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

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

Back to Baroque and to the battle lines with English Touring Opera

Romeo and Juliet, Rinaldo and Armida, Ramadès and Aida: love thwarted by warring countries and families is a perennial trope of literature, myth and history. Indeed, ‘Love and war are all one,’ declared Miguel de Cervantes in Don Quixote, a sentiment which seems to be particularly exemplified by the world of baroque opera with its penchant for plundering Classical Greek and Roman myths for their extreme passions and conflicts. English Touring Opera’s 2017 autumn tour takes us back to the Baroque and back to the battle-lines.

Gluck’s Orphée et Eurydice at Lyric Opera of Chicago

Christoph Willibald von Gluck’s Orphée et Eurydice opened the 2017–18 season at Lyric Opera of Chicago.

Michelle DeYoung, Mahler Symphony no 3 London

The Third Coming ! Esa-Pekka Salonen conducted Mahler Symphony no 3 with the Philharmonia at the Royal Festival Hall with Michelle DeYoung, the Philharmonia Voices and the Tiffin Boys’ Choir. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's 34-year relationship with Salonen.

King Arthur at the Barbican: a semi-opera for the 'Brexit Age'

Purcell’s and Dryden’s King Arthur: or the British Worthy presents ‘problems’ for directors. It began life as a propaganda piece, Albion and Albanius, in 1683, during the reign of Charles II, but did not appear on stage as King Arthur until 1691 when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly.

Anne Schwanewilms sings Schreker, Schubert, Liszt and Korngold

On a day when events in Las Vegas cast a shadow over much of the news this was not the most comfortable recital to sit through for many reasons. The chosen repertoire did, at times, feel unduly heavy - and very Germanic - but it was also unevenly sung.

The Life to Come: a new opera by Louis Mander and Stephen Fry

It began ‘with a purely obscene fancy of a Missionary in difficulties’. So E.M. Forster wrote to Siegfried Sassoon in August 1923, of his short story ‘The Life to Come’ - the title story of a collection that was not published until 1972, two years after Forster’s death.

Aida opens the season at ENO

Director Phelim McDermott’s new Aida at ENO seems to have been conceived more in terms of what it will look like rather than what the opera is or might be ‘about’. And, it certainly does look good. Designer Tom Pye - with whom McDermott worked for ENO’s Akhnaten last year (alongside his other Improbable company colleague, costume designer Kevin Pollard) - has again conjured striking tableaux and eye-catching motifs, and a colour scheme which balances sumptuous richness with shadow and mystery.

La Traviata in San Francisco

A beautifully sung Traviata in British stage director John Copley’s 1987 production, begging the question is this grand old (30 years) production the SFO mise en scène for all times.

The Judas Passion: Sally Beamish and David Harsent offer new perspectives

Was Judas a man ‘both vile and justifiably despised: an agent of the Devil, or a man who God-given task was to set in train an event that would be the salvation of Humankind’? This is the question at the heart of Sally Beamish’s The Judas Passion, commissioned jointly by the Orchestra of the Age of Enlightenment and the Philharmonia Baroque of San Francisco.

Choral at Cadogan: The Tallis Scholars open a new season

As The Tallis Scholars processed onto the Cadogan Hall platform, for the opening concert of this season’s Choral at Cadogan series, there were some unfamiliar faces among its ten members - or faces familiar but more usually seen in other contexts.

Stars of Lyric Opera 2017, Millennium Park, Chicago

As a prelude to the 2017-18 season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season.

Die Zauberflöte at the ROH: radiant and eternal

Watching David McVicar’s 2003 production of Die Zauberflöte at the Royal Opera House - its sixth revival - for the third time, I was struck by how discerningly John MacFarlane’s sumptuous designs, further enhanced by Paule Constable’s superbly evocative lighting, communicate the dense and rich symbolism of Mozart’s Singspiel.

Fantasy in Philadelphia: The Wake World

Composer and librettist David Hertzberg’s magical mystery tour that is The Wake World opened to a cheering sold out audience that was clearly enraptured with its magnificent artistic achievement.

A Mysterious Lucia at Forest Lawn

On September 10, 2017, Pacific Opera Project (POP) presented Gaetano Donizetti’s Lucia di Lammermoor in a beautiful outdoor setting at Forest Lawn. POP audiences enjoy casual seating with wine, water, and finger foods at each table. General and Artistic Director Josh Shaw greeted patrons in a “blood stained” white wedding suit. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats.

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

OPERA TODAY ARCHIVES »

Performances

Duane Moody (Young Joe), Madeline Miskie (Beauty #1), Amanda Opuszynski (Beauty #3) and Amelia Davis (Beauty #2) [Photo by Mike Ciesielski courtesy of University of Maryland -- College Park]
24 Apr 2010

Shadowboxer’s Left Jab

This month, the Maryland Opera Studio (MOS) at the University of Maryland, College Park, marked its spot in opera history with the world premiere of Shadowboxer, a jazz-infused opera based on the life of iconic American boxer Joe Louis.

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: Duane Moody (Young Joe), Madeline Miskie (Beauty #1), Amanda Opuszynski (Beauty #3) and Amelia Davis (Beauty #2) [Photo by Mike Ciesielski courtesy of University of Maryland -- College Park]

 

With music by Frank Proto and libretto by John Chenault, Shadowboxer culminated a twenty-five year old dream of MOS director Leon Major to bring Louis’s rags-to-riches-to-rags story to the opera house.

Longtime collaborators Proto and Chenault have written a challenging, provocative, and somewhat problematic work. It was skillfully produced, despite some writing flaws: Major and his MOS forces pulled out all the stops, with many saving effects that supported the sagging score. Chenault devised his libretto as a series of flashbacks the older Louis has after a heart attack. The main confusion arose with having three Joes onstage, often simultaneously. Older Louis watched as Young Joe (played by tenor Duane Moody) re-enacted his various flashbacks. Young Joe stood alongside older Joe during many scenes, mirroring his actions or even relating to him, and would blend in and out of the crowd. Two actors, playing Joe the Boxer (Nickolas Vaughn) and Joe’s Opponents (Craig Lawrence), mimed several of the famous boxing matches. The boxing actors brought to the stage the needed raw energy and passion raised during a fight. One wished for a single person to play Young Joe, who could also act the boxing scenes, or even one singer-actor throughout the show, rather than three. Luckily, Major imaginatively guided the interaction of the three Joes, so the confusion was less apparent.

Unfortunately, Chenault‘s solo lines for older Louis, which are certainly intended to be introspective, came across as rambling, and told rather than revealed the character’s thoughts. Proto’s angular musical lines did not aid these solo sections, but rather showed an accomplished instrumental composer struggling to set philosophical words. The result had too many moments of the older Louis singing challenging intervals, rather than well-crafted vocal lines setting a succinct script. Fortunately, Jarrod Lee (playing Old Joe) made music and drama out of the disjointed lines. What a relief near the end of Act II to hear Lee sing a real tune about life being beautiful!

Proto’s highly complex music includes a full pit orchestra, a 15-member singing cast and a choral ensemble, as well as the unique feature of an onstage jazz band. The jazz band adds the sound element of the era, not so much as period music, but as its musical descendant. Timothy Long expertly conducted the difficult score, and seemed quite at home directing the club-influenced method of throwing the tune back and forth between the band and the orchestra. Both ensembles played sensitively, and seemed at ease with the harmonic and rhythmic language of the score. When the full company was in action--reliving the fights or relating to each other--the entire production gleamed with energy.

_MG_3068.png

Often wearing faceless, half-skull masks, the choral ensemble acted as a Greek chorus, singing Proto’s Swingle-Singer-influenced harmonies with confidence, and often, chilling beauty. They gave voice to Louis’s memories of the moment. Each singer sat or stood near a black chair, symbolically lifting it up, turning it on its side, or switching it to another angle to move in or out of the action. Some of the best music, and the most notable performances, came from three sets of trios surrounding Louis. (Need we mention the recurring jazz trio, or even trinity, theme pervading the script?) VaShawn Savoy McIlwain gave a strong, earthy, no-nonsense performance as trainer Jack Blackburn. Along with McIlwain, Robert King (Julian Black) and Benjamin Moore (John Roxborough) rounded out this strong trio of men guiding Louis’s career. The Three Reporters, representing the press (Andrew Owens, Andrew McLaughlin, and Colin Michael Brush), offered solid vocal harmonies and acted with appropriate slime as they either kept their racism in check or pounced on Louis when he lost. The Three Beauties, depicting the wide variety of Louis’s female companions and sung by Madeline Miskie, Amelia Davis, and Amanda Opuszynski, melted over both young and old Joe. Their supple voices blended well, often using a straight vocal tone more akin to musical theatre or jazz.

Strong lead performances were given by professor Carmen Balthrop, who portrayed Louis’s mother, Lillie Brooks, with inner dignity, and deep, maternal emotion; Adrienne Webster (Louis’s wife Marva Trotter), who gave herself completely to the role with powerful, emotional singing; and Peter Burroughs, who generated the necessary bravado for German boxer Max Schmeling. Jarrod Lee gave an outstanding performance as he embodied the aged and broken Louis. He sang nearly ninety-five percent of the opera wheeling around in a wheel chair. The logistics and energy of continuing that for two hours was a feat unto itself. Exhibiting excellent musicianship, he sang the difficult, angular vocal lines with a commanding, emotional baritone throughout the opera. Lee is certainly a singer to watch in the future.

Set designer Erhard Rom brought ringside flavor to his stage with an open floor, the moveable black chairs, and three angular screens suspended from the ceiling, hugging the up, left and right stage perimeter. Lighting, hung from crisscrossed girders, added to the angularity of the stage, the screens, and the musical lines. Spotlights were often boxing-ring square, rather than the customary round spots. Projection designers Kirby Malone and Gail Scott White chose images, such as boxing ring corners, old radios, and fight scenes, to enhance the subtext of the libretto. A memorable effect occurs in Act I: as the older Louis reminisces about various boxers, each boxer’s individual picture appears to fade in and out of a swirling fog on the left or right screens. Kirby and Malone added a moving-picture element several times when a photo would appear on each screen in sequence, as if it were a film. Often the cast sang against the actual film footage of scenes from World War II and boxing matches. This did not distract, but rather enhanced the words and mood with more of a background visual effect. Fight sound clips were also interspersed periodically. Near the end of Act II, Louis hears the voices of boxers Jack Johnson and Muhammad Ali speak to him through an onstage solo sax and trumpet. Their words flash on the screen as the instrumental voices “talk.” A tighter conversational script for Joe would have given the audience a better chance to imagine the other boxers’ words. As it was, the instrumentalists appearing onstage weakened the dramatic effect.

The life of boxer Joe Louis inspires sober reflection upon the realities of living in a racist society, then and now. Chenault featured this topic prominently, and appropriately, throughout the opera. Proto, Chenault and the entire MOS team have certainly fulfilled Major’s dream to show the life of “a man who boxed for a living.” They have launched another complex hero for the opera world to celebrate, and to contemplate.

Deborah Thurlow
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):