Miss Arianna Zukerman is one of the hardest working soprano’s on the planet. COMMANDOpera met with Miss Zukerman for breakfast yesterday, and for those who are unaware of the obvious, vocal artists work late hours and tend to sleep in. Getting Miss Zukerman to actually agree to a 9:30 A.M. interview (few others would) is testament to her vigorous nature and stamina. Here is what the Washington Post who is known to be miserly in their accolades had to say about Miss Zukerman’s vocal instrument: ”Arianna Zukerman possesses a remarkable voice that combines the range, warmth and facility of a Rossini mezzo with shimmering, round high notes and exquisite pianissimos that would make any soprano jealous.” COMMANDOpera would add more. The technical ability of this artist is astonishing, there is no soprano on the planet today who owns cleaner legato throughout the registers combined with phenomenal agility. In the clip below, Miss Zukerman takes on the difficult Bach air ‘Schafe können, sicher weiden’, which was recorded live in concert.
Miss Zukerman who arrives from a musical family (her mother is a flutist and her father plays the violin) and takes her profession quite seriously. The artist received her Bachelor of Music from the Julliard School of Music, and further studied theatre at Brown University. COMMANDOpera as readers would know, owns a healthy respect for vocal artists who take the time to actually learn how to act and move on stage. Although Miss Zukerman is an Adjunct Professor at Catholic University of America, she herself continues her own vocal studies with the emminent Mr. Conrad Osborne. The early part of this full lyric soprano’s career however, saw the artist in Munich as a member of the Bavarian State Opera Junges Ensemble. Miss Zukerman recalled those days somewhat wistfully as she like any other artist in their early twenties, was searching to find precisely where her vocal instrument properly lay. While not a mezzo voice, the artists instrument exhibited an extremely rich middle range, with the higher registers arriving with very little effort as it was always there. Nevertheless given that reality, Miss Zukerman wisely did not press her vocal instrument which now thankfully comes to us today in the most shimmering tones. We are looking at a vocal instrument mastered in the old school, in the tradition of Miss Leyla Gencer, and Miss Renata Tebaldi.
Miss Zukerman sings Mozarts Requiem. Long Island 2008.
COMMANDOpera had been curious before the interview as to Miss Zukerman’s huge reputation as a chamber musician where she has spent most of her time in recent years. Well, after sitting with the artist one did not really need to ask that particular question; this is an extraordinarily gifted woman intellectually. When a mind such as this exists, the natural path would be to attack the most difficult repertoire around as this is where the challenges for a vocal artist really can be found. For some that would be Lieder. COMMANDOpera could not resist lifting a paragraph from Miss Zukerman’s biography: ”Ms. Zukerman’s extensive concert career includes performances with an impressive group of conductors including Jane Glover with Berkshire Choral Festival, Pinchas Zukerman with National Arts Centre Orchestra and the Baltimore and Pittsburgh Symphony Orchestras, and Marin Alsop with the Colorado Symphony. She recently made her Boston Symphony Orchestra debut under James Levine in Moses und Aron and her Philadelphia Orchestra debut singing Beethoven’s Symphony No. 9 under Rossen Milanov in Philadelphia and Charles Dutoit at the Saratoga Performing Arts Center. Internationally, she has performed Mozart’s Mass in C Minor and Handel’s Solomon under Ivor Bolton with the Israel Philharmonic, Messiah with the English Symphony Orchestra; and Mozart’s Requiem and concert arias as well as Vivaldi’s Gloria with Moscow Chamber Orchestra under Constantine Orbelian. She has performed with Rochester Philharmonic in Libby Larsen’s Notes Slipped Under the Door and Mahler’s Symphony No. 4, and has also appeared with the Seattle, and Jackson Symphony Orchestras, at the Kennedy Center with the Choral Arts Society of Washington, Cathedral Choral Society in Washington, DC, and in multiple appearances at the Savannah Music Festival.”
Miss Zukerman as Aphrodite New York City Opera 2006. Photo credit: Miss Carol Rosegg.
COMMANDOpera thought not to beg and plead with Miss Zukerman to take on more operatic repertoire, however given a vocal instrument of this golden calibre, one was NOT going to pass up such an opportunity. Miss Zukerman was amused as this is what she has begun doing in the last few years. Now that the artist is completely satisfied with the lay of the land vocally, she is actively pursuing the increase of her operatic repertoire. Clearly Miss Zukerman is bringing her interest in taking on challenges as the inspiration for the roles she will essay. Drama being the key essential element to a Zukerman portrayal. Oh one is certain she will throw in a high note here or there, but it will be operatic musical drama of the calibre the opera going public has not witnessed since the period of Miss Callas which will be the focal point. One could only imagine an Anna Bolena derived from the mind of Arianna Zukerman (a role she is interested in taking on!). It was an experience and pleasure like no other to have met Miss Zukerman, as one finally could understand firsthand what all the gushing and commotion surrounding this artist was all about. COMMANDOpera readers will be reading more on this exceptional artist as developments warrant.
Miss Zukerman with Crew Mantle at 10:30 A.M. yesterday.
Mistress Arianna Zukerman
Photo credit: Mr. Peter Bussian.
Miss Arianna Zukerman is one of the hardest working soprano’s on the planet. COMMANDOpera met with Miss Zukerman for breakfast yesterday, and for those who are unaware of the obvious, vocal artists work late hours and tend to sleep in. Getting Miss Zukerman to actually agree to a 9:30 A.M. interview (few others would) is testament to her vigorous nature and stamina. Here is what the Washington Post who is known to be miserly in their accolades had to say about Miss Zukerman’s vocal instrument: ”Arianna Zukerman possesses a remarkable voice that combines the range, warmth and facility of a Rossini mezzo with shimmering, round high notes and exquisite pianissimos that would make any soprano jealous.” COMMANDOpera would add more. The technical ability of this artist is astonishing, there is no soprano on the planet today who owns cleaner legato throughout the registers combined with phenomenal agility. In the clip below, Miss Zukerman takes on the difficult Bach air ‘Schafe können, sicher weiden’, which was recorded live in concert.
Miss Zukerman who arrives from a musical family (her mother is a flutist and her father plays the violin) and takes her profession quite seriously. The artist received her Bachelor of Music from the Julliard School of Music, and further studied theatre at Brown University. COMMANDOpera as readers would know, owns a healthy respect for vocal artists who take the time to actually learn how to act and move on stage. Although Miss Zukerman is an Adjunct Professor at Catholic University of America, she herself continues her own vocal studies with the emminent Mr. Conrad Osborne. The early part of this full lyric soprano’s career however, saw the artist in Munich as a member of the Bavarian State Opera Junges Ensemble. Miss Zukerman recalled those days somewhat wistfully as she like any other artist in their early twenties, was searching to find precisely where her vocal instrument properly lay. While not a mezzo voice, the artists instrument exhibited an extremely rich middle range, with the higher registers arriving with very little effort as it was always there. Nevertheless given that reality, Miss Zukerman wisely did not press her vocal instrument which now thankfully comes to us today in the most shimmering tones. We are looking at a vocal instrument mastered in the old school, in the tradition of Miss Leyla Gencer, and Miss Renata Tebaldi.
Miss Zukerman sings Mozarts Requiem. Long Island 2008.
COMMANDOpera had been curious before the interview as to Miss Zukerman’s huge reputation as a chamber musician where she has spent most of her time in recent years. Well, after sitting with the artist one did not really need to ask that particular question; this is an extraordinarily gifted woman intellectually. When a mind such as this exists, the natural path would be to attack the most difficult repertoire around as this is where the challenges for a vocal artist really can be found. For some that would be Lieder. COMMANDOpera could not resist lifting a paragraph from Miss Zukerman’s biography: ”Ms. Zukerman’s extensive concert career includes performances with an impressive group of conductors including Jane Glover with Berkshire Choral Festival, Pinchas Zukerman with National Arts Centre Orchestra and the Baltimore and Pittsburgh Symphony Orchestras, and Marin Alsop with the Colorado Symphony. She recently made her Boston Symphony Orchestra debut under James Levine in Moses und Aron and her Philadelphia Orchestra debut singing Beethoven’s Symphony No. 9 under Rossen Milanov in Philadelphia and Charles Dutoit at the Saratoga Performing Arts Center. Internationally, she has performed Mozart’s Mass in C Minor and Handel’s Solomon under Ivor Bolton with the Israel Philharmonic, Messiah with the English Symphony Orchestra; and Mozart’s Requiem and concert arias as well as Vivaldi’s Gloria with Moscow Chamber Orchestra under Constantine Orbelian. She has performed with Rochester Philharmonic in Libby Larsen’s Notes Slipped Under the Door and Mahler’s Symphony No. 4, and has also appeared with the Seattle, and Jackson Symphony Orchestras, at the Kennedy Center with the Choral Arts Society of Washington, Cathedral Choral Society in Washington, DC, and in multiple appearances at the Savannah Music Festival.”
Miss Zukerman as Aphrodite New York City Opera 2006. Photo credit: Miss Carol Rosegg.
COMMANDOpera thought not to beg and plead with Miss Zukerman to take on more operatic repertoire, however given a vocal instrument of this golden calibre, one was NOT going to pass up such an opportunity. Miss Zukerman was amused as this is what she has begun doing in the last few years. Now that the artist is completely satisfied with the lay of the land vocally, she is actively pursuing the increase of her operatic repertoire. Clearly Miss Zukerman is bringing her interest in taking on challenges as the inspiration for the roles she will essay. Drama being the key essential element to a Zukerman portrayal. Oh one is certain she will throw in a high note here or there, but it will be operatic musical drama of the calibre the opera going public has not witnessed since the period of Miss Callas which will be the focal point. One could only imagine an Anna Bolena derived from the mind of Arianna Zukerman (a role she is interested in taking on!). It was an experience and pleasure like no other to have met Miss Zukerman, as one finally could understand firsthand what all the gushing and commotion surrounding this artist was all about. COMMANDOpera readers will be reading more on this exceptional artist as developments warrant.
Miss Zukerman with Crew Mantle at 10:30 A.M. yesterday.