In a message dated 3/4/2002 7:22:54 AM Pacific Standard Time,
dalila@R... writes:
> I am curious whether this is just a generic Loca/Regional opera problem:
> i.e., smaller companies EVERYWHERE avoid doing anything but the lighter
> opera rep that can take advantage of the overabundance of
> just-out-of-school lyric and coloratura sopranos and lyric baritones, and
> to hell with the other _fachs_. Or is it a peculiarity of this region
> which also, coincidentally, is VERY big on choral music, especially of the
>
Karen,
It is not particular to your region. It is the same here in the Bay Area,
although not quite as bad. In the recent past, the local companies here have
produced Tosca, Trovatore, Mahagonny (GREAT mezzo role!), Baby Doe. But, it
is more rare than the "lighter" rep.
You must realize that this is not only a small company issue. Large companies
have a hard time casting these operas as well, and don't produce them as
often as the other works. However, there are plenty of roles that a larger
voiced mezzo (of which I am one) can do that are in the more standard/lighter
rep: Carmen, Nicklausse, Dorabella, Third Lady, Orflovsky, Suzuki, the Witch,
Marzelline, L'Italiana's Isabella, LOTS of Handel, Maddalena, Orsini, Martha
in Faust. All of these roles need a mezzo who can really deliver in the lower
passages and be heard, so heft is desirable.
The issue can also be boiled down to taste. Just yesterday I sang Orlovsky's
aria in a fund raising concert, and a number of people came up to me
commenting on the unique quality of my voice (I have a very large chest voice
that contributes to a lot of heft and darkness, but which also has a
laser-like quality.) It is not a mezzo sound that is typical, and it is,
quite frankly, a double edged sword. It is great to be unique, yes, but on
the other hand, I have a LOT of experience with people who simply don't like
it and don't understand it and won't hire me. And I really don't mind. . .
now. But I had to get used to that fact.
You may need to branch out to larger markets. The bigger houses understand
what it takes to cut through an orchestra.
TinaO
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