Jake Heggie

Jake Heggie

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“Dead Man Walking”, Jake Heggie’s first opera, received international acclaim and has been performed in many opera houses internationally, including the New York City Opera, Cincinnati Opera, Austin Lyric Opera, and others. It will make its Cape Town debut on October 16, 22 and 24 (PG 16N) in a production by Cape Town Opera. Heggie has written over 150 songs, and American Soprano Judith Kellock and I will be performing some of these in a recital entitled “Paper Wings” at the Baxter Concert Hall, Monday 3 August at 13h00. Other works in the programme include “Four American Songs” by South African composer Peter Louis van Dijk, the song cycle “Try Me, Good King” by Libby Larsen, and a selection by Samuel Barber.

When asked why he leans toward vocal writing, Heggie says: “The voice still takes my breath away. It is the most expressive, most magical instrument ever. The inspiration comes from the voice. It brings tears to my eyes when I hear a great voice. And I love American English, too. It is a very expressive language”. (Meredith Ziegler, Journal of singing, Jan-Feb 2008)

Frederica von Stade: Heggie’s muse?

Jake Heggie composed “Paper Wings” in 1997. This set of four songs was commissioned by internationally acclaimed mezzo soprano Frederica von Stade as a gift for her daughter, Lisa. The careers of Heggie and von Stade have intertwined for over 25 years and their creative alliance is marked by a series of revelatory songs and roles. He originally conceived the role of Sister Prejean in “Dead Man Walking” for her, she created the role of the convict’s mother, and she takes the lead role in his opera “Three Decembers” based on a play by Terrence McNally. Their recent collaborations include song cycles such as “Statuesque”, “Rise and Fall” and “Friendly Persuasions”. Von Stade has become a staunch Heggie supporter and ally, performing and championing his music wherever possible. He is quick to acknowledge his love and affection for her as a person and an artist. After the huge success of “Dead Man Walking”, Heggie composed “Winter Roses”, a poetic eight-song cycle based on letters written  by von Stade’s father, who died during World War II, just months before she was born. Incidentally, these letters also form the basis of the vocal symphony “Elegies”, by Richard Danielpour in the vein of  “Das Lied von der Erde”.

Paper Wings (Piano Version 1997 – Orchestral Version 2000)

1. Bedtime Story

2. Paper Wings

3. Mitten Smitten

4. A Route to the Sky

A tender portrait of the relationship between von Stade and her daughter, “Paper Wings” is a setting of poetry written by von Stade herself based on episodes from her and her daughter’s own life.

1. Bedtime Story

As a child, Von Stade’s daughter Lisa would fall asleep to her mother’s lullabies, and her favourite was the “Brezairola” from Jospeh Canteloube’s “Chants d’Auvergne”, which her mother had sung and recorded many times. The song cycle opens with a quotation from the song, as if the mother is trying to put her child to sleep. Unsuccessfully, it seems, and she starts to tell her stories about their life. Easy lyricism is underlined by gently rocking chords. The harmonies are warm and there are resonances of Samuel Barber in the gentle melodiousness. The words are absolutely delightful, telling how little Lisa once snuck into the room with a blanket over her head, hoping that, as she couldn’t see the grown-ups, naturally they couldn’t see her. While the song is initially “about” a lullaby, it “is” not a lullaby. Brisk passages and sections titled “Startled” describe the parents’ initial surprised responses to the three year old intruder. “Oh, magic, magic child” writes von Stade. “You stayed, we smiled”.

2. Paper Wings

The second song is a story from von Stade’s own childhood in Greece, in which her nanny – confusingly named Signorina, makes her a set of paper wings with which to fly over the rooftops of Athens. A bubbly Allegretto, the song trots along in a jolly 6/8 time. It displays the same clear sense of form found in many of Heggie’s works. The first section in C minor, introduces the nanny and their life in Greece. In the gentler middle section, staccatos are replaced by flowing white notes, and the occasional colour-chromatic F# is all that disturbs the calm of C Major. New material in B Flat describes the joy and exuberance of the child pretending to fly above the rooftops of Athens (while the singer does the same above the stave!) A neat little coda which recalls the opening material, rounds off this little gem with the lightness implied by the title.

3. Mitten Smitten

Lisa did not quite know what to make of this gift from India. Unaccustomed to wearing mittens, she did not know where to put her fingers. The song uses a raised 4th to create a slightly “oriental” atmosphere and emphasises the young girl’s incomprehension of these strange artefacts. A recurring motif recalls the Hugo Wolf of “Nachtzauber” and helps to draw the listener in to the child’s world. A delightful song, I can not wait to see how its theatricality translates in performance. The composer/director gives directions to the singer to act out looking at the hands, while the piano gives perplexed and unhurried commentary.

4. A Route to the Sky

The final song of the set tells of when von Stade and Lisa were stuck on the rooftop of their house and the firemen came to get them down. A reference to Beethoven’s “Für Elise” opens the song. The influence of jazz and ragtime is felt throughout this song. Syncopation and accent on the off-beats create a playful, jazzy feel. The performer also is given liberties similar to that of jazz performers: eighth notes can be swung and notated rhythms are not intended to be sung straight. Based on a blues scale, the song has an irrepressible sense of humour. Heggie flows comfortably from the voice fo the mother to that of the daughter, and often these shifts are accompanied by clear changes of key. The daughter tells – in a sentimental and rather wistful C minor- of the exciting day that she got stuck on the roof and had to be saved by firemen. The mother’s version of the same events is rather more urgent, and in A-flat minor.

Again Heggie’s theatrical sense of shape is evident. In a presto section – with sounds conjuring up the heightened drama of American Silent Movie Music – in which mother goes after daughter, to rescue her down from the roof. At one point the singer yells “Lisa! -Don’t move!” as the sung line alone can no longer convey the intensity of the moment, and a dramatic pause marked “frozen” is very effective. A rather raunchy version of “Für Elise” describes the commotion caused by the two, and a certain starry-eyed awe at having to be saved off the roof by two trucks full of firemen!

I have only come across Heggie in small bits and pieces on recital discs of American art-song, or in large chunks, such as the very powerful “Dead Man Walking”. Thrilled as I am to be able to see this opera live in Cape Town in October, I am even more excited at the prospect of performing some of his music . And to have an acclaimed performer and expert on American art-song such as Judith Kellock to sing my first exploration of his music, is simply thrilling.

paper_wings[1] smallJudith Kellock: Brief CV

jgk6@cornell.edu

Associate Professor, M.M., Boston University, 342 Lincoln Hall, 255-3424

Soprano Judith Kellock is an active performer in recital, chamber music and concert repertory, with a specialization in contemporary music. She is a founding member of Ensemble X, Cornell’s professional new-music ensemble and performs regularly on campus in recital, oratorio, and chamber music. She has been featured with orchestras throughout the United States, including the St. Louis Symphony, Minnesota Orchestra, Brooklyn Philharmonic, and the Honolulu Symphony, and has performed in Italy, Greece, France and Belgium. Recent festival performances include Stockbridge Chamber Concerts, Windham Chamber Concerts, and SongFest, where she is on the performing faculty. Ms. Kellock has recordings on the Koch International, Albany, Gasparo, and Fleur de Son labels and gives frequent master classes in conjunction with her recitals world-wide.

Heggie’s new opera “Moby Dick”, was commissioned Dallas Opera. Here Music Director Graeme Jenkins lectures to SMU Music Students about the upcoming World Premiere of Jake Heggie’s latest opera and the struggles of commissioning a new production.

Jake Heggie and Frederica von Stade

Jake Heggie and Frederica von Stade

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I have been a repetiteur for many productions, from Operas to Musicals to Cabarets. But I have enjoyed few of them as much as this production conducted by Alex Fokkens and directed by Lara Bye.  The story is delightfully funny and charming. A young couple are in love and already secretly married, and this becomes the engine that drives the farce. I think it is a real “Closet-Opera”: there is always at least one closet on the stage, with always at least one person hiding in it, about to hide in it, or who has just come out from hiding in it. It is a lovely excuse for some comic bussiness and delightful Bel Canto music with exhilirating runs, high notes, cadenzas and furious finales. The work itself is a pleasure, Rossini’s 5th opera, the work of a twenty year old. Musch of the mature Rossinian genius is already to be found. Team leaders Alexander Fokkens and Lara Bye created a production bubbling with life, humour and energy.

Conductor Alexander Fokkens

Conductor Alexander Fokkens

Alex Fokkens uses a light touch on the score. The orchestration had to be reduced for this production and the Cape Town Camerata certainly has their work cut out for them. Alex understands voices well and it is evident that he has studied singing himself. The skill he brings to conducting Rossini is the ability to keep things “light and frothy” but not “frothy and frivolous”. He has a way of insisitng on what he wants, musically, while keeping the mood positive and creative. His experience as an opera conducor certainly pays off in the devellish ensembles as much as in the slow arias, where a misjudgment of tempo could be fatal. I appreciated all his discussions with the cast about expressive detail. The atmosphere of exploration and discovery was one to treasure.

Director Lara Bye

Director Lara Bye

Lara Bye is so refreshing to work with. Willing to think “outside the box”, she rethinks operatic conventions and came up with a classic comedy that has a very contemporary feel to it. Her eye for comic timing is excellent and she has the ability to keep everybody focussed on what she is trying to communcate to an audience, while keeping the mood light enough for all the cast members to feel relaxed enough to make their own contributions. I felt asif I was watching a growth process in which the joy and fun of Rossini’s opera revealed itself in stages, a series of discoveries. Multimedia elements, animations and projections by Jon Keevy adds to the comedy and freshness of the production. The off-beat production had audiences of all ages laughing and giggling at its first public outing in February. Packed houses enjoying an afternoon of Opera? How delightful!

I very much enjoyed working with the cast. The two Baritones Aubrey Lodewyk and Conroy Scott both have very striking stage-personalities and the voices to match.

Baritone Aubrey Lodewyk

Baritone Aubrey Lodewyk

Aubrey plays the likeable servant Germont, who’s only real charachter-flaws are his fondness for the lovely “lady of the manor”, Giulia, and the bottle. He creates much confusion by falling asleep at the wrong time in the wrong place and getting messages mixed up.  In particular, Aubrey’s aria is one of the trickiest obstacle-courses a Baritone could tackle. While no-one ever doubted that he would master the role, I remember the first run-through at the piano. Page upon page upon page of tremendously taxing music lay before us. My eyes popped open. His eyes popped open. The rest of the cast’s eyes popped open. So many notes! Such a long aria! And such leaps from high to low. As we turned the page for the second verse of the fast cabaletta Aubrey took a deep breath and said – mid-cadenza – “Coffee Break!”

Conroy Scott – who also plays the Double Bass professionally – is given the role of Blanzac, whose overconfidence and fall from grace, is plotted and portrayed with excellent comic timing. I enjoyed his awareness of what the basses would be playing at any given moment in the opera. Even in this early Rossini opera, the trademark harmonic drive is evident, and Conroy’s orchestral experience creates a sense of being very aware of and in tune with whatever is happening in the orchestra pit. There’s a sense of youth, energy and enjoyment about being in rehearsal with Conroy that I enjoyed.

Conroy Scott and Zanne Stapelberg: Die Burger Gala Concert Feb. 2009

Conroy Scott and Zanne Stapelberg: Die Burger Gala Concert Feb. 2009

Magdalene Minnaar "La Scala di Seta" 2009

Magdalene Minnaar "La Scala di Seta" 2009

Magdalene Minnaar has a wonderfully expressive colloratura. Working with her on runs and cadenzas is truly fun. She has an excellent ear and faultless intonation – from many years of music lessons and performing also as a violinist, no doubt. And if one suggests just one more high note, or one more tricky little hairpin bend on some ridiculously high note, she is not only willing to try it, but can actually pull it off! I really enjoy her willingness to find a dramtic reason for a cadenza, and to let the music guide the movements to go with the notes. She will be fitting in this production on her way to New York for Masterclasses.

Elizabeth Frandsen

Elizabeth Frandsen

Elizabeth Frandzen sings the role of Lucilla with the perfect mixture of comedy, irony, and a touch of the “Adams Family”. Her popping in and out of the closet is one of the highlights of the evening, and her seduction of Blanzac is delightfully funny. Her powerful mezzo can be brandished like a sword to subdue a cocky baritone, or like a ticklish little feather to seduce the man of her dreams. Her aria is one of the highlights of the show and it is very hard to leave the reharsal room without whistling her perky little tune.

For the present revival only one cast-change was made: Sunnyboy Dladla will now be singing the role of Dorvill, the romantic hero. His comic flair is remarkable and his lyric tenor is ideal for the florid writing. Dorvil is a sweet mixture of the desperately tragic hero and the sweet innocence of the young lover.
Sunnyboy Dladla in Verona, Italy 2009

Sunnyboy Dladla in Verona, Italy 2009

Jacques Louw

Jacques Louw

Jacques Louw sings the tutor Dormont. A character role, he tends to pop up at inconvenient times and in even more inconvenient places.

The project is presented under the auspices of the South African Wagner Society and coordinated by Music Maestro’s

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The tenor who was almost a nurse

Sunnyboy Dladla at 20 Tenors

Sunnyboy Dladla at 20 Tenors

DANGEROUS LIAISONS: Bel Canto Arias and Duets of Love & Intrigue

Beau Soleil Music School
12 Salisbury Rd, Kenilworth
Adults R50, Children R20
SUNDAY 31 MAY 5pm

I love listening to Sunnyboy’s voice. It is a clear and bright sound that goes up and down the scale without sounding tight, tense or pinched. He can reach those stratospheric high notes that are so thrilling in operatic music. Sunnyboy sounds young and fresh, no wobble in sight, without any of the suicidal gasps and chest-beating one expects from the stereotypical straining tenor. Our upcoming programme “Dangerous Liaisons” features music written for tenor and soprano (sung by Magdalene Minnaar), with the bulk of it featuring Italian opera in a style known as Bel Canto. This music is florid, with abundant runs and much ornamentation. In order to sing these, one needs a lighter voice capable of executing dazzling displays of virtuosity, flexibility and easy high notes.

Ask what a tenor is and many people may answer Pavarotti or Domingo. Yes indeed, tenors they are. But that’s only one type of tenor, the kind who sings more dramatic music. Domingo always had a very powerful voice, and started his career not as a tenor at all but the more dark sounding Baritone. Pavarotti was a lyric tenor in his youth, but eventually made the transition to more dramatic roles, superstardom and wealth. Many serious musicians and opera-lovers regret the fact that he did not stay in that lyric repertoire for longer.

Sunnyboy Dladla is such a lyric tenor. He has had notable successes in Mozart operas (Don Giovanni and Le Nozze di Figaro) in Cape Town. He was winner of the Schock Singing Competition in 2008 and he has performed in Youth Concerto Festivals with orchestras around the country. In 2009 he has made a name for himself in Oratorio with performances of Handel’s Messiah around the country. I wanted to work with Sunnyboy because I like him as a person, I respect his work-ethic and he simply sings up a storm!

Sunnyboy Dladla, a lyric tenor , very nearly didn’t become an opera singer. He studied to be a nurse, but struggled financially, and couldn’t afford to complete his studies. While working as a volunteer nurse he was brought to Cape Town by his former Mpumalanga classmates Pretty Yende and Given Nkosi. Pretty and Given had been admitted to  UCT partly because of their repeated wins in the opera category of the Tirisano Schools Music Competition. Sunnyboy had been a provincial winner in this very same competition, and so his hopes were high.

Unbelievably, given his subsequent successes, Sonnyboy’s first audition for the UCT College of Music was unsuccessful. The audition panel felt he lacked musical and operatic experience and that he would not cope with the demands of the Opera Diploma. They referred him to the now defunct Choral Training Programme, a Development Programme run by Cape Town Opera: a very worthwhile apprenticeship and bridging programme. Yet that wasn’t why he had made the long trip to Cape Town.  It seemed to Sunnyboy that his best option was to take the train back to Mpumalanga. Thankfully, Pretty Yende’s persistence ensured that Sunnyboy was able to sing another audition for Prof. Angelo Gobbato, then head of UCT Opera School.  Angelo saw potential and arranged financial assistance and went to extraordinary lengths to give Sunnyboy the chance to study. Angelo often moved heaven and earth for singers when he saw the spark of potential.

A few years later, and Sunnyboy has already sung in Verona, Italy, one of the greatest opera centres in the world. His career has taken off and he is in demand as one of the most promising South African lyric tenors in recent years. Most recently he has been chosen as one of the Twenty Tenors. Sunnyboy’s humility is striking, as are his openheartedness and his capacity for hard work. He works as a waiter and a librarian to earn money to pay for extra coaching when he is preparing for a performance – something that immediately makes him stand out from the crowd. I first encountered Sunnyboy in the roles of Basilio and Curzio in Mozart’s “Le Nozze di Figaro” (The Wedding of Figaro), where his comic gifts were recognised and encouraged by American director Chuck Hudson and critics called him “a real comedic talent… responsible for a whirlpool of comedic goings on.”

Sunnyboy is the antithesis of the temperamental tenor, and very quick to acknowledge the guidance he has received from teachers and mentors in his profession, no matter their social standing, and he attributes his success to the fact that he  has been able to put his trust in their guidance.  He still humbly acknowledges what he gained from messrs Mbamba and S’thole from Ndlela High School who encouraged him (he admits a little against his will) to take part in choir competitions.  Likewise, he  recognises the other teachers who have shaped his career. Currently his teacher is Associate Prof. Sidwell Hartman of the South African College of Music, and he has also learnt from one of the greatest Turandots in the world – Hungarian Dramatic Soprano Eva Marton.

Sunnyboy speaks candidly but fondly about the difficulties he had early in his studies. He received a lot of negative feedback, his teacher was a hard and persistent taskmaster and Sunnyboy battled with the adjustment to being a full-time opera student far from home. It didn’t help that his family was anything but supportive. How a young black man from Mpumalanga without the resources to finish a Nursing Diploma thought he could become an opera singer, was something many of his peers could not understand. Yet Sidwell encouraged him to learn from others and most of all, to be careful about his choice of repertoire. Having started his studies as a lower voiced baritone, by his third year his technique started settling and he had made the transition to tenor, where his voice felt more natural, well-placed and he produced his best quality sound.

Vocal chords are tiny little muscles, that can be trained and developed much like any other muscle in the body. But they are easy to damage. Therefore a teacher has enormous responsibility. The teacher has to identify exactly what a student’s voice will be able to do – before they can actually do it – and then has to take that voice on the road to that potential. And they often get it wrong. Singers themselves misunderstand their voices. Often there is great impatience with a young voice. The danger is that some want to push voices to sing louder, bigger, faster. Voices can be “used up” that way. Even great conductors like Karajan have marred legacies, having chosen lighter voices for heavier roles, which then left those voices permanently scarred. (Katia Ricciarelli’s Aida and Turandot come to mind, or Gundula Janowitz’s Empress in “Die Frau ohne Schatten” ).

Wobbles develop, high notes become hard and shrill under pressure, or certain notes just stop ringing properly as the vibrations of the chords are forced out of their natural synch. So far Sunnyboy has avoided these pitfalls. Prof Hartman steered him away from any heavy repertoire and big roles. He was not allowed to sing with any force or pressure, designed to camouflage the real size of the voice. While he always had an agile voice, his teacher taught him how to sing runs without force, and by lightening up the voice he can sing some impressive florid passages. His voice revealed itself to be a true lyric tenor.

From smaller roles in Massenet’s “Manon” and Puccini’s “La Rondine”, he developed steadily until his biggest role to date, as the leading tenor in Mozart’s “Don  Giovanni” , directed by Marcus Desando,  himself a tenor of note in performances of operatic roles and musicals.

Singing in the Teatro Filarmonico in Verona, Italy, is one of the highlights of his career so far.  He was invited to take part in an international competition for young artists, with finance provided by MIAGI. Nothing less than a “Turandot Idols”, singers from around the globe compete in a gruelling set of elimination rounds to win three performances in a staging of Puccini’s “Turandot” in Verona – the Lion’s Den of Italian opera, where tickets cost up to 200 EUROS, (just to keep things in perspective).  Along with fellow UCT students Musa Ngqungwana and Mlamli Lalapantsi, Sunnyboy outsang formidable international competition to win. And no, none of them sang Pavarotti’s “Nessun Dorma” – the World Cup 2007 theme song. They took the roles of Ping, Pong and Pang, three Imperial functionaries whose “cynical, comical and nostalgical” stage business suited the three South Africans to a tee.

Sunnyboy Dladla in Turandot in Teatro Filarmonica, Verona

When I ask Sunnyboy what advice he has for young singers, he is quite clear about his answer “Know your voice, know your “Fach” (the type of music you should be singing to show your voice to its best advantage). Don’t try to sing everything. Say no to things that do not suit your voice. Go for every opportunity you can. And learn Italian! You will be performing in countries where everyone speaks it, and your language has to be perfect if you are going to be singing in Italian”.

And sing in Italian he will. Our programme “Dangerous Liaisons” will feature arias by Bel Canto composers. Sunnyboy will sing arias from Rossini’s “Il Barbiere di Siviglia” (Barber of Seville), and “La Scala di Seta” (The Silken Ladder). Sunnyboy will also be seen at Artscape on 12 and 13 June in a revival of La Scala Di Seta, a comic farce, in a production conducted by popular South African Alex Fokkens and directed by Lara Bye, with funding from the South African Wagner Society.

Future productions for Sunnyboy include the delightful Donizetti opera “L’elisir d’amore” where he will sing the romantic young lover Nemorino’s arias in “Dangerous Liaisons”.