Pieczonka, cont'd. from p. 10has been very challenging. Ilove playing the boy. It's beenfun to slip into that Oliver Twistcostume and the short-hair wig.It is freeing - I can flounce roundand be boyish .What were you like as a kid?I was a tomboy - totally.Did you sing?I did. I was artistic, but I wasalso very athletic. I lovedsports and played them all. ButI also did voice lessons. I canremember having to cut out ofbasketball practice early, and theother girls would say, "Singinglessons? How weird!" and theywould giggle.Were your parents interested in music?They were, though not opera. They listenedto popular music - singers like FrankSinatra, musicals and light pops. But we allsubscribed to the Hamilton Philharmonicconcerts. Now my parents love opera, andthat's great. They have become opera fansthrough following my career.How did you end up in opera?I discovered opera on my own - you oftenfind that with singers. I just liked to sing.One of my teachers said, "That's quite avoice you have," and led me towards theclassical side.I was a ham. I liked doing everything, notjust singing. I just wanted to be on stage, so Iwas in musicals and plays from an early age.My idol was Julie Andrews, but I loved theSonny and Cher show, and I adored CarolBurnett. I wrote to her and said, "I want tobe like you" . She wrote back - well, it wasprobably her publicist - telling me I shouldgo to university. And it was in universitythat I discovered the Met broadcasts and thewhole opera scene.Do you feel a need to be on stage?Yes, it's a powerful drug being on stage.I think that's why singers like Placido andEdita can't stop, even though they couldcomfortably retire. Something compels themto keep doing it. It's their lifeblood . But thenthere are singers who sing past their sell-bydate - maybe they have developed a wobble,or the power of their voice has diminished. Ihope I'm never one of them. I will be happyto retire, because I want to teach. Like JoanSutherland, I want to go out with a bang - atmy peak.For a soprano who does the big dramaticroles, your voice is remarkably light andclear, and your vibrato is so fast.It takes a lot of work. If my vibrato ever gotunfast I would worry about it.Have you done much baroque music?In our recital Laura and I sang some Purcellduets. In the past a lot of singers with thesebig voices like Maureen Forrester wouldopen recital with a Handel aria. Jon Vickers62(l - r) Adam Luther as Jaquino, Adrianne Pieczonka as Leonore(Fidelio), and Virginia Hatfield as Marzelline in the CanadianOpera Company's production of Fidelio, 2009. Photo Michael Cooperloved to do that - and why not? I guess todaythey sound old-fashioned.Do you enjoy Handel?I do. If I just want to chill out I listen to Handel,or Bach. Those are for me the meditativecomposers. That's pure, fine music, and it'scleansing for me. I just love it. So I enjoyTafelmusik, and they're just around the corner.It would be great to sing with them.Are there any Handel opera roles you wouldlike to do?It's my fantasy to do Alcina. But I think myvoice is maybe one number too heavy. Coloraturais not my forte. I do have to do it insome roles, and I try to manage it as best Ican.There were splendid passages in your Fidelio.Those little bits were challenging. I think myvoice is most suited to long stretching lines.That's why I love Richard Strauss so much.years. It's been a dream of mine tosing that. I love singing in French.It's a great language to sing - sonasal and forward .What about more Verdi roles?I will not do Aida, Laforza deldestino or Nabucco . I would like todo Un ballo in maschera, - and Jltrovatore, but that is a fiendish part.It' s got everything - the lyric side,the dramatic side, and the coloratura.I think it would great for myvoice, if I could get it up . My newdisc just coming out was supposedto be a recording of Verdi arias,but it got turned into Puccini. ThePuccini was a joy to make. But Istill hope to do a Verdi recording. Ilove Verdi - he wrote just wonderfulmelodies. Puccini too, but the threecomposers I adore most are Verdi,Strauss and Wagner.Canada produces a disproportionately largenumber of accomplished singers - do youhave any idea why?The training here is excellent, and there areopportunities like the COC Ensemble. Peopleassume that I studied in Europe, but I amtrained in Canada. I went to Western, thenthe University of Toronto. I had great teacherslike Mary Morrison. I still work with her.Morrison has taught so many of Canada's topsingers. But it's interesting that in her owncareer as a singer she didn't do much opera.No, Mary went into new music. So I haveto watch it because I don't champion it inthe way she does. She would be thrilled if Ibrought in one of those crazy modern pieces.I admire that she can do it - it takes a lot ofbrain work.What makes her such a great teacher?You sing so many different types of parts and She has a real understanding of the voice.composers. Even if you 're not singing Bellini She tailors her approach to your voice so thatBut I did! Laura and I did a big sections when you come to her with a problem she canof Norma in our recital in Hamilton. I did dissect it. It's not a set technique for every'Casta diva', and then we did 'Mira, o singer. It' s a dedication to training. And sheNorma'. It was wonderful, and Laura is a is tireless. She always has time for you, evengreat Adalgisa . I actually contemplated doing if you need to come in on a Sunday morning.Norma when I was asked to record it. I had Unfortunately I don't get a chance to goto think long and hard. If I had a year or even to Mary as much as I would like. I do thinksix months to devote myself to it, it could be you always need a teacher. When singers say,possible. But my schedule doesn't allow me "Oh no, I don't go to a teacher anymore - Ithe time to fine-tune and perfect it.am past that," I think, one is never past that.What roles are you asked to do that you Edita Gruberova still goes for voice lessonswould never?and she is over sixty.I wouldn't do Briinnhilde or Isolde. AndTurandot - forget it. You need a lot of heftfor those big climaxes in 'In questa reggia'.It's gorgeous music, and it goes right to theheart. But Puccini is always sort of dangerous.It's so thickly orchestrated, even withlittle Miml, you need a full middle to cutthrough that orchestra. That's not to be underestimated.Are there roles that you want to do that youhaven't yet?I'm going to do Madame Lidoine in Poulenc'sDialogues of the Carmelites in a couple ofAre you doing many recitals these days?Not at the moment. It's hard to fit them in,though I do love recitals. But with the amountof operatic performances I do, it's hard toswitch gears. For a recital I need a lot of preptime. I don't want to be singing Fidelio andthen two days, or even a week, later give arecital. I sometimes sit down at the piano andsing Schubert, and have just a lovely time.And if something comes up in lieder I amhappy to do it. But I've come to accept thatbasically I am an opera singer. And that'sfine with me - opera is my place right now.•WWW.THEWHOLENOTE.COM --- --------- APRIL 1 - MAY 7 2009
