Co-commissioned by the Dallas Opera, SF Opera, and three others, its since made its way round those partner companies, and will premiere at the Washington National Opera February of next year. Its received mostlyglowingreviews, so here’s your chance to see it for yourself (assuming you didn’t already see it live in Dallas, San Francisco, San Diego, Adelaide, or Calgary).
Here’s an evening with Heggie, discussing his musical formation up to Moby Dick, at San Diego. He’s an engaging speaker, and he covers his fortuitous fall into composing opera from working in an opera company’s PR department. UCTV also has this spot devoted to the Moby Dick at Sand Diego Opera.
The next two Fridays on PBS are also devoted to the more musical side of theater, with Sondheim’s Company and Rodger & Hammerstein’s Oklahoma! So set your Friday nights aside for free musical fun!
Obviously Bechdel is (or maybe was, before Fun Home) best known for her long-running strip Dykes to Watch Out For, and Tesori is known for musicals like Violet and Caroline, or Change, though also for the Shrek musical and for scoring several Disney animated sequels and prequels… Here’s a clip of the production of Violet at Endstation Theatre in Virginia:
Some refer to Spontini as the missing link to French Grand Opera, but some say he’s just really boring… But still, an interesting novelty… Here’s a famous aria, “Toi que j’implore” performed by Barbara Dobrzanska:
There’s a neat behind-the-scenes article about the development of the piece since ENO. It also mentions some of the outside-the-box promotion the Met’s been doing (TV spots during Catfish seem appropriate), including an “Ask me Anything” session with Muhly on Reddit! Strangely engrossing… He elaborated on some of the questions on his own site too.
PS: “Two Boys One Cup” was definitely a Google autofill suggestion today…
EDITED TO ADD: Britten‘s final opera, Death in Venice, is streaming until Friday on BBC Radio 3, which I mention here because of Muhly’s self-proclaimed love of Britten’s operas and the centrality of a boy character to each. Maybe by listening to the two you can play spot-the-influence; I heard some gamelan-like touches are appear in both…
Also, here’s a video from the Met with the most music and footage from the actual opera as I’ve yet seen… To put some visuals to the disembodied music you’ll hear tonight…
The libretto at top is from the collection of London’s Victoria & Albert Museum, and it was used at the opera’s premiere performance, making it one of the earliest preserved prompt scripts. They have a nice page on 18th century opera with more primary sources from their collections.
The other operas to be performed at Juilliard are Tchaikhovsky’s Eugene Onegin and Massenet’s Cendrillon (ie, Cinderella). Here’s their full listing of operatic and vocal offerings this year, and as long as we’re talking about New York schools, here’s the opera schedule for the Manhattan School of Music too, an intriguing combination of Haydn, Cavalli, and Virgil Thomson…
I almost forgot about this myself, but PBS aired Superheroes: A Never-Ending Battle, a 3 part documentary on the history of American comic book Superheroes, this week and now all episodes are online for a limited time only!
Here’s a panel on the documentary from this year’s San Diego Comic-Con if you wanna pre-game post-emptively:
I saw the first installment of the series and enjoyed it, especially to see interviews with some of the original creators in the field who have since passed, like Joe Simon, Carmine Infantino, Jerry Robinson, and even some archival footage of Jack Kirby.