Dear Friends:
We are all excited about our final production of the season, The Consul, which opens at the Arsht Center on May 9. It's hard to imagine a bigger, more dramatic, or tuneful conclusion to a great season! Don't miss this South Florida premiere of Gian Carlo Menotti's masterpiece; it's an experience you will long remember.And, if you haven't yet renewed your subscription for our coming 75th Anniversary season, by all means do so now! We have a spectacular lineup of magnificent works, including the return of Bellini's beloved Norma after an absence of 26 years. We are also thrilled to be able to bring to you an astonishing production of Weinberg's The Passenger, which has been major news in the opera world.
FGO is your opera company, and it is only your support that has sustained us for all these years. Please know how much we value your commitment, and that we look forward to celebrating our 75th year with you next season!
- Susan T. Danis
General Director & CEO
Florida Grand OperaJustin Moss had an opportunity to chat with mezzo-soprano Victoria Livengood, who returns to FGO in the role of the Mother in The Consul.
To see Victoria Livengood perform the role of The Mother in Florida Grand Opera's gripping production of Menotti's The Consul from May 9-16, simply call FGO's Box Office at 800.741.1010 Monday-Friday, 10am-4pm, or order securely online at FGO.org.
CLICK HERE TO ORDER YOUR TICKETS
Justin Moss: It's so good to have you back, Victoria! But it's been too long! I think you were last here in 1987...
Victoria Livengood: It was a long time ago. I sang Flora in a wonderful production of La traviata with Diana Soviero, and Gertrude in a great production of Thomas's Hamlet. But I'd actually been here before, performing Madame Flora in the school outreach production of Menotti's The Medium. It was at the very beginning of my career, and Willie Waters [the company's Artistic Director at the time] had hired me. I think I was about 25 years old.
JM: But it was the beginning of a great career! You went on to sing at the Metropolitan Opera, turning in 126 performances as of last year, in a surprisingly vast range of repertory. What's been your favorite role at the Met?
VL: I was so fortunate to be able to sing Carmen there; it's such a great role, it was really a highlight, especially because my first performance of Carmen at the Met was with Placido Domingo.
JM: Tell us about working on The Consul with Menotti. It was at Spoletto?
VL: Yes, the Spoletto festival in Italy. Menotti conducted a big rehearsal call for their production of The Consul, and he hired me for the Secretary. Richard Hickox was the conductor, and we recorded it live in 1998, on the Chandos label. It's a great recording, and Menotti was completely involved in every aspect. It's really wonderful that we have that record.
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| Victoria Livengood, as Madame Flora, with Gian Carlo Menotti |
VL: Oh, there are so many. He was such a dramatic composer, and writing both the libretto and the music enabled him to do so much that was absolutely right. Maybe, though, one central thing was that "silence is golden."
That silence can be just as important as sound. I tell my colleagues that when he marks a pause in the score, he really, really means it. He once came to me after a final dress rehearsal for The Medium in Monte Carlo and said, "I want you to count to 45 after the séance, before you scream."
It seemed like an eternity, but I did it. And, when I screamed, I think half of the audience screamed with me! He knew exactly what was needed, and what would work.
JM: It's so wonderful that you can bring such first hand experience to the production. Again, welcome back to Florida Grand Opera, and thanks for taking time to talk with me!
To listen to the full, extended interview, please click here:
https://soundcloud.com/floridagrandopera/interview-with-victoria-livengood
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