The Blog


Sondra Radvanovsky in the title role and Joyce DiDonato as Adalgisa in Bellini’s “Norma.” Photo: Ken Howard/Metropolitan Opera

 

Monday was opening night at the Metropolitan Opera. The evening was a chance to be seen, to be heard, to be loud. Half-drunk, piss-colored prosecco glasses hovered through the Met lobby. Red-headed twins in matching green dresses pranced down the stairs. Muted elegance hid in an alcove, a sentry with a light-blue, fluffy overthrow. Folks met colleagues with half-hearted smiles, and lovers embraced joyously. Noise echoed throughout the space, filled with exclamations of “You…look superb”, clacks of skyscraper heels, Italian murmurs, Russian rumors, small talk on the summer weather. Press congregated in an impenetrable, baseball-diamond formation. A gaggle of photographers snapped ferociously.

Eventually, an unseen magnet dragged us from the velvety mulling spaces into the theater. The performance began promptly 20 minutes late with a rendition of the National Anthem. Maestro James Levine conducted. The audience largely did not sing along.

Of course, there was an opera to be had tonight: Vincenzo Bellini’s Norma (1831). For those who don’t know Norma, here is a quick summary:

Norma is a priestess in Gaul (think France) during Roman occupation. She had two kids with a Roman governor, Pollione, but now he’s seeing Adalgisa, another priestess. Adalgisa tells Norma about Pollione, which makes her (understandably) furious. Act 1 ends in a heave.

Norma considers killing her children—Hello Medea!—but draws her dagger away at the last moment. Adalgisa enters and Norma is apparently A-Okay with her and Pollione: she even suggests that they run off to Rome together. Adalgisa is aghast. She hopes to reconnect Norma and Pollione.

Segue to a rather boring male chorus. The Druids want to revolt. But it’s not time yet, says Norma’s dad Oroveso. Snooze.

Final scene. Norma learns that Pollione will stay with Adalgisa. She strikes the war gong three times, the Druids fire up a frenzy (torches!). The drama blusters to a close: Norma tries to get back with Pollione, he refuses, she decides to kill herself, Pollione joins her and they walk into the pyre together (How sweet!).

For this vocal masterclass disguised as an opera, a producer could simply put a white backdrop on the Met’s stage without too much injustice. That said, I thought the staging admirably captured Bellini’s late romantic aesthetic. Dark, disorientating pines and scattered, encroaching moonshine complemented the characters’ interactions.

Joyce DiDonato as Adalgisa in Bellini’s “Norma.” Photo: Ken Howard/Metropolitan Opera

As an audience member proclaimed at intermission, though, “people care mostly about the voices in this work.” Tenor Joseph Calleja (Pollione) was casual, reserved, despite the heady topic (love). He infused more devotion as his character was whirlpooled into the tragedy. Soprano Joyce DiDonato (Adalgisa) had a silvery tone when she sang high. Her acting felt spontaneous and intense. Sondra Radvanovsky (Norma) embodied tender, moving Romanticism in her famous aria, Casta Diva. Throughout the marathon, Radvanovsky executed rocket-powered scales, winding phrases, and dancing grace notes—markers of the bel canto style–with ease.

Although I haven’t seen it posited elsewhere, the bel canto singing style extends to instrumentalists at well. In Casta Diva I was impressed by the flutist’s phrasing and tone, which built a solid foundation for Radvanovsky. In an exposed clarinet and flute duet in the first act, the intonation was sparkling clean. Their effort created an appropriate holiness. Overall, the orchestra’s fortes just felt way too safe. More sound! (Please.)

Cadenzas—extended, solo passages usually for one or two musicians—allow singers to showcase their vocal prowess. Duet vocal cadenzas are especially difficult to execute because both singers must be perfectly synchronized in their tempo alterations and dynamic choices. Radvanovsky and DiDonato had to perform several of these duets. In the first act, their intonation suffered in their upper register. However, they solved the problem in the second act, summoning the pristine beauty of the bel canto style.

Although I have several reservations about the plot, one scene stands out for its drama. When the Druids find Pollione in their temple, they bring him to Norma to kill him. Instead, Norma tries to convince Pollione to return to her. He refuses; Norma indicates that she will kill Pollione’s lover. She recalls the Druids and announces that a guilty priestess shall burn on the pyre. They implore, “Who is she?” Norma hesitates. The Druids ask again, “Who is she?” Norma, “It is I.” The singers captured the tragedy of the moment with intense, palpable stillness. When the orchestra reentered on their soft sostenuto, the mood was solemn, desolate. Radvanovsky pleads and prays, her accepted devastation processes to its infernal . Here, I believe the production succeeded: the prolonged silence followed by the tragic orchestra created a poignant ping that made me empathize with Norma’s fate. Such pathos proves that a moving Norma is not just about the singers, rather how different operatic elements–orchestra, staging, choreography, ensemble–interact with each other. The experience can only be endured through a live performance.

 

Norma runs through December 16, with casting changes. The opera will be broadcast live October 7, at 1:00 PM, on WQXR 105.9 FM.

For anyone in MusicHum, this opera presents the perfect opportunity to see an archetype of bel canto. Tickets in the boonies aren’t as cheap as they once were: the best you can do is a $25 rush ticket the day of the performance on the Met’s website (rush tickets are cheaper than student tickets.). Information and ticket listings on metopera.org.

 

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Photo Courtesy of Columbia University.

Welcome back Columbia! From all of us at the Columbia Lion and from here at Uniquely Human, we hope all your summers were fruitful and relaxing. As we get back into the swing of classes, I wanted to write an update on the future of this column and what to expect going forward. First and foremost, Uniquely Human will be continuing its regular release schedule of every other Monday, starting today, so expect a new release two weeks from today.

As a neuroscience student here, I hear about all the impressive, exciting, and paradigm-shifting research coming out of Columbia labs. But no matter how interesting the research, many average Columbia students don’t know what’s coming out of their own institution. Scientists often only share their research in journals aimed solely at other scientists in their subfields. The most interesting conversations about neuroscience are ones that neuroscientists have with each other.

I want to change that.

This is your university, and this research is mostly paid for with your tax dollars. I think you have a right to understand what discoveries in neuroscience are coming out of Columbia, and how they may affect your lives in fascinating and surprising ways.

I believe the best kind of science happens when it’s in communication with the public. In these tumultuous times, now more than ever it’s critical that everyone knows what valuable contributions neuroscientists are making to how we understand ourselves. I think these kinds of conversations are most interesting when they’re had across disciplinary lines – with other scientists, with writers, philosophers, artists – and you, reader, have a worthy perspective to contribute.

So this semester we’ll be thematically shifting our focus away from our series on education and the brain. In its place, I’ll be reviewing the latest and greatest discoveries coming out of Columbia neuroscience using straightforward language, hopefully humorous analogies, and with an eye for the big picture implications. When possible, I’ll be interviewing researchers directly to get the best information directly from the researchers to you.

As always, the contents of this column are mostly dependent on what I want to write, which means not every column will be about Columbia neuroscience discoveries; there will be stories relating neuroscience to both campus and worldwide events.

As always I am happy to take requests. This is only a column in conversation when I can hear your voice. If you have questions that you want answered from a neuroscientific point of view, I’ll do my best to answer them. I can’t wait to share this amazing research with you all, and I hope to see you here next week for our first true installment in our series.

Uniquely Human is written by Heather Macomber and runs every other Monday. To submit a comment/question or a piece of your own, email submissions@columbialion.com.

Noticed in the early afternoon yesterday, students have discovered a new website titled “Fuck Spec“, a  website that currently has only one article. Said article is a copy of an op-ed posted by Meghan Brophy in the Columbia Daily Spectator entitled “Don’t just be a spectator” and includes annotated comments mostly criticizing and trivializing points made in the article. Brophy, a sophomore at Barnard, responded to the website criticizing her piece by posting a meme in the columbia buy sell memes Facebook group.

Brophy post regarding the FuckSpec website.

 

Advertisements have also been spotted throughout campus promoting the website.

A flyer spotted announcing the “grand opening” of Fuck Spec.

While many commenters suspected the site to be created by Bwog, known for its Fuck Spec stickers,  a writer from their team confirmed to The Lion that they are in fact not the owners of the website. A search by our team also found that the domain is in fact not owned by Bwog.

 

Know who the creator(s) of Fuck Spec are? Send in a tip by emailing us at submissions@columbialion.com

 

Photo Courtesy of Matthew Murphy


Hal Prince has undoubtedly influenced the world of Broadway, inspiring others to pursue careers in the theatre industry. When entering the theatre, the expectation was that the show, in the process of highlighting Prince’s works, would using meaning

The Prince of Broadway celebrates sixteen shows that the legendary Hal Prince directed, and as the musical states, some of them were flops and some were successes, but all of them, he believed, were creatively daring and meaningful. Thus, it was up to the audience’s discretion for this show if they agreed with his direction of this somewhat-seeming self-serving musical, and with the statement aforementioned, some of the performances were flops and some were major successes.

Tony Yazbeck in Follies. Photo by Matthew Murphy.

For instance, Tony Yazbeck truly shined throughout all numbers he was in, most notably in “The Right Girl” from the musical Follies. His exquisite tap dancing followed by his intense acting sent the crowd roaring for more of his excellence. And that wasn’t the only star performance by Mr. Yazbeck. Even from his first spotlight on the Friedman theatre, one could tell by his poise that he would shine in every performance that he was staged in, success or flop.

However, with many successes, there are usually some flops tagged along. In this showcase of a musical, there were clearly some weaker moments. For example, pretty much every time the eponymous “Hal Prince” would narrate in the transitions between each performance, the delivery fell flat. It was almost to the point of cringeworthy between musicals that we were anticipating when the dialogue would end in exchange with the performances of yesteryear.

Overall, whether you are a Broadway aficionado wanting to relive some of the glories of the Great White Way or a newcomer wanting to delve deeper into the greats of the past, the Prince of Broadway is a wonderful showcase of brilliant performance and a pleasant night at the theatre.

Prince of Broadway is part of the Manhattan Theatre Club which offers a program called “30 Under 30” where anyone under the age of 30 can qualify for $30 rush tickets. Click here for more information.