HGO Appoints Eric Melear as Associate Music Director

Maestro Melear at Houston Grand Opera

"Houston Grand Opera Artistic and Music Director Patrick Summers today announced the appointment of Eric Melear as Associate Music Director, a newly-created position. The 2006 recipient of the Sir Georg Solti Foundation Award, Melear returns to Houston Grand Opera after a year on the music staff of the Wiener Staatsoper (Vienna State Opera), where he assisted on fourteen productions and conducted two children's operas. Previously, he was Associate Conductor/Assistant Chorus master with Houston Grand Opera and served as Head of Music Staff and Studio Manager at Wolf Trap Opera. As Associate Music Director, Mr. Melear will support Mr. Summers by conducting, coaching and accompanying singers and managing music staff. He will serve as Music Director of the Houston Grand Opera Studio. 'Eric will be my right hand,' said Mr. Summers, 'and most importantly will oversee the selection and pedagogy of the young artists of the renowned Houston Grand Opera Studio. Eric is a peerless musician and colleague, and his presence in the company will be a tremendous calling-card for the talented young singers and coaches who seek to complete their professional training in Houston. I am excited and honored that he has accepted the position and I look forward to our artistic work together.'

Melear with Daniel Cátan & Plácido Domingo

'I have long felt fortunate to call Houston Grand Opera my musical home, and I am thrilled to return at this pivotal time for the company,' commented Mr. Melear. 'I look forward to working alongside Patrick Summers, the new leadership team, and HGO's unparalleled staff to continue to uphold the high artistic standards that set this company apart.' A native of Moline, Illinois, Mr. Melear was a member of the Houston Grand Opera Studio and San Francisco Opera's Merola Program. His studies also included graduate work with esteemed pianist Martin Katz at the University of Michigan and a double major in music and math from Luther College in Decorah, Iowa, where he graduated Phi Beta Kappa." [Source]

Three Strauss Ladies Reviewed in HGO's "Ariadne"

"As The Prima Donna in the prologue and Ariadne in The Opera, Christine Goerke was confident and insistent, magnificent in every respect and clearly at the top of her game. Funny and dramatic, she seemed entirely natural in these roles, as if they had been written expressly for her. As well, her commanding voice was the only one that prevailed over a largely dominant orchestra. She has a powerful, fully resonant quality that would make her an ideal Wagnerian singer, and one can only imagine what her recent interpretation of Kundry in Parsifal at Turin’s Teatro Regio was like. I’d safely bet that it was incredible. Standing on her lonely rock and beckoning to what she believes is Hermes ready to escort her towards death, a spine-tingling moment, she was one of the most extraordinary artists on HGO’s stage this season."

"Just a month ago at Dallas Opera, Laura Claycomb gave an exacting, emotional performance as Gilda in Verdi’s popular Rigoletto. Her voice was rich and confident, clear in the high notes, her phrasing smooth and inventive. Thrilling to hear, she was also a very convincing actor, vulnerable and endearing as the hunchbacked jester’s beautiful daughter. This being the only other role I’ve seen her perform, however, it appears that she is much more attuned to Verdi’s flowing Italian than Strauss’ dense Austrian-flavored German. Her interpretation of Zerbinetta on Friday was largely unremarkable. It seemed she was protecting her voice in order to make it through the thing. Her high notes were raspy, sometimes thin. She struggled with the coloratura flourishes in the lengthy second-scene 'Opera' aria. She looked tired. This might have been unnoticeable if she had exuded more charisma. Zerbinetta is an 'all or nothing' role, and Claycomb stayed safely in the middle."

"In the prologue it is Zerbinetta, I believe, who refers to The Composer with contempt, saying, 'his endless top notes are irritating.' Funny when mentioned within the opera, unfortunately this was exactly the case with Susan Graham, who didn’t seem in good voice on Friday night. It was as if she couldn’t hear herself. She seemed even out of breath at times. Most of her top notes were distinctly sharp or flat, and vocally she wandered throughout the scene, giving us far too many sudden fortissimos. Strauss gave some of his most glorious phrases to this character, and I kept waiting for Graham to settle in and dazzle, but she didn’t. There is also the matter of her acting. Yes, The Composer has a stormy persona, but that doesn’t mean the part is one-dimensional. 'He' has to do more than stamp his foot time and again."

[Source]

HGO's Anthony Freud To Replace LOC's William Mason

Mr. Freud will leave Houston

"Lyric Opera of Chicago named Anthony Freud as its new general director, succeeding William Mason, 69 years old, who had announced plans to retire. The changeover becomes effective Oct. 1, opening night of Lyric's 2011-2012 season. Mr. Freud, a 53-year-old native of London, has been general director of the Houston Grand Opera since 2006 and, prior to that, was general director of the Welsh National Opera. He also currently is chairman of Opera America, the largest professional opera association in North America. In 2010, Mr. Freud commissioned and produced the world's first mariachi opera, Cruzar la Cara de la Luna/To Cross the Face of the Moon, a work recounting the story of three generations of a family in Texas and Mexico. Mr. Freud will be the fourth general director in Lyric's 57-year history." [Source]