Hansel & Gretel by Music Director Michael Christie
I am thrilled that we will be presenting a timeless holiday classic, Hansel and Gretel during the Thanksgiving holiday weekend. This is an adaptation of the famous Brothers Grimm fairytale.
In 1998, I conducted a new production of H&G at the Zurich Opera with sets and costumes by the marvelous artist Maurice Sendak. During subsequent seasons we presented it during the holiday season and it was amazing to see the excitement of the young people packed into the opera house.
Since this work is a classic that heavily emphasizes the orchestra it seemed like a logical first step down our path to presenting an opera-in-concert during our Classics series each season. Each of the operas will be presented in the language they were written in, in the case of Hansel and Gretel, German. We will project the English translation in the hall as virtually all US opera companies now do so that patrons will know what is being said as it happens. Like many of my opera colleagues I feel it is important that the original language be used because much of the rhyme, word-play and musical inflection the composer integrates into the score is dependent upon the language they are writing in. I’ve researched many English translations of opera and it really doesn’t work. Either the meaning is completely lost because of the need to make the syllable count line up — leaving choppy sentences — or the meaning is completely changed because there isn’t a good, equivalent English word.
For this production we will have three principal action areas at the front of the stage. The orchestra will be on the stage as well so we are being creative about how the visual element will work. The first act house will be center stage, and in the second act the gingerbread house will be stage right and the forest will be looming on stage left.
Many of the vocal artists we have contracted have done these roles before so we will be working on creating a representative visual plan that illuminates what is going on without going into full-blown theatrical staging. What is planned however with props and the actions they are planning to do will be very comprehensive and visually compelling.
This is such a tuneful work. I’m confident that everyone, especially the orchestra will shine. I hope our patrons spread the word, bring a young person and start their holidays off with an artistic bang!
Happy holidays!
Michael Christie
In 1998, I conducted a new production of H&G at the Zurich Opera with sets and costumes by the marvelous artist Maurice Sendak. During subsequent seasons we presented it during the holiday season and it was amazing to see the excitement of the young people packed into the opera house.
Since this work is a classic that heavily emphasizes the orchestra it seemed like a logical first step down our path to presenting an opera-in-concert during our Classics series each season. Each of the operas will be presented in the language they were written in, in the case of Hansel and Gretel, German. We will project the English translation in the hall as virtually all US opera companies now do so that patrons will know what is being said as it happens. Like many of my opera colleagues I feel it is important that the original language be used because much of the rhyme, word-play and musical inflection the composer integrates into the score is dependent upon the language they are writing in. I’ve researched many English translations of opera and it really doesn’t work. Either the meaning is completely lost because of the need to make the syllable count line up — leaving choppy sentences — or the meaning is completely changed because there isn’t a good, equivalent English word.
For this production we will have three principal action areas at the front of the stage. The orchestra will be on the stage as well so we are being creative about how the visual element will work. The first act house will be center stage, and in the second act the gingerbread house will be stage right and the forest will be looming on stage left.
Many of the vocal artists we have contracted have done these roles before so we will be working on creating a representative visual plan that illuminates what is going on without going into full-blown theatrical staging. What is planned however with props and the actions they are planning to do will be very comprehensive and visually compelling.
This is such a tuneful work. I’m confident that everyone, especially the orchestra will shine. I hope our patrons spread the word, bring a young person and start their holidays off with an artistic bang!
Happy holidays!
Michael Christie
16 Comments:
Thank you for explaining the thoughts behind this series of performances-I find the idea of opera-in-concert intriguing. I am really looking forward to experiencing Hansel and Gretel, and will be bringing my entire family!
I think this idea is a good one. But please pick your operas wisely. I have sat through Les Troyens and Tristan and Isolde as concert versions and although musically there was nothing left to be desired, it was a bit of a long haul without staging, costumes, etc. With careful artistic planning and marketing, I think this could be a winner for the Phoenix Symphony.
I'm looking forward to it as well; perhaps with 'less to watch' I can concentrate on the music better than in in the opera house.
Good luck to the ASO.
Good idea. Will see if we can find a 'young person' to bring. So far its just us old guys, but we are looking forward to Hansel and Gretel. Great story - great music - go to it!!
Just to clear up a possible misunderstanding "Sonny the Cat", Arizona Opera has its own orchestra. We are very pleased to be partners with the Ballet and look forward to an even deeper partnership with them going into the future.
I'm afraid I don't understand Sonny's point
"So why would you be "repetitious" in starting this so-called series?"
I can assure you first of all that this will be a continuing series and secondly we are not trying to compete with the opera folks. Incidentally, I think Sonny and many others will be pleased to see our selection for next season.
In the meantime I hope that the people attending tonight's performance enjoy what we have to offer. The cast has done a remarkable job combining music and acting in just 4 rehearsals that started on Tuesday.
To my colleagues in the Phoenix Symphony and production staff I want to thank you for digesting this massive undertaking in such a short period, particularly during a busy holiday week. There has been an immense amount of time and effort put in by our production crew to bring the piece alive visually without getting into a full-blown production and the orchestra has taken a big leap of faith with a project of this magnitude. Even before our first performance I would say this is a success on so many levels.
I would encourage "anonymous" entry #2 to read my initial explanation because we are definitely adding a visual element.
I look forward to reading your responses.
I could easily have done without the semi-staged aspect of the performance. I thought the direction and acting were overly campy without being amusing. And I CANNOT imagine what Cori Ellison was thinking when she devised those ridiculous supertitles! Musically, the performance was fine. However, there are so many operas out there that we seldom hear that the choice of "Hansel and Gretel" for the sole offering in a season seems unfortunate.
Also, in regard to a comment by an earlier poster, I believe that "Tristan" is an obvious choice for a concert or semi-staged version. Almost everything that happens in "Tristan" happens in the music; staging is almost superfluous. Somehow today's audiences have become so conditioned by TV to expect constant visual stimulation that we don't seem to be able to focus on a purely musical experience any more. Which, in my view, is one of the reasons for shrinking audiences for live classical music.
Grayce
We did take your suggestion (to bring a young person) and in fact brought 3 plus 2 more adults. Friday night.
It was a roaring success. We all 7 enjoyed watching you waving your arms as the story unfolded. Phoenix Orchestra was superb. They did you proud - The strong and energetic soloists were not only great, but had the right body shapes. Perfect.
And the way the prisoners/boys choir arrived walking in a trance thru the audience was perfect. The lighting (whoa those deep deep woods!), the staging (who'd a thunk a semi-stage could work so well!),that big evil cackling witch, and the other actor/singers. Even the translator got it right. What fun and what music what an evening. Good triumphs over evil.
I hope you make it an annual-Friday After Thanksgiving-event. Impressive.
Saturday's performance definitely exceeded my expectations. The costumes and lighting effects were superb, yet the semi-staged production still allowed the orchestra to shine. The soloists, choir and orchestra all sounded excellent. This season has been wonderful both in terms of programs and quality of performance. I look forward to more great concerts in the new year.
I'm glad to hear that the orchestra plans to do more productions like this in the future. I'll second Sonny the Cat's suggestion of a John Adams opera. I'm a big fan of "Nixon in China."
really enjoyed our first "Opera in Concert" experience. Please do more in the future. Thanks for a wonderful evening!!
Thank you Michael, for your response. I do understand that there was some staging, and I understand the performances were a great success. Unfortunately I was unable to attend.
I obviously did not make it clear enough in my original post that I am all for semi-stanged operas, but obviously some lend themselves more readily to this type of concert-version than others and with careful consideration and a great director/choreographer, this could become a terrific, annual musical experience for Phoenix. I do not think that this would encroach on Arizona Opera territory at all, but the two organizations may in fact help each other with renewed interest in the genre of opera.
I agree also with Grayce that Tristan, and many other operas aside from Wagner are driven by the music, not the movement on stage. However, in Tristan's case, 4+ hours of music alone (not including intermissions) is a long time, and the visual on the stage does help. There is something to be said for the total package when it comes to opera. Does that make me dependant on the visual? Perhaps, when it comes to opera. I go for the music, sets, costumes, lighting, props, etc. etc. I love the whole, almost bigger than life, experience. And each experience is different.
And yes, we do live in a world now where attention spans are short, songs that last more than 4 minutes are considered long, and we are dependant on the visual to be "entertained". I do not want to see the symphony fail in this endeavor simply because of an ill choice of opera, be it for musical or staging reasons. Something like Tristan would be great to hear in its entirety, but perhaps too much too soon for the Phoenix Symphony audiences? Something for the music director to decide.
Hensel & Gretel was my first visit to Symphony Hall after its renovation and first experience witnessing Michael Christie on the podium. I was impressed by the improved acoustics and the inspiring and passionate conducting of Mr. Christie. The strings are still somewhat muted regarding balance and I wonder if Mr. Christie might consider experimenting with the old arrangement of having the 2nd violins sit aside the first and moving the violas to where the cellos now sit....it may prove to be enlightening.
Thanks to all for attending Hansel and Gretel, everyone had a great time putting it on and the response from the audience at every performance was invigorating.
To David, welcome back to Symphony Hall. Since this is your first time back I'll share with you what I shared with the audience at the end of last season, that we spent many rehearsals testing different configurations.
I had members of the orchestra go out and listen at various points during that process and everyone agreed that our current configuration was far better. Since we were set so far back in the shell to make room for the action on stage this past weekend you might not have been able to enjoy the full benefit of the change. I hope you'll come back to hear us in 2007 in a more typical setting.
To Grayce, Doing Hansel and Gretel was a chance for our whole organization to explore something many people have not had the chance to do. The time and effort it took to prepare so we could jam it together in three days was monumental. Are we much more confident now that we've had success? Absolutely. Will we continue to try many new things to build our artistic profile? No doubt.
From what you've said in virtually all of your blog entries it makes me wonder why you keep coming back? I certainly wouldn't want to lose a ticket buyer but it seems nothing we do makes you happy. Perhaps you merely put in your most critical thoughts and leave the positive aspects out. You'll have to forgive me for being so direct but I often wonder whether you leave our performances angry and disappointed everytime? I certainly don't expect continuous praise but there is something about your entries in particular that seem especially negative. I hope in the midst of your disappointment that you get something positive out of hearing the orchestra. We all want to do the best we possibly can for our patrons.
Next topic...Holiday season. The switch to baroque bows for the string players in the Messiah and a different approach to the performances will be my next entry.
By the way, if any of you that would like "edgier" projects have the capability of underwriting, please let us know. Mitigating the impact of low box office for Death of Klinghoffer or Nixon in China for example but still being able to do it would be a huge incentive for us to go further out on the proverbial limb!
Thanks for writing.
Thanks Michael, for your reply and I'm so glad to see (as I suspected) that you have an innovative approach to your work - (regarding testing different configurations with the orchestra), innovative repertory, etc). Having been schooled in conducting (but unfortunately never followed-through professionally), I watch with keen interest your work with the Phoenix. I'm very pleasantly surprised - keep up the great work!
Michael Christie wanted to know if I dislike everything about the Symphony experience. No, not nearly everything, but in general the negatives have outweighed the positives for me the last couple of seasons, and I have especially disliked some of the program choices and some of the innovations introduced this season (later discontinued on Thursdays).
To answer the question about why I keep coming back there are three reasons. One, I have been a season subscriber for years and years, and I continue to subscribe. Second, I like the orchestra very much. Third, it's not as if there is much competition in the Valley, so if I'm going to hear live classical music the PSO is pretty much the only choice.
Grayce
Sonny - Good point about the programs not being listed anywhere easily accessible. I shall let the staff know and see what can be done.
Baroque X-mas is all Bach.
Brandenburg #1
Cantata 151 "Süsser Trost, mein Jesus kommt"
Orchestral Suite #2
Cantata 57 "Selig is der Mann"
AZ Xmas has an enormous number of short pieces meant, apart from a few cases to segue until the end of each half. I'll jot down the first few works to give you the flavor.
Traditional O Come, Emmanuel
Thompson Alleluia
Handel And the Glory of the Lord
Beethoven Preludium from Missa Solemnis
Bach "Break forth" from Xmas Oratorio
Poulenc Gloria in Excelsis from Gloria
Kopylov Heavenly Light
Britten Ceremony of Carols
Lauriden O Magnum Mysterium
Brahms There is a Rose in Flower
Clausen Psalm 100
Traditional March of the Kings
Bizet Farandole
Rachmaninoff Virgin Mother of God from Vespers
Handel Hallelujah Chorus from Messiah
That is the first half! Just about everything is in its original language and the alternation between a capella chorus, chorus and orchestra and orchestra alone works is very nice.
I have definitely been thinking of a Wagner program similar to what you suggest. So many things to do!
Thanks, Sonny!
No Rouse on the second half, but....ASU is actually doing a Xmas work of his on Sunday that combines the carols of 8 different countries. I contemplated it for this performance but there is already HEAPS for the chorus to do. It is completely different from many of his other works and will be a very nice addition to their holiday program.
The marketing folks at the symphony were working yesterday to get the complete programs listed on the website, thanks for pointing that out.
This Arizona Christmas will be a great night for people to hear many of their favorites and also some of the great holiday inspired works of both the choral and orchestral tradition.
Tap dancing Santa gets a break this year. He deserves it.
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