Opera director Michael Capasso: “The most important thing for me is a good voice” | Culture

– New York is a bustling cultural ecosystem that has everything. Where does the New York City Opera belong?

– New York City Opera in 1943. was founded by the then Italian mayor of the city, Fiorello LaGuardia. He wanted an opera for the people. The New York City Opera was to become an opera for the people. At the time, the Metropolitan Opera was only attended by the very rich, as tickets there were extremely expensive. New York needed an accessible opera company.

LNOBT photo/”Džanis Skikis”, sketch of the performance

Our first production was “Tosca”, because in order to establish ourselves in the market, we had to take on a popular work. However, the New York City Opera from the very beginning was looking for more interesting works, sought to help young soloists, staged new operas, works by American authors. Both past and present, we present more US premieres by composers than any other opera house in the country. We laid the foundation for the careers of many opera stars such as Plácido Domingo, Beverly Sills, José Carreras, Carol Vaness and many others.

When I came to this theater, I decided to take initiatives that would allow us to stay relevant, but at the same time separate us from the Metropolitan Opera. We’re not going to build Bohemus because there’s a huge, very famous Franco Zeffirelli production. What to do for us? To stage “The Girl from the West” or lesser-known operas such as Daniel Catano’s “Florence on the Amazon” or “The Sunken Bell” by Ottorino Respighi. They were not built by the Metropolitan Opera, so they were a huge success. We’ve also presented several Spanish-language operas, as many New Yorkers are Spanish-speaking, and LGBTQ+-themed operas: Angels in America and the American premiere of Humpback Hill were here.

New York City Opera has strived and continues to strive for diversity. We’ve been working on many of the topics that have become major talking points in the opera industry for decades: black lead singers, African-American composers and conductors, American composers, and other contemporary operas.

– From your answer, it can be understood that social responsibility and the promotion of diversity are among the most important goals of the New York City Opera.

– Yes indeed. But I’ll be honest: the most important thing for me is a good voice. I am looking for the best. And if its owner is black – great. Once in the opera “The Sunken Bell” the leading role was given to a young black singer. The role was very challenging. She didn’t have a manager, her career was still in its infancy.

LNOBT photo/”Sister Anželika”, sketch of the play

After singing with us, the soloist received excellent reviews from The New York Times critics, she was invited by the Metropolitan Opera, and now she sings in the best opera houses. And she came to us as a girl from the Bronx raised by a single mother. This is an amazing success story. It is very important to us to provide equal opportunities for all, regardless of gender, race or belief.

– Such principles probably make it possible to expand the circle of viewers. The opera industry talks a lot about this. Maybe you have already managed to implement it?

– I think our audience is a bit more diverse. But I won’t lie: the majority of the audience is still older white people, although there is a growing youth, more diversity. This is especially evident in events held in open spaces. In two concerts, where excerpts from G. Puccini’s operas were played, we received 7 thousand people each. viewers!

All kinds of people, young and old, came out and enjoyed the opera. Many of these people heard opera for the first time. In such cases, I like to talk to the audience, thank them for giving her the opportunity to come to listen to the opera. If we want to survive as an art form, we have to move forward, seek a connection with the audience, especially the younger ones.

– Let’s move on to G. Puccini triptych, the premiere of which is being prepared at LNOBT. How did you get involved with our theater?

– I visited Lithuania – our theater music director Constantine Orbelianas often conducts in Kaunas. One evening we went to Vilnius to see Traviata, and I was impressed by your theater. It cannot be compared to any other theater in the world: I love its acoustics. So I made the proposal, keeping in mind that 2024 is the year of Puccini. I have admired his triptych of operas for a long time, I consider it unique in the composer’s work. Instead of offering another Tosca or Boheme, I offered this one.

We met, I left, then I came back again, we talked several times remotely. I suggested a scenographer and we agreed. Cooperation is very interesting. I, an Italian, direct. Set designer John Farrelli is an American, the director of our theater productions. The amazing Lithuanian costume designer Jurgita Jankutė works with us – she is simply fantastic.

LNOBT photo/”Skraistė”, sketch of the performance

– What fascinates you most about the triptych?

– Although very different, all three operas in their own way testify to the incredible genius of G. Puccini. “Skraistė” is a dramatic verisimilitude work with a lot of sexuality, violence, and passion. The influence of Claude Debussy is felt in his music, and in the intro we seem to actually hear the Seine flowing.

Speaking about “Sister Angelica”, it should be remembered that G. Puccini’s sister was a nun, and he himself was a zealous Catholic. For the first twenty minutes, the piece talks about the daily life of the monks and what they do in their free time. Finally, there is a very important duet between Angelica and her aunt the duchess.

Angelica is young and sweet, while the duchess is a nasty old woman who informs Angelica that her grandson has died. In fact, she comes to the convent to force Angelica to give up her inheritance so that her younger sister can marry. After the duchess leaves, we hear Angelica’s beautiful aria, “Senza mamma,” as her heart remains broken. She talks to her dead grandson and finally decides to drink poison so that she can be with her child when she gets to heaven. But after doing so, Angelica realizes that suicide is a mortal sin.

She realizes that she will go to hell when she dies, and begins to pray to the Blessed Virgin for forgiveness. In some productions, the directors make Angelica crazy, but in this production we will talk about a miracle – the Blessed Virgin will actually descend from heaven with a child. And if a person does not feel sad after seeing this, then he is hard-hearted.

Well, “Džanis Skikis” is G. Puccini’s only comedy. A great, fast-paced track. The opera is entertaining, the characters are expressive. What unites all three operas, in my mind, is death.

– I wonder what your directorial vision is: are you staging a classic play, or will you seek to modernize it, bring it closer to the 21st century? current affairs?

– This will be a classic production. The scenography is realistic: the view of the old waterfront in “Skraistė”, the beautiful, pastoral courtyard of the “Sister Angelika” monastery and the art of the castle in the opera “Džanis Skikis”. All three works will reflect their era.

I am a modern opera more than once. Sometimes I do, but this triptych, in my opinion, works more strongly in its own time. The effect of the music is more powerful, the text sounds correct in such circumstances. After all, if the conflict between the Duchess and Angelica took place in, say, the seventies, it would seem illogical.

– You mentioned that the music of the triptych is extremely beautiful. And if we talk about the singers, especially the performers of the main roles, what are the biggest difficulties that await them?

– It is interesting that G. Puccini did not give baritones the main roles, and even two of the main characters in Triptych sing with this voice – they are Mikelė “Skraistė” and Džanis Skikis. One of the difficulties is veristic singing with the whole chest. Next comes the drama: in “Skraistė” the strong chemistry between Luidis and Giorgetta is important, as well as the contrast between the young sexy couple and the older Mikelė. This conflict triangle needs singing actors. At the same time, we see typical roles for this composer: Giorgetta is somewhat similar to Tosca, Luigi – to Cavaradossi, and Michele is easily compared to Scarpia.

Sister Angelika is unique both in her personality and her voice. When her heart breaks while singing, the audience’s hearts must break too. Music can break hearts, but if the role goes to the wrong artist, all that remains is a person singing a beautiful aria. The role of the duchess is a strong low-register mezzo-soprano, expressing a ferocity of personality that contrasts with Angelica’s loveliness.

Well, Giannis Skikis is proud, fun, sexy and sarcastic. Laureta, his daughter, is a typical soprano, while aunt Zita is dominant and has a strong character.

– What would you say to those who, upon hearing the name of G. Puccini, immediately expect “Bohema” or “Tosca”, and look at the triptych with suspicion?

Since the triptych is not often performed, you will have a great opportunity to see three operas. The music is beautiful, the production is amazing. Amazing singers will sing, the direction will be powerful. The beauty of Triptych’s melodies is what we love about G. Puccini the most. At the same time, these are three contrasting styles of this composer. And, after all, it’s three operas for the price of one!