Wednesday, December 23, 2009

Holiday Hiatus

We weren't terribly good about documenting this year's audition tour, but thanks to CameraMan, we have a few images from our travels. It was a terribly dense trip - due to extenuating schedule and budget parameters - and I think we only (barely) had enough brainpower and energy for the compulsories.



The blog silence in these midwinter months is largely due to the overwhelming task of establishing the summer calendar, choosing the artists, casting the operas, making offers to artistic teams and staff, and figuring out who does what when and how to pay for it. And, until the season is announced (on February 8, 2010!), none of this is bloggable. But I'll be back in January, and I'll look up from my desk a bit as we catch up with what's going on in the rest of the musical world, prepare for the big GRAMMY ceremony trip(!), check in on some of our WTOC alumni, and prepare for the next workshop of the next Musto/Campbell opera.

Till then, warm wishes for restful and joyous holidays with the ones you love - click here for our season's greetings (make sure your sound is on). I'll see you in 2010!

Tuesday, December 08, 2009

The Long View

I sat for an interview last week, and a typical question came up: "What was the biggest challenge you've faced so far in your career?"

How coincidental that this interview came right after our recent oh-so-sweet GRAMMY news. For the fight for this Volpone recording was probably the biggest hurdle I've had to clear, at least in recent memory.

I tend to live a lot in the future, not so much in the past. (And not nearly enough in the present, but that's another st0ry.) So I took a walk down memory lane, breaking open the huge files that documented the road to this project. And it was amazing exactly how much of the trauma I had suppressed. :)

So very much of it was, as my social networking friends will say, unbloggable. But here's a little bit of it that wasn't (you can link to the posts or just read the excerpts):



Disappointment
Thursday, May 17, 2007

Mixed with the excitement of company arrivals are notes of frustration and regret.

Our much-anticipated upcoming recording of Volpone is not to be. This is not the place to spin out all of the confusing and irritating details, but... there's no nationally approved recording agreement whose conditions our company meets, and the local doesn't have the ability to negotiate individual agreements with organizations....

The bottom line is that we've run out of time. We had so wanted to get this terrific piece out there in circulation, and it's tough to walk away from it. For now, the goal is to sort all of this out after the season so that when our next new fabulous operatic comedy hits the stage, we'll be ready to capture and share it.



In the Can
Sunday, July 1, 2007

As of 4 hours ago, we now have the raw material for a commercial live recording of Volpone. And this has been possibly the most frustrating and confounding journey of my professional life thus far.

The recording project was launched and canceled more times than I can count. The path to today was littered with obstacles, aborted attempts, misinformation and misunderstandings. But it also included generous colleagues, helpful advice, supportive coworkers and bosses, and a learning curve that was so fierce that it demanded to be conquered.

I intend to articulate that process here in the blog. It's critical that other small organizations have the chance to learn from our mistakes and our successes. Very little of this journey is private or confidential, and there are no real villains.



Well, I never returned to "articulate that process," even though I knew I should've. The industry has changed so quickly over these last few years, but we still have a distance to go.

Since that time, we also worked through the difficult decision about whether to use a large label for distribution, or to release it ourselves. It took a lot of internal effort to get this opera out on the Wolf Trap Recordings label, but we're so glad we did. It was a labor of love, and as is usually the case in our industry, not one that anyone will ever make money on.

I'm normally not all about external validation. As a matter of fact, the same week that this recording was issued, we had some useful discussions about how artists must learn to handle criticism of all types. If you take this advice to heart, though, you must also learn not to immerse yourself too deeply in favorable reviews. Therefore, I usually blow off good notices as well as bad.

But this time, I'll take it. The fight was too hard, and the implications for the future are too positive. For these fifteen minutes of what passes for fame in the opera world, we're going to enjoy ourselves.

Monday, December 07, 2009

Scrappy & Outrageous

It's been a bit of a wild ride over the last few days, as last week's GRAMMY news eclipsed much of business as usual. We are working overtime to choose and cast next summer's operas, and I haven't forgotten my promise to post the list of most-offered arias during November's audition tour. [UPDATE: These are up now - visit these links for Filene Young Artists and Studio Artists.]

However, there's been much to absorb in these last few days. Before you read on, take 1 min. 33 seconds to watch and listen to this.

Even if you don't think you like opera (or, for crying out loud, new opera...), do it.



Two adjectives I've heard recently:

Scrappy: our small opera company and tiny record label

Outrageous: the fact that we were nominated for a freakin' GRAMMY...

It's not as if I'm not proud of the WTOC. I have given it my blood, sweat and tears for the last 25 years. And I will hold us up against any arts organization in artistic integrity, work ethic, financial responsibility and innovative spirit. But our budget is small, our artists are at the beginnings of their careers, and we produce in a 375-seat theatre. We are in the presence of some amazing talent in our award category, and the whole thing seems a bit surreal.

Once the shock wore off (yes, John Musto called me on my cell phone at 10:45 pm Wednesday evening, and I thought he was punking me), a few things bubbled to the surface:

John is the only American composer nominated for this award. In the company of amazing composers, to be sure, but of British, French, Chinese and Russian heritage.

Volpone is the only 21st-century opera nominated. Others range from 1928 (The Nose) to 1996 (Marco Polo).

Wolf Trap is the only U.S. arts organization in this field, and Wolf Trap Recordings is the only American record label.

Oh, and Volpone is a truly awesome opera.

Audition Arias Offered: Filene Young Artists

This list was culled from the first arias offered by singers auditioning for this year's Filene Young Artist Program. If you are looking for the comprehensive list of pieces in the 4-aria audition packages from this season, start here.

SOPRANO

You might remember that of the selections listed on the application forms, Pamina's aria was a run-away hit. Imagine my relief when Ach ich fühl's was only offered as a starter aria once. (I do love me some Mozart, mind you, but this aria is deceptively difficult.)

The runner-up on the application lists was Anne Trulove; also only offered first by one singer, probably because of the length of the scene.

4X
Caro nome
Deh vieni
Dove sono

3X
Come scoglio
Ernani, involami
Je veux vivre
Padre, germane, addio
Presentation of the Rose
Sul fil d’un soffio etesio
O zittre nicht
Quel guard oil cavaliere
Song to the Moon

TWICE
Ain’t It a Pretty Night
Be Kind and Courteous
Chacun le sait
Depuis le jour
Dich theure Halle
Donde lieta
Du gai soleil
Einsam in trüben Tagen
Emily’s Aria
Manon's Gavotte
Glitter and Be Gay
Je suis encor
Lisa’s Aria
Martern aller Arten
O luce di quest'anima
O mio babbino caro
O quante volte
Poison Aria
Quando m’en vo
Regnava
Tornami

ONCE
Ach ich fühl's
Ach ich liebte
Adele’s audition aria
Adieu, notre petite table
Batti batti
Bel raggio lusinghier
Che tua madre
Chi il bel sogno di Doretta
Durch Zärtlichkeit
Ebben
Ecco l’orrido campo
Es gibt ein Reich
Fire Aria
How Beautiful It Is
I Want Magic
Kommt ein schlanker Bursch gegangen
Mariettas Lied
No Word from Tom
Nun eilt herbei

Piangero
Qui la voce / Vien diletto
Scoglio d’immota fronte
Stridonò lassu
Tacea la notte placida
Volate amori



MEZZO

Salt of the earth, these mezzi. Always dependable. The runaway favorite on the application lists also turns up as one of the arias most frequently offered.

5X
Smanie implacabili
Wie du warst

3X
Cruda sorte
Que fais-tu
Va

TWICE
Composer's Aria
Must the Winter Come So Soon
Una voce poco fa
Voi che sapete

ONCE
Adalgisa’s Prayer
Card Aria
Che farò
Deh per questo istante
Faites-lui
Iris hence away
Lettres (Werther)
Lullaby from The Consul
Lyubasha’s Aria
Mon coeur
O mio Fernando
Oh la pitoyable aventure
Chaun à son goût
Parto
Pauline's Aria
Seguedilla
Sgombra è la sacra selva
Svegliatevi
Violin aria
What a Movie
Where Shall I Fly



TENOR

The most-listed aria on applications was Tamino's, but it was only actually offered twice. I expect the frequency on the application list is due to our requirement for an aria by Mozart, Rossini, or Handel.

3X
Here I Stand
Una furtiva lagrima

2X
De miei bollenti spiriti
Dies Bildnis
Fra poco
Frisch zum Kampfe
Il mio tesoro
New York Lights
Questa o quella

ONCE
Addio fiorito asil
Care pupille
Del destino (from Florenzia)
Ecco ridente
Heaven Helps Those
Il tuo sangue
La fleur
Mein Lieber Schwan
Pourquoi me reveiller
Recondita armonia
Se all’impero
Si, ritrovarla
The Worm
Un aura amorosa
Vedrommi intorno
Wie ein Rosenknospe
Winterstürme



BARITONE

Like their treble sisters, the baritones are more predictable. (Relax guys; it's not a bad thing.) Count's Aria took the field here, as it did on the application lists.

Pierrot's Tanzlied was also fairly popular, but beware, gentlemen; this isn't as easy to nail as you think it is.

6X
Count’s Aria

5X
Largo al factotum

4X
Lieben, Hassen
Rivolgete
Pierrot's Tanzlied

3X
Ah per sempre
Mab
Silvio

TWICE
Avant de quitter
Toreador
Within this Frail Crucible

ONCE
A quoi bon l’economie
Aleko's Aria
Bella siccome un angelo
Come Paride
Come une pale fleur
E fra quest’ansie
Ford’s Monologue
I Am John Proctor
Non piu andrai
Nulla, silenzio
O lêve-toi soleil
O vin
Onegin's Aria
Onegin's Act III Arioso
Questo amor
Se vuol ballare
Va, vecchio John
Zazà, piccola zingara


BASS & BASS-BARITONE

Figaro's aria edged out Sarastro's, but it's a little unscientific to lump bass-baritones and basses together, so don't draw too many conclusions. I don't separate them out because the self-labeling of these two voice types is all over the map. (As it has every right to be in a demographic with an average age in the mid-late 20's.)

4X
Su vuol ballare

3X
O Isis und Osiris
Quand la flame

TWICE
Come dal ciel
Vecchia zimarra

ONCE
Aleko's Aria
Count's Aria
Bottom's Dream
Hear Me O Lord
Ho capito
I miei rampolli
I’m a lonely man, Susannah
Il lacerato spirito
Infelice
La calunnia
Madamina
Non piu andrai
Piff paff
Schweig
Sorge infausta
Tambour major
Vieni, la mia vendetta
Wie schoen ist doch die Musik



That's it for this year. Please post comments with any corrections/additions!

Audition Arias Offered: Studio Artists

Here's the list of starter arias offered this fall by singers auditioning for the Studio Artist program. (Younger demographic than the Filene Young Artists; average profile is college senior or first-year grad student.)



SOPRANO

4X
Du gai soleil

3X
Durch Zärtlichkeit
Padre, germani
Sul fil

TWICE
Come scoglio
Kommt ein schlanker Bursch gegangen
Quando m'en vo
Quel guardo

ONCE
Adele's Audition Aria
All that Gold
Bel raggio
Chacun le sait
Depuis le jour
Dich theure Halle
Douce enfant
Emily's Aria from Our Town
I Go To Him
I Have Dreamt
Je dis
Je veux vivre
Marietta
Non mi dir
O luce
O quante volte
Olympia’s Aria
Pamina’s Aria
Piangerò
Quickly, Quickly
(Rachmaninoff song)
Saper vorreste
Se pieta
Somehow I Never Could Believe
(Strauss song)
The Trees on the Mountain
Tu che di gel
Una voce
Willow



MEZZO

4X
Que fais-tu

TWICE
Smanie implacabili
Va

ONCE
Addio sospiri
Air des champetres
All'afflitto
I do not judge you
Iris Hence Away
Must the Winter Come So Soon
My Man's Gone Now
Non so piu
O ma lyre
Parto
Things Change, Jo
Una donna
Una voce
What a Movie
What a Wonderful Party



TENOR

TWICE
Ecco ridente
Il mio tesoro

ONCE
Ah mes amis
Albert the Good
Amor ti vieta
Che gelida manina
Ciel e terra
Dies Bildnis
Flower Song
Fuor del mar
Here I Stand
I'll Sail Upon the Dog Star
Lonely House
Prologue from Turn of the Screw
Quanto e bella
Questa o quella
Una furtiva lagrima
Vainement
Zarzuela aria from Amor vida



BARITONE

TWICE
Papageno's Suicide Scene

ONCE EACH
Ah per sempre
Avant de quitter
Count’s Aria
Die Ihr schwebet
Donne mie
Ho capito
Honor and Arms
Largo
Lieben, Hassen
Mab
Medaglie incomparabili
Pierrot
Questo amor
Sibillar
Silvio
Simple Song
Warm as the autumn light
When the air sings of summer



BASS & BASS-BARITONE

TWICE
Il lacerato spirito

ONCE
O Grim-look'd Night
Una voce mal colpito
Madamina



That's it! If you spot errors, comment below and I'll fix.

Wednesday, December 02, 2009

Congratulations!

John Musto's & Mark Campbell's Volpone, recorded live at The Barns in 2007 and issued by Wolf Trap Recordings, has been nominated for a Grammy!


Buy it here, buy or download here; or download from iTunes!