Bass-Baritone Donovan Singletary Gives German TV Interview

A native of Crestview, Florida, Mr. Singletary received his Bachelor’s degree in Vocal Performance from Stetson University in Deland, Florida, and pursued additional music studies at the Mannes College of Music in New York City. He is a Metropolitan Opera National Council Grand Finals Winner, where he was the youngest competitor, and won the Met's then-General Director, Joseph Volpe Award. He was the 2011 Sullivan Foundation Major Grand Winnter and was awarded the 2011 Vienna Prize by the George London Foundation. He is also a top prize winner in several other competitions, including First Prize in the 2010 George London Foundation Competition, Second Prize in the 2010 Loren L. Zachary International Vocal Competition, First Prize in the 2009 Gerda Lissner International Vocal Competition, First Prize in the 2009 Giulio Gari International Vocal Competition, Second Prize in the 2009 Mario Lanza Vocal Competition, Second Prize in the Licia Albanese-Puccini Competition, First Prize in the Mt. Dora Festival Competition, First Prize in the Heinz Rehfuss Singing Actors Competition, and he was awarded the Betty Allen Award from the Sullivan Foundation. He was also named the 2010 World Premiere Artist for the Negro Spiritual Foundation. For more information, visit his official website here.

Seattle Opera Scores Success With Its Latest "Carmen"

Anita Rachvelishvili as Carmen
(Photo: Elise Bakketun)

"More than most operas, the success of Carmen depends on the quality of its leading lady, and on Saturday, Georgian mezzo-soprano Anita Rachvelishvili, in her Seattle debut, fashioned a portrayal of stunning power. There is something about her facial expressions, her style of singing and speaking, and her way of holding herself from which we learn that this Carmen is who she is, and not just someone else's idea of who she is. Her first aria, the sultry 'Habanera,' was curiously disjointed of line and failed to make its usual effect; but if this was due to first-night nerves, they were swiftly banished, and from then on we were treated to a glorious outpouring of impassioned and finely

Luis Chapa as Don José
(Photo: Elise Bakketun)

focused tone. Mexican tenor Luis Chapa sang strongly as Don José, who is not so much a hero as a plaything of destiny. He projected just the nebbish air of indecision that makes José putty in Carmen's hands — no competition for the sexy Escamillo and Zuniga of Michael Todd Simpson and Donovan Singletary. Norah Amsellem's Micaëla and the rest of the first-night cast provided exemplary support." [Source]

For more information about the Seattle Opera and Carmen performances, click here.

David Krohn as Dancaïre, Donovan Singletary as Zuniga and Andrew Stenson as Remendado, during a dramatic scene. (Photo: Alan Alabastro)

Seattle Opera "Porgy and Bess" Showcases Two Young Singers

Mary Elizabeth Williams as Serena with Gordon
Hawkins as Porgy. (Photo: Elise Bakketun/Seattle Opera)

"Porgy is a treasure trove of magnificent music, a compendium of one great number after another. Its status as an opera has always been more a complicated proposition. Discussions about where exactly it fits in the repertoire, not to mention its generic implications, are ultimately unsatisfactory: it is what it is, and the occasional lurches in tone from rather conventional old-school opera to Broadway show are part of its fabric. In a way, Seattle Opera’s production doesn’t particularly try to smooth over these inconsistencies. The show-tune idiom associated with Sportin’ Life’s two big numbers (excellently sung, acted, and danced by tenor Jermaine Smith) are frankly treated as star turns. Alto Gwendolyn Brown’s Maria knowingly achieves considerable theatrical effect with her small character role. Leads Gordon Hawkins as Porgy and Lisa Daltirus as Bess embody a more classical sensibility, and a rather refined one at that. Soprano Daltirus brings stature and a sophisticated musical delivery to a role

Click here for special interview
with Mary Elizabeth Williams.

that swings from near-caricature to gritty realism. Baritone Hawkins, a SO favourite, has a warm, rich sound, and very considerable finesse; on opening night, his sensitive restraint was tarnished by occasional balance issues between singer and brass-heavy orchestra. In subordinate roles, baritone Michael Redding was a virile and effective Crown, with lots of requisite swagger and a ringing sound. Porgy’s second scene proved a fine showcase for soprano Mary Elizabeth Williams, who demonstrated that Gershwin (and librettist Dubose Heyward’s) rather one-dimensional characters are nonetheless capable of surprising psychological depth. Her 'Since my man’s gone now' was raw but astonishingly moving—one of the highlights of a solid, and solidly entertaining, revival of a (the?) great American classic." [Source]

Donovan Singletary as Jake.
(Photo: Elise Bakketun)

"Blue's opening number of 'Summertime' sets the tone perfectly with her soaring voice and only sets up the tragedy even more for when Daltirus reprises it later in the show. And [Donovan] Singletary and Blue are stunning as they portray the new hope of this run down town. Smith and Redding as the villains of the piece are each deliciously despicable in their own way. Redding with his sultry lowness and Smith with his conniving temptations and snake like physicality. Brown tends to steal every scene she's in with her grand, take no prisoners attitude. And Williams' rendition of 'My Man is Gone Now' at the funeral brought the entire house to tears. But the show is called Porgy and Bess and the title characters do not get overshadowed at all by the stellar supporting cast. Hawkins quiet strength is the perfect compliment for Daltirus' broken innocence and the two create the perfect aching chemistry for these heartbreaking lovers. Now you may have noticed I haven't said much about the vocal quality of the performers. Well, that's

Click here for a special interview
with Donovan Singletary.

because it all goes without saying as every single person in the show, from principle to chorus, delivers soul shaking vocal performances. This is made even more awe inspiring as none of the performers are miked. Yes, you heard me. In the grand McCaw Hall, there is no amplification so these amazing singers are literally belting to the rafters. Yes the supertitles are still there as with foreign language operas so we're sure to get every word of the story. But for us jaded musical theater aficionados, listening to real voices able to do what they did is a genuine treat. The production is near flawless." [Source]