Marcy Stonikas in Recital at Seattle Opera is a Snack

Coming from the extremely privileged position of someone who has only ever been exposed to opera through live performances of full productions by one of the country’s top opera companies in one of the world’s best acoustically-engineered opera houses, I’m surprised by how much I’ve been enjoying the virtual fall opera season. I’m getting new perspectives on the music and the performers. And it’s no substitute for dressing up and going out, but there is a certain pleasure to be had in experiencing opera curled up on the couch in your PJs with a cocktail in hand. I most recently enjoyed that experience with Seattle Opera’s release of Marcy Stonikas in Recital.

Marcy Stonikas

Marcy Stonikas is a frequent performer at Seattle Opera (Turn of the Screw, Aida, Ariadne auf Naxos)  but the first time I saw her remains the most memorable. This is in part to the fact that I had such low expectations. I expected to hate The Consul. But Stonikas gave one of the most moving performances I’ve ever seen, breaking my heart in an opera about bureaucracy. Like another Seattle Opera favorite, Mary Elizabeth Williams, Stonikas has a big, dramatic soprano that can easily hold up to scrutiny when the distractions of sets, costumes, and costars are absent.

Marcy Stonikas in Recital

Like the recitals from earlier in the pandemic, Stonikas filmed conversational introductions to the music in her home. But like Frederick Ballentine’s fall season recital, the music was filmed onstage (in her case, at the Ruby Diamond Concert Hall on the Florida State University College of Music campus). That meant we got a little bit of the intimate, conversational feeling, but unlike Williams, who performed in a home studio, Stonikas didn’t have to tone things down when performing the music.

The program was produced in two parts. First, Stonikas appeared in full diva style in a jewel-toned gown to perform powerful diva music from Wagner’s Flying Dutchman, Bellini’s Norma, and Puccini’s Tosca. None of this music was new to me; I’ve seen two of these operas at SO and watched the Met’s free stream of Norma last spring. But what you miss when you only watch full operas is the comparisons. You might remember enjoying one opera more than another, but there are so many factors (many unrelated to the opera itself) that it’s hard to pin down why. When you hear music performed by the same artist on the same day, it becomes crystal clear: I like bel canto better than Wagner.

In the second part, Stonikas picked showtunes from the 1920’s and 30’s, with a costume change to a fabulous sequined, retro gown and hair to die for. We paused the video between “Somewhere Over the Rainbow” and “Vodka” for an impromptu intermission so we could pour ourselves a glass of the titular drink. It was a good choice, as Stonikas had a lot of fun hamming it up for the last number.

But it was the last number. The whole recital was only five songs. In an artform that’s infamous for marathon performances that tax even fans’ stamina, Marcy Stonikas’ recital was a snack.

The Details

Marcy Stonikas in Recital
Available Oct. 9–Oct. 30
Pianist Valerie Trujillo 
Free on YouTube

{This performance is available free to all. I purchased a Seattle Opera Fall Season subscription for full access to digital content generated during the pandemic.}