Lyric soprano Christine Steyer was recently awarded first place in the 2006 National Opera Association Competition. She has been highly praised for her rich tone, superb artistry, and charisma. She has performed roles with Lyric Opera of Chicago in Street Scene, Cavalleria rusticana, Sweeney Todd, Cunning Little Vixen, and Manon Lescaut. She recently sang Canteloube’s Songs of the Auvergne with The New Philharmonic Orchestra and Violetta in La traviata in Chicago. Last summer, she sang at the AIMS festival in Graz, Austria. In 2007, Ms. Steyer will make her Tulsa Opera debut as Frasquita in Carmen and Abigail in The Crucible.
What were some influential experiences in your youth that led you to a career in music?
I grew up playing several instruments: piano, cello, flute. My family loved music and greatly encouraged me. I fell in love with opera when I heard [Mirella] Freni’s “Si, mi chiamano Mimi.”
What are your goals for the next five years? The next ten years?
Simple really. I would like to have a career that allows me to sing full-time the repertoire that is right for my voice. I am currently a full-lyric soprano and am attracted to strong, sensitive characters: Countess, Violetta, Micaela, Mimi, Jenufa. It would be wonderful if I could also occasionally sing recitals (I try to do one every few months), but my main goals are personal. I want to feel that I am constantly improving vocally and dramatically—gaining new insights into the art form. I feel like being a singer is like being a bottle of wine: you just get so much better with age. So enjoy the process of fermentation; don’t be in a hurry.
What is your favorite part about being an opera singer?
I’m a sucker for the gorgeous costumes, wigs, and accessories. I don’t know if I would say this is my favorite part of being an opera singer, but it certainly is one of the most exciting perks of the profession.
If you could sing any one role, what would it be?
The role that I would like to sing more than any other is Jenufa. My voice is dark, and the Russian/Slavic repertoire seems to be well suited for it. Janácek’s music is absolutely unique and amazing. Jenufa is a work about tremendous suffering and forgiveness, and it touches me deeply.
How do you handle rejection?
The older I get, the more I become aware of just how many factors can go into picking winners in competitions or in casting. I don’t mind rejection if I feel that I have had an “honest” hearing—that my time and money have not been wasted by singing for a role that has already been secretly cast or singing for people who really don’t know a lot about voice type or the demands of the role they are casting.
Baritone Anton Belov is quickly earning recognition from audiences and critics alike. “A performance of great emotional honesty; singing straight from the heart,” exclaims Opera News. “A voluminous sound, appealing stage presence and a tone of rich vibrancy that remained consistent at all dynamic levels,” says the Washington Post. Mr. Belov’s recent operatic performances include the title role in Delaware Opera’s production of Don Giovanni, John Sorel in The Consul with Opera Boston and Chamber Opera of Chicago, Count Almaviva with the New Jersey Opera Theater, and Masetto with Boston Baroque.
Mr. Belov’s upcoming engagements include Malatesta with Opera Providence, Ping with the New Jersey Opera Theater, and Elijah with Worcester Chorale. Mr. Belov is the first-place winner of eight vocal competitions including the George London Competition, Licia Albanese-Puccini International Competition, and Metropolitan Opera Regional Auditions. As the winner of Young Concert Artists International Auditions, Mr. Belov has appeared in over forty recitals throughout the United States. A native of Moscow, he holds a bachelor of music degree from The New England Conservatory, an artist’s diploma and a master of music degree from The Juilliard School. He is the author of Russian Opera Libretti and the Anthology of Russian Arias (Leyerle Publications).
What were some influential experiences in your youth that led you to a career in music?
My father was a poet, and he often read his and other poets’ works out loud in our household. I believe that the experience of listening to him read, or rather perform and interpret poetry, led me to a much deeper understanding of the sung word and ultimately taught me to love vocal music.
What are your goals for the next five years? The next ten years?
To continue regular performances in opera, concert, and oratorio throughout the United States and Europe. I hope to perform in both major and regional houses.
What is your favorite part about being an opera singer?
Working with exceptional works of music, and in a sense, creating music alongside the composer.
Who are some of the role models, mentors, or influential people in your life?
My first teacher Semion Tregubov. He is now ninety-four years old. My Juilliard teacher David Clatworthy, a wonderful baritone with a distinguished career throughout the United States. He was and still is a tremendous support in my career.
If you could sing any one role, what would it be?
Renato in “Un ballo” or Ford in Falstaff.
How do you handle rejection?
Badly.
How do you balance career and family?
I have two children, ages five and two. I find leaving my wife and children for extended periods extremely challenging, both physically and emotionally. So far, my family is often able to join me, and that makes coping with the challenges of this career much easier.
What has happened in your career that made you feel like you’ve “made it”? Or, what needs to happen in your career for you to feel that you’ve finally “made it”?
I do not believe that I am quite at that “made it” place as of yet. In purely practical terms, it will mean having secured engagements several years in advance and having the ability to sustain my family financially by means of singing. It will also mean that my family’s needs are balanced against my professional aspirations.
