Since its founding and very modest beginnings in 1975, Glimmerglass Festival has become a major destination for opera lovers from around the world. As well, it serves as training ground for artists and professionals in the performing arts world. It is based close to Cooperstown, which is apparently famous for its Baseball Hall of Fame (and that I know nothing about and am not even embarrassed to admit it). The festival started with four performances of La Bohème in a local high school and now has over 40 performances of four operas (although it seems that most years one of the four is more in the genre of the musical theatre but done as they say, in the “operatic” manner with no amplification) in a purpose-built theatre on the shore of Otsego Lake. The Alice Busch Opera Theater (914 seats) designed by Hugh Hardy opened in 1987. The interesting fact is that this was the first purpose-built American Hall for opera following the opening of new Metropolitan Opera house in 1966. Glimmerglass has a truly impressive Young Artists Program — this year there are 44 artists from all over the world, and the program has, over the years, launched many careers.
The hardest thing to come by in Cooperstown is reasonably priced — or for that matter any —accommodation. That seems to have been the case for years as visitors continue to struggle to find place to stay. In that respect it reminds me of places like Niagara-on-the-Lake or Stratford festivals in Ontario.
The first production I saw upon arrival was Jean-Baptiste Lully’s brilliant tragedie lirique Armide (1686) co-produced with Opera Atelier from Toronto. I saw it back in 2005 when it was first presented in Toronto with some of the same cast. Armide examines the conflict between the Muslim and Christian worlds during the First Crusade in the 11th century. The work is full of magic, enchantment, love, drama and raw passion — at the end of the opera all we are left with is the destruction of lives, still two worlds apart. The design by Gerard Gauci was inspired by glittering, exquisite illuminations from Persian culture of that same time (11th century). He also collaborated closely with a Persian calligrapher who translated parts of the libretto and wrote these elegant scripts on panels that were part of the set. Even the house curtain became a calligraphic masterpiece. Dora Rust D’Eye designed beautiful costumes that supported so well the story and the concept. Kudos to director Marshall Pynkoski and choreographer Jeannette Lajeunesse Zingg to continue their inspired, wonderful quest to bring us back the beauty of so many of the rarely performed masterpieces. Their commitment to present these operas as much as possible true to their period of creation is not a simple task. Maestro David Fallis was excellent and led the chorus, the artists of Atelier Ballet and of course the wonderful cast in such a way that the production got standing ovation and numerous curtain calls — I stopped counting after seven! Armide was sung by a young soprano native of Minnesota, Peggy Kriha Dye — the bravos and standing ovations for her brought her to tears! Some notable young Canadian singers in this cast were Mireille Asselin, Meghan Lindsey (both sopranos originally from Ottawa) and the young tenor Aaron Ferguson. All three were this year chosen to be in the Glimmerglass Young Artists Program. Certainly artists to watch and I hope we can bring them to Edmonton one of these days.
Almost every name in and around Cooperstown is somehow related to the early American writer James Fenimore Cooper, his family, or his books and characters. He saw Otsego Lake as glimmering glass; the name Leatherstocking is everywhere including the local golf and country club; the beautiful art museum (Fenimore Art Museum) has been built on the same property where his stately house once stood ... the list goes on. I spent my Saturday morning at the Fenimore Art Museum with its impressive collection of Native American art. What also impressed me was that there is a good collaborative relationship with the Glimmerglass Festival, as there was an exhibit on Armide with set and costume sketches very prominently displayed at the art museum. They also had a costume that Renée Fleming wore in the Met’s production of Rossini’s Armida in 2010. A very nice touch.
Next week, Sandra continues her recap of Glimmerglass with The Music Man, Lost in the Stars and Aida.