Showing posts with label death of klinghoffer. Show all posts
Showing posts with label death of klinghoffer. Show all posts

Saturday, November 22, 2014

Roman Trekel to perform controversial Henze oratorio

Roman Trekel
The world of opera has seen its fair share of controversies, including the political censorship of Verdi operas, outrage over the sexual nature of Richard Strauss' Salome and the recent protests over John Adams' The Death of Klinghoffer at the Metropolitan Opera.

Much of this pales to the reaction that greeted Hans Werner Henze's oratorio Das Floß der Medusa (The Raft of the Medusa) in Hamburg, Germany in 1968. The piece, which was written as a requiem for Che Guevera, had advertisements torn down, protests, chanting and the chorus actually walkng off the stage chanting that they wouldn't sing under the "red flag," a reference to the communist flag that had been hoisted by students. Scuffles ensued in the audience, the police had to be called and the performance was cancelled.

The piece has subsequently had a few performances without incident and is scheduled for two performances beginning tonight with baritone Roman Terkel and the Concertgebouw Orchestra in Amsterdam. 

The Raft of the Medusa by Théodore Géricault
Das Floß der Medusa tells the story of the French frigate Meduse, which ran aground off the west coast of Africa in 1816. It marks an ignominious episode in French political and maritime history, and was later immortalized in the painting of the same name by Théodore Géricault. 

The piece is written for soprano, baritone, speaker, choir, children’s choir and orchestra. The choir, as a collective mass, plays an important role and expresses its visions of death in floating, nearly impossible sounds. At the apotheosis, which features the Vietnam war, Henze based his rhythmic patterns on the chants in honor of Ho Chi Minh. As Henze's oratorio builds to its climax, the "dead" move from the choir of the living to that of the dead, which is full of both adults and children, creating an imbalance on the stage.

Tickets and additional information are available online


2015 Barihunk Calendar
Mildly less controversial is our 2015 Barihunks Charity Calendar, which is available by clicking on the LULU button below. 
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Tuesday, November 4, 2014

Barihunks Allicock and Hughes up for $100,000 prize!!!

Evan Hughes
Barihunks Aubrey Allicock and Evan Hughes are among 16 young musicians up for a $100,000 cash prize from Warner Music to be given annually to a promising musician between the age of 18 - 35. The Warner Music Prize was created to bolster rising musicians with notable talents or achievements.

This year's inaugural award will be presented to an artist presented by Carnegie Hall who has shown exemplary musicianship in their solo roles throughout the 2014-2015 concert season.

The winner will be announced in the Spring of 2015, after the candidates have been thoroughly evaluated by a juror panel comprised of accomplished classical musicians and key industry leaders. In addition to the cash prize, the winner of the 2015 Warner Music Prize will be showcased at the Warner Music Prize Gala on October 27, 2015 at Carnegie Hall. Money raised at the gala will benefit the Harmony Program and the Weill Music Institute, both of which aim to provide music education to underserved demographics.


Aubrey Allicock
Musicians under consideration will perform at Carnegie-Hall, with Aubrey Allicock scheduled for December 4th and Evan Hughes for March 8th. Other artists under consideration are sopranos Sarah Shafer and Jennifer Zetlan; mezzo-sopranos Jamie Barton, Rachel Calloway, Cecelia Hall, Alisa Kolosova, and Peabody Southwell; tenor Dominic Armstrong; violinists Augustin Hadelich and Itamar Zorman; cellist Brook Speltz; double bassist Roman Patkoló; harpist Sivan Magen; and pianist Behzod Abduraimov.

Allicock just made his Metropolitan Opera debut as Mamoud in John Adams' The Death of Klinghoffer starring fellow barihunk Paulo Szot. Performances run through November 15th and tickets are available online.

Evan Hughes is on the roster of the Semperoper in Dresden, Germany. His roles this season include Zoroastro in Handel's Orlando and Achilla in Giulio Cesare, Don Basilio in Rossini's Barbiere di Siviglia, Pietro in Verdi's in Simon Boccanegra, Colline in Puccini's La bohème and Emma Becker in Peter Ronnefeld’s Nachtausgabe.

Don't forget to order your 2015 Barihunks Charity Calendar, so you can enjoy 19 of operas hottest men all year!

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Saturday, October 18, 2014

Aubrey Allicock featured in OUT Magazine

Aubrey Allicock (Photographed by Roger Erickson for Out)
By Julien Sauvalle

In the Metropolitan Opera staging, the gay baritone plays Mahmoud, a Palestinian terrorist. Allicock tackles the controversy surrounding the production—and explains why everybody should see it.

Last year, Aubrey Allicock played the role of gay boxer Emile Griffith in Champion, Terence Blanchard's opera-in-jazz, in St. Louis. A Tuscson native of Guyanese and African-American descent, Allicock has since graduated from Juilliard's top-tier program for opera singers, and performed in productions of Rinaldo and Alice in Wonderland. This fall, he makes his debut on the stage of the Metropolitan Opera in a new production of The Death of Klinghoffer. 

Directed by Tom Morris (War Horse) and composed by John Adams (Nixon in China, Doctor Atomic), The Death of Klinghoffer is based on the 1985 hijacking of the cruise ship Achille Lauro by Palestinian terrorists, which resulted in the killing of a wheelchair-bound Jewish passenger, Leon Klinghoffer. 

Since its premiere in Brooklyn in 1991, the work has drawn praise and criticism for its libretto, which some Jewish organizations have called anti-semitic. While this new staging hasn't failed to anger protesters outside Lincoln Center, Allicock, who plays one of the Palestinian terrorists, tells us why Klinghoffer should be required viewing, regardless of where one stands on current affairs. 

Out: The Death of Klinghoffer marks your stage debut at the Met. How are you feeling?  Aubrey Allicock: I worked at the Met back in 2010 as an understudy, but this is my first time singing on the stage. Surprisingly, I feel really comfortable. I know the music because I’ve sung the role before for six productions of Klinghoffer. I know what my voice is able to do with it, and I’m actually finding myself being able to explore my character further. It’s more about being more comfortable with the character—because the music is no problem.

[Continue reading interview at OUT Magazine]

Friday, July 4, 2014

Celebrating Independence Day with American Opera


American composers Marc Blitzstein and Jake Heggie
American opera didn't happen until more than 140 years after the first opera, Jacobo Peri's Daphne. William Henry Fry is considered the first American opera composer. He wrote the unperformed Aurelia the Vestal in 1841 followed by Leonora in 1845. Most early American composers are forgotten today. Perhaps the first who are remembered today are Walter Damrosch, Scott Joplin, Louis Gruenberg, Roger Sessions and Victor Herbert.

One composer who is largely forgotten today is Harry Lawrence Freeman, an early African-American composer who supported himself and his own opera company during his lifetime and performed to largely black audiences. In 1893, his opera Epthelia was the first opera performed in the U.S., which was written by an African-American composer.

Before the advent of World War II, a number of prominent American composers emerged whose music endures today, including Marc Blitzstein, Virgil Thomson, George Gershwin, Douglas Moore, Aaron Copland and Gian Carlo Menotti. Perhaps the most enduring works from this period are Thomson's Four Saints in Three Acts and Gershwin's Porgy & Bess.

William Sharp sings Marc Blitzstein's song "Monday Morning Blues":

Marc Blitzstein is best remembered for his opera Regina, his musical The Cradle Will Rock and his adaptations of Kurt Weill/Bertolt Brecht musicals, even though he was notoriously critical of Weill for trying to appeal to mass audiences.  Regina is an adaptation of the Lillian Hellman play The Little Foxes. It was completed in 1948 and premiered the next year. The musical style has been described as new American verismo, abounding in the use of spirituals, Victorian parlour music, dance forms, ragtime, aria and large, symphonic score

William Warfield and Leontyne Price sing "

Porgy & Bess features a number of baritone and bass-baritone roles, including Porgy, Jake and Crown. Porgy gets to sing the classic "I got plenty o' nuttin'" and "Bess, o where's my Bess?, "as well as an amazing duet. Jake gets to sing A woman is a sometime thing, while Crown sings "A red-headed woman."

Virgil Thomson composed four operas and the two most popular were collaborations with author Gertrude Stein. He was influential in the creation of what is known as “American Sound” and was awarded Yale University’s Sanford Medal and the National Medal of Arts.

Douglas Moore is unusual,  in that he was most famous for his operas, not his popular music. Although he composed ten operas, his most well-known is The Ballad of Baby Doe. He was a significant figure in both the advancement of American music and music education.  Horace Tabor, who has the best music for a male character, was written for a baritone. His main pieces include "Warm as the autumn light" and "Turn tail and run then."

Michael Hewitt sings "Warm as the autumn night":


The second half of the 20th Century saw the emergence of some of America's greatest composers ever, including Hugo Weisgall, Dominick Argento, Carlisle Floyd, Samuel Barber, Thomas Pasatieri, Philip Glass, John Adams and Stewart Wallace. In 1955, Carlisle Floyd wrote what many consider America's greatest opera, Susannah, which remains in the standard repertory today.

Long before the composing couple of Mark Adamo and John Corigliano emerged, America was blessed with lifelong companions Samuel Barber and Gian Carlo Menotti, who wrote some of the greatest operatic works in history. Barber penned Antony & Cleopatra and Vanessa, the latter with a libretto by Menotti. Antony and Cleopatra was commissioned to open the new Metropolitan Opera House at Lincoln Center in 1966 with Leontyne Price and Justino Diaz. 

Eric Halfarson sings the Death of Enobarbus from "Antony & Cleopatra":

Gian Carlo Menotti wrote the most performed American opera ever written, Amahl and the Night Visitors. His impressive list of operas include The Consul, The Saint of Bleeker StreetAmelia Goes to the Ball, The Old Maid and the Thief, The Telephone and The Last Savage. In 1958, Menotti founded the Festival of Two Worlds in Spoleto, Italy and then founded its companion festival in Charleston, South Carolina in 1977.

The 21st century has seen an explosion of interest in living American composers, including Tobias Picker, John Adams, Philip Glass, Jake Heggie, Mark Adamo, Ricky Ian Gordon, Anthony Davis, Steve Mackey, John Corligliano, Daron Hagen and John Harbison. Philip Glass has been successfully writing operas for 35 years, with such major successes as Hydrogen Jukebox, Einstein on the Beach, Kepler, Satyagraha and Appomattox. He has composed over twenty operas.

Martin Achrainer in Philip Glass' "Kepler":

Although he is far less prolific than Glass, many people consider John Adams an equal to Glass as the greatest living American composer. His masterpiece is considered Nixon in China, which is currently being performed in theaters around the world.  His other somewhat less successful opera is The Death of Klinghoffer However, it has received worldwide press attention over the Met canceling the Live in HD broadcast of the opera over concerns from Jewish groups.

Perhaps the modern day wunderkind of American opera is Jake Heggie, who has strung together a remarkable number of operas which are entering the standard repertory. His 2000 opera Dead Man Walking is becoming an audience favorite far beyond the U.S. shores. Of course, we love it, because it has become a major vehicles for barihunks who are portraying the convicted killer Joseph De Rocher. His other successes include The End of the Affair, Three Decembers and the recent hit Moby-Dick 

Randal Turner sings Tom Joad's aria from The Grapes of Wrath:

But the busiest composer in 2014 has to be Ricky Ian Gordon with his singable melodies. His most recent opera "27" with a libretto by Royce Vavrek is about about the singular world of Gertrude Stein and Alice B. Toklas. It opened on June 14th at the Opera Theatre of St. Louis. Three months earlier, he opened A Coffin in Egypt at the Houston Grand Opera, which was written for superstar diva Federica von Stade. It's already had subsequent performances in Los Angeles and Philadelphia.  

Have a happy and safe 4th of July and celebrate some American music! 

Tuesday, June 17, 2014

Met cancels Live in HD transmission of Death of Klinghoffer

Paulo Szot and Ryan Speedo Green
After an outpouring of concern that its plans to transmit John Adams’s opera The Death of Klinghoffer might be used to fan global anti-Semitism, the Metropolitan Opera announced the decision today to cancel its Live in HD transmission, scheduled for November 15, 2014. The opera, which premiered in 1991, is about the 1985 hijacking of the Achille Lauro cruise ship and the murder of one of its Jewish passengers, Leon Klinghoffer, at the hands of Palestinian terrorists.

The opera stars three singers who have been featured on the site before, Paulo Szot as The Captain, Aubrey Allicock as Mamoud and Ryan Speedo Green as Rambo.

Aubrey Allicock (left) and Christopher Magiera in Klinghoffer at OTSL
The Met will go forward with its stage presentation of The Death of Klinghoffer in its scheduled run of eight performances from October 20 to November 15. In deference to the daughters of Leon and Marilyn Klinghoffer, the Met has agreed to include a message from them both in the Met’s Playbill and on its website.

In recent years, The Death of Klinghoffer has been presented without incident at The Juilliard School (2009), the Opera Theatre of St. Louis (2011), and as recently as this March in Long Beach, California. The Met’s new production was first seen in London at the English National Opera in 2012, and received widespread critical acclaim.

Tuesday, July 24, 2012

Aubrey Allicock to star as boxer Emile Griffith

Aubrey Allicock and Emile Griffith
The Opera Theatre of St. Louis has announced that barihunk Aubrey Allicock will star as bisexual boxer Emile Griffith in the world premiere of Champion on June 15, 2013. The opera was written by jazz great Tereence Blanchard with a libretto by playwright Michael Cristofer and will also star mezzo Denyce Graves.

Aubrey Allicock has become an instant fan favorite at the Opera Theatre where he played Mamoud in The Death of Klinghoffer in 2011 and the Mad Hatter in Alice in Wonderland in 2012. Local opera fans got to know him during his two year stint with the Gerdine Young Artist program where he performed the roles of Zaretsky in Eugene Onegin and the Customs Official in La bohème.

Terence Blanchard: Taxi Driver:

Emile Griffith was a three-time World Welterweight Champion and twice a World Middleweight Champion, fighting from the late 1950s into the 1970s. However, one of his greatest professional triumphs – winning back the Welterweight Championship from Benny “The Kid” Paret in 1962 – was also one of his greatest personal tragedies. The seventeen punches he landed on Paret in seven seconds resulted in not only a knockout, but also a coma from which Paret would never recover. Paret would die ten days later.

The end of the Griffith-Paret fight + Norman Mailer's commentary:

Before that life-changing televised fight, in a room full of press and officials, Paret mocked Griffith repeatedly with a derogatory term for homosexual. Years later, Griffith’s sexuality as a gay man was revealed to the public after he was nearly killed by a gang outside a gay bar in New York. “I kill a man,” Griffith was quoted to have said, “and most people understand and forgive me. I love a man, and to so many people this is an unforgiveable sin.” In an inspiring, moving, and painful journey of self-discovery, Champion presents audiences with a great contemporary tragic hero – a man of strength and courage consumed ultimately by rage, regret, and the terrible consequences of his actions.

Today, Griffith requires full time care and suffers from pugilistic dementia.


Thursday, June 23, 2011

Death of Klinghoffer in St. Louis

Avirath Dodabele as young Omar and Paul LaRosa as Rambo
Our inbox has been filled with an unusually large amount of correspondence about the Opera Theatre of St. Louis' production of John Adams' "The Death of Klinghoffer." With our commitment to promoting contemporary opera we're kicking ourselves for not covering this production until late in the run. There is one performance left on Saturday, June 25. 

Many of the emails were about Christopher Mageira, who plays the Captain, and who has not appeared on this site before. However, the heavy panting came through in the emails about Paul LaRosa's performance as Rambo. Fortunately, the opera company posted this photo on their website. We've posted a number of pictures of LaRosa and his muscled physique since his days at the Merola Opera Program.

Christopher Magiera as the Captain
Christopher Magiera is currently a member of the Dresden Semperoper., where he is singing Figaro in Il barbiere di Siviglia, Count Almaviva in Le nozze di Figaro, Taddeo in L’italiana in Algeri and Robert in Iolanta. This summer, Magiera will make his Santa Fe Opera debut as Valentin in Faust where he will alternate the role with fellow American barihunk Matt Worth. 

Magiera has won many awards and competitions. Most recently he won the 2009 Sullivan Foundation Grand Prize, was a 2008 Grand National Finalist in the Metropolitan Opera National Council Auditions, an International Finalist in Placido Domingo’s World Opera Competition Operalia, and won First Place in the 2008 Opera Birmingham Vocal Competition. He has also received awards from the Jensen Foundation, Gerda Lissner International Vocal Competition, Florida Grand Competition, Maguerite McCammon Competition (Fort Worth Opera), Liederkranz Foundation, Bel Canto Foundation, Licia Albanese Puccini Foundation, San Antonio Opera Vocal Competition and the Annie Wentz Prize (Vocal Performance, Peabody Conservatory).

Here is the Chorus of Exiled Palestinians from the opera:

Contact us at Barihunks@gmail.com





Monday, February 16, 2009

Kelly Markgraf and Paul La Rosa





[Top two photos of Paul La Rosa in Klinghoffer and Krenek's "Heavyweight, or the Pride of the Nation" by Nan Melville of the NY Times; Bottom two photos of Kelly Markgraf pictures from his personal site]

The Julliard School was recently graced with two of the hottest young barihunks to emerge on the scene, Kelly Markgraf and Paul La Rosa. Markgraf played Mamoud and La Rosa was Rambo in John Adams’ masterpiece The Death of Klinghoffer.

Markgraf is a native of Cedarburg, Wisconsin and holds a Bachelor of Music degree from Boston University and a Master of Music degree from the University of Cincinnati College Conservatory of Music. He continued his studies at the Opera Theatre of Lucca. In 2005, he completed his studies at the Pensacola Opera’s 2005 Resident Artist Program.

In 2010, he’ll sing Escamillo to Kate Aldrich’s sexy Carmen at the Pittsburgh Opera. Both are known as intense actors, so this should be a steamy, sexy performance of Carmen.

Baritone Paul LaRosa is a native of Union, New Jersey and a member of the renowned Juilliard Opera Center in New York City. In 2007, he was part of the esteemed Merola Opera Program in San Francisco where he stole the show as Dandini in Rossini’s comic masterpiece La Cenerentola.

La Rosa has already performed in some classic Barihunk operas, including Gluck’s Iphigenie en Aulide, The Rake’s Progress, Le Nozze di Figaro, Don Giovanni and Britten’s The Rape of Lucretia.

This site can be contacted at barihunks@gmail.com

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