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City Opera's Erik Gensler speaks with two staff operaphiles about the 2010 Spring Season which includes: a sparkling production of Chabrier’s L’Etoile; the return of the Emmy Award-winning production of Puccini’s Madama Butterfly, and Handel’s intimate romantic comedy Partenope.  Dramaturg Cori Ellison and Director of Music Administration Kevin Murphy provide a behind-the-scenes look at each of these operas - what they are most looking forward to, their favorite moments from each of the opera, and their thoughts on the new and returning artists performing this season.  Cori and Kevin also reveal their favorite moments from each of these works.

 

"Man’s love is of his life a thing apart; ‘Tis woman’s whole existence." --Lord Byron

We have created a second blog which features daily reports from our five Student Correspondents.  Today, Alex Park discusses Madama Butterfly and why he loves City Opera debut artist Yunah Lee.  Here's a short excerpt:

 

"Thankfully, New York City Opera's production on Wednesday proved to me that you have to keep going to live performances despite old prejudices.  Every once in a great while, you'll see something on stage that is simply electrifying and makes you fall in love with the theater all over again.  I imagine it's a lot like being a physician -- one takes care of a lot of mundane disorders and ailments, but every so often, something truly life-threatening comes in and you discover once again what a privilege it is to take care of patients and their families in such times..."

 

We have created a second blog which features daily reports from our five Student Correspondents.  Today, Frances Dewey posts about Madama Butterfly and her experience discussing the opera with other patrons attending the performance.  Here's a short excerpt:

 

"Number one most-performed opera in the US?  Madama Butterfly.  If this trend keeps up, and the folks at New York City Opera's current production are any indication, Madama Butterfly will continue to bring in new opera aficionados for years to come.  On the 'New to Opera?' section of their website, City Opera recommends Madama Butterfly for first-timers at the opera house.  I decided to make finding opera newbies a goal that evening, to see how they reacted to Puccini's masterpiece, and to opera in general..."

 

This is part 2 of a two-part interview with Shu-Ying Li and James Valenti, who will be singing the roles of Cio-Cio San and Pinkerton in the March 20th "Live from Lincoln Center" broadcast of City Opera's production of Madama Butterfly.  To read part 1 of this interview, please click HERE.

 

 

Shu-Ying Li:  I think that's what opera is -- the drama.  You either live for love or you die for love.

 

James Valenti:  First, he chooses to go away and forget about her and then he chooses to come back.  It's up for discussion whether he comes to be with her or not; it's never really made clear in the score what he comes back for.  Of course, it's difficult, but that's opera.

 

Shu-Ying Li:  I think it's a great feeling; love in wartime. We need that kind of love.

 

James Valenti:  I guess that's true.

 

Shu-Ying Li:  Personally, I want to love one person for my whole life.  Normally, you get married, and as husband and wife, you're together forever.  But if one betrays the other, especially here -- Cio-Cio San madly falls in love with Pinkerton against her society and her family, and in the end she is alone with Suzuki and Sorrow.  Pinkerton coming back is her last hope, her only hope.  So when her only hope dies -- I don't know, I think I would die, too.

 

James Valenti:  Yeah, it really is so tragic.  Whenever I'm watching, especially that last scene with the boy -- even I get choked up when I watch it.  And you have such a good relationship with the little boy in that part.  And I just watch the two of you, and I say to myself, "I hate my character!"

 

Shu-Ying Li:  It's that triumphant nature of love -- that is the most exciting moment, I think, for me in Butterfly -- musically.  Also, the words are just thrilling.  I can't help myself.  Like today, in rehearsal, I was completely drawn into it -- he comes back for her!  She always knew he would come back.  And after three years, he did.  But surprisingly, he married another beautiful woman.  So I think the real tragedy comes in the last part of the second act.

 

Also, I'm just grateful to sing with James.  The first time I worked with him, I liked him very much.  He's a very giving singer; he's a pleasure.  We can share this feeling together.  It's great to make the show very special and beautiful, and I am sure the audience will enjoy it.  We already had great success with La Boheme.

 

James Valenti:  We did.

 

Shu-Ying Li:  We had a great performance together in La Boheme.  At the time, I said, I wish we could do La Traviata together.  And he said, no -- we have to do Butterfly, you have to do Cio-Cio San!  And here we are.

 

James Valenti:  I did say that.

 

Shu-Ying Li:  That was two years ago!

 

 

Shu-Ying Li:  The costumes, you know, I already knew them from two years ago.  I like the red -- the red really attracts me.  It just means so much.  In the first act, when she takes off her clothes in the love duet, you see the red -- you just imagine many things.

 

James Valenti:  I haven't seen the costumes yet, but I mostly wear white -- a white navy uniform, nothing spectacular.  But it's nice to pretend I'm in the navy for a bit.  My grandparents like it.

 

Shu-Ying Li:  This production, this costume design -- it's very meaningful.  Love and blood, that's for sure.

 

 

James Valenti:  Absolutely. Good posture and all. I don't want to wrinkle it at all; I have to stand straight.

 

Shu-Ying Li:  For me, the costume and the makeup and wig are like magic. Don’t you think?

 

James Valenti:  Absolutely.

 

Shu-Ying Li:  Every time when they put the wig on and dress me up, from the moment I'm ready -- not even the moment I get onstage -- I think I'm already Cio-Cio San -- no longer myself.  This is why I love opera; I think it's nice to jump into someone's life and then to create or feel what the character is feeling -- the costume and the makeup are just transforming.

 

 

James Valenti:  That they cry.  And don't hate me too much!  I hope they don't hate my character too much -- maybe a little bit.

 

 

James Valenti:  Oh yes, it is.  And they always boo.  But I don't want them to hate me too much.

 

Shu-Ying Li:  I always hope that the audience will come and spend a few hours with us and leave with a beautiful memory.

 

James Valenti:  Yes, forget about their problems and just enjoy our performance and feel something.

 

Shu-Ying Li:  Enjoy the love of the first act and then the drama of the second act and the sadness and tragedy of the third act.  That they can cry -- I saw lots of audiences crying and it always touched my heart.  Every time they came backstage and were still crying, then I cried -- because I can't cry onstage in the part -- but my heart broke when I went offstage and saw the audience.  I do have a hard time with that, every time.  They're just so into it.  And suddenly, I'll feel so sad because by that time, I am already out of the character.  But then I'll feel the same as the audience does -- how awful for Cio-Cio San.

This spring, Lincoln Center's extensive redevelopment of its many buildings and public spaces moves into the next big phase of work, including construction on and below the Center's main plaza with its iconic fountain. 

 

If you haven't been to Lincoln Center lately, you may be surprised by the addition of extensive construction fencing which has closed off the usual driveway dropoff and some of the plaza itself.  In addition, some of the other ways you may be used to arriving at Lincoln Center may be closed off temporarily during periods of renovation.

 

This construction work will directly affect how you attend a production in New York City Opera's spring season.  We encourage you to check our website for updated information about how the construction work may be affecting the subway and bus stops, parking garage and pedestrian access before arriving for a performance.  Always be sure to allow extra time to get here, so you won’t miss a minute of the opera.

 

In addition, Lincoln Center has provided several ways to learn more about the work being done and how it may affect your visits to the campus during the next year:

 

You will still be able to use the main stairs in front of the plaza to get to the New York State Theater this spring, but parts of the stairs will be closed off at various times.   Also, part of the plaza itself will be fenced off, including areas around the fountain.

 

Lincoln Center's north-south driveway (between 65th Street and 62nd Street) is temporarily closed during construction -- eventually, it will be reconfigured to dip down below the main stairs so that cars will drop off passengers below street level. 

For patrons in wheelchairs or those with limited mobility, access is available to the New York State Theater on West 62nd Street at the west end of the Theater by Damrosch Park. Patrons exiting vehicles at this location should then proceed north (toward Lincoln Center Plaza) along the side of the State Theater and turn right at the west end of the Terrace to reach the main Lobby entrance.

 

The State Theater's traditional Wheelchair Entrance will still be accessible and can be reached by going west on 62nd Street to just beyond the loading dock of the New York State Theater and taking a right into the first driveway. At the bottom of the incline, and just inside the facility, is a place to stop the car, disembark passengers needing a wheelchair or other walking assistance, who can then be admitted through the Wheelchair Entrance.  A red telephone just to the right of the doorway will permit you to gain access to the building.

 

 

Buses: The M104, M5 and M7 bus stop is currently located at 66th Street and Broadway.

 

Subways: The pedestrian passage that connects the downtown subway entrance to Avery Fisher Hall to the New York State Theater may be closed at various times. 

 

 

 

Westbound (via 62nd Street)
A parking garage entrance is located between Columbus Avenue and Amsterdam Avenue, between the New York State Theater and Damrosch Park on the north side of the street.

 

Eastbound (via 65th Street)
A parking garage entrance is located between Columbus Avenue and Amsterdam Avenue.  Take the second available right into the Lincoln Center complex on the south side of the street, just after the mid-block stop light.  This entrance is currently surrounded by gray metal scaffolding.

 

Handicapped Access
Designated handicapped parking spaces are located in the Yellow Section of the garage.

 

Important Note: The Lincoln Center Parking Garage is likely to be full near performance time, due to a reduced number of available spaces because of construction demands.  Signage will be posted to assist drivers through new pathways within the garage complex.  Drivers without a parking reservation should plan to allow enough time (up to 40 minutes) should they be unable to park at this facility.

 

One of the highlights of our new podcast series, This Moment In Opera, comes at the end of each podcast when the artists being interviewed discuss their favorite moment in the opera they're working on.  We have extended that feature to our blog, and invited one of City Opera's debut singers, Aaron Pegram, currently featured as "Goro" in City Opera's spring revival of Madama Butterfly, to discuss his favorite moments:

 

"I would have to say that, thus far, my favorite moment in an opera is from Susannah by Carlisle Floyd.  At the end of Act 1, there is a scene between Susannah and her brother Sam.  Sam sings a beautiful piece about how our actions "make the Good Lord sad," and he tries to comfort Susannah. 

 

The best moment is right before the end of the act -- the orchestra swells, and through tears, Susannah sings, "Sing me the Jaybird song again!  Please sing me Jaybird, Sam!"  The Susannah in this production was soprano Kelly Kaduce;  the Sam was played by tenor Scott Piper.  Both have been on the stage in major roles here at City Opera. I am sure that over time I will fall in love with other moments in opera, but this is my favorite because a) the two performers made it so special, b) I was the Little Bat in the production, and c) this is an American opera.  Incidentally, one of its first major premieres was at New York City Opera in 1956."

 

"The best moment is when Butterfly reveals her son to Sharpless in Act II.  Why?  For me, it is simply because the music is so wonderful.  But it is also an incredibly well crafted piece of theatre.  The drama mixed with the music makes it moving.  I have yet to see a dry eye during this moment."
 

 

 

 

 

 

This season, we are presenting thirteen productions.  13 operas x an average of 10 principal singers + 32 choristers = minimum of about 550 costumes, not counting costumes for covers and understudies.

 

To give you an idea, our dressers can get a singer changed from a maid's costume into an evening gown in 30 seconds.  But if you really want to see impressive quick changes, just imagine the entire chorus of a production changing costumes simultaneously in 3 minutes or less.

 

How many dressers per opera:

 The amount of dressers all depends on the size and demands of the opera.  This past fall, our production of Carmen had the most dressers with 17 (which did not include the wig and make-up staff.)

 

We have sheep, lions and "a lady with one left buttock" in Candide -- perhaps not complicated, but certainly out of the ordinary.

 

 

 

One of the highlights of our new podcast series called This Moment In Opera comes at the end of each podcast when the artists being interviewed discuss their favorite moment in the opera they're working on.  We have extended that feature to our blog, and invited Rebecca Ringle, "Suzuki" in City Opera's spring revival of Madama Butterfly, to discuss her favorite moment in opera:

 

"It's hard to pinpoint my favorite moment in an opera, but one of my favorite moments in any opera -- at the end of Ariadne Auf Naxos by Strauss -- my part as a mezzo soprano (the part I'd normally play) is the part of the composer, which is really interesting because when you do your character research, it turns out you wrote the end of the opera (because the second part is the opera that you as the character wrote.) So my favorite part is when Ariadne and Bacchus are into their duet and she says, "Gibt es kein hinüber? Sind wir schon da?" which roughly means "Is there any passing through? Are we already there?" And then later she says, "Lass meine Schmerzen nicht verloren sein!" which means "let my pain not be forgotten," and the music right there is so incredible -- seeing and hearing it was something that made me want to be a singer."

 

"We were fighting over our favorite moments [from Madama Butterfly] in rehearsal actually, and Aaron [Pegram, who sings Goro] and I have a favorite in common.  Our favorite right now is when the boat has come in, and everyone has just seen it, and Butterfly is at the telescope trying to make out the name of the boat, and she finally sings out.  And you know, both of the sopranos here sing it so well, and the music is so lovely, and it's huge -- within the opera, it's been three years, three years, and finally the boat is here!  And then there's this huge chord and she hits this great high note and it's really -- almost the whole opera is almost downhill for her from there.  I mean, they do the flower duet, but even with the flower duet, it doesn't really ever get any better for her in the opera than the minute she reads that it is his boat, because he's going to come back to her.  So that's my favorite...today."