Is it impossible for Hofstra Opera Theatre to stage a production that’s camp free? Last year’s production, “L’incoronazione di Poppea,” couldn’t figure out what time period in which it belonged. This year’s selection, Johann Strauss’ pretty “Die Fledermaus,” succeeded far greater in terms of period, but the camp factor was still there.
Directed by Hofstra Opera Theatre impresario Isabel Milenski (who also directed “Poppea,”) this “Fledermaus” fashioned a “new” script around Strauss’ score (the original book was by Carl Haffner and Richard Genee, who also wrote the lyrics). New, of course, is a relative term. The period was “updated” to the 1990s, modern references flying abound, and the level of camp was extraordinarily high. Too high. Much too high.
“Fledermaus,” (“The Bat,” in English) tells of an elaborate trick played on a gentleman named Eisenstein, by his dear friend Falke. Eisenstein is set to spend eight days imprisoned. Rosalinda, his wife, is having an affair with Alfred (who, in this production, is a poolboy). When the police chief arrives to arrest Eisenstein, Alfred takes his place, at Rosalinda’s urging. Later, at a party for one Prince Orlofsky, more entanglements are revealed as the guests revel in the joy of champagne.
Opera singers aren’t the most convincing actors, and while the cast didn’t necessarily deliver the cheeseball dialogue with the conviction that, say, actors would, they did, (thankfully), sing very well. Junior Christina Pecce (who alternated the role of Rosalinda with Josephine Delledera) possesses a pleasing soprano and a demeanor that oozes sex appeal. Michael Franzone, a recent graduate, makes for an appealing Eisenstein, with an equally appealing tenor.
Mario Arevalo (a ringer brought in by the music department) is wonderful as the wrongly jailed Alfred. And senior Jared Berry nearly ran away with the whole thing as the police chief, in one scene dancing with two pistols and, in another, sporting a red boa (costumes, by Christina Bullard, fit the period and played up the camp factor.)
Jian Jung’s incredibly attractive set and Jeanette Yew’s lighting were the least campy of everything – lovely and toned down. Hopefully next year’s selection will follow that theme.
20 comments
Trying to put on a student opera production is by no means easy. At Hofstra, the budget is EXTREMELY low since preference is given to the theater department. Budgets for staged operas are extremely high, and to stage a traditionally costumed and set opera is next to impossible.
I am a graduate of the music department, and I have to say, I am proud of the direction in which the productions have been going. The opera program was nearly non-existent 10 years ago, and in that small amount of time, they have managed to produce some really wonderful singers who have gone on to prestigious graduate school and/or gone on to begin a successful career in the world of classical singing. Training for acting in the program was hardly there in the beginning, and, while this is just my opinion, the symmetry between the singing and acting is on its way to being quite extraordinary.
I am wondering if you at all bothered to read the program. Ms. Milenski took the time to explain why she set the opera in that time period, and history behind it, etc. Die Fledermaus is SUPPOSED to be funny, and silly. It's a farce. While opera is constantly being criticized for being too traditional and even boring, the cast and crew took the time to give it a modern feel, bring on a different approach to appeal to a broader audience, and did a fantastic job. There were more people in the audience for this opera (Friday night when I attended, at least) than had been in previous years.
Would you have said it was "campy" had it been billed as a musical theater show instead of an opera (actually, technically an operetta, but I may be getting to technical for you)? Open up your mind a little bit to what the cast and crew were trying to bring. Check the facts (such as how to spell composers' names, technical terms for the "lyrics," etc.), do the homework on the production, and bring an unbiased perspective. As someone writing for the Hofstra Chronicle, I would think you probably have some interest in writing, and being respected for such writing (correct me if I'm wrong). If you are going to have any sort of respectable career in journalism (or editor, etc), do the work. If not, you can always go write for the New York Post or Daily News.
-Grateful former student
Often, when a journalist isn't sure of how to describe something, they use terminology that doesn't necessarily have any real meaning toward the subject at hand-it just confuses the reader and makes YOU sound smarter.
It is because of people like you, who cannot appreciate the beauty and historical importance of opera, that opera needs to be re-scored and updated for the modern world. Opera is not a musical, as you made it seem; it is something else altogether. If you want to try me, try this: Rent, the musical, is a modern musical version of La Boheme-an opera. Compare Rent to Die Fledermaus; there is not much credible similarity. Open your eyes to things you may not know-I hope you are taking these comments in good stride and re-evaluating your work in general.
-When discussing an opera, there are no LYRICS. There is the LIBRETTO.
-Opera singers are, in fact, actors as well.Mr. Gordon should do his homework before attempting to review a production in a performance genre he clearly is not familiar with. The "campy" feel he continually refers to yet fails to define might actually be intended. This opera, as intended by Strauss and the Hofstra Opera Theatre, is a comedic satire. The over-the-top nature of the set, acting, and characters is exactly what makes Die Fledermaus enjoyable. And whether Mr. Gordon liked the production or not, he as the reviewer has an obligation to his audience to at least acknowledge the genre in which the opera exists.Signed,
Opera Enthusiast and Fellow Journalist