Tag Archives: Anthony Roth Costanzo
You have two more chances to see Philip Glass’s Akhnaten – November 19 and 27. In case you’ve missed the Akhnaten love these past few weeks, we’ve collected a bunch of articles for you to check out and see why this staging of Akhnaten is a modern masterpiece.
The 2016/17 season is a big year for J’Nai Bridges. She recently made her San Francisco Opera debut as Bersi in Andrea Chenier (a role she will later reprise at Bavarian State Opera in Munich), Bridges made her LA Opera debut as Nefertiti in Philip Glass’s Akhnaten on November 5. She has become one of the most sought after mezzo-sopranos of her generation, but she didn’t always long for a career in opera.
Anthony Roth Costanzo – who just made his LA Opera debut in the title role in Akhnaten – is one of today’s foremost countertenors. Before opening night, we spoke to Costanzo about his upcoming role and his life in opera.
In the week leading up to the opening of Akhnaten, director Phelim McDermott watches singers rehearse a scene from Act III. In the scene, Akhnaten (Anthony Roth Costanzo) and Nefertiti (J’Nai Bridges) dwell in an insular world of their own creation with their six daughters. The only thing that connects them is a lengthy blue fabric that they all handle throughout the scene as crowds gather restlessly outside the gates and letters arrive expressing increasing concern about Akhnaten’s self-imposed isolation. From his directorial perch, McDermott suddenly rises and holds up a white sheet of paper with a single handwritten word on it: SLOWER. In response, all the singers’ movements become hauntingly slower. The adjustment is mesmerizing and in tune with the atmosphere McDermott has created for Akhnaten
For Akhnaten, McDermott utilizes the movement qualities of renowned theater practitioner Michael Chekhov. The entire opera is staged in this way with all the cast members moving slowly, exploring the narrative moment to moment, and moving through visually stunning tableaus. The simplicity and flow is meant to entrance audience members, allowing them to get lost in this tale of a revolutionary pharaoh.
Akhnaten is McDermott’s third Philip Glass production (following Satyagraha and The Perfect American at English National Opera) and the director is a proponent of playing with rhythm and movement on stage.
“Doing things slowly is the most effective way of experiencing a Philip Glass opera, because the whole piece sits on a psychological level. Singers move to express what they feel in a single moment, not unlike what they do when they have an aria and sing about what it feels like to be in love for five minutes,” says McDermott.
The 2016/17 season is a big year for J’Nai Bridges. She recently made her San Francisco Opera debut as Bersi in Andrea Chenier (a role she will later reprise at Bavarian State Opera in Munich), Bridges will make her LA Opera debut as Nefertiti in Philip Glass’s Akhnaten on November 5. She has become one of the most sought after mezzo-sopranos of her generation, but she didn’t always long for a career in opera.
Bridges was well on her way to becoming a college basketball star when she discovered a passion for singing that couldn’t be ignored. She joined her high school choir, started taking private voice lessons, and eventually made the decision to become a singer.
“My parents said, ‘You just started singing classically, are you sure you want to do this?’ I told them I had this feeling in my gut and in my soul telling me I need to pursue opera” recalls Bridges.
The choice to sing opera came a little later. She recorded four songs for a pre-screening tape to apply to music schools. Surrounded by her family, Bridges heard herself on tape for the first time.
Making his company debut this season in the title role of Akhnaten is one of today’s foremost countertenors: Anthony Roth Costanzo. Akhnaten was also the role of his English National Opera debut earlier this year, in the celebrated Phelim McDermott staging that now comes to Los Angeles.
How did you discover that you were a countertenor?
I had been singing on Broadway and in theater for years as a boy soprano, but at 13 I reached a turning point: I was asked to sing Miles in The Turn of the Screw. I was immediately drawn to the depth of expression and the complexity of opera. Some of the opera crowd hanging around the production said, “your speaking voice seems to have changed and you have hair on your arm—maybe you’re a countertenor.” I had no idea what a countertenor was, but I soon found out and I’ve continued singing in the treble clef ever since.
Countertenors seem to spend their careers in two very distinct musical worlds: baroque/early music and contemporary music.
I love occupying these two ends of the spectrum simultaneously. It’s amazing how well the technique and approach required for baroque music serve the contemporary repertoire I’ve done, and similarly the openness, creativity and daring required for contemporary pieces serve the baroque. I do often dream of singing the operatic repertoire of the 19th and early 20th century, and I have found opportunities to explore some of those composers in recital and concert. While I will likely never get to sing Wagner (in public), I can say that Akhnaten is a lot closer to singing Wagner than it is to singing Handel.
One of the hallmarks of the score for Akhnaten—like much of Philip Glass’s music—is a continuous repetition of musical motives and patterns. It’s so beautiful, but it sounds really tough to learn.
The patterns are incredibly difficult to learn because they do not repeat exactly, but rather one phrase will repeat twice, alter slightly, and then repeat three more times, alter slightly again….etc., etc. At first, I thought I would make charts with letters and numbers, and memorize those charts, but the charts looked like advanced calculus, and I soon decided they would be harder to memorize than the music itself.
I finally realized that the only way to keep it all in my head was good old practice. It had to become part of my muscle memory. It took me about four months to internalize the music, but now that I have, it is euphoric to perform—even addictive. I can get into a groove with it that is unlike any other music I have performed. As fun as that groove is, it also requires a tremendous amount of focus. If I let my mind wander for a split second, I could find myself far out of sync.
COUNTERTENOR (13 Scrabble points) – Latin – A countertenor is the highest, adult male voice type in opera. Countertenor parts are common in Baroque opera (watch Anthony Roth Costanzo sing “Stille amare” from George Frideric Handel’s Tolomeo below) but they also gained an increased popularity in the mid to late 20th century with the works of Benjamin Britten and Philip Glass. The title character in Akhnaten, which opens at LA Opera in November as part of the 16/17 season is a countertenor part.
Can’t get enough of the countertenor voice? We’ve collected a few articles and videos below to get you in the countertenor spirit.