A production I would LOVE to revisit is Suor Angelica by Puccini, but this time I would like to sing Suor Angelica and not Suor Dulcina! I also got the opportunity to perform on the main stage and cover some of the industry’s leading sopranos. Sheri and Mark and all their little chicks! They took great care of me and taught me about being a performer and a fully formed artist. Leah Crocetto, Aida, and Brian Jagde, Radames, in Aidaīeing an Adler Fellow was the biggest gift for me. If there were one opera that you were involved in during that time that you could go back to and perform in one more time, which one would it be? Tell us a bit about your time in that program. When you were in your first performance of Aida with San Francisco Opera, you were in the Young Artists Program. But truth be told, my favorite role is ALWAYS the one I am working on at the moment 😉 I think, so far, Aida is my favorite role. We try to make the voice like that always, but it is imperative in this repertoire. With Mozart and Verdi, the voice must be in line and focused. When I sang Donna Anna this summer, I enjoyed it immensely. He told me: “You have the voice for Aida, but when you sing it, you must sing it like Mozart.” He also predicted the age I would sing it! It all came true. When I was an Adler fellow, I had the opportunity to coach the Verdi Requiem one-on-one with Riccardo Muti. There aren’t many differences, believe it or not. What are the differences between a Mozart and Verdi leading lady? Which do you prefer to play? You recently sang Donna Anna in Mozart’s Don Giovanni with Santa Fe Opera. I feel as though I am sending out and getting back nothing but love!
It is my artistic HOME! My best friends are on the music staff and in the chorus, and I know the audience here. When I perform in San Francisco, it’s like when the San Francisco Giants play baseball at AT&T Park. How does performing on the San Francisco Opera stage compare to doing so on other great stages, such the Met or Santa Fe Opera? You have a long relationship with San Francisco Opera, but you’ve performed all over. Lord help me, I can only listen to opera for the rest of my life?! KIDDING!!! If I had to choose, it might surprise you… I would take Luciano Pavarotti’s Romantica album, the Vienna Boys Choir’s recording of Handel’s Messiah, and the Chicago Symphony recording of the Verdi Requiem with Leontyne and Luciano! Can I have one more? The Marriage of Figaro with Renée Fleming as the Countess. We want to get to know you, so let’s play desert island: you can bring three opera recordings with you to listen to for the rest of your life.
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