In preparation for OperaDelaware's original production of The Merry Widow, we had a chance to speak with Marciem Bazell our Stage Director (I Pagliacci, 2005) about her vision and interpretation for our new production.
How does directing an operetta differ from directing an opera? How do the physical elements (set and costume) shape and inform the production? How is The Merry Widow relevant to today's audience? Find out by reading Ms. Bazell's answers to these questions and more on our blog.
Ms.Bazell returns to OperaDelaware from University of Missouri Kansas City where she is an Assistant Professor and Director of Opera. Ms. Bazell is a graduate of Music in Vocal Performance from Temple University. She has directed for such companies as the Sarasota Opera, Chautauqua Opera, Virginia Opera, Opera Illinois, The El Paso Opera, The Sylvan Opera of Philadelphia, OperaDelaware and the Fresno Philharmonic. She also directed opera productions and served on the faculty of two renowned music schools in Philadelphia, The Curtis Institute of Music (1986-1999) and The Academy of Vocal Arts (1988-1999).
Lehár's The Merry Widow was last produced by OD in 1992, nearly 20 years ago and is not frequently produced in the region. Is this your first production of The Merry Widow you've worked on?
Yes and, in fact, this is my first operetta.
Lehár's The Merry Widow is an operetta, - do you approach directing an operetta differently from directing an opera?
I originally thought that I would need to approach directing an operetta differently than an opera. But I am discovering that the basic process is exactly the same; the research, the approach to telling the story and staging dialogue is the same as staging recitative in a Mozart opera for an example.
I suppose that the only difference is that with the Widow, we were able to take the time to sit around a table, read the script, discuss and collaborate rather than imposing my artistic will on the artists. Often this doesn't happen when staging an opera because producing an opera is very expensive and the rehearsal time is often really fast so it's not an efficient use of time to sit and flesh-out the piece, organically. Being able to read and discuss, read and discuss has made this a gratifying process.
How is the Widow relevant to our audiences?
The story is very current for obvious reasons: one, for our recent financial emergency (need I say more) but two, it's relevant because it's really about four people who truly love each other and for various reasons can't be together. They are all caught up in incredible, real, genuine situations.
There are two love stories which consist of the Widow (Hanna) and Danilo, and the sub-plot of Valencienne and Camille. The story of Valencienne and Camille is about two people who fall madly in love but cannot act upon it because she is married. Rather than giving in to the affair, Valencienne chooses the more difficult route of being faithful to her husband. Valencienne is certainly not the first or last young lady to wonder whether a lackluster marriage could be spiced up by a dalliance.
The Hanna and Danilo story began years ago when both were very young. The very poor Hanna met and fell in love with the wealthy Danilo. Danilo's family would not allow the marriage because Hanna was poor and, in order to retain the family fortune, Danilo choose not to marry her. Meanwhile, Hanna married a rich banker who later died and left her a fortune. Years later, Hanna and Danilo meet again in Paris. But now the tides have turned and Danilo has no money and Hanna is rich. Again he refuses to marry her on principal. Danilo is the only man who loves her and not her money. Eventually, love prevails.
How do the physical elements (set and costume designs) influence your direction? How does the music influence your direction?
Generally it's a very collaborative process. I research, learn and interpret the piece and share my interpretation with the designers. After the designers have completed their research, they share their interpretation with me and we work in partnership on the final version. I am a slave to the composer and librettist - I tell their story and add my own interpretation to deepen the texture of the piece.
As far as how the music influences my direction, Lehár's music is ravishing. I use choreography as a way to tell the love story, comedic elements and beauty of the piece. So in my mind, waltzing in not just dancing but I use dance as a way to express love.