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Posted by Bossip Staff
The buns are still cooking in the oven for Garcelle Beauvais-Nilon who should be popping out twins sometime this fall. She and her husband Mike Nilon attended the LA Premiere for "Gone Baby Gone".
Hopefully the babies will look like her, because that husband sure ain't one of the white boys that are "killin' it" right now.
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1/1 Photo of Christmas Bread (Jule Kaga)
Prep Time:
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This is a moderately sweet cardamom flavored bread. Excellent for the holidays - or any special day! We like this lightly toasted with either peanut butter or butter and orange marmalade.
Serves: 40
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candied cherries
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Coaches Meeting: January 18 @ 6:00 PM Indoor Facility
Board of Directors Meeting: January 18 @ 7:30 PM Indoor Facility
Thunder Baseball League Spring 2015 Baseball
Spring Ball Registration IS CLOSED.
We are looking for a few players at 8's, 9's and 12's.
Contact Candice Smith at
If you missed tryouts/registration, please contact Candice Smith to be placed on a waiting list as we periodically have openings that present opportunity to place players.
See "Spring Ball 2015" tab above for more information.
Thunder Academy Holiday Hitting Camp 2015
Registration and Payment under the "REGISTER NOW" button above.


text: aside 10/24/11 Win $500 in Workout Gear From Athleta! 0 Reactions 0 0 0 0 0 Read More AsideGiveaway Get inspired with our daily newsletter Enjoy gorgeous decor ideas, fast and easy recipes, and more in your inbox. Vegetarian Love & Sex DIY Home Tech Food Link Love 13 fuss-free recipes for a vegan Thanksgiving — Food52 50 states of Thanksgiving — The New York Times Minnesota revolts against The New York Times' grape dish — Grub Street 5 essential wines to serve at Thanksgiving — PureWow All the unbelievable food you can eat on a Carnival cruise — Foodbeast


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Virgin and abess, also known as Adelgundis, Aldegonde, or Orgonne. She was a member of the royal family of the Merovingians and was raised by two saints: St. Walbert and St. Bertila, her parents. The ... continue reading
What do dreams have to with prayer? Aren't they just random images of our mind? In 1867 Pope Pius IX was upset with John Bosco because he wouldn't take his dreams seriously enough. Nine years ... continue reading
St. Gregory, born at Rome about the year 540, was the son of Gordianus, a wealthy senator, who later renounced the world and became one of the seven deacons of Rome. After he had acquired ... continue reading
When she was 56, Angela Merici said "No" to the Pope. She was aware that Clement VII was offering her a great honor and a great opportunity to serve when he asked her to take charge of a ... continue reading
Also called Euphemianus, a widow, born in Constantinople. From a good family, Anne was forced to marry. When widowed, she assumed a male disguise and the name of Euphemianus. As this male, ... continue reading
Archbishop of Canterbury England, who battled for discipline and justice, also called Edmund of Abingdon. Born in Abingdon, on November 30, 1180. he studied at Oxford, England, and in Paris, France. ... continue readingMore Saint of the Day
St. Catherine of Bologna, Virgin (Patroness of Artists) Feast - March 9th Born in 1413, Catherine de Vigri was the daughter of a diplomatic agent of the Marquis of Ferrara. At the age of eleven, she was appointed maid of honor to the daughter of the Marquis and shared ... continue readingMore Female Saints
St. Michael the Archangel - Feast day - September 29th The name Michael signifies "Who is like to God?" and was the warcry of the good angels in the battle fought in heaven against satan and his followers. Holy Scripture describes St. Michael as "one of the chief ... continue reading
The name Gabriel means "man of God," or "God has shown himself mighty." It appears first in the prophesies of Daniel in the Old Testament. The angel announced to Daniel the prophecy of the seventy weeks. His name also occurs in the apocryphal book of Henoch. He was the ... continue reading
Born in 1245 in Sant'Angelo, St. Nicholas of Tolentino took his name from St. Nicholas of Myra, at whose shrine his parents prayed to have a child. Nicholas became a monk at 18, and seven years ... continue reading
St. Gregory, born at Rome about the year 540, was the son of Gordianus, a wealthy senator, who later renounced the world and became one of the seven deacons of Rome. After he had acquired the usual ... continue reading
By Deacon F.K. Bartels
St. Teresa's whole life is one of simple beauty and fervent purpose; it is a life contained in Christ. She shows us how to live the same way through Prayer.On reading from St. Teresa, a deep feeling of her love for His Majesty envelops us; we begin, in a very real, ... continue readingMore Christian Saints & Heroes


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Lokomotiv will not play in KHL this season
Sep 10, 2011, 3:55 AM EST
As the city of Yaroslavl honors those lost in Wednesday's plane crash, word out of Russia is that Lokomotiv's season will be placed on hold. Pavel Lysenkov from Sovietsky Sport is reporting that Lokomotiv club president Yuri Yakovlev has said the team will not play in the KHL this season. The announcement comes while 7,500 friends and fans gather outside of Arena 2000 to pay their last respects to the players and staff members who lost their lives on their way to Minsk, Belarus.
Obviously, any decision after the crash regarding the immediate future of the team had to be handled with care. With all of the logistical problems in building a team from scratch at the beginning of the season, Yakovlev decided it would be best if the team's return wasn't rushed. There is no blueprint for a catastrophe of this nature. There is no acceptable norm. In a time with bleeding hearts and gut-wrenching grief, it's easy to understand that the city and the organization would take their time as they contemplate their future.
It had been reported that KHL President Alexander Medvedev supported the idea of existing KHL teams aiding Yaroslavl to restock their team this season. League vice-president Ilya Kochervrin explained that hockey had the potential to help the city and fans recover from the devastating pain associated with the crash.
Still, with the support of the league and opposing teams, it was too daunting to put together in such a quick fashion. Kochevrin explained that it would be Lokomotiv's management that had the final say regarding this season.
""The final decision is going to be (from) the team management. It's not going to be the league or administration or anybody else. It has to be team management because they're the ones who will be responsible for building up the team."
Even though Lokomotiv will not participate this season on the ice, they will still be remembered around the league. Representatives from each and every KHL were in attendance during Saturday's memorial at Arena 2000. In addition to the representatives, Atlant, AK Bars, Moscow Dynamo, CSKA, Spartak, Severstal, and Torpedo all sent their entire teams to pay their respects. KHL club AK Bars has already pledged to donate all of the proceeds from ticket sales of their first game against Dinamo Riga on Tuesday, September 13. Aeroflot has even offered better planes for KHL teams to use throughout the season.
They will be remembered.
All we can hope is that time helps heal the emotional scars left after this catastrophe. People will never forget – nor should they – but the decision to cancel the season is understandable as the fans and organization try to pick up the pieces. When they finally do come back next season, something tells me they'll have a few more fans pulling for the team (and city) to succeed.
- capsrockva - Sep 10, 2011 at 10:01 AM
While I thought it might be a chance that they would not play this season, I was hoping they might be able to. They have to retire all those jersey numbers forever.
- mianfr - Sep 10, 2011 at 11:50 AM
That's kind of a lot of numbers… A memorial would do…
- icelovinbrotha215 - Sep 10, 2011 at 5:45 PM
Maybe instead of retiring the jersey #'s, how about retiring the jersey itself? Come up with a new design and have the current jerseys hanging to make it an everlasting memorial. Either way, it makes sense for the team to take a leave of absence.
- psujay - Sep 10, 2011 at 9:32 PM
You know…that's a hell of an idea. Just a brand new jersey, and wear the old one opening day every year as a tribute. I like it.
- balewsquare - Sep 13, 2011 at 12:55 AM
Was just thinking the same thing. Put it up in the rafters, come up with a new logo/jersey when the team returns.
- polegojim - Sep 10, 2011 at 10:33 AM
Best decision they could make. While noble, retiring that many jersey's permanently just isn't practical. Do so for the next season they play only.
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Montana Grizzlies
UM brings back copper and gold to celebrate championship anniversary
MISSOULA — The classic copper, gold and silver colors are making a one-year comeback at the University of Montana.
Andy Thompson
Montana linebacker Andy Thompson blocks a pass by Eastern Washington quarterback Erik Meyer in the first quarter.
Jonathan Smith
Washington quarterbacks coach Jonathan Smith, center, runs a drill with players during the team's first day of Spring Practice on Tuesday, March 4, 2014, in Seattle, Wash.
Mike Van Diest
Carroll College football coach Mike Van Diest, left, and former Saints quarterback Tyler Emmert are seen holding Emmert's NAIA Hall of Fame induction plaque. Emmert joins 2003 Carroll grad Casey FitzSimmons in the Football Hall of Fame.
Dave Dickenson
Dave Dickenson still owns Montana's single-season and career passing records. He threw for 4,176 yards in 1995 and finished with 11,080.
Scott Gragg
Scott Gragg, left, will be the Grizzlies' co-offensive coordinator along with Kefense Hynson in 2013.
Ty Gregorak
Montana defensive coordinator Ty Gregorak has his unit playing well, but he expects the Griz to have their hands full stopping Eastern Washington on Saturday in Cheney, Washington.
Grady Bennett
Glacier coach Grady Bennett looks at the scoreboard as Bozeman goes up 21-0.
Joe Glenn
Montana head coach Joe Glenn celebrates with free safety Dave DeCoite after Montana won the national championship in 2001. Glenn returns to Missoula on Saturday when he and the 2001 team will be inducted into the school's hall of fame.
Or the Montana State Bobcats?
Montana State quarterback Travis Lulay calls the signals at the line of scrimmage during the Cat-Griz game at Washington-Grizzly Stadium in 2002. Lulay, a true freshman, helped end the Grizzlies' 16-year winning streak against the Bobcats with a 10-7 victory.
Montana or Montana State?
Grizzly linebacker Jordan Tripp kisses the "Brawl of the Wild" trophy at the end of the game while celebrating the victory with Jamaal Jones, left, on Nov. 23, 2013.
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Originally published Thursday, January 24, 2013 at 1:33 PM
Microsoft's 2Q earnings dip despite Windows 8 lift
Microsoft says fiscal second-quarter earnings slipped 4 percent, despite a lift from its latest version of Windows.
The Associated Press
Microsoft says fiscal second-quarter earnings slipped 4 percent, despite a lift from its latest version of Windows.
The results announced Thursday are the first to include Windows 8. The program is a dramatic overhaul of the Microsoft Corp. operating system that powers most PCs. Windows 8 came out Oct. 26 with slightly more than two months left in Microsoft's fiscal second quarter.
Although the Windows 8 sales haven't been as impressive as investors hoped, revenue in Microsoft's Windows division climbed 24 percent from the previous year.
Microsoft earned $6.4 billion, or 76 cents per share, during the final three months of the year. That was down from $6.6 billion, or 78 cents per share, a year earlier.
The company's total revenue rose 3 percent from last year to $21.5 billion.
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Recipe of the Day
Rainbow Salad with Lemon Poppyseed Dressing
This colorful salad boasts a rainbow of fruits and veggies in a tangy and sweet dressing.
Christine M
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Madison Co. lobbyist paid $75K annually to lobby Washington
Published: October 19,2010
Tags: lobbyist, Madison County, Mississippi Legislature, Steve Seale, Tim Johnson
CANTON — Madison County has expanded the duties of its lobbyist to include presenting local issues to the Mississippi Legislature.
The Clarion-Ledger reports that the board of supervisors voted 4-1 Monday for a six-month contract for Jackson lawyer Steve Seale to push for local issues before state officials. He has been paid $75,000 annually to lobby in Washington, D.C.
Seale, a former member of the state Senate, will get $2,500 a month to lobby the Legislature.
Board President Tim Johnson, also a former state senator, says Seale will be Madison County's "eyes and ears" at the state Capitol on a variety of county-related issues and also legislative redistricting.
To sign up for Mississippi Business Daily Updates, click here.
One Response to "Madison Co. lobbyist paid $75K annually to lobby Washington"
Madison Co. lobbyist paid $75K annually to lobby Washington | Jackson Lawyers | Jackson Attorney | Jackson Lawyer Says:
October 20th, 2010 at 1:24 am
[...] Madison Co. lobbyist paid K annually to lobby Washington CANTON — Madison County has expanded the duties of its lobbyist to include presenting local issues to the Mississippi Legislature. Read more on Mississippi Business Journal [...]
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Sound the horns and drop the balloons, baby. It's championship time! These next two weeks will decide your place amongst the fantasy gods. Second place is not an option as you will claw your way through your matchup and end up on top of the mountain where you will claim your prize and title of "League Champion".
Ok, so it may not be that epic, but I am still pumped for this time of year. Personally, I have a stake in the SoB championship game. I will now hold for applause. Keeping in tradition with my ADD, I have once again changed the look of the Wrap-Up. I hope the changes keep you on your toes.
Tags: Fantasy, Fantasy Baseball Wrap-Up


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Do you love Glee?!?!? North Shore Library will be hosting a Glee party on Thursday, April 8, 2010 from 6:30-8:00pm. We'll have trivia, slushies, web clips and prizes. The program is for teens, and tickets can be picked up at the library—tickets will be necessary for entry to the party.
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The hotel is situated about 6 km from the central station and about the same distance from the university campus. When I booked the hotel (over 110 Euros/night) I was under the impression that I would receive a king size bed; instead I got 2 single beds in my room. At the reception they wanted to charge me despite me... More
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User Profile: stxxol
Member Since: October 18, 2011
October 19, 2011 at 2:28am
@ 2patriotic who the hell was talking about la raza!? this a high school not a gang stop making these kids seem so bad when in reality they're just kids with an assignment to do
October 19, 2011 at 2:20am
@angf117 you and me both know that's not true..not all Mexicans are like that just like Some white people are like that you can't say all Mexicans are like that because there is honest hard-working Mexicans
October 19, 2011 at 1:54am
I agree with celestia they should interview her friends and staff before any conclusions are made about the school district,the school, or the teacher…
October 19, 2011 at 1:50am
that school is the only school to achieve exemplary status three years in a row probably one puf the best seconds in the valley…shutting it down would be stupid
October 18, 2011 at 10:55pm
@ thegreatone appearantly you don't know what your saying the kids in that school are probably smarter than most, theyhave to be to be taking college classes …they'll probably end up with a great job earning twice as much you have in your life….and to everyone else how is that treason! and its plain sad how you judge someone's whole life on their last name….a name doesnt affect a person and what they did to help the community your over reacting to a simple assignment its not like theyre planning to take over the country I think you should find the facts before saying all this.. like maybe actually going to the class before saying anything about the way she teaches or talking bad about the principle
October 18, 2011 at 8:56pm
leader1776 i know because i actually made sure i had the facts straight. everyone keeps saying she's mexican but no where does it say she is, everyone is assuming she is with no proof. I myself am hispanic i was born in the united states but my parents are both mexican but this doesn't affect my view of the united states i know it is a better and more safe country and appreciate all the lives that fought to keep it as it is. everything you are saying about her might not necessarily be the truth since you don't know her or know anything about her background, all of your conclusions are based on the information presented a 15 year old high school student, you can't honestly tell me that the information she gave is 100% correct. it has always been my belief to know the facts before i make any accusations or talk bad about someone especially when you put that persons reputation AND job in jeopardy…
In reply to fishstx777's comment on the story Teen Behind Blaze's Mexican Pledge Story Tells Fox: 'This Was an Indoctrination'
October 18, 2011 at 7:47pm
they didn't steal it from the aztecs the spaniards they just took it back. and didn't most americans take the land from the native americans?
In reply to tbarta1's comment on the story Teen Behind Blaze's Mexican Pledge Story Tells Fox: 'This Was an Indoctrination'
October 18, 2011 at 7:27pm
did it ever occur to you that maybe her bad grade was because she didn't do her other classwork? not because she refused to recite the anthem, as it was said on the video she was given an alternate assignment to do.
In reply to G.E.R's comment on the story Teen Behind Blaze's Mexican Pledge Story Tells Fox: 'This Was an Indoctrination'
October 18, 2011 at 7:20pm
actually the teacher is american…and if i'm not mistaken there are mexican born people buried in those military cemeteries that fought for this country to…
In reply to fishstx777's comment on the story Teen Behind Blaze's Mexican Pledge Story Tells Fox: 'This Was an Indoctrination'
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Reasons for Pride in 2012, Part 2
BY Advocate Contributors
May 16 2012 3:00 AM ET
Because even Fox can't keep us down
She may or may not have been ousted from The X Factor because the crowd-pleasing grind she sang, "Ooh Damn," was about another woman (gasp!), but lesbian singer Reina Williams's (pictured) performance got Simon Cowell to say, "A million times yes. She made my year." But TV's queerphobia aside, the Michigan Womyn's Music Festival vet and Baltimore native has got it going on with a new straight-to-the people album, Reina Williams: The Mixtape, and a tour last spring to meet her growing fan base. "I get pride from seeing people from all walks of life who are affected in a positive way by my music," she says. "I feel humbled by everyone's acceptance of me and my music as is. I don't need to wear skinny jeans, buy a gold mouth grill, or dress, as my mother would say, like a hoochie mama to get noticed and move units."
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Plan On Selling Your iPhone & Wanna Wipe The Private Data? You'll Need This App.
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Christen Costa
Grew up back East, got sick of the cold and headed West. Since I was small I have been pushing buttons - both electronic and human. With an insatiable need for tech I thought "why not start a blog focusing on technology, and use my dislikes and likes to post on gadgets."
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"Fight against creation Fight against everything good for the younger generation" -Peter Tosh, "Vampire"
Peter Tosh 24 Days Ago
Peter Tosh 25 Days Ago
This month's issue of Irie Mag is dedicated to the Bush Doctor, Peter Tosh. Grab a copy now for insights from Niambe and Dave Tosh, a look at Peter's life and music, and more.
Peter Tosh 49 Days Ago
Our friends at Midnight Raver Blog are celebrating Peter's Earth Strong month with exclusive content every day in October. Check it out: http://midnightraverblog.com
Peter Tosh 52 Days Ago
Peter Tosh 53 Days Ago
"Education develops the intellect; and the intellect distinguishes man from other creatures. It is education that enables man to harness nature and utilize her resources for the well-being and improvement of his life. The key for the betterment and completeness of modern living is education." - Haile Selassie
Peter Tosh 54 Days Ago
Peter Tosh 55 Days Ago
"All I see is man's abomination Causing combination Amongst the younger generation." - Peter Tosh, "Rumors of War"
Peter Tosh 55 Days Ago
Peter Tosh 59 Days Ago
"So don't care where you come from As long as you're a black man, you're an African No mind your nationality You've got the identity of an African." -Peter Tosh, "African" on Equal Rights
Peter Tosh 60 Days Ago
"I want to have complete control over every media so that when I make my record I put on it what I want to put on it. Not what society wants me to put on it." –Peter speaking with Melody Maker, 1978.
Peter Tosh 63 Days Ago
September, 1981. Read the interview here: http://midnightraverblog.com/2013/09/11/peter-tosh-interview-unicorn-washington-dc-september-1981/
Peter Tosh 66 Days Ago
"For the time of rights is now And you don't have to ask me how You've got to make a move, Blackman arise" -"Arise Blackman" http://www.washingtonpost.com/opinions/ferguson-wasnt-black-rage-against-copsit-was-white-rage-against-progress/2014/08/29/3055e3f4-2d75-11e4-bb9b-997ae96fad33_story.html
Peter Tosh 68 Days Ago
Bunny Wailer speaks on the growing acceptance of Rastafarianism and the movement to which he and Peter adhered. http://www.thecannabist.co/2014/09/15/jamaica-rastafarian-religion-marijuana-acceptance/19678/ #LegalizeIt
Peter Tosh 69 Days Ago
Big up my big brother Steve Tosh and friend Dave Rodney for the great piece on Jamaican TV network TVJ. In the near future the world will have a destination in Jamaica that will truly memorialize the greatness of my father, Peter Tosh. - Niambe
Peter Tosh 72 Days Ago
"I know, I got a little more to go I'm gettin' kind of tired but I got to keep on walkin'" -"Don't Look Back" Peter Tosh
Peter Tosh 73 Days Ago
Peter Tosh 73 Days Ago
On Peter Tosh's legacy, now and in the future. Rest in Power, Peter. http://jamaica-gleaner.com/gleaner/20140911/ent/ent4.html
Peter Tosh 74 Days Ago
Peter Tosh 74 Days Ago
"Tosh is certainly the coolest person I saw on the island. In a pink press-stud shirt, with the sleeves torn off at the elbows, khaki pants and a khaki baret, he manages to make amiable guys like Phil Lynott look like John Denver." -Chris Salewicz, NME 1978
Peter Tosh 75 Days Ago


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It seems a stretch to call John Darnielle of the Mountain Goats an embattled bandleader. After all, from the outside, he's been releasing albums for one of the most respected large independent labels in the world, 4AD, since 2002. The New Yorker has called him one of the greatest living lyricists, and Spin slapped his praises on its cover just last week. He's recently wowed the late-night circuit, sold out three consecutive nights at the Bowery Ballroom, and released his latest album, the masterstroke All Eternals Deck, on Merge Records, the independent label located within walking distance of his North Carolina home that landed a major Grammy last month. That's not bad for a writer who used to howl and strum into the microphone of his Panasonic boombox and opine that a real songwriter wasn't a career-oriented songwriter.
But in 2002-- when Darnielle made the leap to 4AD and, more saliently, into a proper studio with an ensemble of backing musicians-- his zealous fans started talking about his music as though it were foreign policy. Some loved the new adventurousness and accessibility, apparent from the great bloom of Mountain Goats fans during the last decade. But there are those who insist that the only real Mountain Goats is the atavistic Mountain Goats, the static-y, crackly, mildly manic stuff that Darnielle made mostly alone for more than a decade. To wit, the Mountain Goats forums, which Darnielle hosts on his own website, are a minefield of hot-blooded criticism about the band's rock music, lobbed not by online trolls but by those who might spend hundreds to track down Darnielle's earliest, most primitive releases. After the band released "Damn These Vampires", the positive jam that opens All Eternals Deck, Mountain Goats drummer Jon Wurster told me the vile was so rich he simply stopped reading the boards.
This matters now because, despite the fan fusillade, Darnielle has pressed on with his rock band, crafting and sharpening his skills and charisma as a frontman. Paradoxically passionate but controlled, uncompromising but instantly likable, All Eternals Deck is a certain career highlight for Darnielle. And, like many of the most memorable Mountain Goats songs, it's also about survival, or battling back from very dark places to "follow the light." Indeed, most every song here holds some key to the future, some talisman meant for perseverance. During "Damn These Vampires" and "Beautiful Gas Mask", it's didactic, warm advice. Occasionally, however, it's a reflection on the past, when some rocky relationship made more sense, when the world seemed framed by more favorable horizons. The poignant "Age of Kings", for instance, reminisces about a wasted love that once suggested a divine blessing. But just as the strings turn anxious, Darnielle remembers the time he might have fixed it all; his regret feels less like self-pity, though, and more like a future lesson.
All Eternals Deck is officially the third album for the rock band the Mountain Goats, or the trio of Darnielle, longtime bassist Peter Hughes, and Superchunk drummer Jon Wurster. On 2009's The Life of the World to Come, though, Wurster and Hughes felt more like plainspoken accompaniment, simply keeping time and stretching the sound around Darnielle when not sitting out nearly half a dozen tunes. After four years of live practice, they now sound like a properly developed unit that's comfortable with its ideas and approaches. There are no ham-fisted reggae rubs or overreaching rock moments; instead, the band simply plays with nuance and purpose, elaborating the lyrics by first understanding them.
Darnielle replaces his rhythm section twice here, and the success of both songs suggests that the evolution of the Mountain Goats doesn't stop with a rock trio. "Outer Scorpion Squadron" should forever quell the gripe that Darnielle can't sing. Above an economical string section, Darnielle speaks of survival with grace and delicacy. The record's one great experiment, mid-album curveball "High Hawk Season", swaps the rhythm section for a harmonizing trio known as the North Mountain Singers. Though Darnielle plays acoustic guitar, they treat the song like an a cappella ensemble would, adding bass and texture against his lead line. A call to power, it's one of Darnielle's pinnacles as both a bandleader and songwriter, and a revelatory break from his past. "Who's going to stand his ground, and who's going to blink?" he sings, as though winking to his detractors.
Three songs on All Eternals Deck lift directly from the lives of veteran American actors-- Charles Bronson, Judy Garland, and her daughter, Liza Minnelli. In each instance, we see a star in peril, whether it's Garland during the overdose in London that killed her or tough-guy Bronson trying to hold it together for one more feature. In both cases, Darnielle invokes their birthplace, their cradle of innocence, again using the past as a catalyst for perseverance. On "Sourdoire Valley Song", Darnielle smartly cuts the other way by referencing the Olduvai Gorge, the Tanzanian ravine sometimes referenced as the birthplace of mankind. An old man struggles and dies, and the world turns. Our struggles, the implication goes, are forever and for everyone-- stars, successful songwriters, ancient hominids thought to be extinct. Even if it means you "crawl 'til dawn on hands and knees," though, you keep going if you can. Lucky for us, the rock band the Mountain Goats have done just that.
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Early works: Die Feen, Das Liebesverbot and Rienzi
Wagner never heard his first completed opera, Die Feen (The Fairies), and his next, Das Liebesverbot (The Ban on Love), was performed only once in his lifetime, where it was an unmitigated disaster. His first success was Rienzi, first performed in Dresden in 1842 after Wagner returned from a dire interlude in Paris. Six hours long, replete with ballets, grand choruses, processions and marches, and with possibly the most terrifying tenor part in Wagner's canon, Rienzi is Wagner's bid to out-grand opera French grand opera. While for modern audiences that might be something of a Pyrrhic victory, in the 19th century Rienzi was Wagner's most performed opera – somewhat to the composer's embarrassment.
Arriving into maturity: Der fliegende Holländer
Der fliegende Holländer's premiere in Dresden a few months later didn't match Rienzi's success at the time, but musically it marks Wagner's maturity. Wagner had sold his scenario to Léon Pillet, director of Paris Opéra, in 1841, but to the composer's horror Pillet commissioned the score from Pierre-Louis Dietsch instead. The premiere of Dietsch's Le Vaisseau fantôme in Paris, just as rehearsals for Der fliegende Holländer began, prompted Wagner to introduce some late revisions, including a speedy relocation from Scotland to the Norwegian coast. Wagner had conceived the opera as a single-act curtain opener for Paris; though he later expanded it into three scenes he continued to think of it as one continuous whole. He was convinced to insert two intervals for the premiere, but in Cosima Wagner's 1901 Bayreuth production she ran the opera without break – a practice followed by many modern productions, including The Royal Opera's. Throughout his life Wagner returned to Der fliegende Holländer. Today, opera houses tend to use either the earliest version or the most definite revisions of 1860.
Understanding 'melos': Tannhäuser
Tannhäuser has the dubious honour of two failed premieres. It was received with bewilderment on its first showing in Dresden on 19 October 1845 – largely because the singers were not up to the score's singular demands. By now Wagner had refined his ideas of melos (a unique melody essential to each composition) and the result was a particularly challenging role for the titular hero. When in 1861 Napoleon III invited Wagner to stage Tannhäuser in Paris the composer took the opportunity to introduce some significant revisions, including the orgiastic Venusberg ballet that opens the opera. But the riotous Jockey Club de Paris, political opponents of Wagner's patrons and offended at Wagner's relocation of the ballet from its traditional place after the first interval, were rowdily disruptive, and after three mortifying performances Wagner cancelled the run. He made further revisions to the 'Paris' version for an 1875 performance in Vienna, keeping the ballet and dovetailing the overture into the opening of the opera. It's this version that is most often performed today – though to his death Wagner remained dissatisfied with the work.
King Ludwig II and the Swan Knight: Lohengrin
Lohengrin was first performed on 28 August 1850, though Wagner, exiled in Switzerland after backing the losing side in a political coup, didn't hear it performed until 1861. The premiere was conducted instead by Liszt and was received well, despite the perennial problem of singers not up to their parts. Lohengrin, begun in the winter of 1841–2, was the first fruit of Wagner's obsession with the legend of the Holy Grail. The opera was to have a massive influence – including on Bavarian architecture. Wagner's later patron, the beyond-eccentric King Ludwig II, was inspired in part by Lohengrin to term himself the Swan Knight and build the unfinished fantasy palace Neuschwanstein (New Swan Stone), which he dedicated to Wagner.
Epic opera: Der Ring des Nibelungen
A cycle of four operas, clocking in at 15 hours in total, Der Ring des Nibelungen is one of the most challenging works for an opera company to perform. In it Wagner created a new form of music drama, based on the principles he set out in his 1851 book-length essay Oper und Drama. Condemning what he saw as the commercialism of his contemporaries, he proposed a pure art modelled on his understanding of Ancient Greek theatre, through which society would be served and bettered. In the Ring this philosophy becomes a union between music and text now known as the leitmotif structure. Wagner completely eschewed the number-based format of traditional opera, associating short melodies with dramatic icons and emotions, weaving them together in a continuous composition. The plots are based on Icelandic, Scandinavian and German myths, though Wagner significantly reworked numerous legends to create an entirely original story in which the themes of redemption and sacrifice, constants throughout his mature work, loom large. Though he composed the four operas in order, starting with Das Rheingold in 1853 and finishing Götterdämmerung in 1872, Wagner prepared the texts in reverse, beginning Siegfrieds Tod (which eventually became Götterdämmerung) as early as 1848. At the order of Ludwig II and deeply against Wagner's wishes Das Rheingold and Die Walküre were performed in 1869 and 1870 in Munich, in performances that fell far below Wagner's expectations. The complete Ring cycle was first performed at the inaugural Bayreuth Festival in 1876 on four consecutive nights.
Tristan und Isolde
In the middle of composing the Ring Wagner set aside Siegfried to write Tristan und Isolde, which in the 20th century became arguably his best-known and most influential work – Wagner himself quoted it explicitly in later operas Die Meistersinger and Parsifal. His chief inspiration was his love for Mathilde Wesendonck, poet and the wife of Wagner's generous patron Otto, who in 1857 had given Wagner the villa in which he wrote Tristan. The premiere was serially delayed; one performance had to be postponed at a few hours' notice after the twin disasters of Isolde losing her voice and bailiffs arriving to confiscate Wagner's possessions. On its eventual premiere on 10 June 1865 Tristan und Isolde created musical history, from the very start of the Prelude with its famous 'Tristan chord' (in jazz, a half-diminished 7th). It wasn't the chord itself that shocked but Wagner's entirely original manipulation of harmony; responding to Tristan and Isolde's yearning and tragedy he creates an aching score where musical resolution is continually evaded, in a language far removed from the diatonic traditions that had governed Western music for centuries.
A return to comedy: Die Meistersinger von Nürnberg
Wagner had conceived of Die Meistersinger von Nürnberg, his only comic work beside Das Liebesverbot, in 1845 as a pendant to Tannhäuser, following the Greek model of pairing a tragedy with a satyr play. Recurring musical motifs, as in all Wagner's mature operas, still form the foundation of the melodic material, but quite unlike Tristan and the Ring the opera is structured largely in traditional numbers. The score is coloured with an archaic, modal twist, and for long stretches the vocal lines seem almost improvisatory. In the 1860s Wagner had further developed his ideas of the purity and superiority of German culture, which ultimately would be codified in his 1871 tract Über die Bestimmung der Oper (The purpose of opera). It's partly this that inspired him to meld the innovations of his musical language with more historic forms. Wagner also continued to develop his response to the work of the philosopher Schopenhauer and the renunciation of the will, most fully expressed in Hans Sachs's Act III monologue 'Wahn, Wahn, überall Wahn'.
A final masterpiece: Parsifal
Wagner's final work, Parsifal, was the only of his operas to be written with direct experience of the Bayreuth Festspielhaus. Its staging demands are extraordinary even for Wagner, calling for tiers of choirs arranged over a high dome. Wagner's source was Wolfram von Eschenbach's setting of the legend of Perceval, knight of the Grail, which he began to adapt into a libretto as early as 1845. The verse is his freest, and in it the scenario's explicitly Christian context merges with Buddhist ideals and Schopenhauerian self-abnegation into a meditation on compassion. Wagner's text allows no simple interpretation, and neither does his score. The vocal lines range from declamatory recitative to expansive melody; the use of motifs is infinitely subtle and yields different interpretations with each listening. As with Meistersinger, the tonality is broadly diatonic and incorporates elements of ancient music: the 'Dresden Amen', a common congregational response, here becomes a transcendent expression of the Grail, and a simple four-note bell motif signaling the Grail chamber provides material for two immense transition scenes. Wagner called the opera a Bühnenweihfestspiel – a stage-consecrating festival play – and intended it only for Bayreuth. Ludwig II was the first to break the 30-year embargo in a private performance in Munich just a few years after the premiere. The next performance outside Bayreuth was by the Metropolitan Opera, New York, in 1903.
It's impossible to overstate the influence of Wagner's mature works on the course of music. But his music never seems to become familiar. His operas – complex, immersive and astonishingly entertaining – continue to entrance.
Tristan und Isolde runs 5–21 December 2014. Tickets are still available.
The production is a co-production with Houston Grand Opera and is given with generous philanthropic support from Peter and Fiona Espenhahn, Malcolm Herring, Bertrand and Elisabeth Meunier and Lindsay and Sarah Tomlinson.
Der fliegende Holländer runs 5–24 February 2015. Tickets are still available.
The production is given with generous philanthropic support from Marina Hobson OBE and the Wagner Production Syndicate.
Schoenberg's opera Moses und Aron is unknown musical territory for many – true too for most if not all of Schoenberg's music and that of his fellow Second Viennese School composers, Berg and Webern. The case is the same for recent operas in the Linbury Studio Theatre, such as Quartett, Through His Teeth or The Killing Flower. More mainstream is Berg's Wozzeck, recently performed on the Covent Garden main stage by The Royal Opera; but even this has not become as familiar as operas from the same time or even after, such as Britten's Peter Grimes. Why is it that some works appeal more immediately and more broadly than others?
When we hear the phrase 'we know what we like', it often means 'we like what we know'. The new is almost always more draining than the familiar as we need to concentrate on how to assimilate what is strange and unknown. And because human nature is generally risk-averse, it means we can be slow to accept or even actively resistant to the unfamiliar. The effort of comprehending the unfamiliar can sometimes be more than we want to invest – especially if we expect to use culture for relaxation or diversion.
The challenge of convention and familiarity is one part of how art works: the emotional effect and the intellectual interest can come from expectations we have of one thing happening, but the work doing something slightly or dramatically different. That deviation from our expectations provokes a reaction – and some people are open to more provocation than others, which contributes to our personal tastes. But how does this work in regards to music?
Music is built on a use of pitch and rhythm that we assimilate from our cultural background. Although it is often stated that music is a universal language, it clearly isn't. The same basic elements can be put together in very different ways, and require different ways of listening. We need to learn and become familiar with what these conventions are. Then we can get 'inside' the sound and follow what the composer (or equivalent) is doing with more confidence.
When we don't know the conventions, the result may be intriguing or frightening: one person's lovely sound is another's awful racket. Looking back over the centuries demonstrates how works we consider mainstream were once heard as disturbing:
On Beethoven and his Seventh Symphony, 1825: 'It is a composition in which the author has indulged a great deal of disagreeable eccentricity… Altogether, it seems to have been intended as a kind of enigma – we almost said a hoax.'
On Verdi and Macbeth, 1850: 'The unfortunate man is incapable of real melody – his airs are such as a man born deaf would compose by calculation of the distances of musical notes and the intervals between them.'
On Wagner and Tannhäuser, 1861: 'I believe that I could write tomorrow something similar, inspired by my cat walking down the keyboard of the piano.'
This is not to say that anything we don't like will become a much-loved favourite. Far from it – music can still be well or badly done wherever it comes from. The point is that so many elements go into listening to music new to us, that we can be worn down by the sheer overwhelming novelty of the experience.
Ultimately, everyone in the audience will have their own response, made up of how much is familiar or unfamiliar, how much they enjoy a challenge, how alert or tired they are. They may be engrossed or bored, enlivened or enraged: the best thing an audience can do is respond in whatever way they feel. But sometimes, a little context picked up beforehand – through discovering the story, listening to the composer's music, or through reading others' responses to the work – can be enough to counteract the alienation created by the unknown to make a lot of difference to our enjoyment of the performance.
Welsh National Opera performs Moses und Aron on the Royal Opera House's main stage 25–26 July 2014. Tickets are still available.]]>
Try The Opera Machine here
When we are in the audience for an opera we are aware of the artists on stage and in the pit, we are hopefully caught up in the drama of the performance and pulled in by the power of the music. What is invisible – unless something goes wrong – is the team working behind the scenes to put the production on stage; managing and driving what could be described as the 'opera machine'.
Behind the scenes, stage crew, technicians and stage managers come together with the artists in an often pressurized, always carefully coordinated, way to enable the performances and deliver the spectacular theatrical effects.
This staff is usually unseen and often unsung, but we are tremendously proud of having some of the best teams you could possibly imagine. The artists know how important they are - and we now have a way to let you glimpse this part of our world.
Our new project, The Opera Machine, offers an extraordinary multi-angled view of all that is involved: a flaming helix, trap doors and a two-ton spinning wall all feature in this performance of Act III of Wagner's Die Walküre. In one tense moment, the Stage Manager works with colleagues to fix a crucial flaming prop for bass baritone Bryn Terfel, who sings the role of Wotan, delivering it just seconds before Bryn takes to the stage.
Decide how you would like to experience the opera: jump between cameras at will, or watch the director's cut (featuring footage from each of the 17 cameras) all the way through. It's possible to listen to the music alone, hear it with the backstage radio or overlay with commentary from BBC Radio 3's Suzy Klein. You can also dig deeper by following the prompt book, used by the Deputy Stage Manager, to get a sense of what it's like to coordinate such a large team during a performance.
Or if you want to understand even more fully why we think Antonio Pappano is the best Music Director in the world, watch him conduct the whole act through a camera in the pit capturing his every gesture and expression.
This project wouldn't have been possible without the support of Deloitte, who enabled us to film Die Walküre ahead of Deloitte Ignite 2013. We're looking forward to seeing what The Royal Ballet have in store for Deloitte Ignite 2014 this September, which takes the theme of myth as a starting point.
Have fun with The Opera Machine – enjoy it for two minutes or play around with it for hours. I learnt several things that I didn't know about how things work backstage watching this being filmed myself, so we think you will never be able to quite watch an opera performance again in the same way after visiting The Opera Machine.]]>
In one of the most famous scenes in opera, Brünnhilde rides into a funeral pyre and ends the world as she knows it, bringing the curtain down on the age of the gods, on Götterdämmerung and on Wagner's epic Ring cycle.
Opera has long proved to be an eloquent and evocative medium through which to explore the human-scale impact of apocalyptic events – events that are so seismic they change everything that comes afterwards. It's no coincidence that some of the greatest operas are set in historical periods of huge upheaval.
A quick look at operas being performed at the ROH and elsewhere is a snapshot of conflict. Puccini's Tosca takes place against a backdrop of war and revolution, the political turmoil of the historical setting of Rome in 1800 spilling over into the events on stage. Set just a few years earlier in the French Revolution, Poulenc's Dialogues des Carmélites looks at the human-scale impact of the Reign of Terror. His poignant re-telling of the story of a group of nuns persecuted by the revolutionaries reaches unbearable intensity in the final scene, where one by one the Carmelites are executed at the guillotine.
John Adams's The Death of Klinghoffer places an individual story within the context of violent struggles in the Middle East; and Mark-Anthony Turnage's The Silver Tassie (based on a play by Sean O'Casey currently at London's National Theatre) reflects on the horrors of World War I.
But what comes next? What happens in the aftermath of the revolutions and wars that composers so readily depict?
A growing number of composers have looked beyond the catastrophe to explore life in a post-apocalyptic world. Ligeti's Le Grand Macabre and Weill's Rise and Fall of the City of Mahagonny are both set in worlds that have experienced some kind of apocalypse – La Fura dels Baus' English National Opera production of the former sets the opera in the body of a woman who is about to die. This growing repertory of post-apocalyptic operas has led to a parallel trend among directors.
The Royal Opera House's own Ring cycle directed by Keith Warner takes place in a dystopian world on a set littered with bomb-damaged buildings, the ruins of a plane and decomposing bodies. Katharina Thoma's Ariadne auf Naxos for Glyndebourne replaces the Prologue's fireworks with an air raid, and sets the opera in a World War II hospital. David Pountney's take on Berg's Lulu for Welsh National Opera gives the opera a decidedly post-apocalyptic feel, with staging that includes bodies on meat hooks and a set made of bare scaffolding. Hans Neuenfels set Lohengrin for the Bayreuth Festival in a lab overrun by giant rats from a horrific dystopian future.
The stage has always been a place on which to explore dangerous, frightening and threatening ideas, in the knowledge that the 'fourth wall' keeps us safe: it's not really the end of the world, after all.
But in writing the opera Quartett, based on a play by Heiner Müller, composer Luca Francesconi had quite a different aim in mind, as he explained in an interview: 'Quartett is the abyss that opens wide within the four walls of our home. Even as spectators we think we are safe in our seats, watching the peep-show taking place on stage before us. But there could well be someone else watching us at the very same time. The claustrophobic cell we are watching becomes a metaphor for the whole of Western civilization.'
In Francesconi's world, we can't be sure the apocalypse is confined to the stage.
The Royal Opera's new production of Quartett runs 18–28 June 2014. Tickets are still available.
The production is given with generous philanthropic support from Mr Stefan Sten Olsson, and is a co-production between The Royal Opera, Opéra de Rouen and London Sinfonietta.
Tosca runs until 26 June 2014. A small number of tickets are still available.
The production is generously supported by RLM Finsbury.
Rise and Fall of the City of Mahagonny runs 10 March–4 April 2015. Tickets go on general sale 27 January 2015.]]>
'O Isis und Osiris' from Act II of Die Zauberflöte by Wolfgang Amadeus Mozart
The High Priest Sarastro prays to the Egyptian gods that Tamino and Pamina will learn wisdom and virtue, and triumph in their trials. The noble simplicity of the melody, the lyrical writing for the bass voice and the lulling accompaniment of strings show that Sarastro, far from being the evil sorcerer the Queen of the Night had claimed, is both impressive and benign.
'Deh! Tu di un'umile preghiera' from Act II of Maria Stuarda by Gaetano Donizetti
Maria has been condemned to death by Elisabetta. She has confessed her fear of death and her guilt about her past actions to her advisor Talbot. Now calm, she asks the crowd to join her in praying for God's mercy. Donizetti depicts Maria's new-found humility through her flowing, virtually unembellished vocal line, and her hopes of heaven through the predominance of rising phrases. The prayer begins with delicate harp accompaniment, but as the chorus joins Maria the full orchestra enters and the mood becomes impassioned and almost exultant.
'Tu al cui sguardo onnipossente' from Act I of I due Foscari by Giuseppe Verdi
Lucrezia Contarini prays that God may save her husband Jacopo, unfairly condemned by the Council of Ten. In contrast to her angry recitative at the start of the scene her prayer is gentle and lyrical – a long, flowing vocal line, of the kind that Verdi admired in Bellini's arias, over an ostinato in the harp and soft woodwind chords. Lucrezia's vocal line grows more ornate as she becomes more ardent, and the aria culminates in an elaborate cadenza. Lucrezia's mood darkens in the ensuing fiery cabaletta – a short passage of recitative following her prayer when she has learnt that her husband will be condemned to exile, and she swears that God will strike down the corrupt Council.
'Allmächt'ge Jungfrau' from Act III of Tannhäuser by Richard Wagner
Tannhäuser has travelled with a group of pilgrims to Rome to seek the Pope's forgiveness for his transgressions with the goddess Venus. Elisabeth is in love with Tannhäuser and has waited eagerly for him. When he does not return with the other pilgrims, Elisabeth prays in anguish to the Virgin to let her die. The almost chorale-like simplicity of the music, with its delicate textures and lyrical soprano line, conveys Elisabeth's dignity and earnestness. Wagner also makes us aware of her pain through effective use of chromaticism. The aria culminates in Elisabeth's heart-rending plea, set at a higher pitch than much of the rest of the aria, that through her death she may redeem Tannhäuser.
'Ave Maria' from Act IV of Otello by Verdi
Desdemona has had a premonition of her death. Alone, waiting for her husband Otello to arrive, she says her evening prayers. Her initial chanting of the words of the 'Ave Maria' evolves into a beautiful soprano melody, cradled in warm string harmonies, as Desdemona asks for the Virgin's blessing on the sinner and the innocent. The aria closes in a soaring soprano phrase to the word 'Hail', sung pianissimo, before a final murmured Amen. The tenderness of this prayer gives the audience a certainty of Desdemona's goodness and innocence – making the ensuing tragedy all the more terrible.
'Vissi d'arte' from Act II of Tosca by Giacomo Puccini
Scarpia, Rome's Chief of Police, has condemned Tosca's lover Cavaradossi to death, and suggested a terrible bargain: he will spare Cavaradossi if Tosca will accept him as a lover. In agony, Tosca turns to God. She recalls her devotion to the Catholic Church, and how she has lived 'for art and love'. Puccini makes the aria particularly poignant by bringing back the theme that introduced Tosca in Act I, as if she is remembering happier times. Her initial melancholy, illustrated in falling vocal phrases, evolves into ardour and urgency as she repeatedly asks God why he has rewarded her devotion with such bitterness.
'Salve regina' ('Zdrávas královno') from Act II of Jenůfa by Leoš Janáček
Jenůfa's stepmother the Kostelnička has given Jenůfa a sleeping draught. Meanwhile she takes Jenůfa's illegitimate baby to the millstream, to drown it – worried that the child may prevent Jenůfa's marriage to the kindly Laca. Jenůfa wakes up, bleary from the drug. She frantically searches for her child, and comes to the conclusion that her mother has taken the baby to show him to his father, Števa. She offers up a prayer to the Virgin, in a meditative mood that contrasts with her earlier agitation. It is a rare section of extended melody in an opera where much of the dialogue imitates speech. Shimmering strings and harp give the music an ethereal air, while the soaring soprano line and simple melody convey Jenůfa's sincere faith. It is one of the most moving examples of Janáček's writing for the soprano voice.
'Und ist kein Betrug' from Act III of Wozzeck by Alban Berg
Marie feels remorse at her affair with the Drum Major and her behaviour towards her lover Wozzeck. She reads the Bible and prays. Berg contrasts Marie's reading of Bible texts (all referring to Christ's mercy and to women taken in adultery), intoned in Sprechstimme (sung speech used extensively in the opera) with her increasingly anguished sung pleas for God's mercy. He sets the scene as a series of variations on a delicate opening theme, conveying Marie's growing distress. By the end of the scene, speech gives way entirely to song, as Marie reads the story of Mary Magdalene, and implores God, her line rising to a top C: 'Lord, you had mercy on her, have mercy also on me!'
'Hagios! Hagios!' from Act I of Król Roger by Karol Szymanowski
Long before Arvo Pärt and John Tavener attempted to capture the spirit of the Orthodox Church in their music, Szymanowski brought an Orthodox Church service on stage in the opening of his great opera Król Roger. The first act of the opera is known as the 'Byzantine' act, for the clear influence in it of Byzantine music and architecture. It opens very quietly, with an unaccompanied choir singing the words of the Byzantine Liturgy. Gradually the textures become more complex, with slow, hypnotic phrases in the bass voices answered antiphonally by more rapid passages in the high voices. The religious text is set syllabically, with every word declaimed. The texture becomes richer as strings join the voices and the bass voice of the Archbishop leads the congregation in chanted prayer.
'Ave Maria' from Act II of Dialogues des Carmélites by Francis Poulenc
Although he never lost his roguish humour, religion became increasingly important to Poulenc. This is reflected both in his beautiful religious choral works and in Dialogues des Carmélites, his only full-length opera. In Act II, new Prioress Madame Lidoine has warned her sister nuns of the adversity ahead of them. She leads the Carmelites in the 'Ave Maria', one of the most important prayers of the Catholic Church. The prayer is unaccompanied, with simple choral textures and rich harmonies. Poulenc gives particularly expressive harmonies to significant words and phrases, such as 'Jésus' and 'mortis nostrae'. The mood is both tranquil and ardent, making this one of the most exquisite of operatic prayers.
Tosca runs from 10 May to 26 June 2014. Tickets are still available.
Dialogues des Carmélites runs from 29 May to 11 June 2014. Tickets are still available.
Maria Stuarda runs from 5 to 8 July 2014. Tickets are still available.
I due Foscari runs from 14 October to 2 November 2014. Tickets go on general sale 15 July 2014.
Die Zauberflöte runs from 23 February to 11 March 2015. Tickets go on general sale 21 October 2014.
Król Roger runs from 1 to 19 May 2015. Tickets go on general sale 27 January 2015.
Shakespeare's stage direction 'Exit, pursued by a bear' in The Winter's Tale (adapted as a ballet by Christopher Wheeldon and Bob Crowley) is famous for giving directors a headache. But rampaging bears are nothing compared to the ambitious instructions that pepper opera librettos. At the end of Mozart's Don Giovanni, the lothario's downfall is accompanied by librettist Lorenzo Da Ponte's stage direction 'Fire on all sides; earthquake' (though Kasper Holten introduces a whole host of different challenges in his spectacular projection-enhanced Royal Opera production). But even Da Ponte is arguably bested by the dramatic ending of Handel's Semele, where 'Jupiter descends in a cloud; flashes of lightning issue from either side'.
Richard Strauss's Die Frau ohne Schatten presents several intriguing posers for the director, particularly towards the end of Act I. The Empress has no shadow and cannot have children without one. Somewhat against her better judgement she persuades a mortal woman, Barak's Wife, to give the Empress her shadow. As Barak's Wife prepares a supper of fish, she hears mysterious singing, and 'Suddenly the voices of five children ring out fearfully through the air, as if the little fish in the pan are singing'.
Strauss worried that Hofmannsthal's directions implied that Barak might be about to eat his own unborn children: 'One is bound to identify the unborn children with the little fishes in the frying-pan!' Though the singing fish-children stayed, Hofmannsthal did make one concession – in the ensuing scene Barak leaves the fish alone and eats some bread instead.
But all this is small fry compared to Die Zauberflöte (one of Strauss and Hofmannsthal's models for Die Frau). The serpent that opens Mozart's opera may just be a question of a little (a lot of) puppetry, but Tamino and Pamina's 'trials of fire and water' in the opera's closing moments are another thing altogether. Emanuel Schikaneder's original stage directions are ambitiously precise: 'The scene is transformed into two large mountains: one with a thundering waterfall, the other belching out fire; each mountain has an open grid through which fire and water may be seen.'
But Wagner is the true master of impossible stage directions – his Ring cycle demanded stage effects so ambitious he had to build a whole new opera house, the Bayreuth Festspielhaus. The astounding technical demands of the Ring made its first full staging in 1876 a logistical nightmare. Siegfried's dragon was missing its central section – allegedly the torso had been sent to Beirut rather than Bayreuth. The Rhinemaidens of Das Rheingold and Götterdämmerung were perched on tall stage wagons behind a gauze illuminated with gas light to give the impression of their aquatic frollicking. But still the Telegraph reviewer complained that they were 'a little too mechanical and wanting in freedom'.
The impossible stage direction has become a much loved operatic tradition, enjoyed by spectators and relished by directors. These fires, earthquakes and metamorphoses are like gauntlets thrown down by composers and librettists centuries earlier. Whether directors take a literal or metaphorical approach, it is always fascinating to see how challenging stage directions translate into a theatrical experience.
Don Giovanni is broadcast live in cinemas worldwide on 12 February 2014. Find your nearest cinema.
Die Frau ohne Schatten runs 14 March–2 April 2014. Tickets are still available.
The Winter's Tale runs 10 April–8 May 2014. Tickets are still available.
If you live in Londonengland and don't have a ticket for #ROHWozzeck why not? One of the most harrowing & gripping shows I've seen at ROH
— Operatraveller (@Operatraveller) October 31, 2013
Whilst #ROHWozzeck is certainly not an 'easy' piece to listen to, Elder held masterful control & some moments were certainly very beautiful.
— Tom Oxenham (@tomoxenham) November 1, 2013
Quite something to hear one great Wozzeck in a year but to have two, fascinatingly complementary peformances from ENO and ROH! #ROHWozzeck
— Mark Berry (@boulezian) November 1, 2013
Haunting is #ROHWozzeck. How appropriate to see it at Halloween!!
— Wisdom Hill (@Scarlet2046) October 31, 2013
Back from #ROHWozzeck. Somewhat devastated. Keenlyside and Matilla superb. Elder produced power and clarity from excellent ROH orchestra
— Phillip Wood (@Phillip_Wood) October 31, 2013
Wozzeck at ROH - not as good as ENO's, but worth it for some amazing David Blaine-style escapology in the drowning scene...
— Tom Coult (@tomcoult) October 31, 2013
Mad doctor, ghostly musicians, zombie partygoers, bloodied water tank: tonight's Halloween couldn't have been darker. #ROHWozzeck
— Mari Griffith (@marigriff) October 31, 2013
Berg's #wozzeck @RoyalOperaHouse Elder. If I could only have attended one opera performance this yr THIS would be it. Utterly magical.
— Richard Ford (@_richard_ford) October 31, 2013
Had forgotten how shattering and devastating that production of #ROHwozzeck is! Need a lie down now...
— Alexander Mills (@alexjosephmills) October 31, 2013
A bit traumatised by Wozzeck's death this evening. Props to Simon Keenlyside. And Sir Mark Elder. #ROHWozzeck
— Tim Foxon (@timfoxon) October 31, 2013
My dreams last night involved a LOT of blood. Really quite disturbing. I blame Wozzeck! @RoyalOperaHouse @wjsm
— Eleanor Ross (@eleanorruthross) November 1, 2013
In shock after #ROHWozzeck. One of the very very best shows I've seen at ROH in 3 years. Immense conducting, orchestra, production and cast.
— Jaime Irurzun (@jirurzung) October 31, 2013
Press reviews
Metro ★★★★★
The Guardian ★★★★
The Independent ★★★★
What's on Stage ★★★★
The Arts Desk ★★★★
Telegraph ★★★
What did you think of The Royal Opera's Wozzeck?
Wozzeck runs until 15 November. Tickets are still available]]>
Alban Berg's Wozzeck was the focus of a recent ROH Insight session with conductor Mark Elder. The event saw the conductor introduce the opera alongside assistant director Amy Lane.
'Wozzeck is one of the most important works of the 20th century...it's a very powerful experience,' Mark told the audience. As well as the opera and its music, the session also examined the play by Georg Büchner which inspired the opera, as well as a number of other adaptations of the work.
Watch our playlist of Wozzeck films:
Wozzeck runs from 31 October – 15 November 2013. Tickets are still available.]]>
Writing in the programme book that accompanies Wozzeck, Douglas Jarman details the moment Alban Berg was inspired to write the Wozzeck. The full article, 'An Eloquent Testimony', describes Berg's composition process and the reception to the opera when it had its premiere.
I stood up amidst wild applause and met Alban Berg a few steps behind me. He was deadly pale and perspiring profusely. 'What do you say', he gasped, beside himself. 'Isn't it fantastic, incredible?' Then, already taking his leave, 'Someone must set it to music'.
This description, by a young man called Paul Elbogen of the first performance of Büchner's play at the Rezidenzbühne in Vienna on 5 May 1914, must be one of the very few accounts of the precise moment at which a work of genius had its inception. Overwhelmed by the experience, Berg started to jot down ideas for the music of Wozzeck in the days immediately following the performance, but was then forced to put the project to one side, initially because of the need to attend to other unfinished business – notably the completion of the still unfinished Three Orchestral Pieces op.6 (some of the earliest sketches for Wozzeck appear on the same manuscript paper as sketches for the march of op.6) – and then by his being called up to join the army.
Released from military service at the end of the war, he began work on the opera in earnest. The composing of the music and the fashioning of the libretto seem to have gone hand in hand. Berg reduced Büchner's 26 scenes to 15, added his own stage directions and made various small textual modifications in order to point up musical and dramatic relationships. By May 1922 the work was finished in full score and by June a piano score, made under Berg's supervision by his pupil Fritz Heinrich Klein, was also complete. Berg then faced the problem of persuading an opera company to stage a difficult and complex work by a composer whose name was little known in, let alone outside, his native Vienna.
During the autumn of 1923, Erich Kleiber, the new musical director of the Berlin State Opera and a passionate admirer of the Büchner play, had seen a piano score of Berg's opera and made his interest known to a number of the composer's acquaintances. In January 1924 Kleiber was in Vienna for a few days and it was arranged, at his request, that the entire opera should be played for him by the pianist Ernst Bachrich (with Berg, who was not an accomplished pianist, helping out in the more difficult parts of the score). By the time the first two scenes of the opera had been played Kleiber had already decided to do the work at the Berlin State Opera, even, he joked, if it cost him his job.
In the event Wozzeck, which received its premiere on 14 December 1925, was an enormous success – so much so that Berg began to worry that it meant the piece was no good. In spite of an ongoing press campaign against the opera, which had been sparked by controversies at the Berlin State Opera, most critics immediately recognized the work as a 'milestone in the history of opera'. It continued to be widely and successfully performed in the eight years following the premiere throughout Europe and in the USA.
Less than two years after the New York premiere in November 1931 the Nazis came to power in Germany. Berg became a proscribed composer and Wozzeck disappeared from the German stage for almost twenty years. Although, sadly, the British premiere planned to take place at Covent Garden on April 1935 came to nothing, it is, nonetheless, pleasing to remember that England still afforded Berg the pleasure of hearing Wozzeck for the last time before his early death in 1935, when a concert performance from the Queen's Hall under Adrian Boult on 14 March 1934 was broadcast by the BBC and transmitted into Austria by Swiss radio.
The progamme book for Wozzeck is available in the theatre at performance times and from the ROH Shop. The Royal Opera's production of Wozzeck runs from 31 October–15 November 2013. Tickets are still available.]]>
The Story Begins…
Wozzeck, a poor soldier, is bullied by his superiors and tormented by visions. His girlfriend Marie and their child are the only things keeping him sane. When Marie proves unfaithful, Wozzeck loses his tenuous hold on reality…
Trapped in the Laboratory
In Keith Warner's production Wozzeck is literally a human experiment, trapped for large sections of the opera in a white-tiled laboratory, while Marie and the child are equally trapped in a small room to the side of the stage. Warner thus highlights the misery of Wozzeck and Marie's lives and Wozzeck's slow descent into insanity.
From True Story to Operatic Drama
The libretto of Alban Berg's opera is adapted from the incomplete play Woyzeck (a printing error on Berg's edition rendered the title Wozzeck) by the 19th-century German writer Georg Büchner. Büchner in turn loosely based his play on the true story of Johann Christian Woyzeck, a barber and soldier who stabbed his mistress to death in a fit of jealousy. Arnold Schoenberg disapproved of Berg's decision to write an opera about a seemingly sordid domestic tragedy, and told him that 'one writes about angels, not batmen'. The tale has spawned a number of other adaptations, from ballet and film to promenade theatre.
A Lengthy Genesis
Berg began to composer Wozzeck in 1914, soon after he saw Büchner's play; he wrote his own libretto but stopped work when he was conscripted in World War I, and took the opera up again in 1917. Wozzeck was completed in 1922. Berg spent some time searching for an opera house willing to stage it. Wozzeck was first performed at the Berlin State Opera on 14 December 1925, conducted by Erich Kleiber. It was an immediate success, and is acknowledged as a core piece in the 20th-century operatic repertory.
Emotionally Powerful, Structurally Complex
Wozzeck is a work of great structural complexity, but also of dramatic immediacy. Each scene is constructed according to rigorous abstract musical forms, but at the same time Berg brings the characters' emotions and mental states – Wozzeck's near-madness, the Doctor and Captain's sadism, Marie's tenderness and frustration – vividly to life. The regular use of folksong and popular music provides a vivid sense of place.
Listen to the score
Wozzeck runs from 31 October – 15 November 2013. Tickets are still available.]]>


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