A tale of two Tatianas: Yale Opera sopranos discuss challenging role

With performances of Tchaikovsky’s Eugene Onegin fast approaching, singers from the Yale Opera program are in their final stages of preparation. Sopranos Madeline Ehlinger ’20MM and Lauren McQuistin ’19MMA, who will be sharing the role of Tatiana, spoke with us about the rehearsal process and their reflections on the opera.

What do you think makes Eugene Onegin such a quintessential opera? 

Lauren McQuistin. Photo by Synthia Steinem

Ehlinger: I think a lot of the appeal of Eugene Onegin comes from its striking likeness to moments and people in our lives. Almost anyone watching this opera will see themselves or people they know reflected in these characters. This, coupled with the sweeping and unabashedly Russian phrases of Tchaikovsky’s melodies, creates an opera that has the ability to move any listener.

McQuistin: Eugene Onegin isn’t driven by its plot, especially compared to other operas. Despite this, it remains a staple in the operatic canon, which can be attributed to the idiosyncratic yet relatable qualities of the characters and their interpersonal relationships. The source material, Pushkin’s Eugene Onegin, is to Russia what Goethe’s Faust is to Germany. There is a reverence for this story that prevented so many composers prior to Tchaikovsky from even attempting to put it to music. You can clearly see how Tchaikovsky poured the more hidden parts of himself and his experience into these characters. This relation to them, paired with him being the master of melody, makes something that resonates with people in an unfiltered and very human way. There’s something enchanting about the bareness of the intentions of the characters—Tatiana’s uncensored confession of love, Lensky flying so quickly to anger, Olga’s unashamed wildness, and Onegin’s sole desire to fulfil his own needs. Their interactions and the way they grow (or fail to) create an electricity that drives the opera forward without a convoluted plot. The qualities they display are parts of ourselves that we conceal, but Tchaikovsky puts a magnifying glass on them and refuses to let us hide from them for three acts of exquisite music.

How would you describe Tatiana? How is this role different from other roles you’ve sung, and what have your preparations been like?

Ehlinger: Tatiana, on the surface, is shy, quiet, and lost in her world of novels. And though parts of that analysis are true, she is also bold, dynamic, and full of wit. In opera, you are not always presented with such a layered and complex character. Getting to explore the hugely contrasting elements of her personality through her words and her music has been a really rewarding experience. So many elements of my personality align with Tatiana’s, so I’m using those parallels to interpret her story in a way that feels authentic.

McQuistin: A lot of what has made Tatiana profound for me has come from my experiences as a woman. In operas, especially as a soprano, my role has been as an accessory to a man’s love story, to die, or to go mad. Much of the agency that I have attempted to apply to my characters wasn’t necessarily written into them by the male composers. Quite the opposite, in fact. Tatiana, however, is a character that is entirely in charge of her own destiny. She is an unashamed dreamer and a unique individual, despite those around her not understanding her. She doesn’t descend into madness or apathy, and, most important, she transforms her trauma into success on her own terms. This makes her already extremely relevant to the 21st century, rather than making directorial choices to achieve that. It’s very exciting to present that sort of power on the operatic stage. Her actions are deliberate, and her transparency is brave, which has required a lot of vulnerability during the rehearsal process. She is one of the characters in the opera who goes through a significant change in circumstances, so exploring how she presents before and after her defining moment of heartbreak, whilst maintaining her core values as a character, has been the main challenge.

Madeline Ehlinger. Photo by Andrew Saiz

What is the rehearsal process like for such a huge work? Has singing in Russian posed extra challenges?

Ehlinger: I am a little surprised at how smoothly and fluidly this rehearsal process has unfolded. It is quite a huge work. We all came into staging rehearsals with the music and text diligently learned, due to the help of our dedicated and knowledgeable coaches and teachers. With that base of knowledge, the staging rehearsals felt like the next organic step. And I think we would all agree that the staging has enhanced our singing and interpretation of the text. The Russian was at first a challenge, but it is a language that flows beautifully once it is understood. It was a bit of a challenge, but a rewarding one.

McQuistin: The level of commitment to Eugene Onegin has had to be nothing short of 100 percent from absolutely everyone involved. Due to the interpersonal relationships of these characters being so critical to the shows’ success we have had to commit fully to color them with our own experiences, imaginations, and everything we have in our artist’s toolkit—including dance and stage combat. I have been a Russophile since the age of 16, so I fortunately had a loose grasp of the language and history, but there is no room for approximation in this process. As a class we had the massive advantage of studying Russian lyric diction with Emily Olin last semester, which gave us the necessary tools to get started with reading and comprehension. The text in this opera is more like a novel than a play, with no repetitions of text and extremely florid language, so every ounce of our understanding is required. With the Russian language being so different from the many Romance and Germanic languages that opera fans are more acquainted with, we must be entirely clear with our interpretation and communication, else it becomes impenetrable for both ourselves and the audience. There are certain aspects of Russian opera that differ greatly from other operatic traditions. For instance, Italian emotional climaxes usually are conveyed with a high, sustained note, whereas in Russian opera the melodic lines will utilize descending lines and the lower parts of our range to indicate their points of great drama. Grasping certain characteristics like that is keeping this from becoming a one-size-fits-all operatic approach, and it’s been so exciting to explore and understand exactly how this vastly different musical tradition creates its distinctive sound world.

What has it been like to work with director Paul Curran?

Ehlinger: Working with Paul has been such a rich experience. He’s the best director I can imagine for this opera. He speaks Russian and knows the opera and story in great detail. His expertise has really elevated our work. I have been consistently pushed to overcome my fears as a performer, and Paul has taught me great ways to reach that fearlessness. And I have to mention Perry So, our wonderful conductor, who has really given this music a freshness and incredible energy.

McQuistin: Having direct contact with someone who has worked on the main stages across the world is an experience I will never forget. His resume and accomplishments speak for themselves, but even they can’t fully account for the level of commitment he has to the process, the amount that he demands from us, and his constant search for truth in our performances. As he has worked with the people we aspire to be, he can give us a first-hand account of their own struggles and successes within their individual process. This allows us space and acceptance for our own areas of development and what we still have to learn. The standard he holds us to is something to aspire to, but it is never forgotten that we are in a learning environment, and there is a firm kindness in what is expected of us. From a personal point of view, it is significant for me that he is Scottish. Though I am from Scotland myself, and lived there for most my life, I have never worked with a Scottish director. I believe there needs to be more visibility for Scottish artists, and I want to be a part of that. In my past I have hid my Scottishness to fit in in certain circles, so to work with someone so successful and so unapologetically Scottish has enriched my experience as a Scottish artist working internationally.

Madeline, now that you’re in your second semester of your first year, what are your reflections on your time here in the Yale Opera program thus far?

Ehlinger: I came into this program knowing that the work I was facing would be immense, and I hoped also rewarding. I am glad to say it has been more rewarding that I could have imagined. A lot of that is due to the fantastic group of singers I am surrounded by. The support for one another is abundant, and it really creates an environment with a perfect balance of seriousness and warmth. Yale Opera has helped me grow as a musician in every sense of the word.

Lauren, as a second-year student, now in your second semester, what are your reflections on your time here in the Yale Opera program?

McQuistin: I will never forget the sheer disbelief I felt when I received the call from Doris Yarick-Cross offering me a place in the program. For the longest time I couldn’t fathom that I could have earned a place in a program like this. The program sets a bar for you that initially seems like an absolutely impossible task, and eventually, through relentless support, encouragement, and tutelage, you are given opportunities and performances that make you realize you are achieving that level of performance you initially thought was impossible. Given the small size of the class, we have been able to create a supportive environment where we have been able to challenge ourselves in a safe and productive way. It is truly unique to have so much individual attention and care, which encourages us to take ourselves seriously as artists and performers.

Yale Opera presents Tchaikovsky’s Eugene Onegin on Friday & Saturday, Feb. 15 & Feb. 16, at 8 p.m., and Sunday, Feb. 17, at 2 p.m., at New Haven’s historic Shubert Theatre.

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Published February 4, 2019
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Director’s diary: Paul Curran, on rehearsing “Eugene Onegin” and working with a young cast

Acclaimed stage director Paul Curran will lead the Yale Opera this month in a new production of Tchaikovsky’s Eugene Onegin. Curran has been sharing his thoughts about the rehearsal process and about working with the Yale Opera cast. 

Diary Entry No. 2: Thursday, January 31—Studio rehearsals are drawing to a close this week, then we transfer to the theater to meet a whole new set of challenges and joys. This week is a critical one for the cast.

Finding your character, dealing with your voice, and rehearsing most of the day are all part and parcel of the opera business. There’s nothing unusual in that. When you’re in school, however, it makes every waking minute all the more vital and concentrated. I admire enormously the singers’ ability to go to their classes and then come to rehearsals and keep such focus.

So, what has been going on this week? Lots. Seriously—major steps forward for many people in many ways. Pacing always poses big questions. Do I sing out here? Do I save my voice? Not easy questions to answer. In all my years directing opera, I’ve noticed that singers tend to do the same thing: they explore the limits in rehearsal—especially of a new role—so they know their vocal/emotional/stamina limits and can adjust accordingly when it comes to bigger orchestra rehearsals and performances. Not everything can be at 100 percent all day. This has been one of this week’s learning curves.

In the process of exploring this piece, I’ve used a few of my teaching techniques to help some singers where they’ve had difficulties. Long pages of singing in Russian can be daunting to even the most seasoned singer. I often ask everybody to “speak out” their ” inner voice”—in other words, all the bits a character is thinking when not actually singing. It’s a way of keeping the brain and the “moment” alive and helps your colleagues know where your mind is. Another great game is “jumpy game”—you make a jump before every single thought. Not every word or phrase; every actual thought as you’re singing. The purpose is to activate your singing and acting—and it really does! It seems to have been a revelation for some cast members. Of course, being a game, it feels very silly and a bit embarrassing when you do it the first time. But when inhibitions fall away, you leave so much more room for creation and invention. I’ve loved watching the process.

Rebecca Welles, our costume designer, has also been around doing costume fittings, so everybody slowly but surely is getting to know the world they’re about to inhabit. Equally important have been our production meetings, where all the sectors of the show gather to discuss progress, problems, solutions, or to just say, “All’s well” … or not. Such meetings are never easy to schedule, given everybody’s busy schedules, but, thanks to technology, we’ve managed to have people there in person, on Skype, on FaceTime, and on the phone. I love technology!

By the end of the week we will have run the entire opera twice—each cast gets a full studio run.  That’ll be the last time they run the show until the orchestra joins us in the theater—so, hugely important to judge stamina and pacing. During the week I’ve managed to sneak in quite a few runs of acts and big scenes, so I think everybody’s a little more prepared.

The end of the week has brought a big freeze to the United States and we’re in below-zero temperatures. I hope people stay warm and protected and that the weather doesn’t bring a surge of illness with it. I grew up in Scotland and lived in Finland and Norway, so the weather’s no big deal for this wee Scotsman!

The show opens on February 15. Buy a ticket and come see it. You never know which star in the making you’re seeing right at the start of their career, and you never know how much you might fall in love with this beautiful, poetic piece.

Diary Entry No. 1: Tuesday, January 29—We’ve been rehearsing Eugene Onegin now for about two weeks and finally got to the final scene. It’s been quite a monumental and challenging journey for all concerned. Me included.

Just like a play, an opera takes a long time to rehearse, but, unlike a play, the rhythm and pace of the show is set already by the writer—it’s in the music. So a lot of our rehearsals have been about finding that pace and speed and about how our young singers can add their own interpretation to it, rather than just slavishly reproducing the exact note values on the page. Rehearsal is a lot of repetition … and a lot of getting it wrong.

This is the bit where I turn into the “senior” of the show and talk about me and the Millennials. Because I have to say: Getting it wrong is actually OK! The whole process is one of trying and trying again ’til something works or feels right. An “instant” result is almost impossible. We’ve had a few hilarious moments along the way and often not in the expected places. Who knew a tiny line by the Nanny could tell us so much about her teenage marriage, loss of virginity, and sadness at the loss of her husband? It’s all in there, if you know where to look.

We also met the chorus last week and started working on their none-too-small part in this big opera. We don’t have dancers, so our brave chorus is having to dance a peasant dance, a waltz, a polonaise, a mazurka, and two ecossaises! You might need to Google all of those. They’re coping terrifically but we still have a way to go, for sure.

At this stage, having covered all of the opera, we now have to go back and look at the beginning again. It feels like we rehearsed it a year ago! But all the good work of these later rehearsals always has to retrospectively inform the work we did earlier. The cast have been going back and adding new layers to their characters, and it makes a big difference.

Hands. What on earth do you do with your hands while singing? This is our daily challenge. Empty gestures? Or gestures linked directly to the thought process of the character that help express what we’re singing about? We try and try again and again. Studio rehearsal is by far my favourite part of the process. (Please don’t correct this to “favorite.” (I’m a Brit!)

I have nothing but admiration for these students all singing so clearly and correctly in Russian. I speak Russian and still find it difficult. How they’re dealing with it is miraculous.

Have there been tears this week? Yes, there have—tears of joy and surprise at how amazing it feels when it all comes together and you hit that magic spot as a performer and time really does stand still.

There’s lots more to do, lots more to rethink, develop, throw out, and guard like a tiger.

Now I need to check the schedule and see what we’re rehearsing today and spend an hour or so preparing it. The struggle is real, and it never stops.

Yale Opera will present Tchaikovsky’s Eugene Onegin February 15-17 at the Shubert Theatre.

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Published February 1, 2019
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Paul Curran, on directing Yale Opera’s production of “Eugene Onegin”

Paul Curran. Photo by Christopher Reece-Bowen

Acclaimed stage director Paul Curran will lead the Yale Opera next month in a new production of Tchaikovsky’s Eugene Onegin. Curran has shared the following words about working with the Yale Opera casts and will continue to take us behind the scenes of the rehearsal process and the performances. 

Tchaikovsky’s Eugene Onegin is not only one of the most popular operas in the repertoire, it is also one of the greatest. Why, you might ask, is it so great? An easy answer: extraordinary music and vocal writing; a whip-crack-hot plot; fantastic, fascinating characters; and relationships that span the decades and centuries so as to feel they could be happening today or any day in our lifetimes. For me, as director, this is exactly why Onegin is such a splendid choice for young voices and developing artists.

Over the next few weeks, I will be writing about our production as it takes shape, tracking our rehearsal process at Yale and even reflecting on the most difficult and personal learning process of all: the performances themselves. I hope you will find time to check out what we’re up to!

Onegin is essentially a story of a teenager falling in love with a slightly older man and the struggles she endures coming to terms with his rejection—and his desire for her when it’s too late and she makes the smart, adult decision to stay with the man she’s married. I have heard this story told and retold for decades by friends of mine (no names!); rejection remains as difficult a pain to endure today as it was in the 19th century. Our casts need to make this story come alive, to make it their own. In relating, through performance, such a private and painful story, they need to show a vulnerability that makes you feel like writing to your best friend and telling her or him to get over the creep they’re dating and move on. Onegin is a modern tale—very modern.

As a story, Onegin needs very little explanation beyond what’s provided by the vivid, rounded characters and their compelling relationships. This is the challenge for all artists but particularly young singers. Memorizing hours of music, especially in a language as difficult as Russian, is not easy, but it is the challenge we embrace in taking on this piece, and that is at the heart of young singers’ development.

My aim with this production is to feature and support its young cast. I truly believe young singers need as much help in development as they can get, not to be bogged down with the unnecessary ideas of an added-on “concept” that’s often contrary to the piece itself. That is not to say such concepts are not part of the opera world or in any way invalid. Many pieces not only benefit from a very strong “concept,” but actually need it. Our casts will meet these ideas in the fullness of time, but, right now, for them, it’s a question of mastering a character and the myriad emotions that come with her or him. Singing and acting are very personal—after all, nobody at a bank or an office is spending six to eight hours a day expressing their heartache after a major rejection or crying into their pillow over a lost love, are they? Our task as directors, designers, and musicians in this venture is to afford these singers every bit of help we can offer.

So, we begin …

We hope you’ll join us on our journey as we prepare to stage Tchaikovsky’s Eugene Onegin at New Haven’s historic Shubert Theatre, and that you’ll be in the audience when the curtain rises.

Yale Opera will present Tchaikovsky’s Eugene Onegin February 15-17 at the Shubert Theatre.

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Published January 16, 2019
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Yale Opera’s production of “The Magic Flute” asks what it means to be human

Dustin Wills

Theater director Dustin Wills, a 2014 graduate of the Yale School of Drama, says there is a reckoning happening in his industry, an accountability for what one is putting on stage and what that work has to say socially and politically. “That’s where I’m coming from,” he said recently, during rehearsals for Yale Opera’s new production of Mozart’s The Magic Flute, which he is directing. The 1791 opera, a Singspiel, was Mozart’s last. It added punctuation to his life and to an Age of Reason that was giving way to Romanticism. The story of The Magic Flute, crafted by librettist Emanuel Schikaneder, explored and celebrated Enlightenment ideals, the flaws of which, Wills pointed out, we are dealing with today. A movement that was born of goodwill, Wills said, forgot those who were not white, male European landowners.

“It would be irresponsible for me to allow this opera to happen in a vacuum,” Wills said. And while he can’t change the libretto, he has used the work as a vehicle for revisiting the original inquiry. “What is our modern-day equivalent of this movement?” he asked. Male-focused heroism, for one thing, is “really old nonsense,” Wills said, mentioning his own struggles with playing roles steeped in male stereotypes. With that in mind, he has reframed the focus—which Schikaneder trained on Tamino—to equally include Pamina. Wills’ fundamental inquiry is: What does it mean to be human?

The answer, to Wills, can be found, in part, in our relationship with artificial intelligence. “AI today is the exact same experiment,” he said, revisiting Enlightenment-period themes of egalitarianism and individualism. “You have to really investigate what a human is. In Saudi Arabia, they gave citizenship to a robot.” Wills’ turn directing The Magic Flute brings up the same moral questions that 18th century philosophers and artists were asking in their time. And that, he believes, is part of the responsibility of the artist who is faced with staying true to a piece of work while bringing it into a modern-day context without going too far. “If we’re not making attempts to find that line,” Wills said, “I don’t know how much of an audience in the future there’s going to be.” In other words, “How do you reconcile these beautiful, amazing old works with politics that are potentially very harmful and triggering today?”

The goal, he said, “is really to be absolutely more inclusive, to try to open the door wider to more people.” This production, he explained, gives us the opportunity to take a break from the chaos around us and also leaves us with questions to ask ourselves and one another. It is his job, he said, to push members of an audience beyond their comfort zones. “The artists are the ones who’re up all night thinking about the future,” he said.

It’s not all about angst, though. “We rehearse from a place of joy at all times,” he said, “because that’s what’s at the center of this thing.”

Soprano Anush Avetisyan ’18MM, who is sharing the role of Pamina with soprano Sylvia D’Eramo ’18MM, said, “It has truly been a joy working with Dustin on this production of The Magic Flute. What I have noticed and really appreciated is Dustin’s commitment to the work at hand. His vision and personality are rare in this world and I am grateful for them every day of rehearsal.”

Yale Opera presents a new production of Mozart’s The Magic Flute at the Shubert Theatre Feb. 16-18.

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Published February 9, 2018
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Guest post: baritone Zachary Johnson ’17MM ’18MMA, on performing Opera Scenes

Baritone Zachary Johnson

On a chilly day in February 2015, I walked into Doris Yarick-Cross’ office for my audition interview. Nervous, and very excited, I answered a series of well-thought-out questions about my education, musicianship, and hopes for the future. I remember the interview well, but there will always be one question that sticks out to me: “Can you learn and memorize music quickly?” I answered, sang my audition, and later accepted my position and moved to New Haven the following September. Within the first week of school I was given a large envelope of music for my first production at Yale: Opera Scenes. I was to perform four different roles, in four different opera scenes — two in Italian, one in German, and one in English. I had just over a month to learn the repertoire, work with coaches, and sing the music from memory. I had my work cut out for me, but I thought back to that interview question and knew that this is what is expected from a singer in this program, and I was not going back down.

“Così fan tutte,” 2017

Opera scenes are an incredibly useful venture for singers, especially young singers intending to pursue a career in opera. While teaching us how to learn multiple styles of music in multiple languages at once, they also help us develop the skill of switching gears emotionally, mentally, and physically as we jump from character to character. I can remember transforming from an eccentric, dancing butler to a slow, dim-witted carpenter all in one night. What is unique about the Yale Opera is that the scenes programs are fully costumed and staged, so each snippet of these incredible operas can stand alone and tell their own stories. We get to work with incredibly talented vocal coaches that help us achieve a deeper understanding of the music and text so we are fully prepared to step on stage and bring these stories to life. Strengthening the ability to jump from character to character and language to language is an extremely useful skill for all opera singers, and Opera Scenes is one of the best programs for that. Following our scenes program in the fall, we perform a complete, fully staged production at the Shubert Theatre. The work chosen is usually one we performed a scene from the previous semester, which is an incredibly useful feature of the Yale Opera program. While developing the skill of balancing multiple roles is important, diving into an entire role and being able to understand the growth and trajectory of a single character is equally as vital for a young singer. the Yale Opera provides its singers with opportunities for both, and you will finish this program with a quicker mind, a thicker resume, and the skills you will absolutely need to balance the multifaceted workload of a professional opera singer.

“Don Quichotte,” 2016

In my third year here at the Yale School of Music, I still think back to that interview. I think back to that question. I will admit, in February 2015, that my answer lacked confidence. I was unsure if I possessed what it takes to be an opera singer. If you were to ask me the same question today, another chilly day, in November 2017, I would smile, think back on the incredible amount of opportunities I have been given in this program to develop as a singer, a musician, and a human being, and give you the most confident “Yes.”

LEARN MORE ABOUT THE NOV. 3 & 4 FALL OPERA SCENES PROGRAMS

Published November 2, 2017
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Yale Opera performs The Marriage of Figaro at the Shubert Theater Feb. 13–15

figaro2The Yale Opera program at the Yale School of Music presents Mozart‘s timeless romantic comedy The Marriage of Figaro this February 13–15 at the Shubert Theater.

Ted Huffman is the stage director of this original production, and Dominique Trottein will conduct the Yale Philharmonia.

Many opera-lovers would name The Marriage of Figaro as their favorite opera. It appeals to those who love great melodies while remaining accessible through its engaging plot and memorable characters. The composer Johannes Brahms said: “In my opinion, each number in Figaro is a miracle; it is totally beyond me how anyone could create anything so perfect.” MORE

Published January 16, 2015
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Yale Opera presents an exciting new production of Mozart’s Don Giovanni Feb. 11 through 13

Stage director Sam Helfrich makes his Yale Opera debut

Working model of set. Photo by Andrew Cavanaugh Holland.

The Yale School of Music and Yale Opera will present Mozart’s masterpiece Don Giovanni February 11 through 13 at New Haven’s historic Shubert Theater. Performances take place at 8 pm February 11 and 12, and at 2 pm February 13.

With stage director Sam Helfrich at the helm, the creative team features original set design by Andrew Holland, costume design by Kaye Voyce, and lighting design by William Warfel. Giuseppe Grazioli, who enjoys an international career and has worked with Yale Opera numerous times, will conduct the Philharmonia Orchestra of Yale.

Helfrich, making his Yale Opera debut, is “delighted to be working with Yale Opera’s talented young singers on Don Giovanni, perhaps Mozart’s greatest opera.”

“The designers and I have created an entirely new production for Yale Opera, drawing inspiration from the Spanish origins of the Don Juan story in order to create a theatrical event rooted in classic images and, at the same time, hip, youthful, and which should strike a chord with smart modern audiences.”
– stage director Sam Helfrich

The opera will be performed in the original Italian with projected English translations. MORE

Published January 25, 2011
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Yale Opera announces spring repertoire and two international appearances

February to feature a new production of Don Giovanni at the Shubert Theater

Yale Opera's 2010 production of The Marriage of Figaro at the Shubert Theater

Yale Opera’s annual production at the Shubert Theater will be a brand-new production of Mozart’s Don Giovanni, conducted by Giuseppe Grazioli and directed by Sam Helfrich. The production, to be performed February 11, 12, and 13, 2011, will feature set design by Andrew Holland, costume design by Kaye Voyce, and lighting design by William Warfel. The opera will be performed in Italian with projected English translations.

In the spring, Yale Opera will present a double bill of The Scarf (music by Lee Hoiby) and Dido and Aeneas (music by Henry Purcell). This production, which will be directed by Mark Streshinsky, director, will be performed April 29 and 30, 2011. The production will feature lighting design by William Warfel and projections designed by Jeremy Knight.

In addition, Yale Opera will present two very exciting international concert performances:

Wonderful Town (Leonard Bernstein)
With the Orchestra Sinfonica di Milano Giuseppe Verdi
February 14–20, Milan, Italy

Maria Padilla (Gaetano Donizetti)
Performed in concert and recorded as a a part of the 2011 Beethoven Easter Festival
April 3–14, 2011, Warsaw, Poland

Published October 1, 2010
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Yale Opera announces spring repertoire

Winter production of The Marriage of Figaro
to be followed in April by a double-bill of Carmen and Le Rossignol


A scene from Yale Opera's production of Mozart's The Magic Flute at the Shubert Theatre, February, 2009. Photo by Jennifer Lester.

A scene from Yale Opera’s production of Mozart’s The Magic Flute at the Shubert Theatre, February, 2009. Photo by Jennifer Lester.

Yale Opera and artistic director Doris Yarick-Cross are pleased to announce the repertoire for its winter and spring productions. The winter production, which will take place at New Haven’s historic Shubert Theater in February, will be an Mozart’s popular The Marriage of Figaro. The opera will be performed in the original Italian with projected English translations. This production by Robert Driver will feature a creative team including stage director Vera Lúcia Calábria, set designer Boyd Ostroff, and lighting designer William Warfel. Christoph Campestrini will conduct the Yale Philharmonia.

The month of April will bring a double-bill of Bizet’s La Tragédie de Carmen and Stravinsky’s Le Rossignol. Both productions will be performed in their original languages – French for Carmen and Russian for Le Rossignol – with projected English translations. Mark Streshinsky will provide stage direction, Douglas Dickson and Timothy Shaindlin will provide musical direction and accompaniment, and William Warfel will design the lighting. The performances will take place April 16 and 17 at 8 pm in Morse Recital Hall in Sprague Hall. MORE

Published October 9, 2009
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Yale Opera presents a new production of Mozart’s The Magic Flute


Tamino with the Magic Flute and the Three Ladies

Follow the sound of Tamino’s magic flute into Mozart’s bewitching fairytale opera, where good triumphs over evil, darkness gives way to light, and love conquers all.

The Yale School of Music presents Yale Opera’s new production of Mozart’s classic Die Zauberflöte (The Magic Flute) at the Shubert Theater, 247 College Street, Friday, February 13 and Saturday, February 14 at 8:00 pm and Sunday, February 15 at 2:00 pm. The creative team that created this exciting Magic Flute includes stage director Marc Verzatt and other members of the artistic staff of Yale Opera, Italian conductor Federico Cortese, lighting designer William Warfel, costume designer Thierry Bosquet (principal and men’s chorus costumes originally created for New York City Opera), and set designer Mikiko Suzuki MacAdams. The original set was built by students from the Yale School of Drama. Performers include an international cast of singers from Yale Opera, a chorus drawn from the New Haven and Yale communities, and the Philharmonia Orchestra of Yale. Doris Yarick Cross is the artistic director of Yale Opera.

The Magic Flute, Mozart’s last opera, is one of the most widely-performed and best-loved works in the repertory, with both comical whimsy and profound symbolism in abundance. It is actually a Singspiel, or “song-play,” with music and spoken dialogue. For this production, the spoken dialogue is in English, and director Marc Verzatt and Yale voice professor Richard Cross have collaborated on a new and often hilarious translation. The music will be sung in German with projected English translations.

The alternating casts feature the talented young singers of Yale Opera, including sopranos Mireille Asselin, Amanda Hall, Adelaide Muir, and Samantha Lane Talmadge; mezzo-sopranos Gala El Hadidi, Ana Sinicki, Emily Righter, Chrystal Williams; tenors Eric Barry, Tadeusz Szlenkier, and Michael-Paul Krubitzer; baritones David Pershall and Vince Vincent; and basses Jeremy Bowes, Damien Pass, and Tyler Simpson. Soprano Stephanie Gregory, an alumna of the Yale School of Music, will join the cast as a guest artist. The three spirits will be sung (also in alternating casts) by Yale College students Lucy Fitz Gibbon, Emily Misch, Eliza Bagg, Chloe Zale, Elizabeth Picker, and Marianne Schuck.

Tickets are $19-$41, $13 for students with ID, at the Shubert box office, 203.562.5666 or 888.736.2663, or at www.shubert.com. Senior and group discounts are available. For further information, please visit the School of Music web site at  music.yale.edu, or call 203.432.4158.

Published February 12, 2009
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