ast Saturday, March 31, Falstaff's Windsor Forest became a ballroom for enthusiastic partygoers attending Seattle Opera's gala. The fete in the forest included a reception, an exclusive sold-out performance of the opera and then an elegant dinner and dance at the Meydenbauer Center in Bellevue. This is the first time Seattle Opera's black-tie gala, which raises money for the company's education programs, has taken place in Bellevue and included a fully staged opera. It was a great success, and dare I say they had a ball.
Seattle Opera's popular Young Artists Program returned to the Theatre at Meydenbauer Center for five performances of Verdi's "Falstaff," opening March 30 and running through Sunday, April 7. Verdi had a great appreciation for the works of Shakespeare, creating operas from many of his plays. Verdi's comic opera "Falstaff" draws its plot from "The Merry Wives of Windsor," featuring the exploits of the portly rogue, Sir John Falstaff. The opera runs true to Shakespeare's play, the only one he wrote about ordinary people living in England during his time and the time of Elizabeth I.
Two of the Windsor wives, annoyed by the amorous advances of Falstaff, decide to teach him a lesson resulting in his landing in a hamper of dirty laundry and being dumped into the River Thames. In true grand opera and Shakespearean fashion there are family situations, star-crossed lovers, gossiping servants, ample food and drink and slapstick comedy. All ends up in Windsor Forest, where the lovers are united in marriage and Falstaff is taught a lesson by being pinched and pummeled by what he thinks are the fairies of the forest, giving plenty of scope for the Young Artists to present a fun-filled production.
One of the ways Seattle Opera fosters the development of new talent is through its Young Artists Program. The program attracts more than 500 applicants each year. After a rigorous audition process, 10 to 12 talented singers - all in their mid-20s, having completed their college training and embarking on their professional careers - spend 20 weeks studying with Peter Kazaras and such mainstage artists such as Jane Eaglen and Edoardo Muller, participating in school residencies and performing in concerts and recitals around the Pacific Northwest. They complete their training by singing principal roles in a fully staged opera with orchestra. (After the run at the Theatre at Meydenbauer Center, they will travel to Yakima for final performances with the Yakima Symphony.)
Another way Seattle Opera supports emerging talent is through its International Wagner Competition, designed to identify and recognize singers who demonstrate clear promise of an important career in the Wagner repertoire. The competition got underway last fall with auditions in Vienna, Berlin, Paris, London, Seattle and New York, and culminated with the finals held here in August 2006. Seattle Opera General Director Speight Jenkins has announced that the second International Wagner Competition will take place on Aug. 16, 2008, with generous funding then as now by the Charles Simony Fund for Arts and Sciences.
I was privileged to attend last year. The competition, which generated enthusiastic audiences and critical acclaim in its first year, is open to professional singers between the ages of 25 and 39, worldwide, who have had the training and experience necessary to perform Wagnerian roles. Nominees are currently being solicited from general directors of opera companies, artist representatives and an international panel of established opera professionals. Auditions, which are by invitation only, will be held this fall in London, Munich, New York and Seattle.
Said Irish soprano Miriam Murphy, one of the 2006 winners: "Since winning the International Wagner Competition, I have had incredible interest from houses all over Europe and America. As the Wagnerian voice is a rare commodity, when you win a competition of this caliber, people suddenly take you very seriously. Seattle Opera's reputation for Wagner is second to none, so to have been there has meant that I am now, over the next three years, covering Isolde, Kundry and Brunnhilde for the Royal Opera House Covent Garden, the Bastille, the Liceau in Barcelona; and best of all, I return to Seattle to take part in their production of The Ring. I can definitely say that all these offers have come from my competition success in Seattle. As with everything, however, there has to be a downside, and it is that my win has curtailed my social life dramatically - as I have so much music to learn."
James Rutherford from London, last year's other winner of the International Wagner Competition, was also the audience favorite choice and received standing ovations. Whenever he gets a little depressed, he plays the CD of the applause and it makes him feel better. He thoroughly enjoyed his visit to Seattle.
Seattle Opera Guild marks its 50th anniversary this year. The guild is the company's oldest supporter: to date, the independent organization has donated more than $2 million to Seattle Opera, including $64,000 last season. The Guild offered more than 40 previews in the past year to 11 preview groups in various locations of Seattle. The Magnolia and Queen Anne preview group is presenting its annual fundraiser, "April in Paris, combined with their preview of the favorite opera La Boheme. April in Paris," Sunday, April 29, at 111 W. Highland Drive: wine bar, sit-down dinner and preview. You are invited; for more information, call Florence Rose Thompson, 285-6510.
"La Bohème" opens May 5 with 10 performances through May 19. Several members of the Young Artists Program will be appearing in the mainstage production. This is one of the most popular operas, and I suggest you book early.
Bravo to Seattle Opera for its Young Artists and education program for keeping opera alive for future generations. See you at the Magnolia/Queen Anne preview.
TTFN
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