Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Cold Mountain, Philadelphia

Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.

Christian Gerhaher Wolfgang Rihm Wigmore Hall

For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.

Götterdämmerung in Palermo

There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.

Robert Ashley’s Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).

Orpheus in the Underworld, Opera Danube

I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.

Lady Macbeth of Mtsensk in Lyon

This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.

Tosca, Royal Opera

Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.

Classical Opera: MOZART 250 — 1766: A Retrospective

With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.

Benjamin Appl — Schubert, Wigmore Hall London

Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.

Ferrier Awards Winners’ Recital

The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.

Tippett : A Child of Our Time, London

Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.

Taverner and Tavener, Fretwork, London

‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.

Fall of the House of Usher in San Francisco

It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.

The Merry Widow at Lyric Opera of Chicago

For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.

OPERA TODAY ARCHIVES »

Performances

A scene from Shadowboxer [Photo by Cory Weaver/University of Maryland - College Park]
24 Apr 2010

Shadowboxer — A Tormented Joe Louis

From the Maryland Opera Studio comes a riveting new opera that transforms the life of American boxing legend Joe Louis (“The Brown Bomber”) into an epic tale of human struggle, triumph, and failure.

Shadowboxer: Music by Frank Proto to a libretto by John Chenault

Joe Louis: Jarrod Lee; Young Joe: Duane Moody; Marva Trotter: Adrienne Webster; Max Schmelling: Peter Burroughs; Lillie Brooks: Carmen Balthrop; Jack Blackburn: VaShawn McIlwain; Julian Black: Robert King; John Roxborough: Benjamin Moore; Ring Announcer: David Blalock; Beauty #1: Madeline Miskie; Beauty #2: Amelia Davis; Beauty #3: Amanda Opuszynski; Reporter #1: Andrew Owens; Reporter #2: Andrew McLaughlin; Reporter #3: Colin Michael Brush; Joe the Boxer: Nickolas Vaughn; Joe’s Opponents: Craig Lawrence. Leon Major, director. Timothy Long, conductor. Clarice Smith Center, University of Maryland — College Park.

Above: A scene from Shadowboxer

All photos by Cory Weaver/University of Maryland — College Park

 

Directed by Leon Major and authored by librettist John Chenault and composer Frank Proto, this work will capture the imagination of opera lovers and sports fans alike.

Shadowboxer tells the story of Joe Louis, the African-American boxing legend who held the heavyweight boxing title from 1937 until 1949. Despite widespread racism in the United States during this period, Louis became a national hero. In his fights against German boxer Max Schmelling in particular, Louis’s life in the ring came to symbolize the larger political struggle between democracy and Nazism that was central to World War II. Thus many Americans tuned in to Louis’s fights in hopes that his victory in the ring could also signal a political and ideological victory for America and the Allies. His story came to symbolize something greater than one man’s journey, and the far-reaching significance of his life was what first captured the imagination of Maryland Opera Studio’s Artistic Director Leon Major.

Ask Major about the genesis of Shadowboxer, and he will inevitably recount his childhood memories of the famous 1938 rematch between Louis and Schmelling, during which Louis scored a knockout in the first round. Thus his fascination with Louis dates back many years. In fact, Major had been toying with the idea of an opera based upon the life of Louis for over two decades before approaching John Chenault and Frank Proto. Their creative collaboration spanned a period of roughly two years, and culminated with a series of performances at the Clarice Smith Performing Arts Center that began on April 17th and runs through April 25th.

Though Shadowboxer is based upon the life of a boxing legend, it is not confined to the boxing ring. Rather, it is a psychological drama that takes place in the landscape of Joe Louis’s mind. During the final moments of his life at his Las Vegas home, an elderly Louis is forced to confront a barrage of vivid and painful memories that become increasingly fragmented and incoherent as death draws near. The opera is a portrait of Louis’s final moments and the nightmarish fantasies that he must grapple with as he reflects upon his trials, triumphs, and failures. Chenault transforms the life of this American hero into a sweeping tale of human struggle, victory and defeat, suffering and joy.

The musical score of Shadowboxer is equally broad in its scope. Frank Proto drew upon his decades of experience as a composer and performer of classical music, jazz, and even Broadway show tunes to create a musical language that is as multifaceted as his musical background. Far from being a stylistic hodgepodge, however, Proto’s score captures the phantasmagoric nature of Louis’s consciousness and is an apt musical counterpart to the drama onstage. Shifting between a dissonant 21st-century idiom and a jazz-infused style that draws inspiration from American popular music of the 1930s and 40s, Proto’s score reflects the sounds of Louis’s heyday as they would be remembered in the murky recesses of the boxer’s deteriorating mind. Under the direction of conductor Timothy Long, the singers and instrumentalists of the University of Maryland give a compelling performance of Proto’s imaginative score.

_MG_3024.png

The opera’s intriguing storyline and music should be enough to arouse curiosity in most music and sports lovers, but for those who are still not inspired to swing by the Clarice Smith Performing Arts Center this weekend, Major’s staging of the production should provide further incentive. Major does not simply approach Shadowboxer using a traditional arsenal of production tools. Rather, he considers how the cinematic and visual “literacy” of today’s audience members make them particularly receptive to the use of multimedia technologies in the performing arts, and he incorporates those technologies with a discerning eye. Multimedia designers Kirby Malone and Gail Scott White join forces with scenic designer Erhard Rom, lighting designer Nancy Schertler, and costume designer David Roberts to create a synthesis between classic production techniques and modern technologies.

Rom’s deconstructed stage design functions as the ideal backdrop for Schertler’s expressive lighting, which is used to convey the variegated landscape of Joe’s mind. At times, Schertler spatters the stage with dispersed beams of light and shadow, which serve as a visual counterpart to Louis’s fractured memory. During other scenes, she envelops the stage in suffocating ashen shades that — combined with grey costumes and a choir of masked faces––project Louis’s isolation and confusion as he sifts through hazy memories and painful emotions. Especially memorable is the scene in which Louis’s wife Marva sings her heart-wrenching aria “I love the man who isn’t there” immediately after handing her husband divorce papers. Schertler captures the mental anguish of both characters by bathing the stage in an eerie red glow. As Marva sings over martial rhythms played by the orchestra, her towering shadow looms above Louis, a devastating reminder of the torment he caused her by his womanizing lifestyle.

The asymmetric shapes and contoured screens of Rom’s stage design also pair well with the digital projections of Malone and Scott White. Avoiding naturalistic backdrops in favor of expressive abstractions, Malone and Scott White create a living world of action onstage. Their projections function as settings, dreamscapes, and reflections of Louis’s mind. Cloudy images of black and white shadows communicate Louis’s mental confusion and muddled memory, whereas projected details of the boxing ring set the scene, without suggesting a concrete reality. Photographs and newspaper headlines from Louis’s fights in the years leading up to World War II are juxtaposed with scenes of the raging war in Europe, thereby indicating how his victories in the ring were perceived as political and ideological triumphs. In this manner, the projections become characters in their own right, commenting upon the action and communicating the far-reaching implications of Louis’s life in the ring.

Such incorporation of modern technologies in opera is likely to make most traditionalists uneasy, but Malone and Scott White leave no doubt as to their artistic integrity. Their incorporation of new media not only enhances the psychological drama onstage, but also helps to make the production contemporary and relevant to a 21st-century audience.

Finally, we turn our attention to those artists who breathe life into the score and libretto of Shadowboxer, the performers themselves. Composed primarily of singers from the Maryland Opera Studio, this cast of performers includes many vocalists who will likely have successful singing careers upon leaving the University of Maryland. This is certainly true of Jarrod Lee, whose portrayal of old Joe Louis is, without a doubt, the highlight of the show. With a rich baritone voice that seems to glide effortlessly through even the most demanding passages, Lee gives a performance that is both musically refined and poignantly acted. His sensitive portrayal of Louis is the crux of the show’s effectiveness as a psychological drama. University of Maryland faculty member Carmen Balthrop also gives a captivating performance and nearly steals the show with her stirring portrayal of Louis’s mother. Also noteworthy are Adrienne Webster (Marva Trotter, Louis’s wife) and VaShawn McIlwain (Jack Blackburn, Louis’s trainer), whose impressive vocal abilities are matched by their talent for dramatization. Less impressive is Duane Moody’s portrayal of young Joe Louis. Moody does not convincingly project the youthful vigor and tenacity of the heavyweight boxer. Furthermore, his performance emphasizes the boxing champion’s vices, but fails to effectively communicate his dignity and humanity.

In spite of this single shortcoming, Shadowboxer is well worth the trip to College Park, and one can only hope that its premiere at the University of Maryland will inspire future performances. In an era when opera must compete with mass consumerism and digital technologies, it is refreshing to see a new work that merges the performing arts with new media, and that explores timeless themes in more contemporary contexts.

Kate Weber-Petrova
University of Maryland

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):