“Maria Stuarda,” Donizetti’s powerful Tudor queen opera, never before performed at the Met, screens on “Met Live in HD” this Saturday, January 19, 2013
While history informs us that that Mary, Queen of Scotts never actually met Queen Elizabeth I, Donizetti couldn’t resist putting the two rival queens together to clash it out in his dramatic 1834 opera, “Maria Stuarda.” The Metropolitan Opera premiered this fiercely dramatic opera—the second opera from Donizetti’s bel canto trilogy about the Tudor queens—on New Year’s Eve. With Joyce DiDonato as Mary Queen of Scotts and the debut of the remarkable San Francisco-trained South African soprano Elza van den Heever as Elisabetta, the power struggle between the two queens with two sets of religious beliefs and only one possible, bloody outcome couldn’t have been better cast. This David McVicar production will be transmitted live around the world on Saturday, January 19, 2013 as part of The Met: Live in HD series and will play at 10 a.m. PST in Sonoma County at Sebastopol’s Rialto Cinemas. Encore performances will play on Wednesday, January 23, 2013 at 1 p.m. and 7 p.m. Approximate running time: 166 minutes
Those lucky enough to have experienced Joyce DiDonato’s rapturous “Drama Queens” performance in November at the Green Music Center’s Weill Hall know what magic this Grammy Award winning mezzo is capable of—channeling the very soul of her composers. While the role of Mary is normally a soprano role, it’s been transposed for diDonato’s rich and expressive mezzo. Here’s a taste of the passion DiDonato delivered while practicing the role. Deborah Voight’s interview was part of the Met Live in HD transmission of “Un Ballo in Maschera” on December 8, 2012 and speaks to the wonderful extras that are part and parcel of every Met: Live in HD experience—
Elza van den Heever went to extraordinary lengths to portray the legendary Queen, who is vividly developed in this production. She even shaved her head in order to better suit the elaborate wigs and high forehead depicted in portraits of the Monarch. The Wall Street Journal’s Heidi Waleson noted that her “big, well-controlled soprano” was “steely and assertive, with the flexibility to pull off Elizabeth’s vengeful, vitriolic cabalettas.” And I can’t wait to see her in a wide red skirt by John Macfarlane that opens like curtains to reveal pants. Van den Heever is a graduate of the San Francisco Conservatory of Music, the Merola Opera Program and San Francisco Opera’s (SFO) Adler Fellowship Program. At SFO, she last portrayed Mary Curtis Lee (general Lee’s wife) in the 2007 world premiere of Philip Glass’s Appomattox and Donna Anna in the Company’s 2007 Don Giovanni. She has also partnered with Michael Tilson Thomas and the San Francisco Symphony, notably in their triple Grammy Award winning 2009 release of Mahler’s Symphony No. 8.
Originally premiered in 1835, Maria Stuarda is based on the German writer, Friedrich Schiller’s play Mary Stuart, which depicts the final days of Mary, Queen of Scots, who was viewed as a challenger to Elizabeth I’s throne and beheaded in 1587.
“In this mid-point opera we are really focusing on the relationship between two queens in the same moment and the political impossibility of these two women co-existing on the same small island,” said Mr. McVicar. “It’s based on the Schiller dramatization of Mary’s story which contains the great, mythical scene – which never actually happened in history – when the two queens meet and have a cataclysmic showdown. It crackles with drama, it crackles with romance and it’s a very, very powerful mid-point in the trilogy of these three operas.”
For Maria Stuarda, Mr. McVicar works with fellow Scotsman, John Macfarlane on set and costume designs. Mr. Macfarlane’s previous work at the Met has included the much-loved fantastical sets and costumes for Hansel and Gretel. Mr. McVicar says that this new production embraces the romance of Maria Stuarda, rather than realism: “When we did the production of Anna Bolena last season at the Met, we went for the ’nth-degree of historical accuracy, particularly in the costuming. With Maria Stuarda being a different type of opera, we’ve gone for a visual style that is free-er, that is more romantic and which somehow, rather than reflecting history, reflects the romantic nature of this retelling of the story and the sweeping romantic nature of Donizetti’s music.”
Cast: Joyce DiDonato, Maria Stuarda; Elza van den Heever, Elisabetta; Matthew Polenzani, Leicester; Joshua Hopkins, Cecil; Matthew Rose, Talbot
Artistic and Production Team: Conductor, Maurizio Benini; Production, David McVicar; Set & Costume Design, John Macfarlane; Lighting Design, Jennifer Tipton; Choreographer, Leah Hausman
Details: “Maria Stuarda” is Saturday, January 19, 2013 at 10 a.m. (PST), with encore (re-broadcast) performances on Wednesday, January 23, 2013 at 1 p.m. and 7 p.m. (PST). . Purchase tickets, $23, for Sebastopol’s Rialto Cinemas and select your seat here. A list of participating Bay Area cinemas and online ticket purchase is available at www.FathomEvents.com. For a complete list of cinema locations nationwide and schedule, please visit The Met: Live in HD. Ticket prices vary by location. NO ONE cares what you wear or what you eat or drink but please be kind enough to elbow your snoring partners to consciousness.
Sonoma County:
Rialto Cinemas Lakeside
551 Summerfield Road
Santa Rosa, CA 95405
Questions: opera@rialtocinemas.com
Napa County:
Cinemark Napa 8
825 Pearl Street
Napa, CA 94559
Marin County:
The Lark Theater
549 Magnolia Avenue
Larkspur, CA 94939
Cinemark Century Northgate 15
7000 Northgate Drive
San Rafael, CA 94903
Cinemark Cinearts Sequoia 2
25 Throckmorton Avenue
Mill Valley, CA 94941
Interview: Joyce DiDonato talks about “Drama Queens,” her new concert of Baroque arias, featuring great and powerful queens—at Weill Hall tonight, Tuesday, November 20, 2012
Mezzo soprano Joyce DiDonato performs “Drama Queens” at Weill Hall on November 20, 2012.
Crowned with a Grammy Award for her last album, “Diva, Divo” and just named Musical America’s Vocalist of the Year, Joyce DiDonato enchants audiences everywhere she performs. This mezzo soprano from Kansas has a special charm for those of us in the Bay Area though. In 1997, she distinguished herself in San Francisco Opera’s Merola Program with her performance as Rossini’s Cenerentola and gave an unforgettable Schwabacher Debut Recital. She returned in 2009 with a breathtaking mastery of lesser-known Spanish and Italian songs and then delighted us all last month as Romeo in SFO’s I Capuleti e i Montecchi. Her relaxed and personable vibe, combined with that amazing voice, which seems to channel the very soul of her composers, makes for a mesmerizing diva who is also very down to earth. DiDonato will present “Drama Queens,” her electrifying program of 17th and 18th Century arias from queens and female royals throughout history at the Green Music Center’s Weill Hall this evening (Tuesday, November 20, 2012).
Performed this past weekend at Carnegie Hall to a sold-out audience, the recital is a selection from her bestselling new CD, Drama Queens. She is joined by the Italian orchestra, Il Complesso Barocco, led by the dynamic first violinist Dmitry Sinkovsky. This is their only West Coast appearance in a program that includes songs by composers as famous as Handel and Vivaldi and as little known as Orlandini and Porta. The female royals represented are Berenice, Orontea, Octavia, Semiramide, Ifgenia, Armida and Cleopatra. Didonato literally inhabits these characters bringing them to life and interacts with the orchestra and they with her to co-create something that feels spontaneous and magically alive. I interviewed DiDonato about this exciting program—
How did the idea for “Drama Queens” come about and what’s the particular appeal of this music for you at this stage in your career? What was your research like and how did you go about finding some of the more obscure songs on the album?
Joyce DiDonato: I knew I wanted to return to the world of Baroque music, because I find that it gives me the freedom to employ everything that I am as an artist. It requires great technical command, but that is only at the service of laying out grand emotions – something that I think audiences are dying to experience. Alan Curtis, the conductor on the album and founder of Il Complesso Barocco, did the majority of the scouring of old music scores in order to unearth some of these long-forgotten gems, and I’m so grateful that he did.
What is it about the Baroque period that particularly appeals to you as a singer? Were any of the songs in the program that you’re singing originally sung by castrati?
Joyce DiDonato: Johann Haase’s Cleopatra (in Antonio e Cleopatra ) was written for and premiered by the most famous castrato of all, Farinelli. It’s fascinating, because the Antonio (Anthony) in that opera was played by the Florentine contralto, Vittoria Tesi (“La Fiorentina” 1700-1775), so it somehow seemed to balance out the gender issue! One thing I love about this music is the contrast between the pyrotechnic arias, full of dance rhythms and percussive elements, contrasted with the long, languid, limpid melodies that seem to make time mystically stand still. (Hasse’s “Morte col fiero aspetto” from Antonio e Cleopatra (1725) is performed on the Drama Queens program and CD.)
Did the “Drama Queens” program evolve as a collaboration with Il Complesso Barocco and violinist Dmitry Sinkovsky from the start? How did these practiced Baroque musicians inspire your performance?
Joyce DiDonato: It was conceived with maestr Alan Curtis, whom I have worked with for over 10 years. I’ve been singing with this orchestra for that long, as well, and so we have been inspiring each other on many exciting projects. It’s wonderful to work with a group of 15 musicians, because everyone must listen, invest, and participate in a very active way, which gives way to a very committed performance for the audience. (Maestro Alan Curtis and Il Complesso Barocco received the prestigious ECHO Klassik Award 2012 for best recording of the year in opera of the 17th and 18th Centuries, for “Gluck: Ezio” (Virgin Classics).
If given the chance, who’s the composer from the Baroque period you most like to travel back in time to meet and sing for? Would you have any particular questions for him about the music on the program?
Joyce DiDonato: It would have to be Handel, which is probably the obvious answer, but what I would love to know from him is how he could have such a deep, comprehensive understanding of the female psyche. I’ve never known another composer who understood the fierce strength, but deep vulnerability of a woman.
Many of us were privileged to hear you sing I Capuleti e i Montecchi last month at SF Opera. It is fun getting to step into another gender to sing a pants role? Does it present any particular challenges? What’s the funniest thing that happened during that production?
Joyce DiDonato: It’s fabulous! I get permission to step far outside the boundaries of my normal life and step inside these extraordinary characters who are allowed to suffer and love and emote in ways often frowned upon in modern society! It is important that I believe 100% in what I’m doing so that the character can be believable ~ if I am not convinced in myself, it will never be convincing for the audience.
I know this past summer you were in Burgundy and sang at the Festival Musique & Vin au Clos Vougeot and tasted some exquisite wines from Aubert de Villaine’s famed Domaine de Romanée Conti vineyard. And now you are in the heart of the Wine Country…What do you feel about the relation between great music and great wine? And do you ever have a glass of wine before singing? Will you be able to take advantage of your appearance in Sonoma County to try any special wines while you’re here? (or.. did you do that while you were here at SF Opera last month?)
Joyce DiDonato: Oh – the experience this summer was off the charts! It was lovely to pair the world of great music with extraordinary wine – somehow representing the best of what is possible. It was lovely to see people from all over the world gather in the middle of Burgandy and share wine, food, music and laughter! I cannot drink before a performance, but I absolutely look forward to taking advantage of my time in Sonoma to remind myself of what is exceptional about California wine.
I understand you are very interested in photography and I’ve seen some of your wonderful photos online. With so many people looking at you and taking your picture, do you find that photography helps to take the focus off of yourself? What/who do you like to photograph? Also, has pursuing this art form somehow contributed to your understanding of music?
Joyce DiDonato: Well, it simply lets me exercise a different set of senses, which somehow feels very balancing and nourishing to me. It has made me a better observer of life, which I think then translates into how I am able to interpret complex emotions on the stage. I do love the silence of it – and the magic of trying to capture a single moment in time that will never be repeated in the exact same way – much like a musical phrase. It drives home the idea to live fully in the present moment, which is always a welcome reminder to me.
Details: Joyce DiDonato “Drama Queens” is Tuesday, November 20, 2012, at 8 PM, at Weill Hall, Green Music Center, Sonoma State University, at the intersection of Rohnert Park Expressway and Petaluma Hill Road, Cotati, CA.
Tickets are $90 to $35 and can purchased online (click here) OR by phoning the Box Office at (866) 955-6040. Box Office hours: Monday–Thursday 8 a.m. to 4:40 p.m. and Friday 8 a.m. to 6 p.m. OR In Person at the Green Music Center (same hours as above).
Parking for this Green Music Center performance is included in ticket price. Enter via Sonoma State University’s main campus entrance or its Rohnert Park Expressway entrance (closer to GMC). Park on campus in lots L,M,N and O. For more information, visit gmc.sonoma.edu or phone 1.866.955.6040.
ARThound 