2013 brought world-wide celebrations for rival composers, Richard Wagner and Giuseppe Verdi.  Whilst they both respected each other deep down (if not secretly admired each other), so many words of exclusion were uttered between them during their tenure as the greatest living opera composers of the 19th Century. One did not seemingly have time for the music of the other and we might go as far as saying that the music of one did not exist for the other; but, exist it did.  In fact, Verdi may never have been inspired to compose Otello or Falstaff without Wagner’s presence and his threat to Italian operatic supremacy.  Nonetheless, without either of these composers we may not have been blessed with what remain the most important and valuable operatic compositions in history.

Wagner’s epic and gargantuan Der Ring Des Nibelungen continues to be a monumental presentation in opera houses like Bayreuth and the Metropolitan Opera and directors are attempting, still,  to create new ideas for this magnitudinous work.  Verdi, on the other hand, bore operas that are staples of melody, intricate plots, drama, and memorable arias to the point that there isn’t an opera house on earth that doesn’t present a Verdi opera in every season.  What would Italian opera be without the magnificence of Il Trovatore, Don Carlo, Traviata, or Otello?  The world over, celebrations have graced this operatic year, giving honour and praise to these two giants.  These are interesting historical times to live in, to say the least.

Amidst celebrations, there has also been fear over the economic and artistic state in Italy, and threats to close La Scala, the leading opera house in the country.  That Italians might even ponder this idea seems like a self-imploding mistake, but I hold fast to the fact that Italians are very territorial and very patriotic.  They will not let the house close or be threatened because opera is, contrary to some who think it’s soccer, the national pastime of Italians.  It is their greatest universal export and the birthplace of opera.  Let’s keep Italy and all countries in our thoughts as the New Year chimes in, in hope for continued prosperity and the protection of the art we love.

For some, 2013 has brought strife, illness, losses, anxiety, death, and suffering.  So many people I’ve spoken to have had one of the worst years possible. Nearing the end of this year, I lost my beloved grandfather Raffaele Greco, who was an artisan, and Italian trained tailor and clothing designer who inspired my life in many ways. The pain of loss never ceases but it eases by lingering in memories.  Every time I try on a new gown or costume, I can’t help think of him and his precise and pristine manner with clothing to the point that I, myself, have become picky about tailoring. Whatever the reasons, perhaps it’s the association with the number 13, or just a turning point in the scheme of life this year, we will never know understand reasons for having an extraordinarily bad year. On a positive turn, I think the best thing to do in this case is to take the bad with the good, even if it comes in small doses.  It is important to be thankful and know that a bleak year usually means that the next one won’t be so bleak.  Hopefully, it will be filled with joy, happiness, good health, success, birth, and prosperity.  We can only take what we’ve learned and move forward so here’s to ending 2013 and starting 2014 on a positive and prosperous note. I, for one, intend 2014 to be a fabulous year.  I hope you do, too!

Rising Tenor, Michael Fabiano

Since, I keep abreast of all things Metropolitan Opera, I want to encourage you to tune into the New Year’s Eve broadcast on Met Opera Radio or Live on the Met Website, which is the ever fun and fashionable Die Fledermaus.  In it, the fabulous rising tenor, Michael Fabiano, makes his debut as Alfred and will show you the fun and comical side of his usually handsome, brooding, and serious characterizations.  Although Michael is versatile and will wow you in this role, we’re waiting to see him at the Met in his exquisite interpretation of Rodolfo and other romantic roles.  Congratulations to him and all singers who have made debuts and recordings this year, specifically a new recording by the ever beautiful Ailyn Perez and her handsome husband and sunny-voiced tenor, Stephen Costello.  You will want to get this one while it’s hot!  Also, kudos to mezzo-soprano’s Jamie Barton on her Met Debut as Adalgisa and her winning the Cardiff Singer of the World competition, and to Isabel Leonard who was the recipient of the Richard Tucker Award. These young singers are the lifeblood of opera today and I wish them every bit of success possible.  Keep your eye on them in 2014 and you won’t be disappointed!

Stephen Costello and Ailyn Perez

Cardiff Singer of the World:  mezzo-soprano Jamie Barton

Richard Tucker Award Winner:  mezzo-soprano Isabel Leonard

To all opera lovers:  it seems like we belong to a special club that no one else understands.  We actually do and how blessed are we to understand, know, and adore this art that has caused controversy, excitement, audience explosions, scandal, thrills, and absolute beauty since its inception?  To talk about it and discuss it is to keep its blood flowing, to keep it thriving.  I will never stop talking about opera or wanting to share its magnificent message.  There is nothing like it!  We can all do our part to keep it alive in our own communities, to share it with people who haven’t yet been bitten by the bug, and to continue to support LIVE performance.  Here’s to 2014 and to opera, the greatest art in the world, and the closest thing to Heaven that we’ll ever know.  May 2014 be blessed  for you and yours.  Cheers!