Julie Adams Interview
August 11, 2014
San Francisco Conservatory of Music alumna Julie Adams (pictured left) was one of the winners of Met Council Auditions this year. She sang the role of Blanche DuBois in André Previn's A Streetcar Named Desire as a participant of the Merola Opera Program this summer. The program concludes this Saturday with the Grand Finale.
What was the first opera you sang in?
I was in the chorus of Die Fledermaus at L.A. County High School for the Arts. I initially went there for musical theater, but I don't dance, so that didn't work out so well. Stephanie Vlahos, who is in the music faculty there still, introduced me to opera.
Did you go to the recent performance of A Streetcar Named Desire in Los Angeles?
Yes, I managed to go to the last performance. I was on the edge of my seat, since I knew the music and was curious to hear how Renée Fleming tackled the role of Blanche. Her artistry is amazing.
How was it singing Blanche for Merola?
It was really hard but so rewarding. It was difficult to learn and I had to rely on muscle memory to get the starting pitches, as Previn didn't score things so that the orchestra is there to help. I miss the role now as I was living with it for so long. It was very intense. The movie version is obviously iconic, we had to bring something different to the roles and to make them our own.
What are your favorite operas?
I love Puccini. Bohème is one of my favorites and Mimì is a dream role for me. I also love Marriage of Figaro. Magic Flute, I know not everyone likes that one, but I do. Mozart is, of course, a genius. Traviata. Manon. Susannah. I am so excited that San Francisco Opera is doing this one. This is another dream role. I love Carlyle Floyd.
Is there a particular singer to you look up to?
Pat Racette. I admire her with my whole heart. She always gives 110 percent. She always moves me, and I think that is why people go to the opera, to be moved.
What do you think of musical theater as opera?
I think it is great, it gets people into the opera house. Obviously the opera wouldn't take on contemporary Broadway works. For Rodgers and Hammerstein, Kern and Hammerstein, or Gilbert and Sullivan, it completely makes sense. It is great music and is accessible.
What was it like to sing at the Met?
It was a great experience, very glamorous and thrilling. I was so nervous, so it was hard to be in the moment, but my favorite part was the Sitzprobe, when we rehearsed with conductor and orchestra. I sang "L'annee en vain chasse l'annee" from Debussy's L'Enfant Prodigue, which the orchestra wasn't familiar with, obviously, as the opera isn't done that much. The conductor, Marco Armiliato, asked me to bear with them, but the Met Orchestra is incredible. The musicians are such lovely people too.
What are you singing for the Merola Grand Finale?
The "Cherry Duet," "Suzel, buon dì…Tutto tace," from L'amico Fritz with Mr. Casey Candabat. I am also singing Alice in the final piece, "Volgiti e mira…Tutto nel mondo è burla." We are singing on the Susannah set, so we are all in formal wear on a desolate, stark stage.
One of your interests is watching professional hockey games. Do you support a particular team?
The Los Angeles Kings, sorry Sharks fans. Hockey is exciting and I enjoy watching games with my dad and brother.