Feature Articles:
Travel Stories:
Speeches:
Book Reviews:
|
Conversations
with the black diva by
Carol Middleton (first
published in Honda:The Magazine Spring 1999) American soprano Leona Mitchell is back in Sydney with Opera Australia, playing Turandot from September to November in Graeme Murphy’s production of Puccini’s final opera. It’s something of a homecoming for Leona, who first sang the title role with Opera Australia in Murphy’s 1995 production. Carol Middleton spoke to her as she prepared to head our way again. Diva
is a much nicer word than prima donna. To most of us, it is the difference
between a goddess and a spoilt brat. If the stereotyped breed of prima
donna still exists in the world of opera, Leona Mitchell is certainly
not one of them. Her
trans-Pacific phone conversation with me was full of politeness, deference
and mellifluous “uh-has”. Leona, born in Oklahoma and living
in Texas, is a slow talker, with a soft voice that is highlighted by the
occasional rising cadences of the southern US. Visits
to Australia have become regular events in her life over the past 20 years,
since Artistic Director Moffatt Oxenbould first invited her to debut in
Madama Butterfly with the Australian Opera in 1977. Now
at the height of her career, Leona is known and loved around the world
for her portrayals of the great operatic roles. She has taken on many
of those self-sacrificing female characters that dominate the world of
opera: Aida, Cio-Cio-San in Madama Butterfly and Liu in Turandot.
These are the sweet-natured 'victims', laughs Leona, the love-sick and
love-lorn slaves and geishas who characterise most of the leading female
roles available to operatic singers. Her
audiences still identify her with these roles. “People tend to see
me more as Aida,” she admits. With Princess Turandot, however, the
mirror reveals a very different side of her character. Here Leona has
to conjure up all the mean-spiritedness she can muster to play the cruel
Eastern princess who kills those suitors who do not meet her challenge,
who fail to answer the three riddles she sets them. Puccini
died of cancer in 1924 while struggling to complete his last opera, convinced
that everything he had written previously was inferior. The divine score
includes the tenor aria 'Nessun Dorma', one of the world's most popular
operatic pieces. Leona
is having fun “putting on these new shoes”, bringing out the
darker side of her character and the darker side of her voice. Her new
foray into that heavier repertoire is proving “exciting and wonderful”.
She refused to play Turandot when she was still in her twenties, only
taking on those roles that were within her vocal range. 'You can burn
the voice out, it can become ragged, if you do the big roles too young',
she says. Recently she decided she had the maturity, both vocally and
dramatically, to take on this challenging and demanding role, which calls
for what Leona refers to as the 'Stentorian' or hugely powerful sound
needed to sing the part of Turandot. Before
she crossed the stage to play Turandot, she was well-known as the other
female character in the opera, Liu, the devoted slave whose life is sacrificed
in the course of the drama. It was a great leap across the divide to switch
to Turandot, and Leona still has to stop herself launching into Liu's
arias automatically! She
still remembers the early days when she first portrayed Liu in San Francisco.
Although the dead Liu was usually carried off stage, in this production
she was left 'dead' on the stage throughout the final scenes of the opera.
She has a vivid recollection of lying there night after night, listening
to the great sounds above her and dreaming of one day being in Turandot's
shoes. One
of fifteen children born into a musical family in Oklahoma, Leona grew
up surrounded by music. Her father was a Pentecostal minister and Leona
was a soloist in his church while she was still at school. He still demands
that she sing in his church and Leona has adapted the aria 'How Great
Thou Art' for these occasions, as pure gospel is out of bounds for her
operatically trained voice. As
a young girl, she never thought of singing as a career, just as part of
life, until she was encouraged to study for a Bachelor of Music and suddenly
found herself intrigued, excited and stimulated by the world that was
opening up for her. She first came to international attention as Bess
in the first complete stereo recording of Gershwin's Porgy and Bess
in 1975. The reviews described her voice as 'gorgeous' and praised her
vivid characterisation. In the same year she made her debut at the Metropolitan
Opera as Micaela in Carmen. Leona's
first mentor was Leontyne Price, who was the first female black singer
to cross the colour barrier in the 1960s to sing “the Toscas and
the Aidas” at the Metropolitan Opera in New York and open the door
for other black singers. The two women have both been described as having
a rich, warm, luscious voice and great personal beauty. The
other singers who have inspired Leona are Maria Callas, for her dramatic
interpretations, and Joan Sutherland, for her exciting coloratura performances.
Leona was favourably compared to Callas as early as 1988 when she made
her debut as Tosca in Australia, demonstrating her ability to act with
the voice. Her
debut as Turandot in Australia was judged the best we have ever seen.
The Bulletin talked of “her sensitive dramatic interpretation,
which reveals the woman behind the monster”. Leona believes she
has even more to bring to the part this time round. She has grown into
the role, finding it more comfortable to sing those sustained notes and
“digging deeper into the meanness of Turandot”. For
her, coming to Australia is a bit like coming home. She has a special
spot in her heart for this country and for Moffat Oxenbould and Opera
Australia, who have been willing to help her “grow and learn new
repertoire”. When she hears an Australian accent in the States,
she feels a tug at her heart for her 'family' over here. Leona has found
a unique place in the hearts of opera enthusiasts here, who have come
to look on her as part of Opera Australia, not just as a visiting American
diva.
back to homepage
© copyright 2003 Carol Middleton |