Feb. 2004
by Rob Kendt
You just never know where soprano Dawn Upshaw is going to turn up:
in Peter SellarsÕ Salzburg production of MessaienÕs Saint Francois dÕAssise; on an album of showtunes by Vernon
Duke; in the Metropolitan OperaÕs world premiere of John HarbisonÕs opera of The
Great Gatsby; on a
record of Geothe settings by Schumann, Schubert and Wolf; in a concert
encompassing new American art songs and a dance/vocal rendition of CrumbÕs Ancient
Voices of Children (at
UCLAÕs Wadsworth in 1997); on the recording of a cantata by British pop
songwriter Joe Jackson.
And that barely scratches the surface of a career that spans
everything from premieres by John Adams, Osvaldo Golijov, and Kaija Saariaho to
roles at the worldÕs major opera companies in works by composers as varied as
Mozart, Gluck, and Janacek.
ÒI just try to be in the momentÑI donÕt have much of an overall
vision,Ó said Upshaw in a recent interview. ÒReally, itÕs a project by-project
way of working.Ó
For all her eclecticism, thereÕs also a kind of taste-making imprimatur
that UpshawÕs name brings with it. So when she appears on the bill touting an
unsung composer, or alongside a hot new conductor, attention must be paid. In
April sheÕll perform at Royce Hall with the Australian Chamber Orchestra, a
young ensemble under the direction of Richard Tognetti, who may be best known
to American listeners as the composer of the score for Master and Commander (and the fellow who taught the
filmÕs star, Russell Crowe, to simulate violin-playing on-screen).
ÒTheyÕre an exciting group with very fresh energy,Ó Upshaw raved.
ÒAnd Richard Tognetti is really a great spirit, an unusually gifted guy.Ó
The appearance is part of a national tour ending at Carnegie Hall,
and it represents a sort of redress for one of the few unpleasant professional
turns in UpshawÕs career: Last year she had to cancel a number of concerts due
to inflamed vocal cords, and a series in Sydney with TognettiÕs band was the
first casualtyÑand not the last.
ÒIt was a strange fall,Ó she recalled of her months-long recovery.
ÒIt was odd not working for such a long time.Ó
SheÕs making up for the unplanned hiatus, it seems, with a
dizzying schedule spanning the country and the repertoire. Indeed, whatÕs
striking about her wide-ranging career is that as many colors as she adds to
it, she doesnÕt seem to subtract any: SheÕll do pop and Broadway with the same
commitment she brings to Berg or Canteloube, but she wonÕt stay on one side of
the crossover divideÑor indeed, in any one place for very long. She seems
always to come back, both to pieces and places.
ÒMy choice of projects is very much based on my relationships with
my colleagues,Ó she said, referring to such close working partnerships as the
ones she enjoys with the L.A. PhilharmonicÕs Esa-Pekka Salonen, with the MetÕs
James Levine, with conductor Kent Nagano, with pianist Richard Goode, with top
opera directors and living composers. ÒItÕs a great way to make choices now,
based on what different relationships bring.Ó
ItÕs both an inspiration and something of a relief, she said.
ÒItÕs not so much about being on my own, having to do it all
alone,Ó she said of her path as itÕs developed. ÒIÕve gotten to a point in my
career where I have a better understanding of what I need to be fed,
creatively, to get to a certain level of performanceÑone that goes beyond a
well-prepared performance to live in this other realm. And that happens most
easily when IÕm working with people I have tremendous respect for, who I learn something
from.Ó
ThereÕs another element of return in her Royce Hall program with
the Aussies: the chance to sing Bach. SheÕs recorded some of his cantatas, but
said itÕs something she doesnÕt get to do often enough.
ÒMy first love for Bach came from choral experiences in college,Ó
she recalled. ÒI kind of get goosebumps from that musicÑin fact, I get more
goosebumps singing in a choir than by myself.Ó
SheÕll be singing solo arias from a number of cantatas at the UCLA
concert. But it wonÕt be a totally Baroque show, or it wouldnÕt be an Upshaw
concert: SheÕll also assay a number of BartokÕs Hungarian folk songs, in new
orchestral arrangements by Tognetti.
Thinking about the Bach material and her love of collaboration, she
recalled a particularly fertile time in her musical life, just after college,
when she was a young singer in New York.
ÒI had a church job, and there were just eight of us,Ó she said.
ÒEverybody was good at reading music, and the music director was doing all
these amazing Renaissance pieces. That was really feeding me. I would love to
get back to choral singing somehow.Ó
An
internationally renowned diva going back to the chorus? If anyone could pull
off such a counterintuitive career move, it would be the unpredictable Upshaw.