Archive for the ‘supernumerary’ Tag
Enjoy an updated and edited version of my previous post on San Francisco Opera’s “Notes from Valhalla: The RING Blog”:
Two years ago I began a journey into the fire…into San Francisco Opera’s new production of Wagner’s Ring Cycle. That journey comes full circle (pun intended) this month.
It all started when I was invited to collaborate on the iconic brand image and identity for this Ring (with the fantastic design and marketing studio Mission-Minded). This alone was a dream come true. I had become an official Wagner-phile when I experienced SFO’s previous naturalistic production in 1999, with my dear operagoing friend Gil. (Watch the documentary Sing Faster for a great glimpse of that beloved production.)
The creative process began with a meeting with Director Francesca Zambello and General Director David Gockley, to discuss the particular approach of this new production (shared with ENO and WNO, but not yet performed in its entirety). The goal: to highlight the concept of destruction and rebirth, and portray a dose of the production’s modernity, including an accessible and familiar visual vernacular. (The production employs a trailer, projections of power lines and electrical towers, an office building board room, a stylish, contemporary bedroom…to mention just a few of these modern nods.)
The iconic image evolved in a direction that also took a tragic nod from 9/11, using the burning and fall of city skyscrapers to show the destruction of a civilization, parallel with that of nature (via a forest). Perched atop this, a reborn/renewed female visage…a triumphant Brünnhilde. The photo-illustration was made up of 15 or so separate images.
The Adventures of…
“Look! Up on the stage! It’s a samisan, it’s a parasol, it’s SUPER-KOKEN!
Slower than a drifting glacier, more stealthy than a leopard on the hunt.
Able to spin the turntable in a single hook.”
Further Feats: 40 minutes of standing in a demi-plié, 6 child’s poses, 30 minutes in a forward yoga lay, 16 turntable rotations, 1 death-defying silk drop catch, and more!
But, don’t all superheroes have baggage? Thus, I deliver my diagnosis of the Koken: In need of treatment for OCD and chronic inefficiency. These Kabuki-inspired characters in San Francisco Opera’s Madama Butterfly (of which I am 1 of 6) unfailingly offer up perfectly aligned prop placement and table settings, and impossibly measured, controlled movement. SICK!
From a serious perspective, I love exploring and learning different kinds of movement (and dance). Ours requires us to be very in sync, and move nearly as one, in an energized, yet internalized way (like the Tai Chi we trained in). It’s been the best workout I’ve gotten in ages (boy, those pliés are GREAT for the inner thighs!). I’m also savoring the meditative, spiritual practice I’m experiencing through the incredible presence this technique requires.
Given that our all-black costumes are very much like those of a ninja, our presence lends an air of intrigue and gravitas to the unfolding of the proceedings.
Demystifying Illusion & Stagecraft (WARNING: SPOILERS)
I’m amazed at how transforming the art of illusion and stagecraft are, when used so masterfully. Up-close and unlit, the set shows its almost 30 years, and doesn’t really “sing”…BUT, when lit, and from the house, it emerges full bloom into a seemingly living and breathing world. The fiber board panels with overlapping green carpet look like REAL stone and earth. The perforated metal panels that up-close look too thick and heavy-handed, appear exactly like paper screens. GENIUS!
The technological trick that enables the crew to rotate the turntable a calculated amount each time is a crafty system that includes UV painted numbers on the TT rim, that when black-lit from the side are visible only to the offstage crew. This ensures exact placements every time. WOW! Yes, the cat’s outta the bag, the Koken only pantomime the TT rotation, but it’s still a workout to make it look real, with right degree of physical tension.
Being a part of Francesca Zambello’s production of Die Walküre has raised the bar for me yet again on my operatic excursions as a “Super” at the San Francisco Opera. CHECK!…another dream fulfilled. This time Wagner! When I pass over the scratched and worn stage floor, I still pinch myself and marvel at all the legends who have left their mark in this hallowed place. Here’s a photo-narrative glimpse into this exciting production, and my wonderful world of Wagner.
Yes, True Wagnerians Still Walk the Earth
When’s the last time you saw a Wagner opera and weren’t wishing singers of the past were instead onstage? Well, it would be hard to best this nearly peerless cast, particularly in today’s international crop. Eva-Marie Westbroek as Sieglinde is utter perfection, with a refulgent, voluminous voice, and yet, there’s such a naturalness to her delivery, it’s as if she’s speaking. She exudes considerable warmth in her very convincing acting expressions, and as one reviewer said, she couldn’t play the victim better. She also couldn’t look the part more (as evidenced by this glowing photo). She, and all the principals are a joy backstage too. Given the pressure they’re under to perform a VERY difficult piece, that’s quite a testimony.
In her debut as the Walküre Brünnhilde, Nina Stemme delivers the much expected stamina and bravado, but never betrays her beauty of tone, or pushes outside her “column of sound.” She uses her slighter stature and strong connection to her body to paint an authentically youthful and feisty characterization. No, she doesn’t erase memories of Nilsson’s vocal sword throwing in the highest reaches of “Ho-jo-to-ho!,” but she has a far darker, warmer, and more alluring tone, and greater physicality than Nilsson.
Mark Delavan is tireless, and the model of godly alpha-male strength as Wotan. At times he sings with a legato line, but other times chews up and spits out the german consonants to portray anger, or when commanding others. Backstage, he’s the funniest opera personality I’ve ever been around…cracking up the Supers without fail, with his disarming humor. Enjoy his perspective on Wotan, and at times refreshingly irreverent sense of humor in this interview.
Christopher Ventris as Siegmund is in the Heppner/Windgassen vein, having a brighter, not baritonal Heldentenor tone. However, he is easily heard, and has plenty of thrust to cut through the orchestra. He and Eva-Marie make an appealing and very engaged duo. Ray Aceto as Hunding is genuinely scary and imposing, and wields a very satisfying black basso. Janina Baechle as Fricka doesn’t erase vocal memories of Marjana Lipovšek (‘95), but she is quite perfect in this production’s conception of this role, and is fully and excitingly committed.
In this Act I play one of Hunding’s thuggish *insert grunt here* kinsmen, returning from a day of hunting. I carry in a giant plastic-wrapped meat pack, which I immediately throw to Hunding. (Yes, me, the one who couldn’t throw a ball to save his life as a kid…WHY?!) We all threaten Siegmund with our rifles when he hesitates Hunding’s commands. (I’m at bottom left.) Later Sieglinde ladles us up some slop (aka bloodied plastic cubes) from a giant pot, presumably whipped up from the meat I tossed. Mmm-mmm good! Another Super carries a rope with two rather sad, dangling fowl. Not surprisingly, the kinsmen have been likened to the “Michigan Militia,” present-day paramilitary thugs.
In the past I’ve shared bit here about my experiences of being a “Super” or “Supernumerary” (in more mundane and familiar terms: an “Extra”) at the San Francisco Opera.
Well, fellow Super and examiner.com writer Cindy Warner has just done a post featuring some of the new opportunities in the upcoming season, as well as linking back to two of my previous Super posts on jcm.
Enjoy her post here:
My fingers are crossed that I’ll have the good fortune of fulfilling my dream of performing in a Wagner opera, as a Super in Die Walküre!