Teresa Wakim News
American soprano
- soprano
- United States of America
- opera singer
Last update
2024-04-25
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The Boston Musical Intelligencer
2015-11-30 05:50:55
Polyphemus and Company Revive Excellent Handel
[…] Handel’s patrons, Lord and Lady Chandos. In this imaginary reenactment, Handel himself (tenor Jason McStoots) participated in the ensemble both as the shepherd Damon, and as the composer anxiously fretting over details of interpretation; the poet and librettist John Gay was the shepherd Coridon (tenor Mark Williams), and dancer Melinda Sullivan performed in a silent role as the Italian teacher Margherita de l’Épine. The principal roles of Acis (tenor Aaron Sheehan) and Galatea (soprano Teresa Wakim) were taken by the lord and lady of the house. None other than poet and co-librettist Alexander Pope (bass-baritone Douglas Williams) appeared as the ever-threatening Polyphemus. Like all the other participants, he was dressed in sumptuous court garb, recognizable as the giant one-eyed Cyclops only by an eye patch in addition to his striking height. Handel had already made his name in opera for public venues in Germany, Italy, and London when he entered […]
The Boston Musical Intelligencer
2015-06-15 05:02:27
Triple Crown Winner at BEMF
[…] feature stronger singers, stars if possible, in the more prominent parts, with weaker singers, even novices, in peripheral roles. Not at BEMF, though. Singers with more prominent billing in one opera of the trilogy filled smaller parts, even multiple roles, in the others. Nobody warmed the bench! For example, Mireille Asselin and Matthew Brook, who were La Musica and Caronte respectively in Orfeo, had been Minerva and Nettuno respectively in Ulisse. Shannon Mercer and Teresa Wakim, who were Silvia and Proserpina respectively in Orfeo, had been Ottavia and Drusilla respectively in Poppea. As a result, there wasn’t a clinker anywhere on the stage. As the proverb has it, a cord of three strands—in this case, Orfeo, Ulisse, and Poppea—is not easily broken. The strength of the casting made for a remarkably tight, cohesive ensemble on stage, which brings me to my final words of assessment. Listening to the work of […]
The Boston Musical Intelligencer
2015-06-13 13:01:03
BEMF Plus Dark Horse: Triumph
[…] Barbara in Mantua during Monteverdi’s time, precisely the maximum number of parts specified in his Vespers collection. Citing the degree of figural independence and the high level of virtuosity written into the individual parts, both vocal and instrumental, conductor Stephen Stubbs opted for the one-on-a-part solution for Thursday evening’s performance, and the results were spectacular. The singers were sopranos Shannon Mercer (stepping in at the last minute for Amanda Forsythe, who was ill) and Teresa Wakim, mezzo Laura Pudwell, countertenor Reginald Mobley (replacing Nathan Medley), tenors Colin Balzer, Jason McStoots, and Zachary Wilder, baritone John Taylor Ward, and basses Marco Bussi and Christian Immler. Singing at full voice with remarkably coordinated tone color, they were equally effective in full ensemble numbers with instruments and in those accompanied only by the continuo. As pointed out in Massimo Ossi’s article in the program book, the Vespers were probably never intended to be […]
The Boston Musical Intelligencer
2015-05-11 23:41:43
Gorgeous Singing in a Harem
[…] conducting. The German libretto by Christoph Friedrich Bretzner was adapted by Gottlieb Stephanie the Younger and later by American poet J.D. McClatchy; here the singing was sung in German with English dialogue (which this listener found quite jarring). The plot concerns the attempt of the hero Belmonte (sung by tenor Charles Blandy), assisted by his servant Pedrillo (tenor Jason McStoots), to rescue his beloved Konstanze (soprano Barbara Kilduff) and her maidservant Blonde (soprano Teresa Wakim) from the seraglio of Pasha Selim (a speaking role performed by the almost too charming Richard Dyer) who is mad for Konstanze, and the gardens’ nasty overseer who fancies Blonde, Osman (sung by bass Donald Wilkinson). Turks were immensely popular in plays and operas in Europe in the seventeen and eighteenth centuries, particularly after the siege of Vienna in 1683.Turkish instruments were introduced into military music, people dressed as Turks at masked balls and […]
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