Thursday, May 31, 2012

Celebrating Walt Whitman's birthday

Walt Whitman
We celebrate baritone birthdays daily on Barihunks, but today we thought that it was important to celebrate the birthday of poet Walt Whitman.

Whitman has not inspired scores of composers to set his poetry to music, but singers are often so personally moved by the text that they seek out songs set to his words. Don't miss the selection from Randal Turner singing Clint Borzoni's "I Dream'd in a Dream" with the singers personal tale of inspiration and hope.

According to Michael Hovland's Musical Settings of American Poets, the poetry of Walt Whitman has been set to music 539 times, more than that of any other American poet with the exceptions of Emily Dickinson and Henry Wadsworth Longfellow. Composers as diverse as Ned Rorem, Frederick Delius, Clint Borzoni, Ricky Ian Gordon, Kurt Weill, Ralph Vaughan Williams, Roy Harris, Lee Hoiby

Ian Greenlaw sings 'Oh Captain! My Captain!' from Kurt Weill's Walt Whitman songs. Performed at a cabaret sponsored by operamission last year in New York:


Walt Whitman is known for his famous, and controversial, collection of poems, Leaves of Grass.

Whitman was born on May 31, 1819 in West Hills, New York. His mother, Louisa Van Velsor, was descended from a long line of New York Dutch farmers; his father, Walter Whitman, was a Long Island farmer and carpenter. His mother was Louisa Van Velsor.

In 1823, the family moved to Brooklyn in search of work. The second of nine children in an undistinguished family, Whitman received little in the way of formal education. He still managed to read the works of Homer, Dante, and Shakespeare.

A sunstroke in 1885 and another paralytic stroke made Walt Whitman increasingly dependent on others. He died of complications from a stroke on March 26, 1892.

At the age of 17, Whitman began teaching at various Long Island schools and continued to teach until he went to New York City to be a printer for the New World and a reporter for the Democratic Review in 1841. For much of the next years, he made his livelihood through journalism. Besides reporting and freelance writing, he also edited several Brooklyn newspapers, including the "Daily Eagle," the "Freeman," and the "Times."

In 1848, Whitman met and was hired by a representative of the New Orleans Crescent. Although the job lasted only a few months, the journey by train, stagecoach, and steamboat helped to broaden his view of America.

Randal Turner sings Clint Borzoni's "I Dreamed in a Dream" and talks about how this song made him think about the gay teens being bullied, including his own personal story. 

Whitman received little money with the first edition of Leaves of Grass, but he did receive some attention, including a letter from Ralph Waldo Emerson. The second edition in 1860 with the "Calamus" poems and the third edition of Leaves created controversy for readers, but the Civil War turned all eyes on the battlefields.

Whitman traveled to Virginia to search for his brother, George, and found him wounded. He stayed to help tend wounded soldiers in Washington DC; and wrote some of his famous war poetry, printed partially as "Drum Taps" and "When Lilacs Last in the Dooryard Bloom'd." He witnessed Lincoln's second inauguration and mourned the assassination of Lincoln in April.

In the years after the war, Whitman's reputation increased both in England and in the US. In January of 1873, he suffered a paralytic stroke. Several months later, in May, his mother died. Unable to work, he returned to live with his brother in Camden, New Jersey.

He was able to take trips to New York, Boston, and even to Colorado to see the Rocky Mountains, but his declining health mostly provided him with the opportunity to restructure and revise his most famous work, Leaves of Grass, the culmination of so many previously published collections.

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Bryn Terfel sings English composer Frederick Delius' "Sea Drift", based the poem "Out of the Cradle Endlessly Rocking" from Book XIX of the poetry collection "Leaves of Grass" by Walt Whitman. The work was premiered in 1906 and the poetry is suffused with images of love, the sea and death as Whitman observes two mating birds, the male's bewilderment, following the death of the female, becoming analogous to the human experience of loss and grief.


CONTACT US AT Barihunks@gmail.com

Tuesday, May 29, 2012

Randal Turner performs "Don Juan at 40"


American composer Julia Schwartz wrote the 10-minute scene "Don Juan at 40" for barihunk Randal Turner, who debuted the piece at his West Coast recital debut in December 2010. Until now, the piece was only viewable on the commercial DVD, but it's now available on the composer's YouTube site. The text is by Ron Butlin, the great Scottish poet, novelist, short-story writer, librettist, playwright, and journalist.

The concert also includes a set of Walt Whitman songs by Clint Borzoni, which were written for Turner, as well.




We should also mention that Randal Turner is featured in the promotional video for Lucy Liu's new TV show on CBS, "Elementary." He appears around the 3:26 mark. 

CONTACT US AT Barihunks@gmail.com

Monday, May 28, 2012

Attitude magazine: "Get Your Rock Off"

Duncan Rock featured in Attitude
Aussie barihunk Duncan Rock generated international buzz when he recently appeared in "Don Giovanni: The Opera" at London's Heaven. The updated, gender bending version of the Mozart-Da Ponte classic rubbed some of the old-timers the wrong way, but young audiences ate it up.

Attitude, which bills itself as the U.K.'s largest LGBT magazine, recently did a feature on the ripped redhead with the great headline "Get Your Rock Off." We couldn't possibly improve on that! We also love that gave a nice shout out to Barihunks, writing:
Rock has featured heavily on the inspired website Barihunks (baritone hunks, obvs), which shows male opera singers in a state of undress. So what happened to opera's rep for the larger gentlemen? "A lot of the roles, particularly the ones for a young baritone voice, now require certain physical characteristics," Rock explains. "For certain roles, for dramatic credibility, people expect a certain look, but opera is an art form that is all about beautiful singing and that will never change."
Fortunately for Rock, his voice is as beautiful as his physique.

Check out a preview of the ENO's Billy Budd featuring Duncan Rock:

We first discovered Duncan Rock when he was in Britten's Billy Budd at Glyndebourne and he's back in the same opera at the English National Opera. Rock will be performing the role of Donald. Performance are running from June 12-July 12. He remains on the ENO roster for a run of Bizet's Carmen beginning in November where he takes on the role of Moralès. Visit the ENO website for tickets and additional information.

Duncan Rock: Master-OF-Arms
CONTACT US AT Barihunks@gmail.com

Sunday, May 27, 2012

Reader Submissions: Michael Redding & Aubrey Allicock

Michael Redding

There are few things we love more than our "Reader Submissions." We've been exposed to some of our favorite singers through our readers. We view our readers as our opera scouts who bring us the best talent from across the globe. A reader recently introduced us to two singers, Michael Redding and Aubrey Allicock.

Atlanta native Michael Redding received his Masters in Music from Indiana University after completing his undergraduate work at the North Carolina School of the Arts.  During his time at the School for the Arts he was also a  resident artist with the Piedmont Opera Outreach Program and later a member of the Young Artist Programs of the Utah Festival Opera and the Janiec Opera Company.


He has performed with the Sarasota Opera, Virginia Opera, Atlanta Opera, Opera Carolina, the Natchez Festival of Music and the New Orleans Opera. This season Redding debuts the title role in Mozart's Don Giovanni with the Piedmont Opera and he'll open the 2012-2013 season with the Berliner Philharmoniker in a concert-version of Porgy & Bess under the baton of Sir Simon Rattle.

Aubrey Allicock
Aubrey Allicock received his Masters of Music from Indiana University and holds a Bachelors of Music from Grand Canyon University. While attending Indiana Universersity, Mr. Allicock studied and coached with renowned teachers who include Andreas Poulimenos, Sherrill Milnes and Carol Vaness.

Last season, Allicock joined the Metropolitan Opera roster where he covered the roles of Astarotte in Armida and Marullo in Rigoletto. In 2011, he made his role debut as Mamoud in John Adams' The Death of Klinghoffer at the Opera Theater of St. Louis. As a Gerdine Young Artist with Opera Theatre of St. Louis he also performed the roles of Zaretsky in Tchaikovsky's Eugene Onegin and covered the title role of Figaro in Mozart's Le nozze di Figaro. Allicock has performed with the Wexford Festival Opera, the Phoenix Symphony Orchestra, the South Bohemian Chamber Philharmonic and  the bass soloist role with the Concerts-Austria in Mozart’s Coronation Mass at the Karlskirche. 

He returns to Opera Theater of St. Louis in 2012 as the Mad Hatter and Duck in Unsuk Chin’s Alice in Wonderland. In 2012-13 he becomes an Artist Diploma candidate at Juilliard and returns to the Opera Theater of St. Louis.

CONTACT US AT Barihunks@gmail.com




Saturday, May 26, 2012

Barihunks as leading ladies?

Michael Mayes & Seth Mease Carico
We've always maintained that the Fort Worth Opera Festival is one of the best opera festivals in the United States. The quality of their productions combined with excellent musicians and singers always makes for great week of music. They also have their fair share of barihunks on the roster, but even we were shocked when we saw barihunks Michael Mayes and Seth Mease Carico show up to a promotional event for Mark Adamo's "Lysistrata" looking like a cross between a Ukranian mezzo-soprano and a Wal-Mart shopper from Nacogdoches, Texas.

The Fort Worth Opera hosted a Tug-of-War between the women and the men to kick-off the opening night of Lysistrata which features Seth Mease Carico as the Spartan General Leonidas and Michael Mayes as the Athenian Kinesias. Mayes and Carico thought that they would lend some muscle to the women's team, but it was to no avail, as the men won all three sets (that mus mean sex for everyone!).

The comic opera is about the battle of the sexes, where the Athenian and Spartan women are tired of their battle happy husbands refusing to lay down their weapons. They band together and refuse to have sex with the men until peace is declared.

Michael Mayes plants a kiss on fellow barihunk Matthew Worth
There are performances of Lysistrata today and on June 3rd. Other remaining performances at the Festival include Jake Heggie's "Three Decembers" with barihunk Matthew Worth on May 26, 31 and June 2nd, Tosca with the amazing and sexy Scarpia of Michael Chioldi on June 2nd and The Marriage of Figaro with barihunks Donovan Singletary as Figaro and Jonathan Beyer as Count Almaviva. Tickets are available on the Fort Worth Opera website.

If you can't make it this  year, make sure to add it to your travel plans next year when the Festival performs La Boheme, Daughter of the RegimentsAriadne auf Naxos and Tom Cipullo's Glory Denied.

Contact us at Barihunks@gmail.com

Thursday, May 24, 2012

Jānis Apeinis Strips for Mozart

Jānis Apeinis
An astute reader found these new video clips of Jānis Apeinis doing a little strip tease during the duet "La ci darem la mano"and walking around in his skivvies during "Ah, fuggi il traditor." The clips are from a recent performance of Mozart's Don Giovanni at the Latvian National Opera. 

Gunta Davidčuka & Jānis Apeinis sing "La ci darem la mano":

Jānis Apeinis graduated from the vocal department of the Jāzeps Vītols Latvian Academy of Music in 2002 and received his Masters in 2004. Jānis Apeinis made his debut at the Latvian National Opera in 2003. He made his debut in the title role of Tchaikovsky's Eugene Onegin at the Tiroler Landestheater in 2008 and returned to the Tiroler Landestheater as Carlo Gerard in Giordano's Andrea Chenier in 2010.

 Jānis Apeinis in skivvies as Asmik Grigorian sings "Ah, fuggi il traditor":

His roles include Yeletsky in Tchaikovsky's Queen of Spades, Escamillo in Bizet's Carmen, Sharpless in Puccini's Madama Butterfly, Marcello in Puccini's La Bohème, and Joseph in Ešenvalds's Joseph Is A Fruitful Bough. He can next be seen in the title role of Rossini's Barber of Seville at the Riga Opera Festival opening on June 12th. 

Jānis Apeinis sings Les Misérables:

CONTACT US AT Barihunks@gmail.com

Celebrating the premiere of Marschner's "Hans Heiling"


[Barihunks is on the road. Here's a tribute to an opera that is popular in Germany, but has failed to catch out in other countries.]

Hans Heiling is a German Romantic opera in 3 acts with prologue by Heinrich Marschner with a libretto by Eduard Devrient, who also sang the title role at the première which occurred at the Königliche Hofoper (now Berlin State Opera), Berlin on 24 May 1833, and went on to become his most successful opera.The opera brought the composer a considerable reputation, although this did not materially affect his position in Hanover, where he was music director of the Court Theatre. Like Marschner's other great success, Der Vampyr, the plot of Hans Heiling makes great use of supernatural elements. As with several of his operas, Hans Heiling is based on a folk legend.

A pivotal opera between Weber and Wagner, Hans Heiling's structure is highly original. The overture to act 1 does not open the opera as it conventionally would — there is instead a prologue before the overture begins after which the curtain descends, and the overture is played during a change of scenery. Heiling's aria from the first act, An jenem Tag (On that fair day), still has recordings and performances in concert both in Germany and abroad and is generally regarded as the gem of the score. Also of worth are the Queen's aria, O bleib bei mir (O stay with me); the first act finale; Anna's scena and aria, Einst war so tiefer Freude (Once was such deep contentment); Conrad and Anna's duet, Ha! dieses Wort (Ha! Such a word) and Heiling's conjuration, Herauf (Appear). It is worth to mention here that the theme from the Queen's aria in 2nd act (to the words: Sonst bist du verfallen...) was later on used by Wagner in his Die Walküre, act 2, when that silightly modified leitmotif is repeated many times in the scene of Brünnhilde's apparition to Siegmund, their mutual questions and answers. Albeit very rare example of borrowing in the case of Wagner, even he was not always absolutely unique. [From Wikipedia]