The Metropolitan Opera Guild

 

Courses 
 
Like our Study Day, courses allow for a more detailed examination of selected areas of opera performance, style, and substance. In March, we will present a course as a live webinar taking place over a sequential four-week period. 
WED MAR 9, 16, 23, 30 2:00-3:30PM Jane Marsh
The ingénue is a young girl who is engagingly sweet and often naive. In our operas this season, the ingénue is presented as a lyric soprano interpreted with the varied stylistic tools of composers, Mozart, Verdi, Puccini, and Stravinsky. Jane Marsh addresses each ingénue, and her particular composer’s style, in a four-week course with live singers in each session.
Full course registration: $100 Public | $85 Guild members and students
Individual session registration: $28 Public | $25 Guild members and students


Mozart
WED MAR 9 2:00-3:30PM Jane Marsh
Mozart’s three-dimensional composing for the ingénue Susanna, in Le Nozze di Figaro, as well as Pamina, in Die Zauberflöte, offers two diverse Mozartian styles, social stations, languages, and Mozart’s genius has scored both ingénues and operas to worldwide acclaim.

Verdi
WED MAR 16 2:00-3:30PM Jane Marsh
International literature became the source material introduced by Verdi in his Middle and Late Period opera libretti. The ingénues Gilda in Rigoletto and Nanetta in Falstaff offer Verdian vocal sumptuousness, appropriate to young girls in love, but the French style of Victor Hugo and the English style of Shakespeare have Verdi painting Gilda and Nanetta with differing colors and strokes.

Puccini
WED MAR 23 2:00-3:30PM Jane Marsh
The premieres of Puccini’s Gianni Schicchi and Turandot were almost ten years apart, and arias from both ingénues, of both operas, have become some of the most popular. Both scores contain elements of Puccini’s modern harmonic dissonance with lyrical passages. Puccini understood how to depict young submissive women with realistic vocal lush and passion.

Stravinsky
WED MAR 30 2:00-3:30PM Jane Marsh
The neo-classical feel for order and economy is apparent in Igor Stravinsky’s Rake’s Progress, and also Stravinsky’s modern style of rhythms and colors. Two differing arias have been composed for the ingénue Anne Truelove. They fall appropriately in Act I and Act III, and deliver vocal challenge, virtuosity, and the limpid charm of motherly understanding.




Verdi the Innovator 
THU APR 28, MAY 5, 12 6:00-7:30PM Victoria Bond
Verdi’s operas may have begun in the tradition of his bel canto predecessors, but his inventive and restless creativity kept searching for newer paths and more innovative means of expression. The astonishing breadth and depth of his genius grew with each of the 27 operas he composed, from his earliest opera, Oberto, which he wrote when he was twenty six, to his last opera, Falstaff, when he was eighty. Join Victoria Bond as she examines the musical components that form the basis of his vocabulary and how Verdi used these elements with increasing skill and imagination.
Full course registration: $80 Public | $65 Guild members and students
Individual session registration: $28 Public | $25 Guild members and students

 
Part One
THU APR 28 6:00-7:30PM 6:00-7:30PM Victoria Bond
In this first session, we compare and contrast Verdi’s early operas Nabucco (1842), Ernani (1844) and Macbeth (1847) with Donizetti’s Lucia di Lammermoor and Bellini’s Norma. We will trace Verdi’s origins in the bel canto tradition and see how and when he departs from that tradition, forging his own, distinctive musical style.

Part Two 
THU MAY 5 6:00-7:30PM 6:00-7:30PM Victoria Bond
In the second session we will explore Verdi’s middle period and some of his best-loved operas: Rigoletto (1851), La Traviata (1853) and Simon Boccanegra (1857). Examining them in the context of operas composed at a similar time, such as Berlioz’ Les Troyens (1858) and Gounod’s Faust (1859), we will see how Verdi consolidated his Italianate vocal writing in contrast to his French contemporaries.

Part Three 
THU MAY 12 6:00-7:30PM 6:00-7:30PM Victoria Bond
In the final session, we explore the alignment of Verdi’s late period with Wagner’s operas, such as Das Rheingold (1869) and Parsifal (1882). Although Wagner has long been considered the innovator and revolutionary, Verdi displays these qualities in his own powerful and original way in the operas Don Carlo (1867), Otello (1887) and Falstaff (1893). Verdi’s use of the orchestra, so evident in these late works, will sum up the impressive achievements of these complex and brilliant masterpieces.


 
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