Author Archives: mnopblog

Beyond Doubt

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I had an interesting conversation with a friend a few days ago. We were discussing Minnesota Opera’s upcoming world premiere of Doubt. We were both excited about the future run because, in our minds, the opera addresses something relevant and deeply personal to many. Suddenly I wished there were more operas that touched on current events.

With a combination of music and theater, opera has this amazing ability to tap into carnal values, forcing us to recognize them–unrequited love, for instance, and the desire to possess. I am happy and proud to say that I have experienced how opera can make one internalize complex human relationships. Performances like The Grapes of Wrath, Silent Night, and even Madame Butterfly left me with a new perspective on culture, interpersonal relationships, and myself. As much as I love opera’s ability to do this, I sometimes wonder if the year in which the opera was published, or the era in which the opera takes place, can occasionally create sizable distance between the audience and the performance happening on stage.

I think it would be amazing to see how opera addresses current affairs. Watching how the opera approaches topics such as Wall Street, gay marriage, abortion, or the Bush Administration would fascinate me. I imagine an already heated and complex issue, complimented by the richness of opera, and find myself hungry to know the result. I love the vast display of beauty from various eras, and by no means do I intend to criticize a masterpiece. Seeing the richness and depth that opera adds to any classic story or moment in history, I am simply eager to see what it might bring the the dramas of our own time.

- Tempo Board Member Colin Dickau

Visit Minnesota Opera’s blog every week for Tempo Tuesday 

The Beat Goes On

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As you can imagine, the staff, board and performers are thrilled with the outcome of Saturday’s opening performance of Nabucco.

It’s so interesting to experience the bit of human nature that adds a now expected but never certain bit of performance “oompf.” The singers conjure up a bit more sound or someone on stage is seized for an extra second because of something their colleague did. Could have been a glance or an outstretched hand no one had discussed.

I’m in the fortunate position of knowing what they’ve rehearsed but then have to be ready for how we all live the performance in that moment. Very cool and almost inexplicable experience. There were definitely some of those performance moments on Saturday. Brenda Harris’ performance returned long applause mid-show. Everything stopped for that moment. Others normally entering as the aria ended tastefully started their arrival but froze when it was clear that the audience needed this moment – and Brenda deserved it.

It was a heck of night though, a very well done Gala dinner preceded the performance. A lovely dessert reception followed. It was great fun getting to know a whole new musical community. I was really proud of the whole company for simply hitting the ball out of the park to open the anniversary season. As I came into the office today for a New Works Initiative meeting there was lingering excitement from the box office folks as well as the production crew I met at various points through the Opera Center along with board members and administrative staff in attendance.

As my attention during the daytime focuses on our next production, Anna Bolena, I am also eagerly anticipating a trip back to the Phoenix Symphony to conduct the “Eight Seasons” of Vivaldi and Piazzolla with one of my favorite violinists, Karen Gomyo. Summer is breaking in Phoenix and I’ve happily noted temps below 100 predicted for next week. I have some favorite restaurants to get back to and a small list of southwest items to bring back.

After the symphony performance next Thursday, it’s off to Boulder for off-season Colorado Music Festival donor cultivation and staff meetings over the weekend. Although it can get busy, you’ll never hear me complain (well, I hope you’ll never hear me complain!). I am a very lucky guy and I count those blessings everyday.

- Minnesota Opera Music Director Michael Christie

Visit Minnesota Opera’s Blog every week for Monday Music with the Maestro.

Opera and Beer?

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When talking to those unfamiliar with opera, I’ve noticed that individuals new to the genre tend to sense this invisible wall between themselves and all things revolving around opera. Perhaps its just me, but I get the sense that many people assume that an average night at the opera consists of prancing around the city with your yuppy friends, spending hundreds if not thousands of dollars, while we all revel in the majesty of high art and grade A/high caliber/ snobbery.

Is this a typical opera night of some? For me, no; but for others, sure. I think part of the appeal of opera is that, not only is the music beautiful, but so too are the elements revolving around the opera. The admiration for the genre doesn’t stop with the music, but rather, it seeps into the fashion of the show’s attendees, lingers around the aroma of fine food and wine, and is complimented by the sophisticated talk of its patrons. In short, the opera scene can be sexy, sophisticated and certainly intimidating as all hell. These combined elements can result in an amazing evening, but in regards to opera outreach, it may, in some sense, come with a price.

When considering the average perception of opera by today’s person, I wonder if it might do opera a favor to, now and then, ditch the suit and tie, lose the evening gown, and simply allow the public to sit back and appreciate the genre with a cold beer. Tempo’s Opera On Tap (October 18, 2012) captures this idea. It’s casual, it’s relaxed, and you are more than welcome to grace us all with your finest jeans and t-shirt.

Don’t get me wrong; I love the wine, I love the food, and everyone looking their best. But for me, true opera outreach is about exposure and accessibility. With a public perception focused a bit more on everyday living, and a bit less on champagne and black ties; I wonder if the culture of opera should do the same.

- Tempo Board Member Colin Dickau

Bringing the Pieces Together

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I admit freely that I am an aviation nut. Not only am I pilot but I am fascinated by the history that has connected our world via the air we breathe.

When it comes to these final days before opening night on Saturday, I am reminded of the enormous aviation hangars where massive unpainted aircraft fuselages are centrally perched off the floor with other components being joined from all sides before the hangar door opens to reveal a shiny, smooth vehicle that beautifully hides the cumulative hours of work, coordination and inspiration.

So goes opera this week as the Minnesota Opera moves its artistic and production operations from our spectacular Opera Center in Minneapolis to our performance home, the Ordway in St. Paul.

Monday night the cast and chorus meets the orchestra for the first time. In a rehearsal space down the hallway from the simultaneously occurring lighting and scenery work onstage tempos are tried and refined, balances are considered and trust is built.

We will start from the top and work through each of the four acts to see how the initial musical ideas of the past three weeks mix with the movement of fifty-five musicians of the Minnesota Opera orchestra.  Sometimes tempi that felt a little brisk with piano alone feel a bit different with plush strings contributing a bit of cushion but keeping the necessary momentum. Sometimes little corners that were easy to turn between a singer and pianist reveal themselves to be impractical with so many people participating. But more often than not the orchestra feeds off the drama and direction of the voice, and singers are buoyed by the mass of sound and instrumental color accompanying them.

Tuesday evening costumes, wigs and makeup are revealed onstage for the first time and the company begins to orient to the slightly larger on and off stage space. It will also be an important opportunity to see the twenty-one grand hand-painted scenery drops and working with those images. The orchestra is not required for this nor the Wednesday afternoon rehearsal sessions as these hours are occupied with moving people into the best areas for lighting or coordinating entrances around the enormous number of people the opera requires onstage.

With hopes that most of the logistics are worked out the orchestra convenes in the pit Wednesday evening and we truly bring all the pieces together. Thursday evening is our last crack at it with the opportunity to stop if absolutely necessary.

Then, the hangar door opens Saturday revealing a project that is polished and proud.

Heartfelt thanks to everyone backstage in areas like costumes and wigs, props, the scenery and paint shop and our administrative and artistic teams for allowing us to take a bow on your behalf.

- Minnesota Opera Music Director Michael Christie

 

Visit Minnesota Opera’s Blog every week for Monday Music with the Maestro.

Opera Veterans vs. Opera Virgins

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About a year ago, I attended an opera with a few friends. It was a mixed group of people. Half the group, I would consider to be opera veterans. People made up of former opera singers, or people who had simply been around the scene long enough to reference opera with precision. And in the other half, where the first-timers. People who had never been to an opera before. They were probably terrified that the next 3 hours would consist of them sitting uncomfortably still, while they desperately waited for sleep or the show to end.

2 hours and 50 minutes later…

When we made our way out of the theater, I was happy to see that not only did the new opera goers not die of cultural exposure, but they were excited about what they had just seen! They were moved and eager to learn more about what opera had to offer. At the same time, the veterans looked disappointed. Commenting on what they felt the show “lacked”, or why this or that “just didn’t work”. As the conversation continued, it seemed as if the veterans were somehow trying to explain that, contrary to our own thoughts and beliefs, what we had all actually just experienced was, in fact, an okay/bad show.

I’ve always considered the purpose of art to be the stimulation of either an emotional or intellectual response. Therefore, should the fact that the art moved group A, but not group B, somehow lessen our perception of the content’s worth? Time and study can grant any musical veteran the ability to recognize layers and depth. At the same time, is it possible that skill and experience can cloud, not only our perception, but our ability to recognize something that is simple and good?

The “Mystical Experience” of Live Performance

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This is when the rehearsal process gets interesting.

What I always find so compelling about working in opera is seeing what singers bring to their characters from the outset, and how those portrayals evolve with input from the director and responding to their colleagues’ concepts.

Since singers have their roles memorized, it shouldn’t come as a surprise that they are deeply connected to the morality and motivation of their characters. The dynamic at Minnesota Opera is very special in this regard.  For this production we have two stage directors who are superbly balancing the conventions of the art form such as placement on stage to accommodate a proper balance with the orchestra, in tandem with the internal and interpersonal relationships that are so important to portray.

It’s this portrayal of characters that seems to separate the men from the boys, so to speak. If the group of singers either can’t or won’t weave their characters together, the opera will go on, but the power of portraying that particular aspect of humanity won’t “read” to the patron. I’m very excited that this production seems to be hitting that sweet spot where the characters are starting to read by themselves and interact with each other.

Now, the other key “character” (the orchestra), has to be brought into the mix. On Tuesday morning we have the first of three 3-hour orchestra rehearsals. During these rehearsal, we will naturally be working on matters of ensemble, but that extra layer of drama and character that I love so much in opera has to be expressed by the instruments as readily as the singers who have costumes, motion and text.

As it all comes together, I aim for the portrayal of these characters to be a full sensory experience. This, after all, is the world in which we live. Live, in-the-theater performance has the challenge of not being able to do a multi-angle camera zoom to show the subtle evolution of a character’s experience. However, we have the advantage of the music and the almost mystical experience of watching another human being standing some number of feet away, performing in our space.

That’s the miracle we are working toward and why it matters.

- Minnesota Opera Music Director Michael Christie

 

Visit Minnesota Opera’s Blog every week for Monday Music with the Maestro.

Opening Night Tips from Tempo: What to Wear

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Opening night at the opera is usually a very well publicized formal event. In fact, this season is the 50th anniversary for the Minnesota Opera and Nabucco is going to be a VERY big deal. So, ladies and gentlemen, be prepared to look good. Go big or go home.

Such a grand occasion tends to bring back old world glamor so expect women to go all out with jewels, up-dos and ball gowns. Also expect to see some men donning classic tuxedos or white ties and tails. If you’re not comfortable in this style, semi-formal attire is also appropriate. The important thing is to look classy.

So, what do you wear?

Men: You don’t have to bust out the tails and white tie, but if there is anything you should wear, it should include a well-tailored or fitted suit with a tie/bowtie and a jacket.  All men look good in jacket.  ALL MEN.  If you do decide to wear a tailcoat – it must have a cut front that reaches to your waist and there should not be any part of the white vest underneath showing below the front. These coats have a split in the tail and often buttons on either side. The tails at the rear should not fall below your knees.

 

 

Ladies: Ball Gown or formal gown.  Any color will do.  In fact, the bolder –the better! However, you are not at a cotillion, so please avoid the white from head to toe as this is usually reserved for debutantes. A ball gown can be sleeveless, have short sleeves or even long sleeves (suitable for older ladies). It can be one piece, two pieces, long or short.  If opting for short, please make sure you are not wearing something that will embarrass you parent’s too much – i.e. – showing more skin than is necessary.  This is a formal event, not the prom. Where to shop? Stop in to Saks 5th Avenue Off Fifth, Nordstrom, Neiman Marcus or Macy’s for some newer fashions. Want something a bit more unique? Check out consignment shops such as GH2, June or Rodeo Drive for something a bit more price conscious.

Don’t have the funds to drop on a formal gown? No worries! Rental sites are a great way to dress up, without the commitment. Rent the Runway is an online membership-based service that offers thousands of designer dresses and accessories that women can borrow for just 10 percent of their retail value. They have tons of formal gowns from designers such as Bagdley Mischka, Zac Posen, Nicole Miller, Diane von Furstenberg, Vera Wang, Robert Rodriguez, Anna Sui and Christian Siriano.

Accessorize

Even if you don’t have a formal dress, you can still glam up your outfit with accessories. Carry an elegant evening bag to complement your formal dress. A cashmere shawl will add a nice touch to the outfit as well. The opera is also a good opportunity to break out that expensive jewelry you stash away for special occasions. If you don’t have the funds, Bag Borrow or Steal has additional accessories or purses to complete your look and make you look like a million bucks – for only a hundred of bucks.

Remember, whatever you do decide to wear – remember to have a great attitude and lots of fun. People remember the fun-loving couple having a blast more often than what they truly were wearing.

See you on opening night!

A Message from Tempo’s Chair

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Tempo’s 10 years old – and looking better than ever, don’t you think? As I begin my second year as Chair, I’m proud to be just one small part of a thriving organization. Minnesota Opera has led the path, proving that opera is not only healthy but also has a place in the 21st century. In addition, through a dedicated base of volunteers, Tempo has helped supplement an already strong audience with the next generation of opera goers in their 20s and 30s.

This year’s volunteer Board of Directors is the largest group Tempo has ever had, and I’m continually amazed by the passion, dedication, optimism and enthusiasm they bring to the organization. We are a diverse group, but one of the common themes amongst us is that Tempo is more than just attending operas; it’s a community.

We are very fortunate to have a strong arts scene in the Twin Cities, and opera here is thriving. These days you can see opera on traditional stages like the Ordway or Orchestral Hall, but also in a park, in the ruins of an old mill, or even in a bar. Opera is quickly reaching new audiences with its gift of an unamplified voice soaring out over the orchestra and reaching inside and squeezing your guts.

This season is shaping up to be fantastic: not only some of the best operas from the repertoire of Puccini, Verdi, and Donizetti, but a world premier and rarely produced version of Hamlet. Tempo will be at each production to educate and entertain, and continue to introduce opera to the next generation. I invite you to check us out, whether it’s your first opera or your hundredth – I promise you’ll enjoy it.

See you at the Opera!

Benjamin Jones

Chair, Tempo Board of Directors

Ready to Celebrate – A Taste of Tempo!

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It may be the “dog days of summer” but Tempo is ready for the season to begin. Let the the season of celebrations commence with Tempo’s 10th Anniversary and Minnesota Opera’s 50th season!

Who is Tempo?

Tempo is a membership program for both new and seasoned opera-goers ages 21-39, providing intimate and memorable experiences through Minnesota Opera. For a $50 membership fee, Tempo members enjoy steep ticket discounts (only $30!) to Minnesota Opera productions and access to exclusive events and after parties.

Do you have your tickets yet?

The 2012-2013 season includes Nabucco, Anna Bolena, and the world premiere of Doubt (to name a few), tickets are going fast! 3-, 4- and 5-opera packages are also still available. A subscription is the only way to guarantee your seat at sure-to-be blockbusters like Turandot and Doubt. Be sure to visit our website at mnopera.org/tempo or call the ticket office at 612-333-6669 to join Tempo and reserve your tickets today.

Join us for a Silver & Gold celebration!

Raise a glass to our 10th and 50th anniversaries of Tempo and the Minnesota Opera, we will be celebrating in style on Saturday, September 22nd. First, the Nabucco Opening Night performance at the Ordway, and then head to the James J. Hill Library for a glamorous evening at our Silver & Gold Soirée.

Soirée tickets can be purchased for $25 and, as this is a “black tie admired but not required” event, we’ll be watching to see who wears it best!

Until Next Time…

Be sure to follow our blog posts every Tuesday throughout the season. We’ll be highlighting our events, giving behind-the-curtain looks at Minnesota Opera productions and introducing you to the members of Tempo (that’s right, some of you!).

Until then, hats off to you, opera lovers. We’ll see you next time.

Minnesota Opera Announcement – Kevin Ramach named President and General Director

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We’re excited to welcome our new President and General Director Kevin Ramach!

Minnesota Opera's new president and general director

After watching Ramach’s leadership while he served as the company’s top executive on an interim basis, Minnesota Opera’s Board of Directors made the unanimous decision to appoint him president and general director. “As we enter Minnesota Opera’s 50th anniversary season, it seems especially appropriate that someone with such deep roots in the company’s history should lead the organization,” said Minnesota Opera Board Chair Shelli Chase. “I know I speak for the entire board when I say how impressed we have been with his leadership of the strategic planning process and with how he galvanized the company through a difficult transition. We’re thrilled to have found an extraordinary talent in Kevin Ramach.”

Ramach is a nationally respected opera professional, with deep expertise in the realm of production and a long history with the company. He first joined Minnesota Opera’s staff in 1988, and for the following 11 years, he served in a number of positions in production and operations. He left Minnesota in 1999 to join Kentucky Opera as production manager, a position he held for seven years. In his final season there, he served in an interim executive leadership position, during which he produced a statewide tour of a children’s opera and led the company’s planning and budgeting process while maintaining a balanced budget. Ramach returned to Minnesota Opera in 2006 as production director, where for six years he was responsible for all physical and technical aspects of the company’s productions. His leadership extended beyond the production department to include managing labor relations, producing Minnesota Opera’s HD video projects, and representing the company’s interests with the Arts Partnership and Ordway throughout the planning process for the concert hall and production wing expansion. Nationally, Ramach is sought for his expertise on a wide range of production-related topics. For the opera industry’s national service organization, OPERA America, Ramach has served as a conference panelist on issues ranging from the reuse of production materials in scenic design to leading coproductions.

“Kevin has been an effective part of the company’s creative team for years, particularly as we’ve broken new ground with world premieres, high-level coproductions and media projects,” said Artistic Director Dale Johnson. “I look forward to working with Kevin in his new leadership capacity, and I’m excited about what our partnership can bring to the community.”

In acceptance of his appointment, Ramach said, “I am honored to be asked to lead Minnesota Opera. Having spent more than half of my career at this organization, I believe in its forward-looking mission and am proud of the compelling art that it creates for the community as well as its culture of creativity and financial stewardship. Despite a challenging economy, the company balanced its budget and achieved remarkable successes this season: record ticket sales, a huge audience for the groundbreaking webcast of Werther and a Pulitzer Prize for Kevin Puts’ world premiere, Silent Night. I am delighted to take my partnership with Dale, the talented staff and the dedicated Board of Directors to the next level, and to see Minnesota Opera reach even greater heights in the seasons to come.”