Living

Laughs in the libretto

New Wolf Trap-commissioned opera ‘The Inspector’ debuts next week

Published

15 years ago

April 21, 2011

‘The Inspector’
A world-premiere opera based on Gogol’s play ‘The Inspector General.’ Music by John Musto, book and libretto by Mark Campbell. April 29 at 8 p.m. and May 1at 3 p.m.
Free one-hour talk at the Center for Education, next door to The Barns, an hour prior to each two-hour show.
The Barns at Wolf Trap
1645 Trap Rd., Vienna, VA
Tickets: $32-$72
877-965-3872/wolftrap.org

Mark Campbell (Blade photo by Michael Key)

Comedy is a different animal when it comes to opera.

That’s the experience of Mark Campbell, author of a new comic opera, “The Inspector,” that features his laugh-out-loud, incisive libretto matched perfectly to the expressive melodies in composer John Musto’s sophisticated-yet-fun style. It comes to the stage in its world premiere at The Barns at Wolf Trap on three nights beginning Wednesday.

Based on all advance indications, it will be another triumph for the veteran collaborators, Campbell and Musto, whose comic operas “Volpone” won major plaudits at Wolf Trap in 2004 and returned there for a successful reprise in 2007.

“We were their matchmakers,” Kim Witman, Wolf Trap Opera’s director, rightly boasts, about bringing the two together for “Volpone,” and she admits that “anytime you do that, you just don’t know at the beginning what’s going to work or not.”

This combo worked so well, says Witman, “that we’ll take the credit” for making it happen. About “The Inspector,” she says, “They both have an approach to this work that is modern in feeling, not as in avant-garde” — which in opera can be cold and remote — “but that hits the sweet spot.”

“The Inspector,” an update of the 1836 classic tongue-in-cheek satirical play by Russian writer Nikolai Gogol, “intersects as music and words,” she says, “with its own spin on our contemporary world, because this is not about high art, but they each set out to entertain.”

What’s great about the two, she adds, is that “they use actual English words and the same syntax you would use if you spoke to someone on the street, so it doesn’t feel theatrical, it just sounds familiar,” in Campbell’s way with words and Musto’s melodic punctuation.

Witman, an old hand at making opera come alive for new audiences, admits that “We’re hampered by the fact that we are called opera,” but she stresses, “in many ways ‘The Inspector’ is really musical theater. It’s simply that it’s sung by people with operatically trained and expressive voices, without microphones.” She points out that on Broadway, singers’ voices are amplified, but not in opera. “That’s what makes it opera,” but with “The Inspector,” she says, “in everything else it could just as easily be musical theater.”

Opera is alienating to some, she says.

“Many people won’t come out to anything called opera, because they think they’ll feel stupid or that it’s stupid because they can’t understand it. It’s because of the trappings of opera, the exaggerated posturing, that people stay away, and because it’s in another language, so people think ‘I won’t understand it,’ and because they think it’s going to be five hours long.”

But “The Inspector” is sung in English, with constant wisecracks, and she says, “is very fast,” clocking in at just two hours long.

Campbell — who is gay, and openly declares, “I’m single and available for marriage, unfortunately not yet in New York (he lives in New York City), but in D.C.” — says that he and Musto “were told to write a comedy because they (Wolf Trap) loved ‘Volpone,'” which was based on the English play of that name (in Italian it means “sly fox”) written by Ben Jonson and first produced in 1606.

Musto is Italian — half Sicilian and half Neapolitan — so Campbell says that when they put their heads together they soon decided to revamp and relocate the classic Gogol comedy, set in Tsarist Russia, to Mussolini-era Italy, and instead of Russian-flavored music, Campbell says it is very Italian in flavor, with tarantellas, those Italian folk dances with fast upbeat tempos, not cossack-style dances.

“The composer must help make the opera funny,” and all of Musto’s music, says Campbell, is created to make sure that the comedy of the libretto — the words — lands with flair and funny impact.

This is their fourth opera together. Three are comedies, and the fourth, says Campbell, has comic elements — “Later The Same Evening,” based on the paintings of American artist Edward Hopper.

“When it comes to comedy, we know how to do this,” he says.

That doesn’t mean it’s easy.

“It’s harder to do than drama, because it must do the same thing that drama does, create clear characters who want something, the same thing as when you tell any story, but it must also be funny.”

Campbell says that “you’d have to ask my friends if I’m funny” but that he thinks that he’s “actually a pretty miserable person, as are most people who have a comic bent, because at the core of their heart is something that’s pretty dark.”

Soprano Anne-Carolyn Bird, who sings the role of the mayor’s daughter, Beatrice, in “The Inspector,” agrees. She has worked with Campbell before, in the 2007 revival of “Volpone,” when she also sang on the cast recording of it which was nominated for a Grammy.

“He’s very friendly,” she says, “but at the same time he’s very private, and a lot of artists are like that.”

“We know how to bond with people, but we save ourselves for a few people and put the rest into our art,” so she says that “you get to know more about Mark by reading his work than by spending time with him in a casual setting.”

And “The Inspector” is funny, albeit set in a dark time, in late 1920s Sicily, when the new Italian dictator, Benito Mussolini, the fascist leader, or “Il Duce,” decided to try to clean up the inbred corruption on the island with its Mafia-style gangs that ruled in politics and society with a heavy hand of thuggery and thievery.

“His ego had been hurt,” says Campbell, who spent a long time researching the history of the period, “so he sent in his own inspectors — called “prefetti,” or prefects — to clean up the corruption in local power centers on the island. So the scene is set for the village (imaginary but based on his research) of Santa Schifezza, whose local mayor’s rule is both criminal and unchallenged, until someone the mayor (Fazzobaldi) believes to be Mussolini’s inspector arrives.

Tancredi, this mysterious stranger, traveling with his manservant Cosimo — exceedingly smart, acerbic even, and definitely more pragmatic than his “master” — arrive just as the citizens of Santa Schifezza have gathered to rehearse the town’s new anthem — which is so bad it’s utterly funny — for the next day, Municipal Mayor Day, a day Mayor Fazzobaldi has instituted in honor of himself.

But the mayor has been informed that an inspector from Rome will soon arrive, incognito, and put at risk the entire way of life, based on corruption, he has worked so hard to keep going. When the goofy twins, Bobachina and Bobachino, who run the post office, stumble in with the news that they have spotted a new arrival at the inn, and that he is tall, eloquent, elegant — and blond — the mayor immediately jumps to the conclusion that he must be the anticipated inspector.

“Comedy as a form of theater is different from humor,” says Campbell, born in D.C. and a Maryland resident until age 12. “In opera it’s usually found,” he says, “when characters are so obsessed with something — with greed or in the case also with abuse of power — that audiences don’t find it sad but funny.”

But he says his own favorite moments in comic operas are the sad or tragic moments, such as in the character of Figaro from the Beaumarchais play which formed the basis for Mozart’s opera “The Marriage of Figaro” and Rossini’s opera “The Barber of Seville.”

“I have done my job,” Campbell says, “if I have first seduced people with the jokes and then pull a 180-degree turn and stop them dead in their tracks, surprising them with an incredibly sad moment. Opera allows you to do that, and in many other art forms you just can’t do this so efficiently, because it has music which allows you to cut to the chase faster than with mere language.”

Campbell, who wrote the funny lyrics to the musical “And The Curtain Rises,” which just closed its world-premiere run at the Signature Theatre in Arlington, has also just come from Norfolk, Va., where the Virginia Opera premiered this month his musical theater piece based on a Civil War theme, “Rappahanock County,” in collaboration with the composer Ricky Ian Gordon, who is also gay and whose own musical “Sycamores” premiered last year at Signature Theatre.

Campbell is philosophical about being single, having been, he says, “in several long-term relationships, which were fairly happy ones, but I am not someone who believes in love forever, because people change and can evolve into a relationship and then evolve out of it.”

Three of his former partners “are now among my best friends,” he says. “If you love someone, you want them to be happy, and if you’re truly invested with someone it’s just a matter of reformatting the relationship.” But he’s also realistic — because first “you must get past the awkwardness of the first couple of years and the first new boyfriends.”

Could a comic opera on the subject be far behind?

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A magical Mercedes

S-Class continues to define what luxury really means

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1 week ago

May 23, 2026

Joe Phillips

Mercedes S-Class

At my stage of life — “somewhere between 40 and death,” as the iconic line goes in the musical “Mame” — I want some pampering. A lot of pampering.

Luckily, for anyone who constantly craves a soothing spa, steam room or sauna, there’s the completely updated Mercedes S-Class. This flagship sedan is now so full of glitz, glamour, and gee-whiz gadgetry, it gives new meaning to the term “auto erotica.”

Does this make the S-Class a “gay” ride? For me, any vehicle that pushes my buttons like this one is a Kinsey 6.

MERCEDES S-CLASS

$122,000 (est.)

MPG: 21 city/31 highway

0 to 60 mph: 4.3 seconds

Trunk space: 19 cu. ft.

PROS: Exceptional comfort. Ultra-quiet cabin. Cutting-edge safety.

CONS: Price climbs fast. Tech learning curve. Sportier competitors.

The S-Class continues to define what luxury really means, with a bolder silhouette, larger grille, and striking, next-gen LED headlights. There’s also an optional illuminated Mercedes star on the hood. Overall, nearly 2,700 parts are new or improved, so more than 50 percent of this vehicle has been updated. An extreme makeover, to be sure.

At the same time, this latest S-Class leans harder into intelligence and electrification than ever before. Under the hood, a range of turbocharged inline-six and V8 engines — paired with mild-hybrid systems — deliver power in a way that seems almost edited for smoothness. Braking is solid and strong, too, but never abrupt. All the engineering is fine-tuned and intentional.

Yes, the top-of-the line S580 version is more expensive, almost $140,000. But it’s also blisteringly fast, zipping from 0 to 60 mph in just 3.9 seconds. That’s as lickety-split swift as a Lamborghini Revuelto supercar, which has a starting MSRP of $610,000 and can easily exceed — yowza! — $800,000.

Colors? There are 150 to choose from for the exterior and 400 for the interior. You can even customize the illuminated door sills, interior stitching and wheel accents.

And the ride quality? Sublime. Adaptive air suspension reads the road constantly, leveling out imperfections before they even register. Rear-axle steering enhances maneuverability, making this full-sized sedan feel surprisingly nimble in tight spaces. On the highway, the S-Class simply glides like a private yacht on the calmest of seas — extremely quiet, composed and completely unbothered.

Whenever you slide inside, the cabin immediately sets the tone. A massive OLED digital display — the same high-def technology used for cinematic viewing and gaming monitors — anchors the dashboard, running the latest MBUX infotainment interface. Highly customizable, this software allows for advanced voice commands that feel natural, not forced. And an augmented-reality navigation system takes your route and overlays it onto live camera feeds. It’s intuitive — mostly, as there is a learning curve for all this cutting-edge gear. Overall, though, such amenities make older setups feel like dial-up internet.

A Burmester surround-sound stereo is available in 3D or 4D, with up to 31 speakers, 1,690 watts and tactile transducers in the seats that vibrate and pulse with the music. Those seats are, of course, extremely comfortable. And the seatbelts? These are now heated.

Let’s not forget the latest cabin air-filtration system, which can remove ultra-fine particles to deliver air quality that rivals medical environments. Clean air, yes, but even this seems like a special treat. It’s like being swaddled in couture, not ready-to-wear.

And lastly, there’s the rear-seat area, which — to be honest — is where the S-Class really shines. Executive packages offer multi-contour reclining seats with rapid heating and ventilating, heated armrests and massage functions. You can opt for a footrest, which ups the glam factor to give you a calf massage. Dual 13.1-inch display screens come with their own remote controls. There’s also a video-conferencing feature, to help transform the rear cabin into a fully connected mobile office. For me, it feels less “back seat” and more “private lounge.”

Even in fiction, high-tech luxury carries weight. Tony Stark helped cement the idea that state-of-the art vehicles can be aspirational, not just practical. The magical S-Class fits right into that narrative — minus the flying suit (for now).

Advice

I’m a 64-year-old single gay man and I hate my life

How can I turn things around before it’s too late?

Published

1 week ago

May 22, 2026

Michael Radkowsky

I’m officially old, maybe even nearing the finish line and I’m getting bitter.

Dear Michael,

I’m a 64-year-old single gay man and I hate my life.

I’ve never had a relationship that lasted more than a few months. I can’t say why. I don’t think I’m defective. I wasn’t unattractive when I was younger (still not bad looking), I think I’m an interesting person to spend time with, but everything always seemed to fizzle out.

Thankfully, I missed AIDS because I came out after people knew what to do. Sometimes I wonder if fear of contracting the virus metastasized into a fear of getting close. I don’t know. I don’t think I’ve consciously kept people away. Consciously I have wanted someone to share my life with, very much.

With my 65th birthday and official senior citizen status approaching, I’ve been taking stock of my life and am coming to the hard realization that I’m never going to find that elusive partner.

I don’t go out anymore because people look right through me, except the ones who have a fetish for older guys. No one’s actually interested in me as me, a unique person rather than what they see on the surface.

I’m tired of my coupled friends. They’re always talking about “we.” Yes, I have become resentful that they have what I want and will never get. I know that’s not admirable but it’s how I feel, secretly, and I am sick of feeling like this when I am around them. So why be around them?

And I’m tired of my friends who are focused on sex all the time. It just all feels like a waste of time. I don’t get anything from a hookup anymore, they’ve been feeling increasingly meaningless. I feel like I’m someone’s momentary opportunity to get off, rather than any kind of real connection.

I’m just sick of the whole chase I’ve been doing for the last 40+ years.

I’m realizing that the whole thing has been pointless, a quest for a partner who is never going to materialize and a lot of diversions along the way that have added up to a despairing feeling that I’ve wasted my life trying to get something that will never happen.

Gay life hasn’t been so gay for me. And I’m officially old, maybe even nearing the finish line. Yes, if you haven’t noticed, I’m getting bitter.

What do I do with this dead end?

Michael replies:

How about looking for a different road to go down?

I’m not going to challenge your belief that you aren’t going to find a partner. I think it’s possible that you could, because there are other guys out there, in your age range, who are looking. But you have no guarantee, especially if you have decided to take it off the table.

So what else can you do with your life? How can you make your remaining time on this earth well-lived?

From your letter, it’s clear what you don’t want to do: Look for a boyfriend, hook up, or spend time with your current friends. Surely there must be more possibilities for your life than those options.

So my advice is to figure out some things you care about and start doing them. Travel? Volunteering? Getting a companion animal? Taking classes? Finding a new career? Those are just a few of the ideas I can come up with, but I don’t know you. What ideas can you generate, that you suspect you’d like to pursue?

In other words, start putting one foot in front of the other and go in some new directions that intrigue you enough to explore.

Sitting around feeling miserable does not help you to get anywhere. It keeps you feeling miserable. Sitting around waiting to feel better does not lead you to feel better. What would help you get to a better place would be to start taking action on your own behalf. Always keep in mind that while you are alive, with your faculties intact, you do have the choice to take this step, over and over and over again.

If you give yourself something (or some things) worthwhile to put your focus on, and do your best to shift your focus there whenever you notice that you are lamenting, I’m hopeful you will create a more fulfilling and meaningful life.

I’m also hopeful that if you are spending time doing things that you actually enjoy and that enrich your life, you may find more satisfying companionship than you are experiencing with your current friend group. (And yes, this could include a romantic relationship if you decide to be open to this possibility.)

A brief reply in an advice column can point you in the right direction, but it is likely not enough to sustain and motivate you through a major life overhaul.

Therefore, I suggest that you find a therapist to help you figure out how to move forward and what to move toward; and also to grieve, and put to rest as best you can, the loss of the life you hoped you would have.

I know that transcending the loss of a huge lifelong dream may seem impossible. But working toward this, as best you are able, would help you.

Relatedly, one more thing that I hope you can address with a therapist is your bitterness. I do understand why you feel so bitter, and I also think that it is torquing your life in a downhill direction.

Michael Radkowsky, Psy.D. is a licensed psychologist who works with couples and individuals in D.C., Maryland, Virginia, and New York. He can be found online at michaelradkowsky.com. All identifying information has been changed for reasons of confidentiality. Have a question? Send it to [email protected].