Soprano Maryann Mootos was recently heard as Mimi in Miami Lyric Opera’s production of Puccini’s La bohème in September 2006 and as Nedda in Chelsea Opera’s June 2006 production of I pagliacci in New York City. Ms. Mootos also appeared in the role of Birdie in Marc Blitzstein’s Regina with the Boston Opera Project as well as in the role of Micaela in Amato Opera’s production of Bizet’s Carmen. Last summer she studied and performed abroad in Spoleto, Italy with the Spoleto Arts Symposia. She has performed as soloist in concerts with the Temple University Orchestra and Chorus and conductors Alan Harler and Luis Biava at Philadelphia’s Academy of Music, as well as with the Reading Symphony Orchestra under the baton of Sidney Rothstein. Ms. Mootos was the recipient of the Marquis Award in the Emerging Professional Division of the 2006 Classical Singer AudComps. She attended the Eastman School of Music, where she received a bachelor’s degree in voice, and Temple University on a full scholarship, where she received both her master’s degree and performance certificate in opera.
What were some influential experiences in your youth that led to a career in music?
My mother raised four children and we all sang together in church choir. I also remember swinging on the swings in the backyard with my sister singing Karen Carpenter’s “Sing a Song” and enjoying the beauty of the day and the joy I felt in singing that song.
What has been your career highlight to this point?
Placing in the AudComps really helped boost my esteem and encouraged me to continue my pursuit of this career. Also, singing Nedda with Chelsea Opera this past June in New York City with my fiancé, Daniel Rodriguez, in the role of Canio. It was wonderful to share my love of music with the man I love!
If you could sing any one role, what would it be?
Violetta
What is your favorite part about being an opera singer?
I love the collaboration with colleagues as we explore our characters and their relationships to one another. Each time I sing a role, I love immersing myself in the music and the process of digging deeper each time into character portrayal. I love how it challenges me and helps me discover more about myself as a person. I love the grand emotions of opera. Having the opportunity to express these emotions with my voice and being is truly a gift and a very addictive thing!
How do you handle rejection?
I really don’t take it personally. I objectively try to see where I need to improve and am a fair judge of myself. I know when I have sung and given my best in auditions and do not beat myself up afterward.
What needs to happen in your career for you to feel that you’ve finally “made it”?
I am beginning to feel that management is necessary in order for me to make it to the “next level.” I do become frustrated that certain companies will not hear unmanaged singers, or that some auditions are only open to managed singers. I feel I will be able to say “I’ve made it” when I am able to make my living singing on a regular basis—when after finishing one show, I immediately begin rehearsals for the next.
Tenor Kenneth Wood has appeared with such companies as Western Opera Theater, Texas Opera Theater, Lyric Opera of Dallas, Opera Theatre of St. Louis, Fort Worth Opera, and Austin Lyric Opera. Roles performed include Edgardo in Lucia di Lammermoor, Ralph Rackstraw in H.M.S. Pinafore, Belmonte in Abduction from the Seraglio, Rinuccio in Gianni Schicchi, and The Witch in Hansel and Gretel. Concert engagements include solo performances with Austin Choral Artists, Austin Chamber Music Festival, Fort Worth Ballet, Austin Symphony, Sacramento Symphony, and the Festival at Round Top. He was a 2003 finalist in the International Opera Singers Competition in New York and twice a district finalist in the Metropolitan Opera Auditions. He was a vocal division winner in the Hemphill-Wells Sorantin Competition and was an invited participant in the Marian Anderson International Vocal Arts Competition in 1999. Most recently, he was selected for inclusion in the 2006 and 2007 editions of Who’s Who in America. Mr. Wood holds a doctorate in vocal performance from the University of Texas at Austin and is also a graduate of the Merola Opera Program.
What were some influential experiences in your youth that led to a career in music?
Music has always been a religious experience for me, so there was little doubt that I would choose it for a career. Interestingly enough, no one in my family was musically inclined and classical music was not played in our home. I do recall frequently visiting a neighbor who would play selections for me from his large classical collection.
What has been your career highlight to this point?
That is a difficult question for me, because the high point of my career ultimately became my undoing as a singer. I reached that pinnacle when I was chosen for the Merola program. Unfortunately, my technique was not adequately prepared for the rigorous tour that followed. I lost my voice and spent the next several years rebuilding it. As a result, I am passionate about vocal health, and I advise anyone with similar aspirations to be careful. Keep your eagerness in check and be absolutely certain that your technique can handle the demands of a role before you accept it.
What is your favorite part about being an opera singer?
I would have to say the audience. It is a thrill for me to be able to reach their emotions through my singing.
How do you handle rejection?
I don’t know anyone who enjoys rejection. Singing is such a personal expression that it’s very hard to look at one’s voice objectively and not take rejection to heart. I have learned over time, however, that taste is very subjective and what one person loves another hates. You just have to remember that it is one person’s or group’s opinion. The next audition might go in the opposite direction.
How do you balance career and family?
It can be difficult, especially when you have a child. I don’t always remember to do this, but I think it’s important if you are traveling a great deal to maximize the time you do spend with your family. I am lucky enough to have a very considerate wife, but younger children are much more egocentric in their thinking.
