Miami Herald

‘Agrippin FGO’S

Takes Handel’s Baroque opera in a differe

- BY MICHELLE F. SOLOMON ArtburstMi­ami.com

While Florida Grand Opera had plans to stage George Frideric Handel’s “Agrippina” as the finale of its 80th anniversar­y season, it was the location selected for the performanc­es that ultimately shaped the production.

“Agrippina” is on stage at the Miami Scottish Rite Temple, Saturday through May 19.

The notion of taking opera out of the grand proscenium­s and into smaller spaces had been done before, but during the pandemic when the opera wanted to keep performing when the large halls were shut down brought it to the fore. Susan T. Danis, FGO’s general director and CEO, decided to stick with it when those theaters started opening back up.

While its bigger shows remain in the usual large spaces at the Adrienne Arsht Center in Miami and the Broward Center for the Performing Arts in Fort Lauderdale, Danis says there is opportunit­y for audiences in bringing shows to different spaces. The smaller venues may be less intimidati­ng for those who aren’t sure they’ll like opera. Plus, audiences may find that an alternativ­e space is closer to where they live. For her company, its artistic and production staff, Danis says it is a chance for them to be pushed in a different direction creatively.

“It may not look as big and grand, but the outcome and the art are in a different league,” she says.

Her idea for the Baroque era “Agrippina,” which is set in ancient Rome, tells the story of the manipulati­ve wife of emperor Claudius who wants to secure the throne of the Roman Empire for her son, Nero, was to place FGO’s production in the 1800s. “The Regency era, a la Netflix’s series

‘Bridgerton,’ ” Danis explains.

She and director Jeffrey Marc Buchman had discussion­s about creating an environmen­t where the audience would feel as if they were sitting in a 19th century theater. But then, Buchman says he stepped into the Scottish Rite auditorium and an entirely new concept began for FGO’s “Agrippina.”

“When I walked (throughout) the space, it resonated

like the Hollywood movie set stages of the early 1930s. The back of the Scottish Rite stage had this whole rack of painted backdrops, some of them were hanging in the air,” Buchman says. “So, our production of ‘Agrippina’ will occur during the golden years of Hollywood filmmaking.”

He references American director Cecil B. DeMille directing “Cleopatra” whose story setting is 48 B.C. —

DeMille on a Hollywood soundstage in 1934. “That will be the look,” he says.

Buchman’s “concept” production will re-create a 1930s Hollywood soundstage where a production company is filming the opera “Agrippina.” The painted early 20th-century backdrops from the Scottish Rite’s collection will be used as part of the “Agrippina” stage setting.

Miami’s Scottish Rite was

completed in 1924. It was four years later that Hollywood would debut its first “all-talking” film, “Lights of New York” by Warner Bros. Pictures.

“When you enter the space, you are as much engulfed in the Scottish Rite design as you are with what will be the production,” Danis says.

Danis says “Agrippina,” with all its comedy and drama, lends itself to the idea of a

play-within-acept, or in this within-a-film. York’s Metrop took a differen pina” in its 20 placing the Ba edy in the pres power games a tics.

“With the ri be very teleno sure,” Danis s couldn’t agree

‘Agrippina’) takes all of the heart of Handel’s opera, all of the venom, all of the comedy and the drama that he has put together and we embrace all of that in this production.”

Its concept will capture the elegance of over-the-top Hollywood personalit­ies. He told his artists to “bring their biggest personalit­ies” to the stage — Agrippina will be a quintessen­tial Hollywood diva.

He sets the stage for what

the audience can expect. “We will see the cast in a variety of situations on set. Sometimes rehearsing a scene, sometimes having their make-up touched up. There will be times where the actors are ‘rehearsing’ the opera and then go into filming,” Buchman says.

Through all the theatrics, however, Handel’s music will not be understate­d. Jeri Lynne Johnson, appearing with FGO through Opera America’s 2022 Grant for Women Stage Directors and Conductors, will be at the podium. The barrier-breaking conductor, founder, and director of Philadelph­ia’s Black Pearl Chamber Orchestra, made history as the first AfricanAme­rican woman to win an internatio­nal conducting prize while still a student at the University of Chicago. Opera America’s initiative is to encourage the hiring of women in key artistic roles.

She says that the initiative is important to her on many levels, but it isn’t just about “representa­tion,” she says. “This is about empowering women at the highest levels. Not just having their presence somewhere on stage. “Women in positions of authority within the production­s and that itself is rare and it is becoming more common, thankfully.”

For Johnson, who had dreamed of being a conductor since the age of 7 when she saw her first Beethoven symphony, it’s about what she can bring to the production.

“In full disclosure, I was not a huge fan of Baroque opera before I started preparing and studying for this performanc­e. But once I started looking through the lens as an academic musician – music history and theory, form and structure – I fell in love with Handel’s work.

Johnson’s orchestra for “Agrippina” will be in the Scottish Rite’s small pit and made up of only four violins, a viola, a cello, two oboes, two flues, two trumpets, and a bassoon. In Baroque music, there must be a theorbo, which is a large bass lute, and a harpsichor­d.

“Those instrument­s will give us an opportunit­y to ‘color the text,’ ” says Johnson, adding that Handel’s score is nothing short of “amazing.”

Handel wrote “Agrippina,” his second opera, while in Italy with the first performanc­e taking place in Venice during the winter carnival season of 1709. Cardinal Vincenzo Grimani, whose family owned the theater, wrote the libretto expressly for Handel.

” ‘Agrippina’ is a story of the love of power and the power of love depending on which characters’ point of view we are talking about. We will tell this story with lots of heart, great intensity, and we will take the audience on a wonderfull­y, farcical comic ride,” Buchman says.

 ?? E.A. KENNEDY ?? Maestra Jeri Lynne Johnson is conductor for ‘Agrippina’ as part of FGO’s Opera America 2022 Opera Grant for Women Stage Directors and Conductors.
E.A. KENNEDY Maestra Jeri Lynne Johnson is conductor for ‘Agrippina’ as part of FGO’s Opera America 2022 Opera Grant for Women Stage Directors and Conductors.
 ?? ?? The backdrops at the Miami Scottish Rite Temple create the production around the aesthetic of the
The backdrops at the Miami Scottish Rite Temple create the production around the aesthetic of the
 ?? COURTESY FLORIDA GRAND OPERA ??
COURTESY FLORIDA GRAND OPERA

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