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Baritone Christopher Robertson'87 To Perform Saturday, July 10, 7:30 p.m., in Kulas Recital Hall
He Returns as Guest of the Institute of Vocal Performance Pedagogy
Story by Linda
Shockley
Photos by Steven Manheim
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baritone Curtis Pajer, piano PROGRAM: Mentre ti lascio, o figlia (K.513) Fünf Lieder nach Gedichten von Friedrich
Rückert PAUSE Chansons Gaillardes (anonymous texts from 17th
century) L'invitation au voyage (Baudelaire) |
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Since
his graduation from Oberlin in 1987, Christopher Robertson
has emerged as one of the most important young baritones on
the highly competitive national and international operatic
scene. "I absolutely do not think I would have had this kind
of success had I not studied with Richard Miller at Oberlin.
Our Conservatory provides such focus, so many performance
opportunities, and a wonderful music library. Oberlin
provides an invaluable foundation for a professional
career," explained Robertson in a recent telephone interview
from the road.
Robertson has performed with leading opera companies of the world, including the Metropolitan Opera, San Francisco Opera, Rome Opera, Deutsche Oper Berlin, New York City Opera, Houston Grand Opera, Bayerische Staatsoper, Royal Opera Covent Garden, Frankfurt Opera, English National Opera, with other performances in Santiago, Rio de Janeiro, Madrid, Catania, Bordeaux, Antwerp, Montpellier and Barcelona.
He'll return to the Conservatory for a performance on Saturday, July 10, at 7:30 p.m., in Kulas Recital Hall. The performance, free and open to the public, is sponsored by the Institute of Vocal Performance Pedagogy, a Conservatory summer program directed by professor of singing Richard Miller, who also directs the Otto B. Schoepfle Vocal Arts Center. The Institute celebrates its thirteenth annual season in 1999.
Robertson describes Saturday's program as an exciting combination of styles. "Mahler is very serious, heavy and emotional. He's quite challenging. Poulenc is lighter, more fun, which creates an almost cabaret atmosphere. The Duparc pieces are lush love songs with lots of depth, and Mozart is, as always, very, very beautiful. I created a program with variety, but I also wanted the pieces to mesh with one another."
Like the diverse program, Robertson's rapid ascendance in the opera world has also been filled with variety. "There are always big surprises in opera. No matter how many times you sing La traviata, each production offers a new set of circumstances and surprises which each new conductor, director and set of colleagues."
His advice to up and coming singers? You must really know how to sing. Establish a strong and solid vocal technique that you can depend on if you are feeling a little sick, a little tired, and your vocal teacher is across the ocean. Then, you must sing what you love and can sing well. Don't try to do everything. Sing the repertoire you're built for, the repertoire that you can bring something to. And finally, do not take it too seriously, Enjoy it."
Back to the Backstage Pass
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