A Chat with Megan Hart

As a member of Seattle Opera's Young Artists Program, Megan Hart has played several exciting roles over the past couple years, including Tytania in A Midsummer Night’s Dream, Nella/Lauretta in Gianni Schicchi, and Tatyana in an adaptation of Eugene Onegin. This spring she adds one of the most challenging coloratura roles to her repertoire: Zerbinetta in Ariadne auf Naxos.

The leader of the hipster comedian troupe, Zerbinetta is a flirtatious young performer, eager to share her opinions and quick with a joke and a smile. Her Act II aria, “Grossmächtige Prinzessin,” is packed with all the runs, leaps, and vocal fireworks that one expects for a coloratura soprano—and Music Director Brian Garman is delighted to have Megan in the role. “She has to sing one of the most difficult coloratura arias in the entire repertoire, and how thrilling it is to hear this music being sung with Megan's big, full-bodied voice!” (You can check out a clip of Megan performing this aria in our Ariadne preview video.)

Megan has been enjoying the vocal challenge. “I look forward to singing something this difficult and saying ‘I did it,’” the Eugene, Oregon native says. “If I can get through Zerbinetta, I can get through anything.”

Listen to this sample of “Grossmächtige Prinzessin.” Here Natalie Dessay as Zerbinetta tries to convince the lovelorn Ariadne that another man will come along, just like they always do:

Als ein Gott kam jeder gegangen,
Und sein Schritt schon machte mich stumm,
Küsste er mir Stirn und Wangen,
War ich von dem Gott gefangen
Und gewandelt um und um!
Als ein Gott kam jeder gegangen,
Jeder wandelte mich um,
Küsste er mir Mund und Wangen,
Hingegeben war ich stumm!






Each man appears like a god to me.
His very step makes me mute.
When he kisses my forehead and cheeks,
I am captured by the god,
turned around and around!
Each man appears like a god,
turns me around,
kisses my mouth and cheeks,
and I am captive, mute!

Megan grew up listening to the Met radio broadcasts with her family, and knew she wanted to be a musician from a young age. She studied at Oberlin Conservatory and the Manhattan School of Music. She performed extensively at Oberlin, and had a chance to work with Marcy Stonikas, another Young Artist who’s singing the title role in Ariadne. “[Marcy] was an upper classman at the time I was there. Watching her perform and hearing her voice, I knew I was witnessing something very important,” Megan said. “I feel so lucky to be performing with her now.”

Megan’s post-Ariadne plans include a performance with Music of Remembrance, the title role in Alcina at Kentucky Opera, and Donna Anna in Don Giovanni at Music Academy of the West. Reflecting on her three years with the Young Artists, Megan is grateful for the chance to study and learn here. “This program has been instrumental in forming me as an artist,” Megan said, citing everything from the language classes to the varied performance opportunities. “Not only are we trained how to become professionals, we are given the opportunity to explore our instincts in a safe environment. That is priceless.”

Photos: Megan Hart as Zerbinetta; Megan with Bray Wilkins, Alex Mansoori, and Erik Anstine in Ariadne auf Naxos. © Chris Bennion.

The Great BACCHUS Taste Test

Bacchus, the tenor role in Ariadne auf Naxos, is famously difficult to sing, not to mention a challenging role to act. The ancient Greek god of wine, associated with poetic frenzy and sensual abandon, Bacchus, aka Dionysus, is traditionally depicted as wearing a leopard skin (although not by Caravaggio, left). In this story he happens to put ashore at Ariadne's island; they both make inaccurate assumptions about the other (she thinks he's the god of death, come to take her away, and he thinks she's a seductive enchantress like the one on the last island he visited, who tried unsuccessfully to turn him into an animal); and, after they've figured out who they both are, they fall in love--and their love transforms them both. If it's unclear exactly what that means, the overhelming power of the music is the real meaning.

Gregory Carroll, who sings Bacchus in Seattle Opera's production, tries not to get too bogged down trying to analyze the myth or the layers of Hofmannsthal's symbolism; stage director Peter Kazaras, he explains, has encouraged him (and Marcy Stonikas, who sings Ariadne) to try to find the human beings in this grandiose mythic scene. Musically, Carroll, who is "new to tenor-land" (he was a lyric baritone until two years ago), also tries not to worry about singing the role "heroically," even though it's sometimes considered a "heroic tenor" or "heldentenor" part: "I don't like to think about the music vertically, as in, 'Oh, I've got to hit this high note, and then stress that note, and then the next high note is coming up.' I want to sing it horizontally, concentrating on the line, the phrase, singing from the Italian, melody-centric point-of-view."

So you can hear the challenge of Bacchus, and a variety of approaches to singing the role, here's a taste test with three great tenors singing the speech in which Bacchus tells Ariadne about his parents, and about what he feels about her, Ariadne. (In Greek myth, Bacchus was born when Zeus fell in love with a mortal woman, Semele. He said, "Semele, love me, and I vow to give you anything you want." She did, and she asked to see him in all his divine glory, seated on his throne atop Olympus; he tried to talk her out of it, but she insisted, and when he revealed his full divinity to her she exploded. But Bacchus was born!)

Bin ich ein Gott, schuf mich ein Gott,
Starb meine Mutter in Flammen dahin,
Als sich in Flammen mein Vater ihr zeigte,
Versagte der Circe Zauber an mir,
Weil ich gefeit bin, Balsam und Äther
Für sterbliches Blut in den Adern mir fliesst.
Hör' mich, Wesen, das vor mir steht,
Hör' mich, du, die sterben will:
Dann sterben eher die ewigen Sterne,
Als dass du stürbest aus meinen Armen!

I am a god, created by a god.
My mother perished in the flames
when my father showed himself to her.
Circe’s magic was powerless against me,
for I am immune. Balsam and ether
flow in my veins, not mortal blood.
Hear me, being that stands before me:
Hear me, thou that wouldst die:
I would sooner see the eternal stars perish
than have thee die in my arms!

First, German opera and film star Rudolf Schock:



Next, Canadian tenor Paul Frey:



And finally, Seattle favorite Ben Heppner:



Now, vote!

Quizzes by Quibblo.com

Ariadne auf Naxos Preview Trailer

Full of energy and fun, the Young Artists shine in the new production of Ariadne auf Naxos. Preview the story, costumes, sets, and characters - and be blown away by the talent of these rising opera stars - as the Young Artists prove that the only thing "young" about them is the name of the program.

To learn more about the Young Artists' production of Ariadne auf Naxos, visit the Seattle Opera website.

Making of Amelia Part III: A Set Designer’s Vision

What was he thinking?! Amelia Set Designer Tom Lynch answers this question in the latest installment in our Making of Amelia video series. From Lynch’s original sketches and inspirational photographs to mock-ups of the entire set and the McCaw Hall stage, this video offers a rare glimpse into the genesis of the complex scenery in the new opera.

To watch more videos or learn more about Seattle Opera's production of Amelia, visit the Seattle Opera website.

An Operatic Shopping Trip

Shoppers at a Baltimore Whole Foods were treated to a surprise opera performance on Wednesday, when a group of singers from Washington National Opera's Domingo-Cafritz Young Artist Program, dressed as Whole Foods employees, suddenly burst into song. The group performed "Libiamo," Alfredo's drinking song from Verdi's Traviata. (You can also check out the Alfredo in our October production of Traviata, Dimitri Pittas, singing "Libiamo" in this video.) The whole event was to promote the Baltimore Symphony Orchestra's weekend concert, featuring several of WNO's Young Artists.

Check out the video here.

The Harmonious Harmonium

One of the unique things about Ariadne auf Naxos is that Richard Strauss employs a harmonium in his orchestra—a rarely used keyboard that’s similar to a small organ. In this production, Beth Kirchhoff—a trained pianist and organist who also serves as Seattle Opera’s chorusmaster—will play the harmonium. Here she gives us some a quick introduction to the instrument.

Can you describe the Harmonium?
Basically, the harmonium is a small, home organ. It is totally human-powered, meaning that I have to provide the mechanical energy by pumping the large foot pedals myself—it’s quite a bit of a workout!

What does it sound like?
The sound is akin to a small organ, but also with a bit of accordion quality mixed in. I view it as a lighthearted yet warm sound, totally unique.




Kirchhoff playing the accompaniment to the Nymphs' second trio, "Töne, töne, süße Stimme"

The one keyboard is roughly half the size of a piano, and it has several organ stops—flute, oboe, celeste, and English horn sounds. It also has a “Grand” stop that I can pull out to get quite a large, raucous quality, the loudest sound it makes.

When would a composer want to use the harmonium in his or her orchestra?
Classical composers use it to evoke "old-fashioned" qualities, rather folksy sound. Richard Strauss used it not only in Ariadne but also in Rosenkavalier during comical moments in that opera. It has gone out of fashion in the classical world, but is still popular as a home instrument in India especially.

You can't tell in this picture, but Beth has to continuously pump a pedal with each foot the entire time she's playing.

Can a trained pianist easily play the harmonium as well, or does it require some special training to play?
Most opera pianist/conductors like myself also have some pipe organ training in our backgrounds, so with a bit of "boning up" we can handle this harmonium. I have played organ backstage at several Seattle Opera productions, and used to have a church job which also utilized my organ training from college days. The actual playing takes a more legato, connected touch than a piano, so it does require some extra practice time for me. One of the great requirements about the opera world is that the keyboardists have a sense of adventure, as there are a variety of musical tasks involved in our jobs. Never a dull evening at the opera!

Why do you enjoy working with the Young Artists?
Working in the orchestra for the Young Artists Program productions is especially interesting for me, because usually I am in front of the chorus as conductor, not as a player in the pit. I love the ensemble work in opera orchestras, and hearing the amazing young voices come sailing over your head is truly a unique and thrilling experience.

Ariadne auf Naxos Spotlight Guide

As our Young Artists production of Ariadne auf Naxos opens next week, we thought we'd provide our popular Spotlight guide for additional background information on the opera. Find answers to all your questions about the opera, such as "Who's Who," "What's going on?" and "What exactly is comedia dell'arte?" Additionally, learn about the opera's Prologue and what to expect, the myth of Ariadne, and tips for listening to Strauss.

This guide was written by our own Jonathan Dean for Seattle Opera's 2003/04 mainstage production of Ariadne. View the guide in full here.

A Chat with Marcy Stonikas

Believe it or not, Young Artist Marcy Stonikas didn’t even see her first opera until she auditioned for a spot in Oberlin Conservatory of Music’s vocal performance program in 1998. But that day, Marcy saw Carlisle Floyd’s Slow Dusk and Menotti’s Old Maid and the Thief, and she had an epiphany. “I had studied classical voice prior to that point, but I finally understood what that could lead to,” said Marcy, who up until then had mostly been a musical theater and jazz performer. “Those singers’ voices had a similar quality to my own, which I had never encountered before that! It was a very exciting revelation to consider that I might one day have the opportunity to sing in such a grand production.”

This month Marcy performs the Prima Donna/Ariadne in the Young Artists’ production of Ariadne auf Naxos. Strauss’s opera-within-an-opera is divided into two parts: the prologue and the opera. Stonikas plays the role of the opera company’s prima donna who sings the title role in their opera about the mythical Ariadne, which is performed in the second half.

Marcy has sung Strauss music before--“I LOVE singing his music. It’s so gratifying.”--but this is her first Ariadne. Her other roles as a Young Artist this season have included Fiordiligi in Mozart’s Così fan tutte and Brünnhilde in the children’s opera Siegfried and the Ring of Fire. The role of Ariadne requires a singer who can handle the Wagnerian style, and Marcy is up for the task. Listen to the ecstatic, rapturous music with which Ariadne—sung by Deborah Voigt-yearns for Hermes, the Messenger of Death, to free her from a life she hates:

Du wirst mich befreien,
Mir selber mich geben,
Dies lastende Leben,
Du, nimm es von mir.
An dich werd' ich mich ganz verlieren,
Bei dir wird Ariadne sein.





Thou shalt set me free,
give me to myself.
This burden of living,
thou takest it from me.
I will lose myself in thee,
Ariadne will be with thee.


Marcy has enjoyed her time with the Young Artists and the guidance she’s received in the program. “I think some of the most influential things that I’ve been most changed by already involve an embodiment of everything that I sing and do onstage,” she said. “To understand every nuance of what the words mean (on every level possible) and then to let myself get emotionally involved with the characters that I play is exciting and invigorating.”

Once Ariadne closes and YAP wraps up for the year, Marcy will be sticking around Seattle to cover Jane Eaglen’s role of Aunt Helen in the world premiere of Amelia. She’ll also head to Chicago (near her hometown of Elmhurst, IL) to sing Mahler’s 8th Symphony with the Symphony of Oak Park and River Forest. And we haven’t seen the last of Marcy in Seattle, either—she’ll make her mainstage debut with the company as the Second Lady in The Magic Flute in May 2011.

Photo: Marcy Stonikas in Così fan tutte. © Bill Mohn photo; Ariadne costume sketch by Melanie Taylor Burgess.

2010/11 Online Brochure

Want to learn more about our magical 2010/11 season? Check out our new online brochure! You'll hear from several of the singers themselves - talking about their upcoming roles and their experiences with Seattle Opera - plus Speight Jenkins' introduction to a few of the singers that Seattle audiences may not be familiar with, and a preview of some of the soul-stirring and stimulating music of next year's five operas.

Ariadne Costumes

You may remember Melanie Taylor Burgess’ surprisingly bright and colorful costumes for Richard Strauss’s dark tragedy Elektra last season. This spring she’s back with the company designing costumes for the Young Artists’ production of a very different Strauss opera, Ariadne auf Naxos. Here Burgess shares a bit about her design process.

This is your second Strauss opera with us (and both have some elements of ancient Greek myth). What about his operas do you enjoy? Indeed, it is the Greek myth that has been wonderful to explore. I like classical elements, generally speaking, and that they appear in both operas I have had the opportunity to design at Seattle Opera is a bonus.

Although both Elektra and Ariadne have elements of Greek myth, each has a very different feel. When designing a comedy versus a tragedy, how does that impact your costumes? Does it change the color choices, for example? I chose a less than traditional color palette for Elektra but it was very contained and tight—the cool world of Elektra and her tragedy versus the hot, insidious world of Klytämnestra. With Ariadne, the color palette and strong use of pattern can be blown wide open. The difference, really, is how the colors are used together on stage, creating the stage picture for each scene. In comedy, I tend to use a broader stroke.

Elektra was very colorful in terms of costumes, and so is Ariadne. What role can color play in enhancing a production? Manipulating the color palette is one of my finest tools. My job as a designer is to provide visual imagery through shape and color, in support of telling the story. All of that is, of course, seen through clothing. Personally, the manipulation of color is the aspect I enjoy playing with the most. It holds much emotional weight as we all have visceral responses to various colors.

Does the choice of using strong colors come from you or from the directors? I tend to lean towards color as an evocative element in most of my designs—in other words, I am not afraid to use it boldly. I will generally bring that to the table with my director and through the collaborative process we meld our ideas about it.

The costumes for this show are mostly purchased, rather than made—what’s that process like for you? When a show is going to be shopped primarily, it means that my specific design choices will be made not early and on paper—as in a built show—but through the process of seeing what is actually available. I provide my director and shop with collaged images of the “flavor” of what I think the end result will be and then fine tune the design by what is on the rack.



Is it difficult to find exactly what you had envisioned? I keep my vision very open, knowing that the prospects are potentially great as long as I don’t narrow my vision too much, thus leading to disappointment at not finding exactly what I have drawn.

How does this process compare with a show where you have to build everything? I like the open aspect of a purchased show. The scope becomes much greater then my individual creative process. I am inspired by the shape and colors that fashion designers combine into creative clothing. I often say through this process, “I never would have come up with THAT!” And it ends up being the PERFECT choice. In a built show, I have tighter control over the entire process. For me, both methods present their unique challenges and rewards and I am delighted to mix up the process with each project.

Check out more costume photos on Facebook.

Photos: Melanie Taylor Burgess works on Ariadne costumes; Elektra photos © Rozarii Lynch; Costumes for Ariadne's hipster comedians; Zerbinetta costume sketch and collage by Melanie Taylor Burgess.

The Making of Amelia Part 2: Working With a New Score

The Making of Amelia continues with Part II of our latest video series. Most operas have an abundance of recordings and previous performances for the artists and creative team to study, but what do you do when there are no orchestral recordings because the work you’re rehearsing is brand new? In this segment, Seattle Opera Head of Coach-Accompanists David McDade explores what it’s like to rehearse a score that’s never before been performed.

To watch more videos or learn more about Seattle Opera's production of Amelia, visit the Seattle Opera website.

Ariadne auf Naxos: Director's Talk

Stage Director Peter Kazaras always has some tricks up his sleeve, and the spring Young Artists’ production of Ariadne auf Naxos is no exception. Just what is Kazaras thinking for this production? Watch him reveal some of his plans in this Director’s Talk video.

To learn more about the Young Artists' production of Ariadne auf Naxos, visit the Seattle Opera website.

Making of Amelia Part 1: Costumes

Starting today, Seattle Opera is debuting a new video series on the process of creating the new opera, Amelia (to be premiered this May). Each week for the next five weeks, we’ll release the latest video installment, beginning with today’s video featuring the costume design process. Enjoy the first chapter in the Making of Amelia!

To watch more videos or learn more about Seattle Opera's production of Amelia, visit the Seattle Opera website.

Falstaff Family Day This Weekend

Do you know some young music- and theater-lovers you want to introduce to opera? Then don’t miss out on this year’s Family Day matinee of Verdi’s career-capping comedy, Falstaff. This fast-paced production is overflowing with colorful characters, entertaining antics, and memorable music, making it an ideal outing for new operagoers.

For only $15 per student ticket (with the purchase of one full-priced adult ticket), attendees get three fabulous hours of opera, plus a variety of family-friendly activities, including a visit from cast members during intermission, temporary tattoos, and a musical instrument “petting zoo” courtesy of 98.1 Classical KING-FM. Visit the website or call the Ticket Office at 206.389.7676 for more details.

Photo © Bill Mohn

Seattle Times calls FALSTAFF "Supreme"

Bernard Jacobson, special music critic to the Seattle Times, enjoyed our opening weekend performances of Falstaff and went so far as to say "If you live within reach of Seattle and you don't see this "Falstaff," you are throwing away the chance of a wonderfully entertaining evening in the theater, and of learning important things about art, life and yourself."

To read Jacobson's review, click here.

Falstaff Opening Night Q&A

Listen to this live recording of Seattle Opera General Director Speight Jenkins, along with special guest Stage Director Peter Kazaras, as they candidly answer the audience's questions after the Saturday, February 27 performance of Falstaff.