The following Q and A interview with Charles Roe is in anticipation of the Opera Theater’s upcoming productions of Giacomo Puccini’s One Act Operas, Suor Angelica and Gianni Schicchi* from April 12 through April 15 at Crowder Hall on the University of Arizona’s campus.
L/O: When was the last time you presented Suor Angelica and Gianni Schicchi? Why have you decided to present them again?
CR: We last presented the operas in 2001. We decided to present them again because both are good ensemble shows that offer opportunities for more singers, especially our younger ones. Also, we have an excellent Schicchi (Seth Kershisnik) and two fine Angelicas ( Jenny Beauregard and Yunnie Park.)
L/O: What differences are there as far as production values between then and now? Who is your set designer?
CR: We have better resources now than we did in 2001, thanks to Amelia Rieman’s generous gift. Also, the School of Theater has been very cooperative in loaning us properties from their stock. As per the past seven operas, Sally Day is our Set Designer. She has an excellent background, having already designed for Arizona Opera, and has great imagination.
L/O: In general, how do the students in the casts manage orchestral rehearsals, blocking the operas and language study at the same time?
CR: The students have many demands on them, including singing in choirs, taking courses, preparing recitals, and trying to stay healthy. We rehearse ten hours per week (two hours daily) and only rehearse in the evening during dress rehearsals.
L/O: How do you help the students build their vocal interpretations? Once in rehearsal, do you allow them any leeway in how they do this?
CR: I try to give the singing/actors some leeway until I see that they need some guidance. However, as you mention, learning the notes and rhythms along with singing in a foreign language takes some time (usually three – four weeks at the beginning of each semester). Then I begin the blocking (staging) and give them the basic movements and let them try to find motivations — that I have already thought out — to justify their actions.
L/O: With four performances, what roles have you double-cast? What do you listen and look for when they are auditioning?
CR: Of course, we have double-cast Angelica. It is a very demanding role, both vocally and dramatically. Since we need each available male, none of the male parts in Schicchi are doubled. We did double-cast Lauretta, Ciesca and Nella, since we have enough sopranos to do this. Also, there are a few singers singing in both one-acts.
L/O: How about their work ethic? In a recent interview, soprano Natalie Dessay said she is giving up opera for a couple of years. She found that some singers were late for rehearsals and some didn’t show up. How do you work with students who need guidance in this area?
CR: If a singer is late or absent without excuse, I explain how they are hurting the rest of the cast and explain that they are creating an impression that will hurt them in future casting, as well as, in any future recommendations.
L/O: With the two sopranos you have selected, how do you guide them in the difficult vocal and dramatic challenges in a role that Puccini loved so much? Any advice to them on how to handle Angelica’s high Cs?
CR: This semester I decided to let Kyle Connor, a Master’s Degree voice major, direct Angelica. Kyle has dreams of being a stage director and, having successfully directed a few opera scenes for the Opera Theater, is ready to gain something to help his resume. We meet regularly and discuss issues that relate to his work. Concerning the Angelica high Cs, both of our ladies have no problem with that note or any other high note.
L/O: Who is the conductor and how do you two work together to get the vocal/dramatic results you want from your singers?
CR: Dr. Thomas Cockrell is again the Music Director/Conductor of our operas. He also works with David Dunbar, a graduate student in conducting, who will conduct the final performance. Tom and I work well together and have great respect for the score and the drama.
L/O: Ensemble is very critical to an opera like Gianni Schicchi, how do you get the students to follow all the line readings and the musical pace at the same time?
CR: The singers are drilled from day one and are expected to know their parts cold. Of course, there are times in rehearsal that we must stop for musical and/or dramatic reasons and work out any problem that has contributed to the error.
L/O: Rinuccio is a short, but very important tenor role in Schicchi, how do you help a student build his aria, that begins with ‘Avete torto‘ and ends on those B flats?
CR: Rinuccio’s aria is very difficult. The tessitura is high and the aria is fairly long. Our tenor Mitchell Sturges is doing his best to manage the role and the aria. Since he is not my voice student, I don’t feel I can interfere with his technique. I just try to encourage him and generally be supportive.
L/O Two questions about your career at the U of A, how long have you been artistic director of the program? What are some of the reasons you have stayed so long?
CR: I came to the U of A in 1989 to serve as Stage Director of the Opera Program, and it was by the mid-nineties that I was appointed Artistic Director. I have stayed here because I enjoy working with the young people here and can’t complain about the climate — most of the year.
L/O: How do you compare the opera program here with other opera programs in the U.S.?
CR: I hope that we are fairly mainstream and that our productions are of the quality of most institutions of our size, talent and finances.
L/O: How long do you intend to remain on the job?
CR: I plan to stay here as long as my health and energy allow.
L/O: What are some of the areas concerning performance, audience attendance, or everyday management of the program that need your attention? And what about future improvement to the program?
CR: With the help of our excellent publicity person Ingvi Kallen our audiences have grown well — always depending on the work being presented. I don’t choose operas based on whether it will sell tickets, but always with the available student pool and both Tom’s and my interest in the work. We both enjoy Contemporary Opera and hope to continue presenting “modern” works whenever possible.
* Performances are Thursday, April 12, Friday, April 13 and Saturday, April 14 at 7:30 PM and Sunday, April 15 at 3:00 PM.
Tickets are $15 $12 $10
Box Office: 621-1162
Online Ticket Sales: arizona.tix.com
