Choices, Choices

Conductor Evan Rogister and director E. Loren Meeker provide a peek into the process of developing their own performing edition of Bizet’s Carmen.

“Few works from the standard operatic repertory present more choices for the artistic team than Bizet’s Carmen,” explains conductor Evan Rogister. “Following Bizet’s death, Ernest Guiraud not only added recitative for the Viennese premiere, but also significantly subtracted and added to Bizet’s original material. Although always well-intentioned and in some cases very artful, Guiraud’s solutions—the “traditional” version of Carmen that the world came to know—obscured much of what Bizet imagined for the opening night in Paris. In essence, Carmen was transformed from opéra comique into grand opera. Carmen as Bizet intended it only started to come to light in the modern age after two rounds of scholarship, one in 1964 by Fritz Oeser and one in 1992 by Robert Didion.” Read more

Francis Poulenc and Dialogues of the Carmelites

The works of largely self-taught composer Francis Poulenc (1899-1963) are as varied as the preoccupations of the man himself. His earliest works to receive a public hearing were for voice and piano, and over the course of his career he wrote around 150 songs. The apparent simplicity of his melodies, so closely fitted to their texts, belies their meticulous craft. Poulenc’s musical settings of the sexy, subversive, and surreal verses of contemporary poets Read more

The Center of Our Own Existence

Furthermore, we have not even to risk the adventure alone; for the heroes of all time have gone before us; the labyrinth is thoroughly known; we have only to follow the thread of the hero-path. And where we had thought to find an abomination, we shall find a god; where we had thought to slay another, we shall slay ourselves; where we had thought to travel outward, we shall come to the center of our own existence; where we had thought to be alone, we shall be with all the world.

—Joseph Campbell, The Hero with a Thousand Faces

Many sources have been cited for the richly overstuffed cabinet of curiosities that is Mozart and Schikaneder’s The Magic Flute. Jakob August Liebeskind’s “Lulu, oder der Zauberflöte” (“Lulu, or the Magic Flute”), published in 1786 as part of a collection of fairy tales Read more

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