Showing posts with label philip glass. Show all posts
Showing posts with label philip glass. Show all posts

Saturday, April 15, 2017

Introducing bass-barihunk Jake Stamatis in Hydrogen Jukebox

Jake Stamatis in Trouble in Tahiti (left)
A reader alerted us to the fact that we've never posted bass-barihunk Jake Stamatis, who is opening next week in Philip Glass' Hydrogen Jukebox with Tri-Cities Opera in Binghamton, New York. He'll be joined in the cast by Stacey Geyer, Abigail Smith, Mary Beth Nelson, Jordan Schreiner and Scott Purcell.

Stamatis is a native of Tunkhannock, Pennsylvania and received his Bachelors Degree in Vocal Performance at Susquehanna University and his Masters Degree in Opera at Binghamton University. He is currently an artist-in-residence at Tri-Cities Opera where he's also sining the Marquese d’Obingy in Verdi's La traviata and Don Iñigo Gomez in Ravel's L’Heure Espagnol. He recently appeared with Opera Ithaca as Abdul in Kamala Sankaram's Thumbprint.

Other roles in his repertory include Leporello in Mozart's Don Giovanni, Frosch in Johann Strauss' Die Fledermaus, Taddeo in Rossini's L’Italiana in Algeri, Sam in Bernstein's Trouble in Tahiti and and Anthony in Sondheim's Sweeney Todd.

Performances of Hydrogen Jukebox are on April 21, 23, 28 and 30 with performances at Savoca Hibbitt Hall in Binghamton. Tickets and additional information is available online.

This is also our first post highlighting Tri-Cities Opera, with our only mention of the company being Brandon Coleman singing Mephistopheles in their production of Gounod's Faust.

Friday, October 16, 2015

David McFerrin in Philip Glass rarity in Boston

David McFerrin
Barihunk David McFerrin will play The Officer in Boston Lyric Opera's performance of Philip Glass’ In the Penal Colony at the Cyclorama at Boston Center for the Arts from November 11-15, 2015. The production will be directed by the innovative R. B. Schlather and also features tenor Neal Ferreira as the The Visitor and Yury Yanowsky as The Soldier.

In the Penal Colony is a one-act, three-character chamber opera, which Glass dubbed a “pocket opera” for its small cast and musical ensemble. In the Penal Colony is in English and plays out in 16 scenes and features a libretto by Rudy Wurlitzer.

The opera is based on the 1914 Franz Kafka short story: a pitch-black fable about crime and a very unusual punishment.  In the Penal Colony tells the story of The Officer and The Visitor -- and an ominous machine designed to punish prisoners for their crimes. The opera debuted in 2000 at ACT Theater in San Francisco in a co-production with Chicago’s Court Theater. It premiered in New York City the following year and has subsequently had several productions in Europe and Australia, but hasn’t been seen in the U.S. for 14 years.

This isn't Boston Lyric Opera's first foray into Glass' operas, as they produced a highly popular version of his Akhnaten in 1999.

Tickets and additional information are available online.

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Friday, March 13, 2015

Birger Radde takes on Philip Glass' The Fall of the House of Usher

Birger Radde (center photo from The Fall of the House of Usher)
Philip Glass' The Fall of the House of Usher opens at the Theater Hof, where it will run through June 2015. It will also tour to Bayreuth for performances on April 11 and 12. Singing the role of William will be German tenor turned baritone Birger Radde, who is new to our site.

Birger Radde made his operatic debut in 2005 at the Leipzig Opera, with subsequent debuts at the Musikalische Komödie Leipzig and the Neuköllner Oper Berlin. He graduated from Yale with a Master of Music Degree in Voice in 2008, the year he permanently changed fachs.

In 2008, he performed the title role in Monteverdi's L'Orfeo at the Norfolk Chamber Music Festival in Virginia. In 2009, he created the leading role in Korngold's musical comedy The Silent Serenade, which was recorded by the German Label CPO.

He was a prizewinner of the International Opera Competition "Kammeroper Schloss Rheinsberg" in 2009. He is currently part of the ensemble at Theater Hof.

Tickets for performances at Theater Hof and Bayreuth are available online

Friday, January 30, 2015

Happy Birthday, Philip Glass!!!

Martin Acrainer in Orphée (left) and Spuren der Verirrten (right)
Nary a year goes by where we don't celebrate the birthday of American composer Philip Glass who turns 77 today.

Many of his 20+ operas have become staples of the standard repertory including Hydrogen Jukebox, Einstein on the Beach, Satyagraha, Akhnaten, and The Voyage. We've featured many of the more obscure operas on this site, including Kepler, Les Enfants Terribles, The Perfect American, Orphée and Galileo Galilei, which have become popular vehicles for barihunks like Martin Achrainer, Philip Cutlip, Matthew Worth, Nicholas Nelson and Timothy McDevitt.

Glass was born in Baltimore and studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud. Finding himself dissatisfied with much of what then passed for modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger and worked closely with the sitar virtuoso and composer Ravi Shankar. He returned to New York in 1967 and formed the Philip Glass Ensemble.

Guillaume Andrieux in Philip Glass' Les Enfants Terribles
Glass likes speak of himself as a composer of “music with repetitive structures.” Much of his early work was based on the extended reiteration of brief, elegant melodic fragments that wove in and out of an aural tapestry. Or, to put it another way, it immersed a listener in a sort of sonic weather that twists, turns, surrounds, develops.

Upcoming performances of Glass operas include The Trial, which will run at the Theater Magdeburg from April 1-May 8 with barihunk Johnny Herford as Josef K. In the U.S., Hydrogen Jukebox will play at the Long Beach Opera from May 30-June 7. Perhaps the most popular Glass opera this season is Akhnaten, which will play in Antwerp in February, Gent in March, Heidelberg in March and Maastricht in June.

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! 

Saturday, June 21, 2014

"This American Life" produces opera double-bill

Carin & Rod Gilfry (left) and Adrian Rosas (far right)
NPR's popular show "This American Life," featuring Ira Glass, has put together one of their most ambitious projects ever, a production of two operas. The NPR team assembled barihunk Rod Gilfry, his daughter soprano Carin Gilfry, barihunk Adrian Rosas, composer Philip Glass and a collection of talented young singers and writers and created that fascinating double-bill.

The "Radio Drama Episode" begins with a piece by Philip Glass and Matt Aucoin that tells the true story of Carin Gilfry getting trapped in a hotel closet and her eventual escape. The second piece by Josh Bearman tells the story of letting go of his mother in the last days of her life.

The show is available for download on This American Life for $5.00.

Sunday, March 23, 2014

Introducing bass-barihunk Michael Scarcelle

Michael Scarcelle headshot and in Hydrogen Jukebox (right)
In our recent post about Philip Glass' Hydrogen Jukebox at the Skylight Music Theater in Milwaukee, we gave passing mention to bass-barihunk Michael Scarcelle in a post that focused on Dan Kempson, who role is particularly central to the drama. However, Scarcelle clearly needs to be added to the roster of barihunks and we wanted to wait until his birthday (which is March 24) to introduce him to readers.

Scarcelle  holds a Master of Music degree from Yale University and a Bachelor of Music degree from Hunter College. He also studied at the Catholic University of America and the American Musical and Dramatic Academy focusing on dancing and acting. He has distinguished himself in both musical theater and opera, as well as in recitals and concerts.

In 2007, he made his European debut as Crespel in Offenbach's The Tales of Hoffmann and the Marchese in Verdi's La traviata at the Lyrique-en-mer Festival in Belle-Île.


In 2011, he made his debut with Munich Philharmonic performing Herrmann Augustus in Leaonard Bernstein's Candide, a role he's also performed with the London Symphony Orchestra, Die Deutsche Kammerphilharmonie Bremen and Tonkünstler-Orchester Niederösterreich. Last April, he appeared as the Pirate King in the Pirates of Penzance with the Anchorage Opera.

Performances of Glass' Hydrogen Jukebox continue at the Skylight Music Theater through March 30th and tickets are available online.

Wednesday, March 12, 2014

Craig Verm to sing "CIVIL warS" at Minimalist Jukebox

Craig Verm
Barihunk Craig Verm will be appearing in Philip Glass' CIVIL warS at the Minimalist Jukebox series in Los Angeles, which was inspired by Matthew Brady's Civil War photographs and commissioned for the Los Angeles 1984 Olympic Arts Festival.

Glass was one of six different composers from six different countries who compose dsections of director Robert Wilson's text. Verm will be performing the "Rome Section" of the piece, which is an operatic multi-part cantata that ruminates on war and the disruption of the moral order through such characters as the Lincolns, Garibaldi, Robert E. Lee, Hercules, and others. He'll be joined Jessica Rivera, Sasha Cooke, Andrew Staples and Steve Pence.

Glass’ the CIVIL warS will be performed at Walt Disney Hall in Los Angeles on Thursday, April 17th and April 19th. Tickets are available online for the entire Minimalist Jukebox series, which also includes eight Kraftwerk 3-D concerts, Minimalist Dreamhouse with pianists Katia and Marielle Labèque, oraganist Cameron Carpenter playing music by Michael Gordon, Terry Riley and John Adams, as well a number of other minimalist gems. The entire series runs from March 16-May 4.

Dan Kempson in Milwaukee's Hydrogen Jukebox

Dan Kempson in Hydrogen Jukebox
On Friday March 14th, the Skylight Music Theater in Milwaukee will present Hydrogen Jukebox, Philip Glass' opera set to the poetry of counter-culture poet Allen Ginsberg. The text deals with a variety of topics from the 1950's through the 1980's ranging from the sexual revolution, eastern philosophy, drugs, the environment, the threat of nuclear destruction, Iran-Contra scandal and meditation. The six vocal parts were thought to represent six archetypal American characters- a waitress, a policeman, a businessman, a cheerleader, a priest, and a mechanic.

Unlike other Glass operas that deal with social issues, Hydrogen Jukebox is sung in English. In other operas, he has used languages unfamiliar to most opera-goers, including Sanskrit for Satyagraha, ancient Egyptian for Akhnaten, Latin for the CIVIL warS, or just numbers and syllables in Einstein on the Beach.

Hydrogen Jukebox at Skylight Music Theater
The baritone lead in this production will be sung by barihunk Dan Kempson and directed by the brilliant Ted Huffman. As was the case when he performed it at the Fort Worth Opera Festival in 2011, he'll be showing off some skin, as you can see from the pictures.

According to Allen Ginsburg, "The title Hydrogen Jukebox comes from a verse in the poem Howl: "...listening to the crack of doom on the hydrogen jukebox..." It signifies a state of hypertrophic high-tech, a psychological state in which people are at the limit of their sensory input with civilization's military jukebox, a loud industrial roar, or a music that begins to shake the bones and penetrate the nervous system as a hydrogen bomb may do someday, reminder of apocalypse."

Skylight Music Theater will perform the piece eleven times between March 14-30 and tickets are available online. The remainder of the cast includes Erica Schuller, Kristen DiNinno, Michael Scarcelle, Megan Williams and Ben Robinson.

Tuesday, September 10, 2013

Martin Achrainer (shirtless) in another Philip Glass premiere

Martin Achrainer in Spuren der Verirrten
Tyrolian barihunk Martin Achrainer is making quite a name for himself as an exponent of new works by American minimalist composer Philip Glass. An alert reader spotted these pictures from Glass' new German language opera Spuren der Verirrten (“Footprints of the Lost”)," which is based on the play by Peter Handke. We've previously seen Achrainer in Glass' Orphée and in the world premiere of Kepler.


Much of this is attributable to the fact that Achrainer is in the ensemble at the Landestheater Linz, where the music director and principal conductor is long-time Philip Glass collaborator and champion Dennis Russell Davies.  Glass wrote “Spuren der Verirrten” for the opening of the new Musiktheater am Volksgarten, a state-of-the-art opera house that Davies was instrumental in getting built.

Martin Achrainer in Spuren der Verirrten
Although the world premiere of Spuren der Verirrten was in April of this year, the opera is being perfromed again beginning on November 9 and running into January 2014. Tickets are available online

Achrainer's character is called "F' and the rest of the cast includes A, B, C, D...you get the picture. Although the opera has many of the typical characteristics of the composer's works, including repetitiveness and minimalism, he has added alphorns and zithers to give it an Austrian flavor. The text is typical Glass, as well, with singers often repeating the question “Where are we?”

The joke at the opera house has been that this work is “Two Notes, One Opera.”

Sunday, August 11, 2013

Romain Dayez performing in innovative new show

Romain Dayez
The always inventive and interesting Belgian barihunk and artistic director Romain Dayez has put together a new show called "De Profundis" featuring the music of Philip Glass, Arvo Pärt and Solange Labbe. The show will also include contemporary dance. Dayez who adminsters and performs with the ALLIAGE Art Project will be presenting the performance on September 22 at Eglise Royale Sainte-Marie Church in Brussels, Belgium.

ALLIAGE is a multi-arts performance group that performs traditional to contemporary works while marrying various art forms. The group is committed to honoring authentic musical styles while creating an original artistic vision, usually around one single project.

ALLIAGE brings together all kinds of artists - including artists, dancers, architects, actors, writers and singers - into unexpected with the goal of reaching a wider audience. This collaborative process is intended to expand artistic boundaries and create new and exciting musical experiences.


The 24-year old singer studied at the Conservatoire Royal de Bruxelles and later at the Conservatoire National Supérieur de Musique de Paris. He has performed the ancient music and baroque repertory extensively with some of the leading early music conductors in Europe. This includes concerts, oratorios and operas. He has been seen in many standard repertory operas at the Opéra de Metz and Théâtre du Châtelet, and is a regular soloist at the Cathédrale de Bruxelles.

Artistic shot of Romain Dayez
Having grown up in a family of artists, he loves experimenting with new collaborations, having even performed with the Parisian rap group Milk Coffee & Sugar. He should also add "model" to his résumé, as we find his posters featuring his image as eye-catching as any in classical music.

For tickets to De Profundis email alliageartproject@gmail.com or call +33 6 74 35 84 90.

Thursday, July 4, 2013

Celebrating American Composers on America's Birthday

Jesse Blumberg in Ricky Ian Gordon's "Green Sneakers" in San Francisco
Today we celebrate American Independence Day with a look at our great American composers and some baritones singing our official national anthem (Star Spangled Banner) and unofficial national anthem (America the Beautiful).

William Henry Fry, born in 1815, has been considered by many, to be the father of American opera. His most famous opera, Leonora, debuted in 1845. In Europe at this time, the Romantic period was developing lead by figures such as Wagner, Schumann and Chopin. Fry’s opera Leonora the first opera by an American composer to be performed in the US. Over the years there have been many American composers following in his footsteps and as diverse as Americans are, they each have possessed their own unique style.

Norman Treigle sings "America the Beautiful" and the "National Anthem:

David Adam Moore sings the National Anthem:

By the way, David Adam Moore just joined Twitter and can be found at @davidadammoore.

Virgil Thomson was probably the most important opera composer of the 20th century. He 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.

Robert Sims sings "I got plenty o 'nuttin" from Porgy & Bess:

Born near the beginning of the 20th century, George Gershwin, Aaron Copland and Leonard Bernstein were probably better known for their popular music but all three of these men also composed operas. Porgy and Bess, composed by Gershwin, is one of the most successful operas of the 20th century. Copland wrote two operas, The Second Hurricane and The Tender Land which are perfect for young voices. Bernstein was a master at blending Broadway and opera, most notably in his Broadway operetta, Candide.

In contrast, Douglas Moore, 1893-1969, was a rare American composer, 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.

Michael Hewitt sings "Warm as the Autumn night" from "The Ballad of Baby Doe":

Gion Carlo Menotti was born in Italy in 1911, but came to the U.S. in 1928 and became one of the most popular names in American opera, composing over twenty of them in his lifetime. In 1934 he was the recipient of a Kennedy Center Honor and in 1991 was named “Musician of the Year” by Musical America.

Philip Glass, who is considered to be the pioneer of minimalistic opera, and Jake Heggie, who is an extremely talented pianist and piano composer are both celebrated contemporary opera composers. Both have written great music for baritone and have been featured regularly on this site. Heggie is unique in that most of his male lead roles are written for baritone. Glass has composed over twenty operas beginning in the 1970′s with his latest in 2007, while Heggie, who got started in the year 2000, has arguably been the most successful American composer of this century.

Heggie's most recent opera was the critically-acclaimed Moby-Dick. Prior to that, he composed Dead Man Walking, Three Decembers, The End of the Affair, To Hell and Back, For a Look or a Touch and At the Statue of Venus. The Dallas Opera has announced the commission of Heggie's next opera, Great Scott, with a libretto by his frequent collaborator Terrence McNally, set for a premiere on October 30, 2015. A number of baritones have become closely associated with his songs and operas including baritones Philip Cutlip, Nathan Gunn, Michael Mayes, Jonathan Lemalu, Daniel Okulitch, Keith Phares, Morgan Smith and Bryn Terfel.

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

Another busy composer is Ricky Ian Gordon, whose operas include Autumn Valentine, The Grapes of Wrath, Green Sneakers, Morning Star, Only Heaven, Orpheus & EuridiceRappahannock County and The Tibetan Book of the Dead. The New York native grew up on Long Island and studied composition at Carnegie Mellon University. His songs have proved to be particularly popular and have been performed in concert and recorded by some of the biggest names in operas. He currently has commissions from the Metropolitan Opera, Opera Theatre of St. Louis and the Houston Grand Opera. Green Sneakers recently had its New York and San Francisco premiere, the latter brilliantly realized by the gifted young American director John De Los Santos.

Some of the other American composers who we've featured on this site include Mark Adamo, Glen Roven, Carlisle Floyd, Clint Borzoni, Thomas Pasatieri, Daron Hagen, Tobias Picker, Marc Blitzstein, William Bolcom, Andre Previn, John Harbison, Ned Rorem, Julia Schwartz, Lee Hoiby, Stewart Wallace, Peter Lieberson and Dominick Argento. We suggest checking them out on YouTube on America's birthday.

Saturday, September 15, 2012

Timothy McDevitt to premiere "Ghost Train"

Timothy McDevitt
We've watched Timothy McDevitt's physical transformation from a skinny student into a full-fledged barihunk during his performances of Philip Glass' "Les Enfant Terribles" at North Carolina Opera. His vocal evolution has been equally successful as he's been a finalist in a number of international vocal competitions and he has become increasingly in demand as a recitalist on both sides of the Atlantic. This emerging talent returns to the Tar Heel State today with the Carolina Chamber Music Festival in New Bern in the world premiere of Paul Crabtree's The Ghost Train.

The Ghost Train, a funny thriller for six singers and instrumental ensemble, is based on an original stage play written by Arnold Ridley in 1923. The original play was turned into a movie in 1941 to help with the War effort, in an effort to cast suspicion on potential local Nazi sympathizers, and at the same time to jolly along the career of two struggling entertainers.

Rehearsal footage from The Ghost Train:


What begins as melodrama—travelers thrown together by fate one stormy night at a rural railway station—turns into political allegory as the group ignores repeated warnings to leave before a legendary apparition appears, bringing destruction in its wake. Increased and more elaborately hysterical warnings to look away if the ghost train should pass keep the travelers from realizing the truth, until one of the conspirators realizes she has been betrayed. Providing a level of intimacy by being performed without a proscenium, The Ghost Train is intended to expand the operatic tradition into relevant political debate, and at the same time provoke audiences to think about venues and their meanings, their potential disappearance, and perhaps challenge them to engage with their reuse.

Tuesday, July 3, 2012

Celebrating American Opera Composers on July 4th (Independence Day in the U.S.)

Matthew Worth in Virginia Opera's Orphee by Philip Glass
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.

Louis Gruenberg's "The Emperor Jones" with Nmon Ford:

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.

Robert Sims sings "I got plenty o nuttin'" from Gershwin's "Porgy & Bess":

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.

Samuel Ramey sings "Hear Me, O Lord, I beseech Thee" from Carlisle Floyd's "Susannah":

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.

Catherine Malfitano & Richard Cowan sing "Oh take those lips away" from 
Barber's "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.

Bryan Elsesser sings "When the air sings of summer" from "The Old Maid and the Thief" 
by Gian Carlo Menotti

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.


Father Death Blues from Hydrogen Jukebox:


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


Michael Mayes in Tulsa Opera's "Dead Man Walking"
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


Norman Treigle sings "America the Beautiful" and "The Star Spangled Banner":

CONTACT US AT Barihunks@gmail.com

Tuesday, January 31, 2012

Happy Birthday, Philip Glass; Matthew Worth Excels in Glass' Orphee at Virginia Opera

Philip Glass, Martina Arroyo, Joyce DiDonato and Gerald Finley at 2009 Opera News awards. [Photo by Dario Acost]

Was there any doubt that we'd be celebrating the 75th birthday today of the great American composer Philip Glass? We regularly feature his work on this site, including the recent production of "Les Enfants Terribles" with barihunk Timothy McDevitt and soprano Jessica Cates showing off their bodies after training at the gym for the ballet/opera; Barihunks Matthew Worth and Christopher Temporelli in Orphée at the Virginia Opera (more on that below); Lots of coverage of Hydrogen Jukebox at the Ft. Worth Opera including some great shirtless pictures of barihunks Dan Kempson and Justin Hopkins; Lots of video of his operas, including the ability to watch Kepler in its entirety with Austrian barihunk Martin Achrainer.

Profile (born Jan. 31, 1937, Baltimore, Md., U.S.) American composer of innovative instrumental, vocal, and operatic music.  Glass studied flute as a boy and enrolled at age 15 at the University of Chicago, where he studied mathematics and philosophy and graduated in 1956. 

Philip Glass is a prolific and widely-respected American composer of innovative,  vocal and operatic music. He work consistently uses repetitive structures and is often minimalistic. Glass studied math and philosophy before pursuing music at the Julliard School. His opera Satyagraha (1980) tells the story of Mahatma Gandhi's life. The Metropolitan Opera commissioned The Voyage in 1992.

Barihunk Philip Cutlip recorded Orphee

His interest in atonal music drew him on to study composition at the Juilliard School of Music (M.S., 1962) in New York City and then to Paris to study under Nadia Boulanger. His acquaintance there with the Indian sitarist Ravi Shankar decisively affected Glass's compositional style, and he temporarily jettisoned such traditional formal qualities as harmony, tempo, and melody in his music. Instead he began creating ensemble pieces in a monotonous and repetitive style; these works consisted of a series of syncopated rhythms ingeniously contracted or extended within a stable diatonic structure. Such minimalist music, played by a small ensemble using electronically amplified keyboard and wind instruments, earned Glass a small but enthusiastic following in New York City by the late 1960s.

Glass's opera Einstein on the Beach (1976), composed in collaboration with Robert Wilson, earned him broader acclaim; this work showed a renewed interest in classical Western harmonic elements, though his interest in startling rhythmic and melodic changes remained the work's most dramatic feature. Glass's opera Satyagraha (1980) was a more authentically “operatic” portrayal of incidents from the early life of Mohandas K. Gandhi. In this work, the dronelike repetition of symmetrical sequences of chords attained a haunting and hypnotic power well attuned to the religio-spiritual themes of the libretto, adapted from the Hindu scripture the Bhagavadgt. The opera The Voyage (1992) had mixed reviews, but the fact that it had been commissioned by the New York Metropolitan Opera (to commemorate the 500th anniversary of Christopher Columbus' arrival in the Americas) confirmed Glass's growing acceptance by the classical-music establishment.

[Excerpted from  © Encyclopædia Britannica]

Matthew Worth (L) as Orphée at Virginia Opera; Jeffrey Lentz (R) as Heurtebise (Preston Gannaway,The Virginian-Pilot)
One of the best Glass productions that is currently running is Orphée at the Virginia Opera with American barihunks Matthew Worth and Christopher Temporelli (and the very adorable tenor Jonathan Blalock, who also appeared in the aforementioned Hydrogen Jukebox). Here is what the Virginian-Pilot had to say:

The large cast had no weaknesses. First among equals was Matthew Worth as Orphée, using a powerful and rich baritone to great effect as the tormented poet who struggles to find meaning in his life and art. His performance conveyed both the strengths and weaknesses of the character, and did so in a sympathetic manner that carried the audience along on Orphée’s journey.

Remaining Norfolk performances are 7:30 p.m. Wednesday, 8 p.m. Friday and 2:30 p.m. Sunday. 623-1223 or 866-673-7282; www.vaopera.org

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Saturday, January 21, 2012

Timothy McDeviitt & Jessica Cates in Sexy Philip Glass Dance-Opera "Les Enfants Terribles"

Timothy McDevitt & Jessica Cates buff up for "Les Enfants Terribles"
Philip Glass has been giving us a good dose of barihunk material in recent years, including Hydrogen Jukebox, Orphee, Galileo Galilei and even Keppler. You can now add the dance-opera "Les Enfants Terribles" to the list.

Barihunk Timohty McDevitt who we remember as a cute beanpole in Poulenc's "Les Mamelles de Tiresias" at Julliard has been working out the gym with the adorable soprano Jessica Cates. And it shows!

The two singers are performing the Glass piece with the North Carolina Opera. McDevitt and Cates play a brother and sister who engage each other in a series of "games" when Paul is confined to bed after being hit by a snowball. The singers have dancers performing the non-singing parts.

There is one performance left, which is Sunday, January 22 at 3 PM.

Here are some highlights from "Les Enfants Terribles" with the voices of barihunk Philip Cutlip and soprano Christine Arand:

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Tuesday, January 10, 2012

Barihunks Matthew Worth, Christopher Temporelli in Virginia Opera's "Orphée"

Matthew Worth as Orphée
We've been big proponents of Philip Glass' operas, so we were thrilled to see that the Virginia Opera will be staging his opera Orphée this month. We've posted about this opera in the past featuring barihunks Eugene Brancoveanu in San Francisco, Philip Cutlip in Portland and Martin Achrainer in Linz, Austria.

Martin Achrainer as Orphée in Linz

Not to be outdone in the barihunk department, the Virginia Opera has cast Matthew Worth in the title role. We've featured Worth in a number of his roles on this site, including a somewhat related role in "Orpheus in the Underworld" at Central City Opera. Virginia Opera fans will also remember him for his 2010 appearance as Don Giovanni, which created a bit of a sensation.

Of course, we think his sexiest role to date is as Tarquinius in Britten's "Rape of Lucretia," but that discussion is for another post.

Christopher Temporelli as seen in the 2012 Barihunks Calendar
We're excited about the Virginia Opera's production because even the small role of the Judge features one of our calendar models, Christopher Temporelli. We should also add that tenor Jonathan Blalock who plays Cégeste is a bit of eye candy himself. We've seen the opera and can certainly recommend it as wonderful theater, but if you need a nudge, then seeing Worth, Temporelli and Blalock on stage together should be sufficient motivation.

Performances run from January 28 through February 12 and will be performed in Norfolk, Richmond and Fairfax, Virginia. For additional cast and performance information visit the Virginia Opera website.

On an unrelated note, it's come to our attention that you can listen to barihunk Luca Pisaroni in "The Enchanted Island" from the Metropolitan Opera on Tuesday, January 17th at 8 EST/5 PST by clicking on this LINK.

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Monday, February 21, 2011

Brancoveanu in Glass' Orphee

Brancoveanu (L & C) & Kness (R)
The creative young opera company Ensemble Parallele is mounting Philip Glass' opera Orphee. Romanian barihunk Eugene Brancoveanu is singing the title role opposite the Eurydice of Susannah Biller, who happens to be married to barihunk Austin Kness, who is also in the cast. For additional cast and performance information, visit the Ensemble Parallele website.

There will be an evening performance on February 26 and a matinee on February 27 at the Herbst Theater in San Francisco. Last year, this young opera company mounted a Wozzeck that was one of the most compelling operatic experiences in the San Francisco Bay Area.

In 2007, Brancoveanu made a stunning debut with the company in Lou Harrison's "Young Caesar." He was one of the first barihunks to show off more than his vocal acumen on stage when he appeared nude in the Rape of Lucretia with the Merola Opera Program.

Here is some rehearsal footage of the upcoming production:



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Monday, January 31, 2011

Happy Birthday, Philip Glass: Watch the complete opera Kepler here



OK, we have a birthday theme going on this week. An email message quickly showed up in our email box after we posted the birthday tribute to Franz Schubert reminding us that it is also Philip Glass' birthday. We're big fans of Philip Glass, so we're going to try something new to Barihunks and post the entire performance of his opera Kepler with the Austrian barihunk Martin Achrainer. This performance is from the 2009 production at the Landestheater Linz.

We can't think of a better way to celebrate his modern master's birthday.





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Thursday, October 21, 2010

Martin Achrainer: Germany's Nathan Gunn

German Barihunk Martin Achrainer

Martin Achrainer is one of the most creative and compelling baritones on stage today. He's part of the ensemble at the Landestheater Linz, where he caught the eye of Philip Glass who cast him in Kepler, which we covered on this site. He is capable of mastering everything from song and dance numbers in Broadway musicals, to Mozart to contemporary music. Not surprisingly, he has become a fan favorite in Linz. Achrainer has become a younger, European version of Nathan Gunn, as he frequently performs in roles that shows of his physique.

Achrainer is once again tackling a wide array of roles this season, portraying Konrad in Meistersinger, Cornelius in Hello, Dolly!, Dandini in La Cenerentola and Sharpless in Madama Butterfly.

There are two wonderful videos below. The first is a short piece on his portrayal of Orphee in the Philip Glass opera. The latter is a wonderful biographical piece on the singer (in German). Even if you don't speak German, you can't miss the incredible charm that emanates from this 32-year-old singer.