Interview with Sidney Outlaw; Appearing in People's Opera Gala

Sidney Outlaw

We have been following Sidney Outlaw since his young artist days and have always been impressed with his singing, his intelligence and his passion for life. He'll be performing at the "70 Years of the People's Opera" on February 21 at New York City Center. The event is a benefit for the New York City Musicians' Emergency Relief Fund, which was created by Local 802 of the American Federation of Musicians. Tickets are available HERE.

The concert will feature fellow singers Lauren Flanigan, Joélle Harvey, Jennifer Rivera, Ryan MacPherson, Mark Delavan with the New York City Opera Orchestra, conducted by music director George Manahan. The concert will feature selections from "The Ballad of Baby Doe," "Candide," "Carmen," "L'etoile," "Giulio Cesare," "Malcolm X," "Martha" and "Die tote Stadt."

We spoke with Sidney Outlaw about being part of this historic concert.

1.    What does City Opera mean to you personally and what did it mean to the greater opera community.

The New York City Opera gave me a platform to launch my career. In fact, it was the first company that hired me to work outside of the realm of the types of gigs other young artists secure. Performing in a NYCO production was a huge deal for me, and I immensely enjoyed my time working with great people, such as Cori Ellison, Cory Lippiello and Brad Moore and many others in the NYCO administration. In addition, they were supportive of me, my career and helped nurture my talent.

I think performing in the NYCO helped the greater opera community see that talent comes in many variations. I'm just a guy from Brevard, North Carolina who has a great vocal gift. The beauty is that I've been able to share that gift with some of the greatest opera houses in country - NYCO being one of them.

Sidney Outlaw and Marsha Thompson from the 'X: The Life and Times of Malcolm X'

2. Talk about playing Malcolm in “Malcolm X” at New York City Opera?

It was one of the most amazing experiences in my life. While I am not an orator or an activist, it was a humbling and exciting experience for me to portray such a great civil rights leader.

The production gave me the opportunity take my God-given gifts and weave them with one of the pieces of fabric that make up the patchwork of our country's history. 

I would be honored to perform the entire opera in the future.

3. Have you performed before with any of your other colleagues from the gala?

I have not yet had the occasion to perform with any of my colleagues, but I more than welcome the opportunity to do so.

Jennifer Rivera & Michael Rice

4. Jennifer Rivera is married to barihunk Michael Rice. You and Michael have both been featured on the Barihunks site. Do you think appearance matters more in opera today and should it for certain roles and for attracting audiences?

I absolutely believe appearance matters in every facet of the entertainment business - not just the opera and classical genres. However, I believe that every one is different. Those differences are important because it gives each artist an opportunity to cultivate their own brand.

Like most other entertainers, I am striving to be healthy and look appropriate for each setting. But I am also aiming to create a brand that is unique to me. I do not wish to look like Eric Owens or Larry Brownlee or Mark Delevan or Russell Braun. My wish is create a brand that is authentic and true to me.

It is also important to me that I stay true to the art form and true to the music - no matter what I sing. If I cannot do that, then any concerns or thoughts about appearance or the brand become irrelevant.

5. If City Opera had stayed around, what would have been your dream roles to perform with them?

That's a tough question. My dream role would have been to sing “il Barbiere di Siviglia” there with Lawrence Brownlee as Count Almaviva. Now, THAT would have been fun!

6. What do you think will fill the vacuum left by City Opera?

It is really disconcerting to me that New York City - one of the largest cultural centers in the world - cannot support two great opera houses. It saddens me because it means that much of the art that was showcased by the NYCO will be inaccessible. It means that there are fewer opportunities for my colleagues and I to do what we love.

The vacuum left by the City Opera is a void that cannot be filled by anything but NYCO. Hopefully the stars will align and the Company will be brought back to life so the community and opera world can enjoy it once again.



7. Can you give us some insight to what you'll be singing?

I will be singing two selections. Pierrot's "Tanzlied from Die tote Stadt," which is one of my favorite arias. I will also sing Malcolm’s aria from Anthony Davis’s opera, “X, The Life and Times of Malcolm X.” Singing Malcolm's aria is special to me because it is the first gig I ever sang at NYCO.

That performance was produced for the VOX Series at the Schomburg Library in Harlem. It was an amazing experience and one that provided me with a chance to gain a wealth of knowledge. I learned so much during that process. 

8. Anything else that you'd like to share?

I have some amazing roles coming up this season. I'll be performing the role of Moses in "Moses" with the American Symphony Orchestra.

I'll also make my debut with the Atlanta Opera in the role of Figaro in "The Barber of Seville."

I'm also excited to work with the Metropolitan Opera for "The Death of Klinghoffer."

You can follow Sidney Outlaw at:
Facebook.com/BaritoneSidneyOutlaw
Twitter: @sidneyoutlaw
YouTube/mrsidneyo

Hottest cast in opera assembled in Omaha for Handel's Agrippina

Doug Williams (photo:Kevin McDermott)

Perhaps the best looking cast currently assembled for any opera performance worldwide is in Omaha. The Nebraska company is located about seven hours from the nearest major opera company in Chicago, but that hasn't stopped them from creating some major buzz in the opera world. The cast of their upcoming performances of Handel's Agrippina includes not only some of the best young baroque singers in the world today, but some of the best looking singers across the entire range of voices.

Agrippina, written in 1710,  is considered Handel's first operatic masterpiece and a surprising comic gem.  The Opera Omaha production premieres an original edition of the opera prepared by conductor and early music specialist Stephen Stubbs.

Agrippina cast: Hadleigh Adams, Peabody Southwell, Nathan Medley, Jamie-Rose Guarrine, Jennifer Rivera, Zachary Wilder and Douglas Williams (left to right)

There are two bass-baritone roles in the opera, the larger role of Claudio the emperor and Pallante, one of two men that Agrippina pledges to marry. Both roles are being sung by two of the sexiest men in opera.

Claudio is sung by former model and rising superstar Hadleigh Adams. He established himself as a Handel singer to be reckoned with at the 2012 Merola Grand Finale when he performed “Somnus awake! ... Leave me loathsome light … More sweet is that name”  from Handel's Semele with Suzanne Rigden and Erin Johnson. Later that year, Adams wowed critics and audiences in another early music piece when he portrayed Pollux in Rameu's Castor & Pollux with Pinchgut Opera in Australia. He also showed off some seriously gym-toned arms [see below].

The role of Claudio includes the great bass aria "Vieni, oh cara."  

Hadleigh Adams in Castor & Pollux

Since his debut with the Boston Early Music Festival in 2003, Doug Williams has gone on to  establish himself as one of the most compelling low voices in early music. The Omaha production reunites him with conductor Stephen Stubbs, who led him in performances of Monteverdi’s Il Ritorno d’Ulisse in Patria in Seattle with the Handspring Puppet Company of South Africa.

His list of successful early music performances includes Purcell’s King Arthur with Christophe Rousset and Les Talens Lyriques, Handel’s L’Allegro, il Penseroso, ed il Moderato with Tafelmusik, Aeneas in Purcell's Dido and Aeneas, Polyphemus in Handel's Acis and Galatea and Jesus in the recoring of Bach’s Johannes-Passion with the Yale Schola Cantorum.  He can also be heard on the recording of Lully’s Psyché with the Boston Early Music Festival, which was nominated for a Grammy Award for Best Opera Recording of 2008.   

 

The remainder of the cast includes the brilliant and gorgeous young mezzo Jennifer Rivera as Nerone, who is married to the prematurely retired barihunk Michael Rice. She'll be joined by Nathan Medley as Ottone,  Zachary Wilder as Narciso, Jamie-Rose Guarrine as Poppea and Peabody Southwell in the title role of Agrippina.

Performances are February 14 and 16 and tickets are available online.

NY TIMES WEDDING ANNOUNCEMENT: Barihunk Michael Rice & Mezzo Jennifer Rivera

Jennifer Rivera, Michael Rice

Jennifer Michelle Rivera was married Saturday in New York to Michael Jason Rice. Herschel D. Garfein, a librettist and composer who is a friend of the couple and who became a Universal Life minister for the occasion, officiated at the Ladies Pavilion in Central Park. 

The bride, 37, will continue to use her name professionally. She is a mezzo-soprano who performed the title role in “La Stellidaura Vendicante” last month at the Innsbruck Early Music Festival in Austria,; in March she sang the role of Stephano in “Romeo et Juliette” with the Palm Beach Opera. Her discography includes “Agrippina” with Rene Jacobs for the Harmonia Mundi label and “L’Olimpiade” with Alessandro de Marchi for the Sony Music label. She also writes a blog about her life and travels, “Trying to Remain Opera-tional,” and is a contributor to the culture section of the Huffington Post. 

She graduated summa cum laude from Boston University and received a Master of Music in vocal performance from Juilliard. 

She is the daughter of S. Patricia Rivera and Rafael Rivera of Hyde Park, N.Y. The bride’s father retired as a sixth-grade teacher from Strawberry School in Santa Rosa, Calif., and is an adjunct professor of speech and theater arts at Dutchess Community College in Poughkeepsie, N.Y. Her mother retired as a loan officer at Washington Mutual Bank in Santa Rosa. 

The groom, 37, recruits for media companies at Howard-Sloan-Koller Group, an executive search firm New York, and is the producer and a host of OperaNow, a podcast. Until last year, he was a bass-baritone opera singer. He graduated from Northwestern. 

He is a son of June A. Rice and Thomas F. Rice of Stamford, Conn. Until March, the groom’s father was the chief executive of ScanOptics, an archiving service in Hartford.

The groom’s previous marriage ended in divorce.

Read the original announcement in the NY Times:

http://www.nytimes.com/2012/09/09/fashion/weddings/jennifer-rivera-michael-rice-weddings.html?_r=1&ref=weddings

Our favorite picture of Michael Rice (which didn't run in the Times)

Opera "Elmer Gantry" wins two Grammy Awards

Keith Phares & Jenny Rivera in Elmer Gantry

The recording of the Milwaukee-based Florentine Opera Company's production of Robert Aldridge's "Elmer Gantry" won two of the three Grammy Awards for which it was nominated.

Composer Robert Aldridge won for "Best Contemporary Classical Composition" for the opera, while the Naxos recording won for classical music's "Best Engineered Album." The recording also was also nominated for "Classical Producer of the Year." The recording features barihunk Keith Phares, who has virtually owned the role. He has performed the work at Montclair State University, Nashville Opera and Florentine Opera.

Keith Phares & Jenny Rivera sing the love duet from Elmer Gantry:

Here is the complete list of classical music Grammy Award winners:

Choral Performance: “Light & Gold,” Eric Whitacre
Classical Contemporary Composition: “Elmer Gantry,” Robert Aldridge & Herschel Garfein
Producer of the Year, Classical: Judith Sherman
Orchestral Performance: “Brahms: Symphony No. 4,” Gustavo Dudamel
Opera Recording: “Adams: Doctor Atomic,” Alan Gilbert, conductor
Best Small Ensemble Performance: Mackey: Lonely Motel - Music From Slide
Best Classical Instrumental Solo: Schwantner: Concerto For Percussion & Orchestra Nashville Symphony.
Best Classical Vocal Solo: Diva Divo - Joyce DiDonato