Secco Recit

I saw Bright Star  on Broadway last week. My review in two words? Really good. That's not to say it was flawless, and the elements I wasn't too pleased with I will proceed to explain, but you can safely assume that for any given element of the show, if I do not mention it and say otherwise, I thought it was terrific. On the one hand, there are spoilers for Bright Star  ahead. On the other hand, the plot of Bright Star was pretty predictable. Note that this is not necessarily a bad thing. I've talked about this before, citing Il Trovatore  as an example of a show that tells you in the first scenes pretty much exactly how its going to end, and still manages to be a terrific dramatic roller coaster. Sondheim had trouble with a plot twist in Sweeney Todd , in that sometimes the audience figured out the twist way ahead of time, and some of them didn't even quite get it when Sweeney did, and there was no consistency from performance to performance. To solve this, Sondheim a...

So Hamilton just set a record with sixteen Tony nominations. It's worth noting, though, that seven of those nominations were for actors. So really it's only nine nominations that will apply when it's finally possible to get tickets in three years. Second, because of multiple nominations in the actor categories, Hamilton can only possibly win thirteen Tonys. The record for most Tonys won by a production is held by  The Producers , which won twelve. It was nominated for fifteen. The reason Hamilton was able to grab one more nomination is because The Producers did not have any female characters prominent enough to be eligible for the Actress In A Leading Role award. The Producers swept every category it was nominated for, but I wouldn't get too excited for Hamilton. The Producers was up against very little competition. Look at the 2001 Tony awards and tell me, how competitive was that really? Of course, that may be due to hindsight, but Billy Elliot , which al...

The Metropolitan opera has announced their 2016-17 season, and at a glance, I think it's a much stronger season than the current one. Let's break it down a little. The current season consists of twenty-four operas: Anna Bolena The Barber Of Seville La Boheme Cavalleria Rusticana / Pagliacci Don Pasquale La Donna Del Lago Elektra L'Elisir D'Amore Die Entfuhrung Aus Dem Serail Die Fledermaus Lulu Madama Butterfly Manon Lescaut Maria Stuarda Le Nozze Di Figaro Otello Le Pecheurs De Perles Rigoletto Roberto Devereux Simon Boccanegra Tannhauser Tosca Il Trovatore Turandot (I have to wonder: When the Met does The Barber Of Seville in English, that's what they call it, but when they do it in Italian, they call it Il Barbriere Di Siviglia. Same with Hansel And Gretel or Hansel Und Gretel and Die Zauberflote or The Magic Flute. So why don't they call their English-translated holiday production The Bat?) That's sixteen tragedies, six...

Quick. How many Mozart operas can you name? Magic Flute, Figaro, Don Giovanni, Cosi Fan Tutte, Abduction. Five. Pretty good. How about Puccini? Boheme, Tosca, Butterfly, Turandot, Gianni Schicchi. Also a solid five. Donizetti? L'Elisir, Don Pasquale, Lucia. Three, not bad. Strauss? Salome, Rosenkavalier, Die Fledermaus, Ariadne Auf Naxos? Well, that's an average of two operas per Strauss so I'll let that slide. Beethoven? Just Fidelio? Well he only wrote the one, so that's a hundred percent. And I'm not just listing off the operas I can name off the top of my head, these are the operas that each of these composers have listed on Operabase's top fifty most frequently performed operas. There are certain one-hit wonders in the opera world. Bizet with Carmen , Leoncavallo with Pagliacci , Mascagni with Cavalleria Rusticana , and even Strauss with Die Fledermaus . Generally these composers, popular though their individual hits may be, don't get listed as among ...

I like to do my research before seeing a show. This gives me some idea as to whether I will like a show before I even make the decision to see it, and by keeping myself on top of the plot and -- especially important in a musical -- the lyrics, it allows me to focus on the individual aspects of that specific performance rather than trying to keep a gauge on the show as a whole. The operas haven't changed for over a hundred years. The productions have. I attended the Met Live in HD broadcast of Bizet's  The Pearl Fishers  the other day. I'll be calling it The Pearl Fishers  because I don't want to have to spell out that impossible French title with all the accents. Now I'm going to get into a lot of stuff about drama and playwriting and Carmen  later that has nothing to do with this production, so if you're just here for the review, I'm going to get it out of the way quickly now. Everything was great. The audio in the broadcast sounded off a few times. I was...

People like to complain about the terrible lessons of the old Disney films. Cinderella is too passive. Belle has Stockholm Syndrome. Ariel is just an idiot. And they've tried to appeal more to modern audiences by deviating from the standard stories and creating more proactive princesses in films such as The Princess And The Frog  and Frozen , often to the point of feeling really self-conscious and heavy-handed. Not to detract from these movies, of course (and certainly not to detract from the scores, most of which are very good and by Alan Menken). I didn't generate these complaints. I'm relaying them secondhand, and relaying them because I think I can offer a suitable alternative. Several of these classic fairy tales have ready-made operatic alternatives with smart protagonists, good morals, good music, and are out of copyright and already Disney-ready. So to the Disney execs reading this (I know you're out there among my half-dozen or so readers I'm sure I dearly ...

In spite of my last post, and perhaps against my better judgment, I really want to like La Rondine . It's a hodgepodge of romantic cliches, but I see why the characters and setting would have been appealing to Puccini. Well, except for the fact that he didn't seem to write any other operas that even approach being similar. Maybe a little Manon Lescaut . And on the face of it, La Rondine  seems like, if not phenomenal, it should at least be a good respectable opera like Francesca Da Rimini . Zandonai's Francesca  opera, by the way, is one I readily cite as an example of a terrific score making up for perhaps a less-than-satisfactory libretto. But to me, La Rondine  falls flat. But I want to like it. So I'm going to dissect it, focusing on the character of Prunier, the poet. Because when all else fails, making things meta automatically makes them better. Prunier is the first character to whom we're really introduced. He is a poet, and he has a half-finished song abo...