MARCH 2011

Dame and

March 2011 INTERMISSION 1 by Nancy C. Hermann Dame Kiri te Kanawa and Q+A Frederica von Stade IT IS A DREAM-COME-TRUE interview for any fan. Revered Dame Kiri te Kanawa takes my call at her home in New Zealand and, fortuitous for me, American mezzo-soprano Frederica von Stade is her current house- guest. As I introduce myself, I hear exquisite singing in the background. “I’ll just get Flicka,” te Kanawa tells me, and I am struck by the overwhelming richness of this moment. Talking via speakerphone, the two internationally famous voices laugh and recall their careers with candor while I decorously attempt to focus on the conversation. This, after all, is the Kiri te Kanawa whose voice captivated an era, who sang at Charles and Diana’s wedding, whom chose as his Maria for the operatic ver- sion of , and her friend, “Flicka,” one of

opera’s most beloved artists. Dame Kiri te Kanawa and Frederica von Stade Von Stade, I learn, is taking a short break abroad after wrapping her performance as Mrs. De Rocher, the con- Bowl Hall of Fame induction. demned man’s mother in ’s . Friends since they met in a production of Mozart’s Le It is one of many parts that have been written expressly Nozze di Figaro decades ago in Santa Fe, te Kanawa and for her. At home in the world’s grandest concert halls and von Stade confirm that one piece they’ll be doing together opera houses, von Stade, who as a young teen wanted to in Tulsa will be “Via resti servita” from Figaro. Te Kanawa be a Broadway star, boasts an immense repertoire and the will sing her iconic “” by Puccini, and respect of music lovers across many genres. Not long ago, Liszt’s “Oh! Quand je dors,” among other solos and duets. she and opera god sang together again in a Von Stade will perform Poulenc’s “Voyage a Paris” as well as heralded Kennedy Center concert, the same year she and Piaf and Gugliemi’s “La Vie en Rose,” along with music by Josh Groban were guest artists at te Kanawa’s Hollywood Rodgers and Hammerstein, Sondheim, Heggie, and more.

Having composer Jake Heggie Frederica, you just finished a pro- What do you like about each other? accompany you will be a bonus. duction of Dead Man Walking. [both laughing] KTK: Don’t ask! That FVS: Yes, we’re doing a lot of his music. FVS: Yes! Jake had a triumph. And one’s really personal. KTK: Flicka has worked with him so he had a triumph in Dallas with Moby- Are there pieces of music that much, so we thought it was a great idea if Dick as well. He’s just fantastic and when you revisit them, give you a he did that concert with us. Dead Man Walking is being done every- sense of “coming home”? How did you come across Heggie’s work? where. He’s a delight, and we’re doing KTK: I think all of it gives us a sense FVS: I’ve known him for years. He used to a whole section in the concert of his of coming home, really. Each of us has do press at Opera, and then songs. He’s written a duet for us. had such a joyous career. Hard work. We remember how much work that everyone started talking about his music. Is that “The Years Roll By,” which was. None of this has ever come easy, He showed it around and he was asked to will premiere in Tulsa? but the joy of having achieved what we write Dead Man Walking with Terrence FVS and KTK: Yes! McNally. They took a huge chance on him did — it’s such a pleasure looking back and it worked out well. Is it more difficult than you would now. KTK: I met him in Los Angeles — at least have imagined, putting together a FVS: The songs, the repertoire, have 20 years ago. He was page-turning for one program that showcases you both? become old friends. We just love hear- of my concerts. FVS: Very easy. We both have lots and ing them again. We’ve sung some of lots of music. It’s great fun doing it, so these songs for 40 years, and you never that’s the spirit of it. tire of them.

March 2011 INTERMISSION 11 Q+A Dame Kiri te Kanawa and Frederica von Stade Continued from p. 11 When have you said to yourself, “I we are always testing our voice and fid- slim body. I think you have to have a wish I could take this feeling with dling with it. It’s just different. fighting weight. And I don’t mean over- me for the rest of my life”? KTK: Another thing is that we have to weight; I just mean a fighting weight. KTK: I think it happens all the time. On keep up a certain standard for the young Kiri, in Tulsa you’ll be singing Luther stage, we are working, but if we’re think- people we are working with. They have Vandross’ “Dance With My Father.” ing about a feeling that we’d like to take to see that at this age we can still produce KTK: I just like it. I don’t sing it like he with us, we’d like to take the memory of something they can’t, even at our age. … does so beautifully. I wouldn’t try to copy having our cup of tea or cup of coffee on We are still trying to encourage them to him, so I do it my way. the terrace overlooking the water this work hard and maybe make it. And “I Cain’t Say No” for Frederica? morning and saying goodbye to this beau- Did becoming mothers add a dimen- FVS: It kind of represents, for me, some- tiful area. It’s a memory we take with us. sion to you as artists that you would one who I adored, who didn’t actually It’s very precious, because it only happens not otherwise have had? sing it, and that’s . I get the for a day. FVS: Oh, I think so. It takes a part of biggest kick out of singing it. FVS: Every performance has something your heart. KTK: Once Flicka was coming to New special about it. There is a certain sense of KTK: There are other needs, other than Zealand and by chance I was asked if I privilege of performing — hearing a great your own needs. could sing at a fundraising concert. I said orchestra, being with great colleagues; FVS: All of a sudden you’ve become sec- I really didn’t have time to do it because hearing magnificent voices. Even when I ond, and I found that a terrific relief. my friend Frederica von Stade was com- am not in form, I am still thrilled about Are there any voices belonging to ing to stay for a very short time, and they what we have. What our work is. What current or upcoming singers that said, “Oh, oh, that would be great!” I said, we go to work in the morning and hear have impressed you? “No, no I can’t ask her,” but I did. So that and do. FVS: I’m deeply impressed with Joyce song goes back, of course — she couldn’t What does the average music fan not DiDonato. a mezzo-soprano who I think is say no. And we raised a lot of money! understand about what it takes for you one of the great voices and great talents of Why “Send in the Clowns”? to deliver a beautiful performance? this generation and sings beautifully and FVS: I think “Send in the Clowns” is KTK: Hard work. [laughing] innovatively and marvelously. I hear a lot probably Sondheim’s greatest song. FVS: And time. Time, time. time. of great young voices. Just sensational. KTK: The best, yes. KTK: When someone is putting in a KTK: I have two New Zealanders at FVS: And certainly [from] one of his hard day’s work, for instance, a man dig- the moment. We are concentrating on greatest shows. I have always loved it: the ging a big hole in the ground for a large the higher end, higher quality of New image of somebody trusting a beautiful container, or something, he knows when Zealanders coming through, but I have melody, with a beautiful intention. he is going to come to the end of it. For worked at the Met for the last four sea- KTK: It’s not easy to sing the first phrase. us, we don’t know, because there’s tomor- sons and I will continue to do this season It’s a bit troublesome. You can go right row and we think we should have done and into Christmas as well. I’m involved out of tune with it. better. We have to make our own stan- in the Solti Te Kanawa Accademia in Is there anything else you want to dards again and again. Italy, a three-week course there. I’ve include about this upcoming concert? chosen a Canadian girl [to study at the As you move into the next stages of KTK: It’s just that we love to perform your career, do you feel any sense of academy] who I saw in Chicago [Ravinia together. Any excuse. Really any excuse. loss with respect to the relationship Festival]. I thought, “Oh, I think she FVS: And we love having Jake along. you have with your voice? looks very much like Flicka.” Cute as but- He’s just the best. KTK: It’s a funny one, that one. ton. Her name is Wallis Giunta. As cute FVS: Even when your voice is not what as cute can be. you want it to be, it’s still an old friend FVS: I find it very exciting hearing these Dame Kiri te Kanawa and it’s given us so much. I’m probably young singers. There’s a certain thrill to and Frederica von Stade leaving the stage a little earlier than Kiri, it. I find them very beautifully prepared PRESENTED BY CHOREGUS PRODUCTIONS but even with that, I’m still using it in — on top of things and very professional. March 29 at 7:30 p.m. working with kids. So there’s something So, overall, the level of training is C H APM A N M U S I C H A L L we’re doing, whether it’s fundraising or quite good? Tickets are $35-$130. something else. You don’t kind of close up KTK: The only problem I find is that MyTicketOffice.com and 918-596-7111 shop. And so far, I don’t know the relief they are forced to be slim, and unfortu- of not having to keep it in shape, because nately you can only sing so much on a

12 March 2011 INTERMISSION