Word: lhoã
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...Whether LHO??s anti-Fascist Tosca is any more moving or convincing than the one driven by love alone is an odd and ultimately speculative judgment to make, like parsing the merits of a “Turandot” set during the Cultural Revolution, or a “La Bohème” in Vichy Paris. But LHO??s reinterpretation of this particular opera in the context of totalitarianism does bring out an aspect of the work that a production more focused on the stormy individualism of Tosca and Scarpia often overlooks...
...inevitably collides into those around it. Try as one might to make people do what one wants, there is always some unpredictable element on the margin that can overturn it all. In setting “Tosca” in the middle of a totalitarian régime, LHO??s production suggests that the potential for chaos that lies at the outer rim of any agenda is the essence of freedom itself—that, whether in victory or tragedy, we live most fully where the plans of others fail. The stakes are high, as they must...
...flagship annual opera,” the Lowell House Opera (LHO) offered an impressive production of Giuseppe Verdi’s four-act masterwork “Otello” for its 71st annual show, especially considering the constraints of its venue. The LHO??s production—which runs through March 14 with a rotating cast—represents months of preparation by a small army of volunteers including Harvard undergraduates, graduate students, numerous musicians, and singers both amateur and professional, as well as a large production team. The opera was sung in Italian with English supertitles...
...title. Originally named “Iago,” the opera focuses on the vocal interplay between Othello and his traitorous ensign, Iago, who spends the course of the play engineering Othello’s downfall. According to Artistic Director and Conductor Channing Yu ’93, LHO??s production boasts a full orchestra to accompany this vocal interplay. The orchestra is comprised of a full rotation of 120 musicians, with about 80 represented in any given performance. Its score highlights the dramatic psychological dimensions of Iago’s sinister plotting as it unfolds...
...more or less, everything it should be. Stage director Kate D. Greenhalgh ’05 and producer Sarah S. Eggleston ’07 put on a dangerously modern interpretation of a dangerously modern opera, originally written by Bertolt Brecht and translated into English by Marc Blitzstein. LHO??s show will run March 8, 10, 11, 15, 17, and 18, 2006 at 8:30 p.m. in the Lowell House Dining Hall.Set in mid-eighteenth century Soho, London, the opera nonetheless captures the moral ambiguity and social insecurity of Weimar Republic-era Germany, the time period in which...