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Patrick Morganelli’s New Opera – Hercules vs. Vampires

Friday, April 24th, 2015

The LA Opera Company – Patrick Morganelli’s new opera Hercules vs. Vampires, from the film by Mario Bava.

There are some times I wish I had a private jet I could simply go to the airport and use at will, and this is one of those times. Patrick Morganelli’s superb new opera,  Hercules vs. Vampires, is playing at the LA Opera House tomorrow and Sunday, and that’s it. By clicking on the image above, you can go to the LA Opera’s site for the production, which features a snippet of video, and a section of the work, which sounds, as Morganelli intended, very much like something influenced by Ravel and Debussy – brilliantly performed.

Bava’s film, featuring the haunting image of a young Christopher Lee (on the screen above) is a masterwork of Italian 60s atmospheric fantasy. Morganelli’s score lifts both the narrative and the images to an entirely new level, and the reviews thus far have been raves. My good friend Dennis Coleman, who lives in Los Angeles, saw the production, and gave it very high marks – and I believe him. This is an inspired “mash-up” of cinema and classical music, performed by some of the brightest talents in the world of opera working today.

As the LA Opera’s web site notes, “buckle your seat belts for our most offbeat presentation ever! Hercules vs. Vampires combines opera and midcentury pop culture, synchronizing live music with cult fantasy film Hercules in the Haunted World, a 1961 sword-and-sandal epic starring bodybuilder Reg Park. When the actors projected on the silver screen open their mouths to speak, the audience will hear their lines sung by our cast of singers from the Domingo-Colburn-Stein Young Artist Program, accompanied by a 26-piece orchestra.

Directed by the great Italian filmmaker Mario Bava, the film itself is fantastic in every sense of the term, swaddled in glorious early-1960s Technicolor. Action-packed and wildly operatic in scope, the film follows Hercules on a heroic journey to rescue his beloved from a fiendish mastermind of terror (played onscreen by horror legend Christopher Lee). Fresh and full of fun, an atmospheric new operatic score by L.A.-based composer Patrick Morganelli provides the perfect accompaniment to Bava’s gorgeously gaudy world.”

As composer Morganelli told Michelle Lanz in The Frame, “one of the amazing things about Mario Bava was that because he was originally a cinematographer, he had an amazing sense of how to light a scene, how to frame it…when he stepped up to become a director he was really able to bring this visual sense to it. Specifically what we see in this particular film is he shot it in anamorphic widescreen, which of course looks spectacular for a low-budget film like that. The color composition of it, and in particular roughly a third of the film takes place in Hades. The scenes in Hades are beyond belief.

I stuck as close as I could to the story of the film. I didn’t want to start doing things that were going to not really make sense with the picture. The difficulty there is that in taking film dialogue and creating an operatic libretto out of it, you have not only artistic issues of how do you condense everything into fewer words, but artistically they have to be words that are singable when you put all that together and then try and match that up with the actual mouth movements of the screen — it was technically quite difficult.” But the results, it seems, are spectacular.

I truly wish I could see this in person; it seems like a remarkable and daring achievement.

Philip Glass’s New Opera: The Perfect American

Wednesday, February 13th, 2013

Click here, or on the image above, to see a clip from Philip Glass’s new opera, The Perfect American.

As Seth Colter Walls reports in the Browbeat section of Slate, “for the next 83 days, will be presenting a TV-quality broadcast of the recent Italian premiere of a new opera by Philip Glass. Titled The Perfect American—and adapted from Peter Stephen Jungk’s novel of the same name—it’s a tale of Walt Disney’s last days, in which the media titan slips in and out of what we might call empirical reality.

In it, Walt Disney, while supervising the team that is building one of the Animatronic American Personages that have become part of his parks’ public lore, gets into a debate with his Robot Lincoln—about the scope of Honest Abe’s liberalism, and whether it properly extends to Martin Luther King Jr.’s March on Washington and the bearded hippie set.

The schism between the robot and Disney’s technicians stems from the surprising fact that the animatronic Lincoln seems to have a mind of his own. And so the developer team brings Lincoln to Disney, who tries to convince the robotic president that they both belong to the same class of Iconic American. (‘We’re folk heroes, Mr. President. But we have enemies …’)

Not getting quite the response he wants, Disney tries another tack, by asking (among other things): ‘Martin Luther King, Eldridge Cleaver, is that what you wanted? Doesn’t that go too far even for you, Mr. President? The black people’s march in Washington; would you really agree with that?’”

As the liner notes for the world premiere of the opera at the Teatro Real de Madrid add, “The Perfect American is a fictionalized biography of Walt Disney’s final months. We discover Walt’s delusions of immortality via cryogenic preservation, his tirades alongside his Abraham Lincoln talking robot, his utopian visions and his backyard labyrinth of toy trains.

Yet, if at first Walt seems to have a magic wand granting him all his wishes, we soon discover that he is as tortured as the man who crosses his story, Wilhelm Dantine, a cartoonist who worked for him, illustrating sequences for [the film] Sleeping Beauty. Dantine is fascinated by the childlike omnipotence of a man who identifies with Mickey Mouse, and desperately seeks Disney’s recognition at the risk of his own ruin.

Walt’s wife Lillian, his confidante and perhaps mistress Hazel, his brother Roy, his children Diane and Sharon, his close and ill-treated collaborators, and famous figures such as Andy Warhol, all contribute to the opera’s animation, its feel for the life of the Disney world.”

Typically brilliant stuff from Philip Glass, who has a long tradition of composing some of the late 20th and early 21st century’s most engaging and innovative music. Don’t miss the opportunity to see this remarkable, original, and compelling piece of work.

Click here, or on the image above, to see the entire opera The Perfect American.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions. To contact Prof. Dixon for an interview, reach him at or

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