Welcome back, Maestro Levine!

He's back...

After much anticipation by fans - and, I think, by the Met Opera's administration - James Levine has returned to conducting after a two year health related absence.

Anthony Tommasini of the New York Times reported on Maestro Levine's return:

On Sunday afternoon Mr. Levine, one of the greatest living American conductors and a musician who has defined the Metropolitan Opera for more than 40 years, cruised onto the stage of Carnegie Hall in a motorized wheelchair and conducted the Met Orchestra in a substantial program, his first performance anywhere in more than two years. The audience, which packed the house, stood almost in sync to give him a hearty welcoming ovation.

The podium area was enclosed on three sides with painted wood panels that fit with the design of Carnegie Hall interiors. Behind the panels, a rising platform lifted his chair. His entrance was choreographed so that after facing the audience, blowing kisses and waving his hands, Mr. Levine was able to turn his chair around and get to work in just over a minute. Then he led a serene, poised and glowing account of the Prelude to Act I of Wagner’s Lohengrin.

So he really is back. This was Mr. Levine at his best. There are still big questions hovering over the Met about whether he can fulfill the duties of music director, which remains his title. But this was a day to celebrate his return and bask in his musical glory.

Now, it's on to 3 productions at the Met.

Welcome back, Maestro. Wishing you Godspeed as you continue in this next part of your journey!

Incidentally, if you want to listen to a truly spectacular interview with Maestro Levine, please click over to the WQXR's Operavore blog. In this interview, conducted by Marilyn Horne, Maestro Levine discusses his health issues, the state of opera today and also discusses the current inadequate supply of large voices.

Hiroyuki Ito

Another Favorite Clip: Verdi for Vital Voices

Alright, Ladies and Gents ... it's been a long time since I brought you Another Favorite Clip. 6 months, to be exact. When I was alerted to this clip though, I instantly knew this would be the one to bring the feature back.

I mean, who doesn't love a good Operatic Flash Mob (done right, of course).

Last week, 100 plus people came to a cocktail party here in NYC for the Vital Voices Mentorship Program. Little did they know that they were in for a surprise serenade. Ten singers from Canada, USA and Puerto Rico - under the guise of being New York City socialites - absolutely thrilled the unsuspecting crowd with a little Verdi.

And for such a wonderful cause, too. Vital Voices - which was in the news recently when Hillary Clinton spoke at their Global Partnership 2013 Global Leadership Awards - states that its mission is to identify, invest in and bring visibility to extraordinary women around the world by unleashing their leadership potential to transform lives and accelerate peace and prosperity in their communities.

I encourage you to check out Vital Voices as they are most certainly a force for good.

BUT... not until you see this first. Directed by baritone Jonathan Estabrooks, this is sure to add a little enjoyment to your Monday!

Soprano Angela Meade named Artist of the Year by WNO

Meade as Norma with WNO - Photo by Scott Suchman

Opera's rising superstar, Angela Meade, has just been named Artist of the Year by the Washington National Opera (WNO). The May 13 announcement comes on the heels of the soprano’s triumphant company debut, in which she “thrilled WNO devotees with her nearly mind-blowing mastery of Bellini’s most challenging music” (Washington Times) in the title role of Norma.

Previous recipients of the Artist of the Year award, which carries a $5,000 cash prize, include mezzo-sopranos Frederica von Stade and Denyce Graves, tenor Jerry Hadley, and conductor John Mauceri.

“I’m so honored to be chosen as Washington National Opera’s Artist of the Year and I appreciate their generosity with this award,” Meade responded when she heard the news. “I had such a wonderful time in Washington, DC this winter, and performing the role of Norma for the first time in a staged production was thrilling for me.”

“It was a privilege for the entire company to work with Angela as she performed her first staged performances of Norma,” said WNO Artistic Director Francesca Zambello. “Our audiences were riveted and thrilled by her fearless delivery, and many people told me they came back for multiple performances. As Angela garners worldwide acclaim for this role in the coming seasons, we will remain proud that she debuted it here in Washington.”

This coming October, the soprano – who is also the winner of the 2012 Beverly Sills Artist Award and 2011 Richard Tucker Award – will reprise Bellini’s heroine at the Metropolitan Opera. In the meantime, she looks forward to appearances as Donna Anna in Don Giovanni at Cincinnati Opera (June 13 & 15) and to her return to the Caramoor International Music Festival to celebrate the Verdi bicentennial. Besides performing the Italian composer’s Ave Maria, volgarizzata da Dante with string quartet (June 27), Meade will headline a semi-staged performance of Les vêpres siciliennes in the original French, with Will Crutchfield and the Orchestra of St. Luke’s (July 6).

Mezzo-soprano Cecilia Bartoli goes old-school with "Norma".

Cecilia Bartoli sings Norma with Sumi Jo as Adalgisa.

Bellini's Norma is one of my top 5 favorite operas.

I'd like to think the reason for that is Bellini's music... but, I have a sneaking suspicion that my love for Norma also stems from the fact that when, as a young apprentice, I covered the role of Oroveso ... Richard Bonynge was conducting in the pit.

Having the ability to observe him in rehearsal - as well as sing in the chorus with him in the pit - was one of those awe-inspiring, breath-taking times in ones life. One of those times when you can do nothing else but soak every second up like a sponge.

Two things I will never forget: The first was his advice "Don't sing so much. Never give 100%." Which, when put into context, meant: "Don't sing so big - don't sing so loud." The second thing I will never forget was his hard-bound orchestral score: it was dark red leather - almost blood red. And, it had his name embossed in gold at the bottom corner. I made a comment about it to a friend: "Oh god... the legendary performances that have come from that score..."

Maestro was within earshot, apparently. He turned and said, "Isn't it lovely? It was just re-bound in this leather. It was a gift from Joan."

That made me want to reach out and touch it... just to say I had.

I say this because Norma is my jam. And, there are so many superb pairings of Norma and Adalgisa: Callas and Stignani. Callas and Ludwig. Sutherland and Horne. Sutherland and Troyanos. Sutherland and Caballe. Caballe and Verrett. Sills and Verrett. Scotto and Troyanos. Scotto and Freni ... the list could go on and on.

Then, of course, there are the Normas coming to the MET next season: Radvanovsky and Aldrich. Meade and Barton.

Well, it was only a matter of time before mezzo-soprano Cecilia Bartoli decided to put her stamp on Norma - yes, in the title-role. As part of the city’s annual Whitsun Festival, Norma will receive its first staging in Salzburg this May. Cecilia Bartoli, in her second year as artistic director of the Whitsun Festival, will perform the title-role in company with John Osborn, Michele Pertusi, Orchestra La Scintilla and Giovanni Antonini.

But, that's not all...

In Decca’s new recording, Norma is presented in a form that is complete with the exquisite mix of vocal and instrumental colors that Bellini allegedly intended for his ‘tragic opera’. Cecilia Bartoli’s Norma evokes the style and artistry of the legendary soprano Giuditta Pasta, the opera’s original heroine. The Italian superstar continues her mission to reveal lost details of expression and emotional variety in music covered by the dark varnish of later performance traditions. Norma, often portrayed as a superhuman priestess, emerges in Bartoli’s performance as a woman of flesh and blood, torn between duty and love. Bartoli's Adalgisa is Lyric Coloratura Sumi Jo - clearly cast as Bellini intended, which was to have Adalgisa portrayed by a soprano.

Rounding out the leads are John Osborn as Pollione and Michele Pertusi as Oroveso.

Decca’s studio recording of Norma employs the latest critical edition of Bellini’s score, painstakingly restored from manuscript and early printed sources. The sounds of period instruments from the composer’s time, brought to life by Orchestra La Scintilla and conductor Giovanni Antonini, underpin and blend with the timbres of a cast carefully chosen.

Norma is set to drop on June 11, 2013 - but, you can preorder Bartoli's Norma by clicking here.

Here are a couple of trailers to wet your appetite.