Hey Fat Ladies

It is one of the most enduring clichés in classical music: The opera "ain't over until the fat lady sings." And yet, according to Curtis opera director Chas Rader-Shieber, this concept is a historical anomaly, creeping into common lore just in the past century of an art form that now stretches back half a millennium. The stereotype was probably solidified in the early to mid-20th century, when the spectacular Wagnerian duo of Kirsten Flagstad and Lauritz Melchior held sway, with magnificent voices emanating from refrigerator-like physiques.

Somehow, the basic concept that almost all of the famous roles in opera were conceived as young, slim, beautiful creatures by the composers and librettists, was conveniently sidelined by the modern opera industry which has tended to give its starring roles to divas, regardless of age and girth. For Rader-Shieber, it is easy to revert to the composer's original intent: "One is spoiled at Curtis. The singers all have youth and enthusiasm." And, he might add, they are a pretty snazzy-looking bunch, as well. The latest Curtis outing is a production of Rossini's farcical Il Viaggio a Reims, which depicts a cockeyed would-be journey by a group of friends to the coronation of French King Charles X, with various boozy and amorous diversions along the way. Rader-Shieber has updated the action to modern times, and is not overly concerned about historical accuracy. "The plot is minimal. This opera is all about the sheer joy of singing." Indeed, Rossini wrote the opera in 1825 to showcase the best singers of his day, with a story that stalls at waiting around for the journey to begin, as the characters trade stories back and forth out of boredom. This is an excuse for what Rader-Shieber calls "fabulous bravura singing," culminating in a spectacular 14-voice ensemble.

Philadelphia opera lovers still have the grand productions of our Opera Company, and the vaunted Metropolitan Opera a $12 bus ride away, but some of the most exciting performances take place on the stages of our music schools, not only at Curtis, but at the Academy of Vocal Arts, and up at Temple's Esther Boyer School of Music, as well. The productions sound great, and the players look the parts.

(p_burwasser@citypaper.net)