KIDFEST: PUPPY PALS LIVE—SOLD OUT

HIFF Now Showing: Maria by Callas

Throughout the winter and spring, HIFF presents NOW SHOWING, a series of screenings that brings notable films currently in theaters to the East End. Curated by HIFF, NOW SHOWING features acclaimed first-run art house, independent, and world cinema at Guild Hall of East Hampton.

Synopsis:
Upon her untimely death in 1977, the name Maria Callas was inseparable from the art form that she helped to define in the 20th century. One of the most celebrated opera singers of the modern era, Callas rose to prominence in the years following World War II, as her unrivaled voice—and much discussed private life—captivated audiences worldwide. Culled from a treasure trove of archival footage, interviews, rare live footage, and personal Super 8 recordings, director Tom Volf creates a loving portrait of Maria through her own words, never losing sight of the woman behind the voice.

Guild Hall Game Night

Out with the old, in with the new! In the past couple decades, game designers have been creating fascinating, immersive games that make Monopoly seem like it was designed in 1905. Game night no longer means suffering through hours of rolling dice in Monopoly or Risk. Today’s games cultivate creativity, problem solving, social skills, and dexterity through clever game design. Join Guild Hall and Game Master Noah Salaway in embracing the tabletop revolution as we play some of the best modern games on the market the last Monday of each month. Ages 16 and up only.

This month at Game Night we will be playing Bohnanza, designed by Uwe Rosenberg. Bohnanza is a game about bean farming, and it is one of Noah’s favorite games of all time. In Bohnanza, players trade, plant, grow, harvest, and sell beans to make as much money as possible. The heart of this game is haggling and arguing with your friends over whose beans are more valuable and shouting things like, “Who’s got a green bean for my two wax beans?” This is one of the best negotiation and trading games out there, and shows that great games can be made about anything…even beans.

Entry fee includes snacks generously donated by Carissa’s Breads and Cavaniola’s Gourmet and your first drink free courtesy of Montauk Brewing Company!

Space is limited – purchase tickets in advance!

Operatif Lecture: Biography or Myth? With Victoria Bond

Before the Met Live screening of Verdi’s Aida on Saturday, October 13, at 12 pm, opera lecturer extraordinaire Victoria Bond will give a presentation Biography or Myth: Do opera composers modify history to tell a better story?  Bond will speak about historically-themed operas, including those by Donizetti and Rossini as well as Aida and Bellini’s Norma.  Join us for this Season Opener “Operatif” which includes a light buffet brunch.

Guild Hall opera donors at the $200 level and above enjoy these lectures at no charge. Half-price tickets are available for Met Opera donors of $100. Tickets to the lecture are $30 for all other patrons and may be purchased at the Box Office.

Bond is a powerful force in 21st century concert music, having distinguished herself both as a composer and conductor, being commissioned by major symphonies, chamber orchestras, ballet companies, dance festivals, and opera houses, Ms. Bond is the founder of Cutting Edge Concerts New Music Festival which she produces each spring at Symphony Space in New York. She is also a frequent pre-concert lecturer for the New York Philharmonic.

National Theatre Live Screening: The Madness of George III by Alan Bennett

Multi-award-winning drama The Madness of George III will be broadcast live to cinemas, in National Theatre Live’s first ever broadcast from Nottingham Playhouse. 

Written by one of Britain’s best-loved playwrights Alan Bennett (The History BoysThe Lady in the Van), this epic play was also adapted into a BAFTA Award-winning film following its premiere on stage in 1991. 

The cast of this new production includes Olivier Award-winners Mark Gatiss (SherlockWolf Hall, NT Live Coriolanus) in the title role, and Adrian Scarborough (Gavin and StaceyUpstairs DownstairsAfter the Dance). 

It’s 1786 and King George III is the most powerful man in the world. But his behavior is becoming increasingly erratic as he succumbs to fits of lunacy. With the King’s mind unraveling at a dramatic pace, ambitious politicians and the scheming Prince of Wales threaten to undermine the power of the Crown, and expose the fine line between a King and a man. 

National Theatre Live Screening: King Lear by William Shakespeare

★★★★★ “Ian McKellen reigns supreme in this triumphant production.” – Daily Telegraph
Broadcast live from London’s West End, see Ian McKellen’s “extraordinarily moving portrayal” (Independent) of King Lear in cinemas. 

Chichester Festival Theatre’s production received five-star reviews for its sell-out run, and transfers to the West End for a limited season.  Jonathan Munby directs this “nuanced and powerful” (The Times) contemporary retelling of Shakespeare’s tender, violent, moving, and shocking play. 

Considered by many to be the greatest tragedy ever written, King Lear sees two aging fathers – one a King, one his courtier – reject the children who truly love them.  Their blindness unleashes a tornado of pitiless ambition and treachery, as family and state are plunged into a violent power struggle with bitter ends. 

The Met: Live in HD – Poulenc’s Dialogues des Carmélites

12:00 p.m. ET / Approx. runtime: 3:29 [1 Intermission]

Yannick Nézet-Séguin; Isabel Leonard (Blanche de la Force), Adrianne Pieczonka (Mme Lidoine), Erin Morley (Constance), Karen Cargill (Mère Marie), Karita Mattila (First Prioress), David Portillo (Chevalier de la Force), Dwayne Croft (Marquis de la Force)

ACT I

Paris, April 1789. The first signs of the French Revolution are beginning to shake the country. The Marquis de la Force and his son, the Chevalier, are worried about Blanche, the Chevalier’s fearful, nervous sister, whose carriage has been held up by a mob on her way home. When Blanche arrives she makes light of the incident, but her anxiety is revealed when a servant’s shadow frightens her as she leaves the room. Shaken, she returns to tell her father that she has made up her mind to become a nun.

Weeks later at the Carmelite convent in Compiègne, Blanche is interviewed by Madame de Croissy, the aged and ailing prioress, who makes it clear to Blanche that the convent is a house of prayer, not a refuge. The prioress is touched by Blanche’s resolve to embrace her new life.

Blanche and young Sister Constance discuss their fear of death, which Constance claims to have overcome. Blanche admits her envy of her companion’s straightforward and easygoing nature. Constance shocks Blanche by telling her that she knows they will both die young and on the same day.

Madame de Croissy is lying on her deathbed, struggling to appear calm. She blesses Blanche and consigns her, as the youngest member of the order, to the care of the loyal Mère Marie. The prioress confesses her fear in the hour of death, then she falls back lifeless.

ACT II

That night in the chapel, Constance and Blanche keep vigil by the prioress’s bier. Blanche is overcome by fear and about to run off, when Mère Marie appears. Realizing that Blanche is genuinely afraid she tries to calm her.

Constance hopes that Mère Marie will be the new prioress. She tells Blanche that she wonders why a god-fearing person like Madame de Croissy had to die such an agonizing death. Perhaps, she says, people don’t die for themselves but for others. Someone else will be surprised one day to find death easy.

Madame Lidoine has been appointed the new prioress. In the chapter room, she addresses the convent, counseling patience and humility. A visitor is announced—it is the Chevalier, Blanche’s brother, who is about to flee the country. He urges Blanche to leave the convent and return to their father. Blanche replies that her duty is to her sisters.

In the sacristy, the chaplain, forbidden to perform his duties, celebrates his last mass. The nuns discuss the fear that has grabbed the country and Mère Marie wonders if self-sacrifice will be their destiny. Madame Lidoine reminds them that martyrs are not chosen by their own will, only by God’s. Knocking is heard and the sounds of an angry crowd. Two Commissioners enter and tell the sisters that they have been expelled from the convent. One of them, speaking quietly to Mère Marie, adds he will do what he can to help them get away safely. One of the sisters gives Blanche a figurine of the Christ Child. When revolutionary cries are heard from outside, Blanche nervously drops the figure, breaking it. She is horrified by this omen.

ACT III

In the devastated chapel, Mère Marie suggests in Madame Lidoine’s absence that they all take a vow of martyrdom by unanimous decision. Noting Blanche’s reaction, the others suspect she will vote against it. When the secret ballot reveals one dissenter, Constance claims it was she and asks to reverse her vote so the vow can proceed. Blanche, afraid to live or to die, runs away. The sisters are led from the convent.

Blanche is forced to work as a servant in the ransacked mansion of her father, who has been sent to the guillotine. Mère Marie finds her there to take her back to the sisters. On the streets, Blanche learns that the nuns have been arrested.

At the Conciergerie prison, Madame Lidoine joins the sisters in their vow of martyrdom. Constance says that she has dreamed of Blanche’s return. A jailer enters and reads the death sentence. Madame Lidoine blesses the sisters. When Mère Marie learns from the chaplain that the nuns will die, she wants to join them, but the chaplain reminds her that it is for God to decide whether or not she will be a martyr.

A crowd has gathered on the Place de la Révolution. The Carmelites walk towards the guillotine, led by Madame Lidoine and singing the Salve Regina. With each stroke of the blade, their voices are cut off one by one, finally leaving only Constance. On her way to the scaffold, she sees Blanche step up from the crowd, take up the chant, and follow her to her death.

The Met: Live in HD – Wagner’s Die Walküre

12:00 p.m. ET / Approx. runtime: 5:20 [2 Intermissions]

Philippe Jordan; Christine Goerke (Brünnhilde), Eva-Maria Westbroek (Sieglinde), Jamie Barton (Fricka), Stuart Skelton (Siegmund), Greer Grimsley (Wotan), Günther Groissböck (Hunding)

ACT I

Pursued by enemies during a storm, Siegmund stumbles exhausted into an unfamiliar house. Sieglinde finds him lying by the hearth, and the two feel an immediate attraction. They are interrupted by Sieglinde’s husband, Hunding, who asks the stranger who he is. Calling himself “Woeful,” Siegmund tells of a disaster-filled life, only to learn that Hunding is a kinsman of his enemies. Hunding tells his guest they will fight to the death in the morning.

Alone, Siegmund calls on his father, Wälse, for the sword he once promised him. Sieglinde reappears, having given Hunding a sleeping potion. She tells of her wedding, at which a one-eyed stranger thrust into a tree a sword that has since resisted every effort to pull it out (“Der Männer Sippe”). Sieglinde confesses her unhappiness to Siegmund. He embraces her and promises to free her from her forced marriage to Hunding. As moonlight floods the room, Siegmund compares their feelings to the marriage of love and spring (“Winterstürme wichen dem Wonnemond”). Sieglinde addresses him as “Spring” but asks if his father was really “Wolf,” as he said earlier. When Siegmund gives his father’s name as Wälse instead, Sieglinde recognizes him as her twin brother. Siegmund pulls the sword from the tree and claims Sieglinde as his bride, rejoicing in the union of the Wälsungs.

ACT II

High in the mountains, Wotan, leader of the gods, tells his warrior daughter, the Valkyrie Brünnhilde, that she must defend his mortal son Siegmund in his upcoming battle with Hunding. She leaves joyfully to do what he has asked, as Fricka, Wotan’s wife and the goddess of marriage, appears. Fricka insists that Wotan must defend Hunding’s marriage rights against Siegmund. She ignores his argument that Siegmund could save the gods by winning back the Nibelung Alberich’s all-powerful ring from the dragon Fafner. When Wotan realizes he is caught in his own trap—he will lose his power if he does not enforce the law—he submits to his wife’s demands. After Fricka has left, the frustrated god tells the returning Brünnhilde about the theft of the Rhinegold and Alberich’s curse on it (“Als junger Liebe Lust mir verblich”). Brünnhilde is shocked to hear her father, his plans in ruins, order her to fight for Hunding.

Siegmund comforts his fearful bride and watches over her when she falls asleep. Brünnhilde appears to him as if in a vision, telling him he will soon die and go to Valhalla (“Siegmund! Sieh auf mich!”). He replies that he will not leave Sieglinde and threatens to kill himself and his bride if his sword has no power against Hunding. Moved by his steadfastness, Brünnhilde decides to defy Wotan and help Siegmund. Siegmund bids farewell to Sieglinde when he hears the approaching Hunding’s challenge. The two men fight and Siegmund is about to be victorious, when Wotan appears and shatters his sword, leaving him to be killed by Hunding. Brünnhilde escapes with Sieglinde and the broken sword. Wotan contemptuously kills Hunding with a wave of his hand and leaves to punish Brünnhilde for her disobedience.

ACT III

Brünnhilde’s eight warrior sisters—who have gathered on their mountaintop bearing slain heroes to Valhalla. They are surprised to see Brünnhilde arrive with a woman, Sieglinde. When they hear she is fleeing Wotan’s wrath, they are afraid to hide her. Sieglinde is numb with despair until Brünnhilde tells her she bears Siegmund’s child. Now eager to be saved, she takes the pieces of the sword from Brünnhilde, thanks her, and rushes off into the forest to hide from Wotan. When the god appears, he sentences Brünnhilde to become a mortal woman, silencing her sisters’ objections by threatening to do the same to them. Left alone with her father, Brünnhilde pleads that in disobeying his orders she was really doing what he wished. Wotan will not give in: she must lie in sleep, a prize for any man who finds her. She asks to be surrounded in sleep by a wall of fire that only the bravest hero can pierce. Both sense this hero must be the child that Sieglinde will bear. Sadly renouncing his daughter (“Leb’ wohl, du kühnes, herrliches Kind”), Wotan kisses Brünnhilde’s eyes with sleep and mortality before summoning Loge, the god of fire, to encircle the rock. As flames spring up, the departing Wotan invokes a spell defying anyone who fears his spear to brave the flames.

The Met: Live in HD – Donizetti’s La Fille du Régiment

1 p.m. ET / Approx. runtime: 2:55 [1 Intermission]

Enrique Mazzola; Pretty Yende (Marie), Stephanie Blythe (Marquise of Berkenfield), Javier Camarena (Tonio), Maurizio Muraro (Sulpice)

Tenor Javier Camarena and soprano Pretty Yende team up for a feast of bel canto vocal fireworks—including the show-stopping tenor aria “Ah! Mes amis,” with its nine high Cs. Alessandro Corbelli and Maurizio Muraro trade off as the comic Sergeant Sulpice, with mezzo-soprano Stephanie Blythe as the outlandish Marquise of Berkenfield. Enrique Mazzola conducts.

World Premiere: Opéra Comique, Paris, 1840. This frothy comedy mixes humor with a rush of buoyant melody and notorious vocal challenges. The story concerns a young orphan girl raised by an army regiment as their mascot and begins at the moment of her first stirrings of love. Complications (and comedy) ensue when her true identity is discovered. The action is startlingly simple and unencumbered by intricate subplots, allowing the full charm of the characters and their virtuosic music to come across in an uninhibited way.

Bergamo-born Gaetano Donizetti (1797–1848) composed about 75 operas, plus orchestral and chamber music, in a career abbreviated by mental illness and premature death. Apart from the ever-popular Lucia di Lammermoor and the comic gems L’Elisir d’Amore and Don Pasquale, most of his works disappeared from public view after his death. But critical and popular opinion of his huge opus has grown considerably over the past 50 years. The librettist Jules-Henri Vernoy de Saint-Georges (1799–1875) was a dramatist and the manager of the Opéra Comique. He also wrote the libretto for the enduringly popular ballet Giselle and was a frequent collaborator of the most successful theatrical personalities of his day.

Donizetti’s score is a deft combination of jaunty military tunes, brisk comic numbers, enormously graceful ensembles and vocal solos, and sparkling arias. Not many singers have the technical ability and theatrical presence to deliver the famous fireworks arias (notably the soprano’s Act I “Chacun le sait” and the tenor’s Act I “Ah! Mes amis,” with its notorious nine high Cs). Just as important as these, however, are the lyric beauty and pathos of the slower melodic gems (the soprano’s “Il faut partir” in Act I and the tenor’s “Pour me rapprocher de Marie” in Act II).

The Met: Live in HD – Bizet’s Carmen

1 p.m. ET / Approx. runtime: 3:41 [1 Intermission]

Louis Langrée; Aleksandra Kurzak (Micaëla), Clémentine Margaine (Carmen), Roberto Alagna (Don José), Alexander Vinogradov (Escamillo)

Mezzo-soprano Clémentine Margaine reprises her remarkable portrayal of opera’s ultimate seductress, a triumph in her 2017 debut performances, with impassioned tenors Yonghoon Lee and Roberto Alagna as her lover, Don José. Omer Meir Wellber and Louis Langrée share conducting duties for Sir Richard Eyre’s powerful production, a Met favorite since its 2009 premiere.

Georges Bizet (1838–1875) was known as a brilliant student and prodigy, but his works only found lasting success after his untimely death—most notably Carmen, which premiered three months before he died. Librettist Henri Meilhac (1831–1897) would subsequently provide the libretto for Massenet’s Manon (1884). His collaborator on Carmen was Ludovic Halévy (1834–1908), the nephew of composer Jacques Fromental Halévy (creator of the opera La Juive and Bizet’s father-in-law). The libretto is based on a novella by Prosper Mérimée (1803–1870), a French dramatist, historian, and archaeologist.

The opera takes place in and around Seville, a city that, by the time Carmen was written, had already served many operatic composers as an exotic setting conducive to erotic intrigues and turmoil (Rossini’s Il Barbiere di Siviglia and Verdi’s La Forza del Destino, among others). The hometown of Don Juan, the city also inspired Mozart with Don Giovanni, and Beethoven used Seville as the setting for a study of marital fidelity in Fidelio.

The Met: Live in HD – Cilea’s Adriana Lecouvreur

New Production

1 p.m. ET / Approx. runtime: 3:58 [2 Intermissions]

Gianandrea Noseda; Anna Netrebko (Adriana Lecouvreur), Anita Rachvelishvili (Principessa de Bouillon), Piotr Beczala (Maurizio), Carlo Bosi (The Abbé), Ambrogio Maestri (Michonnet), Maurizio Muraro (Prince de Bouillon). Sir David McVicar (Production); Charles Edwards (Set Designer), Brigitte Reiffenstuel (Costume Designer), Adam Silverman (Lighting Designer), Andrew George (Choreographer), Justin Way (Associate Director)

ACT I

Paris, 1730. Backstage at the Comédie-Française, the director Michonnet and the company prepare for performance, in which both Adriana Lecouvreur and her rival, Mademoiselle Duclos, will appear. The Prince of Bouillon and the Abbé de Chazeuil enter, looking for Duclos, who is the prince’s mistress. They encounter Adriana and compliment her, but she says that she is merely the servant of the creative spirit (“Io son l’umile ancella”). The Prince hears that Duclos is writing a letter to someone and arranges to have it intercepted. Left alone with Adriana, Michonnet confesses his love to her, only to be told that she is in love with Maurizio, whom she believes to be an officer in the service of the Count of Saxony. Maurizio enters, declaring his love for Adriana (“La dolcissima effigie”), and the two arrange to meet after the performance. Adriana gives him a bouquet of violets as a pledge of her love. During the performance, the prince intercepts the letter from Duclos, in which she asks for a meeting with Maurizio, who is in fact the Count of Saxony himself. He is to meet her later that evening at the villa where the prince has installed her. Determined to expose his seemingly unfaithful mistress, the prince arranges a party at the villa for this same night. Unknown to him, Duclos has written the letter on behalf of the Princess of Bouillon who was having an affair with Maurizio. Maurizio, receiving the letter, decides to meet the princess who has helped him pursue his political ambitions. He sends a note to Adriana to cancel their appointment. Adriana is upset, but when the prince invites her to the party and tells her that the Prince of Saxony will be one of the guests, she accepts in the hope of furthering her lover’s career.

ACT II

The princess anxiously awaits Maurizio at the villa (“Acerba voluttà”). When he appears she notices the violets and immediately suspects another woman but he quickly claims they are a gift for her. Grateful for her help at court, he reluctantly admits that he no longer loves her (“L’anima ho stanca”). The princess hides when her husband and the Abbé suddenly arrive, congratulating Maurizio on his latest conquest, who they think is Duclos. Adriana appears. She is astounded to learn that the Count of Saxony is Maurizio himself but forgives his deception. When Michonnet enters looking for Duclos, Adriana assumes that Maurizio has come to the villa for a secret rendezvous with her. He assures her that the woman hiding next door is not Duclos. His meeting with her, he says, was purely political and they must arrange for her escape. Trusting him, Adriana agrees. In the ensuing confusion, neither Adriana nor the princess recognize each other, but by the few words that are spoken each woman realizes that the other is in love with Maurizio. Adriana is determined to discover the identity of her rival, but the princess escapes, dropping a bracelet that Michonnet picks up and hands to Adriana.

ACT III

As preparations are under way for a party at her palace, the princess wonders who her rival might be. Guests arrive, among them Michonnet and Adriana. The princess recognizes Adriana’s voice as that of the woman who helped her escape. Her suspicions are confirmed when she pretends Maurizio has been wounded in a duel and Adriana almost faints. She recovers quickly, however, when Maurizio enters uninjured and entertains the guests with tales of his military exploits (“Il russo Mencikoff”). During the performance of a ballet, the princess and Adriana confront each other, in growing recognition that they are rivals. The princess mentions the violets, and Adriana in turn produces the bracelet, which the prince identifies as his wife’s. To distract attention, the princess suggests that Adriana should recite a monologue. Adriana chooses a passage from Racine’s Phèdre, in which the heroine denounces sinners and adulterous women, and aims her performance directly at the princess. The princess is determined to have her revenge.

ACT IV

Adriana has retired from the stage, devastated by the loss of Maurizio. Members of her theater company visit her on her birthday, bringing presents and trying to persuade her to return. Adriana is especially moved by Michonnet’s gift: the jewellery she had once pawned to secure Maurizio’s release from prison. A box is delivered, labeled “from Maurizio.” When Adriana opens it, she finds the faded bouquet of violets she had once given him and understands it as a sign that their love is at an end (“Poveri fiori”). She kisses the flowers, then throws them into the fire. Moments later, Maurizio arrives, summoned by Michonnet. He apologizes and asks Adriana to marry him. She joyfully accepts but suddenly turns pale. Michonnet and Maurizio realize that the violets were sent by the princess and had been poisoned by her. Adriana dies in Maurizio’s arms (“Ecco la luce”).