Archive for the ‘jerry springer the opera’ Tag

jcm’s Top 10 Best LIVE Performances of ‘10

It’s that time again! I’m serving up my second annual Top 10 LIVE Performances of the year. It’s a follow-up to my ‘09 list. Sadly, there are no Broadway shows on this list. I plan on remedying that in 2011!

1. Die Walküre, San Francisco Opera (Details)

This production offered one of the finest casts that could possibly be assembled for this opera (and The Ring) in the current operatic landscape. The production said some new things, and offered a few fresh perspectives, but didn’t try too hard, or overshadow the score. Maestro Runnicles is a Wagnerian master, and he and the orchestra rose to the occasion again. Yeah, I was a “Supernumerary” in the production, but I was able to watch much of it from the orchestra during rehearsals, and even accounting for my bias, this would still takes my top spot. Enjoy my full review here.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mark Delavan (Wotan) & Nina Stemme (Brünnhilde); Photo by Cory Weaver

2. Scalpel! The Musical, Brava Theatre (Details)

Can you say fun? It had me at the opening number, with countless heals and drag runway walks. It was the first show I’ve seen in the Brava, and I immediately loved this venue…the warm lighting, the urban ambience, and the straight, raked seating offering direct views. Even with all the camp and hijinks, the entire cast was completely committed to the material. This was the second mounting of the show, and my fingers are crossed that it returns yet again. Apparently, there was a bit of a curse on the production, with multiple cast injuries (including a very unfortunate broken leg for leading man, Mike Finn), but they pushed through, with some quick and fortuitous replacements and prevailed. Picturing Sara Moore as “poop-raking” TV reporter Kitty Kelly (“Hardballs” host) still makes me laugh.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Emily McGowan: Fritzy, Arturo Galster: Pepper Van Allen, Cindy Goldfield: Jacqueline Bulgari

3. Heidi Melton: Salon at the Rex, The Rex Hotel (Details)

To hear Heidi Melton plead in spoken french AND debut her chest voice was alone faint-worthy, and positively scintillating. And, to hear her in repertoire much outside her core operatic rep and comfort genres was a treat (ie: Irving Berlin and Kurt Weill cabaret, and Korngold songs). Her rendition of Berlin’s “Always” left not a dry eye in the audience. (Her Noe Valley Chamber Music Recital a few weeks before was also very beautiful). No thanks to the Adler “Future is Now” concert, which was on the same night, the recital was over all too soon (evidenced by a jcm quotation here and here)! I stuck around and imbibed and dined at the bar…I wanted to savor the spell Heidi had cast.

 

 

Continuing Reading jcm’s Top 10! —>

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The 2010 #OperaPlot Twitter Contest Begins!

Today, The Omniscient Mussel launches her second annual “OperaPlot” contest. The goal? To synopsize any opera in 140 characters (including the hashtag #operaplot), and post up to 25 on twitter.com, before midnight EST, friday, April 30th. Anyone can enter, so hit her with your best shots!

T.O.M. scored a major coup, landing the biggest hunken-tenor on the intl. scene Jonas Kaufmann as arbiter! It was tempting to tailor my entries to his repertoire (ie: Werther, Tosca, Die Walküre, etc.), but I maintained my integrity! My entries milk song lyric adaptations, current mainstream celebrity fixations, whimsical text icons, and my love for the melodramatic side of the art form.

(Photo by Johannes Ifkopvits, 2006)

Follow all submissions here. Here are the Rules and FAQs, the 2010 Prize Pool, and the 2009 Winners & Prizes.

My First 12 Entries


I’m too sexy for amor—too sexy for Seville. I’m a charmer—I shake my lil tush on the piazza. I’m too sexy for this opera. *burns* [Don Giovanni]

Her name was Violet, she was a call girl. With camélias in her hair & consumption in the air. At the AH-PRAH! Don’t fall in love! [La Traviata]

Irish ♀ + Breton ♂ x ♪ leitmotifs in ♠s = ♥ death [Tristan und Isolde]

(Inappropriate for Children) “Je-rry! Je-rry!” A chick with a *BLEEP*. Commercial break. Satan/Jesus fued *BLEEP*! Final Thought. [Jerry Springer: The Opera]

All that stands between Turandot and her man: a millennia-old feminist grudge, “Hope, Blood, Turandot,” slave girl and frigidity. [Turandot]

The primacy of words or music? Inseparable! A poet or composer’s heart, and whose operatic ending? Hmm…what’s a Countess to do? [Capriccio]

Shadow chasing ensues, proving Her Heart Belongs (nicht) To Daddy, but to hubby. Next up: “Empress & Kaiser Plus 8” or Octomom? [Die Frau ohne Schatten]

3 protagonists enter. 3 cries of “Turandot.” 3 gongs. 3 riddles. 3 correct answers. 3 ministers lament. 3 “Vinceròs!” 3 Acts end. [Turandot]

1) Death by strangulation on a barge on the Seine in Paris, 2) by poison in a convent near Siena, 3) and by old age in Florence. [Il Trittico]

The Don’s Hectic Calendar: Seduce. Rape. Duel. Kill. Flirt. Lure. Flee. Regroup. Accuse. Swap. Fool. Invite. Revel. Refuse. BURN! [Don Giovanni]

The Empress needs what the mortal woman has, decides she doesn’t want it badly enough, but gets it anyway. Typical daddy’s girl! [Die Frau ohne Schatten]

“Questo è il fin di chi fa mal!” So, don’t seduce, rape, accuse, fool, desert, lure, beat, or kill, lest you be dragged to hell! [Don Giovanni]

Perhaps I’ll be inspired to generate a second phase of entries! This is VERY addictive, and I wanna win!