Preview: THE MARRIAGE OF FIGARO (Le Nozze di Figaro)

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This story will appear in the 12/24 print edition of the Eugene Weekly.

In rehearsal, Marcellina (Margaret Gawrysiak), Figaro (Lee Gregory), Susanna (Joelle Harvey) and Doctor Bartolo (Nicholas Isherwood). Photo by Jeff Ozvold

First Comes Marriage
Eugene Opera opens starry season with one of Mozart's best

The windows are papered over, the day gray and cold. But inside the old Tiffany’s drugstore in downtown Eugene, the room heats up as the principals of Eugene Opera’s The Marriage of Figaro step into character for rehearsal.

Conductor (and opera music advisor) Andrew Bisantz raises his baton, rehearsal pianist Sandy Holder readies her hands, stage director Nicola Bowie lifts her pen to take notes — and six of the main characters burst into a gorgeous sextet. The pros restrain their voices to keep from blasting those of us sitting directly in front of them, but Mozart’s music for Riconosci in questo amplesso una madre (“Recognize a mother in this hug”) soars around the concrete and glass space.

Preparing for the New Year’s Eve opening of Figaro means hours of rehearsal with Mozart’s complex music and all of the Italian lyrics, but Mark Beudert, Eugene Opera’s general director, says this year’s cast couldn’t be better. They’re professional, he says, and “they’re just sharp.”

Read the rest after the jump!

Figaro’s book and music make a complex but enjoyable piece to watch (and, of course, hear). Beudert says that the principals and chorus must remain alert and engaged at all times. “You always have to think when you do Mozart, and you always have to be alive because he’s always alive,” Beudert says, adding that this is a joy rather than a struggle.

Count Almaviva (Christopher Burchett, in rehearsal) isn't happy. Photo by Jeff Ozvold

Figaro, a satire about aristocratic behavior and a nigh-on Shakespearean comedy of mistaken identities, runs the gamut from slapstick to poignant meditations on aging and the loss of love. Figaro serves as the head of staff to the perfidious Count Almaviva, and various characters set into motion the sexual machinations of a debauched 18th-century household. Secret notes, daring last-minute escapes and more make the plot nervewrackingly ridiculous, something like a modern movie farce but with incredible music. “People should come in wanting to be entertained,” Beudert says.

Much of that entertainment flows from the skills of the principals, who move nimbly among scenes, know their blocking cold and seem perfectly comfortable acting, singing and dancing as I watch rehearsal.

Those principals include soprano Kelly Kaduce as the most sympathetic character of all, Countess Almaviva. Kaduce, a rising star in the tight-knit opera world, performed in Portland Opera’s La Boheme in September, and Oregonian classical music critic David Stabler wrote, “It was Kelly Kaduce, who sang Mimi with gorgeous, open lyricism, who made the magic happen.” Lee Gregory plays Figaro, and those who attended last March’s Don Giovanni will remember Gregory as an excellent Leporello (he’s also married to Kaduce, which didn’t hurt in the recruiting process). Baritone Christopher Burchett (Masetto in March’s Don Giovanni) plays a fit, tightly wound Count, whose jealousy, desire and regret consume him. Rounding out the list: Eugene Opera faves Joelle Harvey as Susanna and Amanda Crider as Cherubino, popular and funny character singer Jason Ferrante, UO prof and early music expert Nicholas Isherwood, Glimmerglass and Seattle Opera Young Artist Margaret Gawrysiak and local faves Sandy Naishtat and Brooke Cagno.

Kelly Kaduce, who sings Countess Almaviva, relaxes and studies the score with her pup when she's not in a scene. Photo by Jeff Ozvold

For those with kids, the Eugene Opera has a special Jan. 2 performance called “Figaro for the Family,” in which young ones can learn the plot and hear a little bit of the music as well as details about the set, costumes, blocking and more before intermission. After intermission, the full cast comes out to give the kids a rousing finish with Act IV, when all of the couples find some way to reunite in the Count’s garden. Tickets to the family performance won’t break the bank at $18 for adults and $9 for children.

Though the full opera can be rather long — the UO’s performance at LCC a few years ago tested audience patience with three lengthy intermissions — Beudert says director Bowie and conductor Bisantz know how to tighten everything up. After a run-through on Dec. 20, Beudert says, “the report was 2 hours and 59 minutes with a 25-minute intermission.”

Considering the number and range of arias (like Non più andrai, familiar from many cartoons but still splendid) and recitatives, not to mention the complexity of the story, that run time signals an exceptionally tight show. The music begins with a welcome familiarity: Most of the audience will know Figaro’s overture from countless movies and TV shows, not to mention high school symphony programs.

Familiar local faces line the chorus, and Beudert makes a point to say that the Eugene Opera feels “very conscious of our place in the community.” At rehearsal, as stage manager Christopher Staub fixes a fan for one performer, staples up paper and answers questions from everyone, the rains begin outside, but the performers stay warm and focused on their task. “The process is just the way I like it, no hysteria,” Beudert says, “and the product is great.”


The Eugene Opera performs The Marriage of Figaro in Italian with English supertitles at 7:30 pm Thursday, Dec. 31, and 2:30 pm Sunday, Jan. 3; Figaro for the Family begins at 2:30 pm Saturday, Jan. 2. All performances at the Hult Center, or 682-5000. $26-$69 for the opera; $18 and $9 for Figaro for the Family.


And for your delectation, online only, some of the famous arias from Figaro:

Bryn Terfel as Figaro singing Non più andrai

And a duet Shawshank Redemption fans will recognize, Sull'aria - Che soave zefiretto:

Two Americas - for the arts, only enough funding for the ELITE?

Anybody know what it costs to produce the Eugene Opera performances? That is, the expense of the production? EW doesn't do much arts journalism it seems (why is that anyway?)but it would be great information.

I loved coming upon this post after recently reading a great blog from David Byrne on the LA Opera, totally worth checking out:

It really makes me angry when I think about the very small group of folks who set the cultural agenda in Eugene. They suck up all the resources and set into force a cultural superstructure of their design while completely alienating the majority.

Meanwhile, attendance is plummeting in all the performing arts (and already 98% of Americans don't go to the Opera)....its no wonder at all with the refried fair we're getting served. And Eugene arts scene is slump central.

As we come into a new decade, it would be amazing to see a recommitment from Eugene Weekly to covering the arts with intelligence and care. The people need somebody looking to be looking out for us - the arts coverage from EW has been in rapid decline (Sorry SUZI, I'M LOOKING AT YOU). You have been asleep at the wheel and we need you to wake up.

Please wake up

Submitted by EW Avenger (not verified) on Wed, 12/23/2009 - 07:46.

Hey there EW Avenger*,

Thanks for the link to the Byrne, which I'd already read, but others should definitely read. You might be interested in reading what Jill Hartz at the Jordan Schnitzer Museum of Art said about private funding and getting public schools into the museum, as well as the old model of "We tell you what to like and why." (She had a lot more to say on this, but I ran out of room in print; I'll try to write more about that on the blog after the holidays.)

I disagree with Byrne on some things and agree about others: We need more arts funding for the schools. But if we take away all government arts funding for arts institutions, does it follow that that money will make its way into funding for arts in the public schools? I'm guessing no. That's a logical fallacy. Also, the man doesn't like classical music or opera, but that doesn't mean he gets to decide what other people like, what lifts other people out of depression or thrills them — just as he's not less of a musician, or person, for not being moved by Beethoven or Wagner.

However, with California in a hella budget crisis, I can understand frustration at spending on certain arts (though why does opera draw the ire so much? Maybe because of expensive sets and costumes? I can't quite tell, since the whole thing was always a popular, and populist, art at its beginnings: I have some thoughts on how symphony halls and Wagnerian audience silences changed all of that, but I'm gonna blame Wagner for that, not opera in general). And I've never heard more passion for kids having music, art, writing and performance opportunities than at meetings with other arts journalists and arts professionals — they LOVE the arts and want to encourage others to be involved, usually (I can't claim that every arts journalist or professional artist is dying to have wider involvement, of course, but I'm speaking of my experience and what I've heard people saying).

As for the Hult Center (I assume that's what you mean by the "cultural superstructure"), you're right, it does get the lion's share of the city and other grant funding. Again, I wonder what would happen without the resident companies. Would that funding magically go to schools? To the Last Friday Art Walk? To the new Optimystics zine that we wrote about last week? To Upstart Crow Studios? To Zapp! Dancers? (Do you want to suggest others?)

As for the "dead guys" discussion, I'd be real happy to see the Eugene Symphony programming more contemporary work, and I wonder what the Eugene Opera will do when it's on a more sound financial footing (which Mark Beudert says should happen this year). The Eugene Ballet is bringing Pink Floyd to the Hult, and though they're dudes, they're, you know, alive. Also, there's the local Cascadia Concert Opera, which I think gets out into the community a bit more (and which I'd be very, very glad to hear from ... please email me with your info, Cascadia Concert folks!) I haven't addressed all of the Hult Center companies ... but I think similar things could be said. I look forward to a lot more performances in the Wildish, personally. It's a great size, great acoustics, great location. Also, as you may know from this story (or you may not), I'm a big fan of groups like Roving Park Players and Shakespeare in the Park for taking their work outdoors and to kids in particular. The more people taking part in the arts in any way, the better.

Speaking of arts attendance, and I assume you're referring to the NEA report (this is a PDF link) that just came out and showed that attendance was declining at the events/institutions the NEA measures. The report also showed, as David Stabler reported, that "more Oregon adults attend opera, jazz and classical music concerts, per capita, than in any other state." (That's my bolding, since you commented on the opera post.)

Still, of course, Oregon arts institutions should keep in mind different ways to interact with the community. I'm so glad that the Ballet, for instance, asked people to take celli photos (as Bob Keefer reported before Sleeping Beauty).

OK, so far I've addressed some of your comments, but it also sounds to me like you have some ideas about what we should be covering, and that others could cover them better than I. No doubt true, so why don't you send me some samples of your arts writing? Perhaps you can write some of those stories, in a way that shows your own intelligence and care. My email address is suzi at eugeneweekly dot com, and we usually ask freelancers for a resume, a cover letter and clips. Alternatively, someone on Twitter suggested that you should start your own publication to compete with the Weekly. That seems like a fine option, especially with the widespread availability of online platforms.

Best, and hope you're enjoying your holidays,

*What are you avenging, by the way? All of us at the Weekly are wondering.

Submitted by Suzi Steffen on Wed, 12/23/2009 - 14:53.
Reaganomics for the arts? Waiting for the Trickledown


Thanks for you in-depth response. I especially like your last paragraph, you have an exquisite way of telling someone to go “F” yourself.

But I do agree with you - David Byrne doesn't get to decide what other people get to like. So then why should the City of Eugene?

Eugene City budgets are difficult to pin down but it appears they allocate roughly 4 million on the Hult and Cuthberg. And remember, this is America where money = speech. Looking at how much resident companies spend on advertising I bet the Eugene Weekly rather likes the $$$exy rumbling sound of their voice.

That aside, most of this money comes back to the town but the people of Eugene eat 40 – 100K every year for the privilege of holding the two venues. That is separate from grants, specialty tax etc. We all saw what the Feds infusion of cash and resources did for the car and banking industries, right? It’s the same principle at work here only Eugene has been pumping in the money for 25 years. Its Reaganomics for the arts on crack on steroids on meth.

Fun facts from the 2008 990 audits of the Hult Residents - Eugene Ballet with a 2.3 M (million) operating budget enjoyed a surplus of more than 600K. Eugene Symphony enjoyed a 65K surplus operating on a roughly 2 M budget. The Youth Symphony has a budget surplus of 80K. And OFAM had a 200K surplus on a 2.7 M budget. I haven’t been able to track down the Bach Fest #s yet. And yes, some of the companies are loosing money: Concert Choir, Oregon Mozart but the Opera and Mozart folks also saw bewildering zigzagging trends of up and downs point to issues having do to with their selected models. Still, in averaging 2008, these resident companies saw surpluses exceeding 900K!!!

So, why is the City continuing to spend tax-payer money to underwrite these groups? From the looks of it, they could be passing more of the responsibility and expenses of the Hult Center onto these residents groups. Or better yet, lets apply those dollars to new artistic initiatives and the creation of a broader cultural eco-system.

If Eugene wants to be a real arts destination there needs to be space for contemporary work with art and performances that will attract a passionate audience of younger patrons. Austin TX is a city to be envied for what they have accomplished in balancing business, culture and community. It is a place where young professionals want to work and live. The part Eugene is missing is the community.

The City reports 200,000 visitors to the Hult and Cuthberg. That’s great tourism and we should all welcome the business. But as a place to live on a daily basis Eugene is not culturally competitive at all with places like Seattle, Portland, Austin, Madison, Berkeley. I am extremely confident Eugene can be.
All these places are bustling with new dance, theater, visual arts, poetry, film, and festivals of every kind you can imagine. While they have room for classical performance forms, Americana and jazz, they have the capacity to support new vigorous artistic endeavor. And so, the very wonderful young artists, college students and young people who grew up here all flee Eugene to places where they can find culture that reflects their generation. So, how will Eugene fair attracting the best and most talented young professionals. Maybe these City architects of culture have a bolder vision than I am able to imagine. If I were to guess the aspiration for Eugene at present is a cross between Santa Barbara and a group shot of the cast of the movie Cocoon.

Don’t assume because of what I’m writing that I am anti-Opera or on some crusade to destroy classical arts or entirely dislike the Boomer Generation. As I said in my first writing, my beef is that when you look at the pie chart of the application of arts dollars in this city, more than 80% of the money is going to these institutions of rarity because of the will of a few people.

There was the CPR thing and the City spent $350,000 in recent years to explore the arts and the key issues. Well I’d say a big issue is how all the money for arts is siphoned continually away from the arts and artists to the developers, consultants, construction companies etc. Why not adopt an expectation that groups dedicate a determined percentage of their resources to programs? And everything points to a future (or are we already here) where non-profits must functionally perform as commercial enterprise if they are to survive anyway.

Quickly on Floyd - if anyone believe that things are trending in the right direction now that the Ballet is pushing out a Pink Floyd show, would they also say the GOP is an equally welcoming party for blacks and minorities now that they have Michael Steele as their front man?

You point to the excellent per capita attendance of Opera in Oregon. Well, I think if we throw the kind of money that’s circulating in the these corridors, shit, we could make Papier-mâché puppets performing sex acts to the sounds of a Croatian folk Orchestra interpreting the Kylie Minoge songs the must attend arts movement of the coming decade.

And as for arts education and Wagner, well…regional arts super powers across America build vast incredible outreach and education wings – mostly because it helps their marketing and fundraising efforts. It is critical to sustaining their largesse.

How many of the 6% that attended the Opera in Oregon where school children bussed in? Willamette Rep would likely have died on the vine in its first three years if it had to rely on attendance of people who came to attend of their own free will. The education programs balance out the demographic nightmare that is the true reality, pulling in minority and youth attendance figures they can reference when defending their opulence. It also helps with their position when applying for private and corporate support.

It also perpetuates a binary of high or good art that we will expose young people to VERSUS commoners and low art. So, we plop the little girl from Guatemala on the school bus, send off to Wagner and say “HERE. THIS IS GOOD. WESTERN ART IS IMPORTANT.” And sure it. But thank God, there is an awesome and wonderful explosion of Latin cultural art – BUT one set of events is happening in multi-million dollar architectural wonders and the other happens in the park under Freeway Bridge. I am one of the many, I believe, who feel a much stronger sense of place under the bridge. But nobody is bussing in the rich Caucasian children are they? (I really hope you or someone writes back correcting my assumption).

So, should we shutter the Hult? No – I don’t think so. Should it be broken off from the city and become its own entity? Maybe that’s an idea woth looking at. And as they increase their craptardic programming at the Hult such as the import of the very grotesque Broadway series, why not?

I wouldn’t mind seeing the folks at the University of Oregon absorb the facility and assume its stewardship. Institutions the likes of the Hult have done much better as a meaningful public extension of a major University – UC Berkeley’s arts center jumps immediately to mind. And with it, the community may actually see a superior range and quality of programming.

OR since the Leebrick apparently has no interest in any public comment or inclusion of community shareholders…let them rot and have Eugene follow the positive new trend happening at big institutions such as ACT in Seattle or Lincoln Center in New York where they are retro-fitting their basement boiler rooms into small performance venues expressly dedicated to supporting risk taking bold work and altogether out of the box pursuit of new artistic territory.

Speaking of the Leebrick, it was the journalistic coverage of the Leebrick’s press conference that got you on my radar. I don’t accuse you of “single handedly destroying Eugene arts scene” (paraphrase) as you suggested on your tweeting. But the RG did have the good sense to perform basic journalistic follow up post event. All sorts of things were spit out at the meeting but you provide no further inquiry.

Leebrick says they have been working on this plan for five years…so, is there a case statement available? They talk about the project costing 2 Million? What does this include? Is that above and beyond the purchase of the building? Has DIVA now come up with the $350,000 that they anticipating having in full within 90 – 180 days of the Spring announcement? The deal came together in 3 weeks. Did they really perform a comprehensive study on the building in that time?? I am doubtful. They say they are overstuffed with audience and need the expansion because they are also selling out. My mom’s church said the same thing, built a huge honking new church – and yes, they did see a boost in attendance. But maybe only 5% or so and they are facing huge challenges now keeping up and continuing to operate. That is really what happened with the Rep too isn’t it? And there was no meaningful journalistic post mortem of them which I think is weak as it leaves this ugly taint suggesting that maybe it is simply not possible to sustain a professional theater in Eugene – and that will come back to bite future generations.

But my favorite assertion in the conference was the desire to pay people and work on a professional level. That followed soon with a reference to having $67,000 in the bank as evidence of their good standing. So, question 1# How does the Leebrick see the new space supporting an ability to pay wages to artists? Is there a working model they can show us? Or is this an aspiration statement only. #2 With $67, 000 in the bank why are they not able to make a payout to artists right now, today? It pales in comparison to the half million or so that is spent every year by some a single Hult company on talent that flies away after the performance and is not buying a house, car or otherwise keeping the money circulating locally. Meanwhile the actors your review (who put maybe a hundred hours or more into rehearsing and performing) likely earn less you do in your few hours watching the work and writing it up (but I’ll grant you that sometimes those few hours are more taxing).

And one more key question: Does the company foresee changing into something more akin to the Rep or something else in order to achieve their campaign? The theater has already been moving around their schedule this year to become so vanilla that I’m having trouble telling the apart from the VLT (except the VLT is doing more than LL to support emerging directors and new work now) and booking the who’s who of who cares of directors.

So, I don’t suggest you Suzi are responsible for the decline in Eugene – but as we see the deepening effect of the Clear Channel-ization of Arts in America, this is a vital moment. And its on your watch and it is a great opportunity to positively influence the direction of the culture and this town.

The Weekly props itself as a progressive, so why not apply to the arts the same vigor that can be found in EW for reporting on social justice, the environment and local politics?

I get that these are windmills I'm tilting at but what should we do? Say nothing and simply accept things as they are> That just doesn't make sense.

For now, I think I’ll wrap up this little rant. I do believe between the exchange of these three communications between us, we have now set to print the longest thread of conversation in Eugene media dedicated to examining the arts. It would be fun to actually move the discuss constructive ideas, easy to implement that could have immediate and major positive impact on the town.

another day
EW Avenger

Submitted by Anonymous Coward (not verified) on Tue, 12/29/2009 - 13:43.
Learn to be better- go to the opera

the comments against the opera are as an earthworm, loving pushing the dirt and hoping the rain will not force it up into the sky. Some of us are not blind and never experience the joy of a ming is their loss. Must they spew their bilge over the vase....
I accept that anyone may feel the greatness of their own art...that person should support itself.
It is more true that it takes a village and hundreds of years of learning and refining to make great art. Opera is a specialized expression where are community would be far the worse for its loss.
Every year I thank the forward thinking that put the Hult in the center of eugene...That is one place the city did not muck up and leave to derelicts sleeping at the curb and tossing their needles as is done where I work.
Opera- a place of peace for the peaceful. May it shout loudly over all else.

Submitted by Anonymous Coward (not verified) on Tue, 12/29/2009 - 18:14.
Ming the Merciless

I love the Opera person's response. What a jerk! Especially that heartless jab at the homeless and drug dependent. Maybe I could learn to better appreciate a Ming Vase but that person should really consider forgoing the Opera this year and volunteering at a shelter because for all their superiority they seem to have very little human compassion.

Submitted by Anonymous Coward (not verified) on Wed, 12/30/2009 - 06:33.
We are the worms

Who is this Opera person? Unbelievable.

So... he or she lives up in the airy realms of enlightenment while we wallow in the shit? We need to learn better?? To my ears that sounds a lot like "You ungrateful little wretches, spewing and muling all over Madame's Ming Vase!!! Do you know how many poor families my husband had to manipulate into sub prime mortgage schemes and later foreclose on to buy that Vase?"

I'd submit them as a candidate for Worst Person on Olberman.

And hundreds of years of learning for great art? Screw Them! So, only the Symphony and Opera etc are great art. Alvin Alley, Martha Grahm, Charles Mingus, Bob Dylan, Ray Charles, Nirvanna, Public Enemy, Stanislavski, Martin Scorcese, Jackson Polluck, Elaine Kooning.... according to Ming the Merciless, none of what these people achieved or accomplished is great art.

I think Ming does an outstanding job of illustrating the terribly arrogant binary.

They go on to boldly underscore the very point when they say "that person should support itself" The very first person making a strong case against the Opera is Ming. The other person's point seems to be that the Opera and others enjoy a special financial privilege because their boosters are the powerhouses that drive this town and so, and we can love it or lump it.

I am a giant fan of modern and contemporary dance and really wish Eugene had something more akin to On the Boards or Velocity in Seattle. But there is only so much money to go around and so much charitable support for the arts. I don't believe that Eugene will be able to ever support something quite like either because a set of organizations have laid claim to the land. Its like there is only so much oxygen and they don't even care at all about the rest of us.

To them we are just the worms.

Submitted by Anonymous Coward (not verified) on Wed, 12/30/2009 - 07:48.
Some valid points!

Hey "Avenger,"

1. You're right, I let the Lord Leebrick story drop, for various reasons. I'll try to do more about them this year.

2. I wasn't telling you to fuck off in that reply; I'd be really happy to have more arts writers because I cannot do everything myself, as is all too obvious. I need more freelance arts writers, and it seems like we may be able to run stories in the paper/online/pay people (no promises yet). That is, we need good, experienced, well-balanced, non-ax-grinding, arts writers. Seriously, if you think you can do that, you should send me clips and a resume.

3. Marriage of Figaro was great, FYI. Totally not like a Ming vase.

4. I will respond to some of your other good points after I finish working on the paper for this week, and I appreciate the time you took to do the research on money. One thing I'd say, actually two things: Most mid-size cities have arts centers that are too large for their populations and that have to import acts like, oh, say, My Little Pony The Musical, or whatever, to recoup some of the costs of running them. That wouldn't change (nor would it somehow NOT be "taxpayer-funded") if the UO took over the Hult. Eugene is not unique in this problem, and it IS a problem ... but more on that soon. Second, I think you are well aware that we're in a recession, and I'm guessing that arts orgs that managed to make it through 2009 in the black aren't any too excited about draining their resources. But again, maybe an arts administrator could say more about that (and I'll ask).

5. I think this will become a new blog post soon, out of the comments, and I'll ask people from all walks of life in the Eug to comment on it/contribute to it/write about it. But those people, like me, will have their names attached to their comments. They won't be anonymous. Hint, hint.

Submitted by Suzi Steffen on Mon, 01/04/2010 - 11:48.
The worm may turn

"A place of peace for the peaceful. May it shout loudly..."


"...that person should support itself."

"...where are community would be far the worse...'

Regardless of whether it takes hundreds of years of learning and refinement to make great art, many people obtain written communication skills with little more than a basic high school education. Ming the mumbling muck-up should "learn to be better" than a flatulent faux-highbrow poseur trying to fart higher than his or her own asshole.

Who the hell would want an earthworm to rise into the sky, anyhow? Save that one for messiahs and virgin mothers. We are all utterly dependent upon arable agricultural soil, provided for us in large part through the praiseworthy efforts of these lowly yet noble invertebrates. Should they take leave of us, the fat lady's really gonna sing, though she'll be a good deal skinnier as she does so.

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