Thank you loyal patrons and first-time opera-goers, for your overwhelming response to our 2010-2011 season opener, La bohème! We love to hear about your experiences. Thank you for sharing them with us. Here are some of our favorites!
“I am not going to read another review until after I have seen a performance in the future, as the AJC reviewer must not have seen the same production I did! I thoroughly enjoyed the singers, their acting, the chorus, the orchestra, the staging--the whole afternoon was a joy to behold. May your other endeavors be as entertaining and enjoyable and a pleasure to the ear and the eye. My wish is for your continued success. Better yet, I don't think I will read any more reviews!”
By Barbara – Oct 18, 2010
“We had never seen La bohème before. It was a great production- the music, singing, sets etc. La bohème ranks with the best opera we have seen, which includes Tosca at La Scala and many at the N.Y. Metropolitan.”
By Frank & Frances - Oct. 18, 2010
“We just wanted to let you know how much we enjoyed the Sunday matinee of La bohème, which happens to be the very first opera I'd seen many years ago at The Met. The performers were fantastic, the sets magnificent, the music splendid. We had invited another couple to join us. They had moved to this area from NYC several years ago, and had enjoyed front row center seats at The Met for many years. He said the performance was “world class,” and he's much more experienced than I. Congratulations to all… glad we are season subscribers!”
By William - Oct 18, 2010
“The Sunday matinee performance was the second Atlanta Opera production my wife and I have attended since moving to Smyrna from Boston late last year. We saw and thoroughly enjoyed Aida in the Spring and subsequently purchased season tickets. La bohème was every bit as good, and we are eagerly looking forward to the Gershwin and Mozart productions that will be coming up in 2011”
By Berni - Oct 18, 2010
“Magnifique.......the only word I can use to describe it! This opera is more than 100 years old, yet it is just as beautiful as if it were the first time I had seen it. I can only put myself into the seat of those who first heard this magnificent piece of music. My compliments to the cast, chorus and supernumeraries. You have all put Atlanta onto the Opera Map.”
By Bonnie - Oct 18, 2010
“We are new to the greater Atlanta area and attended with 5 of our neighbors. Sensational is the best I can come up with! The [orchestra], staging, preformers, quality, and “awe factor” all exceeded expectations. When the second act closed and everyone froze in action, it looked like a famous painting. It was so exquisite.”
By Jim - Oct 18, 2010
“Beautiful singing, gorgeous orchestral music, terrific costumes, wonderful sets, fabulous production. Fantastic!”
By Jim & Trudy - Oct 18, 2010
Showing posts with label La boheme. Show all posts
Showing posts with label La boheme. Show all posts
Monday, October 18, 2010
Friday, October 8, 2010
The lighter side of La bohème...
We all know that our beloved Mimì perishes in the end. It is tragic to see two lovers torn apart, but La bohème is also very funny. Below is Tim Wikerson's picture gallery of the "lighter side" of this season’s production of La bohème.
Photos Courtesy of Tim Wilkerson
Usage of any images on this blog is restricted to The Atlanta Opera and approved news websites. Any other usage, particularly for professional purposes, must have written permission. For additional information, please contact The Atlanta Opera's Marketing Department at 404.881.8801.
Photos Courtesy of Tim Wilkerson
Usage of any images on this blog is restricted to The Atlanta Opera and approved news websites. Any other usage, particularly for professional purposes, must have written permission. For additional information, please contact The Atlanta Opera's Marketing Department at 404.881.8801.
Friday, October 1, 2010
Mrs. Woodward Goes to the Opera
The Atlanta Opera has a great tradition - Mrs. Jerrie Woodward's reviews of our Final Dress Rehearsals. Mrs. Woodward is the mother of one of our board members, Bob Woodward. For years, The Atlanta Opera staffers have come in to work to find her impressions of our newest productions in our inboxes. They are delightful, observant, and constant reminders that what we do touches many lives. She writes these reviews as "thank you letters" to her son. That alone, tugs at our heart strings.
As we open our 2010/2011 season with Puccini's La bohème, let's take a moment to reflect on what Mrs. Woodward has to say, and try to put our own impressions into words.
* * *
Dear Bob,
When I leave a performance of Atlanta Opera, I’m eternally grateful for the Cobb Energy Center. What a difference it has made in the enjoyment of the Opera and the ease of my getting there and back. As I think back on how it was at the Civic Center, I utter a prayer of thanks. Beauty begets beauty, whatever the art.
Now, to tonight’s final rehearsal of La bohème that enchanted the fairly large audience in attendance. I imagine most everyone attending knew the sad story, but the director presented a cast that brought the story to life in a beautifully unique way. The four “good ole boys” exhibited true comradeship, sharing what little material things they had, as well as the frustration and pain of trying to find true love.
After beginning a bit timidly, Hymel’s Rodolfo soon won me over as the sensitive lover and soul mate of Mimì. His beautiful tenor filled the hall, and his personality made me fall in love with the poet, too. I love a guy who can empathize with a lonely and sickly maiden, as well as listen to her story of common poverty portrayed in poetic language - I guess that’s the poet in himself. A close rival for my affection was Marcello. In fact, the entire cast was excellent - all strong and commanding. I wish Mimì had let her hair down sooner, though.
The orchestra was very, very good – with a full, great tone. It was the best the orchestra has performed in many performances. The sets worked well in all scenes, whether the mood was up or down.
The scene at Café Momus was somewhat overcrowded, making it difficult to find which one was singing, and subsequently how the story was going. I think less would have been more.
The death scene really pulled my heart strings. Rodolfo was magnificent in his portrayal of heartbroken grief, Mimi looked more beautiful in death than life, and a real tear rose in response to this tragic ending. I do wish the audience could wait until the orchestra has ended the last note and let it settle in the heart before applauding.
It is a terrific beginning for the 2010-11 season. I truly hope Atlanta takes advantage of the excellent opportunity to experience live opera on its home turf. Why go anywhere else for an evening of pure dedication and delight?
Thanks for the tickets. All of us were in one accord of praise for the company of The Atlanta Opera.
Love, Mother
Friday, September 24, 2010
Children's Chorus? Do We Need a New Name?
Well, Ladies and Gentlemen -- fans of The Atlanta Opera -- after a 5 month hiatus, our blog is up and running again. So much is happening around here, and we are thrilled to be sharing the ins-and-outs of our company with you. Absence makes the heart grow fonder.... or so they say. Have you missed us?
As many of you know, we open our 31st season on October 2 with Puccini's LA BOHEME. So romantic, so sad, so.... many things that touch our hearts. But there is one facet of the production that, we believe, is underexplored -- the Children's Chorus. They are so ingrained in the fabric of the production, that we sometimes forget how uncommon it is to have children appear in an opera, and how lovely the on-stage dynamic becomes.
Will Breytspraak, this season's Children's Chorus Master, is not a stranger to cultivating young voices. Below, he asks the question -- should we call these budding performers a "Children's Chorus?" They undergo the same arduous audition and rehearsal process as the adults, and are an integral part of ACT II of LA BOHEME. In many ways, they serve as a necessary foil to the tragedy about to unfold. Are we reducing their importance by calling them, simply, a "Children's Chorus?"
* * *
There are few scenes in opera more exuberant than LA BOHEME’s famous Christmas Eve street scene, and the Children’s Chorus is an indispensable part of the excitement. Whether delighting in the toys of Parpignol, or taking part in all sorts of other mischief on the street, children are able to bring the sort of unrestrained quality to the action that a lavishly joyous Christmas Eve scene demands. If the children do their job, which I am certain they will, they will appear to the audience just to be ordinary, "happy-go-lucky" kids having the time of their lives.
Behind the scenes it's quite a different story. Through a highly competitive audition process (with more than 55 kids auditioning for 13 spots), these are kids who have made the cut. They come from all over the Atlanta metropolitan area, and one (Brett Cooper) even commutes all the way from Chattanooga, Tennessee!
These kids have learned their music and roles with a childlike curiosity and zeal, but with the professionalism of seasoned performers. Their maturity allows them to not just sing and act their parts, but to precisely fit them in with all of the excitement going on around them. Each singer must operate like an intelligent soloist, and be able to sing their complicated parts from wherever they find themselves in the elaborate staging.
It has been an imaginative process for us to place ourselves in 1830's Paris, when street urchins and other children would have run freely around the streets. This sort of scene is foreign to these kids, who have not experienced that sort of freedom on busy modern day streets. When we tried to explore the excitement children would have felt at the sight of the toy seller, Parpignol, the kids lit up at a comparison to how they might feel and act when the ice cream man drives through.
Interestingly, I think “Children’s Chorus” is something of a misnomer now that we have reached dress rehearsals and performances. Even though we have done all of this work together toward collective precision (as a choir does), performing at this level demands a Herculean mental and physical effort. And every bit of the scene must be as fresh and spontaneous as the falling Christmas Eve snow.
I am so impressed by the unique qualities of each of these kids, that “Children’s Chorus” is not an adequate name for the group. The only other name I can think of is probably too long:
“Andrew, Brett, Cassady, Emma, Eric, Francesca, George, Jonah, Marguerite, Sara, Sophia, Taylor, and Thomas!”
But then I think back to how we started -- to how we worked so hard together and got to know each other through this shared experience. And then I like the name -- “Children’s Chorus." We are "The Atlanta Opera Children’s Chorus!"
As many of you know, we open our 31st season on October 2 with Puccini's LA BOHEME. So romantic, so sad, so.... many things that touch our hearts. But there is one facet of the production that, we believe, is underexplored -- the Children's Chorus. They are so ingrained in the fabric of the production, that we sometimes forget how uncommon it is to have children appear in an opera, and how lovely the on-stage dynamic becomes.
Will Breytspraak, this season's Children's Chorus Master, is not a stranger to cultivating young voices. Below, he asks the question -- should we call these budding performers a "Children's Chorus?" They undergo the same arduous audition and rehearsal process as the adults, and are an integral part of ACT II of LA BOHEME. In many ways, they serve as a necessary foil to the tragedy about to unfold. Are we reducing their importance by calling them, simply, a "Children's Chorus?"
* * *
There are few scenes in opera more exuberant than LA BOHEME’s famous Christmas Eve street scene, and the Children’s Chorus is an indispensable part of the excitement. Whether delighting in the toys of Parpignol, or taking part in all sorts of other mischief on the street, children are able to bring the sort of unrestrained quality to the action that a lavishly joyous Christmas Eve scene demands. If the children do their job, which I am certain they will, they will appear to the audience just to be ordinary, "happy-go-lucky" kids having the time of their lives.
Behind the scenes it's quite a different story. Through a highly competitive audition process (with more than 55 kids auditioning for 13 spots), these are kids who have made the cut. They come from all over the Atlanta metropolitan area, and one (Brett Cooper) even commutes all the way from Chattanooga, Tennessee!
These kids have learned their music and roles with a childlike curiosity and zeal, but with the professionalism of seasoned performers. Their maturity allows them to not just sing and act their parts, but to precisely fit them in with all of the excitement going on around them. Each singer must operate like an intelligent soloist, and be able to sing their complicated parts from wherever they find themselves in the elaborate staging.
It has been an imaginative process for us to place ourselves in 1830's Paris, when street urchins and other children would have run freely around the streets. This sort of scene is foreign to these kids, who have not experienced that sort of freedom on busy modern day streets. When we tried to explore the excitement children would have felt at the sight of the toy seller, Parpignol, the kids lit up at a comparison to how they might feel and act when the ice cream man drives through.
Interestingly, I think “Children’s Chorus” is something of a misnomer now that we have reached dress rehearsals and performances. Even though we have done all of this work together toward collective precision (as a choir does), performing at this level demands a Herculean mental and physical effort. And every bit of the scene must be as fresh and spontaneous as the falling Christmas Eve snow.
I am so impressed by the unique qualities of each of these kids, that “Children’s Chorus” is not an adequate name for the group. The only other name I can think of is probably too long:
“Andrew, Brett, Cassady, Emma, Eric, Francesca, George, Jonah, Marguerite, Sara, Sophia, Taylor, and Thomas!”
But then I think back to how we started -- to how we worked so hard together and got to know each other through this shared experience. And then I like the name -- “Children’s Chorus." We are "The Atlanta Opera Children’s Chorus!"
Tuesday, February 9, 2010
2010-2011 Season Announcement
Welcome to The Atlanta Opera’s brand new blog! We’ll be posting several times per week with news, photos, and more, so be sure to check back soon.
To open this blog, we want to share our recently announced 2010-2011 season, which will be our fourth in the Cobb Energy Performing Arts Centre! In an effort to remain fiscally responsible during these tough economic times, we’ve scaled back to three productions, so we’ve made sure that our three choices all have great audience appeal, for opera aficionados and novices alike. This new season features Puccini’s beloved La bohème, Gershwin’s American classic Porgy and Bess, and Mozart’s funny and poignant Così fan tutte.
La bohème by Giacomo Puccini
October 2, 5, 8, 10 (M), 2010
This incomparable opera classic tells the tale of six penniless artists full of idealism, beauty and unbridled love. Their harsh encounter with the realities of life is heart-wrenching—don’t forget to bring tissues.
Italian soprano Grazia Doronzio and tenor Bryan Hymel star as Mimi and Rodolfo, the ill-fated lovers. Doronzio is a recent graduate from the Metropolitan Opera’s Lindemann Young Artist Development Program, and New Orleans native. Hymel (pronounced “ee-mel”) is the Top Prize Winner of the 2009 Gerda Lissner Foundation Competition. Be sure not to miss great young artists in this ever-popular classic opera as we expect the two weekends of performances to fill quickly!
Bryan Hymel singing “Recondita Armonia” from Tosca, another great Puccini opera:
Porgy and Bess by George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin
February 26, March 1, 4, 6 (M), 2011
Set in Charleston, Porgy and Bess depicts the people of Catfish Row struggling with hard work and tough times and yearning for a better life and great love. Porgy and Bess features some of the most popular tunes in opera including the lullaby “Summertime.”
Why this production is a must-see: Boston Pops conductor Keith Lockhart in his Atlanta Opera debut, Atlanta native baritone Michael Redding as Porgy, and The Atlanta Opera Chorus. The Chorus, which is prominently featured in Porgy and Bess, received such great attention after The Atlanta Opera’s 2005 production that Paris’ Opéra-Comique commissioned them for a European touring production during the summer of 2008!
The Atlanta Opera Chorus in Opéra-Comique’s production:
Così fan tutte by Wolfgang Amadeus Mozart
April 9, 12, 15, 17 (M), 2011
Mozart’s brilliant masterpiece tells the story of two officers who boast of their girlfriends’ faithfulness, only to have a clever friend put it to the test. Disguises, charades, mischief, and heartbreak result, but in the end, all are much wiser in the ways of love.
This production includes a cast of great up-and-coming artists! Soprano Kiera Duffy and tenor Matthew Plenk (Così’s Despina and Ferrando, respectively) are both featured in the Metropolitan Opera’s behind-the-scenes documentary, “The Audition.” “The Audition” follows the dramatic final week of the Metropolitan Opera's 2007 National Council Auditions and is a great chance to get a rare behind-the-scenes look at what it takes to become an opera star!
Read up on the documentary here, and check out this preview (be sure to look for Kiera!):
For more details on our 2010-2011 season—including casting and ticketing details—be sure to visit our new and improved website.
To open this blog, we want to share our recently announced 2010-2011 season, which will be our fourth in the Cobb Energy Performing Arts Centre! In an effort to remain fiscally responsible during these tough economic times, we’ve scaled back to three productions, so we’ve made sure that our three choices all have great audience appeal, for opera aficionados and novices alike. This new season features Puccini’s beloved La bohème, Gershwin’s American classic Porgy and Bess, and Mozart’s funny and poignant Così fan tutte.
La bohème by Giacomo Puccini
October 2, 5, 8, 10 (M), 2010
This incomparable opera classic tells the tale of six penniless artists full of idealism, beauty and unbridled love. Their harsh encounter with the realities of life is heart-wrenching—don’t forget to bring tissues.
Italian soprano Grazia Doronzio and tenor Bryan Hymel star as Mimi and Rodolfo, the ill-fated lovers. Doronzio is a recent graduate from the Metropolitan Opera’s Lindemann Young Artist Development Program, and New Orleans native. Hymel (pronounced “ee-mel”) is the Top Prize Winner of the 2009 Gerda Lissner Foundation Competition. Be sure not to miss great young artists in this ever-popular classic opera as we expect the two weekends of performances to fill quickly!
Bryan Hymel singing “Recondita Armonia” from Tosca, another great Puccini opera:
Porgy and Bess by George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin
February 26, March 1, 4, 6 (M), 2011
Set in Charleston, Porgy and Bess depicts the people of Catfish Row struggling with hard work and tough times and yearning for a better life and great love. Porgy and Bess features some of the most popular tunes in opera including the lullaby “Summertime.”
Why this production is a must-see: Boston Pops conductor Keith Lockhart in his Atlanta Opera debut, Atlanta native baritone Michael Redding as Porgy, and The Atlanta Opera Chorus. The Chorus, which is prominently featured in Porgy and Bess, received such great attention after The Atlanta Opera’s 2005 production that Paris’ Opéra-Comique commissioned them for a European touring production during the summer of 2008!
The Atlanta Opera Chorus in Opéra-Comique’s production:
Così fan tutte by Wolfgang Amadeus Mozart
April 9, 12, 15, 17 (M), 2011
Mozart’s brilliant masterpiece tells the story of two officers who boast of their girlfriends’ faithfulness, only to have a clever friend put it to the test. Disguises, charades, mischief, and heartbreak result, but in the end, all are much wiser in the ways of love.
This production includes a cast of great up-and-coming artists! Soprano Kiera Duffy and tenor Matthew Plenk (Così’s Despina and Ferrando, respectively) are both featured in the Metropolitan Opera’s behind-the-scenes documentary, “The Audition.” “The Audition” follows the dramatic final week of the Metropolitan Opera's 2007 National Council Auditions and is a great chance to get a rare behind-the-scenes look at what it takes to become an opera star!
Read up on the documentary here, and check out this preview (be sure to look for Kiera!):
For more details on our 2010-2011 season—including casting and ticketing details—be sure to visit our new and improved website.
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