Sisters Before Misters in Latest Seattle Opera Recital

I never attended an opera recital before the pandemic. A full opera is so extra, I thought the music by itself would be boring in comparison. But I was wrong. Of course digital recitals are no substitute for live theatrical productions. But they do have an appeal all their own. To me, a major part of that appeal is getting to see more of the personality and taste of artists you only know from in-character performances. Before Seattle Opera’s latest recital, I didn’t actually know either of the singers at all. But their recital was a lot of feminist fun. (And if you think that’s an oxymoron, you’re probably reading the wrong blog.)

Angela Meade

Soprano Angela Meade’s Seattle Opera debut was as Leonora in Il Trovatore in 2019. I saw that production, but I saw the other cast, so I had no previous experience of her singing. Meade is originally from Centralia, Wa, which kind of blows my mind. Maybe it’s just my urban snobbery, but I don’t imagine there’s a lot of opera in Centralia. There’s nothing drive-by about her voice, though. Meade is a true diva, as the big bel canto program of this recital gave her plenty of opportunity to prove.

Jamie Barton

Mezzo Jamie Barton first performed at Seattle Opera as Fenena in Nabucco back in 2015. I might have seen her then, but at that time I wasn’t very good at making note of who was performing any roles except the leads. So this might as well be the first time I’ve seen Barton perform, too. Like Meade, she is perfectly suited to the bel canto arias of this program that really show off her range and technical prowess.

Angela Meade and Jamie Barton in Recital

More than previous recitals, this one felt like “the real thing.” The singers shared the McCaw Hall stage with pianist John Keene in front of a painted backdrop. The sound quality and lighting were the best so far this season – matching the technical quality of the Met’s production of Norma that I watched earlier in the lockdown.

Speaking of which, duets from Norma opened and closed the program. Despite the fact that I’ve only ever heard recorded stage performances of Norma, I really like that music. The program was stuffed with Bellini, Verdi, and Donizetti, and listening to these two women sing these songs together was like watching athletes at the top of their game playing for fun on the weekend.

The music almost seemed chosen to show off their chops, but they were obviously having fun the whole time. They were totally playing dress-up, too. In the 70-minute performance each of them went through three extravagant outfits, even wearing matching gowns for Irving Berlin’s “Sisters.” (The other Berlin number was an opera-themed version of “Anything You Can Do” that played like a comedy act. But with really high notes.)

In fact, they had such good chemistry together, and the sisterhood theme stood out so strongly in the selections, I checked to see if they really were sisters like the Costa-Jacksons. Not so. In the program they say their first recital together was at the invitation of Justice Ruth Bader Ginsburg, and perhaps it was in her honor that they chose so many songs in which women stick together, where their loyalty for each other is tested and survives. Honestly, considering opera’s heroine problem, I was surprised they could find enough material to create such a strong feminist through-line. It was really fun.   

The Details

Angela Meade and Jamie Barton in Recital”
Available Oct. 30- Nov. 20
Pianist John Keene
Available by subscription only

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