Top 10 Reasons to See AZ Opera’s “Cav/Pag” this weekend

10. For first-time opera goers, this double bill flies by like a Jerry Bruckheimer action flick. Italian opera doesn’t get much sexier or more blood-and-guts.

9. Speaking of Hollywood, you can relive some of your favorite movie moments . Are you a fan of “Raging Bull,” “The Godfather Part III” or “The Untouchables”? Some of the music for these films come from “Cav/Pag,” including “Cavalleria”’s gorgeous Intermezzo.

8. How often do you see a vintage 1918 Harley on the opera stage?

7. Catch a glimpse of opera’s newest “love couple”: soprano Kelly Kaduce and baritone Lee Gregory. (Gheorghiu and Alagna are so 2000.)

6. During intermission, enter an opera trivia contest to win great prizes, including free gourmet meals before future performances.

5. You may know every note of “Pagliacci”’s “Vesti la giubba.” But have you heard it more elegantly sung than by tenor Allan Glassman?

4. Arizona Opera is debuting sparkling sets which have never before been seen on stage. You’ll be convinced that you’re in rural Italy.

3. One of the greatest, most spine-tingling choral numbers of all time is in “Cavalleria Rusticana” – the Easter Hymn or "Inneggiamo.” And the Arizona Opera Chorus sings it sublimely with soprano Lori Phillips.

2. Enjoy the company of fellow opera lovers at Symphony Hall. And starting this season you can actually bring drinks to your seats; enjoy some Italian opera with a glass of red wine!

1. Experience all the passion and sensory delight that opera has to offer with a cast of singers that are among the best in the world.

Still not convinced? Catch this preview video which includes the perspectives of tenors Allan Glassman and Joseph Wolverton, director Kay Walker Castaldo and soprano Lori Phillips.

Cav-Pag’s stage director Kay Walker Castaldo discusses her unique vision in these director's notes, explaining the deep psychological resonances of these hot-blooded operas

I’ve often thought it would be very fruitful to write director’s notes after the rehearsal process, when the backstage stories and the cast of characters have just flowered into all the art amid the chaos that must transpire behind the scenes...  Before you, the audience, arrive.

In a sense, you are aware of that secret process, as in Pagliacci's play within a play:  The watchers sense what the actor is thinking.

What lies in the space between reality and illusion, and how does the actor lose himself in a part, merging and developing another facet, even another full persona?    Divining those mysteries by experiencing that metamorphosis is the truth that is strived for. And the birth of verismo contributed to this phase of the modern theater.

Cavalleria Rusticana and Pagliacci, opera’s most famous twins, ignited a revolution. When first composed and performed in 1890 and 1892 respectively, they created a furor of excitement, ushered in a new age of modernity and changed the direction of Italian opera.  This verismo or “truth” style replaced the old protagonists of gods, kings, and heroes with the common man and his real-life dramas.

 

Cav-Pag, as it is affectionately been called since they were first paired in 1903, not only founded verismo, but holds the bar high in terms of the most passionate and high-voltage emotional conflicts presented in opera.

It is interesting to note that there are essentially two traditional periods in which Cavalleria and Pagliacci are usually set: one is the period of their composition and the other is the 1930s.  We have chosen the traditional 1930s setting, as it was a time of tremendous growth and ferment in Italy, with World War II brewing and the Mafiosi gaining power.  This Godfather era resonates powerfully with the images and conflicts of Cav-Pag.   As in Fellini’s La Strada, we see the mix of the ancient elements and birth of the modern world—a World War II motorcycle mixed with medieval customs and laws.  We see that, no matter what the birth struggle of a new time might be, the old order holds.   Even the commedia dell’arte play we present in Pagliacci is built from the ancient sources and drawings. Each lazzi, or trick and joke, is historical and has played for hundreds of years.

Find out why Todd Thomas, our upcoming Alfio and Tonio in Cavalleria Rusticana & Pagliacci loves his job!

While living in Germany from 1995 to 1999, I was cast as Tonio for an eight-city European tour marking the anniversary celebration of Utrecht University in Holland. The university cast the opera with young professional international soloists and pulled the orchestra, chorus and crew from students, alumni and folks from Utrecht. Now, what made this tour particularly special was that we performed the opera in a round blue and orange circus tent. While the orchestra was set up on one portion of the outer ring, bleachers were set up in an identical way that one would find when attending a circus. As the crowds would come into the tent with sodas and popcorn, etc., the orchestra played Fellini Film music scores while a host of clowns, acrobats, and jugglers created a unique atmosphere preparing the environment for this magnificent piece of music drama. The audience, the tent, the summer time, and outside air all joined together to create an incredible evening. The action took place inside the tent ring where you would expect to see animal acts and the like. Nedda's huge dress, which was hung atop the tent, looked like a net dropped and draped over the waiting sopranos head in the middle of her aria. Canio's vest flew in as he prepared for his aria. For the Commedia scenes as well as the opening chorus the extra acrobats and jugglers had wonderful tricks.

The single element which made this a particularly wonderful experience was that the entire company traveled and camped in each city much the same way that Canio, Nedda, Tonio and Canio do in the first act. Each city where we played: Cagnes su mer, Sarlat, Luxenbourg, Bologna, Fiesole, Pisa, Luzerne, and Utrecht, greeted us as we entered the city much the same way as Leoncavallo's characters are welcomed. We had a staff who cooked for us and the entire company of crew, orchestra and chorus camped in their own personal tents. While the principals were provided with pension or hotel stays, I chose to camp with the company. This experience of truly living Pagliacci was a tremendous gift. After the show closed the company needed to liquidate all objects and items associated with the tour. I acquired my Tonio costume which included very special shoes just made for me. I wear these shoes each time I sing this role and Rigoletto as well. Be sure to look at my shoes.

Arizona, get ready for a wonderful evening of music and drama coming soon. This is another moment when I can sincerely say, "I love my job!"

ARIZONA OPERA ANNOUNCES
OPERABOT VIDEO ANIMATION CONTEST

Winning contestant receives iPad2

Arizona Opera invites fans, artists and budding film-makers to create their own mini video opera and enter Arizona Opera’s OperaBot Video Contest. Video should be themed or based on a character or plot from one of the opera’s 2011-12 productions this season, including Cavalleria/Rusticana, Pagliacci, Madama Butterfly, Aida, Faust or Orfeo & Euridice. From the crying clown and his murderous revenge, to the temples of ancient Egypt, to
the man who sells his soul to the devil to win the girl, Arizona Opera’s 2011-12 season has a visually rich array of concepts to animate.

All OperaBot contestants will receive two tickets to Arizona Opera’s April performances and the winning submission will receive an iPad2! Submissions can be viewed and voted for on the Arizona Opera’s You Tube Channel, under OperaBot Playlist. To enter, go to www.azopera.org to learn about the stories, create your own mini-version, upload your video to YouTube and then email your link to csullivan@azopera.org. All entries must be received by December 1, 2011.

Winning entry will be selected by popular vote!

Baritone Mark Walters' Plea to Placido!

This will be my second time to sing the role of Valentin in Faust.  It is one of 10 roles that I have been fortunate to have studied with renowned American Baritone Sherrill Milnes.  I’m really excited about working with the excellent cast lined up for this production.

One of Valentin’s main concerns in the opera is protecting his younger sister.  My younger sister, Stephanie, actually lives in the Phoenix area.  We don’t get to see each other very often and I am looking forward to spending time with her and her husband, Brad, and my 2 young nephews – Tyler and Parker.

I love to hike when I’m on the road and am eager to explore the trails in the area.  I’m also a novice golfer and will bring my clubs with me to hit a course or two with my brother-in-law.

 

What got me started in music?  

My mother’s uncle was a local French Horn teacher and she encouraged me to join the public school band in 4^th grade.  I wasn’t too interested in joining band - until LeAnn, the blond-haired, blue-eyed, Baptist preacher’s daughter who lived across the street joined band in 5^th grade.  I then announced to my mother that I thought I’d like to give band a try.J  It didn’t workout with LeAnn, but music stuck in a big way.

Coolest gig that I wasn’t able to take? 

Placido Domingo asked me to understudy him in Simon Boccanegra in Los Angeles this coming January. Unfortunately, I was already booked to sing the title role in Rigoletto in Miami at the same time. 

Placido – please give me a call the next time you need a baritone cover!

www.markwaltersbaritone.com

Joseph Wolverton Visits Arizona Opera Once Again!

I have a long history with this role of Turiddu in Cavalleria Rusticana. Growing up in the suburbs of Chicago, my childhood was filled with music.  You see, my father was passionate about singing and especially Italian opera.  We would religiously listen to the Saturday broadcast from the Met, and all other times there were records (yes, I am that old) to enjoy.  I began to sing along with these recordings and the rest, as they say, is history.  The reason I tell you this is that when I was asked to sing this role, I immediately opened the score to see all the music that was unfamiliar to me, only to find that I knew the entire role from hearing it in my home through the years!

Once while performing Turiddu, I was singing my farewell to my mother (Addio alla Madre) when my suit coat button got tangled in my mothers shawl, and I spent the majority of the aria trying to extricate myself so I could make my exit.  I think it must have looked like a wrestling match.

I also have a history in Phoenix.  I have sung three productions for the Arizona Opera (Pinkerton and twice Rodolfo), as well as singing with the symphony numerous times with Doc Severinsen, performing an evening of Italian popular songs.  I  performed under Theo Alcantara for those of you who are long time attendees of the symphony.

Get to know Peter Volpe and his history with the role of Ramphis in Aida

My relationship with Aida by now has been a long and happy one!  I was first exposed to the opera as a young boy.  I had been listening to opera and favorite singers since 1973 or so, and the operas of Verdi always had, and still have for me, a particular allure.  It was sometime around then I first listened to Aida and became familiar with it.  I recognized that there were two bass roles that I might someday be able to do....my voice changed when I was very young, and I was already a bass by then.  By the time I was twenty-two, my first performance opportunity with Aida had arrived.  I was to sing the role of the King of Egypt in a concert performance of the opera at Carnegie hall in New York City with the Manhattan Philharmonic.  Talk about trial by fire!!  I am happy to report that it went very well and that performance led to many, many more as the King. 

By the time I was 35, I had matured enough to take on the other bass role, Ramphis...the bigger one!  I was lucky to be successful as Ramphis as well and this led to  more productions of Aida and much more opportunity to hone my Ramphis skills!  Aida has been very good to me over the years and I am thrilled to be performing in it with the Arizona Opera! 

    

When I am not performing and find a break in my schedule, I enjoy being at my home in upstate New York with my wife, where  I own a 90 acre farm which keeps me busy, happy and in good shape!  There is always plenty of work to be done and for me, coming home and getting my hands dirty keeps me balanced.  I have had a very fortunate and happy relationship with the Arizona Opera over the last 12 years, and I am always elated  to return to work for this esteemed company.  I do receive a personal perk when I am in Arizona, and that is my in-laws have retired to Phoenix and it gives me a wonderful opportunity to visit with them and take them to a show. Over the years they have seen me in many performances in Phoenix, and they very much look forward to me singing with Arizona Opera.....as do I!! "