Tag Archives: Opera Singers

#HOTSpeaks: Melody Moore on The Letter Scene

For most people, singing loud enough to project to a hall of 2,000 seats without amplification sounds impossible. Imagine doing it for nearly half an hour straight. In Russian.

That was Soprano Melody Moore’s challenge as she began prepping for her character Tatyana’s famous Letter Scene in Tchaikovsky’s Eugene Onegin. When the curtain rises for the opening night of HOT’s upcoming co-production of the opera this Friday, it will be her first time performing the role for a full audience. Preparing for the role was no easy feat, Melody shared.

“When I was first looking it over, I already knew that the Letter Aria was 17 minutes,” she said. “What I didn’t realize was that it’s book-ended with two other scenes. So when it really comes down to it, it’s about 27 minutes of non-repetitive Russian. That meant brand new Russian words for me to learn on every page, for 27 minutes of singing. That’s when I started to sweat.”

Melody has sung plenty of intensely challenging roles on some of the world’s leading opera stages before. She has performed at San Francisco Opera in the title role of Tosca, English National Opera as Mimì in La bohème, Washington National Opera in the title role of Catán’s Florencia en el Amazonas, and more. She has been praised worldwide for her impressive phrasing and control. Opera News reported that she could sing from the “highest forte expression of desire and anger to the lowest pianissimos without any seeming strain.” So it wasn’t her vocal stamina she was concerned about.

Even the Russian language didn’t intimidate her. Despite the fact that it was her first time singing in Russian, she had already been challenged more by learning Czech during for her performance in Leoš Janáček’s Katia Kabanova.

Instead, she was worried about the capability of her mind. Could she memorize and perfect the pronunciation of each Russian word, put it to music, act, and move around the stage all at once and for that long? When she began rehearsing the role, she couldn’t.

“I wasn’t able to really make the scenes stick together at first. At one point it seemed insurmountable.” [pullquote]At one point it seemed insurmountable.” [/pullquote]

Melody’s character of Tatyana, too, begins the opera with a troubled mind and much to learn. As she falls for Onegin, she battles internally about what to do about it. And when she decides to write him a letter, she agonizes over what to say.

To prepare for the emotions she would portray in acting the role, Melody read Pushkin’s novel, which the opera is based on. She then read Tchaikovsky’s lines, paying close attention to the feelings expressed by her character in each.

“I got to the section about her letter, and [the interpretation of Pushkin] is almost word for word. So I understood that Tchaikovsky was really trying to stay pure to what was written,” She said.

She then brought the script to a Russian coach to confirm her interpretation. Melody began to understand who Tatyana was. She thought of her as not only a somewhat serious teenager, but as a dreamer who was hoping for the best in life. In the letter scene, Melody saw that Tatyana embraced her vulnerability and trusted in Onegin’s honor as she began to find the right words to say. Melody decided to take a page from Tatyana’s book.

The more she practiced the Letter Scene, the more Melody’s own words came to her. Soon, she got to the point where she could put down her well-worn script and say every word of the monologue straight through.

“The words finally came,” she said. “It just took a lot of patience, a lot of homework outside of the rehearsal room, and a lot of help from the staff.”

During the last final dress rehearsal of HOT’s Eugene Onegin on April 18, after more than 100 hours of rehearsing, Melody’s readiness was put to the test. And her efforts paid off. In a captivating performance , the letter scene appeared effortless.

Melody attributed her success in part to the pace of Hawaii, which eased her mind, and to the HOT staff’s support and trust in her capability. But most of all, it was Melody’s own determination that pulled her through.

Tatyana isn’t as lucky in the immediate aftermath of her emotional efforts. In the opera, Onegin rejects Tatyana after reading her heartfelt letter. Tatyana ends the First Act hurt and embarrassed.

“But she doesn’t throw herself off a cliff or over a church balcony,” Melody notes. “She just says, ‘Well, this didn’t work out, and that’s okay, and I wish you all the best.’ That’s so rare for a woman in opera. Tatyana knows what she wants. She doesn’t compromise herself, and she makes it out of it all doing well.”

In a way, Melody said, she can relate to Tatyana. She was inspired by the character. The two both faced great mental strain, grappled with the potential for failure, but wound up triumphant.

“I’m ready to perform Tatyana,” Melody said. “Opening Night couldn’t come soon enough!”

Purchase Tickets to Eugene Onegin: April 20, 22, or 24

Hear SOL3 MIO Singing “O Sole Mio”

The internationally acclaimed Samoan-born New Zealand trio SOL3 MIO returns to HOT on Sunday, February 25 for a one-night-only performance in Honolulu!

The talented family singers uniquely infuse opera classics with pop culture hits, keeping the audience laughing along the way. As one of HOT’s best-selling performances, this is a show you won’t want to miss.

Purchase Tickets to SOL3 MIO

Watch them singing the song that inspired their name, then see them live in Honolulu with HOT!

HOT at Festa Italiana on Oct. 7th

Join us on October 7th on Cooke Street for Hawaii’s first-ever Italian festival Festa Italiana! Our Orvis Opera Studio Singers will be performing Italian opera favorites. There will also be Italian food, wine, art, fashion, and cars. Come enjoy everything you love about Italy right here in the Aloha State!

Let your friends know you’re going on the Facebook Event: https://www.facebook.com/events/275527682854533/

Festa Italiana Hawaii is the Aloha State’s first ever Italian Street Festival bringing a myriad of authentic Italian and Italian-inspired experiences and flavors to Honolulu’s vibrant Kaka’ako district.

Access to the street festival portion of the Festa Italiana is FREE and open to the public.

FESTA ITALIANA NELLA STRADA – STREET FESTIVAL

Street Vendors offering a variety of authentic Italian and Italian-Inspired culinary delights for purchase. View food vendors.

Wine & Beer Garden offering a selection of Italian wines, beer and traditional spirits for purchase.

Entertainment featuring Hawaii Opera Theatre, Hawaii Youth Symphony, Mango Season, Pierre Grill and more, with event master of ceremonies Tantra Grillo. View entertainment.

PASSAPORT ITALIANO – VIP PASSPORT TO ITALY EXPERIENCE

Open from 6pm to 9pm

Tickets required.
(8) food tastings from top tier Italian chefs and restaurants.
(6) 2 oz wine pours
(1) specialty cocktail from Hawaiian Aroma Cafe
Eligible to purchase additional wine tastings “Biglietto del Vino” ($15 add-on at check-out or $20 at the door)

Grazie mille to our event sponsors and partners.

Sponsors: Velocity Honolulu, Island Olive Oil, National Italian American Federation, Our Kaka’ako, Mango Season, Joseph Magaldi

Partners: Flavors of Italy Hawaii, Street Grindz, Memoirs Catering, Hawaii Opera Theatre, Hawaii Youth Symphony, Pierre Grill.

#HOTSpeaks: The HOT Chorus, Continued

Though they are often in the backdrop of a production, the Hawaii Opera Theatre Chorus is at the forefront of what makes HOT’s productions world-class. Time and time again, visiting artists are impressed with the dedication, the diversity, and the deep bonds that make up the local, volunteer-based chorus. In this month’s and last month’s #HOTSpeaks, we share their stories.

Oaklea Rowe: Soprano

Oaklea Rowe joined the HOT Chorus and Mae Z. Orvis Opera Studio earlier this year. Her first opera as a chorister with HOT was last season’s production of Offenbach’s The Tales of Hoffmann. But before the production, she was no stranger to opera. For nearly a decade, Oaklea lived in New York and sang opera professionally – even touring to companies in South America and Italy. But before moving to Hawaii, she stopped singing for a few years.

“I had stopped singing, because I just got burnt out or something. Then I heard about the studio,” Oaklea, 39, said. “I didn’t know much about it, but I felt like it was something I wanted to be involved in.”

Since then, Oaklea said she’s made a couple of really good friends in the chorus and studio. Along with music, she also loves fashion. When she’s not singing, she’s working at a boutique in Honolulu. Bizet’s Carmen will be Oaklea’s next production with HOT, and she said she’s excited for it.

“It’s about making music together and making the production the best it can be,” she said.

David Del Rocco: Baritone

David Del Rocco still vividly remembers his first opera with the HOT Chorus, although it was 12 years ago. He had always been a singer, but he never imagined he’d be singing in an opera chorus. It wasn’t until a couple of David’s friends from his church choir auditioned for the chorus that he considered trying out himself.

“I thought, ‘Well, if they can do it, I can do it!’” He said. “I realized that, you know, regular people can do this, too. You have to be a good singer, but, you don’t have to be a full-on opera singer to be in the chorus.”

Since then, David has been a part of many operas, from Puccini’s Turandot to Bizet’s The Pearl Fishers. The upcoming production of Bizet’s Carmen will be his second time performing in the opera as a chorister. The opera has brought David several opportunities and friends, he said, but he has also brought something new and special to the opera. Outside of the chorus, David teaches Hawaiian Studies and dances hula. A few years ago, he decided to teach the opera singers in that production’s principle roles to dance hula after the show, alongside other choristers who play Hawaiian music. Now it’s a tradition.

“The vast majority of the principles who come over from elsewhere are so down to earth and so willing to party and learn new stuff,” David said. “And the chorus is great for that.”

Larry Whitson: Bass

Larry Whitson wanted to be in the chorus as soon as he knew it existed. But he never believed he could really do it. Classical music had been his passion since childhood, and singing in an opera was a dream of his long before he joined the chorus 12 years ago.

“When I read that the chorus was a volunteer chorus and I could do it, I just knew right away that I wanted to do it,” Larry said. “The first time I didn’t get in. But the next time I did. The biggest excitement for me was the first time I stood on that stage in the Blaisdell and looked out over that grand, empty concert hall and realized I was going to be able to perform there.”

Larry has also been a part of several HOT productions in the chorus, including Camille Saint-Saëns’ Samson and Delilah and, most recently, the 2017 production of Offenbach’s The Tales of Hoffmann. The next time he will perform onstage with HOT will be for this season’s February production of Donizetti’s The Daughter of the Regiment and Tchaikovsky’s Eugene Onegin in April.

“Each year – not even just the first time – every time I get up on that stage, it’s just a magnificent thing,” he said.

Diane Koshi: Mezzo

Diane Koshi doesn’t entirely share Larry’s enthusiasm for opera, but she does have a love for music and music education. Diane worked with the Hawaii Youth Opera Chorus for 20 years and taught music with a number of other organizations before retiring. Now she directs the music department at St. Timothy’s Episcopal Church.

“I sing in the opera because I teach,” Diane said. “I think my students need to see that their director is involved and can do what she’s asking them to do. I’ve never fallen for opera, but I appreciate it as an art form because it encompasses all the arts.”

Despite not having fallen for opera, Diane has been in the HOT chorus for almost 25 years. Her upcoming performance with the choir in Bizet’s Carmen will be her fourth time singing the opera’s music. A few of the HOT productions that she especially enjoyed being a part of were Mozart’s The Marriage of Figaro and Gilbert & Sullivan’s The Mikado. Even as a seasoned music educator, Diane said she still learns new things in the chorus.

“What I enjoy most about working in the opera is the opportunity to hear different musical ideas from the maestro,” she said. “It’s a different philosophy. They share different techniques than what we usually hear.”

Bonnie Chock Burke: Alto

Surprisingly, another chorister has been part of the chorus even longer than Diane. Bonnie Chock Burke joined the HOT Chorus in 1992. And she has been a volunteer with HOT even longer – since the late 1970s. She’s worked in the box office, she’s been assistant stage director, she’s worked with costumes, she’s picked artists up from the airport, and more. And she doesn’t even currently live on Oahu. Bonnie has flown in from the Big Island for each of the many productions she’s been a part of.

“Some people think I’m crazy. They’ll say, ‘Why do you do it?’” Bonnie said. “And I say, ‘Every time there’s a rehearsal and an opera, there I am with my $500 seat.’ I can see the singers spitting. It’s worth it. Being backstage, you get to hear these professionals sing and practice. It’s just incredible to me to have that opportunity for free.”

On the Big Island, Bonnie enjoys hiking and bird-watching. But she’ll soon be moving back to Oahu, and she said she plans to be in all three of this year’s choral productions with HOT.

“All the people who come to perform for HOT say it’s incredible to see all these volunteers in such huge numbers,” Bonnie said. “I’m so proud. I know without all the volunteers we would never have opera in Hawaii.”