Nowadays, there is much discussion about a singer’s fach, or, in more mundane terms: does a singer have “the” proper voice for a certain role? Although this discussion has its merits, it usurps the space of the more important question of how singers inhabit their characters through their acting personalities. Especially in less-performed repertoire—such as baroque and classical operas—it is {…}
(Photo credit: Cassandra Hannagan) In a podcast for Pinchgut Opera’s latest production, Marc-Antoine Charpentier’s opera “Médée,” Artistic Director Erin Helyard describes the first interpreter of the title role in 1693, Marie le Rochois, as “the greatest actress in all of France.” “Actress.” Not singer? But perhaps the designation provides a clue as to how to appreciate this early French baroque {…}
Cherubini’s claim to fame in the opera world is “Médée,” which had its world premiere on March 13, 1797. The work didn’t really receive a good reception, but it did return to the repertory in the 20th century, usually in an Italian version that featured recitatives replacing the French spoken dialogue. There are also German versions of the work, though {…}