American tenor wins Operalia 2011

René Barbera, 2011 Operalia winner

Congratulations to René Barbera, US tenor, Texas native, winner of three prizes at Placido Domingo’s Operalia!

  • First Prize for Opera
  • First Prize for Zarzuela
  • Audience Prize

He is the first artist to be the sole recipient of all three awards since the competition began in 1993.

Here is his prize-winning aria from the competition. “Pour mon ame” from Donizetti’s La fille du régiment. Listen to him nail his top C’s–all nine of them. Laser sharp. Ping, bam, ring. WOW!

1 Comment

Filed under 21st Century Opera, Heartstoppers, North American Opera, opera competitions, Performers, tenors

what makes a great tenor?

Rolando Villazón

No matter how much you know about opera or about tenors for that matter, you’ll love this seven-part series “What Makes a Great Tenor?” produced by the BBC and hosted by tenor legend Rolando Villazón.

Villazón is an intelligent, gracious host. He is generous with his praise of other world-renowned tenors of his generation–Juan Diego Flórez, Plácido Domingo, Jonas Kauffman. And shares his instrument on cue–a real pro!

He is a most charming teacher and guide. And the perfect choice to lead us through this series. When he says, “They have all [tenors] received deafening applause,” that’s an experience he himself can claim, rightly so.  Later when he says, “Being a tenor takes dedication and a lot of hard work”  observations on his profession like this and others are delievered with credence and conviction.

This is a truly delightful series that enlightens and entertains. You’ll hear Roberto Alagna speaking in French about how significant it was that the tenor voice became a virile-sounding vocal part in the 1830s, which has certainly been a large measure of his superstar appeal and countless others.

There are wonderful contemporary and historic snippets of the great ones singing the great arias. Even interviews with the divas of today regarding the signficance and the challenges of the tenor role.

Here is the first part (1/7) of “What Makes A Great Tenor?”  All seven parts are available on YouTube. It is not to be missed. Do let me know what you think of it.

 

1 Comment

Filed under opera history, Performers, tenors, Video

the anniversary of an opera that launched legendary tenor’s career

Plácido Domingo as Don Rodrigo in his US premiere at NYC Opera, 1966

Today (July 24) in 1964 marks the premiere of composer Alberto Ginastera’s Don Rodrigo, in Buenos Aires, Argentina.

Don Rodrigo, a three-act opera based on the last Visigothic king of Spain, was Ginastera’s first. It was a 12-tone opera, a method of composing devised by Schoenberg that gives all 12 tones in the chromatic scale (more or less) equal importance thereby avoiding a key.

The NY Times called Don Rodrigo brilliant in the 1964 review of its premiere though it was considered unsuccessful in Argentina, despite being commissioned by Municipality of the City of Buenos Aires.

Less than two years later, on February 22, 1966, Plácido Domingo had his international breakthrough by singing the (difficult) title role of this opera at the US premiere of the work by New York City Opera, which coincidentally marked NYC Opera’s inaugural performance at New York State Theater at Lincoln Center (now the David H. Koch Theater).

Because of this Lincoln Center premiere of Don Rodrigo, a 25-year-old Spanish tenor became a household name.

The YouTube clip below has interviews with Domingo and Julius Rudel, General Director and Principal Conductor at NYC Opera from 1957 to 1979.

The excitement Rudel shares about his company moving to Lincoln Center and the sheer joy that Domingo conveys about premiering at Lincoln Center are palpable.

2 Comments

Filed under 20th Century Opera, Modern opera, opera firsts, Premieres, tenors

Barkarole? Tannschnauzer? NY opera company seeks calendar dogs!

Victor the Basset Hound as Canio in 'I Pagliacci'

Have a canine who’s a natural to star in The Marriage of Fido, Lassi Of Lammermoor, The Dalmation of Faust?

Attention, dog-loving opera fans!  Tri-Cities Opera of Binghamton, New York, is calling all photogenic mutts for its Mutt-ropolitan Opera Dog 2012 calendar.

Set against a TCO opera backdrop, your prized pup can play a lead role or be part of the opera chorus. Solo and ensemble photo sessions with photographer Randy Cummings will take place periodically at the Opera Center, 315 Clinton St. in Binghamton, and will include TCO costumes to either be worn by your pet or superimposed onto the photo afterwards.

Existing favorite photos of your pet will be accepted for use in the desk-format calendar, and a special “In memoriam” section will be reserved for photos of beloved pets that have passed away.

Mutt-ropolitan Opera Calendar canine

The calendar will be released in the fall and sold throughout TCO’s 2011-12 season. Pricing options are available. For more information, visit www.tricitiesopera.com. For questions or to schedule a photo session for your canine countertenor, call TCO at 729-3444 today or e-mail editor@tricitiesopera.com.

Comments Off on Barkarole? Tannschnauzer? NY opera company seeks calendar dogs!

Filed under 21st Century Opera, Opera and humor, Opera Marketing, opera parody

stop picking on NYC Opera!

New York City Opera faces will try to meet their grave financial challenges head-on with a new business model.

You  manage an opera company. Your expenses exceed your income. That is the scenario you inherited when you stepped in as general manager and is expected to be the scenario moving forward.

If you don’t come up with a new business model that allows you to operate with the funds you can expect to have, you’ll have to close your doors.

(By the way, you don’t have a goose that lays golden eggs or a big fat money tree in your backyard last time you checked.)

What do you do? One option is to do what managers are paid to do. You manage. You manage so that you can continue programming in fulfillment of a company’s mission. Or you fold your cards, pick up your hat, and say, “Sayonara, suckers. Let all this big mess be someone else’s problem.”

George Steel, General Manager and Artistic Director of the New York City Opera, hasn’t folded his cards or hung his head. He’s managing an organization just as he’s been charged to do. What should have been or might have been didn’t pan out to be, so he’s trying to move forward with a new business model that allows New York City Opera to continue to do what it was established to do.

“But they won’t be paying union chorus and orchestra wages any longer?” Wouldn’t it be wonderful if they could? I’ve certainly enjoyed those aspects of seeing shows at presented by New York City Opera that add immeasurably to the production values of each show.

But who’s going to pay the professional musicians? New York City Opera can no longer afford their Lincoln Center home, but people are expecting them somehow to continue to shell out union wages for musicians? That’s like a homeless person keeping a building contractor on retainer because that’s what he used do when he had that good job and that beautiful house that everyone admired and loved to visit.

I live in Central Pennsylvania where many businesses are still trying to recover from the economic downturn that began in the last decade. Historically, even in the past 10-15 years, these family- and closely-held businesses might have been very successful, generating x-amount of revenue.  Because of the recession or market forces or changes in their industry, many business leaders are having to define a new normal. That means they’ve realized they no longer run a company that generates x-amount per year,  but 1/2  x-amount. In fact, they might never generate x-amount again–ever.

These business owners have come up with new business models to stay in business. Because they would be irresponsible–no, not just irresponsible–stupid business people if they failed to search for and then put in place ways to keep the business afloat that their father or grandfather founded decades ago, under different market conditions, which is now entrusted to them.

New York City Opera is trying to cope with a new normal. I’m sure they’d love to stay in their beautiful, newly refurbished Lincoln Center home and retain their accomplished union singers and highly skilled orchestra members, but they can’t afford to do so and also remain solvent.

And please don’t start with the argument that they did unpopular, esoteric shows and that’s why they are in trouble. Under Steel they produced Don Giovanni, for pity’s sake, an opera potboiler if ever there was one. Oh, and Elixir of Love, and the very entertaining new musical by Stephen Schwartz, Seance on a Wet Afternoon. And they paid tribute to Leonard Bernstein with the New York premiere of A Quiet Place. Imagine that! Honoring Leonard Bernstein at Lincoln Center.

New York City Opera has come up with a new business plan that allows them to continue doing what they were founded to do–produce opera for the citizens of New York. It’s just that they are producing opera all across New York City instead of making New York (and the rest of the world) come to them. It’s a brave, interesting model that might just work. I’m very much looking forward to traveling to different parts of New York to see their 2011-12 season and hope I get the chance to do so.

Unless you have any better ideas or can lay a golden egg for them, then it’s time to give Steel and his organization a chance to move forward with a new New York City Opera.

2 Comments

Filed under 21st Century Opera, North American Opera, Op-Ed, Rant

chattin’ up David Lomeli: Mexican tenor, toast of NYC!

Tenor David Lomeli

He’s an Operalia winner. He’s a recent graduate of San Francisco Opera‘s prestigious Adler Fellows program for the most advanced young singers.

As Nemorino in Donizetti’s The Elixir of Love presented by New York City Opera this past spring, tenor David Lomeli was the rising star New York critics raved about and audiences gushed over:

“Mr. Lomelí captured the opera’s potent combination of hilarity and pathos. He certainly deserved all the applause and bravos. He was, in a word, delightful.
–The New York Times (full review here)

After David sang “Una Furtiva Lagrima” on opening night (his first Elixir ever, by the way), the audience applauded for a solid minute and a half. “The choristers backstage timed it,” David said in a recent phone interview.

I saw David sing the role for New York City Opera. In my review for Backtrack, I cited his second-act aria as one the most magical moments I’d experienced as an operagoer, the kind we all pray to be in the audience for and are  fortunate to witness.

Without equivocation, David Lomeli was la estrella de Nueva York. As The New York Observer said in their feature “Who Matters Now,” David Lomeli brings “Latin ardor to the stage.”

In case you didn’t know, his first name David (which he pronounces daVEED) means beloved. How fitting! This is one performer who is simply adored — whenever he sings, wherever he goes.

It seems that this love fest for David Lomeli began 29 years ago when he was born in Mexico City into a musically talented family. As a small child, he had blonde hair and pink skin, and the thirteen women he grew up with fussed over him to no end because of his fair coloring. And it seems as though all the fussing over David Lomeli has never stopped. 

(Or maybe it’s only just begun.)

Since winning Plácido Domingo’s Operalia in 2006, to this day Maestro Domingo mentors him, regarding David not only as a protege but also embracing him like family. David has been generously encouraged by many big names in opera including Luciano Pavarotti who once told David that being a next generation opera star would be much harder than the challenges he himself faced because of the acting and staging demands opera performance requires these days. He considers another very famous Mexican tenor Rolando Villazón his generational idol.

David is currently playing Rodolfo in 'La Bohème' at Santa Fe Opera / photo by Ken Howard

David Lomeli is talented and  hard-working, putting everything he has (mind, body, soul) into each of his performances. He is uber-friendly, utterly charming, and yet very down-t0-earth, having agreed to be profiled on Operatoonity though he and I had never met prior to this interview.

His is fluent in English — he attended a British school in Mexico — and so his answers are his own. (No translation required).

Bienvenido, David! Since your performance in ‘Elixir’ so gladdened my heart (porque cantando se alegran, los corazones), it is such a pleasure to have this chance to talk with you.

Can you tell me a little about your childhood (besides being a native of Mexico City)–how you grew up and how it affected your decision to sing opera?
Well, in my family there was always music.  My grandmother and my mother were singers — my mom a mezzo and grandma a soprano. I was raised by them my first years. My dad plays the guitar. You can tell by the quantity and quality of the Mexican tenors, that we are surrounded my music all the time — between salsa, mariachi, corrido, cumbia and boleros we always singing. The opera path opened in college where I finished an engineer career in computer systems. The beautiful way of Mexicans to do things happened in college.

My university had a theater of 2,500 seats with  a concert series featuring artists like Pavarotti, Ramon Vargas and Gustavo Dudamel coming every year, a musical theater company that made many Spanish world premieres of Broadway shows and a full orchestra. But there was no music degree offered, so we did operas and musical with whatever student of other degrees wanted to do it as an extra credit. The opera company of the university offered to pay my tuition as an engineer if I dedicated my extra time to sing with them and that’s how it happened. They sent me to Barcelona and Milan to study my degree in evening with  musical training in the mornings. I learned a lot by doing performances, graduating with more than 300 performances in the school theater productions. It was a great period of my life.

David won Operalia in 2006, a competition open to all voice categories for singers ages 18 to 30 years who are ready to for the world’s great opera stages.

You were invited to compete in Operalia in 2006, representing the United States (according to the website). How did that come about?
You are right – the site says that I represented the US.  But, I am not sure why, because  when I won they said, “David Lomeli, tenor from MEXICO.”   I do owe a lot to my US  training and support, but my green Mexican passport does not lie.  Ha ha ha!  I am still proud to be Mexican! (The citation has since been corrected to reflect his real country of origin.)

What are your memories of that experience—being named a finalist and then winning 1st prize and zarzuela?
It was a dream come true. It was my first real competition, and  my career was starting so fast. In February 2006, I just was sneaked up by my teacher Cesar Ulloa for an audition with Plácido Domingo. By August of 2006 I had a legal working visa and I had my first musical rehearsal ever! And it was next to Ferruccio Furlanetto, Salvatore Licitra, Eric Halverson, the dear Dolora Zajick (she gave me multiple suggestions on voice and career) — all conducted my maestro James Conlon. It was wild! I was surrounded by new friends and idols like Rolando Villazon and Anna Netrebko and then — kaboom! Two months later I won Operalia. I really appreciate so much the judges that trusted me that I could represent the label of an Operalia winner, when I think they saw a green raw potential and they offered the help needed to really jump start my career.

I remember clearly the system —  I was last in the operatic round and also last in the zarzuela one. I didn’t have any rehearsal with the orchestra and I had never sang those pieces with orchestra ever. “O souverain” from Massenet’s Le Cid was my operatic piece, and it was a different version!!! And the zarzuela piece was very complicated. Thank God  Maestro Domingo was there to take care of me on the pit. An angel intervened that day for sure.  I was so nervous.

How has Operalia impacted your career since winning the contest?
It gives you a label that never goes away.  It is like being number one in a tennis rank or golf list.  It is an accomplishment that gives certain validation to your work.  And it is a very different kind of competition. Most of the competitions are judged by singers now retired or in their way to retirement. This is a competition judged by impresarios and general managers. Also there are more than 40 other scouts for management, PR and companies there. If you score high with the people that hire, then I think is a very good sign of your possible potential. Another positive difference  is that this is a world competition — you have to compete against the Latin tenors, the Russian beauties, the Korean baritones, the American superlatively trained musicians.

I think there are very few in the world that give so much money in prizes and accept singers from over the world. I was never a viable candidate because of my immigration status to compete in most of the famous competitions held at the US, so when I won this competition, certainly my career got a boost. Most importantly, it brought together my team.

Operalia and the L.A Opera Young Artist Program brought to my life my coach Anthony Manoli and my guru and agent Matthew Epstein. These men,  together with my teacher, have helped me shape every aspect of my singing nowadays. They are constantly pushing for vocal excellence, correct preparation of the roles, appropriate rest time, the suggestion of  having a little project every performance to improve something each time, and they ask me to retain a sense of every performance being better than the last. Also, of course, the help find me a lot of singing debuts. Ha ha!

What has been the greatest thrill in your career thus far? Greatest challenge?
The greatest challenge has been to understand that I was not yet ready. When I won Operalia, I was suddenly around the globe in operatic publications and magazines. I was mentioned in lists next to Ana María Martínez, Rolando Villazón, or Joseph Calleja. But I was really only an engineer. I needed high class training and on the speed of lightning. Thank God, Maestro Domingo and their family, the guys at CAMI (Columbia Artists Management, Inc.), and the people at the Merola Opera Program and Adler Fellowship Program at San Francisco Opera were there to calm me down. I needed help  to understand that this career is not of speed but of continuous improvement.

David as Nemorino in 'Elixir' at New York City Opera / photo (c) Carol Rosegg.

In truth, the greatest thrill of my career so far was the three previous bars to start “Una furtiva lagrima” on stage at NYCO for my premiere. I sensed it was the make-it-or-break-it moment for me. It was just a phenomenal rush of adrenaline and the moment that every tenor dreams about.  When I finished the aria,  it was a very big moment for me.  It made up  for years of sacrifice, lonely times when you lose yourself and then later find you in a different corner of a different city, wearing the same clothes, but speaking another language and a different composer.  It justified so many moments of tears. I was laughing and crying at the same time and I couldn’t stop for a long time after. It was at that moment that I had the sense of my OWN satisfaction with my own voice.

Do you have any favorites? Composer? Opera? Role? Venue?
I love Donizetti, and I am dying to sing more of it. Favorite operas:  Dom Sébastien, La Fille du Regiment. Favorite role: Duca d’alba. It is like Donizetti wrote for voices like mine. I adore his lines and the extension. My personality is a combination of Nemorino, Rodolfo, and Werther. So each three roles are a treat for my soul when I have the opportunity to voice them.

You got rave reviews in all the NY press after your debut as Nemorino for NYC Opera. How does it feel to know NYC is dying to have you back to sing? Are you coming back–soon (fingers crossed)?
As you know, the opera world is very booked in advance but there have been talks for me to come back.  It’s not yet possible for me to schedule a return, but I hope so in the future.

What is something most people don’t know about you, something not on your professional bio?
No one really understands how passionate I am about soccer. I have traveled the world for the experience of soccer in a stadium. I am a huge supporter of Manchester United and also my home team Barcelona. Just yesterday my country became champion of the world in the under 17 cup hosted in my birthplace, Mexico City.  To see more than 100,000  voices singing “Cielito Lindo” brought tears to my eyes so far away.

Where can we see you in 2011-12?
I start my season with the Canadian Opera Company in Toronto doing the Duke in Rigoletto, then I go to Germany to sing Edgardo in Lucia at Deutsche Oper Berlin, and again the Duke in Karlsruhe with my dear Stefania Dovhan as Gilda.  I am looking forward to my debut  in Houston Grand Opera with Maestro Patrick Summers as Alfredo  in La Traviata and also to my first major solo recital to be held in Birmingham, Alabama.  My season concludes with Bohème in the magnificent summer festival at Glyndebourne.

* * *

David  is performing at Santa Fe Opera Festival through August 26, and is excited about Santa Fe’s upcoming Press Week (early August). He has a new website soon to launch, designed by the talented Catherine Pisaroni, who has created outstanding websites for many of today’s most renowned opera stars. You can also follow him on Twitter @davidlomelink, where he Tweets, con gusto, in Spanish and English.

8 Comments

Filed under 21st Century Opera, Bel canto opera, Best of Operatoonity, Classic Opera, Heartstoppers, Interviews, North American Opera, profiles, tenors

did you know the tenor was the ‘holding’ voice?

As a word person, I’m forever curious about the origin of words. (I really should have taken Latin instead of German classes in high school. Latin would have been a stronger springboard to support my lifelong interest in etymology.)

Since we are featuring tenors all month on Operatoonity, I simply had to find out where the word came from.

Did you know “tenor” derives from the Latin word tenere, which means “to hold”? Like so many other words now in use, it came to mean something quite different over the centuries.

Apparently, between about 1250 and 1500, during the time of medieval polyphony (music with two or more independent lines), the tenor was the structurally fundamental (or holding) voice–vocal or instrumental. All other voices were normally calculated in relation to the tenor.

Until the late 15th century, the tenor was usually the lowest voice, in order to provide a harmonic foundation. It was also in the 15th century that “tenor” came to signify the male voice that sang such parts. For earlier repertoire, a line marked ‘tenor’ indicated the part’s role and not the required voice type. Indeed, even as late as the eighteenth century, partbooks for ‘tenor’ might contain parts for a range of voice types.

So when did the word tenor as we know it come to mean the highest male vocal part or one who sings that part?

According to Yale Press’s “The Prehistory of the Voice,” the notion of the modern tenor voice “accelerated rapidly from the eighteenth century onward” until it became the voice part we know it as today–the voice of princes and dukes, of lovers and their beloved, of martyrs and heroes.

Bravi, tenori!

Comments Off on did you know the tenor was the ‘holding’ voice?

Filed under opera history, tenors, Terminology

meet @mitchthetenor: sings internationally; loves American song

Mitchell Sturgess, tenor

Tenor Mitchell Sturges hails from Salt Lake City, Utah.  Currently, he lives in Tucson, Arizona, where he is under the tutelage of Dr. Kristin Dauphinais at the University of Arizona.

But in a manner of speaking, he’s like VISA. Mitch is everywhere you want him to be.

That’s because he’s really plugged into social media (he was one of the early adopters, judging from his huge friend and follower base), which is how I met him, and how I arranged for Mitch to be one of this month’s Talented Tenors.

Some of his past performances include leading roles in Gianni Schicchi, Il barbiere di Siviglia and Amahl and the Night Visitors, collaborating with the University of Utah Opera Theatre, Paradigm Chamber Orchestra, & Salt Lake Symphony.

In the summer of 2007, he sang the role of Gherardo in Puccini’s Gianni Schicchi & the Sergeant in Donizetti’s Rita in Pesaro, Italy, at international music festival La Musica Lirica. He has been a featured soloist throughout Salt Lake performing J.S. Bach’s St. Matthew Passion, P.D.Q. Bach’s Oedipus Tex, Britten’s Rejoice in the Lamb, Dvořák’s Requiem & Händel’s Messiah. In spring 2010, he was a featured soloist with Utopia Early Music, performing music from 17th century England.

No wonder his Twitter username is @mitchthetenor. Being a tenor is his life and his livelihood!

Welcome to Operatoonity, Mitch!

Where did you grow up and how did it affect your life choices?
I grew up in Salt Lake City, and this definitely affected my life choices. When I was in high school, we were known for our music, specifically the choral arts, with approximately 500 students in the choir department.The arts here are supported very well, with lots of different performing organizations performing all 52 weeks of the year. In addition to the professional groups, there are quite a few community performing groups that offer solo performance opportunities to the young and rising talent of Salt Lake, giving the opportunity to perform with an orchestra and/or chorus. Beyond those groups, there are lots of community venues (churches, colleges, etc.) that have concert series that mostly feature local talent. This is one of the greatest things, as finding a venue is usually the hardest part of putting together a performance. Had I not grown up in a place where the arts are not as strongly supported, I could have gone in a completely different career.

Performing in MacBeth

Do you believe that being an opera/classically trained singer is your destiny?
Short answer: Yes. I feel, that wherever my career path takes me, I will always sing. I have a couple different interests in the classical music industry (in no particular order): being a professional singer, being an artistic director of a company or concert series, a faculty member at a college or university, or music director for a church. The nice part about some of these options is that, in some cases, more than one could occur. I think, as of right now, my career is lining up more toward being on faculty somewhere. While being on faculty, I could (and would) still have professional engagements around the world, and this is definitely an option during the summer. Even if I don’t end up at an educational institution, I have a strong love of performing and recitals, and would perform constantly, whatever my position is.
How would you describe your voice?
I would maybe say that it is like (read: heading towards) Rockwell Blake’s sound. I sing mostly Rossini & Mozart, but have a little more heft than the standard leggerio. That said, I have had my voice described as being ‘transparently clean’ and that I sing ‘honestly and with clarity.’

Singing in 'Betly'

What single experience has been the most meaningful in your operatic pursuits thus far?
The most meaningful operatic experience so far was when I went to Italy in 2007, and had the opportunity to sing in a production of Gianni Schicchi & Donizetti’s Betly in a young artist program. It was five weeks of pure bliss. During that time, in addition to our musical training, we were in 20 hours of Italian class each week.

Although not really operatic, the most meaningful experience for me in my classical training was this past summer when I was presented in recital at St. Martin-in-the-Fields in London. It was an amazing experience, and one I hope to repeat in the coming years.

Favorite composer? Favorite opera? Favorite role?  Favorite venue?
Picking a favorite composer is kind of like picking a favorite child. But, if pressed, it would be a tie between Rossini & Mozart. They wrote such beautiful timeless music. My favorite opera would have to be Barber of Seville–the music is so great and the characters are wonderful. My favorite role is usually whatever I’m working on, but Nika Magadoff in The Consul is quite a delight to sing. My favorite operatic venue is the Met, no question. Favorite concert venue is Disney Hall in LA. Favorite recital venue is St. Martin-in-the-Fields in London–the acoustics there simply divine.

What would you like to be doing in five years? Ten years?
In five years, I will be working on my DMA in performance. In ten, I would hope to be working professionally in some capacity in this industry. Ideally, I’d like to have a few years of real performing experience before I theoretically ‘settle down’ in a faculty position.

When did you embrace social media and how has it impacted your career or visibility. Or has it?
I started on Twitter mid-2008 on a whim and didn’t really use it to communicate with others until 2009. I don’t know if I could say that it has impacted my career . . . yet. My visibility has gone up though. What it has really done is put me in contact with people or groups that I would love to work with in the future.

What is something most people don’t know about you, something not on your resume?
I am an avid crocheter. I enjoy making afgans for my friends and family. This was actually something that was incorporated into an opera once…

a photo from his new website

Where can we see you in 2011-12?
In November of this year, I will be performing in The Consul with University of Arizona Opera Theatre. I have two recitals in March of 2012, one in Tucson, at St. Philip’s-in-the-Hills, and one at the Los Angeles City College. This recital is exciting as it is a test run of a recital I plan on taking to London and various parts of the US in the 2012-2013 season. Also, it features music that is a strong passion of mine: American song.

* * *

You can find out more about Mitchell Sturges at his website. Or follow him Twitter @mitchthetenor or become his Facebook friend–where he is approaching godlike status with 2,292 friends (but would just love to have a few hundred more).

Comments Off on meet @mitchthetenor: sings internationally; loves American song

Filed under Interviews, Performers, profiles, tenors