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I think the audience is going to feel it a little bit stronger than my portraying a girl of the past.Congratulations to our Jazz Pee Wee, Dance Force, and Rip Squad teams who attended the America OnStage Competition on February 26-28, 2015 at Thanksgiving Point. During the first years, the advantages and needs of Nicaragua became more clear.
“Now I can do Lucia almost like playing myself. “It’s more natural than my trying to play someone from the 16th century,” she said. Sierra, who has sung the role before, has found it easier to interpret in a contemporary setting. “And that’s really what ‘Lucia’ is about.” “I’ve been through things, like men trying to control my situation or break my heart or put me through a roller coaster of dominance versus being submissive,” Sierra said. When a performance snaps into place, Frizza said, the score’s enduring themes emerge naturally: “The way Donizetti builds the whole structure around Lucia from the beginning to the mad scene - he was a great man of theater, but also one important for showing us the whole face of a woman in this opera.”Īt the very least, her story speaks to the soprano portraying her. At the same time he, was also seeking to balance the orchestra’s sound to resemble the historically informed approach he takes at the Donizetti Festival in Bergamo, Italy, where he is the music director. The conductor, Riccardo Frizza, said that he was aiming to match the production by bringing out “the modernity of this score,” with a focus on transparency and emphases on certain words in the libretto.
Still, Stone said, he eventually had to step back and make room for the music. With such specificity, Gelb said, “it’s a show that’s going to keep the Met on its toes.” Stone was still refining the details in recent rehearsals, with a meticulous eye on the speed of the turntable and whether one of the singers should be wearing a jacket instead of a cardigan. Driven to murder by it all, she is, Stone said, “a woman trying to survive, to create a future for herself, to be independent, but being ground to dust by the patriarchy around her.” “Everything’s changed: The economy’s fallen apart, and the ideas of masculinity have been turned upside down, and they act out and they create political mischief.”Ĭaught between the conflicts of men like that is Lucia - her bully of an older brother, Enrico (Artur Rucinski), scheming to keep her from the man she loves, Edgardo (Javier Camarena), and forcing her to marry a more promising match against her will. “The ‘marginalized’ men who used to be in charge, who now think they have to fight for their last shred of dignity - it’s a genuine problem in America,” Stone said.
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Hence a “Lucia” for the age of white nationalist rallies and the Jan. At On Stage America we hope to encourage all of the performers growth through professional critique from experienced artists and we strive to make all of. Choose from Same Day Delivery, Drive Up or Order Pickup. “And I don’t think that can really happen if you consider a distance from it and think, ‘That’s set somewhere else, at another time, and that’s not about me.’” ONSTAGE IN AMERICA:HONKY (DVD English) Genre: Western Main Cast: ARTIST NOT PROVIDED Director: ARTIST NOT PROVIDED Duration: 103 Mins Number of Discs: 1. Read reviews and buy OnStage in America: Honky (DVD)(2016) at Target. “Opera is the most beautiful and total of art forms, and it sparks every fiber of your being as well as provokes all of your thoughts and fantasies,” he said. But the new “Lucia” is uncharted territory for the Met, and a test for traditionalists. And Peter Sellars directed distinctly American contemporary takes on Mozart in the 1980s. Where the opera’s libretto depicts a decaying and desperate aristocracy in the Scotland of centuries ago, Stone has found contemporary resonances and turned the Met stage into something of a graveyard of the American dream - a landscape of opioid abuse, economic hardship and the last, dangerous gasp of white male power.īoth Stone and Sierra are veterans of European houses, where a production like this wouldn’t be out of the ordinary at the Bavarian State Opera in Munich, for example, Wagner’s “Die Meistersinger von Nürnberg” has a similar look in David Bösch’s 2016 staging, with a group of older men exerting outsize control over their economically depressed community. As Sierra slowly made her way down the fire escape, she was surrounded by fragments of a faded postindustrial town: a drab motel, a pawnshop, a liquor store with an A.T.M.