Editor-in-Chief: Rebekah Tosado
Design: Rafael Prieto
Das Land des Lächelns
(The Land of Smiles)
by Franz Lehár  

Saturday, 23 November 2019

Franz Lehár , ranks among history's greatest composers in the genre of Viennese operetta along with Emmerich Kálmán, Robert Stolz, Johann Strauss II, and many others. We remember him because of his best-known work-- Die Lustige Witwe ( The Merry Widow ). That work started a vogue for Viennese operetta in America, however, many of us don't realize that Lehár wrote some 16 operettas, many songs, and scores for films.   The Washington Opera Society takes great pride in producing one his loveliest operettas, written in 1923, Das Land des Lächelns, (The Land of Smiles), sponsored by the Austrian Cultural Forum. 
  As is the case with all Viennese operetta, one can expect an abundance of three-quarter time waltzes to take prominence. The waltz themes had captured the hearts of Europeans in the latter part of the 19 th century/early 20 th century. This being the case even as the classical music/opera world was undergoing a sea-change with the introduction of verismo— a literary and musical movement whose themes and musical elements focused on “realism”, or on everyday people and situations. No lofty or aristocratic settings and characters are to be found here! The age of Romanticism, with its fanciful melodies and themes would seem to be passing away.      
    Nevertheless, Lehár successfully navigated this apparent contradiction in the tastes of audiences in central Europe and especially those in the Austro-Hungarian Empire.  The themes, oftentimes, frivolous, always romantic with their focus on the rich and the privileged allowed audiences to escape their own ordinary lives much the way the Hollywood generations to follow also will do. We often see a Count or a Duke as the central character. Age-old themes included conflicts between the classes, where young lovers from the worlds of the rich and the poor would be portrayed usually ending well with the young lovers triumphant!  Some 80 years before, Verdi’s heroine Violetta did not fare so well when the father of her suitor pays her a little visit and invites her to take a hike and leave his son alone. The café scene which was alive and well in Central Europe before World War I is quite often where you will find many our heroes and heroines busying themselves in pursuit of the most handsome or the most beautiful lover. Even today, we are fascinated by the plots, the titles, the lavishness of the lifestyles; the ostentatiousness of the Empire which allows us to take a peek into a bygone world. It seems that war has a way of ruining all of that which was certainly the case in 1917. 
Das Land des Lächelns) is a romantic operetta in three acts. The work was originally produced under the title Die Gelbe Jacke ( The Yellow Jacket ) which was first presented at the Theater an der Wien , in Vienna, on February 9, 1923 . It was not a great success, and Lehár later revised it, under the new title of Das Land des Lächelns, which was first performed, at the Metropol Theater in Berlin, on October 10, 1929 with rousing success.
      Set in Vienna and China in 1912. A visiting Chinese Prince, Sou-Chong has taken a fancy to Countess Lisa. This unconventional courtship for those times is quite shocking, because of the interracial relationship. Nevertheless, they are soon married and the Prince scurries Lisa off to live in China. We can suppose that the custom of having multiple wives in China at that time was not what Lisa bargained for and soon her love changes to hatred. The heartbreak is overwhelming!
    The title “Land of Smiles” refers to the Chinese custom of smiling, whatever happens in life. This was another version of the “East-has-difficulty-meeting-West,” a theme so popular at the turn the century. Prince Sou-Chong has a song early in the show, " Immer Nur Lächeln " ("Always Smiling") which describes this custom.
    Lavishly produced, the original show was built largely around the performance of the tenor Richard Tauber , a close friend of Lehár, for whom he customarily wrote a Tauberlied  (a signature tune exploiting the exceptional qualities of his voice) in each of his later operettas. On this occasion, it was Dein Ist Mein Ganzes Herz ("You are my heart's delight"), probably the most famous of all the Tauberlieder . Interestingly, this “tune” was said to be the most well-known melody in the first half of the 20 th century. Ask most people today if they know it and you may get a blank stare.  It would seem that the days of romantic love have passed us by.
    After the war, Viennese opera declined in popularity as new kinds of popular music took over the scene, including blues and American popular dance tunes. Young people especially were not interested in anything reminiscent of the war, the Empire, the horrors of the past, even the music!  Lehár tried to incorporate these new elements into the Viennese genre, and he was successful. His success in the 1920s was also due to Richard Tauber , who could handle Lehár 's challenging vocal roles. Two of Lehár 's best operettas from the postwar period include Der Zarewitsch ( The Tsarevitch ) of 1927 and Das Land des Lächelns of 1929.
The Washington Opera Society’s holiday extravaganza will bring you back to old Vienna before the war as Prince Sou-Chong and Countess Lisa sing their hearts out for you. Romantic love returns to Washington! Our lavish production sponsored by the Austrian Cultural Forum, will include a full orchestra, chorus, and unforgettable melodies. Tickets will go on sale for the November 22nd production soon. A German dinner with wine will complete the evening as we usher in the Christmas/Hannukah season with a splash in the tradition of the old Empire! Those of you who came to our operetta, Die Csárdáshfürstin last year at the Embassy of Uzbekistan will remember what a smashing time we had. Don’t miss it!  -- Doria Kaplan & Michael Reilly

 Featuring: Alexandra Razskazoff, Michael Butler, 
Alyssa Packard, Peter Joshua Burroughs

Orchestra conducted by  Maestro Julien Benichou
Narrations provided by  Dr. Scott Beard
Something Great Is Happening in Van Ness

   On May 17 th , the Washington Opera Society presented a great production of Aida at the Embassy of the Republic of Egypt in the Van Ness Embassy Compound . Long known for the resident embassies of Israel and Austria, the Compound is now home to many embassies including the Egyptian diplomatic presence in Washington, DC. 
    More important than the buildings that grace the former vacant wooded area behind the University of the District of Columbia and the former Intelsat building, is the culture being produced at these venues. Austria is long-known for being the host to cultural events ranging from piano concerts to larger musical events with a capacity of some 400 persons. Now, the Egyptian Embassy is coming to the forefront and welcoming local companies like the Washington Opera Society as it takes its place as cultural leaders in the production of great art in the Nation’s Capital. 
    The Aida production is an excellent example of how arts-producing companies like the WOS can partner with non-European embassies, traditionally not thought of as venues for opera in the world, in the production of grand opera.  His Excellency Nasser Reda , Ambassador of the Arab Republic of Egypt and Mrs. Reda have changed this thinking when they hosted an audience of some 400 patrons for the May 17 th extravaganza. 
    Leading the 26-piece orchestra was Principal Conductor, Maestro Julien Benichou with Dr. Scott Beard providing narrations of unequaled comedic and educational relief. Appearing as Aida was Rochelle Bard, a soprano of extraordinary talents and described as an “exquisite singing actress.” Interpreting the role of “Amneris” was our returning mezzo-soprano superstar, Lisa Chavez. Ms. Chavez, whole portrayed “Carmen” in last year’s WOS production of the same name at the Embassy of France, has been described as born to play Carmen and has now become a leading mezzo in other roles as well, including Amneris. The part of Radamés, was sung by tenor Arnold Rawls , and the King of Ethiopia was portrayed by bass/baritone Kevin Short. All of the lead singers have sung at the Metropolitan Opera and/or other great opera houses in the world.  Portraying the 4 secondary roles were Adia Evans-Ledon, Jeremy Harr, Christian Simmons, and Michael Butler . These outstanding young singers have yet to make their mark on the world’s stages but, nevertheless, will be the stars of tomorrow thanks, in part, to the Mission of the WOS, which strongly believes in giving young singers with little experience a chance to appear with world-famous leading singers. 
    The 25-member chorus was the Carter Legacy Singers , a professional group of choristers founded at Morgan State University. These young talents, all minorities, are the best examples of young people excelling in their chosen careers in opera, gospel, and other classical genres of choral music.
    It is the Mission of the Company to promote and present grand opera to younger audiences in the Nation’s Capital and the WOS is doing this by offering discounted tickets. We now see young professionals, married younger people, along with the traditional opera lovers, and those patrons from the suburbs of Washington, DC willing to come into the city for an enjoyable evening of a great dinner and a full opera at an embassy.  Washingtonians are realizing that they don’t have to travel to New York to the Met or even to the Kennedy Center to hear great opera performed by world-class professionals. As Executive Director and founder of the Company, I say it’s like the lines from the Judy Garland movie Meet Me In St. Louis when the star exclaims “everything is right here---in St. Louis!“ Of course, this is Washington, DC and, as far as grand opera is concerned, we can now find it in abundance right here.       --Michael J. Reilly
Spotlight on the Amazing Carter Legacy Singers

Patrons of the Washington Opera Society have been delighted by the voices of the Carter Legacy Singers at WOS’s productions of Carmen, Die (the Gypsy Princess), and Aida but just who are the Carter Legacy Singers? 
These talented and spirited musicians are part of a community-based ensemble dedicated to the late Doctor Nathan Carter. Dr. Carter, a graduate of the Hampton Institute, the Julliard School of Music, and Peabody Conservatory of Music, was the chorale conductor and 30-year chairman of the music department of Morgan State University, one of the nation’s most diverse Historically Black Colleges and Universities. An important figure in American music, he led the Morgan choir to becoming an internationally renowned and award winning organization. Dr. Carter performed for Pope John Paul II and led the Morgan choir at performances at the White House during the administrations of Presidents Clinton, Reagan, and Carter. A “relentless perfectionist,” he “drilled his choristers in the finer points of phrasing, diction, and musical dynamics.” The Carter Legacy Singers is comprised of many of the finest voices who were influenced by Dr. Carter’s teachings.
Quote from CLS director Angelo Johnson:
While the Carter Legacy Singers also perform classical music, gospel, and jazz, one observer noticed that opera is part of the ensemble’s DNA. Dr. Carter, was born in Selma, Alabama to a father who was a minister who taught at Selma University and a mother who was a former school principal and talented soprano. His daughter Lynn Carter is a classical soprano." WOS is honored to work with the Carter Legacy Series!
--Rebekah Tosado


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