't fly, because Cervantes is in the real world. In the same way, Quixote can ride a horse, but Cervantes will be sitting astride a bench. As soon as you remove the walls of the prison, you break the implicit agreement and trust of the audience. You've established the rules of the game, and then broken them. IMHO of course!
With regard to the prison walls, I see it as cheating the audience. Its like, if you establish in a play that there's a fireplace in the fourth wall in act one, you can't have somebody stand there in act two. In Man of La Mancha, Quixote is not in the cell, Cervantes is. So everything Quixote does in the play is bound by the rules that apply to Cervantes. For example, in the play you could choose to have Quixote sprout wings and fly if you wanted to, but in the prison that would have to be shown by Cervantes standing on a table, or dangling from a rafter. Cervantes can't fly, because Cervantes is in the real world. In the same way, Quixote can ride a horse, but Cervantes will be sitting astride a bench. As soon as you remove the walls of the prison, you break the implicit agreement and trust of the audience. You've established the rules of the game, and then broken them. IMHO of course!
The Vinyamars on Stage! This time at Bag End
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Dave_LF
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Re: Musicals and Operas
Quick drive-by to say that the actor who played Hamilton when I attended was named... Miguel Cervantes. Not sure what that means, but it seems significant!
The last musical I saw live was Man of La Mancha, so evidently I only attend when someone with that name appears on one side of the playbill or the other.
The last musical I saw live was Man of La Mancha, so evidently I only attend when someone with that name appears on one side of the playbill or the other.
Re: Musicals and Operas
I knew the Hamilton replacement was Miguel Cervantes actually! What do you remember of the La Mancha production? Any tips for me?
The Vinyamars on Stage! This time at Bag End
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Dave_LF
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Re: Musicals and Operas
Ooh; afraid not. It was a very long time ago,* and I barely remember anything about it anymore except that I liked it and that the actor who played Cervantes/Quixote did an excellent job. So maybe figure out who that guy was with no more information than that to go on, track him down if he's not retired, and convince him to join the cast.
*I was discussing this with B in the car last week, and neither of us could remember when, where, or why we saw it, or even whether we were married at the time.
*I was discussing this with B in the car last week, and neither of us could remember when, where, or why we saw it, or even whether we were married at the time.
Re: Musicals and Operas
I have seen several productions of Man of La Mancha. The one that sticks in my mind because I disliked it so much was done at Toronto's O'Keefe Centre. I think it was my first visit to the O'Keefe, and given the centre's reputation, I was surprised by how badly the acoustics sucked.
But that wasn't what made me hate the play. The actor playing Cervantes/Quixote obviously had no idea of what made the character work. He played him for laughs.
Yes, you probably need to blame the director for this, too.
Dear God, the whole point of the play is being able to see the mad knight's dream, and even if you can't believe in it, at least sympathize with it!!
As Aldonza says at Quixote's deathbed:
A man died. He seemed a good man, but I did not know him."
Sancho: But -
Aldonza: Don Quixote is not dead. Believe, Sancho. Believe.
Sancho: Aldonza....?
Aldonza: (Gently) My name is Dulcinea.
But I'm guessing I'm telling you something you know already... Just wanted to reinforce it!
And I agree about breaking the audience's trust by taking the walls away in a theatrical production of the play. It worked for the film, but that's a whole different medium.
But that wasn't what made me hate the play. The actor playing Cervantes/Quixote obviously had no idea of what made the character work. He played him for laughs.
Yes, you probably need to blame the director for this, too.
Dear God, the whole point of the play is being able to see the mad knight's dream, and even if you can't believe in it, at least sympathize with it!!
As Aldonza says at Quixote's deathbed:
A man died. He seemed a good man, but I did not know him."
Sancho: But -
Aldonza: Don Quixote is not dead. Believe, Sancho. Believe.
Sancho: Aldonza....?
Aldonza: (Gently) My name is Dulcinea.
But I'm guessing I'm telling you something you know already...
Just wanted to reinforce it!And I agree about breaking the audience's trust by taking the walls away in a theatrical production of the play. It worked for the film, but that's a whole different medium.
When the night has been too lonely, and the road has been too long,
And you think that love is only for the lucky and the strong,
Just remember in the winter far beneath the bitter snows,
Lies the seed, that with the sun's love, in the spring becomes The Rose.
And you think that love is only for the lucky and the strong,
Just remember in the winter far beneath the bitter snows,
Lies the seed, that with the sun's love, in the spring becomes The Rose.
Re: Musicals and Operas
I don't think it worked in the film either to be honest, but they got a lot right so I'll forgive it.
The Vinyamars on Stage! This time at Bag End
Re: Musicals and Operas
I just saw this and was reminded about the debate here many years ago about whether Kristin Chenoweth could be considered both Operatic and Broadway style. I won't labour the point, but this is well worth watching, whatever your opinion!
The Vinyamars on Stage! This time at Bag End
Re: Musicals and Operas
I think I missed the earlier debate, but she obviously has more than the required technical chops. If she decided to go into Opera, I'm sure she would be successful.
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Dave_LF
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Re: Musicals and Operas
My local community theatre group does a performance every month or two, and I've decided I'm going to start making the effort to see every show they put on whether it sounds interesting or not. So on Saturday night I went to see Next to Normal, knowing nothing about it beyond the little blurb they wrote saying it was the story of a suburban woman with bipolar disorder and the effects that has on her family. Specifically, I did not know that it was a multi-Tony-winning Broadway musical that also won the Pulitzer Prize for drama. And holy cow; the story and music were incredible and the group did a fantastic job*--I think half the audience was openly in tears when the lights came up at the end. I think I'm going to make a habit of going into these things cold; it's great fun to be surprised that way.
I've seen two musicals this summer, and they were Hamilton and Next to Normal. My standards are now impossibly high.
*A community theatre obviously does not have the resources of a Broadway show, but with its cast of only 6 and rock-band score, the production is easy to scale down and doesn't lose much, if anything, in the process. And I continue to be impressed with the quality of the talent they manage to find in this small city.
I've seen two musicals this summer, and they were Hamilton and Next to Normal. My standards are now impossibly high.
*A community theatre obviously does not have the resources of a Broadway show, but with its cast of only 6 and rock-band score, the production is easy to scale down and doesn't lose much, if anything, in the process. And I continue to be impressed with the quality of the talent they manage to find in this small city.
Last edited by Dave_LF on Thu Sep 01, 2016 3:11 pm, edited 1 time in total.
Re: Musicals and Operas
Nice one! And kudos on supporting local theatre!
The Vinyamars on Stage! This time at Bag End
Re: Musicals and Operas
We saw Fiddler on the Roof while we were in New York. The choice was based on making a list of shows that were acceptable to everyone and then finding the cheapest tickets. I was actually lobbying for Cats, but the son watched a clip on YouTube and decided that it was too weird.
It was good, hit all the emotional notes, and I appreciated that they did not try to soften the ending. But I thought it tried too hard to be like the movie and ended up being too conservative. I saw Mark Chagall's paintings earlier that day and I'd have loved to see Fiddler staged in that style.
The local community theater is doing My Fair Lady, which I'd like to catch.
It was good, hit all the emotional notes, and I appreciated that they did not try to soften the ending. But I thought it tried too hard to be like the movie and ended up being too conservative. I saw Mark Chagall's paintings earlier that day and I'd have loved to see Fiddler staged in that style.
The local community theater is doing My Fair Lady, which I'd like to catch.
If there was anything that depressed him more than his own cynicism, it was that quite often it still wasn't as cynical as real life.
Terry Pratchett, Guards! Guards!
Terry Pratchett, Guards! Guards!
Re: Musicals and Operas
In what way? The movie is essentially a note for note (pun intended) dramatisation of the stage play. Its incredibly faithful.Frelga wrote:But I thought it tried too hard to be like the movie and ended up being too conservative.
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MaidenOfTheShieldarm
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Re: Musicals and Operas
Dave, that sounds like an excellent choice! It's always a good thing to support local theater.... there's so much amazing theater in the world that goes un- or under recognized because it doesn't have big names or the Broadway stamp. (Not to mention all the terrible theater that makes tons of money because it does have one of those things.) Next to Normal is a really incredible show. I went into to knowing approximately as much as you did and was completely blown away. As you say, the writing and music are powerful enough that they don't need the big Broadway bucks. I go back to the cast album pretty consistently.
Frelga, the idea of a Mark Chagall based Fiddler is fantastic. I would be very interested to see a more artistic representation of that show. I did see it once on stage maybe five years ago, on tour with Topol. Most of it was really good but I think Topol had been doing it too long... his Tevye ended up being hammy. Maybe it was a weird house, but there seemed to be a lot of laughter at things that aren't actually intended to be funny. It went for goyishe laughs rather than the dark Jewish humor. I suppose that's what people paid for and went in expecting, but like you say it would have been nice to see something with more edge.
Frelga, the idea of a Mark Chagall based Fiddler is fantastic. I would be very interested to see a more artistic representation of that show. I did see it once on stage maybe five years ago, on tour with Topol. Most of it was really good but I think Topol had been doing it too long... his Tevye ended up being hammy. Maybe it was a weird house, but there seemed to be a lot of laughter at things that aren't actually intended to be funny. It went for goyishe laughs rather than the dark Jewish humor. I suppose that's what people paid for and went in expecting, but like you say it would have been nice to see something with more edge.
And it is said by the Eldar that in the water there lives yet the echo of the Music of the Ainur more than in any substance else that is in this Earth; and many of the Children of Ilúvatar hearken still unsated to the voices of the sea, and yet know not what for what they listen.
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Dave_LF
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Re: Musicals and Operas
Well, I'm going to be seeing Wicked tomorrow night since I randomly discovered the tour is in Indiana right now, which is close enough. This is evidently the summer of musicals for me.