Rossini here, Rossini there
From Houston to the Bronx, small opera companies are presenting Rossini this month!
The Bronx Opera, which celebrates its 49th birthday, has two more performances of “Cenerentola” May 7 and 8th. Looks like a great opportunity to introduce young people to opera. More information at www.bronxopera.org.
Then there is Operativo Houston, which is presenting “La cambiale di matrimonio” on May 14th. For more information see www.operativohouston.com
The artists and everyone involved are clearly doing this because they love Rossini. We wish them good luck and full houses!
Remembering a joyous moment at ROF
The news of the loss of Dempsey Rivera spread throughout social media recently. A much-loved young talent who first appeared at the Rossini Opera Festival as a member of the Accademia Rossiniana, Dempsey returned to appear in Aureliano in Palmyira the following year. Last summer he appeared in Messa di Gloria ( seen here with Juan Diego Florez). Most likely many in the audience didn’t know of Dempsey’s illness and treatment; his bravery and determination in sharing his talent now seems bitter-sweet. Thanks to ROF for providing this beautiful photograph. And condolences to Dempsey’s friends,colleagues,and family.
Extending the heritage of Alberto Zedda in Canada
Fresh from a triumphant concert at La Scala, Daniela Barcellona accompanied by her husband, Alesandro Vitiello, arrived in Lunenburg,Canada,to continue the work begun by the late Alberto Zedda at the Rossini Opera Academy.
Zedda had hoped that the enterprise started by him and others 4 years ago would flourish and spread throughout North America.
Lunenburg is fortunate to have Daniela, herself a graduate of the Accademia Rossiniana in Pesaro, Italy, maintain Zedda’s knowledge,passion, and dedication to guiding the next generation of Rossini singers.
Read our interview with Daniela elsewhere on this site.
In grateful memory: Sir Peter Moores
Some may not know the name Sir Peter Moores. But anyone who loves bel canto opera, and Rossini in particular owes him a debt of gratitude. Sir Peter through his foundation helped establish ( and continued to support) Opera Rara which has brought works that were less well known to a broad audience.
The support of the Sir Peter Moores Foundation for the Rossini Opera Festival, in particular the Accademia Rossiniana has been so critical in grooming the next generation of Rossini singers.
In addition to the financial support, Sir Peter clearly loved being in Pesaro for the Festival where many “ordinary” Festival goers had a chance to meet him.
In the picture Sir Peter is pictured at a dinner following “Aureliano in Palmyra” at the Rossini Opera Festival in 2014. He is pictured with Michael Spyres ( who sang Aureliano and will be appearing again at ROF2016) and Gary Gordon from the board of the Friends of the Rossini Opera Festival. The picture taken by Luigi Diolvei appeared in the on-line IlRestodeCarolino.it.
Michael Spyres mentioned on that occasion that Opera Rara had played an important part in his pursuing the repertory that he now excels at. A wonderful memory.
Sir Peter wrote an introduction to the book ” Accademia Rossiniana XXV, una storia” which was published by ROF in 2013 in which he makes the case for the ROF in general and the Accademia in particular. It appears in Italian in the book, but below is the original English from which it was translate
May 2013
Opera Festival – Pesaro
Most of those reading this programme won’t remember the operatic repertoire of the middle fifties. Do you know how many of Rossini’s operas you could see? One! Il Barbiere or perhaps two? L’Italiana in Algeri. Rossini had led a fashion in Paris for Grand Opera, which naturally were Opere Serie and this fashion produced voices and grew from Lirico Leggiero, to Lirico, to Lirico Spinto and on to Dramatisch and Hoch Dramatisch leading bel canto into CAN BELTO. Rosina had to sing Amneris. This in turn led to larger and larger houses and heavier repertoire.
The establishment of speciality Summer Festivals in the last century saw the founding of Pesaro’s Festival and (not forgetting Bayreuth) others of which Pesaro had the most radical result. Pesaro revived operas by Rossini unheard for years. These almost always involved revision in length and depth of the score(s) – and sometimes there were a variety of scores. Rossini himself had often been present for these revisions – revivifications – and lengthened or shortened the score, rewriting or replacing arias and duets for the second performances. What scores remain to us are not always in Rossini’s own hand, so questions of editorship arise, especially as the revification in question may not have brought a successful revival and so could peter out after one or two performances, leaving the world without a final approved author’s score.
Rossini Opera Festival under the leadership of Gianfranco Mariotti and Alberto Zedda has proved itself well able to cope with the adventurous path they had chosen, building not only a larger and larger Rossini repertoire there, but also first refining a musical and vocal style, which would sustain this, and training and raising musicians – not just singers – in such style as to act as a model and example to other careful musical festivals and then to repertoire Houses seeking to extend their annual repertory chosen from three Verdis, three Puccinis, Carmen, Faust and Don Giovanni.
Pesaro has also kept where it is not only by judging its music and its behaviour with a self-critical eye, but making sure to keep itself in funds – nowadays a very important part of running an Opera House. The thoughtful relaxed and friendly atmosphere of the staff, the artists, and the town itself have made us all want not only to be regular visitors each year, but to put as much help and financial support into helping Pesaro as we can each possibly manage.
Celebrate Rossini’s birthday in NYC, Chicago, and LA
The Rossini Opera Festival is bringing the festivities to lucky Americans living in NYC, Chicago, and LA.
Read about it here:
http://www.rossinioperafestival.it/?IDC=530&ID=713
If you can’t be there in person, you can at least join the world-wide Rossini celebrations by listening to him in your home ( make the neighbors happy – turn up the volume), car ( don’t run red lights!) , jogging ( be careful) Viva Rossini!!!!
In honor of Rossini’s birthday!
We are reposting this in honor of Rossini’s birthday!
We’re also including a picture of Paolo in one of our favorite roles ( he almost “owns it”)
Below is our interview with Paolo Bordogna who graciously agreed to answer our questions while in the middle of his run of performances in Il Barbiere di Siviglia at the Opèra Bastille in Paris.
His answers appear in the original Italian, followed by a rough translation.
Q. You are a “graduate” of the Accademia Rossiniana (1998 I believe) what
was the experience like for you then, and what do you feel about it today?
A. E’ stato molto tempo fa, era molto bello confrontarsi con altri giovani
artisti sul linguaggio musicale di Rossini. Fin da subito potevi capire chi era
in grado di cogliere lo spirito “rossiniano” e chi invece era li per fare un’
Accademia che avrebbe potuto portargli una “vetrina” in più per farsi notare…il
tempo e lo studio sono “galantuomini” e prima o poi portano alla “verità”. La
prima vera Accademia la si fa con noi stessi, quando ci mettiamo di fronte ad
un capolavoro che dobbiamo saper leggere, analizzare e poi interpretare. Per
far questo si ha bisogno di tecnica, tenacia e umiltà, sempre!
Yes, it was a long time ago. It was such a joy to confront oneself with other young singers on the musical language of Rossini. From the very start you could tell who was capable of catching the “Rossinian” spirit, against those who where there only to use the Accademia as a show case to be noticed… Time and study are “gentlemen” and will eventually tell the “truth”.
The first real Accademia is the one we do with ourselves, when we confront a masterpiece that we have to learn to read, analyze and perform. To achieve this we need technical skills, persistence and humility, always!
Q. You have been a mainstay of many ROF performances. We won’t ask
you about which one you like best, but if you have a favorite, please tell
us!!
A. Ho cantato al ROF dal 2005 al 2014, (questa estate!). Tra le mie opere
preferite di Rossini c’è senza dubbio Cenerentola, ma nel mio cuore resterà
sempre il dolce Germano della Scala di Seta, che ho cantato in tanti altri
teatri, anche alla Scala di MIlano.
Sono molto legato a quest’opera perchè ho partecipato in prima persona all’
idea registica di questo personaggio con Damiano Michieletto. Io continuavo a
domandarmi come fosse possible che un personaggio definito “sciocco” da Rossini
stesso ad un certo punto dell’opera cantasse una delle arie più difficili e
allo stesso tempo meravigliose che Rossini abbia mai scritto per un buffo? Un’
aria che parla d’amore, con frasi lunghissime ed eteree, da far invidia a
qualsiasi “tenore larmoyante” e romantico? Doveva esserci un motivo a tutti
“misunderstanding” che si creano nella trama, che non fosse semplicemente colpa
della sua sciocchezza! Un’idea di “buffo moderno” deve togliere tutte le
“croste” del passato su questi personaggi che altrimenti risultano sempre
grotteschi, esagerati nella recitazione, e dalla mano pesante sulle caccole
dalla risata facile. La mia idea di comicità si ispira a Chaplin, a Totò, a
Jack Lemmon, ad Alberto Sordi o a Walter Matthau.
Così chiesi al regista che per favore non si fermasse all’aspetto “esteriore”
e semplicistico della “stupidità” di Germano, ma che mi aiutasse a trovare un
motivo per cui Germano non capisce mai le cose che gli si dicono, creando tutta
quella serie di malintesi che danno poi vita alla farsa. Fu così che decidemmo
di farlo “straniero”, e trasformammo il “servo sciocco” della farsa del primo
‘800 in un modermo “butler” di orginine orientale in un moderno loft di Parigi.
Cosi erano la lingua e la diversità culturale a creare problemi, non la
stupidità!
Il personaggio lasciò un segno incredibile sul pubblico, moltissimi lo
amarono, molte signore mi fermavano per strada chiedendomi di andare a casa
loro a stirare. Perchè proprio il momento più toccante di Germano è quando
canta l’aria “amore dolcemente”, e nella nostra produzione, lo facevo stirando
e guardando la TV…da solo, io e un piccolo pesce rosso nel suo piccolo
acquario. Una condizione di estrema solitudine che molte donne avranno provato
facendo le faccende domestiche ma anche molti immigrati in terra straniera.
Sentivo che, nel mio piccolo, stavo dando un segnale “sociale”: chi sembra
diverso da noi non va mai escluso, va compreso e amato proprio perchè
“diverso”!
I sang at ROF from 2005-2014 ( this summer!) . Rossini’s opera, “La Cenerentola” is without a doubt my favorite, but the sweet Germano from “La Scala di Seta” will always be in my heart. I’ve sung it at many theaters, including La Scala in Milan.
I’m very attached to this opera because I participated personally in the creation of this character along with Damiano Michieletto ( the director of the ROF production). I kept wondering how it was possible that a character called “silly” by Rossini himself at one point could sing one of the most difficult and at the same time beautiful arias that Rossini had ever written for a “buffo”. An aria that speaks of love with long an ethereal phrases, that would be the envy of any romantic tenor?
There had to be a reason for the “misunderstandings”that created the plot, it could not simply be the fault of the “silly character”. The idea of a modern “buffo” which would remove all the “scabs” of the past of these characters that otherwise have grotesque, exaggerated acting and heavy-handed boogers resulting in an “easy laugh”. My idea of comedy is inspired by Chaplin,Toto,Jack Lemmon,Alberto Sordi and Walter Matthau.
So I asked the director not to be limited to the “external” and simplistic “stupidity” of Germano, but to help me find the reason why Germano never understands things that said and as a result creates the series of misunderstandings that give life to the farsa. So we decided to make him a “foreigner” and transformed the “foolish servant” of the farsa of the 1800’s to a modern butler of oriental origin in a modern Parisian loft. That way it was the language and the cultural differences that created the problems, not the “stupidity”
The character left an incredible mark on the audience. Many loved it. Many women stopped me in the street asking me to come home with them to do their ironing ( ed note. One really has to see this production to appreciate this comment – fortunately it is commercially available on DVD) Because the most touching moment is when Germano sings the aria “Amore dolcemente”, and in our production is ironing while watching TV. – alone. Me and a small goldfish in his small aquarium. A condition of extreme loneliness that many women have experienced doing household chores – but also many immigrants in a foreign land. I felt that I was making a point about society: he who seems “different” should never be excluded, but should be understood and loved for being “different”.
Q. Your performance in Matilde di Shabran was a tour de force –
particularly with all that Neapolitan dialect. I remember Italians in the
audience being quite impressed. Was it particularly difficult to sing this
role because of the language?
A.Oh, non per me! La mia famiglia è per metà napoletana, io parlavo il dialetto
napoletano con mia nonna Rosa e mio nonno Vitantonio! E badate, il dialetto che
parlavo con mia nonna già non esiste più. Il dialetto moderno napoletano è
molto cambiato. Perciò quando ho cominciato a studiare la Matilde ho ritrovato
molti termini del dialetto antico che parlavo con i miei nonni.
La cosa che mi stupisce e che tutti notarono questa cosa del dialetto e
nessuno si è accorto che ho cantato più sol acuti che in una cavatina di Figaro
del barbiere di Siviglia!! (meglio così, se l’ascolto è “facile” vuol dire che
il “cantato” è ben fatto!)
Oh, not for me! My family is half Neapolitan. I spoke the Neapolitan dialect with my grandmother Rosa and my grandfather Vitantoni! And mind you the dialect I spoke with my grandmother no longer exists. The modern Neapolitan dialect has changed a lot. So when I began to study “Matilde” I found many terms in the ancient dialect I spoke with my grandparents. The thing that amazes me is that nobody noticed that I sang more high G than in a single aria of Figaro in the “Barber of Seville”!! Just as well – if the listening is “easy” it means that “singing” is well done!
Q. Last summer’s “Barbiere” was in collaboration with the “Accademia di
Belle Arti di Urbino”. What was it like to work with all those enthusiastic
young people?
A. La cosa più bella e che mi fece commuovere fu che tutti questi giovanissimi
scenografi, per fare questo lavoro avevano imparato a memoria il barbiere e lo
cantavano sempre nelle pause, per le scale, nelle strade…!!
The most beautiful thing and the thing that moved me was that all these young designers in order to do this work, had memorized “Il Barbiere “ and always sang during breaks, on the stairs, in the streets!!!
Q. Your performance as “Mama” in “Le convenience ed inconvenience
teatrali” by Donizetti is unforgettable. Thank goodness it is on DVD. Can
you explain to people who know nothing of singing how different it is to
sing Donizetti and Rossini?
A. Uno dei ruoli più divertenti che abbia mai cantato e che mi ha dato anche la
possibilità di fare un vero balletto classico sulle punte!! Adoro le sfide! E
non vedo l’ora di poter rifare questo ruolo. Il prossimo appuntamento è al
Maggio Musicale Fiorentino l’anno prossimo!
Donizetti ha in genere un’orchestrazione più ampia, ma sostanzialmente lo
stile, dal punto di vista vocale è molto simile. Entrambi sono portatori sani
di “belcantismo” e fanno bene alle voce! Ci sono poi differenze sullo stile
delle cadenze per esempio o su come affrontare una variazione, o sulla
diversità di “staccato”, ma rischierei di essere troppo tecnico e non voglio
annoiarvi!
It’s one of the most fun roles I’ve ever sung and it also gave me the opportunity to dance true ballet on pointe! I love challenges! I cannot wait to be able to redo this role. The next time will be at the Maggio Musicale Fiorentino next year!
Donizetti’s orchestration is typically larger, but essentially the style, from the point of view of the voice is very similar. Both are true embodiments of “bel canto” and are good for the voice. There are also differences in style – cadenzas, for example, or how to approach variations, and differences in “staccato”, but I risk being too technical and I do not want to be a bore.
Q. Finally, we understand that you are coming to the US! Please tell us more!
A. Si, sono così felice! Debutterò alla Washington National Opera il prossimo
maggio 2015 con Cenerentola!! E vi posso anche anticipare che per allora sarà
pronto il mio primo CD solistico di arie d’opera che ho appena inciso con
Decca. Nel disco ci saranno tutti mi miei amati personaggi, da don Magnifico a
Mamma Agata, da Beaupertuis a Gianni Schicchi…e molte sorprese!
Yes, with pleasure. I will debut at the Washington National Opera in May 2015 with “Cenerentola” And I also expect that at that time my first solo CD of opera arias with Decca will be ready. It will feature all my beloved characters, from Don Magnifico to Mamma Agata, from Beaupertuis to Gianni Schicchi.. and many surprises.
We thank Paolo Bordogna for this interview and invite you to visit his website,www.paolobordogna.eu. Follow him on Twitter @BordognaPaolo and visit him on Facebook.
Rossini’s Pandora’s Box
Che vuol cantare?
During this month we celebrate the 200th anniversary of Rossini’s most popular opera “Il Barbiere di Siviglia”. We invite you to join in the celebration by sharing your thoughts on “trunk arias”, so called because they were reportedly carried around in a singer’s trunk as they traveled from theater to theater. No place has this been more common than the lesson scene of “Barbiere”, but then you could say, Rossini invited it with the opening line.
The tradition of replacing Rossini’s “Contro un core” with another aria ( often to showcase the talents of the singer) began in fact with the original Rosina, Geltrude Righetti-Giorgi, (pictured) although she didn’t do it at the premire.
Since then there have been all sorts of substitutions. Marilyn Horne and Cecilia Bartoli in recent times have substituted “Tanti affetti” from Rossini’s “La Donna Del Lago”
One favorite insertion has been The Nightingale by Alyabyev
The song became widely known after having been the substitution preferred by Pauline Viardot, Adelina Patti and Marcella Sembrich.
Somehow “Contro un core” just seems to work best because it is woven into the fabric of the scene. But clearly insertions have their place,too.
So, to help celebrate the anniversary of “Il Barbiere di Siviglia” we invite you to share you favorite insertion and either submit it on our Facebook Page or mail it to info@RossiniAmerica.org.
Change of dates for two ROF 2016 performances
We will have more about this summer’s ROF soon, but for those who are already looking at the calendar, ROF has just announced that the Florez gala and the final performance of “Ciro in Babylonia” have switched dates. Florez will be on August 19th and the final Ciro on August 20th! Start planning now!
From HMV to Youtube. Interview with Coloraturafan
Our grandparents probably “went to the opera” via HMV. Today there are many options, but probably nothing with a greater impact than Youtube. One of the most avid contributors is Coloraturafan who has single-handedly brought a great variety of artists and works to our attention. It is hard to imagine the amount of work this represents and clearly must come from someone with an enormous devotion to opera
Dillon Haynes aka Coloraturafan, kindly agreed to answer some of our questions which we share with you below.
Q.How did you become passionate about opera? Did you have any specific musical training?
I have always had a strong passion music. I started musical training at age six with violin. I was involved with youth orchestra and high school band, playing a variety of instruments, mainly brass. I taught myself piano, and that is really my favorite instrument. I began composing music at an early age also, completing my first opera when I was 18. I credit my grandmother (originally from Vienna) with taking me to see all different forms of arts, symphonies, operas, ballets, musicals while I was young.
Q. The on-line community has mushroomed over the last decade, but your contributions are still valued in spite of all the new options available. Do you have any thoughts on why that might be?
This is a good question. I am not exactly sure. Certainly there is no shortage of contributions on YouTube and other social media venues. I try to keep things interesting and post more than just an aria from opera “A” and a duet from opera “B”. I make compilations, and mash things up a little. I have always wanted to expose people to new things in opera, not just listen to the same old things over and over. Anyone can post a clip of Callas singing Tosca or Netrebko singing Il Trovatore, and the videos will be very popular. But if you post a clip of 25 sopranos singing the Norma high D, you are going to get the Callas obsessed or Sutherland obsessed fans to listen to new voices. And that has always been a primary goal of my channel.
Q. You work very hard and selflessly to bring opera to people who do not otherwise have a chance to hear the great selections you post. Are people good about expressing their appreciation?
Yes, for the most part, I have been very well received. Of course, there are some people that don’t care for me. But that is life. Sometimes people forget that this is a hobby for me, not my job. I get a lot of messages, more so in the past, wanting me to post this or that. In the end, if I am able I try to honor the requests I receive.
Q. There is a lot of concern about “aging” opera audiences and the decline of attendance numbers in general. There are probably many reasons for this ( if it is true) but certainly the loss of access ( less opera on TV, radio, etc) has to play a role. What do you think?
I think there is always more that can be done to improve opera attendance. And I certainly agree we should be focusing on the younger generation in this respect. But we have to understand that the world is changing, people are becoming more reliant on smart phones and streaming TV. Munich, Brussels and a few other opera companies are starting to offer free streaming opera events. I think that is a great way to get the attention of the younger generation. It would be nice to see some American opera companies try free live streaming events also. The MET offers the live in HD, but I don’t see that as really accessing the younger generations. YouTube does go a long way in offering a variety of free outlets, but many times the videos are removed because of copyright issues. So in the end, YouTube and uses like myself can only accomplish so much.
Q Record companies used to promote recordings more than they do today, with the exception of “block-buster” artists. Do you see Youtube as helping to take up the slack?
I think so. But I also think that YouTube is so oversaturated that a lot of great singers get lost in the mix. As I said, it has always been a primary goal of my channel to promote more than just the super star singers.
Q. Your series “opera in 10 minutes” has been so successful in helping people become acquainted with less familiar works. Do you plan on continuing this series? Even for people who know the opera well, it can be a surprise and delight to see the excerpts you have chosen to illustrate the plots. Are your choices simply those you like best?
Well the Opera in 10 series was unfortunately done early on. I say that because the quality of these clips is really poor. I have always said that I am an opera fan, and not a video editor. Over the years, however, I have learned some very basic things. So looking back on that collection I am disappointed that I didn’t put more effort into the editing. With that said, my Coloraturafan account was closed a few years back, and I took the opportunity to revisit the series; this time taking advantage of better quality video editing and the newer 15 minute video allowance. I had completed Rossini and Verdi when that account was closed, and most of the work was lost.
You can see some of what was salvaged in this compilation
https://youtu.be/1eUueEx0Ha4
Q. Artists seem to appreciate your efforts. Is the feed-back you get from them mostly positive?
Generally speaking, most artists are very appreciative of the video postings. There have been many occasions when I get a message from an artist who will ask if I remove the video for whatever reason. Of course, I am quick to comply. But I have had a few run ins with singers who are very upset, and I have received some very direct messages from them.
Q. Your interviews with singers are also wonderful. They seem at ease and speak freely. How is the interview process for you?
My interview project is still fairly new. I am still getting adjusted to it myself. I have done four interviews so far, and one of them had to be scrapped due to technical issues. I think I am still learning on how best to format the interviews so that they are engaging and entertaining. I have received a lot of feedback from subscribers, and it helps me put things into perspective.
Before I start the interview I go over what my purpose is with the artist. I tell them that the interview is really casual and laid back and that we can edit anything out if they aren’t pleased with it. I also tell them that we are looking to make opera singers more approachable and show them more as people. So basically, just tell them to be themselves and have fun. So far this has worked well.
Q. Are there any specific performances of the past that you wish had been available for posting on Youtube?
I wish everything was available. So that is not an easy question to answer.
Q. What do you think makes a great Rossini singer?
For myself, Rossini comes alive when a singer is able to find a way to characterize the coloratura in a convincing way. Rossini asks a lot of his singers with all of the black notes, but they all have meaning and purpose and they should serve more than pure vocal brilliance.
Q. Of course, being Rossinians we would be remiss in not asking you if there is something special about Rossini that appeals to you!
His music speaks to me like no other. I can listen to Rossini all day and never get bored. From the fast paced cadenzas to the slow flowing cantilenas. I could listen to Rossini all day and never be bored.
Q. How many operas do you typically attend in a year?
I usually travel to Europe about four times a year, usually seeing around 9-10 operas per trip. So generally I see an average of 40 live operas a year.
Q. If you could interview any singer of the past ( someone that nobody alive today would have heard) who would it be, and what would you ask?
It would be a tie, between Rubini and Pasta. Their voices inspired great composers to write some of my favorite music, and I am sure that either singer would have so much to say about the art of singing.
Our interview with Rockwell Blake
One of the most influential artists of the recent Rossini revival, Rockwell Blake, continues to teach,inspire, and serve the community which loves him so well. In addition to being an honorary board member of the Friends of the Rossini Opera Festival, Mr. Blake was generous enough with his time to answer a few questions following his much appreciated service as a judge of the first Rossini competition in the US. We will have more about Mr. Blake soon, but we wanted to share this with you on his birthday… Jan 10. Many happy returns, Maestro!
Q. You have recently finished being a judge at the first Rossini competition in the US sponsored by the Palm Springs Opera Guild. What was that like?
It is an extension of the education I have been absorbing since my voice teacher, Renata Carisio Booth, started training me for the vocal life. I listened to and learned from her, and I listened and learned all my professional life. Being in the company of music/Opera/Rossini lovers is yet more education, and the parade of talented young people who sang for the competition was Post Grad level tutoring.
Q. The arrangers and participants of the competition were thrilled to have your participation. Were competitions important to your own career?
Every time I put my name in the hat for a competition something good came of it. The contacts I made were extremely helpful as my career carried me along. The monetary gain was always less important to me than the good word and will that was disseminated by those who discovered me among the contestants.
Q. One of the purposes was to increase the popularity of Rossini in the US by encouraging singers to study this repertory. Why do you think Rossini is not more popular, or rather popular beyond Barbieri, and Cenerentola?
This answer is a subchapter in the crisis seen by some industry observers. I often say that “Il Barbiere” is indestructible, but “Cenerentola” is vulnerable. I used to lament that Rossini’s operas were underappreciated because they were most often done with unremarkable performers. I have seen performances of “Il Barbiere” directed and sung terribly, but still survived by virtue of the rock solid theatricality of the piece. I never saw a performance of this Opera that didn’t satisfy the audience. Every other Opera Rossini wrote needs a lot more musical and vocal fuel to keep the audience satisfied. My old adage was: If a Rossini Opera fails to please, it was performed badly. My new adage is: If you are going to perform a Rossini Opera badly, please choose “Il Barbiere”. It will survive.
Q. The obvious question is what led you to becoming an opera singer, and specifically a Rossini specialist?
I was pulled out of a school chorus and made to stand out front and sing a song when I was about 10 years old. I had a blast. The rest is history….. Well, at least, it’s so like yesterday.
Q. What role did your years at the Rossini Opera Festival play in your life? It clearly was important to the life of the Festival
Getting into the inner sanctum of Rossini was not an easy task, and I knew it was where I needed to be. When I was allowed in, I did the best work I could do. The festival kept bringing me back and we grew together. I know that the Art of Opera and the Industry of presenting Opera are much larger than any singer. I like to think I did good things for Opera and for The Festival, but who can say that I was essential? I probably was not. On the other hand, The Festival was an essential magnifying lens that made my work in Pesaro seem very important. I still see benefits coming to me from our collaboration.
Q Do you have a favorite “funny” moment from your performances or rehersals at ROF?
I have lots of favorite stories I tell about my ROF work. Most of them are professional trials, but even they can be fun. At the first musical rehearsal of one of the productions I did for ROF I had one of my greatest trials. Our conductor opened the rehearsal with a little talk to let us know in most certain terms that for his taste we Rossini types didn’t know what we were doing with the Grand Maestro’s music. There were also a few words exchanged in a short discussion that seemed necessary to some of us for clarifying our various opinions which topped off the musicological tension in the air. With the different camps well demarked we turn to our scores. We Rossini types laid hands on well-worn and for one present coffee stained scores. Our conductor placed his two volume Critical Edition full score on the table in front of him. I marveled at how clean his bindings were. This conductor did not, at first glance, inspire one to think of him as fastidious. Anyway, he placed one of these immaculate scores on its spine, strategically placed his thumbs at the middle of the pages and opened it wide. My trial began! I nearly died holding in laughter the likes of which only Paolo Montarsolo or Toto could normally inspire. That act of opening that score caught me completely off guard. There was such a noise; crackles, pops, snaps, tiny glue ripping sounds and a determined rebelliousness in the pages to stay open. We observed a book being opened for the first time ever. I was convinced this conductor had never seen the interior of this Opera. It did occur to me later that he could have used a different set of scores to study, and I may never and truly don’t care to know, but the moment was perfect, and I will never forget it.
Q. Do you think the path to becoming a singer is harder today than in the past, or is it impossible to compare?
Detailed comparison is, in fact, impossible. If from the meaning of “hard” you eliminate all the specific differences between the today and the yesterday world of Opera, I could say that it is equal. With the changes impacting all of the Arts today, the “what it takes” and “how to make” a career has certainly changed. The Opera Industry generally has a new set of requirements that will also change over time. Who knows what will evolve next?