![]() ![]() More thoughtful staging: Is it possible to make an inoffensive The Mikado with mostly white actors? Sure, says Mary Rose Go. But in the works of Giuseppe Verdi you will generally find a much more complex and challenging setup.“It made a compelling case that the conflict between these peoples was driven by national, sectarian and religious differences, not race,” he writes-apt given that the director, Francesca Zambello, set the production in the Middle East. Philip Webb is a strong tenor and performed a commendable Radames. New York Times critic Anthony Tomasini points to a production of Aida (paywall) in which not only Aida and Amonasro, her father, were played by black singers (as often happens given that the characters are Ethiopian), but so too was Radames, Aida’s Egyptian paramour. Lisa is scheduled to reprise her Aida role with Seattle Opera. These have the potential to layer provocative-and probably no less controversial-meanings into their productions. Francesca Zambellos hip-hop graffiti staging of Aida comes to Seattle. What do modern interpreters of their work have to replace it now that foreign cultures are no longer exotic? Casts of multi-ethnic performers and their audiences’ rich awareness of world cultures. ![]() Colorblind casting doesn’t have to ignore race-it just shouldn’t exploit it: Puccini and Gilbert and Sullivan had exoticism to give their works extra punch.“It’s not that that demographic doesn’t care-but they’re treated like they don’t.” For any particularly edgy choices, directors might want to explain those before the performance. Watch and listen to the Oral History Project now available. “It’s sad but opera audiences do tend to be older white wealthy people,” says Naomi André. OPERA America embarked on an ambitious oral history project as part of its 50th Anniversary setting out to record the recollections of 75 key figures who have shaped the American opera field over the past 50 years. Though some opera companies do this at present, it’s not the industry standard. Gruber will sing the title role Blythe will play. That is the message for audiences in a 2 million Seattle Opera production of 'Aida' that opens Wednesday for the longest run in company history. SEATTLE (AP) - If you want to see live elephants, go to the zoo, not to the opera. This year, Seattle will use sets from San Diego Opera and costumes from the Dallas Opera. No Live Elephants in Seattle Opera's 'Aida' Aug 1st, 1992. Program notes on historical context: It’s helpful to have program notes that explain the thoughts and historical context behind a composer’s choices, as well as how representation of race (or gender and sexuality, for that matter) and audience response have evolved. The last time Seattle mounted 'Aida' was in August 1992. ![]()
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