Boston
Singers' Resource News Bulletin November
12 , 2003
Boston
Bel Canto Opera has been delighting audiences with high quality concert
productions of 19th century opera for the past 10 years. In his interview
below, founder and artistic Director, Bradley Pennington, talks about
the history of BBCO and his esteemed passion for Italian Bel Canto singing
technique.
BOSTON BEL CANTO
OPERA
Boston Bel Canto Opera was founded by Bradley Pennington*, voice teacher,
accompanist and vocal coach, to give concert presentations of the masterworks
of 19th century opera composers. BBCO's focus is on musical and dramatic
values as opposed to spectacle and costuming. Their performance home is
Jordan Hall at the New England Conservatory of Music. They are former
strategic partners with North Shore Philharmonic Orchestra and Symphony
by the Sea.
REVIEWS:
"At one of Boston Bel Canto Opera's composer evenings...what one
came away with was a renewed appreciation of Verdi's genius and of the
extraordinary development of that genius over a lifetime..." - Boston
Globe
"... Boston Bel Canto's general director, Bradley Pennington, fielded
a cast that could pump it out and rein in it. Conductor Robert Carlo Bo
and the Symphony by the Sea contributed much to the show's pounding excitements
and lyric delights..." - Boston Globe
"... Boston Bel Canto's concert performance of 'Aida'... was enthusiastic,
resounding, committed, and enjoyable; it clearly more than met the expectations
of its audience... " - Boston Globe
"..I was delighted by the balance of the chorus, and particularly
by the male voices. Artistic Director Bradley Pennington can take pride
in the solid musicianship of his troupes and their interaction with both
orchestra and soloists..." - Essex County News
LUCIA DI LAMMERMOOR
Boston Bel Canto Opera presents LUCIA
DI LAMMERMOOR by Gaetano Donizetti (concert performance) on Sunday, November
23rd at 2:00 PM, at St. Anne's Church, 27 St. Stephen Street, Boston.
The production features Elizabeth Johnson*, soprano; Alan Schneider, tenor;
James Lambert*, baritone; Alexander Prokhorov*, bass-baritone; Thomas
Oesterling*, tenor; Denise Thibeault*, mezzo-soprano; and Joseph Holmes,
tenor. Tickets are $35 ($3 discount for seniors and students) and may
be ordered by calling 617-424-0900.
AN INTERVIEW WITH BRADLEY PENNINGTON
Mr. Pennington has
served as vocal accompanist and coach for innumberable recitals and opera
concerts throughout metropolitan Boston. A voice and piano graduate of
The Boston Conservatory (1984-1986; Summa Cum Laude, Pi Kappa Lambda),
Indiana University (1970-1972), and Murray State University in Kentucky,
he has taught on the faculties of Indiana University, The Boston Conservatory,
and Northeastern University. Mr. Pennington is the founder and artisitic
director of Boston Bel Canto Opera.
LS: How did you decide to form Boston Bel Canto Opera in 1993?
BP: By 1993, I had been living and teaching in Boston for twenty years, (privately and at Boston University, Boston Conservatory, and Northeastern University), and I had built such an impressive studio of fine singers that I wanted to showcase their talents. The demise of Sarah Caldwell's Opera Company of Boston in 1991 left a dearth of opera organizations in the city, so I decided to found my own non-profit company.
I chose to call my creation "Boston Bel Canto" because this was the particular school of operatic composition which I loved most and it was the style which I understood the best. I had thoroughly studied and practiced the Italian Bel Canto technique as taught to me by my great teacher, Madame Iride Pilla (1904-1997) and further refined by my work with Arrigo Pola (voice teacher of Luciano Pavarotti). I also did extensive research at Indiana University on "forgotten" bel canto works - particularly those of Rossini, Donizetti, and Bellini.
After presenting the inaugural BBCO concert of arias and ensembles at the Harvard Club in Boston in 1993 to substantial acclaim, I decided to mount my first complete opera in concert. It was LUCIA DI LAMMERMOOR performed at Jordan Hall with singers Priscilla Rush, Mary Colarusso (wife of Sgt. Daniel Clark, Mass. State Polices' "singing trooper"), Daniel Clark, Maxwell Li, Christopher Mason, and Peter Aldrich. All of these soloists were my voice students. This was a "nervy" venture, but it proved well worth the risk and BBCO has continued to flourish ever since.
LS: You perform in some very lovely venues and with excellent orchestras.
I'm sure these are very expensive endeavors. How are you funded? Many
of us are jealous!
BP: All of the BBCO's major productions, since 1997, have been at NEC's Jordan Hall. There is always a high rental cost to pay, usually over $3,000/day and negotiating costs for orchestral personnel is a daunting task. BBCO's good fortune in acquiring Symphony by the Sea, North Shore Philharmonic, and other groups for it's events is based, I believe, on the company's superb reputation of excellent standard. Expenses are met by monies raised at general BBCO opera concerts (in smaller venues), by individual donations, and the sale of printed advertisements and BBCO recordings. Unfortunately, little funding comes from local arts agencies, particularly now that the state economy is in crisis.
LS: How does a singer get to be a part of BBCO? Do you audition
singers that are not your students?
BP: BBCO does hold auditions fomr time to time depending on the vocal requirements for a scheduled opera production. For the most part, current roster singers meet the needs of future productions; I do expect, however, to announce auditions in early 2004. After a singer has given a favorable audition for our adjudicators, the person is asked to make a solo appearance in a BBCO piano-accompanied concert for further evaluation. Usually, this successful performance warrants engaging the singer for a role in an upcoming BBCO complete opera event. Only those singers who exhibit a bright Italianate sound are ever seriously considered for promotion through BBCO. My goal is for BBCO singers to sound as if they are native Italians singing in their own language with a natural, projecting resonance.
LS: Your endless devotion to Madame Iride Pilla is very endearing.
Please tell us more about her teaching.
BP: Madame Pilla believed that acquiring the Italian Bel Canto technique would enable a singer to conquer the musical demands of both 18th, 19th, and 20th centruy works. I am her designated disciple to carry on the Italian Bel Canto method of singing. She was a pupil of Madame Ester Ferrabini at Boston Conservatory in the years 1918-1924. Ferrabini was a native Italian whose technical legacy harkened back to the mid-19th century and its performance practices.
Although Madame Pilla built her major singing career through works like AIDA, CAVALLERIA RUSICANA, ANDREA CHENIER, AND MADAMA BUTTERFLY, she also excelled when singing Handel, Gluck and Mozart, albeit in recital. In testament of fact, this technique sustained her when she sang "Tacea la notte placida" from IL TROVATORE in Symphony Hall with the Bsoton Popular Orchestra (predecessor of the Boston Pops) in 1920 at the age of 16! Her example has been constantly reinforced in my mind with the successes of my own pupils - most of whom have learned to "spin" a tone either pianissimo or messa di voce coupled with a fine prowess to execute agility accurately.
LS: I've read several different explanations of "Italian Bel
Canto technique." What is the correct definition in your expert opinion?
BP: Truly comprehending what Bel Canto means involves several principles laid down by the creator of the method, Manuel Garcia, in the beginning of the 19th century. Certainly, it implies singing with a seamless legato within single phrases, but also between the vocal registers. This descipline also advocates the singing of a single pitch in various feelings of resonance, depending on the intention of the composer with regard to textual definitions and/or emotional interpretation and conveyance. Indeed, both male and female singers were expected to master this command of emission no matter which style of music was to be sung. In my own experience as a voice builder, I have found that using the Bel Canto concept proilongs a singer's longevity regarding "freshness" of sound and ringing, easy high notes. One of my sopranos, now 76, can still sustain high c's with no wobble or pitch problems.
LS: Do you sing, professionally, also? How did you come to work
with Arrigo Pola?
BP: The cultivation of my own voice was a "means to an end." I had no desire to perform as a soloist, particularly with what I considered to be a B+ instrument - my pride could not have tolerated such an indulgence. My mission, I stronly feel, was to build the better voices of others, and to be content in being the "power behind the throne."
I met Arrigo Pola
in the fall of 1987 when I was asked to be his studio accompanist for
voice lessons/master classes being held at Eastern Nazarene College in
Quincy. I knew the standard repertoire, plus I spoke fluent Italian to
assist him in clear instruction. He helped me with my own singing, supplementing
Madam's guidance. he ws a marvellous gentleman with a temendous sense
of humor - a superb teacher, and I will always cherish his friendship
and endorsement of my talents. He died in 2001.
LS: Thank you so much for taking time to talk with us during your
busy rehearsal period. And best wishes for a wonderful performance!
BP: Many thanks
for your continued support of BBCO.
LUCIA DI LAMMERMOOR
by Gaetano Donizetti
(concert performance)
Sunday, November 23rd at 2:00 PM
St. Anne's Church
27 St. Stephen Street, Boston, MA
"Lucia Ashton": Elizabeth Johnson*, soprano
"Edgardo Ravenswoodi": Alan Schneider, tenor
"Enrico Ashton": James Lambert*, baritone
"Raimondo Bidebent": Alexander Prokhorov*, bass-baritone
"Arturo Bucklaw": Thomas Oesterling*, tenor
"Alisa": Denise Thibeault*, mezzo-soprano
"Normanno": Joseph Holmes, tenor
with North Shore Philharmonic Orchestra
OTHER UPCOMING BBCO PERFORMANCES:
Friday, December 5,
7:30 PM. A duo recital by soprano Meredith Lavine and mezzo-soprano Angeliki
Theoharis*; Bradley Pennington, piano. St. Paul's church, 15 St. Paul
St., Brookline, MA Tickets $10. Featured areias and duets from TANCREDI,
LE NOZZE DI FIGARO and songs by Brahms as well as some Christmas selections.
Free parking available adjacent to the church. 617-424-0900
Saturday, January 10, 8:00 PM. Joanna Porackova in concert, Jordan Hall,
30 Gainsborough St., Boston. Conductor Jonathan McPhee directos the Longwood
Symphony in a fund-raiser event with proceeds boing to the AIDS Action
Committee. Johanna sings arias from TRISTAN UND ISOLDE, TOSCA, LA FORZA
DEL DESTINO, RUSALKA, FIDELIO, TANNHAUSER, and NORMA. Tickets $25-$45.
617-424-0900
Details about these and other singing events can be found on the Boston
Singers' Resource website calendar:
http://www.bostonsingersresource.com/calendar.asp
BOSTON BEL CANTO OPERA INFORMATION:
www.bbcopera.com
Boston Bel Canto Opera
P.O. Box 990023
Boston, MA 02199-0023
617-424-0900
bbco@comcast.net