It's been an amazing year for soprano Melody Moore. A very contented resident of The City, audiences at San Francisco Opera are aware of her fast-ascending star in the musical heavens. This year she created the role of "Susan Escorla" in the Company's world premiere of Heart of a Soldier, a true-life and true love story from 9/11, based on the book by James B. Stewart. Melody embraced the audience with her delicious voice, the lyrics were clear to the last row in the house, and her joy-filled energy magnified the beauty of composer Christopher Theofanidis' musical line. In the rapture of a brand new aria and in complete theatrical harmony with her leading man – baritone Thomas Hampson as "Rick Escorla" – Melody Moore reflected the courage and sensibilities of a contemporary American woman suddenly caught in the maelstrom of irreversible change and ultimate tragedy.
In February, a most unusual opportunity came from San Francisco Ballet. Melody was the featured vocalist in the company's premiere of Helgi Tomasson's Nanna's Lied. The score for the ballet, placed in Berlin of the early 1930s, consisted of a long list of Kurt Weill's provocative cabaret songs, all presented in German and without the benefit of supertitles. Beginning with “Le Roi d’Aquitaine” and including "Mack the Knife" (Threepenny Opera) and "Surabaya Johnny" (Happy End) – Melody's bewitching interpretations were edgy and supercharged with sensuality. In the spring, Melody was acclaimed for her dramatic versatility as "Rita Clayton" in New York City Opera's premiere of Broadway composer Stephen Schwartz' first attempt in classical format, Seance on a Wet Afternoon, based on the 1964 screenplay. In February 2012 she will return to NYCO to sing the role of "Régine Saint Laurent" in larger-than-life composer Rufus Wainwright's opera, Prima Donna. For soprano Melody Moore, the future of American Opera looks very rich and promising.
Leach Crocetto, a three-term member of the Adler Fellows, sang the supporting role of "Liu" in San Francisco Opera's opening night production of Puccini's Turandot. Music Director Nicola Luisotti conducted David Hockney's beautifully designed production which featured Swedish soprano Iréne Theorin as "Turandot" and Italian tenor Marco Berti in the demanding role of "Calaf". From the roar of the crowd, it was clear that Leah Crocetto had walked away with the show. Simply stated, her renditions of the well known arias "Signore, ascolta" and "Tanto amore segreto" were mind-blowing. As Liu proclaims in the last moments of her life, they were the supreme offering of her love. During my recent interview, Leah said, "I'm a performer. It's what I love to do. I love to be on that stage. When I sing – it's not for me. I know this will sound incredibly cheesy, but it's like I'm embracing the audience in a big hug and I just want to share what I have to offer. So, the fact that I have this opportunity to sing the most beautiful music – maybe, ever written – is a gift to me. I have to say, I was a little intimidated. But not that much. I was, really, extremely excited. And nervous. It is the opportunity of a lifetime. We've got eight more performances to go. Hopefully, it's making my career." In February 2012 she will sing the "Female Chorus" in Benjamin Britten's Rape of Lucretia at Houston Grand Opera. In April she will be in Raleigh, North Carolina, performing "Leonora" in Il Trovatore.
Best recorded vocals are found in an astonishing new release from Philharmonia Baroque Orchestra featuring the late mezzo-soprano and native San Franciscan, Lorraine Hunt Lieberson. The CD contains the six songs of Berlioz' Les Nuits dété and seven arias from Handel's operas including Giulio Cesare, Arianna, Radamisto, and Agrippina. The tracks were recorded during concerts presented in 1991 and 1995 at Berkeley's First Congregational Church. Lorraine is virtually flawless throughout the two sets. Her Les Nuits dété is arguably the best version ever recorded. The song cycle contains some of the loftiest poetry in all vocal literature, the colors and variations in the dramatic flow easily described as severe mood swings. The Handel arias proved to be the stuff that dreams are made of for this amazing mezzo-soprano who found a comfortable niche in 18th Century opera. In the liner notes, PBO's Music Director Nicholas McGegan says, "Lorraine's greatest triumph with us was certainly the title role in Handel's masterpiece Theodora. Here was a part that suited her ideally: noble, passionate, tragic and finally ecstatic. As long as I live, I will always have that performance in my head. For the audience it was transforming, but for me, standing right beside her, it was overwhelming." Of the concert featuring Les Nuits dété, McGegan says, "It was the the first time the orchestra had attempted such late music and we were taking a bit of a risk. Lorraine however was in her element, and the result was one of the greatest musical experiences of my life."
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