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The talented cast also includes baritone Alessandro Corbelli, a revered Rossini specialist, as Don Magnifico, tenor Jack Swanson as Prince Ramiro, baritone Iurii Samoilov in his company debut as the prince’s valet Dandini, and bass-baritone Cory McGee as the philosopher Alidoro.
On Nov. 9, as part of the HGO’s inaugural Family Day, kids and parents are invited to enjoy a special 90-minute version of the opera directed by Leonard and tailored for young audiences. The family-friendly production features low lighting and flexible entry and re-entry, and stars mezzo-soprano Deepa Johnny in her company debut as Angelina.
Isabel Leonard (photo by Michael Thomas)
On the surface, Cinderella may be frothy, but it is also incredibly challenging to sing, and in rehearsals, Leonard has to use two very different voices: one for singing, and one for speaking to and communicating with the cast. “It’s a different kind of vocal engagement to speak and be a leader, versus staying in a ‘singing’ state, which is also taxing,” says Leonard. “I’m generally exhausted! But it’s so much fun to direct, and I wouldn’t have it any other way.”
With still so few women directing opera, or for that matter, conducting or taking the lead in other creative roles, the HGO has addressed this disparity in recent productions, including Intelligence, directed by Jawole Willa Jo Zollar, and featuring dancers from Zollar’s company Urban Bush Women; and The Wreckers, directed by Louisa Muller. While Leonard believes anyone, regardless of gender, can bring a fresh perspective to an opera’s narrative, she confirms she has attempted to bring Cinderella into a more “equal zone.”
“It is challenging to recreate these existing versions of love stories that are already dipped in old tropes and written by men,” says Leonard, who is mother to a teenage son. “Thankfully, this English version has a little more room to expand since we are able to make cuts and write some dialogue.” (Joan Font returns to HGO to direct the “grown up” performances of Cinderella, the same production he directed for the company in 2007, and Lorenzo Passerini makes his company debut conducting.)
Other activities planned for Family Day before the performance and during intermission include a Craft-a-Rat station, where kids can make masks similar to the ones the rats in the show wear. (Fair warning, there are cute, but life-size rats in the production!) Kids will also have the opportunity to decorate a tiara or crown, visit a glitter bar and a princess photo station (probably in that order), enjoy story times and mobile book checkouts courtesy of Harris County Public Library, and visit an instrument petting zoo.
While the “adult” performances of Cinderella are a must-see for those new to opera or thoroughly familiar with the form, the Family Day production is designed to appeal to kids of all ages.
“Children are the best audiences. In fact, anyone who allows their imagination to run wild is the best!” says Leonard. “I hope for lots of giggles, laughter, applause, and focused engagement throughout the entire piece.”
Leonard in rehearsal (photo by Michael Bishop)
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Watching Phantom, Miller was “transfixed” at how a single musician and instrument could enhance the film’s spooky atmosphere and draw the audience into a dream-like world of romance, obsession, and dread. “I turned to my parents and said, ‘I wanna do that!’” laughs Miller. “They thought they had a crazy kid on their hands.”
Now 22, living in Rochester, NY, and studying orchestral conducting at the Eastman School of Music, Miller has since mastered the art of accompanying silent films on the organ and performs in theaters across the U.S.
Organist Brett Miller
On Friday, Oct. 25, Miller performs at Jones Hall for an especially spooky Halloween silent film double feature: The 1920, post-World War I German expressionist classic, The Cabinet of Dr. Caligari; and Miller’s childhood fave, The Phantom of the Opera. The concert is part of the Houston Symphony’s Halloween Frights at the Symphony series, which includes an interactive screening of The Rocky Horror Picture Show, with special guest Patricia Quinn (Oct. 26); and two screenings (Nov. 16 & 17) of Tim Burton’s stop-motion animation classic The Nightmare Before Christmas, with Danny Elfman’s tuneful score played live by the orchestra.
After that life-changing experience with Phantom, Miller approached his neighborhood church’s music director and simply asked if she would teach him how to play the organ. While similar to the piano in that there is a keyboard, Miller quickly discovered the organ is actually a wind instrument, with knobs or “stops” that when pulled release air to a specific set or “rank” of pipes, which each have their own unique timbre. (One rank of pipes might produce a soft, clarinet-like sound, while another a blast of brass you can feel in your guts.) And then there’s the pedal board, which is played with one’s feet.
“We organists are part octopus,” says Miller, who speaks about music-making with both genuine reverence and good humor. “We’re constantly moving.”
No two organs are identical, so when Miller is booked for a performance, he has to wrap his head, arms and feet around a new instrument. (For Friday’s silent-film double-feature, an electronic organ is being brought in and installed for Miller to play.)
When accompanying a silent film, with the screen in full view and without a click track or any other modern synchronization, Miller plays composed passages and stock cues (with titles like “Chase #4”) in combination with in-the-moment improvisations. For The Cabinet of Dr. Caligari, Miller uses a couple of themes from the original full orchestra score for the film composed by Giuseppe Becce. (Fun fact: In the 1913 silent movie The Life and Works of Richard Wagner, one of the first feature-length biopics, Becce played the title role and wrote the accompanying music.) For Phantom, Miller draws from a partial surviving score, preserved by The American Organ Society, along with excerpts from Charles Gounod’s Faust.
For Miller, one of the most exciting things about accompanying silent films is that each performance is unique and caters to the shifting moods of the viewing audience. “You kind of have to manipulate an audience,” says Miller. “But also know what the audience wants from you.”
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