This is NOT a review!! What I and a few other Opera League volunteers were priviledged to see was the very first dress rehearsal. For the first time costumes, sets, cast and chorus had come together to begin ironing out any problems. It would be unfair to comment extensively on what was not intended as an event for public viewing, but I thought you'd like to know that this new production ("made possible by a generous gift from Alberto Vilar") promises to be quite stunning.
The sets are interesting (abstract, but interesting), with a central revolving section that provides opportunity for some equally interesting staging. Because there is a large chorus, and the set and staging are a bit complicated, most of the time I was there was spent in getting some rather intricate chorus business set, so we did not see nearly the entire opera. (But that's what "run throughs" are - they spend a lot of time perfecting details, so the finished product MAY actually be as glorious as intended.)
We did see a fair portion of the second act (before things got bogged down in third act wedding scene business). The costuming is quite effective - even though a few bits and pieces were still missing, and Gösta Winbergh was creating his Lohengrin garbed in jeans and a bright blue workshirt. (But on him they looked great - not only does he have a beautiful voice, he is a big, handsome blonde man who LOOKS properly heroic, even in ordinary clothes.) The Elsa, Adrienne Pieczonka, looks and sounds as Elsa should - a lovely voice, and definitely NOT one of your 300 pound sopranos! Eva Marton, as Ortrud, clearly knows what she is about, and produces some very nice sounds. The same can be said for Tom Fox - the Telramund. Kurt Rydl, whom I heard as Baron Ochs in Vienna (in 1999 - the performance at which he was made "Kammersinger") will be King Henry, but I missed hearing him the other night. (It was getting very late, and how longs can one continue to be fascinated, watching the same bit of chorus stage business being repeated over and over "until they get it right"?)
"Walking through" staging on a bare stage is quite different from doing it on the actual set, and there is a very large chorus to coordinate. I understand that, shortly after I left, so did Mr. Nagano (handing over to an assistant) and most of the principals - the time spent on chorus staging was necessary, but no reason for the rest of the company to stick around when they wouldn't be needed any more that night.
As much as one can judge from seeing a production at that stage, I think L. A. is going to have a very impressive "Lohengrin", by the time the curtain officially rises. Certainly the cast seems well worth hearing, Maximillian Schell is the director, Kent Nagano the conductor, and the sets (by Vladimir Lysyk) are certainly intriguing. I'm glad I have tickets, and if you live in the area, I recommend that you plan to attend - it promises to be well worth the price of admission. Lohengrin opens September 12th, and runs for seven performances (alternating with "Queen of Spades") through September 30th.
In article <3B8C7C1C.8ECDE...@earthlink.net>, "Evelyn Vogt Gamble
(Divamanque)" <evgm...@earthlink.net> wrote: > This is NOT a review!! What I and a few other Opera League > volunteers were priviledged to see was the very first dress > rehearsal.
Actually, the first dress rehearsal was up here at the Leather Factory....
> > This is NOT a review!! What I and a few other Opera League > > volunteers were priviledged to see was the very first dress > > rehearsal.
> Actually, the first dress rehearsal was up here at the Leather Factory....
With the SETS, too? (Given their intricate nature, I find that a little incredible, but I imagine you should know, since you're involved in the opera scene there.) I only repeated what I was told when they let us in. It was certainly the first "complete" dress in L.A., anyhow.
Just as a point of information, why would they transport some 230 people to the Bay Area from L.A. for a dress rehearsal, when they will not be sharing the Dorothy Chandler with the L.A. Philharmonic until October, so have access there as needed, until then?
It's interesting to think of all of them in leather - sounds like something the Salzburg Festival should have thought of first. I suppose Elsa should be wearing a harness intially to indicate her subjugated state (mentally) and her refusal to question L; she could rip it off at the appropriate moment. L I see in perhaps fetching liederhosen and a little black vest, perhaps in a creamy brown leather.Ortrud and Tel definitely in black; I think she wears a pantsuit of light leather and perhaps stiletto heels. Tele has got to be the whole thing - chaps, bomber jacket and those darling little black caps. It might be a bit outre for Ortrud to actually be carrying a whip; perhaps, but it might be helpful in the third act during her big scene - it could add a bit a rhythmic dash if deployed properly. The difficult thing is the swan - I don't think swans wear leather often, and so you'd have a credibility problem. Perhaps, and I only say perhaps, a thin circlet of leather around the swan's neck - we keep the swan on stage for the whole last act and at the appropriate moment, the circlet slips off, there's a puff of smoke, and the swan has turned into the boy.
It may be "interesting", REG, but that's not at ALL what the costumes are like! They are really quite "traditional" in appearance. Maybe you and Mark are talking about another production? This is the Los Angeles Opera production, which opens September 12th. Perhaps there's another one in Northern California? A dress rehearsal at the Leather Factory in SF would make more sense, then.... OH! (The penny finally dropped - sorry, I thought you were serious!)
> It's interesting to think of all of them in leather - sounds like something > the Salzburg Festival should have thought of first. I suppose Elsa should be > wearing a harness intially to indicate her subjugated state (mentally) and > her refusal to question L; she could rip it off at the appropriate moment. L > I see in perhaps fetching liederhosen and a little black vest, perhaps in a > creamy brown leather.Ortrud and Tel definitely in black; I think she wears a > pantsuit of light leather and perhaps stiletto heels. Tele has got to be the > whole thing - chaps, bomber jacket and those darling little black caps. It > might be a bit outre for Ortrud to actually be carrying a whip; perhaps, but > it might be helpful in the third act during her big scene - it could add a > bit a rhythmic dash if deployed properly. The difficult thing is the swan - > I don't think swans wear leather often, and so you'd have a credibility > problem. Perhaps, and I only say perhaps, a thin circlet of leather around > the swan's neck - we keep the swan on stage for the whole last act and at > the appropriate moment, the circlet slips off, there's a puff of smoke, and > the swan has turned into the boy.
> I'm just not sure if it's been done before. > "Mark D. Lew" <markd...@earthlink.net> wrote in message > news:markdlew-ya02408000R2908010426290001@news.earthlink.net... > > In article <3B8C7C1C.8ECDE...@earthlink.net>, "Evelyn Vogt Gamble > > (Divamanque)" <evgm...@earthlink.net> wrote:
> > > This is NOT a review!! What I and a few other Opera League > > > volunteers were priviledged to see was the very first dress > > > rehearsal.
> > Actually, the first dress rehearsal was up here at the Leather Factory....
I'm never really serious, I'm afraid....glad you enjoyed it, rhough.....but I will bet you a nickle there are ten things out there just as preposterous....
> It may be "interesting", REG, but that's not at ALL what the > costumes are like! They are really quite "traditional" in > appearance. Maybe you and Mark are talking about another > production? This is the Los Angeles Opera production, which > opens September 12th. Perhaps there's another one in > Northern California? A dress rehearsal at the Leather > Factory in SF would make more sense, then.... OH! (The > penny finally dropped - sorry, I thought you were serious!)
> REG wrote:
> > It's interesting to think of all of them in leather - sounds like something > > the Salzburg Festival should have thought of first. I suppose Elsa should be > > wearing a harness intially to indicate her subjugated state (mentally) and > > her refusal to question L; she could rip it off at the appropriate moment. L > > I see in perhaps fetching liederhosen and a little black vest, perhaps in a > > creamy brown leather.Ortrud and Tel definitely in black; I think she wears a > > pantsuit of light leather and perhaps stiletto heels. Tele has got to be the > > whole thing - chaps, bomber jacket and those darling little black caps. It > > might be a bit outre for Ortrud to actually be carrying a whip; perhaps, but > > it might be helpful in the third act during her big scene - it could add a > > bit a rhythmic dash if deployed properly. The difficult thing is the swan - > > I don't think swans wear leather often, and so you'd have a credibility > > problem. Perhaps, and I only say perhaps, a thin circlet of leather around > > the swan's neck - we keep the swan on stage for the whole last act and at > > the appropriate moment, the circlet slips off, there's a puff of smoke, and > > the swan has turned into the boy.
> > I'm just not sure if it's been done before. > > "Mark D. Lew" <markd...@earthlink.net> wrote in message > > news:markdlew-ya02408000R2908010426290001@news.earthlink.net... > > > In article <3B8C7C1C.8ECDE...@earthlink.net>, "Evelyn Vogt Gamble > > > (Divamanque)" <evgm...@earthlink.net> wrote:
> > > > This is NOT a review!! What I and a few other Opera League > > > > volunteers were priviledged to see was the very first dress > > > > rehearsal.
> > > Actually, the first dress rehearsal was up here at the Leather Factory....
REG wrote: > I'm never really serious, I'm afraid....glad you enjoyed it, rhough.....but > I will bet you a nickle there are ten things out there just as > preposterous....
> "Evelyn Vogt Gamble (Divamanque)" <evgm...@earthlink.net> wrote in message > news:3B8DA128.7BE4E28A@earthlink.net... > > It may be "interesting", REG, but that's not at ALL what the > > costumes are like! They are really quite "traditional" in > > appearance. Maybe you and Mark are talking about another > > production? This is the Los Angeles Opera production, which > > opens September 12th. Perhaps there's another one in > > Northern California? A dress rehearsal at the Leather > > Factory in SF would make more sense, then.... OH! (The > > penny finally dropped - sorry, I thought you were serious!)
> > REG wrote:
> > > It's interesting to think of all of them in leather - sounds like > something > > > the Salzburg Festival should have thought of first. I suppose Elsa > should be > > > wearing a harness intially to indicate her subjugated state (mentally) > and > > > her refusal to question L; she could rip it off at the appropriate > moment. L > > > I see in perhaps fetching liederhosen and a little black vest, perhaps > in a > > > creamy brown leather.Ortrud and Tel definitely in black; I think she > wears a > > > pantsuit of light leather and perhaps stiletto heels. Tele has got to be > the > > > whole thing - chaps, bomber jacket and those darling little black caps. > It > > > might be a bit outre for Ortrud to actually be carrying a whip; perhaps, > but > > > it might be helpful in the third act during her big scene - it could add > a > > > bit a rhythmic dash if deployed properly. The difficult thing is the > swan - > > > I don't think swans wear leather often, and so you'd have a credibility > > > problem. Perhaps, and I only say perhaps, a thin circlet of leather > around > > > the swan's neck - we keep the swan on stage for the whole last act and > at > > > the appropriate moment, the circlet slips off, there's a puff of smoke, > and > > > the swan has turned into the boy.
> > > I'm just not sure if it's been done before. > > > "Mark D. Lew" <markd...@earthlink.net> wrote in message > > > news:markdlew-ya02408000R2908010426290001@news.earthlink.net... > > > > In article <3B8C7C1C.8ECDE...@earthlink.net>, "Evelyn Vogt Gamble > > > > (Divamanque)" <evgm...@earthlink.net> wrote:
> > > > > This is NOT a review!! What I and a few other Opera League > > > > > volunteers were priviledged to see was the very first dress > > > > > rehearsal.
> > > > Actually, the first dress rehearsal was up here at the Leather > Factory....
david melnick wrote: > There's Birgit's black leather outfit in the Orange Tristan Act III.
> Dav
> REG wrote:
> > I'm never really serious, I'm afraid....glad you enjoyed it, rhough.....but > > I will bet you a nickle there are ten things out there just as > > preposterous....
> > "Evelyn Vogt Gamble (Divamanque)" <evgm...@earthlink.net> wrote in message > > news:3B8DA128.7BE4E28A@earthlink.net... > > > It may be "interesting", REG, but that's not at ALL what the > > > costumes are like! They are really quite "traditional" in > > > appearance. Maybe you and Mark are talking about another > > > production? This is the Los Angeles Opera production, which > > > opens September 12th. Perhaps there's another one in > > > Northern California? A dress rehearsal at the Leather > > > Factory in SF would make more sense, then.... OH! (The > > > penny finally dropped - sorry, I thought you were serious!)
> > > REG wrote:
> > > > It's interesting to think of all of them in leather - sounds like > > something > > > > the Salzburg Festival should have thought of first. I suppose Elsa > > should be > > > > wearing a harness intially to indicate her subjugated state (mentally) > > and > > > > her refusal to question L; she could rip it off at the appropriate > > moment. L > > > > I see in perhaps fetching liederhosen and a little black vest, perhaps > > in a > > > > creamy brown leather.Ortrud and Tel definitely in black; I think she > > wears a > > > > pantsuit of light leather and perhaps stiletto heels. Tele has got to be > > the > > > > whole thing - chaps, bomber jacket and those darling little black caps. > > It > > > > might be a bit outre for Ortrud to actually be carrying a whip; perhaps, > > but > > > > it might be helpful in the third act during her big scene - it could add > > a > > > > bit a rhythmic dash if deployed properly. The difficult thing is the > > swan - > > > > I don't think swans wear leather often, and so you'd have a credibility > > > > problem. Perhaps, and I only say perhaps, a thin circlet of leather > > around > > > > the swan's neck - we keep the swan on stage for the whole last act and > > at > > > > the appropriate moment, the circlet slips off, there's a puff of smoke, > > and > > > > the swan has turned into the boy.
> > > > I'm just not sure if it's been done before. > > > > "Mark D. Lew" <markd...@earthlink.net> wrote in message > > > > news:markdlew-ya02408000R2908010426290001@news.earthlink.net... > > > > > In article <3B8C7C1C.8ECDE...@earthlink.net>, "Evelyn Vogt Gamble > > > > > (Divamanque)" <evgm...@earthlink.net> wrote:
> > > > > > This is NOT a review!! What I and a few other Opera League > > > > > > volunteers were priviledged to see was the very first dress > > > > > > rehearsal.
> > > > > Actually, the first dress rehearsal was up here at the Leather > > Factory....
Calm down, Evelyn. No, it wasn't REALLY a dress rehearsal for the same production. I meant it only figuratively for those who (like Matthew) are in the know about Mr Nagano. Any time he is engaged to conduct an opera he's never done before, he arranges to conduct a no-budget workshop production, usually in San Francisco, and usually under the direction of Ross Halper.
A friend of his, who also is a patron of the arts, owns a leather import business in SF. He has a large warehouse which is typically not filled to capacity. Sometimes he clears space there to provide a venue for the programs. Hence, the nickname "Leather Factory Opera".
> Calm down, Evelyn. No, it wasn't REALLY a dress rehearsal for the same > production. I meant it only figuratively for those who (like Matthew) are > in the know about Mr Nagano. Any time he is engaged to conduct an opera > he's never done before, he arranges to conduct a no-budget workshop > production, usually in San Francisco, and usually under the direction of > Ross Halper.
Okay, okay, I'm calm! (I didn't know but what you might be correct, it just didn't seem a very cost-effective thing to do.) As to Mr. Nagano doing a no-budget run through, maybe some other conductors might profit from doing the same thing. (No, I have no one particular in mind.) Seems to me it benefits everyone involved - he gets to conduct it with actual singers (I assume conductors "practice" what they plan to do, but it's useful to test how live people respond), and the young singers get to work with a first-rate conductor. (To my mind a "win-win" situation.)
> A friend of his, who also is a patron of the arts, owns a leather import > business in SF. He has a large warehouse which is typically not filled to > capacity. Sometimes he clears space there to provide a venue for the > programs. Hence, the nickname "Leather Factory Opera".
Yes, I'd read about the "Leather Factory" here, before. Sounds like a great set up!
In article <3B8F025F.85F77...@earthlink.net>, "Evelyn Vogt Gamble
(Divamanque)" <evgm...@earthlink.net> wrote: > Seems to me > it benefits everyone involved - he gets to conduct it with > actual singers (I assume conductors "practice" what they > plan to do, but it's useful to test how live people > respond), and the young singers get to work with a > first-rate conductor. (To my mind a "win-win" situation.)
Yes, definitely win-win. (And not just young singers either.)
> I guess when one has no intellect the above is the kind of response one should > expect.
> Terry Ellsworth
I have no position on the fat-vs.-thin soprano debate. However, if one is going to send out a blast over a bit of dry wit, one should reread one's sentence to make sure one does not speak truer than one intends.
> >The Elsa, > >Adrienne Pieczonka, looks and sounds as Elsa should - a > >lovely voice, and definitely NOT one of your 300 pound > >sopranos!
> That's really an ignorant statement. I'd like to know where in the libretto you > get the idea that Elsa is a certain weight.
Considering how many discussions there have been here of the current crop of - let's be charitable and call them "large" - sopranos singing Wagner, plus the popular concept of the "typical" Wagnerian soprano, I think YOUR statement is rather "ignorant"!
Also, in the past, Wagnerian sopranos HAVE tended to be somewhat obese - there have been many discussions about THAT here, too! (Are you really Terry, or someone using his name, like that cretin who has been trying to impersonate Skip?)
Sending obscene private emails to women on rmo is a definite sign of the cowardly crap we can always expect from this turdysmellin-crud!! (Hey, if that's redundant, so be it!!)
