This week we sit down with mezzo Carla Jablonski, a second-year FGO Young Artist, who has performed with FGO several times before. Most recently she delighted audiences as Dorabella in our January production of Mozart's Così fan tutte.
To read Carla's previous "Meet our Artists" interview last January, please click here.
During her first year as a Florida Grand Opera Young Artist, Carla was seen as Annina (La Traviata) and Third Lady (Die Zauberflöte) in 2013. Last season, Carla joined the Metropolitan Opera as a chorus member (Die Meistersinger von Nürnberg), under the baton of James Levine.
Other recent engagements include the roles of Vera Boronel (The Consul) with Opera Santa Barbara in 2014, La Ciesca (Gianni Schicchi) with Central City Opera in 2011, Mère Jeanne (Poulenc’s Dialogues des Carmélites) with Juilliard Opera in 2010, and Emma Jones (Weill’s Street Scene), among others.
She made her Lincoln Center debut at Alice Tully Hall in 2009 (Ives’ Five Songs), returning in 2010 to sing Fileno (Handel’s Clori, Tirsi, e Fileno), appearing both times with Juilliard ensembles. In 2011, she made her Carnegie Hall debut as an alto soloist (Handel’s Messiah) with the St. Cecilia Chorus and Orchestra. She has been a featured artist in the New York Festival of Song, and at the Caramoor Center for Music and the Arts. Carla received her master’s degree from the Juilliard School.
To see Carla Jablonski perform the role of The Secretary in Florida Grand Opera's gripping production of Menotti's The Consul from May 9–16, 2015, simply call FGO's Box Office at 800.741.1010 Monday-Friday, 10am-4pm, or order securely online at FGO.org.
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Carla, welcome back to the FGO stage after a fantastic run in Così fan tutte. Can you tell us about what your experience as Dorabella was like?
Dorabella was so much fun! It became a very physical role, which I love, and the process of finding special moments onstage with my cast members was always a treat.The great thing about this show is the constant element of surprise, which leant itself to me having to always being on my toes. Some shows the audience reacted to a certain joke and, other nights, there were moments we didn't even realize were funny... but were getting laughs from the audience!
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| Carla Jablonski and Hailey Clark in Così fan tutte. Photo: Daniel Azoulay Photography |
Fantastic! What was the most artistically-fulfilling moment of the entire Così process?
What I loved about this production and role was that I got to show a whole progression of character with Dorabella. She's a multi-faceted young lady who isn't just the dumb little sister but, rather, a character who can exhibit real emotions. Although the the role is largely upbeat and fun, finding the moments of sincerity with Dorabella was very fulfilling.Also, Mozart is so genius in his writing and the music speaks for itself! Singing the ensemble numbers is always gratifying.
On top of this piece being a comedic opera, we heard you and your cast mates got into some silly shenanigans as well. What was the funniest thing that has happened during a Così rehearsal or performance?
How can I name just one?! We were constantly rolling in laughter during rehearsals, and that's what brought our cast so close together.The audience would never have seen this, but in the Act I finale, both Hailey Clark (Fiordiligi) and I are drawing portraits of our loved ones who have gone away...or should I say, “trying to draw.”
Some of the funniest memories were of these bizarre pictures that were drawn in rehearsals, and even during performances, due to our lack of drawing skills and humor. It definitely made for a good time when we saw each other's masterpieces onstage!
Countless times I had to bite my lip and try not to break character from laughter. I kind of felt like Jimmy Fallon during his SNL years, and it was so much fun!
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| Carla Jablonski and Hailey Clark in Così fan tutte. Photo: Daniel Azoulay Photography |
Well you held it together like a professional! Now shifting gears into your current role. Can you describe how the character of Dorabella compares to The Secretary?
Wow... they couldn't be more different from each other in so many ways! The Secretary is much more of an angular character, both physically and musically, which makes the role that much more interesting to play. She is so very different from who I am as a person. She is formidable and is completely “by the book.”Dorabella had more spunk and earthiness to her, and I enjoyed creating a more relaxed disposition with her movements on stage and general characterization.
Agreed! Also the Secretary, earlier in the opera, appears to be more of a symbol for bureaucracy rather than an actual person. That changes, however, towards the end of the opera. While preparing this role, did you ever imagine who the Secretary is outside the consulate?
I believe the Secretary herself has to make a clear, conscious distinction between who she is in the consulate and who she is as a person in private. There are so many themes on this sense of private and public selves, making appearances and losing any sense of identity in the consulate and this totalitarian state.As the secretary says chillingly, “Your name is a number.” In fear of becoming a number herself, she plays by the rules of the state so she can carry out some semblance of a private life outside the consulate. She has to detach herself.
To play this character, I have to believe that she believes she is doing the right thing and doing it the best she can to help others. Otherwise she would come across as completely heartless, which I don't think is the case. Like you said, there are moments toward the end when the secretary does reveal her more human and compassionate side, and I'm excited to see how the audience reacts to her after all is said and done.
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| The Consul. Photo Courtesy of Seattle Opera. |
We are excited to see what you do with this character! Taking a step back: We know this is not your first time performing this opera. What attracts you to The Consul?
I am a huge fan of Menotti and specifically this work. I had the pleasure of working on this show last year in the roles of Vera Boronel the Mother, and it really got to me. It is one of my favorite operas.I hold it closely to my heart, largely due to the dramatic connection I've found in it. It really is a "Musical Drama," and I love nothing more than works that are essentially dramatic plays set to music.
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| The Consul. Photo Courtesy of Seattle Opera. |
What do you hope audiences take away after seeing The Consul?
When I first worked on this piece, I walked away feeling newfound appreciation for the life I lead and the world I live in. I hope that lends itself to audience members.I also hope this “opera” changes people minds about what they think this art form is all about. It is a story relevant to our times. The cast is incredible, and the music moves you. This show pushes musical and dramatic boundaries, and I hope it encourages audience members to want to come back for more!
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