The seasoned soprano Patricia Schuman’s Countess was a Masters Class in refined singing and concentrated stage comportment. Ms. Schuman can merely raise an eyebrow and communicate volumes in her laser focused characterization. Moreover, many years into a successful international career, she is singing wonderfully, her substantial instrument still fresh and powerful. That this treasurable artist was matched in quality by the remaining cast of Apprentice Singers is a testament to that training program, helmed by Allen Perriello. Opera Today / James Sohre 8/19/19
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The Pittsinger family in concert
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Alice Ford / Falstaff at Covent Garden
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Countess Almaviva / Metropolitan Opera
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Vanity Fair
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Der Rosenkavalier, Pittsburgh Opera
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Vitellia / La Clemenza di Tito, Salzburg Festival
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These pictures from Glimmerglass Festival's world premiere, Blizzard on Marblehead Neck, marked my return to opera after almost a decade, as Carlotta O'Neill opposite my husband, David Pittsinger as the poet, Eugene. Francesca Zambello, to whom I will always be grateful, invited me to Glimmerglass for this pairing as the two tormented O'Neills. In the same season, our twin children, Richard and Maria, performed as Little Jake and Nell in Annie Get Your Gun.
Maria (Nell) and Richard (Little Jake) in Annie Get Your Gun, starring Deborah Voigt and Rod Gilfry (photo: Karli Cadel)
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David Pittsinger, Eugene O'Neill, and Patricia as Carlotta
(Karli Cadel)
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The next debut role that I tackled was with Opera Philadelphia, when I had the good fortune to sing The Duchess of Argyll in Thomas Ades' Powder Her Face in William Kerley's brilliant production, led by conductor Corrado Rovers.
"Opera Philadelphia has put her life back on stage for us at the Perelman Theatre at KimMel Center, in a chamber opera production as gorgeously staged and costumed as it is sung. Though it is slight - under two and a half hours - and though its subject matter not grandiose, leading one to wonder if it should not perhaps have been a piece of musical theatre rather than opera, it is jewel-like in its colors of clothing, of set, and of sound. Not the least of that is attributable to the presence of soprano Patricia Schuman, who stepped in to sing Margaret at what is, in terms of opera, the very last minute. (Broadway World, Marakay Rogers)
"Opera Philadelphia has put her life back on stage for us at the Perelman Theatre at KimMel Center, in a chamber opera production as gorgeously staged and costumed as it is sung. Though it is slight - under two and a half hours - and though its subject matter not grandiose, leading one to wonder if it should not perhaps have been a piece of musical theatre rather than opera, it is jewel-like in its colors of clothing, of set, and of sound. Not the least of that is attributable to the presence of soprano Patricia Schuman, who stepped in to sing Margaret at what is, in terms of opera, the very last minute. (Broadway World, Marakay Rogers)
 conductor, John DeMain, Francesca Zambello and cast with Stephen Sondheim
What a thrill to meet and perform Sweeney Todd for Stephen Sondheim.
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The Beggar Woman in Sweeney Todd at Glimmerglass
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The Mother in Breaking the Waves
Bloody Mary, with Lieutenant Cable (Peter Carrier), Ivoryton Playhouse
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The world premiere opera, Breaking the Waves, by Missy Mazzoli, with libretto by Royce Vavrek, was another highlight in my return to opera. I sang the mother of the extraordinary talented, Kiera Duffy as Bess McNeill. Opera Philadelphia's David Devan assembled a wonderful cast and creative team, Steven Osgood, conductor, and James Darrah,
director, for this huge critical and public success. "It is not easy to find new operas that command attention, tell their story lucidly and create a powerful, permeating mood. Dark and daring, Breaking the Waves does all this with sensitivity and style." — Zachary Woolfe, The New York Times |
In between world premieres, I added a new role and a new foray into musical theater, as Bloody Mary in South Pacific at the Ivoryton Playhouse,for which I received a critic's choice nomination.
"Schuman brings humor, energy, cunning and poignance as Bloody Mary and sings a dreamy "Bali Ha'i" and a delightful "Happy Talk." Frank Rizzo, The Hartford Courant
"Schuman brings humor, energy, cunning and poignance as Bloody Mary and sings a dreamy "Bali Ha'i" and a delightful "Happy Talk." Frank Rizzo, The Hartford Courant
with Megan Sesma, harpist, in our Aralia Duo recitals.
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David and I at the Essex Winter Series concert.
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benefit concert for Salt Marsh Opera