My Notes: Angela Brown (soprano)is a hometown girl. Most of her operatic training took place in Indianapolis, Indiana where she grew up. Her voice teacher Virginia Zeani, notice her talent and convinced her to sing opera. Her road to the met was not easy, but persistence eventually paid off. Enjoy
Information for the bio was taken from Wikipedia:
Early life and education
Angela Brown was born in 1964 in Indianapolis, Indiana. Her mother, Freddie Mae Brown, was a painter, and her father, Walter Clyde Brown, was an autoworker at a Chrysler plant in Indianapolis for 41 years. Along with older brother George and younger brother Aaron, Brown was raised in a deeply spiritual Baptist household. Her grandfather was a Baptist minister in the city and Brown started singing at his church when she was 5 years old.
Brown credits her musical experiences at church as instilling in her a love for singing.
As a teenager, Brown started performing in Soul Music bands around Indianapolis and was highly active in the vocal music program at Crispus Attucks High School. Her high school choir director, Robert Fleck, taught Brown her first classical arias and entered her in several local music competitions, all of which Brown won. Brown also participated in her high school's musicals, playing Adelaide in Guys and Dolls among other roles.
After high school, Brown attended a community college in Indianapolis part time while working a day job as a dietary aide at a Methodist Hospital. She also acted in several musicals at the pro-am Civic Theater where she got to work with several notable performers including Ginger Rogers. Brown also worked as a singing waitress for a time.
The death of her younger brother led Brown, then 20, to re-examine her faith and join the Seventh-day Adventist Church with intent to become a singing evangelist. To that end, in the fall of 1986, at the age of 21, Brown enrolled at Oakwood College planning to major in biblical studies with a minor in music. Brown subsequently changed her major to music, however, after her voice teacher, Ginger Beazley, convinced her to pursue opera singing instead.
Brown received a bachelor's degree in the Spring of 1991.
From 1992 to 1997, Brown continued her studies at the Jacobs School of Music at Indiana University with noted voice teacher Virginia Zeani. Brown had worked frequently with Zeani while at Oakwood College, as Ginger Beazley took Brown and her other students up to IU to participate in Zeani's master classes.
While in graduate school, Brown began competing in several notable music competitions. In 1994 Brown tried out for the National Council Auditions of New York's Metropolitan Opera. She made it as far as the regional finals but proceeded no further. She tried out two more years in a row, only to twice more be stopped at the regional level. She tried one more last time in 1997. "I had nothing to lose," she told the New York Times. Instead, she won everything, not only the regionals, but also the semi-finals and then the finals. The win bought her entry into the world of professional opera.
Brown has since gone on to win the 2000 Richard Tucker Career Grant, a 1998 Sullivan Foundation Grant, the 1998 G.B. Viotti Verdi Vocal Competition, and the 1998 Opera Carolina Competition.
Career
In 1997, Brown moved to New York City and began performing in a steady stream of small roles with larger opera companies and larger roles with smaller opera companies over the next several years. She also appeared in concerts with good regional orchestras and gave many recitals.
In the 2000-2001 season, Brown performed with the San Antonio Symphony, Teatro La Fenice, as Serena in Porgy and Bess with Opera Company of Philadelphia, and gave several recitals. She also began working for the Metropolitan Opera as a cover artist for the title roles of Verdi's Aida and Strauss' Ariadne auf Naxos. This was followed by cover work for the company for the next three seasons.
In the 2001-2002 season, Brown appeared as the Fourth Maid in Cincinnati Opera's production of Strauss' Elektra.
In the 2002-2003 season, Brown performed at the Kimmel Center with the Philadelphia Orchestra for the September 11 Memorial Concert, return trips to the Metropolitan Opera to cover the roles of Aida and Ariadne, covering Leonora in Il Trovatore for San Francisco Opera, performances of Richard Strauss’ Four Last Songs with the El Paso Symphony and Muncie Symphony Orchestras, and Beethoven’s Ninth Symphony with Roanoke Symphony Orchestra.
In the 2003-2004 season, Brown performed the roles of Elisabetta in Verdi's Don Carlo and Leonora in Verdi's Il Trovatore for the Opera Company of Philadelphia, the title role in Verdi's Aida for Shaker Mountain Opera, and the role of Cassandra in Taneyev's Agamemnon with the Manhattan Philharmonic and the Aquila Theater Company which toured Poland and was performed at her Carnegie Hall debut . She also performed a concert of Strauss and Wagner arias with the Auckland Philharmonia, was a soloist in Verdi's Requiem with the Louisville Orchestra, and a soloist with the Gibraltar Philharmonic. In addition, Brown made an unexpected appearance with the Opera Company of Philadelphia when she filled in at the last minute in the title role of Strauss' Ariadne auf Naxos. Brown also filled in for an ailing singer for an orchestra rehearsal of Aida at the Metropolitan Opera. The company was so impressed with her work, they immediately called Brown's agent and booked her for two performances of Aida and 12 cover performances for the next season.
In the 2004-2005 season, Brown made her critically acclaimed debut at the Metropolitan Opera in the title role of Verdi's Aida. Her performance was so well received that an article about her appeared on the front page of the New York Times on November 8, 2004. Originally she was not scheduled that night to sing, as she had already sung two performances in the scheduled run of Aida and covering the role for the remainder of the run, but she was called to replace the ailing lead that night. Opera News stated of her performance "one of America’s most promising Verdi sopranos". In addition, Brown sang the role of Aida for Opera Company of Philadelphia and followed that with the world premiere of Margaret Garner, a new opera by Richard Danielpour and Toni Morrison, in the role of Cilla for Michigan Opera Theatre and Cincinnati Opera. She also appeared as a guest soloist in a concert of opera arias for Auckland Philharmonia (New Zealand) and Dayton Opera.
In the 2005-2006 season, Brown performed the role of Amelia in Verdi's Un Ballo in Maschera and the role of Cilla in Margaret Garner for the Opera Company of Philadelphia, the title role in Verdi's Aida for Opera Pacific and Florentine Opera, Verdi's Requiem for the Festival of Saint Denis in France, concerts with the Indianapolis Symphony and Brevard Festival Orchestra, and recitals throughout the United States.
In the 2006-2007 season, Brown made her debut with Opéra National de Paris as Amelia in Verdi's Un Ballo in Maschera, sang the title role of Verdi's Aida with Florida Grand Opera for the opening the new Carnival Performing Arts Center, and sang the role of Bess in Gershwin's Porgy and Bess for both Opera Pacific to open the new Orange County Performing Arts Center and the Opera Company of Philadelphia to mark the 150th Anniversary of the Academy of Music.
In the 2007-2008 season, Brown sang the title role of Aida and the role of Amelia in Verdi's Un Ballo in Maschera at the Metropolitan Opera. She was also chosen by The Library of Congress as the featured soloist for the 2008-2009 National Celebration of the Bicentennial of Abraham Lincoln in February. In addition, Brown sang in concert at Dayton Opera, performed with the Indianapolis Symphony, sang Aida with Opera de la ABAO, the title role in Puccini's Tosca with Florida Grand Opera, and gave her first appearance in the role of Leonora in a concert version of La Forza del Destino with James Conlon for the Cincinnati May Festival. This summer Brown will perform Verdi's Requiem with the National Symphony of Spain in Madrid, give a concert of sacred repertoire at St. Patrick’s Cathedral in Auckland, New Zealand, and will be the featured performer at the NAACP's national conference in July 2008.
In the 2008-2009 season, Brown sang Aida for Cape Town Opera in South Africa and for the Latvian National Symphony in Riga. She celebrated Christmas with the Alabama Symphony Orchestra in Alabama and the Southwest Michigan Symphony. In addition, she sang Aida at her debut with the Deutsche Oper Berlin, Leonora in Il Trovatore for her debut with Atlanta Opera, Amelia in Un Ballo in Maschera for National Opera of Paris, and Elisabetta in Don Carlo for Cincinnati Opera, and performed Verdi's Requiem in Barcelona.
Brown has also performed roles with the Indianapolis Opera.
She has performed in concert with the San Antonio Symphony, Tulsa Philharmonic, Indianapolis Symphony, Cincinnati Pops, Brevard Festival Orchestra, Knoxville Symphony, Long Island Philharmonic, Asheville Lyric Opera's 10th Anniversary Gala[16]Hendersonville Symphony, Chautauqua Institution, the Kennedy Center's 25th Anniversary Celebration, Chicago Sinfonietta, The Joy of Music Television Series and tours throughout United States, Canada, New Zealand, Italy, and Africa.
She has given recitals in such places as Alice Tully Hall and Carnegie Hall.
Brown - Opera...from a Sistah's Point of View
Ange la Brown - O Holy Night
Indianapolis soprano Angela Brown sings Morro ma prima in grazia from Verdi's un ballo in maschera (A mask Ball)
Act 1
Scene 1: A public audience at Riccardo's palace, attended by his supporters, but also by his enemies who hope for his downfall
Riccardo (Gustavo) reviews the list of guests who will attend an upcoming masked ball. He is elated to see on the list the name of the woman he loves – Amelia, the wife of his friend and advisor, Renato (Count Anckarström). (Aria: La rivedrà nell'estasi / "With rapture I shall look upon her"). When Renato arrives, he tries to warn Riccardo about the growing conspiracy against him (aria: Alla vita che t'arride / "To the life with which you are favoured"), but Riccardo refuses to listen to his words.
Next, Riccardo is presented with a complaint against a fortune-teller named Ulrica (Madame Arvidson), accused of witchcraft. A magistrate calls for her banishment, but Oscar the page defends her (Aria: Volta la terrea / "That tense countenance"). Riccardo resolves to investigate for himself and tells the members of the court to disguise themselves and to meet him at Ulrica's lodging later that day.
Scene 2: At Ulrica's dwelling
Ulrica summons her magical powers: Re dell'abisso, affrettati / "King of the abyss make haste". Disguised as a fisherman, Riccardo arrives before the others. He makes the fortune of a sailor named Silvano come true by spiriting a document of promotion into his pouch, convincing the crowd of the truth of Ulrica's powers. When he realizes that Amelia is coming to see Ulrica, he hides and watches. Alone with Ulrica, Amelia confesses that she is tormented by her love for Riccardo, and asks for a means to bring peace to her heart. Ulrica tells her to gather a certain herb with magical powers; Riccardo resolves to be there when she does so. Amelia leaves.
Now Riccardo presents himself again, along with all of the courtiers, and asks to have his fortune told. (Aria: Di' tu se fedele / "Say whether the sea Awaits me faithfully"). Ulrica reveals that he will be killed by the next man who shakes his hand. He laughingly dismisses her prophecy and offers his hand to the courtiers, who refuse to take it. Renato arrives and shakes Riccardo's hand in greeting. Riccardo's true identity is now revealed and he is acclaimed by the people.
Act 2
Maria Caniglia as Amelia in Un ballo in maschera.
On the outskirts of the town, at the gallows-place. Midnight
Amelia, conquering her fears, has come here alone to pick the herb of which Ulrica told her (Aria: Ma dall'arido stelo divulsa / " If through the arid stalks"). She is surprised by Riccardo, who has come to meet her, and the two finally declare their love for each other.
Unexpectedly, Renato arrives, and Amelia covers her face with her veil before he can recognize her. Renato explains to Riccardo that the conspirators are pursuing him, and his life is in danger. Riccardo leaves, making Renato promise to escort the veiled woman safely back to town, not asking her identity. When the conspirators arrive, they confront Renato; in the struggle, Amelia's veil drops. Renato assumes that Amelia and Riccardo have been involved in an adulterous love affair. He asks the two leaders of the conspiracy, Samuel and Tom, to meet him the next day.
Act 3
"È scherzo od è follia"
Menu
0:00
Enrico Caruso, Frieda Hempel, Maria Duchêne, Andrés de Segurola and Léon Rothier performing the song "È scherzo od è follia", from Un ballo in maschera, in 1914
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Scene 1: Renato's house
Renato has resolved to kill Amelia for the dishonor she has brought on him. She protests her innocence and begs to see her son one last time. (Aria: Morrò, ma prima in grazia / "I shall die - but one last wish"). Renato relents, and declares that it is Riccardo, not Amelia, who deserves to die (Aria: Eri tu che macchiavi quell'anima / "It was you who stained this soul").
Samuel (Count Ribbing) and Tom (Count Horn) arrive, and Renato asks to join their plot, pledging the life of his son as proof of his sincerity. They agree to draw lots to decide who will kill Riccardo. Amelia is forced to draw the winning name – Renato.
Oscar, the page, arrives with invitations to the masked ball; Samuel, Tom and Renato agree that this is where the assassination will take place.
Scene 2: The ball
Riccardo, torn between love and duty, has resolved to renounce his love for Amelia and send her and Renato back to England (Aria: Ma se m'è forza perderti / "But if I am forced to lose you").
At the ball, Renato tries to learn from Oscar what costume Riccardo is wearing. Oscar at first refuses to tell (Aria: Saper vorreste / "You want to know How he is dressed"), but finally answers: a black cloak and a red ribbon. Riccardo manages to identify Amelia and tells her of the decision he has made. As they say goodbye, Renato stabs Riccardo. The wounded Riccardo discloses that though he loved Amelia, she never broke her marriage vows. He pardons all the conspirators, bidding farewell to his friends and his country as he dies.
Angela Brown
Interview
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