Author Archives: Camille Studer

FATE: Figaro, Anticipation, Timing, Everlasting love

Posted on by
Reply

As William Makepeace Thackeray once simply stated, “it is best to love wisely, no doubt; but to love foolishly is better than not to be able to love at all.” The Italian opera, Il Barbiere di Siviglia, produced by Bartlett Sher, not only exhibits a unique portrayal of love but also moved me to tears and laughter, especially with the performers powerful yet harmonious voices. Their expression through song is able to capture the essence and beauty of the opera and left me yearning for more.

Rodion Pogossov, the singer who plays brave Figaro, gives an exceptional performance and brilliantly paints the arrogant, yet clever nature of his character. Meanwhile, Isabel Leonard tactfully displays Rosina as a two-sided individual, by creating an astounding vibrato; which left me in awe. The mezzo-soprano transforms from a timid, obedient young girl into a fierce, rebellious woman in a single aria, “Una voce poco fa,” by fluctuating her tone, pitch, and emotion. Such technique is rather difficult and very impressive, particularly in an Italian opera. The other performers, including Javier Camarena as Count Almaviva, Maurizio Muraro as Dr. Bartolo, and Paata Burchuladze as Don Basilio further enhance the opera with their talented voices and arias.

Meanwhile, as the performers sang, the orchestra and chorus, conducted by Maurizio Benini, connected with me on a deeper level, drawing much attention to the concepts of fate, power and love. In addition, the lighting was spot on- always shining on the right performers are the right time; and even from the back of the orchestra, the performers could be easily heard.

A reoccurring theme that transitions throughout the opera is one of ever-lasting love and a sense of ultimate unity. True love is the core determinant between Count Almaviva and Rosina, with the help of fate and Figaro. Throughout the opera, the Count finds himself disguised as several different people in his attempt to trick Dr. Bartolo and woo over Rosina. However, the cleverness behind all of these schemes always end up originating from the famous Barber of Seville himself, Figaro.

Although the opera moves at a steady and unwavering pace, the production caught me off guard several times by reigniting sparks of interest. One particular example happens when an enormous anvil drops slowly from the ceiling onto a cart of pumpkins, or when an explosive instrument is set off, causing me to jump and anticipate more surprises as I experienced the comedic side of the opera.

Another unique feature of the opera is the set design. Instead of placing much attention to small details and nuances, Michael Yeargan, the set designer, keeps it fairly simplistic drawing focus towards the performers. Interestingly enough, these few doors are very significant to the opera itself and serve as a metaphorical and literal element; the Count tries to open the door to Rosina’s heart, while Rosina literally is locked up behind the doors of Dr. Bartolo’s house.

Approximately three hours and five minutes, this extraordinary and moving opera is being shown at the Metropolitan Opera House. Tickets for February opera showings are already almost sold out! Get them now, on The Metropolitan Opera website, while they last. You cannot miss this wonderful performance, as it will leave your heart fluttering and your mind taking in the truths about fate, power, and everlasting love.

Longevity

Posted on by
1

In the realm of contemporary dance, longevity and creativity are essential in order to survive in the industry. John Jasperse, a talented choreographer, knows exactly what it takes to be successful and to attract a large audience. Aside from talent, any performance is based off of people’s level of interest and appreciation of the work.

“Canyon” is Jasperse’s fourth unique production and has received many positive reviews. It took a lot of work and perseverance from both John and his dancers. He mixes the art of the body and the brain to create a “theatrical landscape,” keeping the audience on their toes. This piece of art is purposefully awkward at times and disoriented. It does not follow traditional forms of dance and portrays “works within a work” and disguises of different kinds. Props such as a white box create a sense of obscurity and disorientation as the audience tries to piece together the meaning behind it all.

John Jasperse’s latest dance piece is sure to be one worth remembering. Combined with raw talent and an array of mind versus body movements, he creatively captures the true essence of dance and leaves the audience yearning for more.

Connecting Cultures

Posted on by
Reply

As Andre Malraux once stated, “culture is the sum of all the forms of art, or love and of thought…” The world consists of a multitude of diverse and unique variations of culture, ethnicity, and race. As society continues to advance and ways of life become more complex, people get pulled into cultures that interest them the most. In today’s time, anybody can be anyone if someone feels connected to a certain culture or religion. One does not need to be born into a certain culture but rather find comfort and acceptance surrounded by people who have similar ideologies. David Henry Hwang, a famous playwright, adds on how our genes or race no longer dictate how we decide to live out our lives.

In the artistic realm, multiculturalism has influenced the way famous playwrights and producers create their masterpieces. In order to perfectly portray a particular culture or type of person, numerous plays hone in on aesthetics and representation. For example, an Irish play such as Dancing At Lughnasa, relies on the original Irish cast to manufacture a pristine and flawless performance for the world to see. When replaced by American actors, the beauty and essence of the piece of art is tainted and lost. Such changes can cause cultural misinterpretations and confusion.

In David Henry Hwang’s play, “Chinglish”, translations of mistranslations of an American businessman seeking success in China are creatively portrayed. The work of art centers on common cultural misinterpretations and the obstacles faced when one doesn’t speak the language of a foreign place. In his play, Hwang hopes to portray the misunderstandings between ethnicities and the importance of bringing the American and Chinese cultures together. Through plays, musicals, and other works of art, race, ethnicity and culture are interpreted or misinterpreted in various ways. But with a simple knowledge base and understanding, society can become more well-rounded and multifaceted.

Translations of Mistranslations

Posted on by
1

Cultural misinterpretations are fairly common in today’s time, especially when one doesn’t speak the language of a foreign place with certain fluency. “Chinglish,” a new play produced by David Henry Hwang at the Longacre Theater, sheds light on the translations of mistranslations of one American businessman desiring to be successful in China. In his review, Ben Brantley does an excellent job providing a backstory and particular details that would attract a multitude of people to see the play. He starts off setting the stage and the characters and describing the difference between two societies: American and Chinese. Brantley goes on to mention how language produces not only obstacles but also comic relief and misunderstandings in love. “Take notice of safe: the slippery are very crafty” is one great example of such amusing mistranslations between two cultures.

Although much positive light and feedback is presented within the review, Ben Brantley makes sure to critic minor nuances he found. Unlike other pieces of work Hwang created, such as “M. Butterfly”, “Chinglish” fails to grasp a deeper sense of emotion. The play seems to take a lighthearted approach to language and cultural differences, embedded with an overall sense of comedy instead of heart-wrenching challenges and successes. As a whole, “Chinglish” is a unique production that portrays how people misinterpret and fail to understand the simplicities of a foreign language and culture. With its comical story line and dialogue mostly in Mandarin Chinese, “Chinglish” is a warming and worthwhile piece of art for all to see.

Opera & Play

Posted on by
Reply

Although the play and opera of “The Barber Of Seville” are similar in nearly all aspects, there are a few characteristics that differentiate the two versions.  One difference between the two involves the significance of the characters. Throughout the play the Count and Rosine are acknowledged as the main characters as they struggle to overcome Dr. Bartholo in their quest to get married. Meanwhile, in the opera, Rosine and the Count’s importance in the story are overshadowed by the actions of Figaro. Through his singing and clever plans to trick Dr. Bartolo, Figaro acts as the sole controller of fate. He is able to deceive Dr. Bartolo and gives the Count several opportunities to speak with Rosine and ultimately ask for her hand in marriage.

Another distinguishable modification between the two versions is that the opera puts a greater emphasis on the impact of love, while the play highlights the comic aspects of the story. In the first act of the opera, the Count expresses his love for Rosina by hiring a band of musicians to serenade her. This humorless scene foreshadows the significance of love in the opera. On the other hand, in the play, the Count starts off peering into Dr. Bartholo’s house, dressed as a poor university student, hoping to catch a slight glimpse of Rosine. This scene leaves an amusing image in the viewers’ mind while exposing the humorous side of the play.

From Despair to Delight: Visuals from the Congolese

Posted on by
4

Every culture has its own enriched history and tale. In the dance recital entitled, “More More More…Future,” the audience is moved to understand and feel the struggles of the Congolese in Africa. Claudia La Rocco writes a detailed and inspiring review on this influential two-hour piece of art at the Kitchen in Chelsea, NYC. Choreographer Faustin Linyekula take the audience on an emotional rollercoaster of a journey through the Congo and daily life of its people. From the traditional sounds of Congolese music to the elaborate costumes of the dancers, the show is both captivating and touching.

Claudia La Rocco does a wonderful job highlighting the grace, passion, and vision of the recital, leaving the reader with an abundance of heartfelt questions and overwhelming emotion. One of the songs in the piece reads, “rather than a glorious past, let us have a future.” Such a phrase sheds light on the depth of despair and sorrow felt throughout Africa, as well as the brutal realities of life. However, it leaves the reader and the audience with a faint sliver of hope. The future may bring peace, happiness, and a better tomorrow. Overall, the review for ” More More More…Future” creates a certain fascination and desire to view the piece of work and see the images and themes portrayed by Claudia La Rocco come to life.