​Since it’s March and spring is in the air, weather wise, I thought I would take you on a travelogue of what are considered the finest opera houses in the world. Of course, we all love Chicago’s Civic Opera House, but that’s more a stay-cation. Let’s take a brief tour outside of Chicago.
 
Our first stop is Milan, Italy, home to what some consider the birthplace of opera, Teatro Alla Scalla - more commonly known as La Scala. One of the oldest and grandest theatres, La Scala has become synonymous with opera in Italy, and is considered the birthplace of the artform, Built in 1778, La Scala opened its doors with a production of Salieri’s L’Europa riconoscuita. La Scala also hosted the world premieres of Bellini’s Norma (1831), Catalani’s La Wally (1892) and Puccini’s Madama Butterfly (1904). The theatre seats 2000 people. Fact: La Scala once housed a casino in the foyer.

​Now we head to London, England, and make a stop at The Royal Opera House at Covent Garden. An opera house has stood in this location since the early 18th century; the current building is the third structure. George Handel’s operas were the first to be performed here, and he wrote a great deal of his operas and oratorios for this place in particular. For almost 25 years, Handel gave regular performances here.   

​The next stop on our grand tour is Palais Garnier in Paris. This stunning opera house was a part of a plan for the new Paris that Emperor Napoleon III and Baron Haussmann had planned. It is characterized by Paris’ Grand Boulevards. In 1964, Marc Chagall’s painted ceiling was mounted. It depicts scenes from 14 different operas. Today, Palais Garnier is the home of Ballet de l’Opera and showcases minor operas. The major productions now take place at Opera de la Bastille.

Opera is about many different things. But one continuing theme at the root of opera is love. It examines why we love, and what love signifies in erotic, emotional and spiritual terms, its comic triumphs and its tragedies and failures. During this season of love, I thought it would be interesting to ask colleagues and friends what would be their favorite love aria. Here are some of the responses:
 
‘En fermant les yeux. (From Manon by Jules Messenet) It's just.....yeah. Beautiful. ‘
 
‘My favorite love aria is Lullaby (from the Consul by Gian Carlo Menotti). Though it may seem a bit unconventional it is true love from a Grandmother to a child that she cannot save but can only give comfort to.’
 
‘My top choice is "Deh vieni, non tardar" from Le nozze di Figaro by Mozart.  At this point (the very end of Act IV), Susanna is dressed as the Countess and Figaro believes that she is waiting in earnest for the Count to meet her for their secret rendez-vous.  The recitative is deliberately calculated to make Figaro even more jealous, but as Susanna sings the aria, she speaks directly to her real love, telling him that she wants to crown him with roses and stay with him in the garden "until the sky turns brown"--that is, all night.  It's a gorgeous moment, sensuous and romantic (even if Figaro doesn't know it), and it's the only time Susanna gets to sit still for a second and sing an aria.’
 
‘I would have to say Salome's aria / scene. 'Ah, du wolltest mich nicht deinen Mund Küssen lassen' (Ah, You Wouldn't Let Me Kiss Your Mouth'). Salome sings to the decapitated head of John the Baptist. True love. ‘ (from Salome by Richard Strauss)
 
‘This is hard for me to answer.  I don't have one aria.  Usually I fall madly in love with the character I'm playing or the one that I'm learning.  So I would have to say Un bel di (from Madama Butterfly by Puccini).  It's filled with all the dreams and beliefs that one can have when you're so in love with your mate....even if it's all just an innocent girls dreams.’
 
‘Vissi D’arte (from Tosca by Puccini)..Emotion’
 
‘O Mio Babbino Caro (from Gianni Schicchi by Puccini). I know it is over done, but I still think the melody is stunning. And yes, she may be a whiny little girl, but Puccini really knew what he was doing on that one. Young love is wonderful and uninhibited. There is a charm and innocence to it, while still being deeply moving when done well.’
 
‘I think my favorite of them all is Faust's aria "Salut, demeure chaste et pure." (from Faust by Charles Gounod) And I'll tag on the earlier scene between the waltz when Faust sings "je t'aime" up to that B natural. ‘

'Oh Dieu Brahma from Bizet's Pearl Fishers. I'm a sucker for Bizet...'

'Dies Bildnis (from The Magic Flute by Mozart) - talk about love at first sight! ; )'

As you can see, love comes in many varieties, shapes and forms. It has been expressed beautifully by some of our most prolific composers. We, at Third Eye Theatre Ensemble, wish you love not just during Valentine's Day season, but all year round!

The opera and theater world is steeped in tradition and superstition. Many singers and actors have talismans of some sort or have pre-performance rituals. Personally I don’t tend to speak to people on opening day/night and I have lunch alone at the same restaurant. Other rituals include stepping on stage with your right or left foot first, touching the curtain, and being the first or last person to exit the dressing room. While individual superstitions greatly vary, there are some that are universal. The origins of many of these superstitions have been lost over time. Here are a few:

In opera, you hear “Toi toi toi!”. This trio of words actually imitates spitting on someone. The word is an exclamatory statement that prevents a hex from being put on the performance. Some even knock on a wooden object while saying it to ward off any mishaps.

There is the always popular “break a leg.” You make this statement instead of wishing a theater actor good luck. The origins of this statement are a bit cloudy. Some have said it stems from John Wilkes Booth’s assassination of Abraham Lincoln. When Booth jumped from the balcony onto the stage, it is said that he broke his leg. My favorite origin story of this term has to do with French actress Sarah Bernhardt, who had to have her leg amputated due to a knee injury she suffered during a performance of Sardou’s La Tosca. The rationale being that Bernhardt had an amazing career, and if wished a broken leg, it will bring success!

There is also a belief that opera singers should never see the conductor the day of the performance. He/she is given a separate dressing room. Another is that opera singers should never talk to the director the day of performance. This stems from their wanting to possibly make last minute changes or offering unwanted advice.

Other superstitions include: Don’t wear purple to an Italian opera, no whistling backstage, bad final rehearsals mean a great opening night, no real mirrors or flowers onstage, and never saying the word Tosca.

So, there you have it, a brief glimpse into the scary world of opera and theater superstitions…I have to stop typing and go and find my rabbit’s foot.