Singing Contest Amplifies South Africa's Opera Dreams

South African tenor Luvo Maranti is taking part in the prestigious opera competition. MARCO LONGARI / AFP
South African tenor Luvo Maranti is taking part in the prestigious opera competition. MARCO LONGARI / AFP
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Singing Contest Amplifies South Africa's Opera Dreams

South African tenor Luvo Maranti is taking part in the prestigious opera competition. MARCO LONGARI / AFP
South African tenor Luvo Maranti is taking part in the prestigious opera competition. MARCO LONGARI / AFP

In his previous life, Luvo Maranti didn't read music and the only thing he knew about opera was who Luciano Pavarotti was.

He and his friends used to imitate the Italian tenor before bursting into laughter.

This week, the 29-year-old South African will sing his lungs out at Operalia, one of the most prestigious opera competitions in the world, said AFP.

The annual contest, which started in Cape Town this week and runs until Sunday, was created by Spanish tenor Placido Domingo 30 years ago.

It features 34 contestants selected from an initial pool of about 800 singers.

Following in the footsteps of superstar soprano Pretty Yende, who sang at the coronation of Britain's King Charles III this year, five of them are from South Africa.

Maranti gave up a job in human resources to chase his opera dream.

He had to tell his parents he would not be able to support them for a while and sometimes went days without a meal while trying to secure grants to fund his studies.

But he doesn't regret taking the plunge for a second.

"I felt a bit selfish but I wanted to be happy, not sit in an office all day," he told AFP.

"I had to start from scratch," he said, explaining that his previous experience with church choirs and polyphonic music only went so far.

"Opera is a whole different ball game, I had to learn how to read a Western score."

His debut was nerve-racking, he recalled.

"With a choir, you have a sense of security. As a soloist you are vulnerable. As soon as you hit your first note, everyone can see your heart... I felt so much judgement," he said.

Now he feels at ease, also singing in Italian, German and French.

Sakhiwe Mkosana, a baritone, made a similar journey from an impoverished South African township to Frankfurt, Germany, where he is enrolled in a program for young talents.

He once dreamt of becoming a lawyer. But a high school teacher noticed his talent on the first day he attended choir trials -- and put him on a different trajectory.

"If you can stick to this, you can make a really good career," he remembers the teacher telling him.

"I love being on stage and getting to tell a story to people who don't necessarily understand the words, take them through the story," said the 29-year-old.

"If I can convince anyone to come to an opera show, I have done my work."

'Deeper opera world'
In black communities across South Africa young men are often expected to choose a "classic" profession, becoming a doctor or a lawyer, he said.

Many questioned his judgment, doubting he could make a living from his imposing voice.

But Operalia offers important exposure.

"We will be singing in front of managers, agents and casting directors," Mkosana said.

The competition is like "a great audition", said Nombulelo Yende, a soprano and the younger sister of Pretty.

It offers an opportunity to be spotted without having to fly around the world.

At 32, Yende already has a well-established career. But the contest can "broaden my horizons", she said.

In a studio at the Cape Town opera house, she is rehearsing Mozart and Wagner.

Wearing a floral dress, her hand waves in front of her body to the rhythm of the melody, as her powerful vibrato rings out.

"Singing opera is so liberating to me. I love playing different characters, invoking so many emotions," she said afterwards.

Another contestant followed her in the studio -- Siphokazi Molteno, a 31-year-old mezzo from the southeastern city of Gqeberha, now based in New York.

"I have sung as long as I can remember. But opera is not a thing in my community," she said.

It was once again a music teacher who nudged her in another direction, by getting her to learn a Mozart aria.

Some of her classmates giggled uncomfortably, but she felt "immediately emotionally attached to it".

"I would listen to it when I was alone. This deeper opera world, I knew it was something special, so precious," she said.



‘Joker 2’ Stumbles at Box Office amid Poor Reviews from Audiences, Critics

Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
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‘Joker 2’ Stumbles at Box Office amid Poor Reviews from Audiences, Critics

Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)

“Joker: Folie à Deux” is the No. 1 movie at the box office, but it might not be destined for a happy ending.
In a turn of events that only Arthur Fleck would find funny, the follow-up to Todd Phillips’ 2019 origin story about the Batman villain opened in theaters nationwide this weekend to a muted $40 million, according to studio estimates Sunday, less than half that of its predecessor. The collapse was swift and has many in the industry wondering: How did the highly anticipated sequel to an Oscar-winning, billion-dollar film with the same creative team go wrong?
Just three weeks ago, tracking services pegged the movie for a $70 million debut, which would still have been down a fair amount from “Joker’s” record-breaking $96.2 million launch in Oct. 2019. Reviews were mixed out of the Venice Film Festival, where it premiered in competition like the first movie and even got a 12-minute standing ovation, The Associated Press reported.
But the homecoming glow was short-lived, and the fragile foundation would crumble in the coming weeks with its Rotten Tomatoes score dropping from 63% at Venice to 33% by its first weekend in theaters. Perhaps even more surprising were the audience reviews: Ticket buyers polled on opening night gave the film a deadly D CinemaScore. Exit polls from PostTrak weren’t any better. It got a meager half star out of five possible.
"That’s a double whammy that’s very difficult to recover from," said Paul Dergarabedian, the senior media analyst for Comscore. “The biggest issue of all is the reported budget. A $40 or $50 million opening for a less expensive movie would be a solid debut."
“Joker: Folie à Deux” cost at least twice as much as the first film to produce, though reported figures vary at exactly how pricey it was to make. Phillips told Variety that it was less than the reported $200 million; Others have it pegged at $190 million. Warner Bros. released the film in 4,102 locations in North America. About 12.5% of its domestic total came from 415 IMAX screens.
Internationally, it's earned $81.1 million from 25,788 screens, bringing its total global earnings estimate to $121.1 million. In the next two weeks, “Joker 2” will also open in Japan and China.
Second place went to Universal and DreamWorks Animation's “The Wild Robot,” which added $18.7 million in its second weekend, bringing its domestic total to nearly $64 million. Globally, it's made over $100 million. Warner Bros.' “Beetlejuice Beetlejuice" took third place in weekend five, Paramount's “Transformers One” landed in fourth and Universal and Blumhouse's “Speak No Evil” rounded out the top five.
The other big new release of the weekend, Lionsgate's “White Bird,” flopped with just $1.5 million from just over 1,000 locations, despite an A+ CinemaScore.
Overall, the weekend is up from the same frame last year, but “Joker's” start is an unwelcome twist for theater owners hoping to narrow the box office deficit.
Phillips and star Joaquin Phoenix have said they aspired to make something as “audacious” as the first film. The sequel added Lady Gaga into the fold, as a Joker superfan, and delved further into the mind of Arthur Fleck, imprisoned at Arkham and awaiting trial for the murders he committed in the first. It’s also a musical, with elaborately imagined song and dance numbers to old standards. Gaga even released a companion album called “'Harlequin,” alongside the film.
In his review for The Associated Press, Jake Coyle wrote that “Phillips has followed his very antihero take on the Joker with a very anti-sequel. It combines prison drama, courthouse thriller and musical, and yet turns out remarkably inert given how combustible the original was.”
The sequel has already been the subject of many think pieces, some who posit that the sequel was deliberately alienating fans of the first movie. In cruder terms, it’s been called a “middle finger.” But fans often ignore the advice of critics, especially when it comes to opening their wallets to see revered comic book characters on the big screen.
“They took a swing for the fences,” Dergarabedian said. “But except for a couple of outliers, audiences in 2024 seem to want to know what they’re getting when they’re going to the theater. They want the tried and true, the familiar.”
It has some high-profile defenders too: Francis Ford Coppola, who last week got his own D+ CinemaScore for his pricey, ambitious and divisive film “Megalopolis,” entered the Joker chat with an Instagram post.
“@ToddPhillips films always amaze me and I enjoy them thoroughly,” Coppola wrote. “Ever since the wonderful ‘The Hangover’ he’s always one step ahead of the audience never doing what they expect.”
“Megalopolis,” meanwhile, dropped a terminal 74% in its second weekend with just over $1 million, bringing its total just shy of $6.5 million against a $120 million budget.
Deadline editor Anthony D’Alessandro thinks the problem started with the idea to make the Joker sequel a musical. “No fan of the original movie wanted to see a musical sequel,” he wrote on Saturday.
The first film was also divisive and the subject of much discourse, then about whether it might send the wrong message to the wrong type of person. And yet people still flocked to see what the fuss was about. “Joker” went on to pick up 11 Oscar nominations, including best picture and best director, and three wins. It also made over $1 billion and was the highest-grossing R-rated film of all time, until this summer when Marvel's “Deadpool & Wolverine" took the crown.