How Opera Louisiane keeps opera relevant in the 21st century
Claudio Monteverdi originally wrote the opera Il Ritorno d’Ulisse in Patria in the 1600s. Last year, Opera Louisiane used it to reflect on a historic moment and start a dialogue on racial division in Baton Rouge.
Creative director Michael Borowitz swapped the opera’s classical accompaniment for gospel and R&B instrumentation and updated the setting from the Trojan War to the 1960s American South. When finished, Opera Louisiane’s production of Ulysses had transformed a centuries-old story into a timely and relevant piece, just as the city was reeling from Alton Sterling’s shooting and the subsequent protests.
Though the timing wasn’t planned, general director Leanne Clement sees Ulysses as an example of Opera Louisiane’s power to adapt and engage the city.
“It actually became a piece that brought up a lot of conversations about race and about our society here in the South, and as well as the music that has been born in the South.” Clement says. “That was something that was very specific—we want to reach a Southern audience, and our community is really going to appreciate it.”
Selecting the right pieces, tinkering with instrumentation and hosting events that invite the public in for an unintimidating taste of opera all help the organization keep an art form that has been around for centuries relevant in 2017.
One such event, Lunch with Leanne, allows enthusiasts and first-timers to enjoy opera in a quick, 30-minute taster concert hosted by Clement with a guest performer.
There’s also the Young People’s Opera program, which brings 3,000 students from local schools to the theater free of charge each year for 90-minute, accessible opera performances in English.
“I feel like every year we’re building new audiences with that program,” Clement says. “Next year will be our 10th year, and we’ve gotten to the point that we have kids that came to our first Young People’s Opera program in 2008 who are now coming back on their own, buying tickets and seeing our performances … which is really, really amazing.”
Ultimately, Clement believes that what makes opera truly timeless is the human desire for a raw emotional experience, one that opera can uniquely provide.
“That’s what’s universal about it—it’s definitely a very powerful use of the human voice,” she says. “Opera singers sing without amplifications, so that’s what touches people over and over is hearing that person sing from their soul.” operalouisiane.com
SEE THEM PERFORM
Head to Lunch with Leanne, featuring mezzo-soprano Daveda Karanas, at Crowne Plaza Nov. 13 or Amahl and the Night Visitors at The Church (formerly known as Christian Life Fellowship) Dec. 9.
—KACI YODER
BATON ROUGE SYMPHONY ORCHESTRA
John Madere, principal bassist
Baton Rouge Symphony Orchestra may be 70 years old, but that hasn’t stopped it from bringing modern-day superstars like Kristin Chenoweth to Baton Rouge earlier this year or hosting the beer-friendly Bachtoberfest! outdoor concert at Capitol Park Museum last month. BRSO has proven timeless yet relevant, with its more than 70 musicians delivering 40-plus concerts with world-renowned guest artists each year. It offers educational concerts to local schools and conducts programming for underserved youth, children with communications disorders and gifted young musicians. The organization says its goal is to enhance the quality of life in Baton Rouge through music. Mission accomplished. Catch BRSO’s “Journeys of the Heart”Nov. 16 at Raising Cane’s River Center Theatre, as well as three holiday-themed shows in December. brso.org
LOUISIANA SINFONIETTA
Led by composer and conductor Dinos Constantinides, The Louisiana Sinfonietta’s musicians play music ranging from the Baroque to Classical and the Romantic to 20th century styles. The organization has been around since the 1980s, and it boasts alums with prominent careers across the country. Constantinides has quite a few credits to his name, too—he has performed throughout the world, including Carnegie Hall. Attend the LSU Composers Forum Nov. 13 to hear them play. louisianasinfonietta.org
RED SHIFT CHOIR
Under the direction of Trey Davis, Red Shift Choir is a collection of professional vocalists from Baton Rouge and beyond. With a focus on choral storytelling, Red Shift performs a full repertoire of musical styles from different time periods and cultures. redshiftchoir.org
BATON ROUGE MUSIC CLUB CHORUS
This organization, led by Marjorie Blocker, has been around for more than 70 years. Members perform at nursing homes, hospitals and other community events. Find Baton Rouge Music Club Chorus on Facebook.
—ELIZABETH MACKE
JOBS IN THE ARTS
Darrel Hale, LSU assistant professor of bassoon, principal bassoon at Baton Rouge Symphony Orchestra
Flexibility is key when you’re a musician, Darrel Hale says.
He divides his time between the BRSO, a woodwind quintet, as a founding member of a bassoon-clarinet-oboe trio and filling in with the Louisiana Philharmonic Orchestra.
Oh, and there’s also his day job teaching the bassoon at LSU.
“There are different challenges in different groups you play with,” Hale says. “There’s nothing like the power of a full orchestra together and being part of that. But then again, there’s nothing like having a really good conversation [as part of a chamber] with a few key players at one time.”
It takes a lot of dedication and responsibility—considering the instrument he plays can cost as much as a small car.
“There’s definitely a freelancing element,” to being a working musician, he says. “You have to be somebody that’s going to go out and find your own opportunities, but I don’t think that’s too different from the visual arts or anything else. It’s the freelance-style economy, and projects have a way of leading to other projects. … You want to put yourself in a space with other people who are creating.”
—BENJAMIN LEGER
Click here to read about all the other arts in the area.
This article was originally published in the November 2017 issue of 225 magazine.
