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Oberlin Opera Theatre’s Offenbach & Rossini: “a little soufflé and a little spaghetti” (Nov. 12)

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by Daniel Hathaway

Oberlin Opera Theater’s fall double bill of Jacques Offenbach’s farce Le mariage aux lanternes and Rossini’s operetta L’occasione fa il ladro gave director Jonathon Field and two fine student casts a crack at producing both a puff piece and a classical bel canto title on the same program. They proved fully capable of meeting all challenges, bringing professional-level acting and singing to the Hall Auditorium stage. I saw the performance on November 12.

Le mariage aux lanternes, the evening’s curtain-raiser, is about Guillot (Bradley Boatright) and Denise (Genevieve Dilan), a couple working on a farm, who are in love with each other, though the clueless Guillot can’t acknowledge it. With the help of his Uncle Matthias (David Burgher), who sends them letters saying that when the Angelus rings, they’ll find what they are looking for beneath a big tree, they eventually find — each other. Meanwhile, two widows, Franchette (Isabel Merat) and Catherine (Kylie Buckham), are also vying for Guillot’s affection (or, more cynically, plotting to acquire his property). [Read more…]

Oberlin Opera Theater:
a double bill of Offenbach & Rossini 

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by Mike Telin 

If you’re looking for some extra laughter in your life, Oberlin Opera Theater has the perfect ticket when they present the Oberlin premieres of a pair of one-act comedies. 

Romance and deception will take center stage in Offenbach’s Le mariage aux lanternes (“The Wedding by Lantern Light”) and Rossini’s L’occasione fa il ladro (“Opportunity Makes the Thief”), both sung in the original languages with English supertitles. Jonathon Field directs and Joseph Mechavich conducts the Oberlin Orchestra. Performances take place on November 10, 11, and 12 at 8:00 pm and November 13 at 2:00 pm at Hall Auditorium. Click here for tickets.

Simply put, the Offenbach is a love story with songs that everyone will enjoy, and the Rossini is a comedic farce during which identities and affections are swapped between two pairs of would-be lovers. 

[Read more…]

Oberlin Opera Theater: Secret Marriage, Public Hilarity (Mar. 26)

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by Daniel Hathaway

It’s been said that six is the magic number of guests to invite to a dinner party. Fewer than that reduces the likelihood of witty repartée, and more than that risks having the party break up into multiple conversations. That principle also applies to casts of comic operas that depend on scintillating conversations and wild misperceptions to fuel the plot.

Saturday evening’s Oberlin Opera Theatre performance of Cimarosa’s Il Matrimonio Segreto at Hall Auditorium brought exactly half a dozen talented singer-actors together in a tightly-woven plot that left its characters and relationships in a quandary right before intermission. [Read more…]

Oberlin Opera: Field & Larkin on Cimarosa’s ll matrimonio segreto

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by Mike Telin

Domenico Cimarosa’s ll matrimonio segreto (“The Secret Marriage”) was a hit with the public from its premiere at the Imperial Hofburg Theatre in Vienna in 1792. And still today the opera has not lost any of its audience appeal.

On Thursday, March 24 at 8:00 pm at Hall Auditorium, Oberlin Opera Theater will present Cimarosa’s two-act comic opera in a production directed by Jonathon Field, with Christopher Larkin conducting the Oberlin Orchestra. The opera will be sung in Italian with English supertitles. Performances run through Sunday. Tickets are available online.

Larkin has been a regular in the Hall Auditorium pit since 2007 when Field staged Mark Adamo’s Little Women, an opera for which he conducted the premiere in Houston. 

On a recent sunny morning at a popular Oberlin coffee shop, I sat down with Jonathon Field and Christopher Larkin to talk about the opera and the production. This conversation was one of those where you simply turned on the recorder and the two longtime collaborators took it from there.

[Read more…]

The Puppy Episode: Oberlin premieres new chamber opera on Feb. 16 and 17

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by Daniel Hathaway

The Puppy Episode, the second in a series of three-year opera projects, will be premiered in Warner Concert Hall on February 16 and 17 (click here for tickets). The performance on the 16th will be live streamed.

“It takes so many people to put on a production, especially a new one,” Oberlin Opera professor and director Christopher Mirto said in a recent Zoom call. And most of them join the process like hopping onto a moving train.

In the case of The Puppy Episode, librettist Royce Vavrek and composer Matthew Recio were present from the first spark of an idea. “I was courting Royce as a collaborator,” said Recio, who was also on the call. “I finished the Vanguard program at Chicago Opera Theater in June, and Lydia, the conductor, gave me a list of librettists. I got to do some speed dating in three or four calls with each candidate.” [Read more…]

Oberlin Opera to present Handel’s Acis and Galatea

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by Mike Telin

In Book XIII of Ovid’s epic poem Metamorphoses, we encounter the tale of Ajax and Ulysses and the armor of Achilles, the Fall of Troy, and the pilgrimage of Aeneas. Book XIII also contains the story of the lovers Acis, a mortal shepherd, and Galatea, a sea nymph. But when Acis is killed at the hands of Polyphemus, the jealous Cyclops, Galatea transforms her lover into an immortal river spirit. 

This week, Oberlin Opera Theater presents Handel’s Acis and Galatea in Hall Auditorium beginning on Thursday, November 11 at 8:00 pm. Performances continue on Friday and Saturday at 8:00 and on Sunday at 2:00 pm. With a libretto by John Gay, the opera will be sung in its original English. Guest conductor Matilda Hofman leads a cast of seven principal performers, a 16-member chorus, and the Oberlin Orchestra. The opera is presented in two acts with a duration of approximately two hours, including intermission. Click here for tickets.

Originally devised as a one-act masque, Acis and Galatea was premiered in 1718 and by the mid-century, it had been staged more than 70 times. It is also one of the composer’s only staged works to remain popular after his death. In addition to a masque, the work has been described as a serenata, a pastoral opera, and even an oratorio.

[Read more…]

Oberlin Opera Theater:
The Telephone & La voix humaine (Nov. 6)

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by Jarrett Hoffman

It’s not an easy time for opera, to state the obvious — any new production is an achievement in itself. Immense creativity is required to prevent the spread of COVID-19, and as a result, things are bound to look and feel different from the norm.

That was the case with Oberlin Opera Theater’s pre-recorded double-bill of Gian Carlo Menotti’s comedy The Telephone and Francis Poulenc’s tragedy La voix humaine, which brought together impressive performances with sometimes inventive, sometimes puzzling decisions from director Jason Aaron Goldberg. The production, which premiered on November 6 on the Oberlin Stage Left series, remains available to watch through November 13.

[Read more…]

Oberlin Opera Online: Phoning in Menotti & Poulenc 

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by Mike Telin

In 2020, encountering someone engrossed with their phone is hardly an oddity. But even back in the days when phones did two things — make and receive calls — there were those who spent hours on them while ignoring the other people in the room, or who shared their emotional frustrations with any sympathetic ear.

On Friday, November 6 at 7:30 pm, Oberlin Opera Theater will present the double bill of Gian Carlo Menotti’s 1947 comedy The Telephone and Francis Poulenc’s 1958 tragédie lyrique, La voix humaine (“The Human Voice”). Directed by Jason Aaron Goldberg, with music direction by Daniel Michalak, the pre-recorded broadcast will begin with a discussion featuring Goldberg and members of the cast and crew. Presented as part of Oberlin Stage Left, the performance will remain available on demand through November 13. Click here to view.

Goldberg, a 2016 Oberlin alum who is currently in his final year of completing an MFA at the Actor’s Studio Drama School, received the invitation to direct these operas from his former mentor Jonathon Field, the Conservatory’s director of Opera Theater. [Read more…]

Oberlin Opera moves to live stream for second and final Così fan tutte (Mar. 13)

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by Daniel Hathaway

The portents weren’t good for the week of March 8: first the disorienting switch to Daylight time was to click in on Sunday, then a full moon would rise on Tuesday, then the 13th of the month was scheduled to fall on Friday. Midweek, the spread of COVID-19 added a spiraling series of postponements, cancellations, and shut-downs to an already unlucky period. Like other educational institutions, Oberlin College and Conservatory found themselves making decisions about how to proceed, only to change plans several times. [Read more…]

Oberlin Opera: Britten’s A Midsummer Night’s Dream (Nov. 10)

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by Daniel Hathaway

It takes supreme self-confidence to turn a Shakespeare comedy into an opera, and even more daring to follow up someone else’s iconic music with a score of your own. Benjamin Britten is one of the few composers who could succeed on both counts. His version of A Midsummer Night’s Dream, composed in 1960 and produced by Oberlin Opera Theater earlier this month, preserves the magic of Shakespeare’s verse with atmospheric writing that stands up well to Mendelssohn’s wonderful incidental music. Directed by Jonathon Field, with Christopher Larkin and the Oberlin Orchestra in the Hall Auditorium pit, the production, of which I saw the fourth and final performance on Sunday afternoon, November 10, boasted a uniformly superb cast of Athenians, Fairies, and Rude Mechanicals. [Read more…]

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