Virginia Opera

Q&A with Virginia Opera Carmen stars Lisa Marie Rogali and Zach Borichevsky

Laura Mertens — Mon, 04 Nov 2024 20:10:35 +0000

Q&A with Virginia Opera Carmen stars Lisa Marie Rogali and Zach Borichevsky Laura Mertens Mon, 11/04/2024 - 15:10

In This Story

Get tickets for Virginia Opera's Carmen at the Center for the Arts

Learn more about the full cast in this production, part of Virginia Opera's 50th anniversary season.

Zach Borichevsky as Don José and Lisa Marie Rogali as Carmen, in the Virginia Opera's 50th anniversary season production of Carmen. Credit: Dave Pearson Photography.

Get to know the stars of Carmen in the Virginia Opera's production (November 16–17 at the Center for the Arts). Mezzo-soprano Lisa Marie Rogali (Carmen) has been praised by Opera News for her début performance with Minnesota Opera as “a tour de force of diction, precision and pizzazz.” Tenor Zach Borichevsky (Don José) has been lauded in OperaWire as a “masterful tenor" who “delighted and captivated the audience.”

LISA MARIE ROGALI, MEZZO-SOPRANO

Mezzo-soprano Lisa Marie Rogali will make her Virginia Opera debut in the title role of Carmen.

Hometown?
Hawley, PA

What makes Carmen a role you wanted to take on?
Carmen is an incredibly exciting role to take on for so many reasons. She’s an iconic character and an extraordinary woman—strong, confident, and unapologetically herself. She's more than just a one-dimensional seductress and I’m loving the process of uncovering the layers that make her so compelling and human. Carmen is a dream role for many, and I feel truly fortunate to step into her shoes for the first time.

A favorite moment in this opera?
One of my favorite moments is in Act 2, after Don José and Carmen are reunited. When he can’t be present with her because he hears the bugle calling him to leave, she responds with a fiery outburst. Her reaction is all or nothing—she's not willing to compromise. I've always been drawn more to the acting side of singing, and Carmen has so many scenes like this that highlight her complexity. So, to answer your question, my favorite part of the opera is when I get to yell at the tenor!

When you have a passionate duet—up close and personal—is it loud for you both onstage? How do you all handle that?
It can be! But that’s what makes it so thrilling. The human voice is incredible, and that raw energy really connects with the audience. As professionals, we know our limits and how to harness that power effectively.

What is another role you aspire to and why?
I would love to perform the role of Cinderella one day—both in Rossini’s La Cenerentola and Massenet’s Cendrillon. I find it particularly meaningful when I can connect with a character on a personal level. Growing up, I had a very humble upbringing and didn’t always have an easy childhood, which makes me feel deeply connected to Cinderella’s story.

Tenor Zach Borichevsky performs in a production of Gianni Schicchi.

ZACH BORICHEVSKY, TENOR

Hometown?
Doylestown, PA

You went to George Washington University… How has your time in D.C. shaped you?
I double majored in music and political science, and I’ve always been intrigued by how we organize our societies. In my opera career, my political interest manifests through a deeper look at the societies in which the stories are set. In Carmen, we have an overtly political tale in that the main characters are (or become) smugglers working against the interest of the state. Carmen herself is a member of the perennially oppressed Roma ethnic group and has to navigate her life through the omnipresent misogyny of the time (which is especially evident when reading the original novella).

Some favorite composers (or works)?
I have to say my big three are pretty unoriginal: Mozart, Verdi, and Puccini. I’m sure it has a lot to do with the fact I’ve been most deeply exposed to their works in my training and career, but it’s hard to listen to anything by any of those guys and not be astounded by their genius. As for a (slightly) lesser known favorite of mine: in this era of Joker and The Penguin, Il tabarro by Puccini is the most heartbreaking villain origin story you could ever ask for.

Other unexpected or surprising items on your music playlists?
With two small children, the playlist is short but on repeat, so we try to make sure that the songs that are on their radar are tolerable for all (no Baby Shark!). Somebody That I Used To Know by Gotye is currently on heavy rotation after an October filled with The Nightmare Before Christmas.

What makes Don José a role you wanted to take on?
The very first opera duet I sang overseas (while a student at GW) was his first big scene with Micaëla. Ever since then, José has been a goal of mine — the part requires real subtlety as well as raw power, and it’s quite a challenge to fulfill both of those to the max in the same evening. And I love a challenge!

A favorite moment in this opera?
It has to be the final scene, which I think is the most complete piece of music drama ever created. The two former lovers’ confrontation contrasted with the thrilled offstage crowd makes for incredible theater.

When you have a passionate duet—up close and personal—is it loud for you both onstage? How do you all handle that?
The hardest opera aurally is La bohème, when both Mimi and Rodolfo do a lot of cuddling while singing as loud as they can. It’s not as much of an issue here in Carmen, but it’s generally much more of a problem for my costars than me, as they’re frequently stuck with their heads right on my chest as I’m singing, and that’s about the loudest place you can be—even more so than in front of the mouth. But either way, since loud passages never last too long, I don’t think opera approaches the danger level of the average pop concert.

What is another role you aspire to and why?
I’d love to expand my French repertoire—I’ve always enjoyed singing in the language, and I’ve only had a chance to sing Roméo and Faust so far. Des Grieux in Manon is something I’d love to tackle, as well as Werther and Hoffmann. My wife just had an enormous success singing all the heroines in Tales of Hoffmann, so that’d be a fun gig to do together!

Watch these acclaimed singers in action:

You can learn more about Carmen by attending the pre-performance discussions with George Mason Dewberry School of Music Professor Richard Leech, 45 minutes prior to both performances on November 16 and 17, and can catch cast members in a post-show Q&A following the Sunday matinee.

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Virginia Opera

Virginia Opera's "Loving v. Virginia" Will have World Premiere at Center for the Arts May 3–4

Laura Mertens — Mon, 30 Sep 2024 17:14:19 +0000

Virginia Opera's "Loving v. Virginia" Will have World Premiere at Center for the Arts May 3–4 Laura Mertens Mon, 09/30/2024 - 13:14

In This Story

Rick Davis

Get tickets for the world premiere of Loving v. Virginia at the Center for the Arts

Learn more about the production from Virginia Opera

The Center for the Arts season culminates May 3–4, 2025 with the highly anticipated world premiere of Virginia Opera’s Loving v. Virginia, based on the true story of Mildred and Richard Loving, a couple from Central Point, VA (pictured above, photo credit: Estate of Grey Villet). Criminally charged for their 1958 interracial marriage in Washington, DC and forced to leave Virginia to avoid prison sentences, they took their case to the Supreme Court and won a landmark victory for civil rights in the U.S. in 1967. Widely considered the beginning of the dismantling of “Jim Crow” race laws, the case paved the way for future cases addressing equality, including Obergefell v. Hodges which legalized same-sex marriage in 2015.

Composed by Damien Geter, a Virginia native praised by the Wall Street Journal for his “skillful vocal writing,” the opera features a libretto by Jessica Murphy Moo and is directed by Washington, D.C. native Denyce Graves. A mezzo-soprano recognized as “an operatic superstar of the 21st century” (USA Today), Graves has recently expanded her talents to include stage-directing with credits including Minnesota Opera, Glimmerglass Festival, and Portland Opera. Reflecting on her illustrious career to WETA Arts, Graves has said, “I’ve portrayed all kinds of characters. For more than 40 years, I’ve told all kinds of stories. And the stories that are most important to me to tell now are those stories of truth, of inclusion… those stories that remind us that we are more alike than unalike. That’s so vitally important for our survival.”

Offered in conjunction with the development of the work, a fall 2024 semester-long Mason Honors College class (HNRS 360), Opera as Social Change: Loving v. Virginia, taught by College of Visual and Performing Arts Dean Rick Davis, explores the history behind and development of this world premiere work, as well as other operas that have been credited with, or intended for, examining social issues.

Don’t miss this important world premiere production, telling a Virginia story that yielded a landmark moment in American history.

Culminating the 2024–25 Great Performances at Mason season at the Center for the Arts, this performance, which is also part of Virginia Opera's 50th anniversary season, is sponsored by Woodleigh Chase.

You can save 15% off tickets to 2024–25 Great Performances at Mason and Family Series events when you purchase three or more at the same time. Learn more about subscription benefits.

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College of Visual and Performing Arts (CVPA)

Virginia Opera 2024–25 Season Update

Kirstin Franko — Mon, 29 Apr 2024 18:47:30 +0000

Virginia Opera 2024–25 Season Update Kirstin Franko Mon, 04/29/2024 - 14:47

Virginia Opera Website

A joint message from Virginia Opera and the Center for the Arts.

Producing and presenting an art form as robust and complex as opera is an expensive proposition, and, like everything else these days, expenses are on the rise. When you factor in the additional cost of touring a full opera with orchestra and chorus to multiple cities, the costs mount even higher. Virginia Opera and George Mason University are committed to continuing the partnership that has brought high-quality opera to Northern Virginia for more than 30 years, but due to escalating costs, we are presenting two operas in Fairfax this coming season, rather than the four to which most of our patrons have become accustomed. This was not an easy decision to make, but it is the right one for the long-term sustainability of this important partnership.

We are thrilled that the two Fairfax presentations will include Bizet's sumptuous, romantic, tragic Carmen, and a major operatic event that is already garnering national attention: the world premiere of Loving v. Virginia by Damien Geter and Jessica Murphy Moo, commissioned by Virginia Opera and Richmond Symphony, and directed by superstar Denyce Graves. Information on both performances can be found on Virginia Opera's website and will be featured in the Great Performances at Mason season announcement materials, which will be made public on May 1.

We look forward to a great season of opera in Northern Virginia, and invite all Virginia Opera patrons to consider a “field trip” to Richmond or Norfolk to experience their other 50th anniversary season performances of Don Giovanni and Così fan tutte.

For Center for the Arts 2024–25 subscribers who include Carmen and/or Loving v. Virginia as part of a curated package of three or more performances, Virginia Opera will extend a special 25% off discount to experience Don Giovanni and Così fan tutte in either Norfolk or Richmond. Center for the Arts subscribers will receive the offer code to redeem this discount through Virginia Opera beginning August 5.

Together, we remain dedicated to fostering a love for opera and expanding access to the transformative power of the performing arts in our region.

Sincerely,

Rick Davis, Dean, College of Visual and Performing Arts, George Mason University
Peggy Kriha Miller, General Director and CEO, Virginia Opera

Frequently Asked Questions surrounding the 2024–25 Virginia Opera Season:

Why are you only presenting two of the four operas from the full season?

Producing and presenting an art form as robust and complex as opera is an expensive proposition, and, like everything else these days, expenses are on the rise. When you factor in the additional cost of touring a full opera with orchestra and chorus to multiple cities, the costs mount even higher. Due to escalating costs, we are presenting two operas in Fairfax this coming season, rather than the four to which most of our patrons have become accustomed. This was not an easy decision to make, but it is the right one for the long-term sustainability of this important partnership.

If I purchase two operas at the Center for the Arts and one or two operas at the Richmond and/or Norfolk venues, can I still get a discount?

For Center for the Arts 2024–25 subscribers who include Carmen and/or Loving v. Virginia as part of a curated package of three or more eligible performances, Virginia Opera will extend a special 25% off discount to experience Don Giovanni and Così fan tutte in either Norfolk or Richmond. Center for the Arts subscribers will receive the offer code to redeem this discount through Virginia Opera beginning August 5.

I cannot get to the other venues: will the other two titles be streamed online?

No, Virginia Opera does not have the capability to stream the performances.

Why did you choose to present these two titles over the other two?

Carmen is one of the most popular operas in the canon, with a timeless story of love and betrayal and some of the most ravishing melodies ever written for the stage. Loving v. Virginia represents our commitment to the continued vitality of opera as a living art form, and tells a story drawn from the rich history of civil rights in America—and here in Virginia. Each work offers the kind of passion and sweep that only opera can provide.

Will you present the full season in 2025–26?

Virginia Opera and the Center for the Arts will re-evaluate options for each season to deliver the best possible experience while ensuring our programming's viability.

Can I subscribe to just the two opera performances? Will I still get a discount on two operas?

The Center for the Arts offers a subscriber discount of 15% off when you create a custom package of any three or more performances across all Great Performances at Mason and Family Series performances. You must have three performances in your package to unlock the 15% off subscription discount.
For Center for the Arts 2024–25 subscribers, who include Carmen and/or Loving v. Virginia as part of a curated package of three or more eligible performances, Virginia Opera will extend a special 25% off discount to experience Don Giovanni and Così fan tutte in either Norfolk or Richmond. Center for the Arts subscribers will receive the offer code to redeem this discount through Virginia Opera beginning August 5.
Individual tickets to Carmen and Loving v. Virginia will go on sale on August 1 at 10 a.m.

Why can't I keep my same seats for the opera?

As fixed series subscriptions are not being offered for this season, the Center for the Arts Ticket Office will not be tracking seat assignments for the individual events. The Center for the Arts recommends taking advantage of the two-week Friends Priority Period, a donor benefit, to select seats before tickets go on sale to the general public. Otherwise, the Center for the Arts recommends purchasing tickets as soon as the choose-your-own series subscriptions or individual tickets go on sale to the general public (May 15 and August 1, respectively).

Who do I contact to purchase Virginia Opera tickets for the Richmond or Norfolk venues?

Please visit VAOpera.org to purchase tickets to performances of Don Giovanni and Così fan tutte in either Norfolk or Richmond.
Virginia Opera Box Office: (866)673-7282
Email: info@vaopera.org

Who do I contact to provide feedback about this change?

We understand this change may be disappointing. If you would like to share your feedback with the Center for the Arts and the Virginia Opera, please email: cfatix@gmu.edu.

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College of Visual and Performing Arts (CVPA)

Experience the Power of Love with Virginia Opera’s Production of “The Barber of Seville”

Zoe Harr — Fri, 27 Oct 2023 15:00:03 +0000

Experience the Power of Love with Virginia Opera’s Production of “The Barber of Seville” Zoe Harr Fri, 10/27/2023 - 11:00

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A Special Note from Our Friends at Virginia Opera

Rossini's music from The Barber of Seville has appeared countless times in pop culture.

1941-1950: Looney Tunes cartoons including “The Rabbit of Seville” that features Bugs Bunny giving Elmer Fudd a “peaceful” experience at the barbers.

1993: Opening sequence of Mrs. Doubtfire opens with Robin Williams singing "Largo al factotum" as a voice actor for an animated bird and the Seinfeld episode “The Barber“ replaces its incidental music with the opera’s “Overture.”

2007: An episode of The Simpsons, "The Homer of Seville," features Homer singing the role of Count Almaviva.

2009: Family Guy's episode "Dog Gone" features Figaro's famous aria, “Largo al factotum.”

Did we miss one of your favorite Barber appearances in pop culture? Let us know by emailing us at info@vaopera.org or tag us on social media @vaopera.

Get ready to laugh and cheer for everyone’s favorite barber! Virginia Opera’s 2023-2024 season continues with Gioachino Rossini‘s beloved masterpiece The Barber of Seville running at the Center for the Arts November 11—12. From the famous opening aria “Largo al factotum” (“Make Way for the Servant Who Does Nothing”), audiences of all ages will recognize the music, laugh out loud as Figaro and Almaviva scheme their way into Rosina’s heart, and leave utterly smitten with the romantic comedy.

Figaro, barber and wingman extraordinaire, is determined to help the lovestruck Count Almaviva woo the beautiful Rosina away from her lecherous guardian, Dr. Bartolo. Shenanigans unfold in Rossini’s delightful bel canto and operatic comedy, a witty tale of bribery, deception, disguise, and, of course, true love.

Mezzo-soprano Hilary Ginther joins Virginia Opera: The Barber of Seville at the Center on Nov. 11 and 12.

This production is directed by Nora Winsler, who is making her Virginia Opera directorial debut, and includes a cast of incredible talents, both familiar and new to the company. One of the highlights of this production is the return of mezzo-soprano Hilary Ginther as Rosina. A former Virginia Opera Herndon Foundation Emerging Artist, Opera Now has praised her “terrific stage presence, with instinctive comic timing as well as a voice that is unusually flexible and florid for such a substantial and richly colored instrument.”

The cast features an ensemble of remarkable talent, all making their Virginia Opera mainstage debut, including in the role of Figaro, baritone Markel Reed, who has performed with the Metropolitan Opera in productions of Terence Blanchard’s Fire Shut Up in My Bones and in the 2019 GRAMMY® Award-winning Porgy and Bess; as Count Almaviva, tenor Aaron Crouch, who debuted with Washington National Opera in March, reprising The Son in Blue; as Doctor Bartolo, GRAMMY Award-winning bass-baritone Adelmo Guidarelli; and as Don Basilio, baritone Christian Pursell, who will make his Carnegie Hall debut this April.

Peggy Kriha Miller, General Director and CEO of Virginia Opera, shared her thoughts on the significance of comic opera in today's world, saying, "Comic opera has a unique power to bridge cultures and generations through laughter and music. The Barber of Seville remains as relevant and entertaining today as it was when it first premiered, reminding us all of the enduring power of humor and love."

Want to learn more about The Barber of Seville prior to the performance? Look no further than the most recent “Let’s Talk Opera” with Virginia Opera Resident Scholar, Joshua Borths:

Don’t miss this classic tale of love and get your tickets today for Virginia Opera’s production of The Barber of Seville on November 11 and 12.

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Virginia Opera

Virginia Opera Returns this October with Wagner’s “Siegfried”

Zoe Harr — Thu, 31 Aug 2023 18:48:36 +0000

Virginia Opera Returns this October with Wagner’s “Siegfried” Zoe Harr Thu, 08/31/2023 - 14:48

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Learn about Virginia Opera's 2023/2024 Season

Opening Virginia Opera’s 2023-2024 season, Siegfried, part three of Richard Wagner’s legendary "Ring" cycle, performs at the Center for the Arts on October 7 and 8. Virginia Opera invites its audience to reenter the fantasy realm of gods and heroes on an epic quest for true love.

The most lighthearted of the four epic operas tells of Siegfried’s journey into adulthood with remarkable orchestral scene painting sprinkled with moments of humor. Beginning as the orphan grandson of Wotan, the king of the gods, Siegfried was raised by a dwarf named Mime. Siegfried re-forges his father’s shattered sword and sets off to reclaim the lost ring from Das Rheingold before embarking on a quest for the greatest prize of all—love. Infused with Wagner’s ingenious short musical themes (leitmotifs) to weave together the tale, this is a must-see event in Virginia Opera’s grand multi-year experience.

Kyle Albertson reprises his role as The Wanderer [Wotan]

Siegfried will unite the award-winning team of October 2022’s production of The Valkyrie including stage director and projection designer Joachim Schamberger as well as scenic and costume designer Court Watson, also known for his work in 2022’s Three Decembers and La Bohème: Rodolfo Remembers in 2021. Additionally, Virginia Opera’s artistic director, Adam Turner, will return to conduct the production and be joined by the Virginia Symphony Orchestra.

Actors returning to reprise previous roles in the "Ring" Cycle include internationally acclaimed bass-baritone Kyle Albertson (reprising his role as The Wanderer [Wotan]; pictured left), mezzo-soprano Alexandra Loutsion (reprising her role as Brünnhilde), and bass Ricardo Lugo (reprising the role of Fafner). Baritone Joshua Jeremiah joins the cast as Alberich, having last been seen on the Center’s Stage in the spring 2023 production of Fellow Travelers. Lastly, this production welcomes the mainstage debuts of several fast-rising performers, including Cooper Nolan as Siegfried, Matthew Peña as Mime, Alissa Anderson as Erda, and Alicia Russell Tagert as A Woodbird.

Need a refresher about last fall’s production of The Valkyrie? No worries! Watch the video below for a “Let’s Talk Opera” with Virginia Opera Resident Scholar, Joshua Borths.

Get your tickets today for Virginia Opera’s production of Siegfried on October 7 and 8, the must-see event in Virginia Opera’s grand multi-year experience.

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The Center for the Arts Offers "The Pirates of Penzance" Audiences an Immersive Journey into the World of Gilbert & Sullivan

Laura Mertens — Tue, 01 Nov 2022 17:48:31 +0000

The Center for the Arts Offers "The Pirates of Penzance" Audiences an Immersive Journey into the World of Gilbert & Sullivan Laura Mertens Tue, 11/01/2022 - 13:48

George Mason University Libraries Special Collections Research Center

Audience members attending Virginia Opera’s production of Gilbert & Sullivan’s The Pirates of Penzance on November 12 or 13 can begin their journey with the opera before the curtain even rises through a November 11-16 exhibit of authentic Gilbert & Sullivan memorabilia and discussions about the operetta.

Sheet Music for The Pirates of Penzance Galop features Richard Temple as the original Pirate King. Courtesy of David and Ann Stone.

The experience will begin as soon as individuals enter the main lobby of the Center for the Arts, where they will encounter an extensive display of authentic Gilbert & Sullivan memorabilia from George Mason University Libraries’ Special Collections Research Center. George Mason University benefactor David Stone has spent years gathering a treasure trove of items related to the wildly popular duo of English playwright and humorist W.S. Gilbert and English composer Sir Arthur Sullivan, who created 14 comic operettas together. In 2014, Stone and his wife Ann gifted part of their extraordinary collection—including original manuscripts, posters, photographs, letters, and many other items—to George Mason University Libraries. The David and Annabelle Stone Gilbert and Sullivan collection, now housed in the in Fenwick Library, currently contains more than 200 items and donations will be ongoing through 2026.

Photograph of Marion Hood in The Pirates of Penzance (1880/1881). Courtesy of David and Ann Stone.

In 2017, the University held a series of events to celebrate the creative genius of Gilbert & Sullivan. With great enthusiasm, the collection was exhibited and appreciated on both the Fairfax and SciTech campuses, and a catalog of the works was also created. Since that time, the collection has not been on view to the public. Now, dozens of items related to The Pirates of Penzance operetta will be on display in the Center for the Arts, presenting a rare opportunity to get up close and personal with the lives and works of this Victorian-era team, considered the forefathers of modern musical theater.

In addition to the exhibit, there will also be pre-performance discussions prior to both performances, featuring Virginia Opera Resident Scholar, Joshua Borths, in Monson Grand Tier on the third level of the Center for the Arts. The discussions will commence 45 minutes prior to the start of the performances, exploring insights about the music and production. A post-performance discussion led by Borths and featuring members of the cast and creative team will also follow the November 13 matinee.

The Gilbert & Sullivan exhibit and The Pirates of Penzance discussions are perfect supplements to Virginia Opera’s production, allowing audience members to become completely immersed in the world of Gilbert & Sullivan and fully appreciate the performance.

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Special Collections Research Center

Virginia Opera Artistic Director Adam Turner Discusses Wagner's "The Valkyrie," which runs at Center for the Arts Oct. 8-9

Laura Mertens — Thu, 06 Oct 2022 01:54:49 +0000

Virginia Opera Artistic Director Adam Turner Discusses Wagner's "The Valkyrie," which runs at Center for the Arts Oct. 8-9 Laura Mertens Wed, 10/05/2022 - 21:54

^{Credit: Dave Pearson Photography}

The Center for the Arts presents Virginia Opera's production of Richard Wagner's electrifying The Valkyrie, the second opera in the epic "Ring" cycle, on Saturday, Oct. 8 at 8 p.m. and Sunday, Oct. 9 at 2 p.m., with the third and fourth installments in the cycle to come in subsequent seasons. Virginia Opera Artistic Director Adam Turner conducts the production, which is supported in part by the Wagner Society of Washington, DC (WSWDC), and participated Sept. 29 in a livestreamed talk with WSWDC Chairman Jim Holman. In the conversation, Turner explored this Valkyrie for a new generation, discussing the reduced instrumentation of this version's score orchestrated by Jonathan Dove (starting at 20:01 in the recording), to the design (starting at 26:10) and sci-fi inspiration, from Terminator to Star Trek, and beyond.

Turner notes that in The Valkyrie "people are losing their humanity, the gods are losing their godliness, and as that happens, people start showing the underbelly." The production's imagery, described by the The Virginian Pilot as "futuristic and sci-fi...eschewing the usual Viking helmets-with-horns vibe," explores the world of analog versus digital, and as Turner says, "how nature is affected by the digital realm." He says, "our own humanity is being affected by artificial intelligence and chips and our devices... As our lives become inundated with these digital distractions, do we lose a piece of our humanity, become less human?"

Turner also discusses The Valkyrie in a post on WETA FM's new Classical Score blog by Jim Allison, program director of WETA Classical and WETA VivaLaVoce.

Watch the recording of the Sept. 29 discussion below, and catch a pre-performance discussion with Virginia Opera Resident Scholar Joshua Borths 45 minutes prior to curtain on both dates, and a post-performance discussion with the artists following the Sunday matinee.

Watch footage from Virginia Opera's The Valkyrie.

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Virginia Opera

Meghan Kasanders Makes her Wagnerian Debut in "The Valkyrie" at Center for the Arts

Laura Mertens — Tue, 16 Aug 2022 14:40:54 +0000

Meghan Kasanders Makes her Wagnerian Debut in "The Valkyrie" at Center for the Arts Laura Mertens Tue, 08/16/2022 - 10:40

Virginia Opera's "The Valkyrie"

Baritone Kyle Albertson Discusses "The Valkyrie"

2022/2023 Center for the Arts' Season

Meghan Kasanders has already been hailed by The New York Times for her “authentically Wagnerian sound" and by Opera News for her "rich dramatic soprano, an instrument that displays power and sheen at all dynamic levels." You have the chance to see this rising star in action as Sieglinde in Virginia Opera’s production of Wagner's The Valkyrie at the Center for the Arts at George Mason University on Oct. 8 and 9. Enjoy the conversation between Kasanders and Center for the Arts intern Callie Cooper, who is completing a master’s degree in vocal performance herself, below.

On singing Sieglinde:

I love how beautiful and lyrical her music is. When I’m singing it, I try to think of it as a Strauss aria, or Mozart aria. I just let the voice soar, and the music does the work.

On "Ride of the Valkyries":

The most epic music you could ever think of! My family members are not opera goers, but the two pieces of music that they know are the “Queen of the Night” aria [from Mozart's The Magic Flute] and “Ride of the Valkyries.” It’s so exciting to be in a show where that iconic music is being played.

C: What do you think an opera newbie should know about The Valkyrie or the “Ring” Cycle in general?

M: I would suggest exploring Norse mythology in general. If you do some of that research, when you come you will enjoy the opera more. When Wagner writes, everything is story driven. He does most of the job. In those orchestral interludes, close your eyes and really take in the music. It is just incredible writing. It’s not very often that we get to hear Wagner on regional stages in the U.S., so just really take advantage of it.

C: What is your favorite opera within the "Ring" Cycle?

M: Valkyrie. . . . It’s been a show that has made me think outside of the box about story lines and the difference between the gods, warriors and humans. My story line is so weird [she laughs].

On debuting in a Wagnerian role:

I’ve sung a lot of Wagner scenes and arias for years. It’s been known for a while that this has been my destination. I am very excited that this moment is here, I was very excited when I got the call. I’ve been waiting, waiting, waiting, I’m finally getting the chance to sing this music now that my voice is ready for it, I’m prepared for it.

A lot of my mentors told me it’s going to be the long game for you. I’m lucky that at 30 I’m starting down that road. The fact that this is my first opportunity to sing [this repertoire] is very exciting. I feel like Virginia is the perfect place to start this journey.

C: Any advice for young singers?

M: I would say take your time, patience is key. Don’t focus so much on the future, be really in the moment and working with the voice that you have. And being present and always putting technique and musicality [allows the voice] to develop. I took the time to develop technique and musical choices, and now when I'm here and someone asks me to do the dream job that I’ve always wanted, I can. I kind of thought maybe it wasn’t going to happen for another five to 10 years. But it’s because I put in so much work with my current voice, and then my natural voice just developed the way it’s supposed to. Really appreciating the journey that you’re on and focusing on you in the moment, not so much comparing yourself to others or thinking so far ahead in the future. You’ve just got to hone in on what's in front of you. Just focus on you and where you are at.

What can my voice do now, what feels good, and let me focus on that. Your voice will develop and you need to reevaluate every step of the way.

C: Have you worked with any of the singers in the cast?

M: Trey and I were Young Artists together. Kyle Albertson, I have seen a number of times and I have always just been in awe. I know it's just a really good group of people, I’m excited to get to know everybody!

C: What is your dream role?

M: Ariadne, that’s the dream! And Chrysthamus in Elektra, and maybe one day even Elektra. Wagner and Strauss operas are my favorite.

C: Anything else you want our audiences to know?

M: Come enjoy, come for the “Ride of the Valkyries.” Glorious music in this opera.

The Valkyrie (Oct. 8 and 9) kicks off Virginia Opera’s four productions at the Center for the Arts this season. You can subscribe to all four operas (including Pirates of Penzance, Fellow Travelers, and La Traviata) to save 20%, or choose from three or more events across the Great Performances at Mason 2022/2023 season and save 15%.

Soprano Meghan Kasanders sings “Dich, teure Halle” from Wagner’s Tannhäuser with the Nuremberg Symphony Orchestra, conducted by Michael Hofstetter.

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