two operas in two nights

Friday night Porgy and Bess at the Lyric, Saturday night Peter and Paul in the Land of Nod in Oak Park.

And how different were they? Well, neither Gershwin nor Lehar could write a dull melody if he tried, for one. For two, these are not the normal opera-going fare of the usual devotees. Musically important both, although to vastly varying degrees, neither of the performances met my preconceptions. I expected much less locally but was richly rewarded; slight disappointment met me downtown instead.

Porgy and Bess seems so unlikely a story, much less an opera: Poor, black, rural, and a protagonist with a disability. Big hit on Broadway, then Mr. Gershwin makes it into the great American opera, full of sensuous jazz , wow! The Lyric's production featured some fine talent (Bess) and some medium talent (oh, ask me later). The audience was excited throughout. Besides all the big hits ("Summertime," "I Got Plenty of Nuthin," etc.), the story seems accessible because of the setting and the cultural immediacy. The disappointment then? A merely serviceable production, pedestrian conducting, much irregular singing. A friend in the chorus told me that every African-American classical singer in town was recruited for the chorus; the chorus was fine, indeed, but not all of the soloists, alas.

Peter und Paul schlafen ins Schlaraffenland on the other hand is one of many Lehar operettas overshadowed by his greatest triumph, The Merry Widow. Not all things lesser known are meant to come out of hiding (all you oldies, think 'B' side of 45's!), but the Chicago Folks Operetta is creating its own niche. It's small, it's local, and very homespun. And yet, and yet. The 15-piece orchestral ensemble played precisely together. The solo singing of Lyric Chorus regulars was admirable. The inclusion of a ballet and children's chorus all but guaranteed many parents, friends, and relatives in the audience.

Clearly expectations play a big part in audience appreciation. I accept that. The marketing departments rely on it: know your target audience and the genre of your show. As Joe Audience Goer, one would be well served by some background information about the show as well as the company. While surprises delight and stretch us, the best beginner experience would probably not be either of the two shows I have just appreciated. Ask me for recommendations, you newbies...

local symphony

Well, it wasn't opera by any stretch, but live classical music. The local symphony played-- some professionals lots of local amateurs.

Pity that the weakest links in the chain cause the damage, eh? I think that if I were a member of the totally out-of-tune horn section, I'd throw myself off a cliff for being that bad that often. Lousy technique? Bad ear? Improperly rehearsed? Tsk, tsk. Failed in the teamwork department.

Presumably all people have some form of self-discipline and/or will power-- diet, exercise, etc., but classical musicians and Olympic athletes have to like the discipline to get the results they love. Making muscle memory in the fingers, brain, ear, or vocal folds takes repetition. How many triple axles stick VS how many dump the skater on her bottom? Will the gymnast go for the double or more on the dismount? It's the same for all of us-- practice and rehearse until it's second nature.

Where is the art? You tell me what you think. I'm considering it still.

What's with the singing?!

Many moons ago the late Helen Hayes was a guest on Johnny Carson's Tonight Show on the same night as Marilyn Horne. After some scintillating aria (and a commercial break), the great actress seriously asked, "That's all very wonderful, but why can't we just get on with the story?" Many people in the audience laughed in agreement. Unfortunately I don't remember what well-composed answer came to that earnest inquiry. But I have encountered the same question many times since then.

To a musical 'insider' the answer is obvious: emotionalism. Whether it's Disney's Little Mermaid, Sondheim's Demon Barber of Fleet Street, or Carmen the Gypsy (Romany, please!), deep feelings are expressed and/or inner thoughts are revealed in a moment taken somewhat out of time.

I think that even Helen Hayes must have had some inner sense of this. Even non-musical people like some kinds of music themselves. Research shows that there are many musical places on both sides of the brain. In other words, we're hard-wired for it.