Monthly Archives: November 2015
“By faith I shall learn this music and by faith I shall execute it.”
– Musa Ngqungwana
This past Saturday, bass-baritone Musa Ngqungwana made his LA Opera debut as Queequeg in Moby-Dick. With his sincere portrayal of this pivotal character, the South African born Ngqungwana adds another role to his list of operatic achievements that include being a Grand Finals Winner in the 2013 Metropolitan Opera National Council Auditions, as well as playing Colline in La Boheme (Washington National Opera) and Zuniga in Carmen (Norwegian National Opera).
Musa Ngqungwana’s life has always been filled with music. Growing up in Port Elizabeth and later Cape Town, Ngqungwana’s culture was infused with music. There were songs sung at births, weddings, celebrations, songs sung at death, and even gender specific songs sung perhaps to a sweetheart. With the advent of Christian culture and dogma introduced by the British missionaries in early 20th Century South Africa, a huge choral movement swept through the nation and a slew of community choirs and plays opened up. By the time Ngqungwana was born, it had become customary to have community choirs and neighborhood plays. It was at middle school that a young Ngqungwana joined the choir to be close to a girl he loved at the time. While Ngqungwana says he “failed miserably” to win the girl’s affections, the choir stole his heart and he kept singing in the years to come.
Musa Ngqungwana singing Riez, allez, riez du pauvre ideologue from Massenet’s Don Quichotte at WQXR presents The Metropolitan Opera National Council Award Winners
Our upcoming production, Norma is a phenomenal production that displays Angela Meade’s and Jamie Barton’s electric vocals. But Norma is a huge production in more ways than voice. There are some rather impressive and interesting numbers to note that an opera goer might not think about during the show.
Before opera fans even see the show, a crew of 46 people helped load in the set.
The giant set includes a unique assortment of props, perhaps the most notable being 1 giant full moon.
Let’s talk about costumes for a second. Norma’s bronze and elaborately beaded bodice alone required 18 hours for a very talented seamstress to assemble.
The story of Norma features 2 fiery divas, not battling out for the love of one man, but instead joining forces in this ultimate girl power opera. The show features a total of 6 principal artists, 43 chorus members, 12 adult supers, 2 child supers and 7 dancers.
Norma opens November 21st and runs through December 13th. Be sure to grab tickets to the performance that the New York Times states is an opera “that every opera lover should hear.” Keep an eye out for the giant moon!
Soprano Angela Meade, who made her LA Opera debut in 2012 as Donna Anna in Don Giovanni, returns as Bellini’s Norma, a role that catapulted her to prominence when she first performed it in concert at the Caramoor International Music Festival in 2010. She has subsequently performed in productions of Norma at the Metropolitan Opera and Washington National Opera. Shortly after rehearsals began in October, we sat down with her to get her take on this famously challenging role.
Let’s talk about Norma. It’s a big, giant, iconic work.
Indeed. Let’s call it Mount Everest.
Many opera lovers associate Norma with Maria Callas and a whole host of other great singers.
I’ve listened to all of them and, of course, I find great inspiration in many of them. But I try to make it just Angela’s interpretation, rather than anybody else’s.
Between performances, auditions and competitions, how many times do you think you’ve sung the entrance aria, “Casta diva”?
A bajillion. I really don’t know! I did a total of about 60 competitions, and I probably sang it for all of them, and I’ve also sung it in concerts, private functions and other things, not to mention within the role itself and, of course, rehearsals for performing the role. I’m sure it’s well over 250 times, probably more than that. I should have kept a tally of it.
Many different types of singers have sung Norma.
It has ranged from lyric coloraturas to mezzos. It’s different for everybody, as it should be.
Angela Meade singing “Casta Diva” for the Giordani Foundation Gala in 2009
It seems like you weren’t intimidated by the role.
I guess I never gave it much thought. When I first started singing “Casta diva,” I didn’t realize the sort of implications that went along with singing the role. I think plenty of people around me did, but I thought it was a beautiful aria. Clearly, I was only seeing the tip of the iceberg.