91ֱ�� Opera Theater Presents “Later the Same Evening and Bastianello”</h1> <article> <h1>91ֱ�� Opera Theater Presents “Later the Same Evening and Bastianello”</h1> <p>awillia2 — Thu, 19 Feb 2026 17:51:29 +0000</p> <span>91ֱ�� Opera Theater Presents “Later the Same Evening and Bastianello”</span> <span><span>awillia2</span></span> <span><time datetime="2026-02-19T12:51:29-05:00" title="Thursday, February 19, 2026 - 12:51">Thu, 02/19/2026 - 12:51</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>From March 5 through 7, 91ֱ�� Opera Theater will transform paintings and folktale into living drama in <em>Later the Same Evening</em> and <em>Bastianello, </em>with music by John Musto and libretti by Mark Campbell. The double bill, performed by 91ֱ�� opera students, offers a rare opportunity for students to work directly with Musto and gain firsthand insight into the music.</p><p>Built around five paintings by Edward Hopper, <em>Later the Same Evening</em> is a one-act opera that follows the individual and intertwined romantic journeys of characters inspired by <em>Room in New York</em>, <em>Hotel Window</em>, <em>Hotel Room</em>, <em>Two on the Aisle</em>, and <em>Automat</em>. While Hopper’s paintings illustrate stillness and solitude, the opera imagines lives that unfold beyond the frame. Set in New York City, the characters’ individual stories intersect when they all find themselves in the same Broadway theater watching the same fictional show.</p><p>That scene is particularly striking, explains composer Musto, because “no one sings at all.” Yet earlier scenes include “allusions to tunes that are in this fictional show.” One of these fictional tunes, “Where is the Man in Manhattan?," is so convincing that, according to Musto, “somebody called the opera office and wanted to know where they could find the music to that old song.” The humor, he notes, is that “there wasn’t any song”—it exists only in the fictional musical <em>Tell Me Tomorrow. </em>While the show tunes may be imagined, the world of <em>Later the Same Evening</em> paints a very real human experience of love in all its stages.</p><p><em>Later the Same Evening </em>is uniquely balanced by <em>Bastianello</em>, an absurd one-act opera by the same composer and librettist. Based on an Italian folktale often compared to “The Three Sillies,” the opera follows Luciano, a husband who—after declaring his wife, father-in-law, and even his own mother to be stupid—sets out to find six people “more foolish, more idiotic, truly stupider, and more without a clue.” Along the way, he encounters a series of absurd characters with equally absurd problems, which Luciano helps to solve. </p><p>Composer Musto praises Campbell’s “genius,” noting that while <em>Bastianello</em> "originally read… very, very comedic,” Campbell "turned it very serious at the end,” a shift that really turned it into an opera… because of that last scene.” Due to Campbell’s expert storytelling and skillful balance of humor and seriousness, <em>Bastienello</em> is full of delightful absurdity and laughter while also exploring deeper, more human themes.</p><p>This double bill is expertly led and put together by Guest Stage Director Scott Skiba ’03 and Conductor Timothy Weiss, professor of conducting and director of the Contemporary Music Ensemble and 91ֱ�� Sinfonietta. </p><p>Although Skiba has maintained a relationship with 91ֱ�� since his graduation in 2003—returning for 91ֱ�� in Italy and several Winter Term operas—he is excited to be back, directing in the room where, in 1997, he discovered that he wanted to “work with singing-actors and help them on their journey to become more compelling, more believable, more dynamic.” He emphasizes that working on newer operas is “an especially good vehicle for talented students to learn,” because there’s no definitive performance of <em>Later the Same Evening</em> or <em>Bastianello.</em>” “It’s a blank canvas, more or less,” he says.</p><p>Skiba hopes the production will draw new audiences to the opera, pointing to the “beautiful moments of melodic writing and poignant, inspiring words” from both composer Musto and librettist Campbell. “You will laugh, you will cry, you get to see a lot of talented students,” he says, highlighting the unique balance between the two stories and the energy and work brought by the students of 91ֱ�� Opera Theater.</p><p>Conductor Weiss, who frequently works with contemporary music, highlights the unique challenge of performing newer works such as <em>Later the Same Evening </em>and <em>Bastianello. </em>“There’s not a lot of performance history to go on,” he explains, so even though 91ֱ�� Opera Theater “is not the first to do it, there’s an element of making the wheel, inventing the wheel, or at least remaking a wheel that was just made.” Weiss emphasizes that when working on newer compositions, “it’s always best to do it in consultation—or with—the composer,” which was an experience offered to both staff and students by the John Musto residency. </p><p>Weiss says there are many reasons to see these operas: “Comedy—there's ridiculous slapstick comedy. There’s uncontrollable, laugh-out-loud, belly-laugh funny moments, but there are also some incredibly tender, emotional scenes.” And in true 91ֱ�� fashion, he adds, “It's cold outside…the weather has been miserable, and this is a way to come together and just bask in the glow.”</p><p>Performances will be held in Hall Auditorium from March 5 through 7 at 8 p.m., and March 8 at 2 p.m. Tickets are now available online at the <a href="/artsguide/opera" target="_blank" data-entity-type="node" data-entity-uuid="f8f47558-9014-44a3-a1c8-42857cf91a24" data-entity-substitution="canonical" title="Opera 2025-26 Season">91ֱ�� College Artsguide</a>. Reserved seating is $15, while discounted tickets for students, faculty, alumni, and senior citizens are available for $10.</p></div> <div class="field field--name-field-news-subhead field--type-string field--label-hidden field__item">Spring production features two one-act operas with music by John Musto and librettos by Mark Campbell.</div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2026-02-19T12:00:00Z">Thu, 02/19/2026 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">Kailey Pritchard ’26</div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> <div class="field__item"><a href="/news?tag=3878">Conservatory of Music</a></div> <div class="field__item"><a href="/news?tag=3873">91ֱ�� Opera Theater</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=32971">Opera Theater</a></div> <div class="field__item"><a href="/news?program=35596">Voice</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> <div class="field field--name-field-news-flex-content field--type-entity-reference-revisions field--label-hidden vertical-spacing--basic field__items"> <div class="field__item"> <div id="obj-48236" class="paragraph paragraph--type--para-el-copy paragraph--view-mode--default o-flex--basic-copy basic-copy"> <hr><p><em>Kailey Pritchard ’26 is a fourth-year voice major and a student communications assistant for the Office of Conservatory Communications. She is a member of the cast of this spring’s opera production.</em></p> </div> </div> </div> <div class="field field--name-field-news-article-header field--type-boolean field--label-hidden field__item">0</div> </article> <article> <h1>91ֱ�� Opera Brings “Jack and the Beanstalk” to Schools Across Northeast Ohio for Winter Term</h1> <p>srasmuss — Mon, 10 Mar 2025 18:24:48 +0000</p> <span>91ֱ�� Opera Brings “Jack and the Beanstalk” to Schools Across Northeast Ohio for Winter Term</span> <span><span>srasmuss</span></span> <span><time datetime="2025-03-10T14:24:48-04:00" title="Monday, March 10, 2025 - 14:24">Mon, 03/10/2025 - 14:24</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>This January, 91ֱ�� voice students had a unique opportunity to rehearse and tour the opera rendition of Jack and the Beanstalk in just one month. This experience included a total of ten performances, allowing 91ֱ�� students to connect with hundreds of enthusiastic elementary and middle school students across Northeast Ohio, providing invaluable exposure to classical singing bound to inspire.</p> <p>"With it going on during Winter Term," said second-year voice major Ella Vaughn, who played the roles of Jack’s Mother and the Giant’s Wife, "it was really nice to be able to focus on the production without classes.” During Winter Term, 91ֱ�� students pursue a unique project outside of regular course offerings, which can be done across the U.S., around the world, or, in the case of Jack and the Beanstalk, on campus. Directed by Associate Professor of Opera <a href="/stephanie-havey">Stephanie Havey</a> and Associate Professor of Opera Coaching <a href="/kyung-eun-na">Kyung-Eun Na</a>, students had only a mere one-and-a-half weeks of rehearsal to prepare the entire production, during which they were also responsible for setting up the stage and moving props. Vaughn commented on how even though the show was, at times, comedic and lighthearted, “our director, Stephanie Havey, put thought and effort into the staging and overall purpose of the show, which is important when thinking about our characters and the message we want the kids to go home with.”</p> <p> “I’m really glad I had this opportunity,” Vaughn said about the tour, “and I hope they continue doing these tours because it's really important for us performers and for the community.” Jack and the Beanstalk marks the beginning of <a href="/opera-theater">91ֱ�� Opera’s</a> ongoing commitment to community engagement. Havey intends for 91ֱ��’s Opera program to offer a community-facing opera as a Winter Term project each January moving forward—in addition to two full-length productions each semester—ultimately providing numerous performance opportunities and chances to explore cities beyond 91ֱ��. “I've only been in productions where we perform three or four times, so having a lot of performances was both fun and tiring. It was exciting to see how we could make different choices by interacting with other people in the cast and the kids in the audience.”</p> <p> Opera Tour Director Stephanie Havey also shed light on the purpose of the tour: “Our hope with this tour is to inspire children to love music and learn more about it. We hope to set the stage for future opera lovers.” With engaging and lighthearted study guides—provided to each school in advance—behind-the-scenes insights, interactive chase scenes, and enthusiastic Q&A sessions after each performance, young students experienced a dynamic and immersive introduction to opera. “The young audiences at the Elementary Schools were completely enthralled with seeing a live theatrical performance,” she said, “I saw that as a desire to connect with the performers—to see themselves in the performers.”</p> <p> The experience was not only transformative for children in the audience but also professionally informative for students in the cast. As Vaughn noted, “Learning how to quickly get a show on its feet, performing at early hours in the morning, having multiple performances a day, interacting with different audiences—these are all things that are common in a professional opera career.” The Winter Term project provided a variety of real-world opera experiences that are essential for emerging performers. “Additionally, a lot of young artist programs at opera houses do a school tour similar to this, so there's a good chance I'll be doing this in my future as well.”</p> <p> </p> <p> Through this project, 91ֱ�� Opera not only enriched the local community but also equipped its students with essential professional experiences and skills. With plans to continue these performances in future Winter Terms, 91ֱ��’s commitment to community engagement and professional-level exposure ensures that opera remains a vibrant, accessible art form for generations to come.</p></div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2025-03-10T12:00:00Z">Mon, 03/10/2025 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">George Rogers</div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> <div class="field__item"><a href="/news?tag=3878">Conservatory of Music</a></div> <div class="field__item"><a href="/news?tag=3873">91ֱ�� Opera Theater</a></div> <div class="field__item"><a href="/news?tag=3319">Community Engagement</a></div> <div class="field__item"><a href="/news?tag=2398">Community Education</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=32971">Opera Theater</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/vocal-studies" hreflang="und">Vocal Studies</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-image-credit field--type-string field--label-hidden field__item">Genevieve Dilan '24</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> <article> <h1>Mozart’s Comedy Shines a Light on the Game of Love</h1> <p>srasmuss — Fri, 28 Feb 2025 20:37:38 +0000</p> <span>Mozart’s Comedy Shines a Light on the Game of Love</span> <span><span>srasmuss</span></span> <span><time datetime="2025-02-28T15:37:38-05:00" title="Friday, February 28, 2025 - 15:37">Fri, 02/28/2025 - 15:37</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>With multiple love triangles, masked identities, and deceptive game-playing, La Finta Giardiniera promises an evening filled with laughter. This “opera buffa” —or comic opera—will be brought to life through the direction of <a href="/stephanie-havey">Stephanie Havey</a>, the conducting of <a href="https://www.christiancapocaccia.com/">Christian Capocaccia</a>, and the dedicated work of numerous staff and cast members. The opera makes comedy one of its most definitive features, and Mozart entices his audience into a whimsical garden of love and games where appearances can be deceiving, and not everyone is who they claim to be.</p> <p>The comedic aspects of the plot serves as a vehicle for profound artistic expression, particularly through the arias. Here, Mozart explores the emotional turmoil of characters and their attempts to understand their situation. Sandrina, the "Pretend Garden Girl," must grapple with her own identity as she masquerades as a humble gardener, all the while concealing the fact that she is, in reality, a Countess. Furthermore, many of the other characters are similarly deceiving one another, each hoping to escape their current romantic entanglements by assuming false identities. </p> <p>“The over-the-top, unbelievable plotline made me think of children on a playground, so we tried to create a playground environment for this drama to play out.” states Stephanie Havey, Associate Professor of Opera Theater and La finta giardiniera Director. “So you see playground elements popping up in the garden along the way.” </p> <p>Excitement fills the rehearsal room as cast members discover fresh ways to infuse the playful spirit into their arias, adding a vibrant energy that mirrors the youthful energy of Mozart's composition—a side of him audiences do not get to experience very often.</p> <p>Conductor Christian Capocaccia returns to 91ֱ�� after conducting with 91ֱ�� Opera Theater in spring 2024 for Monteverdi’s L’Orfeo. Born and raised in Italy, he works with singers to perfect their Italian while giving valuable insight into the music itself. This opera, one of Mozart’s earliest works, serves as a precursor to his later masterpieces like Le Nozze di Figaro. In La finta giardiniera, Mozart explores the topic of marriage, class structures, and power dynamics between couples; all which are ideas that we see in his later works. While some critics argue that it lacks the polish of his more mature compositions, its youthful energy aligns with the theme of this production: the game of love. </p> <p>TICKET INFORMATION<br> $10 reserved seating ($8 students)<br> Tickets are available <a href="/tickets/event-details?EventId=16001">online </a>and by phone at 800-371-0178. Patrons may also purchase them in person between noon and 5 p.m., Monday through Friday, at 91ֱ�� College's <a href="/tickets">Central Ticket Service</a>, located at 67 N. Main Street, in the lobby of the Eric Baker Nord Performing Arts Complex.</p> <p><a href="/tickets/event-details?EventId=16001">Online Box Office</a></p> <p>PRODUCTION DETAILS<br> Thursday, March 6 - Saturday, March 8 at 8:00 p.m.<br> Sunday, March 9 at 2:00 p.m.<br> 91ֱ�� College Hall Auditorium<br> 67 N. Main Street<br> 91ֱ��, Ohio</p> <p>This production will be available via <a href="https://vimeo.com/event/690987/2eb3338452">livestream</a> on Thursday and Friday, March 6 and 7 only.</p> <p>Proudly supported by <a href="https://www.ideastream.org/">Ideastream Public Media</a>, official media partner of 91ֱ��'s Artist Recital Series and Opera Theater productions.</p> <p> </p> <p> </p> <p> </p> <p>91ֱ�� Opera Theater invites audiences into a garden of mystery, comedy, and love with its production of La Finta Giardiniera, running from March 6-8 at 8 p.m., with a matinee performance on March 9 at 2 p.m.</p></div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2025-02-28T12:00:00Z">Fri, 02/28/2025 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">Saige Hoffman</div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> <div class="field__item"><a href="/news?tag=3878">Conservatory of Music</a></div> <div class="field__item"><a href="/news?tag=3873">91ֱ�� Opera Theater</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=32971">Opera Theater</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/vocal-studies" hreflang="und">Vocal Studies</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> <article> <h1>91ֱ�� Opera Theater's Fall 2024 Production of "Cendrillon" Takes us to the Fairylands</h1> <p>srasmuss — Wed, 30 Oct 2024 09:55:50 +0000</p> <span>91ֱ�� Opera Theater's Fall 2024 Production of "Cendrillon" Takes us to the Fairylands</span> <span><span>srasmuss</span></span> <span><time datetime="2024-10-30T05:55:50-04:00" title="Wednesday, October 30, 2024 - 05:55">Wed, 10/30/2024 - 05:55</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>This fall, the 91ֱ�� Opera Theater is set to transport audiences to a world of enchantment with its production of Jules Massenet's <em>Cendrillon</em>. This beloved opera weaves a tale of love, magic, and transformation, brought to life by the direction of <a href="https://www.stephaniehavey.com/">Stephanie Havey</a>, conducting of <a href="https://www.jamesfeddeck.com/">James Feddeck</a> ’05, MM ’06, and hard work of countless staff and cast members.</p> <p>Under the starlit skies of a timeless fairy tale, where pumpkins turn into gilded carriages and fairy godmothers make dreams come true, <em>Cendrillon</em> promises a theatrical experience filled with wonder and delight. Massenet’s lush and evocative score, paired with a story that tugs at the heartstrings, offers an evening of pure enchantment.</p> <p>“The story of this courageous young woman, Cendrillon, coming into her own through bravery, kindness, and persistent hope inspired us,” explains Stephanie Havey, an Assistant Professor of Opera Theater and <em>Cendrillon</em> Director. “Her discovery of confidence and strength, which allows her to rescue her prince in the end, feels like a modern take on a well-known fairytale.”</p> <p>"Massenet is a craftsman as the music itself adds a layer of depth to this magical story that we all know so well,” Maestro Feddeck says when asked what excites him about conducting <em>Cendrillon</em>. “These optimistic and cherished moments are unforgettable aspects of the opera that speak to us and enlighten the human spirit.” </p> <p>Feddeck, who earned his Bachelor of Music in both oboe and conducting from 91ֱ�� Conservatory in 2005 and his Master of Music in 2006, brings a wealth of experience and passion to the project. “I have enjoyed the opportunity to share this joy which comes from my own life as a professional performing artist.". Feddeck represents 91ֱ�� Conservatory’s ongoing commitment to bringing back alumni to conduct 91ֱ�� orchestras and operas. In the fall 2024 semester, he worked with the 91ֱ�� Orchestra, 91ֱ�� Chamber Orchestra, and is now conducting the debut show of the 2024-2025 91ֱ�� Opera Theater season. "It has been an honor to return to 91ֱ��, a place of such personal importance to my own musical formation, and be part of such a collaborative creative process.”</p> <p>Feddeck also highlighted what sets this production—and 91ֱ��’s Opera Theater program—apart from others he has been a part of. "There is an enthusiasm in this production like no other. It’s extremely special that 91ֱ��, as an undergraduate music program, has such an integral opera program. It’s imperative for operatic immersion as early as possible since opera performance requires the highest sensibilities of one's craft and the sharpest of skills, whether a cast member is on the stage or in the orchestra pit.”</p> <p>Don't miss 91ֱ�� Opera Theater's production of <em>Cendrillon</em>, a delightful opera that promises to enchant and inspire. Performances will be held at the Hall Auditorium from November 7-10. Showtimes are 8 p.m. for the Thursday, Friday, and Saturday performances, November 7 through 9; a 2 p.m. matinee will be performed on Sunday, November 10.</p> <p><a href="/artsguide/opera">Tickets</a> are available now on the 91ֱ�� College website. Reserved seating is $10, with discounted $8 tickets available for senior citizens and 91ֱ�� faculty, staff, alumni, and students.</p> <hr> <p><em>George Rogers is a third-year saxophonist and is a student communications assistant for the Conservatory Communications Office.</em></p></div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2024-10-30T12:00:00Z">Wed, 10/30/2024 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">George Rogers</div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> <div class="field__item"><a href="/news?tag=3878">Conservatory of Music</a></div> <div class="field__item"><a href="/news?tag=3873">91ֱ�� Opera Theater</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> <article> <h1>Stephanie Havey Appointed Director of 91ֱ�� Opera Theater Program</h1> <p>cstrauss — Fri, 23 Aug 2024 17:01:39 +0000</p> <span>Stephanie Havey Appointed Director of 91ֱ�� Opera Theater Program</span> <span><span>cstrauss</span></span> <span><time datetime="2024-08-23T13:01:39-04:00" title="Friday, August 23, 2024 - 13:01">Fri, 08/23/2024 - 13:01</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>Award-winning stage director <a href="/stephanie-havey">Stephanie Havey</a> has been appointed to the tenure-track position of associate professor and director of 91ֱ�� Conservatory’s <a href="/opera-theater">Opera Theater</a> program. In this role, she will teach classes and direct two fully-staged productions, performed with orchestra, each academic year. With this appointment, Havey joins the outstanding faculty of 91ֱ��'s <a href="/conservatory/divisions/vocal-studies">Vocal Studies Division</a>.</p> <p>"I have had a connection to 91ֱ�� for many years as a guest artist," says Havey. "I have always had immense respect and appreciation for the incredible instruction taking place here as well as the caliber of musicians that graduate from this program. I look forward to guiding the next generation of opera artists in developing their unique voices and to producing a wide variety of opera projects and productions that will engage with current events and interdisciplinary topics. 91ֱ�� is the ideal environment for engaging with difficult questions and varying viewpoints as we create art that is relevant and vital to our culture." </p> <p>Havey has staged numerous productions for professional opera companies across the country including the Seattle Opera, Dallas Opera, Arizona Opera, Michigan Opera Theatre, Opera Omaha, Madison Opera, New York City Opera, and Hawai’i Opera Theatre, as well as the Canadian company Opéra de Montréal. She has also created new productions for Boston Lyric Opera, the Philadelphia Orchestra, Pittsburgh Opera, Atlanta Opera, Finger Lakes Opera, Tulsa Opera, and Lyrique-en-mer International Festival de Belle-Ile in France. </p> <p>A frequent collaborator for the development of new opera, Havey has staged new works with Opera Philadelphia for their Double Exposure event, OPERA America’s New Works Forum, and spent three seasons as the Resident Stage Director for the North American New Opera Workshop. Havey is currently in development for a new work with composer Jennifer Jolley through the OPERA America Discovery Grant for Women Composers program. </p> <p>Last year, Havey directed two productions as a visiting professor at 91ֱ��. Her first outing in November 2023 was Benjamin Britten's <em>Albert Herring</em> "that was delightful and authentic in every respect. The denizens of the fictional village of Loxford all seemed to be playing themselves rather than just animating cardboard figures ordered up from central casting." (<a href="https://clevelandclassical.com/benjamin-brittens-albert-herring-at-oberlin-taking-a-comic-opera-seriously-nov-2/"><em>ClevelandClassical.com</em></a>) </p> <p>Havey says, "I especially love working on comedies. I love the way that laughter brings us all together and the way that cleverly written comedy can open our eyes to aspects of society that might be difficult to acknowledge or discuss. Social commentary and satire have long been part of the operatic tradition. I enjoy examining these historical methods of storytelling and synthesizing them with a modern perspective that is connected to the lived experience of our students and audiences in order to create meaningful productions."</p> <p>The second production in March 2024 was <a href="https://clevelandclassical.com/oberlin-opera-lorfeo-in-hall-auditorium-march-17/">Claudio Monteverdi’s musical fable <em>L’Orfeo</em></a>, performed in period musical style but staged in modern dress on a minimal set with some plot modernizations. A 25-piece instrumental ensemble—a collaboration with 91ֱ��'s Historical Performance department—included Baroque strings with theorbos, recorders, and cornetti, sackbuts, harp, harpsichord, chamber organ, and regal, performed by students with guest artists. </p> <p>For the 2024-25 academic year, Havey will direct <a href="http://calendar.oberlin.edu/event/jules-massenets-cendrillon">Jules Massenet's <em>Cendrillon</em></a> in four performances running November 7-10 and <a href="http://calendar.oberlin.edu/event/mozarts-la-finta-giardiniera">Wolfgang Amadeus Mozart's <em>La finta giardiniera</em></a>, March 6-9.</p> <p>Havey says her vision for 91ֱ�� Opera Theater is, "to foster an environment that promotes creative exploration and dialogue around advancing the operatic art form in a way that is culturally impactful. I want students to consider what stories they want to tell and to expand their views on how they might tell them. Opera is a vast art form with yet so much untapped potential. Modern composers are driving innovation through new musical styles and stories that have never been told on the operatic stage. I hope to engage with both classic and modern composers, librettists, and creatives to help our students develop their point of view as opera artists of the future." <br> </p></div> <div class="field field--name-field-news-subhead field--type-string field--label-hidden field__item">Award-winning stage director joins 91ֱ�� Conservatory's Voice Division</div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2024-08-23T12:00:00Z">Fri, 08/23/2024 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">Cathy Partlow Strauss</div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> <div class="field__item"><a href="/news?tag=3878">Conservatory of Music</a></div> <div class="field__item"><a href="/news?tag=3873">91ֱ�� Opera Theater</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=32971">Opera Theater</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/vocal-studies" hreflang="und">Vocal Studies</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-image-credit field--type-string field--label-hidden field__item">Courtesy of Stephanie Havey</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> <article> <h1>The Dark Side of Orpheus</h1> <p>srasmuss — Thu, 07 Mar 2024 18:14:26 +0000</p> <span>The Dark Side of Orpheus</span> <span><span>srasmuss</span></span> <span><time datetime="2024-03-07T13:14:26-05:00" title="Thursday, March 7, 2024 - 13:14">Thu, 03/07/2024 - 13:14</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>The myth of Orpheus and Eurydice has appeared in art for centuries, in everything from books, to paintings, to music. So why do we keep telling it? That question weighed on <a href="https://www.stephaniehavey.com/">Stephanie Havey’s</a> mind as the stage director began planning for 91ֱ�� Opera Theater’s production of <a href="/artsguide/opera"><em>L’Orfeo</em></a>.</p> <p>“There’s something very relatable in that doubt that Orpheus has,” Havey says about the bard’s quest to rescue his wife from the underworld. “That fear of losing his loved one, and also doubting himself—I think these themes are all very universal.”</p> <p>Written at the turn of the 17th century, Claudio Monteverdi’s <em>L’Orfeo</em> is one of the earliest examples of opera as an art form. But it’s not the only operatic take on Orpheus. Havey, 91ֱ��’s visiting assistant professor of opera theater for 2023-24, has directed the versions by Gluck and Offenbach at other points in her career. But she says Monteverdi’s has a distinct perspective on the dark side to Orpheus’ musical power.</p> <p>“This is not just a story about how he uses his lyre to win, to vanquish gods and beasts,” she says. “There’s something about how he has to vanquish himself.”</p> <p>All of this culminates in a darker, modern-era staging of the tale, which will be <a href="/artsguide/opera">presented on March 14 to 17</a> in Hall Auditorium. Havey doesn’t want to give too much away, saving some surprises for opening night. But she notes that Orpheus’ lyre has been replaced with a “weapon” — one that he hides behind and “sort of symbolizes ego.”</p> <p>Havey credits Alessandro Striggio’s libretto as a key element in exploring the flaws and vulnerabilities behind the Greek hero. The new production is a psychological exploration of Orpheus’ point of view, which is plagued by fear and doubt.</p> <p>The underworld setting, for example, is populated by distorted versions of characters from the opera’s opening wedding scene. “The man who Orpheus saw flirting with his wife at the wedding is now the king of the underworld who’s holding her captive,” Havey explains. “And some beautiful woman who made a toast is now the queen.” This twisted view is supplemented with “larger and exaggerated” choreography (<a href="/holly-handman-lopez">Holly Handman-Lopez</a>) and “otherworldly” lighting (<a href="/jeremy-benjamin">Jeremy K. Benjamin</a>).</p> <p>Creative thought also went into the placement of the orchestra, which will be visible onstage behind the singers. That location poses some logistical challenges for the cast and musicians (cue extra cameras and monitors), but Havey isn’t too worried.</p> <p>“This is very much driven by the text and driven by the performer,” she says. Rather than the singers needing to follow the conductor's exact pattern, “it’s really that the continuo are following the singers and how they want to convey the text.”</p> <p>Conductor <a href="https://www.christiancapocaccia.com/">Christian Capocaccia</a> agrees, adding that the beauty of Monteverdi’s music is tied to the simplicity of the text. “Sometimes the line is a repetition of the same notes,” he says. “But even when there’s almost no melody, it’s the articulation, it’s the elegance, you know—it’s incredibly touching.” </p> <p>The small ensemble of period instruments under Capocaccia’s baton was created in collaboration with the Conservatory’s Historical Performance program. The conductor has been working with the students on creating their own musical interpretations, emphasizing the expressive freedom inherent in the Baroque style.</p> <p>“Interpreting music, it is an expression of an opinion. When you make a choice, people sometimes are afraid to make a statement that is personal,” he says, referencing how musicians can sometimes feel compelled to prioritize ‘perfect’ performances to advance in their careers.</p> <p>He applies the same thought process to opera performances more generally. “Sometimes we are forgetting to tell the stories in a fresh way, and if you don’t do that, people get bored. But if you are engaging and eloquent and you focus on the storytelling, I think it might make a difference.”</p> <p>Capocaccia particularly enjoys working with students for this reason. “I always find it beautiful to work in schools, especially this caliber of school,” he says. The musicians “retain the unjaded quality of people that haven’t had to deal with the profession yet, which is great. They’re still having a blast doing it.”</p> <p>The conductor is also focused on making sure he’s enjoying himself while on the podium. “When people ask me, ‘How do you think it went?’ I say, ‘I wasn’t in the audience, so I don’t know how it sounded. But for me, I think it went great because I had a blast.’ And typically, if I had a blast, I always get good feedback.”</p> <p> </p> <p><strong>TICKET INFORMATION</strong><br> $10 reserved seating ($8 students)<br> Tickets are available online and by phone at 800-371-0178. Patrons may also purchase them in person between noon and 5 p.m., Monday through Friday, at 91ֱ�� College's Central Ticket Service, located at 67 N. Main Street, in the lobby of the Eric Baker Nord Performing Arts Complex.</p> <p><a href="/tickets/event-details?EventId=11401">Online Box Office</a><br> <br> <strong>PRODUCTION DETAILS</strong><br> Thursday, March 14 - Saturday, March 16 at 8:00 p.m.<br> Sunday, March 17 at 2:00 p.m.<br> 91ֱ�� College Hall Auditorium<br> 67 N. Main Street<br> 91ֱ��, Ohio</p> <p>This production will be available via <a href="https://vimeo.com/event/690987/2eb3338452">livestream</a> on Thursday and Friday, March 13 and 14 only.</p> <p><em>Proudly supported by <a href="https://www.ideastream.org/">Ideastream Public Media</a>, official media partner of 91ֱ��'s Artist Recital Series and Opera Theater productions.</em></p> <hr> <p><em>Stephanie Manning '23 completed her bachelor’s degree in bassoon performance with a dual concentration in arts management and journalism. A 2022 fellow of the Rubin Institute for Music Criticism, she has contributed frequently to ClevelandClassical.com and Early Music America. She is currently pursuing a graduate diploma in journalism from Concordia University in Montreal.</em></p></div> <div class="field field--name-field-news-subhead field--type-string field--label-hidden field__item">91ֱ�� Opera Theater’s latest production gives a complex, contemporary take on the familiar story of the Greek hero in Monteverdi’s "L’Orfeo."</div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2024-03-07T12:00:00Z">Thu, 03/07/2024 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">Stephanie Manning '23</div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> <div class="field__item"><a href="/news?tag=3873">91ֱ�� Opera Theater</a></div> <div class="field__item"><a href="/news?tag=3515">Dance</a></div> <div class="field__item"><a href="/news?tag=3878">Conservatory of Music</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=35596">Voice</a></div> <div class="field__item"><a href="/news?program=28886">Historical Performance</a></div> <div class="field__item"><a href="/news?program=38696">Historical Instruments</a></div> </div> <div class="field field--name-field-news-faculty field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/holly-handman-lopez" hreflang="und">Holly Handman-Lopez</a></div> <div class="field__item"><a href="/jeremy-benjamin" hreflang="und">Jeremy Benjamin</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-image-credit field--type-string field--label-hidden field__item">Nick Giammarco</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> <article> <h1>Award-winning Stage Director Stephanie Havey Talks Opera</h1> <p>cstrauss — Fri, 03 Nov 2023 21:21:20 +0000</p> <span>Award-winning Stage Director Stephanie Havey Talks Opera</span> <span><span>cstrauss</span></span> <span><time datetime="2023-11-03T17:21:20-04:00" title="Friday, November 3, 2023 - 17:21">Fri, 11/03/2023 - 17:21</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p><a href="https://www.stephaniehavey.com/">Stephanie Havey</a>, 91ֱ��'s visiting assistant professor of opera theater for the 2023-24 academic year, found some time to sit down for a conversation in which she shares her thoughts about the framing of the fall opera production of <em>Albert Herring</em>, her love of working with developing singers, as well as women in leadership roles in the opera world.</p> <p><strong>What are you most excited about with the opera <em>Albert Herring</em>?</strong></p> <p>“The score for this opera is very complex and very clever. There are little hidden gems throughout the text and the orchestration that reveal that all of these characters have their own secrets. It’s such brilliant writing and I am really excited to see if the audience discovers those little moments. I have been working with the cast on how to bring that level of storytelling to the audience in a clear way, but without overselling it. It’s a subtlety, and that’s what makes good theater.”</p> <p><strong>How did your thought process and creative process impact the 91ֱ�� production of <em>Albert Herring</em>?</strong></p> <p>“When I am creating a new production, I start with research—when was the opera written and why did the composer write it. This opera premiered in 1947 and, as Britten sets it, is meant to take place in the 1920s. We decided to set our production in 1947 because we think the story is a reflection of what Benjamin Britten was noticing in society at the time. It is both social commentary and a comedy—and that’s elemental to the story. </p> <p>Another big idea that went into our framing of our production was the relationship of how adults treat children. We wanted to tell this story from Albert’s perspective. As a teenage boy, in his world, the adults are the villains or the enemies. The adult characters in this story are all the leaders of the town—you have the mayor, the vicar, the head of police—who determine what’s acceptable in society, and they have the power to reward or punish a person's behavior within the society. Albert sees these folks as his oppressors and that he can’t really be himself. We are using two objects, the clock and the lamp post, as visual symbols representing the control of the society around Albert. </p> <p>There is also the notion of an ideal love that is unattainable and unknowable to him. Personally, I think the story is about Albert’s growth as a human in the pursuit of love, and he has to learn to shed some of the restrictions society has put on him and accept himself. In finding that freedom, he is able to attain romantic love. However, it is all very ambiguous in the writing of the opera—it was the 40’s and Britten had to be very clever about what he said outright in his opera because he couldn’t just speak about his homosexuality freely at that time.</p> <p><strong>What do you hope people take away from <em>Albert Herring</em> when they see the opera?</strong></p> <p>“I think this story is about accepting oneself and loving oneself, so that one can learn to love others. Albert’s journey is about finding the confidence to accept who he is, even if that means he is different from other people. And in the end, there is a joy and a freedom that we see Albert gain, and that acceptance and that discovery of joy allows him to form bonds with the other characters. In the very last scene, we see Albert becoming friends with all of the other children. He is never friends with them until that moment.”</p> <p><strong>How are you enjoying working with 91ֱ�� Conservatory students?</strong></p> <p>“I began working with 91ֱ�� in 2016 and I have been back to campus for other events, such as a summer high school vocal program. I was really excited when they asked me to come for the year. What I love about 91ֱ�� is that the students here are unique in their curiosity and their fervor to go deeper in their work, to really get behind the why of what we are doing. As a director, it’s a dream to work with students who are actually very invested in storytelling, what are we going to communicate to our audiences, and why are we telling the story today. Also, the students’ musical excellence and musical preparation are well beyond their years. I always love working with developing singers because I think we learn together through collaboration.”</p> <p><strong>How is directing a professional opera production different from working with students?</strong></p> <p>“In the professional world, it is fairly common that the singers have performed the roles before because we repeat the same repertoire, so a lot of the artists come in the door with an expectation about how they might want to perform their character and perform their role. For example, I have done <em>Marriage of Figaro</em> and <em>Don Giovanni </em>many times, and every time we come together with a new cast it’s a completely new group dynamic, so you end up telling the story in a new way. I really enjoy collaborating with the other artists and discovering how we are going to tell a story that’s relevant to the modern day with each unique group of artists. </p> <p>With students, we still have the same aim, but the students are usually doing the roles for the first time, so there’s more of a sense of discovery. It’s a lot of fun to help them work through the process of learning the piece, learning who this character is, and seeing those moments come together in rehearsal, where the puzzle pieces fall into place. </p> <p><strong>How did you start your journey in opera directing? And, what do you recommend to someone else who is interested in that?</strong></p> <p>“My first mentor who set my opera direction was a wonderful female stage director and mentor at a public high school. Thank goodness for wonderful public school teachers and art programs! I was a performer, and she said, ‘I think you should consider directing,’ so I started directing in high school—musicals and plays—and I directed all through college while studying vocal performance. I was always finding opportunities. I did a few student-led musicals in college, and that is where I first tried my hand at directing a big production with orchestra and scenery. Then, I did some guided projects with faculty, and they had me direct some opera scenes on the scenes program, or be the assistant director for the show. After that, I got a master’s degree in opera stage directing and immediately started working. So, the best thing to do if you are interested in directing, is to create your own projects and do small student-led projects.”</p> <p><strong>What’s your advice to any aspiring women artists that are going into music or opera? </strong></p> <p>“I think it is really important for anyone going into the arts to develop a support network. As a creative in opera, you travel a lot and you work with a different company in a different city each month, and the work can be very demanding. You don’t have the same sense of community and consistency that people have when they work in the same city day in and day out. So, start developing that network while you are a student, whether it’s with a voice teacher, a coach, or other creatives in the field. And stay in contact with each other, build each other up, and be that consistency for each other.”</p> <p><strong>The role of women in leadership roles in opera is a newsworthy topic these days. What has your experience been?</strong></p> <p>“When I began my career, I did not spend a lot of time thinking about my role as a woman in the music industry…until I got the opportunity to stage an opera for the Detroit Opera. That company has been around for quite some time, and while I was there one of the singers who was in the production came up to me and said, ‘I have been singing with this opera company for over a decade, and you are the first female stage director I have ever worked with.’ She then introduced me to a crew member who had been there for decades and whose mother had been on the crew for decades before her, and they shared the exact same sentiment.</p> <p>That was in the early 2000s, and it blew my mind to think that, first, there hadn’t yet been a female director there, and second, how huge it was and what it meant to other women in the industry. There were plenty of women working in the costume shop or singing in the chorus, but not in the leadership role. So, that was a big shift in my career and artistic approach. Now, I think about the responsibility of being a woman in a leadership position. A lot of operas have a female central character, and historically they have been directed by men. Now we’re trying to take back the narratives in those stories and we’re asking what is the female character’s perspective on the opera.”</p> <p><strong>In what other leadership roles do you think women need more representation?</strong></p> <p>“In my opinion, we still see a lack of diversity on the conducting podium. While there are now efforts, such as various grants and programs to help promote women in the conducting field, that is something within the opera world where I really want to see growth. </p> <p><strong>What about creative teams—librettists and composers—who are bringing new works to the stage?</strong></p> <p>In terms of creating new works, we are repeating a lot of the same operas that have been done for hundreds of years, and mostly written by male composers and librettists. It cannot be said enough that it is time for new stories. Of course we are trying to prompt BIPOC artists to tell their stories, but a big part of that is also female stories. It is extremely rare that you have female opera composers and librettists, but there are a few significant creatives emerging in the field now. </p> <p><strong>So, we’ve been asking cast members the same question—“<em>What About Albert?</em>”</strong></p> <p>“Oh, Albert has a sweetness to him, a vulnerability, and I think he is very genuine. But he is caught in a place of wanting to please everyone around him—his mother, the elders, the town. Unfortunately, he is doing that at great sacrifice to himself. So, I think you fall in love with him for his sweetness in the beginning, but then you really root for him to grow into himself at the end.”</p></div> <div class="field field--name-field-news-subhead field--type-string field--label-hidden field__item">The conversation centers on the November production of Albert Herring and how one crafts a career in the field</div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2023-11-03T12:00:00Z">Fri, 11/03/2023 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">Abbi Getty</div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> <div class="field__item"><a href="/news?tag=3878">Conservatory of Music</a></div> <div class="field__item"><a href="/news?tag=3873">91ֱ�� Opera Theater</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=32971">Opera Theater</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/vocal-studies" hreflang="und">Vocal Studies</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-image-credit field--type-string field--label-hidden field__item">Courtesy of Stephanie Havey</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> <article> <h1>91ֱ�� Opera Theater presents Benjamin Britten’s “Albert Herring” November 2-5</h1> <p>cstrauss — Mon, 23 Oct 2023 22:00:52 +0000</p> <span>91ֱ�� Opera Theater presents Benjamin Britten’s “Albert Herring” November 2-5</span> <span><span>cstrauss</span></span> <span><time datetime="2023-10-23T18:00:52-04:00" title="Monday, October 23, 2023 - 18:00">Mon, 10/23/2023 - 18:00</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>The 91ֱ�� Opera Theater is back this fall with another social commentary comedy about finding your place in the world. Benjamin Britten’s acclaimed chamber opera <a href="/events/oberlin_opera_theater_presents_brittens_albert_herring"><em>Albert Herring</em></a> will be presented in four performances, November 2 through 5, in 91ֱ�� College's Hall Auditorium.</p> <p>This comedy comes after 91ֱ�� Opera’s “wonderful” March 2023 outing of Bernstein’s dark satire, <em>Candide</em>, praised for its “several layers of brilliance” (<a href="https://clevelandclassical.com/oberlin-opera-candide-mar-12/">ClevelandClassical.com</a>). </p> <p>For <em>Albert Herring</em>, Opera Director <a href="https://www.stephaniehavey.com/">Stephanie Havey</a> is collaborating with 91ֱ�� alumnus and music director <a href="http://www.michaelsakir.com/">Michael Sakir ’06</a> to bring this opera to life. Upon his return to 91ֱ��, Sakir expresses, “it’s an honor, a joy, and in some ways, a reset for my creative spirits.”</p> <p>This production is double cast with students from 91ֱ��’s Vocal Studies Division and will be performed with the 91ֱ�� Chamber Orchestra.</p> <p>The three-act opera takes us to the year 1947 in the English village of Loxford where Albert—a timid and shy teenager—longs for change amidst the town’s preparations for the annual May Day Festival. As the search for a May Queen turns to disaster when none of the young girls are deemed virtuous enough, one contest judge asks, “What about Albert?”</p> <p>In Havey’s answer to that question, she observes, “Albert has a sweetness to him, a vulnerability, and I think he is very genuine. But, he is caught in a place of wanting to please everyone around him—his mother, the elders, the town—but he is doing that to his own detriment.”</p> <p>Havey emphasizes the opera’s commentary on the relationship of how the adults treat children. “The adult characters in this story are all the leaders of the town. You have the mayor, the vicar, the head of police, and these are all town leaders who determine what’s acceptable in society, and they have the power to reward or punish a person’s behavior within the society,” explains Havey. “And I think Albert, this teenage boy, sees these folks as his oppressors, where he can’t really be himself.”</p> <p>In a story that finds itself tangled in mischief, scandal, and adventure, Albert realizes he wants more in life.</p> <p>Havey continues, “I think you fall in love with Albert for his sweetness, in the beginning. But then you really root for him to self-actualize and give in to himself at the end.”</p> <p>The audience is left with no choice but to cheer on Albert as he discovers himself and turns the Village of Loxford upside down in the process.</p> <p>Sung in English, and with supertitles, <em>Albert Herring</em> is an opera everyone can enjoy. One is also sure to lose themselves in the ingeniously and beautifully constructed score.</p> <p>“I think comedies are so infrequently seen on the opera stage and this one is truly hilarious,” remarks Sakir. “If we do our job right, the audience will laugh, and laugh hard! And secondly, I hope they have a deeper appreciation of Britten’s mastery of storytelling through music.”</p> <p>Showtimes are 8 p.m. for the Thursday, Friday, and Saturday performances, November 2 through 4; a 2 p.m. matinee will be performed on Sunday, November 5.</p> <p>Reserved seating is $10, with discounted $8 tickets available for senior citizens and 91ֱ�� faculty, staff, alumni, and students. Tickets may be <a href="/tickets/event-details?EventId=10801">purchased online</a>, by calling 800-371-0178, or by visiting the 91ֱ�� College Central Ticket Service weekdays from 12-5 p.m.</p></div> <div class="field field--name-field-news-subhead field--type-string field--label-hidden field__item">Opera director Stephanie Havey and conductor Michael Sakir ’06 make their 91ֱ�� debuts.</div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2023-10-23T12:00:00Z">Mon, 10/23/2023 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">Abbi Getty</div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> <div class="field__item"><a href="/news?tag=3878">Conservatory of Music</a></div> <div class="field__item"><a href="/news?tag=3873">91ֱ�� Opera Theater</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=35596">Voice</a></div> <div class="field__item"><a href="/news?program=32971">Opera Theater</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/vocal-studies" hreflang="und">Vocal Studies</a></div> <div class="field__item"><a href="/conservatory/divisions/conducting-and-ensembles" hreflang="und">Conducting and Ensembles</a></div> <div class="field__item"><a href="/conservatory/divisions/strings" hreflang="und">Strings</a></div> <div class="field__item"><a href="/conservatory/divisions/winds-brass-and-percussion" hreflang="und">Winds, Brass, and Percussion</a></div> </div> <div class="field field--name-field-news-image-caption field--type-string-long field--label-hidden field__item">In the opera “Albert Herring” the concept of time is constantly referenced: “Time is racing us around the clock...youth must hurry at headlong pace.”</div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-image-credit field--type-string field--label-hidden field__item">Nicole Slatinsky</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> <article> <h1>Field Finds His Pasture</h1> <p>eburnett — Fri, 03 Mar 2023 19:29:52 +0000</p> <span>Field Finds His Pasture</span> <span><span>eburnett</span></span> <span><time datetime="2023-03-03T14:29:52-05:00" title="Friday, March 3, 2023 - 14:29">Fri, 03/03/2023 - 14:29</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>You know the song from <em>Rent</em> that asks how to measure a year of life? Well, steering clear of doing the math for “525,600 minutes” times 26, how do you measure a career lasting over a quarter-century?</p> <p>After joining the faculty of 91ֱ�� Conservatory in 1997 and heading up the opera program for 26 years—in addition to directing productions with leading professional organizations nationally and internationally, and serving for six years as artistic director of Lyric Opera Cleveland—Jonathon Field will retire at the end of the academic year.</p> <p>That leaves time for one more show: Field will direct 91ֱ�� Opera Theater in four performances of Leonard Bernstein’s <a href="/node/453416"><em>Candide</em></a> from Thursday, March 9, through Sunday, March 12, at Hall Auditorium. The English-language operetta, based on the novella by Voltaire, will be performed with supertitles, and Raphael Jiménez will lead the 91ֱ�� Chamber Orchestra.</p> <p>It marks the end of an era, no doubt—and of course, there are numerous ways to reflect on it.</p> <p>How about the most memorable productions of Field’s tenure? Like the opera <a href="/node/9821"><em>Harriet Tubman: When I Crossed that Line to Freedom</em></a>, by 91ֱ�� alumna <a href="https://www.nkeiruokoye.com/">Nkeiru Okoye ’92</a>, which Field led on a tour of churches across Northeast Ohio? Or delivering Henry Purcell’s <em>Dido and Aeneas</em> to the Teatro Colón in Buenos Aires? Or what about Field’s signature moments stylistically—hilarious and wonderfully bizarre touches that hook into your memory and don’t let go, like the curious collection of rabbit characters he introduced in Mozart’s <a href="/node/10611"><em>La finta giardiniera</em></a>?</p> <p>During a recent conversation, Field touched on his early years on the job, what makes him most proud as a director and teacher, those signature moments from productions past, the choice of <em>Candide</em> to finish out his 91ֱ�� run, and how horses figure prominently in the next chapter of his career.</p> <p><strong>Twenty-six years. What comes to mind when you think back to your early days at 91ֱ��?</strong></p> <p>First of all, when I got here, all the operas were performed in English, so my big change was to get them performed in the original language. The first production I did was <em>Carmen</em>, which is in French. The next year we did <em>Romeo and Juliet</em>, also in French. And we did <em>Così fan tutte</em> in Italian.</p> <p><strong>What was it like for the students to make that change?</strong></p> <p>It was initially challenging. They had certainly done scenes in the original language for our Opera Scenes program, but the level of memorization required for full-length roles really upped their game. Those first years, we got <a href="https://www.rhiannongiddens.com/">Rhiannon Giddens ’00</a>, <a href="https://www.limmiepulliam.com/">Limmie Pulliam ’98</a>—a lot of first-rate students who, I think because of that challenge, really saw what they could accomplish onstage.</p> <p><strong>Speaking of working with students: What would you say you’re most proud of having embodied as a director and teacher?</strong></p> <p>I like to think that by having productions of a certain level of creativity, I’ve inspired the students to also be creative and push themselves to new levels, beyond what they thought they were capable of. I really try to open up their minds with the idea that you can invent yourself—you can become what you want to be through diligent application.</p> <p><strong>Over the years, you’ve done all kinds of operas in all different ways. But perhaps you also have a bit of a signature: this amazing penchant for the silly and the bizarre. Would you agree?</strong></p> <p>Absolutely! My father was British, and I think the silliness comes from that British tradition, like <em>Monty Python</em>. I think it’s also how I grew up. I went to the same high school as Jimi Hendrix, in Seattle, and it was quite an unusual school—<em>people were taught to be creative</em>. And this was back in the late ’60s, which was an unusual time. The atmosphere in the town at that point was, “We don’t care how they do it in other cities—we’re in the Pacific Northwest, and we’re going to do it our own way.” I think that really rubbed off on me.</p> <p><strong>One of those “signature” moments that comes to mind is from your 2015 production of<em> La finta giardiniera</em>—the rabbits.</strong><strong> Are there any other little touches like that that are particularly memorable for you?</strong></p> <p>Well, we did a production of Massenet’s <em>Cendrillon</em>, which is the Cinderella story. And it just seemed to me that a character like that, mistreated by others, would live in a fantasy world. So we gave her these invisible friends; she would talk to them, sing to them, and tell them her problems, and they would understand. They were these sort of creatures that our costume designer, <a href="/node/6541">Chris Flaharty</a>, put together. And the great thing is that at the end of the opera, when she and the prince finally got together—he saw them too.</p></div> <div class="field field--name-field-news-subhead field--type-string field--label-hidden field__item">After 26 years at 91ֱ��, innovative director Jonathon Field trades higher ed for Mister Ed.</div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2023-03-03T12:00:00Z">Fri, 03/03/2023 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">Jarrett Hoffman</div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> <div class="field__item"><a href="/news?tag=3873">91ֱ�� Opera Theater</a></div> <div class="field__item"><a href="/news?tag=3341">Conservatory Faculty</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=35596">Voice</a></div> <div class="field__item"><a href="/news?program=32971">Opera Theater</a></div> </div> <div class="field field--name-field-news-faculty field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/chris-flaharty" hreflang="und">Chris Flaharty</a></div> <div class="field__item"><a href="/raphael-jimenez" hreflang="und">Raphael Jiménez</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/vocal-studies" hreflang="und">Vocal Studies</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-image-credit field--type-string field--label-hidden field__item">Tanya Rosen-Jones '97</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> <div class="field field--name-field-news-flex-content field--type-entity-reference-revisions field--label-hidden vertical-spacing--basic field__items"> <div class="field__item"> <div class="body-centered-layout"> <div class="side-caption pull captioned-image" data-caption-position="left"> <div id="obj-29941" class="paragraph paragraph--type--para-el-figure paragraph--view-mode--default"> <figure> <figcaption> <div class="figure__caption"><p>Field's 2015 production of <em>La finta giardiniera</em> featured a double cast and a multitude of rabbits.</p> </div> <div class="figure__credit"><p>Photo credit: Yevhen Gulenko</p></div> </figcaption> </figure> </div> </div> </div> </div> <div class="field__item"> <div id="obj-36939" class="paragraph paragraph--type--para-el-copy paragraph--view-mode--default o-flex--basic-copy basic-copy"> <p><strong>There’s certainly some quirkiness inherent in the Bernstein. [Note: Field has at least one zany moment up his sleeve.] But you tell me: Why <em>Candide</em> as your final production?</strong></p> <p>Because my wife wanted it. My dear wife Tracey wanted to see <em>Candide</em>, so I said, “Well, sure, why not?”</p> <p><strong>It’s a favorite of hers?</strong></p> <p>She’s very moved by it. The ending is really special: It’s a great piece to go out with. And it exemplifies so much about what’s good about this country. You have a composer in Leonard Bernstein—the son of immigrant parents—who’s this natural genius. And within the context of this country at the time, he finds a place for his genius to grow and flower.</p> <p><strong>And of course, <em>Candide</em> ends with “Make Our Garden Grow.”</strong></p> <p>Yes—it’s very inspirational.</p> <p><strong>The music in general is beloved, both instrumental and vocal. What stands out to you most about it?</strong></p> <p>Lenny’s music just has such joy and depth of emotion, and it’s brilliantly orchestrated. Plus, there’s the versatility he had as a composer. He writes a tango, a Viennese waltz, a French waltz, a sailor song—the breadth of styles that he was able to write in is absolutely phenomenal. I think I admire that because I also try to work in a variety of different styles. I’ve always admired creative people who aren’t locked into one specific way of doing something all the time.</p> <p><strong>Looking beyond <em>Candide</em> and beyond this year, what’s next for you? I know you’re also a certified equine massage therapist.</strong></p> <p>That’s going to be my new full-time occupation. One thing I’ve learned from horses is that they need a job to do: They really operate best when they have structure and a very clear idea of what’s expected of them. And I think people are kind of the same way. I know that when I retire from teaching at 91ֱ�� Conservatory, I’m going to need something whereby I can make myself of service to other people, and to horses. So I’m going to be pursuing that full time, and hopefully making a lot of horses in Northeast Ohio happy.</p> <p><strong>Last thoughts about your 91ֱ�� career?</strong></p> <p>Well, I’ve worked with a really great group of people here: designers, teachers, technicians, production assistants. And the students have been uniformly great. Interesting and challenging, as the 91ֱ�� student is supposed to be.</p> <p><em>Jarrett Hoffman ’14 is a freelance writer and clarinetist based in New York.</em></p> <hr> <p><a href="/events/candide">Candide</a> <em>performances are at 8 p.m Thursday, March 9 through Saturday, March 11 and at 2 p.m. on Sunday, March 12. Tickets are $10; $8 for students available <a href="/tickets/event-details?EventId=2801">online</a> and through <a href="/artsguide/ticket-information">91ֱ�� Central Ticket Service</a>.</em></p> </div> </div> </div> </article> <article> <h1>91ֱ�� Opera Theater Presents "Candide" March 9-12</h1> <p>jreinier — Wed, 01 Mar 2023 22:55:34 +0000</p> <span>91ֱ�� Opera Theater Presents "Candide" March 9-12</span> <span><span>jreinier</span></span> <span><time datetime="2023-03-01T17:55:34-05:00" title="Wednesday, March 1, 2023 - 17:55">Wed, 03/01/2023 - 17:55</time> </span> <div class="text-content field field--name-body field--type-text-with-summary field--label-hidden field__item"><p>Voltaire’s message was just as relevant in the 1950s, when Leonard Bernstein turned the novel into an operetta in collaboration with Lillian Hellman, John LaTouche, and Richard Wilbur; and <em>Candide</em> continues to be a touchstone for comic opera today. </p> <p>91ֱ�� Opera Theater presents the production from Thursday, March 9 through Sunday, March 12. The production is double cast, with one cast performing on Thursday and Saturday, and another cast on Friday and Sunday.</p> <figure class="captioned-image obj-left"> <figcaption>Dr. Pangloss (Evan Tiapula) instructs his pupils.<br> Credit: Joshua Reinier</figcaption> </figure> <p>In the opera, the hapless Candide studies under the tutelage of Dr. Pangloss, a philosopher expounding on the ideals that all that exists must be for the good. After being banished from the “best of all possible houses” in the country of Westphalia—where he was to be married to his betrothed, Cunegonde—Candide follows a winding series of misadventures that might not follow from Pangloss’ optimistic philosophy: the supposed deaths of both Pangloss and Cunegonde; the trials of the Inquisition; a disastrous earthquake; and a good measure of double-crossings. </p> <p><em>Candide</em> balances many dualities: hope and tragedy, a foreboding political message conveyed with a witty and playful tone, and existing both as a masterful operetta and a satire of one. The piece incorporates influences from Mozart to Gilbert and Sullivan, blending them into Bernstein's unique musical style. </p> <figure class="captioned-image obj-left"> <figcaption>Jonathon Field<br> Credit: Tanya Rosen-Jones</figcaption> </figure> <p>Director Jonathon Field shares, “<em>Candide</em> is one of Leonard Bernstein's finer works. It’s a piece that transmits both hope and irony, and shows us the remarkable strength of the human spirit. It is a piece that is more of a musical than an opera, and it’s brought to life by our remarkable cast and production staff.”</p> <p>The team that has prepared 91ֱ�� singers for this production includes conductor <a href="/raphael-jimenez">Raphael Jiménez</a>, guest choreographer <a href="https://cboudreaux.com/">Colette Boudreaux</a>, opera coach <a href="/kyung-eun-na">Kyung-Eun Na</a>, and voice professor <a href="/mathilda-edge">Mathilda Edge</a>, who assisted the singers in their diction.</p> <p>Edge shares, “It was such fun to work with the casts of <em>Candide</em> on this production! They each came to their English diction coachings with their own creative ideas and understandings about who their characters are and how that might be portrayed through their English dialects and accents.”</p> <p>This production will be Field’s final one at 91ֱ��, as he will retire at the end of this academic year. Over his notable career, Field has directed many operas—at 91ֱ�� and with professional companies including Lyric Opera Cleveland, the Lyric Opera of Chicago, the San Francisco Opera’s Western Opera Theatre, and the Arizona Opera. </p> <figure class="captioned-image"> <figcaption>Field (right) coaches students in the production. Credit: Joshua Reinier</figcaption> </figure> <p>At 91ֱ��, Field created ways to give students experiences on the leading edge of opera performance. He directed the American premiere of Olga Neuwirth’s <em>Lost Highway</em>, based on the David Lynch film of the same name, in a collaboration between 91ֱ��'s Division of Contemporary Music and New York City’s Miller Theatre. He also directed the world premiere of the jazz opera <em>Leave Me Alone</em>, in partnership between 91ֱ�� and Real Time Opera—and significant for being one of the first productions to be broadcast on the Internet. Field was also an early pioneer of implementing projections as an integral part of operatic sets, an idea that is now ubiquitous across contemporary opera stages.</p> <p>Bernstein’s masterpiece went through a nearly forty-year-long creative process, beginning with the original Broadway production in 1956 to a fifth and final version in 1989 completed less than a year before the composer’s death in 1990. 91ֱ�� will perform the 1988 Scottish Opera House version that includes additions to the libretto from Stephen Sondheim.</p> <p>Reflecting on his career at 91ֱ��, Field shares, "While here I have tried to teach my students both creativity and endurance, so that they can imagine what they want to become, and have the tenacity to achieve it. <em>Candide</em> has helped all of us work on those things."</p> <p>91ֱ�� Opera Theater performs on the campus of 91ֱ�� in Hall Auditorium. The four-performance run of opens at 8 p.m. on Thursday, March 9 with evening performances on Friday and Saturday, March 10 and 11. A 2:00 p.m. matinee on Sunday, March 12 closes the production. General admission tickets are $10; $8 for students.</p></div> <div class="field field--name-field-news-subhead field--type-string field--label-hidden field__item">This production marks the final main stage performances at 91ֱ�� by retiring director Jonathon Field</div> <div class="field field--name-field-news-type field--type-entity-reference field--label-hidden field__item">News Story</div> <div class="field field--name-field-news-date field--type-datetime field--label-hidden field__item"><time datetime="2023-03-01T12:00:00Z">Wed, 03/01/2023 - 12:00</time> </div> <div class="field field--name-field-news-author field--type-string field--label-hidden field__item">Joshua Reinier</div> <div class="text-content field field--name-field-intro-text field--type-text-long field--label-hidden field__item"><p> </p> <p><em>Candide, or Optimism</em>, was first published anonymously in 1759 by Voltaire, constituting the French satirist’s response to the tragedy of an earthquake that practically destroyed Lisbon, and questioning the prevailing philosophy of the time that we live in “the best of all possible worlds.” </p></div> <div class="field field--name-field-news-tags field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?tag=3873">91ֱ�� Opera Theater</a></div> <div class="field__item"><a href="/news?tag=2356">Conservatory</a></div> </div> <div class="field field--name-field-news-programs field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/news?program=32971">Opera Theater</a></div> </div> <div class="field field--name-field-news-faculty field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/kyung-eun-na" hreflang="und">Kyung-Eun Na</a></div> <div class="field__item"><a href="/mathilda-edge" hreflang="und">Mathilda Edge</a></div> <div class="field__item"><a href="/raphael-jimenez" hreflang="und">Raphael Jiménez</a></div> </div> <div class="field field--name-field-news-departments field--type-entity-reference field--label-hidden field__items"> <div class="field__item"><a href="/conservatory/divisions/vocal-studies" hreflang="und">Vocal Studies</a></div> </div> <div class="field field--name-field-news-pin-school-page field--type-boolean field--label-hidden field__item">Off</div> <div class="field field--name-field-news-photo-gallery-top field--type-boolean field--label-hidden field__item">false</div> <div class="field field--name-field-news-image-credit field--type-string field--label-hidden field__item">Joshua Reinier</div> <div class="field field--name-field-news-media field--type-entity-reference field--label-hidden field__item"> </div> </article> </main></body></html>