Our "Meet our Artist" Series continues with American soprano Mary Elizabeth Williams who will perform the title role of Norma in her FGO debut. Williams, a Philadelphia native, is receiving fervent and consistent acclaim from audiences and critics alike for her signature dramatic coloratura and lirico-spinto soprano roles: Tosca, Aida, Abigaille (Nabucco) and Leonora (Il Trovatore), to name just a few.
To see Mary Elizabeth Williams perform the role of Norma in Florida Grand Opera's highly-requested production of Norma from January 23 – February 13, 2016, 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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Florida Grand Opera: Welcome to Florida Grand Opera, Mary Elizabeth! Since you will be making your FGO debut in just a few days, can you start of by please telling us a little about yourself?
Mary Elizabeth Williams: Hi! My name is Mary Elizabeth Williams, and I am originally from Philadelphia, but now I live with my (Italian) husband in Milano.
Hmmm...it's sort of hard to decide what is worth sharing for these kinds of interviews, isn't it? I'm an only child. My degree is in English Literature, not Music. I love Frank Sinatra. My favorite color is turquoise, and I love to sleep late. There. That's a pretty good list.
FGO: Great to have you here! Although you are new to this city, we know that you do have a dear friend here, beloved local artist Kevin Short. Can you please explain how you two know each other?
MEW: Kevin and I did a Porgy and Bess in Grand Rapids together, and the rest is history, kind of. It was sort of a mind-meld instant friendship. We have since sung Aida and Nabucco together, and will be in a production of Le Cid together this summer.
Kevin and I have only known each other since about 2012, but it feels like we've been friends for a lifetime. It's been a major perk for me to be able to hang out with Kevin here in Miami when I'm not busy with rehearsals and he's not busy teaching or singing. Who knows? Maybe one day we can work on an FGO production together! I'm keeping my fingers crossed... :-)
FGO: We're hoping too! Seeing as this is your first time performing for a Miami audience, is there a particular Miami attraction you hope to visit?
MEW: Honestly, most of the touristy things I want to do involve food. I have been experimenting with lots of Cuban cuisines! I took a day trip down to Key Largo. The bad thing about coming to a new city to sing a debut role is that I don't have much time to sightsee! I'm too busy trying to stay healthy and getting this role in my bones to do much outside of the rehearsal center. But, maybe after we open I can get around to see things a little more.
MEW: Singing Norma has always been held up as THE operatic role for my voice type: the ultimate technical and dramatic challenge.
I have certainly taken the preparation of this role very seriously, but I can't say I have favored it at the expense of my other debut roles this season (Lady Macbeth, Queen Elizabeth in Maria Stuarda, and Chimène in Le Cid). I am very lucky that I tend to be asked to portray characters that are very complex and strong-willed.
So, yes, I am excited to perform Norma because singing music written by Bellini (an absolute master of bel canto) while also portraying this multi-faceted and engaging woman will teach me new things every day of the rehearsal and performance process.
I have no doubt that Norma will inform my artistry for the rest of my career. I hope this isn't the most challenging role I face over my artistic lifetime, but I can already say that it'll be in my top 5!
FGO: We are thrilled to have you present this role with us. So far, what has been your favorite part about performing Norma?
MEW: Speight Jenkins, who ran Seattle Opera many years and has been a mentor and operatic "godfather" to me for many years once said to me that in his opinion, Norma is one of two female roles in the entire operatic repertoire that requires the entire range of human emotions in order to be portrayed convincingly. The other role, he told me, is Isolde.
I believe that he may just be right; more than any other role I have tackled so far, I feel stretched (in a good way!) in every direction: vocally, of course, but also emotionally, psychologically, and intellectually. Norma is almost a superwoman, but her weaknesses are what make her compelling, both to me and to the audience, I think.
FGO: We couldn't agree more. Since this role is so dramatic and stimulating, what is the most challenging part about preparing this role?
MEW: I don't know yet because we are still putting it all together. But if I had to guess, I'd say that it'll be difficult to balance monitoring my singing technically to give the best vocal performance I possibly can while also staying in character and being available to my colleagues to react in real time to what's going on around me in the story. Mary Elizabeth the soprano and Norma the Druid priestess have to share space in my body (and brain) and learn to play nicely together.
FGO: In your own words, wWhy should people come to see this production of Norma?
MEW: I've realized this week that Norma is the bel canto Carmen; just as Bizet's masterpiece is almost comically chock-full of hummable tunes, Norma is one of the few operas I have ever had the privilege to sing that has NO BAD MUSIC. None. Every scene is gorgeous. I don't know how he did it.
FGO: Excellent point, and an interesting comparison, too. We cannot wait to see you bring this role to life. Now, after this performance, wWhat are some exciting projects/roles you have in the upcoming months?
MEW: Well, I've just finished my first production of Macbeth in Switzerland, which was something I had looked forward to for many years. I will sing Lady Macbeth in two productions next season too, so it's becoming something of a staple.
Right after this Norma, I head back to Seattle, where I have most recently sung Tosca and Abigaille in Nabucco and where I also got my start as a young artist many years ago. This time, I'm singing the role of Regina Elisabetta in Donizetti's Maria Stuarda. I'm currently reading all I can on Elizabeth I, to get ready for this challenging debut. In 2017 and beyond, I have a wide array of roles to look forward to...some comic (finally!) but mostly more Verdi heroines, which is just fine by me. Verdi is my favorite composer, and my voice is never happier than when it is singing a large diet of Verdi roles.
MEW: I guess I came to opera through the back door... I always liked singing and sang as a child in many genres: sacred choral, jazz, musical theater, and classical. But, I like foreign languages.
I like singing music that challenges me technically and requires me to constantly get better. Lastly, and maybe most importantly, I like telling a story. So, opera checked all my boxes, I guess.
We could not agree more! Thank you, Mary Elizabeth Williams for taking time out of your busy practice schedule to speak with us!
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