Le nozze di Figaro, Glimmerglass Opera; Photo credit: Karli Cadel

by Melissa Wimbish

A few months ago I got to sing Le nozze di Figaro with a woman that is definitely a shining star in the role of the Countess. Caitlin Lynch is the subject of so many bougie conversations between my dear opera confidant, Wade Davis and I these days. When he saw Ms. Lynch in the production, he fell in love instantly. “And, honey…” as Wade would say in his classy Carolina accent, “..You know I’m the Countess, so if I like her, that’s what’s up!!!”

Truly, it is what’s up.

I’m hoping to find some time this week to write more about my personal experience with Caitlin’s Countess (although I was not in the role of Susanna so I didn’t have the privilege of singing with her, but it was almost okay because I got to listen to her which is the next best thing) and what intrigued me about the role after seeing her divine interpretation.  In the meantime, check out her website and listen for her in an opera house near you.

Visit the website of Caitlin Lynch, soprano by clicking here!

For your viewing pleasure until we are back with fresh content on Monday morning, I present Christian Reinert.

You’re welcome!

Stolen from the Facebook page of the glorious Katelyn Jackman. This should inspire you to consult your Marchesi more often!

Very sad news about losing Fischer-Dieskau today. Be thankful that we will never lose these moments thanks to technology:

This clip is from a movie version of Figaro that I didn’t know existed and can’t seem to find on iTunes. I bet it’s really awesome.  If you find it send me a link!

In the meantime, if you need something besides Winterreise to remember Fischer-Dieskau’s impeccable power and sensitivity, download this winning Figaro released in 1968 with Herr D. in the title role joined by Edith Mathis, Gundula Janowitz, Hermann Prey, Karl Böhm, Orchester der Deutschen Oper Berlin, and Tatiana Troyanos. Sung in Italian with delicious German flair.

I guess Gilbert & Sullivan does make everything funnier….

Talkin’ costumes today. Fan me!!!

Countess Connoisseurs, what is your favorite costume plan for this fabulous role? What lovely dressing gown would you have her in for her opening aria? What gorgeous shawl would she reach for during Cherubino’s entrance? Or, would she? LOL!

I love to arrive early to the opera.  For one, I want to sit down and see what everyone else is wearing…. the gowns, the sequins, THE SHOES!  Once that is done, I delve into the program!  I want to read the ‘who’s who, all of the singers’ bios, and the miniature reproductions of their glossy 8 X 10′s (which I usually go back to during intermission and estimate how many years ago that photo was taken), the director’s notes, the conductor’s notes!  It is one of the best parts of going to the opera!  So let Operagasm get you ready with the down low on new and exciting upcoming productions.

The Operagasmic Production of the Week is Opera Manhattan’s Opera Festival!

Following the critical acclaim of February’s trio of monodramas themed Women on the Verge, Opera Manhattan is proud to announce its 2012 Opera Festival.  Three riveting operas will be presented from May 17 – 21 at the historic Theatre at St. Clement’s, 423 West 46th Street, in Manhattan.  A special performance of arias and ensembles presented by Opera Manhattan’s Artist Development Program will be offered as a later part of the festival at another venue.

Opera Manhattan will reprise and fully stage Poulenc’s monodrama La Voix Humaine. Based on a 1930 play by Jean Cocteau, the one act opera follows an agonizing phone conversation between a young woman and her former lover as she desperately tries to win back his love. First presented in a semi-staged performance by Opera Manhattan as part of Women on the Verge, La Voix Humaine features the original cast in alternate performances:  Kala Maxym, whose performance “had a fearful kind of dignity, even at her most frantic.  The warmth of Maxym’s soprano conveyed a tenderness more terrifying than fury”; and Roza Tulyaganova, who “gave a pointed, convincing portrait of this young woman’s breakdown, from the desperate pleas to her lover to evocations of their tender past.”

The idea for Menotti’s opera The Medium was first conjured up during a séance the composer attended with friends in 1936.  A psychologically complex tale of the medium Flora, portrayed by Caroline Tye and Elizabeth Moulton in alternate performances.  The deception and hysterics of Madame Flora are boldly contrasted by the innocence of Monica, played by Megan Candio and Mary Langston, already favorites to Opera Manhattan audiences.

Suor Angelica is the moving story of a young woman from a noble family who becomes a cloistered nun.  The Principessa, her aunt, visits her after seven years of silence and brings Angelica a shocking and life altering revelation. Opera Manhattan newcomers Diana Wangerin and Kristi Bulot sing the demanding role of Suor Angelica, while Opera Manhattan veterans Sahoko Sato and Anna Yelizarova sing the Principessa.

Tickets and more information here!

This scene has never been a favorite of mine, but maybe it’s just because I hadn’t heard it sung so exquisitely! Take a minute to experience Popp and Janowitz nuancing the pants off of this duet. Such beautiful phrasing and such perfectly juicy and vibrant voices for these roles!

The more I’m indulging in the Countess this month, the more I am re-thinking her purpose in every scene. What was Mozart going for with this music? What does this exchange tell us about the Countess? How would you stage this if you were directing? Any radical ideas? Let’s hear from you honorary Countesses!

- Joseph Solman

For your viewing pleasure until we are back with fresh content on Monday morning, I present Vittorio Grigolo.

You’re welcome!