New York-based stage director Beth
Greenberg is in the midst of a fascinating career filled with interesting
musical projects, some mainstream, some avant-garde, often staging opera in
unique and unexpected locations. One of
the most fascinating things about people in the opera world—whether they are
singers, directors, conductors, or members any of the other countless
professional disciplines that come together to produce opera—is that the path
for each individual is truly unique.
There is no one way, no particular course of study that leads to a
career in opera. Each artist makes his
or her own way, often taking full advantage of unexpected opportunities. Many can point to a seminal experience or “light
bulb” moment where their destiny was determined.
Beth Greenberg, who will direct the professional
premiere of Lori Laitman’s The Scarlet
Letter for Opera Colorado in May 2013, shared a bit with us about her path that
has led to this moment.
“I
was always involved with music, from early childhood on, and played every
instrument that came my way: oboe, piano, cello, guitar and drums.
I
remember certain musical events where I really felt my world shifting. And when
lyrics were added to
the mix, I was a goner. One of these moments was when my 4th grade teacher
stood at
the blackboard and wrote: ‘the corn is as high as an elephant's eye.’ Hmm...intriguing...Then,
she played the tune. That was a time when every NYC public school teacher knew
how to play
the piano.
The
melody struck me like a thunderbolt. My fate was sealed. That outrageous poetic
image, supported
by such a daring and dangerously high vocal leap for the word ‘eye’ captured my mind
and my heart. I didn't understand ‘why’ at the time, but I knew that was ‘it.’
As a result, I've
never stopped believing that elephants roam around Oklahoma.
One
musical pursuit led to another and I developed a keen interest in knowing how
music worked. So in addition to performing, I studied music theory and ended up
with a Master's from the University of Michigan. I even took a few composition
classes along the way. Bill Bolcom was one of my teachers. (Ed.: Composer William Bolcom)
I
returned to NYC and had various jobs in musical theatre, as well as some
unusual experiences including a stint as Diana Vreeland's assistant at the
Costume Institute of the Metropolitan Museum of Art. That was another
education, directly from the high priestess of 20th-century art and fashion.
Vreeland had one of the most original and extraordinary visual imaginations,
along with an impeccable work ethic.
Then
the opera bug bit and I traveled to Berlin on a Fulbright and worked with Goetz
Friedrich at the Deutsche Oper. Berlin
was then the divided city, but also an extraordinary place for Americans.
Berlin: the city of three great opera houses with two maddeningly contradictory
political systems, all playing out their post-war ideals across a gray concrete
wall. It was a period of intense musical, and also international, discovery.
Upon
returning again to NYC, I landed a job as an assistant director at the New York
City Opera. That turned into a 23-year career with the Lincoln Center company
where I directed original main stage productions and revivals. It was a great
run.
I
met Lori Laitman in February, 2009, at a reception after a program I directed
for Laurie Rubin's Musique a la Mode. The program included music of
three other notable American composers:
Lowell Liebermann, Gordon Beeferman and Paula Kimper. Lori told me she
had written an opera and I asked her to send it to me. I listened to about 10
seconds of The Scarlet Letter,
stopped the CD, and shot her an e-mail saying: ‘Truly wonderful. Call me
immediately.’
And
she did.
That
was it. We've worked together, almost daily, ever since. And Lori has brought
many of her extraordinary poets into my life as well, including David Mason,
author of The Scarlet Letter libretto
and their latest opera-in-progress, Ludlow.
Opera
Colorado has put together an all-star cast of great American singers including
Elizabeth Futral, James Valenti, Morgan Smith, Catherine Cook, Joel Sorensen
and John Hancock, with Maestro Dean Williamson pacing the score. Lori, Dave,
and I, thanks to the vision of Greg Carpenter and Brad Trexell, are grateful
and thrilled to bring you The Scarlet
Letter.”
Tickets are available now for the professional premiere of The Scarlet Letter, running May 4, 7, 10, and 12, at the Ellie Caulkins Opera House. Order online or call 303.468.2030.
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