opera cleveland bravo, vol. 2, 2010

opera clevelandBRAVO!Vol. 2, 2010 • www.operacleveland.org

IfyousawOperaCleveland’sproductionofLa bohèmein2008,yousawthesuccessfuloutcomeofacollaborationbetweendirectorTomerZvulunandsetdesignerErhardRom.ThetwoarebackinClevelandthisspringtoproduceLucia di Lammermoor.ButpreparinganewproductionoccurslongbeforeZvulunandRomsetfootinNortheastOhio.AlongwithArtisticDirectorDeanWilliamsonandlightingdesignerRobertWierzel, theyhavebeenworkingonLuciaforoverayear. The concept starts with the director. “Ispendhourswith the librettoand thestoryfirstandtrytofigureoutwhattheyevokeinme,”Zvulunexplains.“ForLuciathatmeant

A mARRiAge Of the minds

reading the Italian libretto again and again,alongwiththeEnglishtranslation,theoriginalWalterScottstory‘TheBrideofLammermoor,’andasmuchasIcouldgatheraboutDonizetti’slifeandthehistoryofthepiece.ThenIlistento

asmanyrecordingsasIcanALLTHETIME.Finally,Istopandthinkaboutthepieceandthefeelingsandthoughtsitcreatesinmeandhope

GrandOperaBall

Opera Cleveland Trustees Melody Morgan-Minott, MD, Marilyn MacLeod and Viia Beechler, who also co-chaired the ball.

Honorary ball chairs Drs. Michael and Joanne Schwartz.

The swell of bagpipes greetedgueststotheGrandOperaBallonApril 10, at the IntercontinentalHotel.Over200operaloversandcommunitymembersgatheredtocelebrate the start of our 2010-11 season and to help supportthe company. In honor of Lucia di Lammermoor, which is set inScotland,guestsenjoyedaScottishtheme,withsomeevendressingintartanorfullkiltedregalia.

>>See more on page 3

>>Continued on page 3

A rendering of the start of the ballroom scene in Lucia di Lammermoor, by set designer Erhard Rom.

Lucia di Lammermoor benefits from strong collaboration among artistic staff

Ball ChairsViia BeechlerPauline Ramig

honorary ChairsDrs. Michael and Joanne Schwartz

leader

PatronsAlcoaViia & Bill BeechlerRamig Financial Planning

FriendsMichael Benza & Associates, Inc.Jenny & Glenn BrownAndrew & Katherine KartalisKeyBankMarilyn C. MacLeodOM GroupParker HannifinSchottenstein Zox & Dunn Co. Ulmer & Berne LLP

Kings & QueensSusan BiancoGary BombeiRosalyn BombeiDonna D’AttomaPeter D’AttomaFirstMeritPeggy DemitrackThomas DemitrackGailmarie FortBarbara LeirvikRonald LeirvikMelodie Morgan-Minott, M.D.Howard B. Minott, M.D.

that ideascome. Imagesandthoughtsbegin tobuild,andthenItrytoputthemalltogethertoseeifIcantellacoherentstorybasedonthem. “Thencomesmyfavoritepartofthewholeprocess: meeting with the designers,” Zvulunadds. ThechallengequicklybecamehowtostageLucia on a strict budget without sacrificingartistic quality and concepts. “Tomer and Iagreed there was only one rental set out therethatwecouldlivewith,butwebothdidn’tcareforitatall,”Williamsonnotes.“SoIdecidedtoask Erhard and Tomer if it was possible to dotheideaofaredesignedsetforthesamepriceaswhatitwouldcosttorentone.” It occurred to Rom that “for some time IhadinthebackofmymindthataMacbethsetIdesignedyearsagoforLyricOperaofKansasCity might be a really good usable space thatcouldlenditselftoatransformationintoanewconceptually interesting design for Lucia. Thatstartedarealdiscussion.” “Kansas wanted to get rid of the Macbethset,” Williamson explains. “And we sold themthe remains of our Giulio Cesare set when weneededmoreroominourwarehouse,soitwasaverymutuallybeneficialarrangementforbothcompanies.” “TomerandIstartedtotalksothatwecoulddecipherhowmuchofwhatheimaginedwithinthispiececouldfitinsidetheexistingshellfromtheMacbethset,”Romsays. “ForLucia, therewereafewstrongimagesthat kept popping into my mind,” Zvulundescribes.“Ahuge,imposingpaintingofLucia’smother in Enrico’s office, an image of a ghostbridecarryingaweddingbouquetandappearingin Lucia’s mind, and doors opening to reveala bloody bedroom where a horrific murderhappened. “As we began tailoring everything to workon theexistingset,”Zvuluncontinues. “ErhardandRobertbroughtnewideastothetableandrefined and added to the ones I already had.” This creative process could easily bestymied by a director’s rigid vision, but Zvulunis encouraged by the possibilities inherent incollaboration. “IfTomerhadcomewitha lotofpreconceivednotionsaboutthepieceandwhatthevisual imageryhadtobe, thewhole idea,whichwill save the company a small fortune,mightneverhavebeenpossible,”Romsays. “Thesetallowsustorevealmultipleimagesbehind thedoorsandchange locationsquicklyand seamlessly,” Zvulun says. To transport theaudience into different locations and statesof mind, they are utilizing projected images

on the set. Increasingly, opera companiesare harnessing this technology to enhancestage sets and to produce effects they mightotherwisebeunabletodo. “ItismyresponsibilitytodeliverthemostpowerfulvisualimageryIcandreamupforthepiece,”Romsays.This senseof responsibilityas well as keen creative vision and strongcollaboration is what makes a productionworkwell. “The artistic vision we bring is a verypersonal thing,” Rom continues. “And thehonestyoftheworkwillshowthroughwhenitcomesfromwithin.”

most difficult piece i sing: Faust

All-time favorite singer: MiguelFleta

favorite movie: The Fisher King

i can’t go onstage without: Organicgingerhardcandy.Anyonegotany?

three things i can’t live without:iPod,iPhone,Skype

i knew i wanted to be an opera singer when:IwatchedCarmenwithMaazel,MigenesandDomingoforthefirsttime.

Latest Cd i purchased: BadenPowell:GoldEdition

favorite composer: FranciscoTarrega

dream role: Werther

favorite part about role in Lucia: Edgardo’sfierytemper

Web sites i always visit: ProjectGutenberg

What i hate most about life on the road:Packing

favorite book: Wuthering Heights

if i hadn’t become a singer, i would have:SpecializedinMedicine.

Get to know some of our Lucia di Lammermoor soloists

scott piper[Edgardo]

nili riemer [Lucia]

philippe pierce [Normanno]

if i hadn’t become a singer, i would have:PursuedmyotherdegreeworkininternationalrelationsandMiddleEastpolicy.

dream role:ZerbinettainAriadne auf NaxosbyStrauss

Least favorite opera:Idon’tthinkI’veheardoneyetthatdoesn’thavesomethingIlike.

While i’m in Cleveland, i plan to see/go to:Asmuchaspossible,andI’mopentorecommendations!

favorite book: Haroun and the Sea of StoriesbyRushdie

All-time favorite singer:EllaFitzgerald

i knew i wanted to be an opera singer when:IrealizedmemorizingmusicandwordsinotherlanguagesformydictionclasswasmuchmorefunthanmemorizingtheformulasforpriceelasticityofdemandandGDPdeflatorsinmyeconomicsclasses.

What i hate most about life on the road: Iactuallylikeit!Meetingnewpeople,exploringnewcities.IjustwishIcouldtakemywholeclosetandALLofmyshoeswithmeinsteadofonecarryonandonecheckedsuitcase.

first piece i ever sang:“DehVieniallafinestra”fromDon Giovanni(Ireallywantedtobeabaritonebackthen)

i can’t go onstage without:Havingeatenabanana.ThepotassiumandVitaminBcalmmynervesandgivemelong-lastingenergy.

favorite part about role in Lucia di Lammermoor:Iamtheveryfirstpersontosing!

three things i can’t live without:Myfrequentflyercards,comfortableshoesandcheese

i knew i wanted to be an opera singer when:IwasthrownoutoftheOperaComiqueatintermissionwhenIwasseven.Iwasveryenthusiastic,andwavingmyarmsaroundliketheconductorduringactI–itwasdistractingthesingers.

if i hadn’t become a singer, i would have:learnedhowtodance

dream role:LeChevalierdelaForceinPoulenc’sDialogue of the Carmelites.

Web sites i always visit:CarltheOperaChicken’sblog,FailblogandtheNYTimes

What i hate most about life on the road:I’mnottheretoseemyniecegrowup

GrandOperaBall

Above left: Mary Schiller and Clifford BillionsAbove right: Eric Hummer and Jennifer HerholdLeft: Thomas and Susan AllenAbove: Ball guests

ALL pHOTOS By: ERiC MuLL

A mARRiAge Of the minds continued from page 1

A rendering of the Lucia di Lammermoor set by set designer Erhard Rom. This scene shows Enrico’s study, with the large imposing photograph of Lucia and Enrico’s mother on the wall.

the grand opera Ball was made possible with support from:

Linda OlejkoJohn OlejkoPease & AssociatesLaura PedersenRichard J. RennellBradford RollerDr. Joanne SchwartzDr. Michael SchwartzDr. Gerard SeltzerPhyllis Seltzer

Ball CommitteeBill BeechlerSusan BiancoWilliam ColeTom DemitrackRichard DempseyNikki DiFilippoTracy GlennBrenda GreathouseJane HaylorGeorge KitzbergerDick KnothDr. Kandice MarchantBarbara Strom

see more photos online at flickr.com/operacleveland

see more photos of the Lucia set renderings at operacleveland.org.

Math + Music = Fun Did you loathe multiplication tables andlong division when you were a kid? Maybe mathwouldhavebeenmore fun ifyouwereoneof thestudents at Washington Elementary in LorainwhowasparticipatingintheMaththroughMusicprogram.OperaClevelandisproudtoapplyMusic!Words!Opera! (MWO) to thisprogram inoneofWashington’sclassrooms. Because MWO can be applied across thecurriculum,it’sanaptfitformathematics.InMWO,students first study a traditional and accessibleopera.Thentheyusetheirunderstandingtocreatean opera of their very own. Guided by an OperaClevelandMusicMentorandtheirownteacherinseveral sessions, students write a libretto (operastory),compose themusicandperformtheirnewopera. IntheMaththroughMusicprogram,studentssimultaneouslystudyarthimeticandmusic,sobothsubjectsreinforceeachother.

Students at Washington Elementary in Lorain rehearse during a Music! Words! Opera! session. Through the program, they are honing their math skills through the study of music.

Lucia di Lammermoor SynopSiSSetting: The grounds of Ashton Castle, Scotland in the 1930s

ACt iEnrico Ashton is concerned about his position as Lord of Lam-mermoor. So he arranges a marriage between his sister, Lucia, and Arturo, to improve his status. But Enrico’s right-hand man Normanno reveals Lucia is in love, ostensibly with Edgardo—a family enemy. Enrico is furious.

Lucia meets with Edgardo and secretly exchange rings.

ACt iiSeveral months pass with no word from Edgardo. Lucia re-luctantly agrees to marry Arturo. Normanno has intercepted Edgardo’s letters, and produces a forgery in their place. When Lucia is presented with the fake letter, she faints after reading its contents — Edgardo no longer loves her.

Lucia sorrowfully signs the wedding contract. Moments later Edgardo bursts into the room. Believing that Lucia still loves him, Edgardo is stunned when shown the marriage contract bearing her signature.

ACt iiiAfter the wedding, Lucia and Arturo have retired to their bed-room. But a gun shot is heard, and the large doors to their room are opened, revealing Lucia sitting in a blood-covered bedroom. She has killed Arturo. Lucia stumbles before the guests, obviously mad. She uses a knife she finds to slit her wrists.

Edgardo waits for Enrico in the graveyard, intending to sur-render himself. A procession of mourners tell him that Lucia is dead. Edgardo sings his last aria to the ghost of Lucia that only he—and the audience—can see. He then stabs himself.

PResidentDr. pauline F. Ramig

ViCe PResidentViia R. Beechler

seCRetARY/tReAsUReRGary V. Bombei

eXeCUtiVe COmmitteeBruce H. AkersMargaret Anne CannonThomas DemitrackRitu Furlan Barbara LeirvikMarilyn C. MacLeodKandice Marchant, ph. DMelodie Morgan-Minott, M.D.

Nicholas peaypeter L. Rubin

tRUsteesThomas S. AllenSteven R. BenzaWilliam p. Blair, iiiDr. Glenn R. BrownRichard Dempsey

Nikki DiFilippoRichard M. KnothValarie McCallJohn G. McDonaldAntoinette S. MillerSue peayBrad RollerNancy SchusterDavid L. Simon

AdVisORY BOARdBruce H. AkersDr. Nathan BergerGerald ChattmanRand M. CurtissRonald K. LeirvikAlex MachaskeeRichard W. pogueCharles A. Ratner

Robert S. ReitmanBarbara S. RobinsonDr. Joanne Rand SchwartzEdwin Z. Singer

B o A R D o F D i R e C t o R S

william ColeExECuTiVE DiRECTOR

SuStAinABility iS moRe thAn BeinG GReen

You probably know opera is a victim of myriad stereotypes.There’stheubiquitousassociationofthe“fatladywithhorns.”There’stheimplicationofitsbeinghighcultureandinaccessible.There’stheideathatnoonebelowtheageof30iswelcomeorcanappreciatethe art form. You probably also know that these stereotypes are

inaccurate.Ifyoudon’t,therearetwo Opera Cleveland attendeeswhocantellyou. Alicia Furlan, age 11,andMaxFurlan,age9,havebeengoing to the opera for the pastfour years. “It’s not boring likeeveryonethinksitis,”Aliciasays.“It’sactuallyreallyinteresting.” “[Opera has] a morecomplex story,” she explains.“It’s a little harder to follow,but you can read the synopsis.”Nonetheless, the Furlan siblingsstarted attending operas beforetheywereevenadeptat reading

and still found enjoyment in just listening to the music and thetheatricsonstage.“Imostlyfollowedtheaction,”Maxsays.“NowIcanfollowthestory.Thesurtitleshelp.” ThefactthatoperaismostoftensunginadifferentlanguageisoneoftheinterestingpartsoftheexperienceforMax.“IlikehearingwordsinadifferentlanguageandthenreadingwhatitmeansonthesurtitlesinEnglish,”hesays. Inadditionto listeningandfollowingalongwith thesurtitles,there’salwayssomethingtolookatonstage.“Ialwaysthinkthesetsarereallycool,”Alicianotes.Occasionally,shewillbringbinocularstohoneinonstage. AliciaandMaxdon’tspendalotoftimepreparingfortheopera.Sometimes their mother will share information from the Internetaboutaproductionandtheywillreadthesynopsis.However,theyhavebeentoaMeettheCasteventpriortoaperformance.“Wegottomeetallthesingersandrealizetheyarerealpeople,”Aliciasays.“Then when they’re on stage, we know who they are. We actuallyhaveaconnection.” Whiletheyenjoytheoperaitself,AliciaandMaxalsoenjoytheexperienceoftheevening, likediningatBriccoorStarrestaurantsbeforehand.Theyagreethatyoushouldgetatleastalittledressedupfortheopera,butnottoofancy.

In last month’s Bravo!, you read about how OperaClevelandhasestablished theGreenOpera Initiative for thecompany. This initiative challenges us to implement moresustainablepoliciesandtakeactionstohelplessenourimpacton the environment. But it’s also part of the larger idea ofsustainabilitythatguidesOperaCleveland. Just as we strive to sustain the environment throughcreativeandpracticalmeans,wemustsimilarlythinkcreativelyandpragmaticallytosustainthecompany.Wewanttocontinueproducing excellent opera but in a way that sustains ourcompany—toensurewearehereintwentyyears. Arts organizations have always walked a tightrope inregardtofunding.Itshouldgowithoutsayingatthispointthattheeconomyhasruthlesslychallengedtheartscommunityinthepasttwoyears.Sustainabilityiskey,andartsorganizationsaremovingtowardcollaborationsandpartnershipstobolstertheirsurvival.OperaClevelandisnoexception—ithasbecomeimperative for us to reach out to the community and buildpartnerships. AswelooktothefutureOperaClevelandwillbeexploringwaystobringmoreoperatothebroadercommunitythroughestablishingpartnershipsthatwillfocustheresourcesofseveralorganizationintoonesharedcommunityasset.Collaborativerelationships between organizations don’t only benefit therespectivepartners.Theyalsobenefityou—asapatronandasadonor.Thefutureisaboutleveragingyour$1tohelpsupportmorethanoneorganization. Opera Cleveland is eager to turn the challenges theeconomyhaspresentedintosomethingpositive—thechancetopursuecommunitypartnershipsthatenhanceourmission.

kid tested, kid approvedOPERA

Whatwouldtheysaytosomeoneintimidatedbygoingtotheopera? “It’s actually relaxing—the music and the singing,” Maxreplies.“Iwouldtellthemtoleanbackandlistentothemusic.Iseealotofpeopleclosetheireyesforabitandjustlisten.”

Siblings Alicia and Max Furlan give the thumbs up to opera.

Non-profit Org.uS postage paidCleveland, OHpermit # 3194

The George Gund Foundation

The Kulas Foundation

Martha Holden Jennings Foundation

The John p. Murphy Foundation

The William J. and Dorothy K.

O’Neill Foundation

WiLL COLe Executive Director216.575.0903, ext. 232

deAn WiLLiAmsOnArtistic Director216.575.0903, ext. 219

LisA hOfmAnn EditorpR & Communications Manager216.575.0903, ext. 216

Opera Cleveland is a 501(c)(3) non-profit corporation. 1422 Euclid Avenue, Suite 1052, Cleveland, OH 44115www.operacleveland.org

BRAVo! is published periodically by Opera Cleveland unDeRwRiteRS

Northern Ohio Opera League

Ruth and ElmerBabin Foundation

Harry K. & Emma R. Fox Foundation

Ann & Gordon Getty Foundation

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enRiCh YOUR OPeRA eXPeRienCeTakeadvantageofOperaCleveland’sofferingsthatcanmakeyournightattheoperamorespecial.

Before each performance,joinusonehourbeforeeachcurtainintheStateTheatreforaPre-OperaTalk.You’llgainfascinatinginsightsintoLucia di Lammermoorfromalocaloperaexpert.FREEforallticketholders.

after the curtain goes down, stick around and learn more about the production at a Post-ShowDiscussion. Artistic Director and Conductor Dean Williamson will lead these informal–and always enlightening-discussionsafterselectpeformances.

celeBrate opening nightofLucia di LammermoorinelegantstyleatourOpeningNightDinner.JoinusonThursday,May20,attheWyndhamHotel.Cocktailsbeginat5:30pm,withdinnerat6pm.FormoreinformationortoRSVP,contactTracyGlennat216.575.0903,[email protected].

if you have been a Friday subscriber, please remem-ber that our openinG niGht hAS SwitCheD to thuRSDAy. These Thursday evening perfor-mances will now start at 7:30 pm.

lucia di lammermoor

Thursday, May 20 at 7:30 pm

Saturday, May 22 at 8 pm

Sunday, May 23 at 2 pm

By GAETANO DONiZETTi

STATE THEATRE, pLAyHOuSESquARE

opera cleveland bravo, vol. 2, 2010

Documents

lammermoor benefits

honor of lucia

designer erhard rom

williamson erhard andtomer

honorary ball chairs

strong collaboration

f marriage

itwas possible