Tag Archives: postaday2011

Glass’s ‘Satyagraha’ on tap in Met’s 2011-12 season

Satyagraha / Catherine Ashmore

Satyagraha by composer Philip Glass is an opera in three acts for orchestra, chorus, and soloists and will be presented this fall as part of the New York Metropolitan Opera‘s 2011-12 repertory.

Commissioned by the City of Rotterdam, Satyagraha is the second in Glass’s trilogy about men who changed the world. The opera is semi-narrative in form and is a moving account of Mahatma Gandhi‘s early years in South Africa and his development of non-violent protest into a political tool, a method that Dr. King would later embrace.

“Satyagraha” is a Sanskrit word meaning “truth force,” and the subtext of this opera is, as you may have deduced, politics.

Each act is dominated by a single historic figure  in a non-singing role who is overlooking the action from above: the Indian poet Ravindranath Tagore in Act I the Russian author Leo Tolstoy in Act II, the American Civil Rights leader Martin Luther King, Jr. in Act III.

. . . you should embrace action for the upholding, the welfare of your own kind. Whatever the noblest does, that too will others do: the standard that he sets all the world will follow.
–from the libretto of Satyagraha

The opera premiered on September 5, 1980, in Rotterdam by the Netherlands Opera and is set to text from the ancient Sanskrit scripture the Bhagavad Gita.

It premiered at the Metropolitan Opera in 2008, under the direction of Philip McDermott and designer Julian Crouch (artistic directors of London’s Improbable theater company). The Met version was considered adventurous, employing improvisational puppetry and aerialists to illuminate this work.

The revival. a collaboration with English National Opera, will again feature Richard Croft as Mahatma Gandhi. Satyagraha opens November 4 and runs through December 1, 2011.

 The following YouTube clip provides a flavor of it.

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Filed under 20th Century Opera, 21st Century Opera, Modern opera, Video

up close and personal with Stephen Llewellyn, aka Operaman, two-time #Operaplot winner

Opera blogger extraordinaire Stephen Llewellyn

It would be absolutely insufficient to call Stephen Llewellyn, aka “Operaman,” merely an opera blogger. Stephen is an Internet luminary, barely contained by the cyber-seams constraining you and me. His posts as the longtime blogger of record for Portland Opera bristle with good humor, unparalleled opera savvy, and compassion. He is the picture of joie de vivre–just look it up in the Glossary of French Expressions Most Americans Butcher,  and you will see his photograph there.     

He also happens to be a two-time #Operaplot winner–my hero!–who very graciously gave his hard-won grand prize to a D. C. schoolteacher the first time he won the Twitter competition, which you can read all about here.       

In case you are wondering whether you have the talent to compete with the best plotters in #Operaplot 2011, which begins next week by the by, take a look at Stephen’s two prize-winning Tweets:     

2009 #Operaplot Grand Prize winner:
There was a young lady called Fricka
Who…who…*snore*
“Wake up & it’s over.”
It’s good, I just wish it were quicka.
[The Ring Cycle.  Yep, all of it!]

Note from Stephen: “It sounds rather better than it reads, I think.”  So the sound file of Stephen reading his winning entry is below (just click on the download link to hear his rendition):
fricka

2010 #Operaplot Honorable Mention
Kissed the girls and made them cry.
Stabbed one’s dad and watched him die.
Offered chances to repent,he opted to be Hades sent.
Men!
(Don Giovanni)     

Oy! I guess I have my work cut out for me this weekend: revising my entries to have a prayer of a chance of competing with the likes of “Operaman.”     

So, Stephen! So nice to have you join us. A hearty “Operatoonity” welcome and all that.     

Operaman in his younger days, a dead ringer for Paul Newman

When you began blogging in 2007, how did you get the job? You were a barrister and formerly sang opera. How was it decided you were the man (Operaman) for the job?
I am English and I spent my professional life as a barrister: the whole wig and gown thing.  Think “Rumpole of The Bailey,” but I’m not as good looking as Leo McKern. From 1978 until 1996 I ran my practice from Hong Kong but in 1996, shortly before the hand-over of Hong Kong to the Chinese government I left Asia and settled in Northern California. I had decided that after 32 years, my legal career had run its course, and I had my mind set on drinking a lot of Californian chardonnays and watching birds from my beach house on Bodega Bay. Divorce put the kibosh on those plans, but that’s another story your readers really can do without hearing.     

I moved up here to Portland in 2004.  Some friends of mine who had lived here for many years had waxed lyrical to me about it’s sub-tropical climate; Portland is a city, they said, where every garden had a mango tree and the traditional cocktail is the Mai Tai. Like Rick who had gone to Casablanca for the waters, it transpired that I was “mis-informed.”  Portland’s only similarity to the tropics is that it rains all the damn time. And forget Mai Tais — the traditional cocktail here is Double Bastard Ale from the Stone Brewing Company!      

Now, after seven years of living here, like every other long-time resident of the Pacific North West my tailor is The North Face, and I am developing webbed feet. In 2004, I got a job with Portland Opera, in their Patron Services department. I have a long background in opera, so I was delighted to be able to swap the legal milieu for a job in the performing arts. On paper I was really just a telemarketer, selling subscriptions and garnering donations but in reality it was a wonderful job for me.  I got to spend all day chatting with patrons about opera — not just our productions but singers of the past, great recordings, whereever our conversation took us.  And because this translated into great sales figures, I was given very free rein.      

Publicity shot for the TV Times in England (June 1971) when Stephen had his own special on BBC2

One day, the General Director brought the Board of Directors into the room and said, “I want you to meet Stephen Llewellyn. He knows more about opera than anyone else in this building.”  I thought, Um, shouldn’t that person be  you, dude? But I smiled in an aw-shucks kind of way and carried on with what I was doing. A few days later, the Director of Marketing came to me and said they were thinking of trying an experiment with “this new blogging thing” (well, it was new to him!) and would I be interested in scribbling a few words for a week or two.     

This week will be my 223rd consecutive weekly blog under the soubriquet Operaman. I left Portland Opera in 2007, but the blogging continues. Somehow they have never got around to firing my ass!     

How has your blog grown or changed in past four years, assuming it has?
I would like to tell you that during the four and a bit years I have been Operaman, I have grown and matured as a writer and that there is now a witty sophistication to my blog that was not evident originally; a result that only hours of tireless self-editing can successfully produce. Yes, I really would like to be able to tell you that….but it wouldn’t bear a scintilla of truth, which is that from the beginning, Operaman’s Blog has been a mish-mash of gossip from the opera world, personal recollections, and a heavy reliance on YouTube.     

How have you changed as a result of your blogging?
Changed? I’ve not. It has been of the utmost importance to me that fame and fortune on a scale you quotidian scribes can only dream of, should not in any way change my inherent narcissism, arrogance and ability to bore the pants off anyone who I can get to listen to my endless recounting of my memories of Benjamin Britten. Speaking of which, did I tell you about that time we were doing Noye’s Fludde and …What?  Another time?  Oh, very well. I would certainly be open to change if I thought there was any room in my life for personal growth or character improvement and, you may believe it or not, people are for ever making suggestions to me on this very topic but somehow those suggestions never manage to quite resonate with me. No, I think I am a very good example of  “if it ain’t broke, don’t fix it.”      

Since you began blogging before Facebook and Twitter caught fire, how has social media impacting your ability to grow the audience for your blog? For opera?
Well, obviously, if, as I am lucky enough to have,  you have a few hundred followers or more on Twitter, then posting a link to my blog each week means that there is a reasonable chance that a decent proportion of those followers will click on the link and take a look. Similarly with Facebook friends.  Both on Facebook and Twitter my friends are nearly all connected with music in one way or another so that helps grow the blog readership. Over four years my readership has increased almost tenfold and we expect to be in double figures before the decade’s out.     

Who is your audience for Operaman today?
It is no surprise that when Operaman was first sprung on an unsuspecting public, the readership was largely local to Portland and the surrounding area.  Now, I have readers throughout the United States and quite a few in Europe – even some in Australia. I try to see that each week there is something that will appeal to opera lovers whereever they may be.  Obviously, if there is something going on in the opera world in Portland I write about that but, by and large, Portland Opera is pretty good about letting me write about what ever I think will interest  the readers. It need not even be about opera, though I try to see there is some connection there, however tenuous. I think the readership falls into a number of categories: those who are Portland Opera attenders who like to keep in touch, general opera fans, whereever they may be, who like a blog that’s not too heavy on queenly criticism, written by someone who doesn’t think the continuum of opera came to a grinding halt in 1960 when Jussi Björling handed in his dinner pail. And, of course, my Mum — who doesn’t have a computer but likes to read the blog in hard copy when I think to send it to her.      

Operaman making pasta and singing 'Ah, mes amis' from La Fille du Regiment. Can't you just hear those nine top C's

How has your blogging impacted Portland Opera visibility and audiences?
Let’s not get carried away here. When people hear the words Portland Opera, they think “Ah, a terrific regional opera company that manages to get some first-rate talent!” and not “Oh, they’re the ones who have Operaman!”  That having been said, I think the press ink that Priscilla’s Great Adventure got throughout the United States, did bring Portland Opera to the attention of many people who had never heard of it before.  Do I think it has grown the audience?  I very much doubt it, but I think those who do read Operaman’s Blog as well as attend our performances feel a little closer to the action.  Certainly, that is what they tell me.     

Why don’t more companies host a blog the caliber of Portland’s?
Oh, that’s an easy one, Gale.  It’s because writers who manage to combine  the lack of literary talent and depth of ignorance I display on a weekly basis are hard to come by. Most companies are happy to be producing blogs of a much higher calibre than mine.     

Believe me, if any of Portland Opera management were ever to read another opera company’s blog my gig would be over in a heart-beat! Fortunately, thus far, I have been able to persuade them that they are on the cutting edge of the social media scene and that we are the only opera company in the land to host a blog.  You and I know different.  I would ask you to keep this to yourself.  I have a really good deal going here!     

What are some of your greatest challenges to regular blogging?
Again, let’s not get carried away. ‘Operaman’s Blog’ and ‘greatest challenges’ are not phrases that really belong in the same paragraph, let alone sentence.  Each week I sit at my computer, pull up the notes or links to articles I have gathered over the past seven days and cobble together a few paragraphs.  Recently, I heard Philip Glass talking about Bach. Glass said “I think Bach just wrote what was in his head.  I don’t believe he ever composed anything in his life!”  So, it would seem that JSB and I share this creational technique — just write what’s in your head.  The difference between us is that in my case, it bloody shows! I suspect that, like many bloggers, my biggest challenge is getting people to comment.  I wish there were something I could say or do that would make the readers understand how much better the experience would be if it were a conversation and not the sound of one hand clapping.  I am interested — does your reader ever comment?     

Any other intangible perks (besides the wonderful #Operaplot prize story)?
Yes, there is one and I am going to be wholly serious while I tell you what it is. With some regularity, at Portland Opera performances and at the Met HD movie shows, people come up to me with broad smiles and exclaim “Operaman!” and go on to tell me how much they enjoy reading my blog.  That, naturally, is a delightful thing to hear.  But then they will go on to say how a particular blog or a part of the blog, has made them see opera in a different light, or has made them go to listen to an opera they had never before considered – that kind of thing. And then I take a huge pride in knowing that, if in only a limited way, I have done something to increase an individual’s pleasure in an art form I truly love. I am not being flippant when I tell you that moments like that make me feel it is a real privilege for me to have the avenue I do to express that love.     

Has blogging helped you realize any personal or professional goals?
If you mean did I grow up saying to myself “One day I want to write largely inconsequential nonsense in exchange for almost no monetary gain,” then, no, not really. Sometimes my blog has realised a personal goal I didn’t know I had.  For instance, just this week a nice lady emailed me saying “I just peaked at your blog…” I emailed back “Seriously? Either a) you meant ‘peeked’ or b) Brava!”  I mean, how many opera blogs are going to give you that kind of bang for your buck? (That was wholly true. You can’t make this stuff up.)     

What would be your dream opera experience — work/cast/venue, etc.?
Back in about 1972 I sang in a performance of Purcell’s Dido and Aeneas at Snape Maltings with Janet Baker and the English Chamber Orchestra, conducted by Ben Britten.  I’m not sure that, for me, dream opera experiences get any better than that.     

Paul Potts and Rebecca Black in Turandot might run it a close second.     

* * *     

Follow Stephen on Twitter @leboyfriend and on Facebook. And, of course, you’ll want to check out his blog “Operaman” on the Portland Opera website.

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Filed under Classic Opera, Contests, Interviews, North American Opera, Opera and humor, profiles

COC’s contest entries all dolled up

Cinderella at the COC

The Canadian Opera Company (COC) sponsored a dress design contest to promote their upcoming production of Rossini’s La Cenerentola (opening April 23) called the “Cinderella Outfit Challenge: Send your Doll to the Ball!” The only catch was that the dress had to fit a Barbie doll. 

Entrants were required to submit a photo of their homemade doll costume, inspired by Cinderella, all to win a prize package including four tickets (plus lounge pass and drink tickets) to the opening night La Cenerentola, an overnight stay at the Hilton Hotel in downtown Toronto, a gift basket from Cheese Boutique valued at $200, and a chance to meet the members of the cast after the performance. 

Well, the entries poured in–sixty of them–according to contest organizers.  

The general public can still vote on the entries today, April 6, 2011, at the COC’s Facebook page. The five entries with the most votes will become contest finalists. A panel of celebrity judges, including Jeanne Beker (Host of CTV’s FashionTelevision), Steven Sabados and Chris Hyndman (hosts of Steven & Chris on CBC TV), David McCaffrey (creative director and designer of McCaffrey Haute Couture) and COC General Director Alexander Neef, will select the grand-prize winner from the top five finalists on April 15. 

Here are a few of the Cinderella designs submitted (and as someone who adored her dolls as a kid, I am so jazzed): 

Golden Cinderella

Paperella

Off To The Ball

Fashionably Late Cinderella

What a fantastic group of entrants! Only 56 more to review. (Glad I’m not a judge!) 

Congratulations to the Canadian Opera Company on a vibrant promotion for your upcoming production of La Cenerentola!

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Filed under 21st Century Opera, Audience participation, creative promotions, North American Opera

don’t quote me . . . the soprano hall of fame

An opera begins long before the curtain goes up and ends long after it has come down. It starts in my imagination, it becomes my life, and it stays part of my life long after I’ve left the opera house.
–Maria Callas

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get to know Michelle Trovato, lyric coloratura

Michelle Trovato

“Spot-on.”  “A beautifully produced soprano.” “Already turning heads.” “A bundle of energy and vocal thrills.”   

 These are just some of the glowing comments reviewers have made about award-winning lyric coloratura soprano Michelle Trovato. Michelle received a bachelors of music in voice from the North Carolina School of the Arts School of Music in 2003. She trained with the New York Opera Studio, 2004-2005, and in 2008. She was a member of the Opera Colorado Outreach Ensemble in 2008, and performed with the Seattle Opera Young Artist Program during the 2008-2009 season.    

 A handful of Michelle’s recent honors include Grand Finalist  in the Concorso Internazionale di Canto Lirico, P. Cappuccili, Italy 2009; 3rd Prize in the Marie Kraja International Opera Competition in Tirana, Albania 2009; winner of the Opera Index, Inc Enouragement Grant Award 2009; and winner Concorso Lirico International Opera Competition, U.S. Division 2009.   

Welcome to “Operatoonity,” Michelle! So glad to have you.   

Lez Azuriales Competition Winner, France, 2007

Where did you grow up, what was your home life like, and how did it affect your life choices?
I grew up initially on Long Island, New York, which was very important because the arts are so active out there, and of course because of the close vicinity to NYC.  We were also bused into the city from school on a regular basis to see Broadway musicals, practice sessions with the NY Philharmonic….and operas!  I saw Aida at the Met when I was 13-years-old and cried during the tomb scene.  I had no idea what the opera was about, never saw a program, and there weren’t supertitles yet, so I had no idea what I was seeing or hearing! But I found it very moving, I just didn’t know why at the time.  And of course we were in the very last row, so I couldn’t believe the POWER of their voices!  I never thought that I could do that; it never even occurred to me.  But I was always singing and performing in musicals and plays both in school and in the community on Long Island.    

The big change came when I was 15-years-old, and my family relocated to Virginia, where I began immediately studying with a retired opera diva named Basel Landia Wowk.  We started out singing every legit soprano musical theatre song you can think of, and slowly she began introducing opera arias into my repertoire.  She would say: “You’re Italian, right?  Just TRY it!!” And she gave me books to read (most notably Bubbles, Beverly Sills’ autobiography), recordings to listen to and videos to watch.  The next thing I knew, I was hooked!   

When did you make the decision to pursue classical vocal performance as a career?
I pretty much decided to pursue singing as a career at around 18-years-old.    

singing Lucia for Center Stage Opera, CA / photo by vulia.com

How would you describe your voice? What repertoire do you sing best?   

I have that warm lyric sound with the upper extension and facility that works especially well in the bel canto repertoire.  I think this also helps in singing new music, which often calls for a large range and agility. Objectively speaking, I suppose that I sing Italian repertoire the best, especially works by Donizetti, Bellini, some Verdi, and Puccini (the lyric roles), but it is a big goal of mine to help promote new music.   

Favorite composer? Favorite opera? Favorite role?
I can’t even pick a favorite color!  I do have a dream of singing all the Donizetti Queens….I’ve already performed Anna Bolena in concert and really look forward to singing the others!  I would also love to play Baby Doe.  There is something about that role that really speaks to me…perhaps because she was an extraordinarily strong woman, just like the Queens.   

Do you have any opera role models?
Reading Sills’ autobiographies really gave me courage as a young singer, as did reading about Callas’ young life.  These women, coming from a poor background, who struggled for every bit of success that they achieved….amazing.  I would say that I identify with Sills’ brand of “good humor in the face of adversity” the best, but both women have inspired me a great deal.  My current voice teacher, Carol Kirkpatrick, is also a huge role model for me.  Not only as an artist, but as a human being, she is always striving to better herself. I admire her greatly for that and for many other reasons.   

“You’re Italian, right?  Just TRY it!!”
–Basel Landia Wowk, Michelle’s first voice teacher, encouraging her to sing operatic works
   

What was the single, most meaningful experience you’ve had as a performer or student of the classical arts?
Singing the Faure Requiem on the 1st Anniversary of 9/11 is something I will never forget.  There were thousands of people crammed into the sanctuary of a beautiful church, and even the basement, where they were piping in the concert, was full.  Singing the “Pie Jesu,” I had to remember that my job was to give comfort and to sing with joy, as we always should, even in the darkest times.  I can only imagine what 9/11/11 is going to be like, 10 years later.  I have hope that the event will be about honoring those who have died and bringing that same joy and comfort to those who are with us today.   

Michelle in 'La Traviata'

What would you like to be doing in five years? Ten years?
I would like to become more financially stable over the next 5 to 10 years by singing in larger and larger companies both nationally and internationally, but mostly I just want to keep SINGING.  Opera, of course, but I have already performed one recital program this year and am looking forward to a 2nd one in May.  There is a huge wealth of concert and recital repertoire out there and I have ideas for more programs than I can count!     

Do I have a dream to sing at the Met?  Yes, it would be wonderful.  But my goals are not focused that way.  I LOVE what I do and I just want to keep doing it and make enough money to live- not an easy task.  The way I view it, I want to continue to strive for artistic and vocal excellence and work with like-minded artists.  And pay my bills.  Beyond that, I am content.  (Even if I never make it to the “big house”!)   

When did you begin using social media to advance your platform and how has it impacted your career or visibility?
I developed a website back in 2007 after a big competition win.  (I finally had something to put online!)  Also, I was booked in YAPs for almost the following 2 years, so it was the perfect time to get my information on the web.  I also joined Facebook in 2007 to keep in touch with people I met at the competition (they couldn’t believe I’d never heard of it!) but I am quite new to Twitter.  I only joined Twitter a few months ago.  I am enjoying it so far, and am particularly glad to have made the connection with “Operatoonity!!”  Next is Youtube.  I have to learn how to edit video and get it up there; I am super technically unsavvy, sadly.  I WILL have more video online in the next few months, this is my Scarlett O’Hara “As God is my witness” declaration!    

As to how it’s impacted my career, of course it’s a huge help to be able to refer people to my website for further information about me and for sound clips, as well as production photos. I have definitely made some major connections on Facebook, and I have both gotten and helped others get work because I was able to connect with them there.  I have been contacted after performances from quite a few audience members who found me on Facebook (perhaps I should start a Fan page as well?) and have received numerous engagements from connecting with people online.  It’s amazing- you just never know.   

What is something most people don’t know about you, something not on your resume?
I’m on a pop album called “Incomplete Denial,” singing in the background on one track.  They paid me to go into the recording studio for an hour and sing the same phrase over and over.  I found the job on Craigslist!    

Michelle's Kennedy Center debut singing 'Mystic Odes' / photo by Robby Lamb

Where can we expect to see/hear you in 2011?
I have my 2nd recital of the year coming up, a program inspired by “Angels and Demons” at the Hudson Opera House in upstate New York on May 14th through Diamond Opera Theater.  This summer, I will be a member of the Caramoor Festival’s Bel Canto Young Artists program, the only program in the States (that I know of) that is focused on the bel canto repertoire, and then attend the International Vocal Arts Institute (IVAI) in Montreal.  And I’m fortunate that there are other engagements beyond that, which I can’t announce just yet.   

 * * *   

You can follow Michelle on Twitter @michelletrovato or alternately friend her on Facebook  where she has posted some wonderful production photos. For more about her performances and for some wonderful audio clips, visit her website.

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Filed under Bel canto opera, Interviews, Performers, sopranos, Sunday Best

meet the soubrette, a stock soprano role

Soubrette is wonderful word I was introduced to last year from the world of opera. A term associated with stock characters in the performing arts/theater world, a soubrette is a minor female role in comedy, often that of a pert or flirtacious lady’s maid [from the French for maidservant, from Provençal soubreto]. A soubrette can also be a country maid or a character with beguiling country innocence, as illustrated in the accompanying painting. Soubrettish is the adjective form.

When I first heard soubrette, it reminded me of coquette, another word for a flirtatious girl or woman, that I was introduced to through the literary world–perhaps from reading Regency romance, but I’ve since forgotten. 

Soubrette by Depouilly

 The difference is that soubrette is more of a character type, just like an ingenue, the cad, or a romantic lead.

Famous soubrette roles in opera include Papagena from The Magic Flute, Adina in The Elixer of Love, Susanna from The Marriage of Figaro, and Zerlina, in Don Giovanni, which happen to be some of the most popular and entertaining soprano roles around and certainly have to be fun to play.

In my opera book, the character who wants the role of Zerlina is a soubrette herself–the pert, yet virginal type. This character, Oriane, who is twenty-nine when the story begins, whines that if she doesn’t get to sing Zerlina, she’ll be too old to play it when the next role comes around, which could be five years later. Many companies don’t repeat productions inside five years.

There is some truth to her complaint. A young singer may begin her career as a soubrette, but as she ages and her voice matures she may be reclassified as another voice type, such as a light lyric soprano. A singer rarely remains a soubrette for an entire career. Although in watching video productions of stage performances of Don Giovanni, I noticed a few Zerlinas who were too long in the tooth and wide in the waist to portray a pert country maid. More like madams, they were, IMHO.

So, Oriane is being mostly truthful when she claims that if she doesn’t get the role at twenty-nine, her voice might never be suited to the role of the soubrette again. What she neglects to mention is that she’ll now be eligible for different roles because of the mature timbre of her voice.

Here’s a You-Tube clip of the very famous seduction duet between Giovanni and Zerlina, “La ci darem la mano.” While the Giovanni is in fine (if heavy) voice, for my taste, he’s too old and oily to be very convincing as a seducer of woman of all ages–strictly my opinion. Zerlina is capably sung. Even though she’s clearly middle aged, her voice retains the proper timbre for a soubrette. By contrast, their are many, many YouTube clips of Zerlinas who need to put themselves out to pasture because their voices and bodies are too mature. I also chose this version of “La si darem la mano,” because it skips the recitative and gets right into the song. Let me know what you think of Angelika Kirchschlager as Zerlina. Is she a proper Zerlina, IYHO?  

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Filed under Character from DEVILED BY DON, Classic Opera, DEVILED BY DON, Don Giovanni, Mozart, Performers, Terminology

don’t quote me . . . the soprano hall of fame

“I felt I could do any coloratura soprano role; I always knew what I was capable of doing. In the performing arts you need ego, a certain self-assurance, or else you’d never have the guts to face an audience.”
–Beverly Sills

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‘Sì, sì sopranos!’

I know T. S. Eliot said, “April is the cruelest month.”

But not on “Operatoonity.”

That’s because the ole editorial calendar turns to sopranos tomorrow, April 1, glorious sopranos, of every stripe, all month long, and that’s no foolin’.

Get ready! There will be polls to vote for your favorite sopranos and soprano roles. Quotes from famous sopranos. Anecdotes about sopranos. 

And last but not certainly not least, interviews with sopranos and mezzos, from all parts of the US and from across the pond–all different, all with important stories to tell as performers and/or students of the classical arts, all with unique life experiences and career paths.

Here’s a sneak preview of some the sopranos who’ll be profiled on “Operatoonity” this month:

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If you love sopranos (and who doesn’t?), you won’t want to miss a post.

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Filed under 21st Century Opera, Classic Opera, Interviews, Performers, profiles, slideshow