I was a young voice student at Cal State Northridge when I first heard of Carol Vaness.
It was during my second lesson with Dr. David W. Scott. I didn’t have a clue what I was doing and barely knew what opera was. During my first lesson, I think I sang a soprano aria and a contralto aria (I thought it was a good thing to show my, uh, range).
The next week, at Dr. Scott’s request, I sang “Come Scoglio” from Cosi fan Tutte. The aria fit my voice well and I must have suitably impressed him, because he and the accompanist both wore surprised looks on their faces. Forthwith, they launched into the legendary tale of Dr. Scott’s student, one Carol Vaness, who had just won the Metropolitan Opera auditions with the same aria. (A moment later, they were both bent over double with laughter, after I made the pronouncement that I didn’t want to be famous; I just wanted to make enough to support myself with singing.)
I had a lot to learn!
I’m sure I wasn’t the only one who hadn’t yet heard of Carol Vaness—but not for long. Very quickly, she became an opera household name. Her illustrious career has now encompassed regular appearances at all the world’s major opera houses, collaborations with today’s foremost conductors in the operatic and symphonic repertoire, a distinguished catalogue of recordings, and frequent television broadcasts in Europe and North America.
Ms. Vaness’ interpretations of Mozart’s dramatic heroines (Fiordiligi, Donna Anna, Donna Elvira, Elettra and Vitellia) have been hailed as definitive in virtually every important theater in the world. The scope and range of her voice and her dramatic prowess have allowed her to command a repertoire of exceptional breadth and versatility. Her repertoire includes roles ranging from Handel’s Alcina and Barber’s Cleopatra to Verdi heroines such as Leonora, Elena, Amerlia and Desdemona.
Ms. Vaness also has become identified internationally with the role of Floria Tosca. Since her first appearances in this role in a new production in Paris, she has appeared as the Roman Diva at the Metropolitan Opera, the Royal Opera House, Covent Garden, San Francisco, Deutsche Opera Berlin and in many other operatic capitols. She has also won exceptional praise in the Classic and Bel Canto repertoires in the title roles of Gluck’s Iphigenie en Tauride, Donizetti’s Anna Bolena and Bellini’s Norma.
The Classical Singer Convention is featuring one of the hottest tickets in town: Ms. Vaness and her accompanist, Howard Watkins, in recital May 29 in Hartford, Conn., followed by a master class the next day, where this consummate artist will work with selected singers from the Classical Singer competition.
Ms. Vaness has never forgotten her roots as a student, and she’ll work with each singer individually to bring out their individual artistry. It will be a great time to network with one of the world’ greatest singers.
We’re thrilled to be hosting Ms. Vaness and Mr. Watkins—and we can’t wait to see you all there!
CJ Williamson, Editor
If you have a question about this article or anything else, please write to Ms. CJ Williamson, the editor of Classical Singer magazine at cj@classicalsinger.com (PLEASE NOTE: this is a new email address) or P.O. Box 95490, South Jordan, UT 95490. Letters can be used as “Letters to the Editor” if you would like, “Name Withheld” if you’d like, or just meant for the staff only. Just let us know.
