Category: 2015 Festival

Artist Name: Evan Adair
Voice type: bass-baritone
Role you’re singing this year: Frank Maurrant in  Street Scene

How did you first get interested in opera or musical theatre? 

I’m from Raleigh, North Carolina, and I didn’t consider opera an option as far as my career goes until my freshman year of college. My family encouraged me to be in every choir I could perform with, but large-scale productions were never watched or considered. After declaring my major in music I was surrounded by people who spoke of shows and artists that I had never heard of. My accompanist, a grad student at the time, decided to have weekly opera nights to get me better acquainted with the community- I’ve been in love with it ever since. 

When did you start studying voice? Where are you studying now?

I started taking lessons during my freshman year with Dr. Jeanne Fischer at the University of North Carolina at Chapel Hill. In the fall I will begin a Masters Program at Appalachian State University.

What came first for you, theatre or music?

Music definitely came first, primarily via the radio and church. As my repertoire of choral pieces expanded so did my circle of contacts, many of who had an impact on my decision to study voice in college. 

What are your dream roles?

I would really like to play Don Magnifico in La Cenerentola, which was the first opera that I ever watched. I was impressed with his arias and how they resemble the patter sections in many Gilbert and Sullivan pieces. It’s an interesting and hilarious role that I would love to do later in life. As for the near future- Any bass-baritone role from Don Giovanni, my favorite opera, would be fantastic.

What roles belonging to another voice type would you love to sing?

The title role in Carmen is one of the most consistently enticing characters in the repertoire that I’ve seen; portraying her character would be an honor. Two pieces that I would like to study are Nessun Dorma from Puccini’s Turnadot and Co Chvila from Janáček’s Jenůfa. The first piece is simply a powerful aria that is indicative of brilliance in the voice and technique, and the second is one of my favorite arias to listen to because it’s rife with emotional struggle. 

Who are your favourite performing artists?

One of my favorite vocalists, and coincidentally the reason that I love German Lieder, is Phillipe Sly. His voice is dark and rich, and his overall demeanor communicative at every moment. I also enjoy the work of Cecilia Bartoli.

My other favorite performing artists come from outside the realm of vocalists. Martha Argerich is a Argentine pianist who exemplifies natural talent, dedication to her art, and sheer expertise. I also enjoy the Martha Graham Dance Company- particularly Tadej Brdnik and Lloyd Knight, who bring precision and grace to the masculine form.

How can we keep opera a relevant art form for young people? What is the future of opera?

There have been many times where I’ve tried to introduce or perform a piece to someone outside of music- they’ll know the piece, but not it’s origin. Over time TV shows and movies have incorporated specific arias and other “classical” excerpts to communicate things that simply cannot be left to stage and screen, but the problem is that the pieces themselves are remembered while the greater work from which they spawn is left to antiquity. It’s our job to make people realize that opera is more than just background music setting a tone for another scene- it was and continues to be a complex and emotive art form that can be enjoyed as much as any movie or show today. As a matter of fact the Metropolitan Opera House has started streaming live operas to local movie theaters to promote this idea. We have to bring opera to others and promote it as the brilliant spectacle of current talent that it is. 

What are you most looking forward to about this summer?

Meeting musicians from various walks of life- working with and learning from others who enjoy this art as much as I do. Our passion for music has led us to perform with each other, and I truly look forward to enhancing my own passion alongside these excellent people.

Thanks, Evan! Are you a participant or staff member this year? Why not submit your own answers to our questionnaire! 

Artist Name: Michaela Chiste
Voice type: soprano
Role you’re singing this year: Jennie Hildebrand in  Street Scene

How did you first get interested in opera or musical theatre? 

There weren’t any really opera enthusiasts in my family, but we really liked musical theatre. I basically grew up with Phantom of the Opera. Our copy of the score is actually how I learned to read music!

When did you start studying voice? Where are you studying now?

My first voice lesson wasn’t until my first year of university, so I was definitely an underdog coming into the music program. I had previously just learned singing techniques from choir directors and my own research. It was there that I fully discovered that world of opera and fell in love with it! I am currently still studying there at the University of Alberta in the vocal performance program.

What came first for you, theatre or music?

I was definitely a theatre kid. It was my childhood dream to be an actor, and I was trained in both theatre and screen acting. I had always loved music, but for a long time singing was merely a skill to have on the side for me. Once my focus became centered on musical theatre, I started to place more and more importance on it, until it eventually became more important to me than acting was!

What are your dream roles?

I don’t really have specific dream roles, but I’ve never died on stage, so that might be fun. I wouldn’t mind doing a mad scene either!

What roles belonging to another voice type would you love to sing?

I’m dying to sing pretty much anything by Puccini, but alas, my voice still needs to grow a bit before I can.

Who are your favourite performing artists?

For opera, I love Diana Damrau: every piece she sings is performed with such an elegant attention to detail. She has an amazing ability to create such a wide array of vocal colours and it is just impossible to be bored when listening to her. For musical theatre, I’m a big fan of Ruthie Henshall. She always hits the nail on the head with every character she plays, in terms of both acting and singing.

How can we keep opera a relevant art form for young people? What is the future of opera?

I’m actually really excited about the direction opera is taking to cater to younger audiences. It seems to me that the drama and flair of opera has been kicked up even more, and more and more companies are exploring new ways to re-vamp beloved operas. Sets and costumes are getting more colourful and operas are being twisted into new settings and environments, and movement and dance are beginning to be utilized more. These changes keep it exciting for young people, but don’t push too far so as to disregard the integrity of the traditional performance of the operas.

What are you most looking forward to about this summer?

I can’t wait to see what the process of building an operatic production is like. I am excited to watch how the operas grow and evolve from their beginning phases to being performance-ready. I am looking forward to seeing how my character and performance will develop along with the opera!

Anything else?

This has been my first summer doing summer opera programs, and I am so grateful and so thrilled to be taking part in such an exciting experience!

Thanks, Michaela! Are you a participant or staff member this year? Why not submit your own answers to our questionnaire! 

 

Artist Name: Nalani Perry
Voice type: soprano
Role you’re singing this year: First Salvation Army Girl/First Nursemaid in  Street Scene

Tell us where you’re from! 

I’m from Halifax, Nova Scotia, and I became interested in opera at the young age of 10, which is when I saw my first production of Humperdinck’s ‘Hansel und Gretel’. I was mesmerized by the acting, singing and joy it brought to me, and the audience.

When did you start studying voice? Where are you studying now?

Growing up I was always very shy. I started playing the French Horn and continued with that for 10 years. I wasn’t serious about singing until about four years ago when I started working with Dr. Susan Boddie and she introduced me to singing baroque music. That’s when I really started to come out of my shell and enjoy vocal performance. I still study with Dr. Boddie at the Maritime Conservatory of Performing Arts.

What came first for you, theatre or music?

Music definitely came first for me as I’ve always found that singing puts us in touch with our feelings and our desires, and empowers us to express emotions, even if it is out of our comfort zone. For me, music requires tremendous skill, but it also requires self-awareness and courage as it challenges me to give up control of my emotions, to feel deeply, and to long for heightened and empowering experiences. Music is one way to feel a gamut of feelings, sounds, movements and makes you feel alive. 

What are your dream roles?

My dream role is Rosina in “Barber of Seville”, because she’s such a fun, feisty character and sings such spectacular music.

How can we keep opera a relevant art form for young people? What is the future of opera?

In my opinion, opera is more relevant than ever for today’s audiences. I love opera, but not just because I love singing. I am fanatical about opera because to me it is the only musical genre that fully exploits the capabilities of the human voice. I believe that is what keeps opera a relevant art form for young people. Opera has the power to communicate emotions, provoke empathy, and provide a deeper flow of feeling in the audience. If people truly realized what they were missing, there would be no lack of support and appreciation for opera! 

Thanks, Nalani! Are you a participant or staff member this year? Why not submit your own answers to our questionnaire! 

Artist Name: Colin Frotten
Voice type: tenor
Role you’re singing this year: Little Bat McLean and Elder Hayes in  Susannah

Tell us where you’re from! 

I’m originally from Yarmouth, Nova Scotia and currently based out of Toronto, Ontario. I started playing piano at 6 years old, and singing a few years later. I’ve been singingand playing music on stage ever since! My hometown has a rich arts community, with music being at the centre of it all. I owe it to my high school drama classes for giving me the acting bug, but I never experienced/listened to any kind of opera until I was in university, doing my Bachelor of Music degree (in piano) at Mount Allison University. I worked as a collaborative pianist throughout my degree, and fell in love with the art of collaborating with instrumentalists and singers alike. Interestingly enough, it’s my playing for other singers that got me interested in learning more about the voice, and more specifically, my own voice! From there, I began working as a rehearsal pianist and doing some vocal coaching/musical direction work for the university’s musical theatre groups, the “Garnet and Gold Musical Theatre Society” and “Black Tie Productions”, working on productions such as The Sound of Music, Beauty and the Beast, and Evil Dead! The Musical. I also performed in productions of Rent! and The Full Monty, and excerpt roles in Britten’s Albert Herring and A Midsummer Night’s Dream with the Mount Allison Opera Workshop.

When did you start studying voice? Where are you studying now?

I studied voice for a few years as a young child, but I only started studying formally in my third year of university. While working on my degree in piano, I began my voice studies with Dr. Jennifer Farrell and continued on to study with Canadian soprano Sally Dibblee, both of which provided me with a constant source of support, thanks to their thorough knowledge and expert guidance. I am now studying privately with Mark Daboll in Toronto.

Who are your favourite performing artists?

I’ve always been a fan of tenors Ian Bostridge and Juan Diego Flórez; two very different, but world-class voices!

How can we keep opera a relevant art form for young people? What is the future of opera?

I think for things to stay relevant, they have to adapt to a changing world. I love what’s happening right now with young, independent opera companies. Not only are they providing performance opportunities for young musicians and artists, but they are presenting opera in different forms, adapting them to more modern-day situations, and performing them in unusual spaces. This is what makes it exciting! Although I do believe it’s important for opera to be performed in its “truest”, most pure form to preserve important parts of our musical history, there is certainly room for both!

What are you most looking forward to about this summer?

I’m most looking forward to singing my first full role, and working with an exciting group of singers, musicians and creative teams! Also, returning to the beloved Maritimes for a month!

Thanks, Colin! Are you a participant or staff member this year? Why not submit your own answers to our questionnaire!