Living

Laughs in the libretto

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

Published

13 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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Real Estate

The rise of virtual home tours

Adapting to changing consumer preferences in spring real estate

Published

2 days ago

April 26, 2024

Jeff Hammerberg

Looking for a home? Virtual tours hold special benefits for queer buyers.

In today’s dynamic real estate market, the spring season brings not only blooming flowers but also a surge of activity as buyers and sellers alike prepare to make their moves. However, in recent years, there’s been a notable shift in how consumers prefer to explore potential homes: the rise of virtual tours.

For the LGBTQ community, these virtual experiences offer more than just convenience; they provide accessibility, safety, and inclusivity in the home buying process.

Gone are the days of spending weekends driving from one open house to another – unless that’s your thing of course, only to find that the property doesn’t quite match expectations. With virtual tours, you can explore every corner of a home from the comfort of your own space – find something interesting? Schedule a showing with any LGBTQ Realtor at GayRealEstate.com.

This is particularly significant for LGBTQ individuals, who may face unique challenges or concerns when attending in-person showings. Whether it’s the ability to discreetly view properties without fear of discrimination or the convenience of touring homes located in LGBTQ-friendly neighborhoods across the country, virtual tours offer a sense of empowerment and control in the home buying process.

Moreover, virtual tours cater to the diverse needs of the LGBTQ community. For couples or families with busy schedules or those living in different cities or states, these digital walkthroughs provide a convenient way to view properties together without the need for extensive travel. Additionally, for individuals who may be exploring their gender identity or transitioning, virtual tours offer a low-pressure environment to explore potential living spaces without the added stress of in-person interactions.

At GayRealEstate.com, we understand the importance of adapting to changing consumer preferences and leveraging technology to better serve our community. That’s why our agents offer an extensive selection of virtual tours for LGBTQ individuals and allies alike – visit our website, choose an agent and within minutes you’ll have access to the Multiple Listing Service (MLS) via their website.

From cozy condominiums in bustling urban centers to sprawling estates in picturesque suburbs, virtual tours showcase a wide range of properties tailored to diverse tastes and lifestyles.

In addition to virtual tours, GayRealEstate.com provides comprehensive resources and support to guide LGBTQ buyers and sellers through every step of the real estate journey. Our network of LGBTQ-friendly agents is committed to providing personalized service, advocacy, and representation to ensure that all individuals feel respected, valued, and empowered throughout the process. Plus, we are happy to provide a free relocation kit to any city in the USA or Canada if you are a home buyer.

As we embrace the spring season and all the opportunities it brings in the real estate market, let’s also celebrate the power of virtual tours to revolutionize the way we find and experience our future homes. Whether you’re searching for your first apartment, forever home, or investment property, GayRealEstate.com is here to help you navigate the exciting world of real estate with confidence, pride, and inclusivity.

Jeff Hammerberg is founding CEO of Hammerberg & Associates, Inc. Reach him at [email protected].

Advice

Should I divorce my husband for the hot new guy in our building?

Debating whether to leave or stay after the sex goes cold

Published

2 days ago

April 26, 2024

Michael Radkowsky

Dear Michael,

I’ve been with my husband for 10 years and the sex is pretty much gone. It stopped being exciting a long time ago and pretty much the only time we ever do it is with the occasional third.

A really hot guy moved into our building about a year ago. We would see each other sometimes in the elevator or at our building’s gym and we started talking and really hit it off. Mark is 15 years younger than I but we seem to have a lot in common. We started hooking up and the sex is amazing.

I haven’t told my husband because it’s breaking our rule about no repeats. I have to say that the secrecy is hot. It’s kind of a thrill to take the elevator upstairs when I say I’m going on an errand. But it’s more than that. I have a connection with Mark that is far more amazing than what I have ever felt with my husband. Not just the sex. We just enjoy being together, talking about anything and everything.

My husband went to visit his family last weekend and I spent the whole time with Mark. Since then I can’t stop thinking that I want to leave my husband and be with Mark.

Part of me thinks this is a crazy mid-life crisis. I mean, this kid’s in a totally different place in life. But we have mind-blowing sex and a fantastic connection. I’d like your thoughts on how to proceed.

Michael replies:

You’ve got a lot to consider.

First: Sex with a long-term partner changes over time. It tends to be less about erotic heat and more about the connection with a person whom you love. In other words, it’s being with the person you’re with that makes the sex meaningful and even great. Having a good sexual relationship with a long-term partner comes far more from a heart connection than from a crotch attachment.

Second: You seem ready to throw your relationship under the bus pretty quickly, without addressing other problems in the relationship besides sex. When you are sneaking around, lying, and rule-breaking , I don’t see how you can look your husband in the eye; and if you can’t look him in the eye, you certainly can’t have even a half-way decent relationship.

Yet another point to consider: Affairs pretty much always seem more exciting than marriage. The partner is new, which almost automatically makes the sex hotter; the secrecy is a thrill; and you don’t have to deal with paying the rent, house chores, and all the petty annoyances of living up-close with someone day-in, day-out.

You are bringing lots of energy to your affair, and everything about it is exciting. You are bringing no energy — at least no positive energy — to your marriage. You get what you put into a relationship.

Divorce is not something that should be entered into lightly. Be aware that if you leave your husband for Mark, you will no doubt find over time that the sex becomes less exciting and that the connection is not always fantastic. No surprise, 75 percent of marriages that begin with affair partners end in divorce. While I don’t think statistics predict what will happen to any particular couple, believing that you will have a significantly better relationship with your affair partner than you did with your husband sets you up for likely disappointment.

Many gay men focus on “hot sex” as the big draw, pursuing a lot of sex with a lot of men, and/or pursuing an ongoing series of relationships that last until the sex cools. If that’s what you want, that’s fine. But it’s a different path from pursuing a close and loving long-term relationship, which involves knowing someone well and having him know you well; collaborating on getting through the hard stuff life throws at us; finding ways to make peace with disappointment; and consistently striving to be someone worth being married to.

How to proceed? While you are the only person who should make that decision, I would suggest that whatever your choice, keep in mind that marriage can be more than what you’ve made of it, so far.

Michael Radkowsky, Psy.D. is a licensed psychologist who works with couples and individuals in D.C. 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].

Autos

Sport haulers: Jeep Grand Cherokee, Mercedes GLE-Class

Updated cabins, adept handling, and more

Published

1 week ago

April 20, 2024

Joe Phillips

Jeep Grand Cherokee

Now that March Madness and the Masters are over, it’s time for, well, everything else. For my husband and me, this means water sports, as in kayaks and rowing sculls, which is why we trekked to the Potomac for the George Washington Invitational regatta last weekend.

Alas, high winds splashed cold water on the event, canceling much of it. But there was still plenty of spirited camaraderie to rival “The Boys in the Boat.”

And I was reminded of my time years ago as a rower with D.C. Strokes, ferrying teammates to races up and down the East Coast. Back then my ride was a dated, rather cramped four-door sedan.

If only we could have paddled around in a sporty SUV like the two reviewed here. Now that would have been some smooth sailing (wink-wink).

JEEP GRAND CHEROKEE

$40,000

MPG: 19 city/26 highway

0 to 60 mph: 7.5 seconds

Maximum cargo room: 37.7 cu. ft.

PROS: Updated cabin, adept handling, strong towing

CONS: So-so gas mileage, no third row, pricey trim levels

IN A NUTSHELL: Rough, tough and buff. It’s doesn’t get much more butch than a Jeep. This year’s Grand Cherokee is no exception, with rugged looks, expert off-road capability and better-than-average towing capacity of 6,200 pounds.

There are a dizzying number of trim levels—more than a dozen—starting with the barebones base-model Laredo at an affordable $40,000. The lineup tops out with the Summit Reserve 4xe PHEV, which is almost twice the price at $76,000 and one of various plug-in hybrid versions available. Those plug-in hybrids can drive up to 25 miles on all-electric power before the four-cylinder gas engine kicks in. Otherwise, you can choose from a standard V6 or V8. Gas mileage on all trim levels is basically the same as the competition.

Where the Grand Cherokee really shines is in the handling. More refined than a Wrangler but less lavish than a Land Rover, this Jeep maneuvers just as well on city streets and highways as it does on bumpier terrain.

I tested the mid-range and mid-priced Overland, which comes standard with four-wheel drive and large 20-inch wheels. It also boasts a slew of niceties, such as quilted upholstery, panoramic sunroof and high-tech digital displays. These include a 10.25-inch infotainment touchscreen and rear-seat entertainment system.

The nine-speaker Alpine stereo, designed specifically for the Grand Cherokee, is pleasing. But I really wanted to hear the boffo 19-speaker McIntosh surround-sound system that Jeep also offers. Sigh, it’s only available on the premium Summit trim level.

MERCEDES GLE-CLASS

$64,000

MPG: 20 city/25 highway

0 to 60 mph: 6.6 seconds

Maximum cargo room: 33.3 cu. ft.

PROS: Lush interior, silky-smooth suspension, speedy

CONS: Some confusing electronics, tight third row, many competitors

IN A NUTSHELL: For a more high-class hauler, there’s the Mercedes GLE-Class. This midsize SUV is similar in size to the Jeep Grand Cherokee. But instead of seating five passengers, the GLE can carry up to seven. Sure, legroom in the optional third row may be tight for taller travelers, but it’s perfect for a cocky cockswain or two.

Six trim levels, ranging from the base-model GLE 350 to two high-performance AMG models. For eco-conscious buyers, the GLE 450e plug-in hybrid arrived earlier this year and can run on battery power alone for almost 60 miles.

My test car was the top-of-the-line AMG 63 S 4Matic, a head-turner in every way. Priced at a whopping $127,000, this GLE looks best in glossy black with the Night Package, which includes tasteful jet-black exterior accents and matte-black wheels. To complete the Darth Vader effect, there’s a deep, menacing exhaust rumble that’s downright threatening.

You expect such a ride to be wicked fast, and it is: 0 to 60 mph in a blistering 3.7 seconds. Yet the carbon ceramic brakes with their devil-red calipers are equally impressive in slowing things down quickly.

Inside, each GLE comes with two large digital displays on the elegantly sculpted dashboard. My favorite feature is the “Hey Mercedes” digital assistant, which responds to voice commands such as opening or closing the sunroof, operating the infotainment system or activating the climate controls.

It’s hard to find sport seats that are more comfortable, especially with the heavenly massage function (though those massage controls could be a bit more user-friendly.) For AMG models, the seats come with red-contrasting stitching and red seatbelts—a nod to the devilish demeanor under the hood.

Considering all the SUVs available in showrooms, few make quite the splash of a GLE.