Opera and Beer?

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

Minnesota Opera Announcement – Kevin Ramach named President and General Director

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.”

A Note from the Minnesota Opera Communications Team

Last Saturday, Minnesota Opera hosted a “hipster guest” (yep, we asked an intern to do it) on our official Twitter account, who provided a series of irreverent live tweets about Madame Butterfly. The intent was to brush the dust off some musty impressions that opera is elitist, stuffy or boring. These tweets drew lively debate – and just criticism.

We fully acknowledge that the execution of this idea was lacking, and that when attempts like ours go awry, it is really frustrating to those who really do social media well. We appreciate the engagement of those who joined the debate, many of whom provided very constructive criticism. This feedback will help us develop better social media programs as we enter more thoughtfully into this realm in the future.

We are madly in love with this art form and will do crazy things sometimes to show it. At the heart of this experiment was the desire to invite new voices into a conversation about an art form that so many people find intimidating. It’s the same desire that drove us to invite bloggers and sketch artists into our productions in the last two seasons, and the same impulse that led us to create silly TV commercials. The difference in these examples, of course, is that we involved people who are a lot better than we are at blogging, sketching or producing videos. This deserved the same eye toward excellence, and it didn’t receive it. And unfortunately, to many who share our devotion to opera, even our intentions weren’t clear.

It’s our hope that those who engaged in this particular conversation with Minnesota Opera and about opera will continue to do so, and continue to challenge us to put the same thoughtful preparation into our “productions” online as we put into our productions on stage.

Though we won’t repeat the mistakes we made in this experiment, we will continue to take risks. And we will do it better moving forward having learned from this.

The Red Tape with the Red Curtain

Thank You Sweepstakes

Official Rules of Entry

Entrants must “Like” Minnesota Opera on Facebook by 11:59pm on Saturday, November 16, 2011 to be eligible for prizes; alternate entries will only be accepted in accordance with Wildfire App and Minnesota Opera’s promotion rules. Current fans who “Like” Minnesota Opera on Facebook are also eligible for the Sweepstakes, pending their completion of the entry form on Facebook. Entrants must submit address and phone number on the Sweepstakes entry form to be eligible to win one of three randomly selected Minnesota Opera prize packages. Winners will be notified by phone no later than Monday, November 14, 2011. The grand prize winner will have a choice of two tickets to the following performances of Silent Night: 11/15, 11/17 or 11/19 (shows begin at 7:30pm at Ordway Center for the Performing Arts in Saint Paul, MN) or 11/20 (show begins at 2:00pm at Ordway Center for the Performing Arts in Saint Paul, MN). Tickets will be held at the “WILL CALL” box office window for the grand prize winner. Additional prize items for the grand, second and third prize winners will be sent via USPS within one week of the drawing.

Entrants can enter the Sweepstakes for free by the Alternate Method of Entry.

NO PURCHASE IS NECESSARY.

This promotion is in no way sponsored, endorsed or administered by, or associated with, Facebook. You understand that you are providing your information to Minnesota Opera Company and not to Facebook. The information you provide will only be used for E-mail subscribers will be sent company updates and announcements..

This promotion is powered by Wildfire Promotion Builder. Wildfire Interactive, Inc. (“Wildfire”) does not sponsor, administer or endorse this promotion. Participants must read and agree to Wildfire’s Terms & Conditions of Use and Privacy Policy before entering or participating in this promotion.

Prizes

Help Minnesota Opera reach 2,500 fans by midnight on November 12! “Like” Minnesota Opera and fill out the following form for a chance to win one of THREE prize packages (fans who already “Like” Minnesota Opera will be automatically eligible for the drawing if entry form is completed).

The grand prize includes two tickets to Silent Night – Minnesota Opera’s world premiere opera (two tickets for one of the following performances: 11/15, 11/17, 11/19 or 11/20), a Silent Night show poster autographed by Composer Kevin Puts and Librettist Mark Campbell, a copy of Making An Opera: The Grapes of Wrath on DVD and two vouchers redeemable for beverages or desserts at Ordway Center for the Performing Arts.

The second prize includes a copy of Making An Opera: The Grapes of Wrath on DVD and two vouchers redeemable for beverages or desserts at Ordway Center for the Performing Arts, and the third prize includes two vouchers redeemable for beverages or desserts at Ordway Center for the Performing Arts.

Share the Sweepstakes on your wall or “Tweet” the link and help Minnesota Opera reach 2,500 fans. Thank you!

Be ready for givemn!

Wuthering Wednesday…A Visit to Brontë Country

From Lee Poulis (Heathcliff) to his manager prior to arriving in Minnesota for Wuthering Heights:

Haworth, the famed town of the sisters

Haworth, the famed town of the Brontës

I had such a wonderful trip to the moors a la Wuthering Heights. I flew over from Cologne into the Leeds/Bradford airport, rented a car and drove out to Brontë Country, as they call it. It was really a great trip and I absorbed so much information that keeps my brain buzzing with ideas about how it really could have been to live a life there and to be Heathcliff.

I arrived in the evening, checked into my hotel and went to bed early to get an early start the next day. I spent the morning in Haworth, the small town where the Brontë sisters spent most of their lives. I walked through the historical town, had tea and scones for breakfast, toured the Brontë house where the sisters lived, and the church where their father was a minister.

Then I embarked on the Wuthering Heights walk through the moors. I started around 1pm, a bit too late and I’ll tell you why later. It was a 3.5 hour walk through paths, farms, climbing over farm fences, hiking through ravines, over streams, sometimes with a bridge, sometimes jumping across rocks in the stream. There was a rock naturally shaped somewhat like a chair where Emily Brontë often sat to write. I sat there myself a while and enjoyed the falling water, the running stream, the deep colors of the moist foliage, the swampy soil and the humid chilly air.

Moorlands

Moorlands

I continued on, taking tons of pictures all the while, until I became quite isolated and came upon Top Withens, a ruin of a house that most evokes the house of Wuthering Heights. By that time it was around 3:30pm and let me tell you, I arrived a bit too late in the day! I was all alone in the middle of nowhere!

Top Withens: the inspiration behind Wuthering Heights

Top Withens: the inspiration behind Wuthering Heights

First of all, the house totally brought about an understanding about what it could have been like to be living in such a naturally isolated setting. All I could see were the rolling hills of the moors and not a single other house, light, or any other sign of civilization.

On the moors

On the moors

I began taking a lot of photos, for as long as a half hour, and all the while the fog began rolling in. It quickly became more and more aggressive and soon my visibility was cut down to under 50 yards. Now, it had taken me 2.5 hours to arrive there, and while I was returning by another way according to my pamphlet, I had no idea how long it would take and if I would even be able to see where to go. It was quickly getting dark as well. I could see how someone could get lost on the moors!

On the moors in the mist...

On the moors in the mist...

Well, I became a bit nervous and began taking video of myself. (Perhaps because I had just seen 127 Hours the week before!) I didn’t know if and when I would get out of there. It began raining, I had no umbrella and quite a way to walk. I knew nobody would be walking that way again that day or the next if the rain continued. I sang a bit to pass the time and calm my nerves. I’m sure that not a living soul could hear me. I even sang some snippets from the opera at full voice!

Luckily I did not take any wrong turns and arrived at a main road after about 75 minutes. I entered a pub in the small village wet and weary like a lonely Lockwood. I asked them to call a cab for me to return to my car because by this time it was raining hard and the car was too far away.

The next morning I woke up earlier and started my walk by around 9:30am.  The weather had improved. This time my walk included Thrushcross Grange and Ponden Kirk (the probably inspiration for Penistone Crags). Thrushcross Grange was on the side of a reservoir and really looked more well off then Top Withens, though it was certainly not a mansion.

Thrushcross Grange

Thrushcross Grange

This walk took me up much higher then the previous day’s walk, up to the cliff where Emily Brontë often went. The views from there were simply incredible.  Miles and miles of beautiful moorlands, farms, and houses here and there.  Simply gorgeous.  One thing about this area is that even near the top of a hill, you will find a stream.  You then begin to wonder if the area is so saturated with water that somehow water is forced out of the land even upward against gravity.

Lee and the inspiration for Penistone Crags

Lee and Penistone Crags

I encountered some roaming sheep up there and at some point it seemed as if one was showing me the way. I was walking so close to the edge of the cliffs that at some point I lost my balance a bit and saw my life pass before my eyes and the terrain rocking like a ship. I regained my bearing and began walking with my weight balanced away from the cliff.

-Lee Poulis

Blogger Preview Night at Wuthering Heights

Minnesota Opera hosted its first ever Blogger Preview Night at the final dress rehearsal of Wuthering Height on April 14 at Ordway. Starting with a pre-rehearsal chat with Maestro Michael Christie (conductor of Wuthering Heights) over apps and drinks at Sakura, nearly 35 of the Twin Cities’ top bloggers headed to the theater and went behind-the-scenes in a way that few of them had ever experienced.

Collected below is a somewhat comprehensive list of this diverse and creative group (with backgrounds in arts, fashion, beauty, personal style, scene, pop culture, etc.) who attended last Thursday night, as well as some other local and national blogs who have been covering our production:

Enjoy!

Permanent Art and Design Group

Twin Cities Daily Planet

The Knothole View

Bombshell Beauty

My Boyfriend is Only Sort of Annoying

Minneapolis Affair

Spoils of Wear

Girly Muse

Author Rita Kuehn

The Way I Am

Lo Vivido

Urban Tease

Dr. Mark Says

Gothic News

Bronte Blog

WCCO

Command Opera

The Opera Critic

TC Jewfolk

My Boyfriend is Only Sort of Annoying

Bernard Herrmann Fact #8

Saturday night we opened our production of Bernard Herrmann’s only opera, Wuthering Heights. Below we have included an article about it from Friday’s Minneapolis Star Tribune.

What is cinematic, and what is operatic? To some ears, a lot of Puccini sounds cinematic even though he died in 1924, three years before the movie The Jazz Singer, the first full-length talking picture. So when someone in attendance says that Wuthering Heights sounds “very cinematic” we might just respond, “yes, just like Puccini.” Herrmann completed Wuthering Heights in 1951, a few years prior to the beginning of his great collaboration with Alfred Hitchcock. And for his 1941 score for Orson Welles’ masterpiece Citizen Kane Herrmann composed an aria to be sung by the trophy second wife of lead character John Foster Kane. Kane pushes her to become an opera singer, a career option not suited for her due to a lack of talent and ambition. She sings Herrmann’s aria badly. Here it is a link to it being sung well, by soprano Kiri Te Kanawa. http://www.youtube.com/watch?v=OzWX59Nvimw So is this Te Kanawa being cinematic? Or Herrmann being operatic? Both? Neither?

Let us know what you think.

Bernard Herrmann Fact #7

The Beatles were fans of Psycho and Bernard Herrmann’s music prior to the Fab Four’s explosion onto the music scene. And Herrmann was a fan of the Beatles before their 1964 invasion of America. While he was recording with a symphony orchestra in London, Herrmann got wind of a sensational new rock group that was playing to wild audiences in Liverpool. He made his way to The Cavern Club, where the Beatles played 292 engagements from 1961-1963, and caught himself a case of Beatlemania, much to the surprise of the serious musicians back in London. While in Liverpool, he met the Mop Tops backstage and they couldn’t believe the good fortune of getting to know one of their musical idols. As posted previously, Paul McCartney and producer George Martin later modeled the staccato cello in Eleanor Rigby on Herrmann’s strings for Psycho.

Eleanor Rigby was released in 1966 on the Beatles’ album Revolver. Herrmann followed their meteoric career with interest and met up with them again in Hollywood, where they marveled at how far the band had traveled since Herrmann ventured from London to Liverpool circa 1961 to catch their gig. Many of Herrmann’s serious music friends still couldn’t understand what he saw in them.

The Knight Foundation is posting our Bernard Herrmann Facts, as well as all kinds of other interesting arts information: http://www.knightarts.org/community/stpaul/waiting-for-wuthering-heights-from-facts-from-the-minnesota-opera

You might want to check it out. The foundation is also the sponsor of the very successful “Random Acts of Culture” campaign, most famously the Youtube sensation of Handel’s Hallelujah Chorus with the Opera Company of Philadelphia  http://www.youtube.com/watch?v=wp_RHnQ-jgU It has over 7.2 million hits.

Bernard Herrmann Fact #6

The Twin Cities is where Bernard Herrmann composed much of his only opera, Wuthering Heights.

His first wife, Lucille Fletcher (Lucy I), was an accomplished writer and penned the Wuthering Heights libretto. They met in New York while both worked at CBS, Herrmann the chief conductor of the CBS Symphony, and married in 1939. However, the marriage soured in part because of Herrmann’s relationship with Kathy Lucille Anderson (Lucy II). And here’s where it gets complicated. Herrmann and Fletcher divorced in 1948 and he headed for Minneapolis, where Lucy II was living. While here, Dimitri Mitropoulos arranged for a studio at WCCO Radio where Herrmann composed Wuthering Heights, at one point saying it would be his greatest artistic achievement. Mitropoulos and Herrmann were friends and Mitropoulos was in town as the Music Director of the Minneapolis Symphony Orchestra (now Minnesota Orchestra). So while in Minneapolis, Herrmann was setting to music Lucy I’s libretto while he was spending time with Lucy II. Writing a gothic romance opera, Bernard Herrmann was living one himself. Lucy II was also the cousin of Lucy I, ten years her junior.

Lucy II and Herrmann married in 1949, a relationship that lasted until 1964. His breakup with Lucy II roughly coincided with his split with Alfred Hitchcock.