Acclaimed American Soprano Brenda Harris agreed to sit down with COMMANDOpera for a wide ranging discussion devoted to Norma which the artist will be performing at the Lyric Opera of Kansas City on the evening of November 6. The role of Norma is considered the supreme role of the soprano range within the dominion of the Bel Canto repertoire. Norma is only taken on by the most confident of artists who not only own sufficient vocal resources, but the presence of star quality which is found rarely. Miss Harris first undertook the role some years ago, performing the work throughout America and abroad. The breathtaking and singular perfection of the Norma of Miss Harris may be known through audio excerpts found here. COMMANDOpera had for some time wished to illuminate this work in a most specific and personal manner. This could only be done through a Norma of great stature and depth. Since one would not disturb Miss Sutherland, the proverbial Rolodex listed only one other artist of sufficient gravitas: Miss Harris. Not everyone who writes on Opera enjoys such access, and COMMANDOpera is most thankful to Miss Harris for her kindness to this venue for making this important interview possible. COMMANDOpera advises readers to listen and hang on to every word of this discussion, as no analysis of this thorough weight exists anywhere in any other forum on the topic of Norma.
The interview was recorded on video via SKYPE which is the tool of choice for communication within the industry, and is in six parts. The discussion marks the first such interview COMMANDOpera will undertake throughout the season, of which a number are already under negotiations. Bear with COMMANDOpera on this first outing which will undoubtedly revolutionise the content readers may enjoy from this venue as a norm in the future. Finally readers across the globe may now know Crew Mantle as something more than the scribe behind the veil of their screen. Please send no mail as to the likeness of voice to Mr. Clinton, as one has heard the parallel time and again.
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ALT Resident Artists 2010 2011
The American Lyric Theater came to the attention of COMMANDOpera last season as the group which effectively brought the new American work, The Golden Ticket, to fruition. This is a most interesting and important organisation who could have had their mission statement lifted directly from the pages of this venue, such is the consonance of thought. For example this is part of the read in their ‘Background’ information: ”One of the most fundamental concepts behind ALT’s vision is understanding that opera did not become unpopular. Historically, opera was made unpopular in the United States as it was removed from popular culture. During the mid-nineteenth century in America, culture was divided into popular and elite arenas as the social elite gravitated towards arts and cultural organizations. By framing culture according to their own tastes and sensibilities, the wealthiest members of society gained control of opera by taking it out of the marketplace that had, up to that point, catered to a broad public. By insisting upon only presenting foreign language works in specially created venues, which themselves fortified a code of behavior that was deemed “appropriate” for cultural enrichment, a small but powerful portion of society effectively removed opera from the sphere of popular entertainment in the United States.”
They further write: “Until ALT started the Composer Librettist Development Program (CLDP), there was not a single full-time training program for opera composers and librettists at any opera company in the United States. Almost every opera company in the country has a Young Artist Program to mentor emerging singers, and over the past 25 years, these programs have proved immensely successful at improving both the artistic level and the career success of American singers around the globe. Imagine what could happen if the same sort of opportunities were available for operatic writers. ALT is doing more than imagining this – we are making it happen. The CLDP has been designed to address the absence of appropriate mentor ship for our writers.”
Composer Librettist Mark Adamo works with Mezzo Soprano Jennifer Rivera.
When COMMANDOpera received the announcement of the new roster of resident artist’s, there could be no question this venue would investigate with great interest. In speaking with Mr. Lawrence Edelson, COMMANDOpera was given to understand selections were made on the basis of excellence within the art form these composer’s and librettist’s are traditionally at home. Fashioning new operatic works without question owns a series of priorities and nuances unique to the art form. One does not follow the same rules say, if one were writing a stage play, or composing jazz. Which is what makes the work of the ALT so very critical not only for the survival of Opera within the American mainstream but abroad. Stylistic diversity in Opera is not a new theme, but perhaps one which has been misplaced for the last 50 years. Recent history has shown a marked lack of enthusiasm of theatres to infuse new blood into the repertoire, preferring to maintain the status quo with old works. This is unacceptable. If Wagner could emerge at the same time as Verdi, COMMANDOpera does not understand why new rhythms cannot be incorporated into the art form. The keepers of Opera have lost their way in maintaining Opera as a vibrant living art form which is of interest to modern tastes. Blood, nudity, and impropable ‘updates’ only take the genre down a solitary dead end.
Composer Daniel Catan advises Librettist Emily Conbere and Composer Alexandra Vrebalov.
The ascendant eight are comprised of four librettists and four composers. The residency is for one year in New York. Those who are selected must make themselves available to be in New York for that period. Through out the year, these already elite artists will be under the tutelage of some of the most respected names in American Opera, attending regular workshops and classroom curriculum. It is not for the feint of heart, particularly if one is an established artist within their own discipline. COMMANDOpera is much taken with the extraordinary talent of these individuals, whose biographies can be found here. Librettists include, Mr. Tony Asaro, Miss Rochelle Bright, Miss Maggie-Kate Cloeman, and Mr. David Simpatico. The Composers are, Mr. Christopher Cerrone, Mr. Gerald Cohen, Miss Justine F. Chen, and Miss Nkeiru Okoye.