The secret garden opera review,career coaching in schools,scratch and win card printing singapore,business administration courses tafe perth - New On 2016

A PERFECT CHILDREN’S STORY FOR OPERA, BEAUTIFULLY STAGED…BUT IS IT READY FOR CHILDREN?
The condensed storytelling is beautifully complemented by Nolan Gasser’s fluid score, which still needs work in the arena of melodic invention, but eventually bursts forth with a lush bouquet of harmonies in the final scenes in the blooming garden.
Directed by Jose Maria Condemi, the story came to life on a spacious stage below a soaring set which towered over the actors – an effective device in underscoring how Mary must have felt to find herself so tragically transported into a dark old mansion filled with mystery. The Secret Garden fits beautifully into the format and style of opera and I greatly enjoyed seeing it as such. The creative team is intriguing: Gasser is architect of the Music Genome Project, the technology underlying Pandora Radio, while librettist Carey Harrison is a prolific novelist and playwright (and the son of actor Rex Harrison). This image created by Naomie Kremer is part of the set for the new "Secret Garden" production, being staged by Cal Performances and the San Francisco Opera.. Because we all come from it."Author Burnett, who published the book in 1911, was a Christian Scientist who believed in the healing and redemptive powers of nature, of living things. Visual and video artist Naomie Kremer's scene for "Secret Garden" depicts Craven's return to a thriving garden. Through a commission by the San Francisco Opera (co-presented by Cal Performances), it did, and while the opera itself still needs some tinkering for it to appeal to younger audiences, overall I was quite taken with the stunning and impressive production, which opened last weekend in its world premiere at UC Berkeley’s elegant Zellerbach Hall.
Shafer shifts effortlessly from a petulant pampered child in India to an English girl filled with insatiable curiosity about the enigmatic garden, and deep compassion towards Archibald’s sickly son Colin, played by Michael Kepler Meo, who at only 14 astonishes with his ringing tenor and powerful performance.



While this production proved that it is a beautiful fit for opera lovers, I wondered if the younger viewers, beautifully dressed for an afternoon at the opera along with their parents and grandparents, were offered the best vehicle for this children’s story. Commissioned by San Francisco Opera, this family production struggles through its first hour or more, lurching from plot point to plot point, with music that feels cramped and awkwardly stitched together until Gasser's lyricism finally peeps through. The story tiptoes toward the sunlight, as Mary Lennox -- an orphan, bratty and miserable -- is sent to live with a neglectful uncle on his estate in Yorkshire, England. She wrote from belief and experience, having suffered, as a girl, the sudden death of her father and her family's subsequent move from England to Tennessee, where an uncle failed to support the newcomers, who moved to a log cabin.
Ultimately, Shafer has an irrepressible spirit that embodies the life in the garden itself. A backdrop of austere walls alternates with a garden scene, at first neglected and weedy and then, under Mary’s compassionate touch, taking on hues of green and eventually bursting into bloom. The score (confidently conducted by Sara Jobin) is not yet as magical as the trappings and the full-bodied vocals of some of the principals, with the exceptions of Sly and Harris, posed some aural challenges. Supertitles certainly helped, but I worried for children who may not have been adept at visually flicking from supertitles to stage. Bass-baritone Philippe Sly (as Archibald Craven, Mary's uncle) has an oak-sturdy voice and can put across a love song. Opera at Zellerbach Hall on the University of California campus in Berkeley on Wednesday, Feb.


The set showcases the considerable creative talent of Naomie Kremer, who overlays canvas and paint with video to make a beautifully shaded, detailed, ever-shifting, shimmering landscape – aided by Christopher Maravich’s lighting design. Fortunately, the youngsters left with smiles because they were accompanied by adults eager to explain what was going on. Mezzo-soprano Laura Krumm (as Martha Sowerby, Mary's governess), sings with breezy refinement and velvety tone.
And she wrote a story that "evokes horror and pity," in the manner of a Greek tragedy, says Carey Harrison, the opera's librettist. That effect underlines and reinforces what I think of as a touching and inarguable message of the play: that life pulses even in the darkest of circumstances, just waiting for a touch of awareness to spring it forth into full health.
Mary stumbles on the lost key to the garden, which becomes the staging ground for her own redemption, as well as for a boy named Colin (the invalid) and her creepy Uncle Archibald Craven. Those three characters are "the most wounded" among a whole cast of characters, says Naomie Kremer, the Berkeley-based painter and multimedia artist who is the opera's visual designer, and the ones most open to the transformation that the garden represents.



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