An Interview with Charles Roe, Artistic Director of The University of Arizona Opera Theater

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. (more…)

UA Dance Sports a Full Dance Card in Student Spotlight

One thing you can say about Still Here, Student Spotlight at the University of Arizona’s School of Dance is that you got a full evening’s entertainment. By showcasing twelve original works by the school’s student choreographers, the school gave dance aficionados, who always seem to enjoy these ventures into the choreographic unknown, a complete picture of what these emerging choreographers can offer the dance world.

Of course, within a program presenting a dozen works, there is going to be varying degrees of artistic quality, but there can be no doubt about the way the school gave the students the best professional environment in which to work. Expert lighting, appropriate visuals, and some unusual musical selections accented with imaginatively designed and beautifully tailored costumes certainly gave the students a secure space in which to present their dances.

If at times, the titles of the works didn’t always match up with design and execution of a particular dance, the vitality and dedication on the part of all the dancers never wavered. Better yet, within the works themselves, there were a number of standout moments.

Claire Zavisalon and Barton Cowperthwaite brought the middle section of Clayton Velasquez’s A Beginning, A Detour, and an Open Ending to stage front with their intense expression of joyful love before the couple’s relationship hit the skids.

Sean Viator both choreographed and danced his solo work titled From Back to Front. Dressed as a wrestler and looking like he was in psychic and physical conflict concerning his profession, Viator brought passion to his inventive choreography, with a work that fulfilled his artistic intentions, complemented by beautiful extensions.

Nolan Austin also choreographed and danced his solo named Reciprocal in which he deftly showed the similarities between how a dancer at the barre and how a gymnast would weave his body around that same barre. His moves produced an ethereal physicality as he pushed his body away from the barre only to pull it closer as a reflex action.

Kayla Farrish’s Encore(s)by My Bedside presented her dancers as a group of sloppily dressed American kids trying their damnedest to dance to some Gypsy music and looking wonderfully goofy in the process. Farrish’s sense of humor held throughout the piece, making her ensemble the best cohesive work of the evening. It didn’t matter a whit if her dance title didn’t always match her choreography.

Parts of the other works had a heavier dose of youthful angst than one might have hoped for, occasionally producing dance patterns that became repetitive as they wove in, out and around their emotional turmoil. And more variety in dance styles would have been welcomed — not leaning so much on what goes for modern dance today. The School of Dance prides itself on offering a full complement of dance in its program that includes instruction in Classical ballet. Might we see in the future some students try to develop a work in which dancing on point is featured?

The evening ended with It’s the Shame in the Pride choreographed by Jared Baker, a piece that brought both powerful moves that segued into light and airy jumps showing how the eleven dancers involved seemed to relish performing for the audience. Baker’s work amply demonstrated how the School of Dance combines a strong work ethic with an infectious enthusiasm that surely attracts dancers to the program.

A ‘Publicity Stunt’ Mars a Thrilling Opera Performance

I saw the great performance at LA Opera on Saturday afternoon, November 26th, of Romeo and Juliet. Nino Machaizde and Vittorio Grigolo were a wonderful pair of lovers, with an intense showing of their dramatic and vocal powers. Their final scene was riveting; their emotional connection was overwhelming.

However, what took place after the opera certainly left a bad taste in my mouth. Requiring opera fans to purchase Machaizde and Grigolo’s albums in order to get an autograph was crass and insulting, ( nothing in the publicity about the signing mentioned this prerequisite.)

Of course, opera companies and particularly singers need the revenue of album sales but to refuse to meet the fans because they haven’t bought your albums is not only unfair but smacks of greed. I don’t remember in all my years of opera going when I was not allowed a short visit to say congratulations or to get an autograph after a thrilling opera performance. Also, I don’t think opera fans at the Met or in Europe would accept this snub.

Since Placido Domingo is the Artistic Director of the LA Opera Company,I hold him responsible for the insult. After all, Domingo is a great artist and has deservedly received plenty of adulation from his fans over the years, that’s the reason I find it so upsetting that he would allow this.

By the way, we had to wait over half an hour for Machaizde and Grigolo to come out which was certainly understandable considering what they had given of themselves in the performance. I’m sure many people who wanted an autograph would not have hung around for that time but the diehard fans would. I doubt if there would have been more than a handful that would have waited. I am a big Grigolo fan, and have his albums and copies of four of his opera performances but when I listened to one of them last evening, my feelings for his work changed. I seemed to have lost some of the good will and respect for him as a person. I hope these qualities can be restored and also I hope that no opera fan will have to face such a demeaning situation again.