Tweets by Sonaite Debebe-Kumssa. Written by Bethany E. Larson. Video by Jason Fox Berger.

At the historic Dock Street Theatre, where both Flora: An Opera and Present Laughter are performed for this year’s Spoleto Festival USA, there are massive, elaborate sets that have to be torn down and set up between shows multiple times a day. To find out exactly how smooth–or not–this process is, Sonaite Debebe-Kumssa sat with Dock Street Theatre’s Technical Director Rhys Williams to talk about the logistics of changing the sets, while watching it all happen, which you can always watch happen, thanks to the time lapse video shot by Jason Fox Berger. Sonaite live-tweeted the entire conversation, which we have compiled for you after the jump.

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If you love opera,  and wonder what it takes to be an opera singer, do yourself a favor and see The Audition tomorrow at the Main Library.

This gripping documentary chronicles the final stages of the Metropolitan Opera’s National Council Auditions for 2007.  I saw it in April, and although I never experienced the pressure of a major audition, Susan Fromeke’s film, brought the nerves, insecuritries, and promise of these aspiring singers to life.

At the end of the movie, I found myself so invested in the singers that I found myself in tears on the way home.  It’s one of those documentaries that has stayed with me long past the viewing.

In fact, even if opera doesn’t particularly move you, The Audition will.  It’s a must see.

If you’re in the mood for scandal and risqué tales of decadence, College of Charleston’s Piccolo Spoleto Stelle di Domani production of ‘Quills’ will definitely fit the bill. Also, if you’re looking for great, young talent that serves the subject well and makes you forget that they’re still in college, you’re in luck.

After leaving the Theatre 220 show, a few things came to mind. First, make sure that you familiarize yourself with who the Marquis de Sade is. I had imagined that the majority of the patrons would have been familiar with the story of the French aristocrat who sought the ultimate pleasure at all times and whose novels of sadism and other controversial subjects enraged readers during the French Revolution era. Judging by the gasps that I heard when stories were acted out, it seems that this was not the case. To depict the obscene stories that the Marquis was obsessed with, actors stood behind a white sheet and served as Shadow Puppets for the acts, which were very sensational and creatively mastered.

Second, as you’re watching the Marquis de Sade describe these stories as they’re acted out, you realize that they’re not all that far-fetched from some of the horrors that we hear about in the present day. For a man that was considered so depraved that he spent almost half of his life in insane asylums, you start to feel bad for the guy. Was he just ahead of his time or was he really the monster that they made him out to be? Also, the fact that the full frontal nudity lasts for over an hour is quite an undertaking in itself.

A talented cast and an exciting story, ‘Quills’ is an excellent choice for those looking for a thrill.

One of the passengers on the Air France passenger list from the missing airliner is Silvio Barbato, who conducted ”I Capuleti e i Montecchi,” a bel canto opera at Spoleto Festival USA in 2004. The work was commissioned by the festival for the Sottile Theater.

Barbato was artistic director of the Symphony Orchestra of the National Theatre of Brazil in the nation’s capital, Brasília, from 1989 to 1992 and from 1999 to 2006. He also conducted the Teatro Municipal do Rio de Janeiro.

Sunday afternoon listening to an opera in a temple isn’t how you’d expect to get emotionally charged goosebumps, but the packed house attending “Highlights from Porgy and Bess” bounced from their seats with applause after each of the eleven songs. Everyone felt they were in the right place sharing a very special connection together.

All in all, the one hour spent in the beautiful venue of the Congregation Kahal Kadosh Beth Elohim (Holy Congregation House of God) offered a four-for (4-fer) package: the singers, the accompaniment of Chamber Music Charleston, the witty and well presented historical introduction to George Gershwin and the circumstances of the “America’s best loved folk opera” by local attorney, writer, and historian Robert N. Rosen, and the chance to visit the K. K. Beth Elohim (KKBE).

Four instruments, four voices (three singers and one historian), Mr. Rosen opened and explained the origins of the tale of “Porgy” by DuBose Heyward. He memorably depicted the “shack of a crippled street-beggar” as a locale in downtown Charleston that now has a real estate listing (holding up the proof) for $4 million dollars.

Special kudos to the clarinet (Mr. Charles Messersmith), which had such a right vibe, for the tenor Mr. Sam Hagan for so effectively engaging the room when he said, “This next piece requires a chorus, but we don’t have a chorus, but do we have each other.” The room loved the chance to join in on his cue – come to think of it - this means we were all IN a performance of “Highlights from Porgy and Bess.” It was a very rewarding feeling.

Thanks to Ellen Dressler Moryl and the Department of Cultural Affairs for the City of Charleston for Piccolo Spoleto for “A World of Jewish Culture.”

…
One of these mornings
You going to rise up singing
Then you’ll spread your wings
And you’ll take to the sky
…
Oh Lawd, I’m on my way.
…

As you no doubt read in today’s review by Carol Furtwangler of the College of Charleston’s production of “Quills” for Piccolo Spoleto, there’s more than an hour’s worth of full-frontal male nudity onstage there. That beats the blink-and-you-might-miss-it naked moment in the Big Festival’s production of “Don John,” although “Don John” has plenty of R-rated material. “Quills” is about the Marquis de Sade. “Don John” is about, you know, Don Juan. So … similar perversions abound.

So far, I’ve heard of no MORE  naked moments in Spoleto or Piccolo Spoleto productions. If you see one, quick, Tweet it to me. We were all a little disappointed  to find that the WOW! costume moment in the opera “Louise” was NOT a naked moment, but a costume made of (SPOLER ALERT!) lightbulbs.

Meanwhile, over at Chamber Music, cell phones have been going off … in quiet moments … in the middle of cello solos. Chamber maestro Charles Wadsworth  had to issue a reminder during one performance to turn off the jingle-jangler in your pocket. Only a few forgetful souls are to blame. This is probably not The End of Concert Etiquette As We Know It.

Overheard at King and Calhoun today: “It’s HOT here. Where’s that breeze that’s supposed to blow ALL the time?” Heat outside is one thing, but what is going on with the air-conditioning at Gaillard Auditorium? House air  is usually set to Arctic there, particularly in advance of a sellout crowd. It’s a well-worn Spoleto warning to wear a a jacket or take a pashmina to Gaillard Spoleto concerts; over the years, it’s been downright refrigerated. But this year I’ve heard several people say that all the performances of Alvin Ailey last weekend were uncomfortably hot and sticky.

Spoleto has said it ain’t them asking for the AC to be cut at Gaillard. But they might not 1) have a say or 2) know about it. Is the building trying to save energy and therefore money? Does it have anything today with today’s Page 1 story about the $105 million makeover that Gaillard needs? Spoletians are used to feeling like freshly sprayed spring vegetables in the cooler bins at the Piggly Wiggly. Is the lack of AC the city’s fault? Is this part of a Recessionista Conspiracy?

I’m just sayin’ …

I’ve lived in Charleston for ten years, and as much as I love Spoleto, I’ve never attended an opening ceremony.

While I must correct that blip on my radar, for now,  I’m more than content to let the The Seed and Feed Marching Abominable Band’s appearance at Marion Square yesterday signal the beginning of the festival.

As soon as I hear the rumble of drums and horns in the distance, I know that Spoleto is on.

The first thing that struck me is that the band was color-coordinated with a red and yellow theme.  While I prefer the all colors vibe of previous outings, they are still the same fun band, and they quickly won me over with a rendition of Earth Wind and Fire’s In the Stone, which I had been listening to earlier that morning.

I felt so prescient and ready to party.  Love it when they all “get on down.”

This majorette’s shoes are awesome–so very “We are not in Kansas anymore.”

It’s on my bucket list to get a pair.

I thoroughly enjoyed the music, dancing, and general lack of self consciousness of the band.

No matter your age, gender, or level of coordination, all are free to sing dance, and follow along.

It’s all about fun.

Catch them in the act today at the US Custom House.

All the Spoleto Today programming is coming together and helping each other out. The P&C’s Jack McCray, i.e. our jazz man and our overview critic Tim Page can be heard on the Spoleto Today program with Marcus Overton and Jennifer Foster. They will have lots of cool interviews and classical music.

Weekdays Friday, May 22 through Friday, June 5. The lineup includes:

11 a.m. – 12 noon - Marcus Overton & Jennifer Foster host Spoleto Today. This one-hour show will give listeners a daily tour of the art, the players, the sights and sounds of one of the world’s most comprehensive arts festivals

12 noon to 1 p.m., Jennifer Foster continues with The Mozart Café (available only on WDAV).

1 to 3 PM, Carolina Classics offers next-day broadcasts of Spoleto Chamber Music concerts, Piccolo Spoleto performances and more.

Here’s the link:

http://www.classicalpublicradio.org/site/

Stefania Dovhan talks about playing Louise in the four act opera " Louise" at Spoleto 2009.

“Louise” opera dress rehearsal

I sat in the darkened Gaillard Auditorium, watching Conductor Emmanuel Villaume warming up his orchestra. His rapid arm movements seemed to flow naturally, and I was impressed by how the orchestra could follow them. As I have no musical talent, other than playing a few melodies on a keyboard, I sat stunned at the coordination and experience it took to command such a large group of musicians.
Last night, I attended the dress rehearsal for Gustave Charpentier’s “Louise” at the Gaillard Auditorium. When the curtain rose, I was expecting to be sitting through three hours of “boring” opera, reading subtitles. I had never been to an opera before, other than hearing a few examples of it in my 16 years of life, and expected my ears to be bleeding by the end of the night. What I saw and heard, was completely the opposite of horrible. Read the rest of this entry »

Ali got to go behind the scenes on her first day on the job. Click the link to see Paris in Charleston.