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November 12, 2012

Soprano Angela Meade gives impressive recital for Washington National Opera

Like the political world, the operatic one always craves fresh talent and gets pretty excited over any prospect that seems capable of achieving success. One of the names that has most frequently popped up in next-big-star-in-the-making discussions over the past few years is soprano Angela Meade. No wonder.

The singer has the one key element that cannot be faked by any amount of aggressive publicity -- a voice. A real, honest-to-goodness, fully formed vocal instrument that has you sitting up to take notice from the first note.

As Meade demonstrated locally in 2011 in a stellar performances of the Verdi Requiem with the Baltimore Symphony, and reconfirmed Saturday night at the Kennedy Center's Terrace Theater in an impressive recital for Washington National Opera, that voice is backed by keen musicality.

The soprano put those gifts to good use in the recital, which provided a teaser for her appearance with WNO this spring in her first fully staged production of Bellini's "Norma."

The signature aria from that opera, "Casta Diva," featured in Saturday's program. Meade delivered it with admirable technical poise and poetic intensity. I would have welcomed a few of the pianissimo shadings the singer generously summoned in the rest of her program, but the elegance and eloquence of the interpretation proved quite satisfying.

The "Norma" aria and a sumptuously voiced encore, the beloved diva anthem "Io son l'umile ancella" from Cilea's "Adriana Lecouvreur," were the only ones that Meade sang without ...

reference to a score. Using music in a recital is no crime (if so, Beverly Sills and Montserrat Caballe are among the luminaries who would have been convicted), but it can't help but suggest that the notes and/or texts haven't been completely internalized.

Here and there during her recital, Meade's singing did sound a little generic or on-the-surface. That was a minor matter, though, in light of so much that was involved and involving. Speaking of minor matters, the singer almost came in wrong at the end of the first verse in Strauss' "Zueignung," but recovered quickly.

And speaking of Strauss, I loved the rich tone Meade summoned in "Cacile," her endless breath control in "Befreit," her inner radiance in "Morgen." Another highpoint was a rapturous account of Liszt's "Oh! Quand je dors." (Some less familiar Liszt items added greatly to the program.)

Once past a blurry measure or twos, pianist Bradley Moore's own expressive talents were evident throughout the recital.

The soprano easily has what it takes to be a dramatic Verdi soprano -- the Terrace Theater could barely contain the sound at full-throttle -- but she can also scale back the tone beautifully, even in the upper reaches, where many a singer comes to grief. This flexibility, along with endearing phrasing, served Meade especially well in "Depuis le jour" from Charpentier's "Louise."

In a perfect prelude to Veteran's Day, the soprano offered John Kander's effective setting of "Letter from Sullivan Ballou." The text was penned by Ballou to his wife in 1861 just before he was killed at the Battle of Bull Run. Meade delivered the piece with considerable poignancy and naturalness of expression.

Arias by Bellini's "Beatrice di Tenda: and Verdi's "Il corsaro" gave Meade additional opportunities to shine.

In time, I imagine the soprano's tone will reveal even more character and nuance, just as her interpretations will add more layers of insight. But she is already a remarkably satisfying vocal artist who has sent a welcome jolt through the opera-sphere. I look forward to hearing her develop.


Posted by Tim Smith at 7:43 AM | | Comments (2)
Categories: Clef Notes


Interesting article, well written. I've always agreed with your comment about how many big voices get into trouble when they scale down into the pianissimo passages.

Angela Meade won our Palm Springs Opera Guild Vocal Competition in 2003. Ever since then, her career has gone truly well. We knew she would be a big star.

I'm always struck by how when a singer in performance makes even a one-note mistake in an entrance or something else, how the critics rant and rave. How could they do this? Were they 'ill-prepared'?

Opera is f the most complex art forms in the entire world. Amazing that a Domingo can go through an entire opera spanning hours long, and not miss a single entrance or note, as many opera singers can do this.

Imagine if we ranted and raved every time A-Rod or other star baseball players got a 'strike' at bat!!!

Opera is the only 'discipline' where perfection is demanded of singers at every turn! How hard this is.

As a singer, I know how hard it is to get up there and do a performance, and do it perfectly. We need to let up on opera singers and accept that once in a while, a goof happens, and not make it the pivotal point of a review.

I don't think I made the little mistake 'a pivotal point' of my review. Just a matter for the record, that's all. (I have done the same for instrumental soloists and orchestras, too.) TS

I listened to the Met broadcast today, and I was extremely delighted in the vocal gyrations of Angela Meade. Ms. Meade handled the high tessitura in an
outstanding manner. I am now a fan of
hers and look forward to hearing her again frequently. I am 75 years old and I have been listening to the Met's broadcasts since my high school days.
How very lovely is her voice.

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About Tim Smith
Born and raised in Washington, D.C., I couldn't help but develop a keen interest in politics, but music, theater and visual art also proved great attractions. Music became my main focus after high school. I thought about being a cocktail pianist, but I hated taking requests, so I studied music history instead, earning a B.A. in that field from Eisenhower College (Seneca Falls, N.Y.) and an M.A. from Occidental College (Los Angeles). I then landed in journalism. After freelancing for the Washington Post and others, I was classical music critic for the Sun-Sentinel in South Florida, where I also contributed to NPR. I've written for the New York Times, BBC Music Magazine and other publications, and I'm a longtime contributor to Opera News. My book, The NPR Curious Listener's Guide to Classical Music (Perigee, 2002), can be found on the most discerning remainder racks.

I joined the Baltimore Sun as classical music critic in 2000 and, in 2009, also became theater critic, giving me the opportunity to annoy a whole new audience. In 2010, my original Clef Notes blog expanded to encompass a theatrical component -- how could I resist calling it Drama Queens? I hope you'll find both sides of this blog coin worth exploring and reacting to; your own comments are always welcome and valued (well, most of them, at least).

Think of this as your open-all-hours, cyber green room, where there's always a performer or performance to discuss, some news to digest, or maybe just a little good gossip to share.
Note: Tim Smith now writes about the fine arts at This blog will be kept in place as an archive for an indefinite period. Please visit the new location to get the latest Mid-Atlantic arts coverage.
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