Hello opera lovers and welcome again to a behind the scenes look at LOKC’s La Bohème. Well, we have made it through to our staging rehearsals and will begin rehearsing at the theater as we countdown to downbeat on the 13th. We ran the show all the way through without stopping on Wednesday at our rehearsal space. This is always exciting and it definitely added the element of “performance mode” as all the singers gave full voice and full character. I must say that this Bohème will be an unbelievably good night of opera. On my first blog, I mentioned how uniformly great the cast is and I am definitely standing by that statement. I would love to take a moment to acknowledge each cast member and offer a bit of love in their direction. So please indulge me as I play opera critic for a little while.
Michael Fabiano is a young and very exciting tenor, and has the kind of voice that was made to sing this stuff. If you know the opera, you know that good Rodolfos are hard to come by. The role is notoriously troublesome and can rip the most seasoned of tenors apart. Michael attacks the role with a swagger and confidence and you never worry about whether he will hit the high notes, but rather how far your socks will be knocked off when they are sung.
Alyson Cambridge who sings Mimi is one of the most beautiful opera singers in the business. Thankfully, her beauty is matched by her voice, artistry, and personality. As well as being elegantly sung, her Mimi is simple, heartfelt, and endearing.
Our Marcello is Kansas City’s own Daniel Belcher. He is a very accomplished baritone but never lets a trace of pretentiousness enter his personality. He keeps the laughs coming and the mood light during the rehearsal process and sings Marcello with power and assuredness.
Katrina Thurman sings Musetta. Her sassy and sultry “Musetta’s Waltz” is extremely well sung and solid- even at a 9am school show! (How the heck can you DO that?) She is a very fun and endearing colleague and, along with Alyson, brings the pretty factor through the roof! You will love her performance.
I must also mention the very talented KC Opera apprentices who are in our cast. I am very impressed at the level of talent that has been gathered here. Jon Stinson sings Schaunard and completely took over the character from day one. He is a very fun guy and his exuberance is contagious to the whole cast. His Baritone processes a power and color well beyond his years. I expect to hear a lot of great things about him in the future.
Fellow bass Andrew Harris sings the roles of Benoit and Alcindoro. One of the tough things about being a young bass is that we often must portray characters that are MUCH older than us. Drew tackles both blustery old men roles like a champ and has gained the respect of the whole cast. And underneath his “character voices” he maintains his great tone and legato singing- and that is no small feat. Bravo Drew!
Well that’s enough about them- Guys, I expect my payment in cash
I would like to also take a moment to acknowledge the Kansas City Schools we have visited to promote our opera. I have never seen such well-behaved and well-informed students. They were attentive and respectful and that was very appreciated. Paula Winans and the arts administration of Kansas City’s public schools deserve a round of bravo’s all around. Thank you Sumner Academy of Arts and Science, Harmon High School, Schlagle High School, and Washington High School- It was a pleasure to sing for you!
Off to tech week! I have included some random picks below and will add more soon.
Ciao for now and lots more to come soon.
MT
Kathryn Snyder, Katrina Thurman, and Maestro Holmquist practice their yoga during a rehearsal break
Mark Ferrell and Dan Belcher chat during a rehearsal
Michael Fabiano, Alyson Cambridge, and Ellen Schlaefer discuss Mimi's death
Greetings! Matt Treviño here welcoming you to another entry from behind the scenes of LOKC’s La Bohème. After a few days off I am happy that I start up with full rehearsals this weekend and am excited to get back with the gang. I also get to meet the chorus this weekend and that is always a treat.
This past Thursday we had a photo shoot at the theater and got a chance to see our wonderful costumes for the show. This is an opera where one can instantly see the costumes and say- that’s Bohème! I think that is just wonderful as La Bohème is a true classic with a style all its own. Jim DeGood, Director of Marketing and Communications for the opera, was like Annie Leibovitz as he shaped and directed the Bohemians for that perfect shot. There is one thing to be sure- you never have to convince an opera singer to ham it up for a picture. Case in point: Danny Belcher (Marcello) and Katrina Thurman (Musetta) made the most of the spotlight. (See photo)
Matt Treviño as Colline
Photo shoot for La Boheme
I also had the pleasure of participating in a school presentation on Friday at the Sumner Academy of Arts and Science in Kansas City. I was with fellow cast members Katrina Thurman (Musetta) and Andrew Harris (Alcindoro/Benoit). We were anchored by the wonderful Paula Winans, Director of Education for the opera. After an endearing presentation by the students, Katrina and I both sang an aria and answered some questions for the exuberant and knowledgably kids. Andrew, in addition to having a fine bass voice, is also a great accompanist and he played wonderfully for us. I really love this type of presentation because we get to introduce opera to the next generation of music lovers and also get a chance to break down the stereotypes that plague our profession. It’s important to show that we opera singers are not overweight, helmet-wearing divas (Well MOST of us aren’t!) In fact, our lovely Katrina’s sexy version of Musetta’s Waltz definitely gave the high school boys a new reason to appreciate opera!
During the Q&A, the kids were particularly interested in hearing us sing in other languages. I have done a whole lot of educational outreach shows all over the country and it is always fun to find out what the kids are curious about and what types of questions you might get. You can always expect the normal questions- “How do you sing so loud?” or “When did you start singing?” But occasionally they will throw a curve ball- “How much money do you make?” or “I like to play violin.”
That’s not a question little one, but I applaud your accomplishments.
Lastly, we had our first rehearsal with the chorus today. This type of rehearsal can really be hairy because of the massive number of singers to manage. Luckily, everyone was wonderful and rehearsed the lively act II scene with gusto. (you all sounded great too!) This chorus is lucky enough to have “ringers” from the University, but something tells me that the others could hold their own if need be. Everyone was very nice and excited about the show. I love the music of this act as it really captures the essence of what it must have been like on the streets of Paris during the mid-19th Century Christmas Season. One is instantly enveloped by the excitement and franticness of it all. Indeed, that is what Ellen is going for- controlled chaos! This is also a special act for Colline as I get to buy my ill-fated and beloved coat. And after all, isn’t that the whole reason for the act? I sure think so!
So we will soon stage act IV where I will be saying goodbye to my old coat, but not before the boys get to play fight, dance around dressed as women, and escort the dying Mimi into our apartment. Should be great fun!
Greetings opera lovers! Welcome to a new addition to our blog which will give you an inside perspective to Lyric Opera of Kansas City new La bohème. My name is Matt Treviño and I am singing the role of Colline in this Puccini masterpiece. In the coming weeks, I will offer my thoughts concerning all things Bohème. Ever wonder what we singers do during a rehearsal? Ever imagine what it is like to build a show from the ground up? Does the tenor really need the extra space in his head for high notes? You will find out as I dish the details of our show and give you an exclusive backstage pass.
So today is day 5 of our rehearsal process. I have a day off and am happy to have a chance to reflect a bit on the previous day’s events. I am always a bit guilty when I have a day off performing a role like Colline. The role is not nearly as large as say, Rodolfo or Mimì, but for we basses it is truly a great one. It is memorable without being particularly taxing. So after spending 4 days of rehearsing beautiful music, making great new friends, and laughing a whole lot, I get to catch up on my TV and reading! Well, the days off will surely be welcome as we progress along further because, as fun and rewarding as this job can be, it definitely can wear you out.
I can easily say that this is one of the best and most well-rounded casts I have ever worked with. The singer’s voices and personalities are perfect for this opera. At the end of our first sing-through, maestro Homquist as well as several cast members (myself included) were greatly moved by the singing. Bohème is one of those operas where the music is so stirring that you can’t help but get swept away…but you need the voices. Sometimes matching up the right voices while maintaining a realistic dramatic vision can be tough. In other words, getting a young, attractive cast who can also sing their butts off is rare! Well we’ve got that here.
I am also happy to report that there is not one diva among us. The ease and speed of the cast’s assimilation is quite astounding. We are all getting along wonderfully and that is great for any show, but especially for a show like Bohème. The friendships and relationships of all the characters need to be strong enough to sell the sad ending and really help to bring a realism to the grandness of it all. The opening scene with the boys might as well be a gathering to watch the Chief’s game- we are really having fun! I am really enjoying maestro Homquist’s conducting and personality as well. When he is not passionately conducting the score, he is laughing and joking with the rest of us. I would be remiss not to mention our wonderful director Ellen Douglas Schlaefer. She knows this piece really well and is serious about extracting the realism of the story while allowing the music to soar.
Its a funny and wonderful thing to be in the opera business. The speed in which friendships are made is really remarkable. I mean, to be sharing something so amazing and to be so vulnerable is something that only a performing artist can understand. And we are all a little crazy so it is nice to be amongst the wackos! From my fellow singers to the hardworking stage crew, this is truly a wonderful ensemble.
Tomorrow we have a photo shoot, and then this weekend we have the chorus scenes to stage so I will have lots to tell soon and I will add some photos as well. I am indeed honored to be here with this wonderful company and can’t wait to share some more experiences.
A group of talented dogs hoping to star in the upcoming Lyric Opera production of La bohème converged at the Lyric Theatre tonight. The auditioning pups hoped to be the one to join Musetta for her grand entrance during Act II of the opera.
The audition process was overseen by production director Ellen Douglas Schlaefer, Katrina Thurman (who will sing the role of Musetta), Lyric Opera props mistress Deborah Morgan, and 3 Dog Bakery top marketing dog Julie Tarry.
The audition consisted of evaluating how well the dogs performed off-leash, how well the dog interacted with Ms. Thurman, and how the dog reacted Ms. Thurman’s singing.
Ms. Schlaefer’s staging of the scene calls for the dog to be handed to Musetta’s boy toy of the moment, who cannot stand dogs and hands the pup off to a waiter at the Café Momus. The waiter carries the dog offstage on a silver tray, so balancing on tray was also a criteria for judging.
Hercules' signature on his contract
In the end, two pups rose to the top. Hercules Mesner, whose caretaker is master puppeteer Paul Mesner, won role. Paddington Knapp, whose caretaker Jonathan is in the chorus for La bohème, will be an understudy. Both dogs “signed” contracts by dipping their paw in mud and making their mark on a contract (for a “nonspeaking role”!).
The Lyric Opera of Kansas City will be auditioning dogs for its upcoming production of La bohèmefrom 5:30 to 6:30 p.m. on Tuesday, August 26 on the steps in front of the Lyric Theatre, downtown Kansas City, Missouri.
“Puccini’s score lists a poodle in the production’s props list,” notes Lyric Opera Props Mistress Debbie Morgan. “We’ll specifically be looking for a small poodle or other beautiful toy dog for Musetta to carry during her grand entrance.”
Dogs wishing to appear on the Lyric Opera stage should submit an application and arrive at the Lyric Theatre no later than 5:15 p.m. on the day of the audition. Director Ellen Douglas Schlafer, Ms. Morgan, and Musetta, to be sung by Katrina Thurman, will be judging the auditions. One “top dog” and one understudy will be selected, and contracts with the dogs will be signed upon acceptance of the role. Dogs must be crate trained and know basic commands. Owners of the winning dogs must agree to minimal rehearsal and performance time, and will receive complimentary tickets to see their animal in performance.
We are fortunate to have an informative guide for every opera the Lyric Opera produces, written by our own Lyric Opera Guild member, Stu Lewis. Guides are distributed to subscribers first, and then made available to single ticket buyers and visitors to the web site.
If you haven’t read the guide for La bohème, you can find it here.
Below are audio clips which add depth and context to the information presented in the guide.
The orchestra sounds the theme which will be associated with the “Bohemian” lifestyle.
[Rololfo's] fragmentary aria “Nei cieli bigi” introduces the musical theme which will characterize him throughout the opera.
Two more acts of Rodolfo’s play are tossed into the fireplace, and a lively melody in the orchestra depicts the fire.
(One might hear in this music a faint reference to the fire music of Wagner’s Die Walküre.)
Introduced by his own theme, Schaunard enters . . .
The Latin Quarter theme (which will be heard in several variations in later acts)
Introduced by her theme in the orchestration, Mimì enters.
The Latin Quarter theme as heard at the beginning of Act II
Marcello, in a jealous rage, describes [Musetta] (beginning with a variation of the lilting theme which will be associated with her) as a “bird of prey.”
A staccato melody on the harps and flutes, possibly a variation of the Latin Quarter theme, depicts the snowy tableau.
Rodolfo and Mimì are left on stage, and they exit singing quietly together, much as they did in Act I (listen for the first four notes of the Bohemian theme in the background, played softly on the oboe).
As Mimì is helped to enter, we hear her theme with some flattened notes.
As if to reinforce this, at the conclusion of the aria the orchestra plays a sad five-note minor-key variation on the Latin Quarter theme.
There is one other subtle link between the two women. One line of Mimì’s aria (beginning Sola, mi fo) echoes Musetta’s theme. Mimì’s aria: Musetta’s theme:
The Lyric Opera appreciates EMI Classics for permitting us to use clips of their beautiful recording featuring Maria Callas for this purpose. Like what you hear? Purchase it at Amazon or iTunes.
Lyric Opera of Kansas City artists Ida Nicolosi, left, and Audrey Horn perform a portion of “La Boheme” in which they pretend to smell outdated food and throw it in the trash during opera camp at the Lyric Opera of Kansas City on July 31.
Wow! Even more of our talented opera campers became stars last week!
The Liberty Tribunehighlighted campers Corey Maisch, Emma King, Elizabeth Bauer and camp councilor (and Wicked Wolf of the West) Denise Knowlton.
Wow — we had such a great time at Opera Camp this year! Please enjoy this video excerpt from the culminating public performance of The Three Little Pigs.
I love how stage director Linda Ade Brand and education director Paula Winans have integrated the campers into the performance!
We are fortunate to have an informative guide for every opera the Lyric Opera produces, written by our own 
kcopera
ward440
matthewtrevino