{"id":809,"date":"2015-05-19T11:33:12","date_gmt":"2015-05-19T18:33:12","guid":{"rendered":"http:\/\/www.artsjournal.com\/operasleuth\/?p=809"},"modified":"2015-05-19T11:33:12","modified_gmt":"2015-05-19T18:33:12","slug":"an-amazing-composer-in-seattle","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/operasleuth\/2015\/05\/an-amazing-composer-in-seattle.html","title":{"rendered":"AN AMAZING COMPOSER IN SEATTLE"},"content":{"rendered":"
\"Photo:<\/a>

Photo: Alan Alabastro<\/p><\/div>\n

Inappropriate as it may be for me to comment on the Ariadne auf Naxos<\/em> that I planned and cast for Seattle Opera, my only justification is that I had nothing to do with its preparation as I retired last August. I am writing about it because\u00a0of one truly astonishing performance, that of Kate Lindsey as the Composer. The level of this artist’s singing and acting is always high; in this Composer she reached an extraordinary level of interpretation, one that expanded my vision of what the character can be. \u200b<\/p>\n

Conducted superbly by Lawrence Renes\u2014the members of the Seattle Symphony who play for Seattle Opera performed the score superbly\u2014and directed with humor and charm by Chris Alexander, the piece had other\u200b remarkable women in the key roles. Christiane Libor, even now rehearsing Das Liebesverbot<\/em> in Leipzig, had sung once before with Seattle Opera, as Fidelio. As Ariadne she conveyed not only accuracy in singing but the kind of ecstasy without which Strauss is not truly realized. Sarah Coburn in her first Zerbinetta turned out a witty, charming performance that was brilliantly sung.\u201cGrossmaechtige Prinzessin\u201d sparkled and seemed easy for her.<\/p>\n

Last week I mentioned the Bacchus, Issachah Savage, the one principal whom I did not cast as he was a recent replacement, as a new and very significant heldentenor. He did not disappoint. And Patrick Carfizzi made the Music Master into a major role, singing and acting it superbly, as did Doug Jones, the Dancing Master.<\/p>\n

As a person involved in opera in all my life and having seen Ariadne <\/em>many times since my first performance at the Metropolitan Opera in 1963, I have\u00a0had the opportunity to experience many superb Composers, but I have never seen or heard this\u200b teenager\u200b created so realistically. Her singing was superb; what made Lindsey\u2019s Composer so memorable was not only her complete grasp of the connotation of every word she sang but her ability to convey a kind of wild artistic craziness of the burgeoning artist.<\/p>\n

\"Photo:<\/a>

Photo: Alan Alabastro<\/p><\/div>\n

She never overplayed her part, but she dominated the Prologue and in this production was a real silent presence during the last section of the Opera. Her sudden captivation, really capitulation, to Zerbinetta\u2019s charms realized exactly what anyone with a son has seen happen. Her enchantment carried over when she was silently present in the final scene. For someone who loves this opera and has seen it many times, Lindsey\u2019s performance was revelatory.<\/p>\n","protected":false},"excerpt":{"rendered":"

Inappropriate as it may be for me to comment on the Ariadne auf Naxos that I planned and cast for Seattle Opera, my only justification is that I had nothing to do with its preparation as I retired last August. I am writing about it because\u00a0of one truly astonishing performance, that of Kate Lindsey as […]<\/p>\n","protected":false},"author":3,"featured_media":802,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-809","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-uncategorized","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/operasleuth\/wp-json\/wp\/v2\/posts\/809","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/operasleuth\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/operasleuth\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/operasleuth\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/operasleuth\/wp-json\/wp\/v2\/comments?post=809"}],"version-history":[{"count":1,"href":"https:\/\/www.artsjournal.com\/operasleuth\/wp-json\/wp\/v2\/posts\/809\/revisions"}],"predecessor-version":[{"id":810,"href":"https:\/\/www.artsjournal.com\/operasleuth\/wp-json\/wp\/v2\/posts\/809\/revisions\/810"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/operasleuth\/wp-json\/wp\/v2\/media\/802"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/operasleuth\/wp-json\/wp\/v2\/media?parent=809"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/operasleuth\/wp-json\/wp\/v2\/categories?post=809"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/operasleuth\/wp-json\/wp\/v2\/tags?post=809"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}