Described as a “tour de force of vocal virtuosity married to a fabulous stage presence” (Captain Classics, WFCF, St Augustine), mezzo-soprano Regina Torres wields her voice with equal acclaim in opera and musical theatre. Her powerful and beautiful sound has thrilled audiences in her portrayals of such vastly different roles as the gypsy Azucena in Verdi’s Il trovatore and Rodger’s and Hammerstein’s Mother Abbess in The Sound of Music.
As a comedienne, Torres has brought down the house as the evil-rapping Witch in Into the Woods and the gingerbread-gobbling, broomstick-riding Ogress from Hansel and Gretel. Her comic talents have also drawn her to the world of Gilbert and Sullivan as the Counsel for the Plaintiff (Trial by Jury), the Duchess of Plaza-Toro (The Gondoliers), and an especially “wonderful” Buttercup (HMS Pinafore). On the more serious side, in oratorios she has been a soloist in performances of Messiah, Elijah, and Mozart’s Requiem.
Torres made her Orlando debut in the Bob Carr Auditorium with the Messiah Choral Society. She received her bachelor’s from the University of Florida and a performance diploma in voice from the Indiana University School of Music.
What were some influential experiences in your youth that led you to a career in music?
Both my father and my maternal uncle play guitar and sing. For as long as I can remember, our family has sung together casually. My parents also encouraged every musical whim, starting with piano, to flute, and oboe. I had always loved classical music, especially. However, I can’t really remember being interested in singing until I heard Ezio Flagello and Susan Parton Standard at my church.
What are your goals for the next five years? The next 10 years?
Within the next five years, I’d like to be living a little further north, even if I am still performing in Florida and fully supporting myself through singing—no more day job. There are also several roles that I want to have sung at top regional companies. In 10 years, I hope to be still supporting myself through music and alternating my time between performing and giving masterclasses.
What has been your career highlight to this point?
Developing the Witch in Hansel and Gretel. I love to laugh, and sneaking in a different kind of laugh everywhere was a riot.
What is your favorite part about being an opera singer?
Performing and being a part of a story. Did I mention performing?
If you could sing any one role, what would it be?
Azucena.
Who are some of the role models, mentors, or influential people in your life?
Singing mentors: Elizabeth Wrancher and my current teacher, Marilyn Mims. I have to also give a lot of credit to my dear friend, Janet Rabe-Meyer. Her friendship has been probably one of the most important, both musically and personally.
Armenian-American soprano Nouné Karapetian’s career has been marked by critical praise. Opera Online called her an “extraordinary talent.” The Standard Times commented on her “magnificent,” “impressive” singing. Jeff Rapsis of Hippopress, N.H. wrote of Karapetian’s first Nedda: “Soprano Nouné Karapetian made the most of a bright, rich, warm voice that somehow seemed vulnerable and powerful at the same time.”
Karapetian’s opera work includes roles such as Nedda in I pagliacci, the title role in Suor Angelica, Gianetta in L’elisir d’amore, the First Lady in Magic Flute, Mimi in La bohème, Countess Almaviva in The Marriage of Figaro, Donna Elvira in Don Giovanni, Livia in Game of Cards, Iolanta in Iolanta, Mother in Amahl and the Night Visitors, and Anna Maurrant in Street Scene. She has performed with Granite State Opera, Opera Providence, and Longwood Opera.
As an oratorio artist, Karapetian was the soprano soloist in Haydn’s Missa Brevis, Schubert’s Stabat Mater, Brahms’ Gypsy songs, Respighi’s Laud to the Nativity, and in Orff’s Carmina Burana with the Greater New Bedford Choral Society.
Karapetian is an avid presenter of new music. She has been a frequent performer with the Just in Time Composers and Players group, making numerous concert appearances in Boston, Providence, Yerevan, Montreal, Manchester, Washington, D.C., Florida, and Toronto, among others.
What were some influential experiences in your youth that led you to a career in music?
My sister, who was in love with opera and listened to it all the time, and my aunt, who became an opera singer, even though she was a brilliant engineering student. I would always ask my sister, “Why are the singers shouting?” which made her very upset. Who knew I would become one of them.
When I was 15, my aunt showed me how to produce an operatic sound. It kind of worked that first time—beginner’s luck—I sang a high note, which seemed to be out of my body, and I felt a little dizzy—and that was it. It was love at first sound! It was a magical experience.
What are your goals for the next five years? The next 10 years?
By 10 years I want to be established as an artist of high caliber; to be in demand by companies around the world; to sing the most intriguing, challenging characters; to create a teaching studio and produce great singers.
My five-year goal is to learn most of my repertoire, broaden my horizons, and be the best I can be; to work with top-level companies, and really live the creative life that I always dreamt about, submerged in the crafting of my characters.
What has been your career highlight to this point?
The role of Nedda in Pagliacci with Granite State Opera in May 2007. It was challenging because of abrupt changes in the mood of the character, and that’s why I loved portraying her. In one act, you show the many aspects of that complex woman.
What is your favorite part about being an opera singer?
The unity of all my favorite things. When I was a child I wanted to be a ballerina (my mom talked me out of it). Then, for a long time, I wanted to be an actress . . . (my sister talked me out of it). Then I wanted to be a pop singer (nobody took that seriously). But when I discovered opera, I was delighted. It was the unity of all my favorite things.
Who are some of your role models, mentors, or influential people in your life?
Maria Spacagna is my teacher and mentor. Her courage and determination to go where she wants to go is amazing. She is a risk-taker.
If you could sing any one role, what would it be?
Carmen
How do you handle rejection?
I try a new recipe, go shopping, try a new exercise program, get obsessive about cleaning, or start a new project with kids—anything that will make me totally involved and get me back to the center of balance.
How do you balance career and family?
Besides singing, I also teach voice, and I have a wonderful husband and two adorable twin kids—a boy and a girl, 7 years old. I have been very lucky and very blessed that my husband is there for me 200 percent, supporting my singing and doing everything possible for me to succeed. My mother-in-law, brother-in-law, and my sister’s family live very close to us, so whenever I need help with the kids, they are there.
