Articles and Features

Two Q&A Features

D Magazine
By IRIS ZUBAIR

The life of a traveling opera singer is anything but simple, as I was able to find out when trying to coordinate this interview with Texas native Ava Pine. Not only is she constantly having to travel from one stage to the next, but in order to gear up for her ambitious performances, she has to mentally prepare herself to make sure all of her warm-ups, exercises, and eating happen at the correct times. In fact, the lovely rolling stone has barely enough time to call any one residence her home and mostly keeps her things in storage as she continues dazzles audiences around the country…

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Opera Pulse
By JOEL HEROLD

It’s tough work breaking into a sustainable career as an opera singer. You have your basic ten year plan: a four year undergraduate degree and a two year masters degree in performance; followed by four years of Young Artist Programs, comprimario roles, and whatever you can get. It’s not your proverbial ladder of success. Trying to “make it” from a different approach proves even harder. But at the end of the day, you’ll have to have what it takes: stamina, charm, versatility, and star power. All of which Ava Pine has in her back pocket.

Ava’s resume runs the gamut of baroque to contemporary with high accolades. Opera News wrote recently that she “all but stole the show.” Here you’ll find an artist who ran away from the calling to be an opera singer but couldn’t ignore it for very long…

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Opera News – Girls of Summer

Girls of Summer

AVA PINE, Mark Adamo’s Lysistrata at Fort Worth Opera Festival this season, chats with WILLIAM V. MADISON.

Long before soprano Ava Pine started her professional career, Fort Worth heard her at weddings, funerals and other local events. “I’ve been a part of many audience members’ lives,” she says. She returns to the Fort Worth Opera Festival in the title role of Mark Adamo’s Lysistrata (May 26, June 3).

While Texans love to boost their native daughters, it’s not mere chauvinism that’s brought Galveston-born Pine back to the company again and again, in repertory spanning three centuries. She may be a familiar face, but she’s full of surprises. Hearing her first as the Angel in Eötvös’s Angels in America (2008), with its dog-whistle range and jagged lines, left this listener unprepared for the creamy tone of her utterly charming Adina inL’Elisir d’Amore (2010) and the spinning brilliance of her Cleopatra in Handel’s Giulio Cesare (2011). the best gambling directory

Pine got her start as an early-music specialist, only later discovering what she calls “the other end of the spectrum.” Early and contemporary music, she notes, “both require a certain brand of bold musicality. Baroque music needs someone who can tastefully and creatively ornament and mold the music to his or her voice, and new music needs someone who can take a piece that is new to the ears of most people and make it seem natural and organic, even in its newness.” Still, after working on contemporary pieces, “I like to dip back into my Baroque roots and sing some Handel. It’s like sorbet for the voice.”

Pine brings another asset to the stage — eight years of ballet training, which she claims never destined her for a career. (“I was too tall and never had the flexibility.”) It lent regal bearing to her Cleopatra, as well as sheer physical courage to her Angel, flying on wires while sweeping baritone David Adam Moore off his feet — and singing all the while.

To hear her tell it, however, dance was a mixed blessing. “I realized that I was imbuing all my characters with the same physicality,” she recalls. “‘Generic graceful’ isn’t particularly interesting or compelling. For the fix, I looked again to dance.” Through it, she found specific, individualized traits. “Dancers are masters at assuming characters through physicality alone,” she says, noting that, at the very least, dance “gave me something to do with my long, gangly arms!”

With recent appearances in Boston, New York and London, Pine’s career is taking her far beyond Texas these days. But this alumna of Texas Christian University says Fort Worth has “seen a growth in me that goes far beyond what people usually see over the course of a young-artist program, and for that reason, they’re incredibly supportive.

“Whenever I have family in the audience, I feel my performance has a special, extra layer to it. It’s like the love in my heart for them adds a special sheen to what I do onstage. Performing in Fort Worth is like performing for family, multiplied many times over.” spacer usa online casino echeck deposit

WILLIAM V. MADISON

May 2012 issue
View this article on the Opera News Website. the best online casinos uk

Indulge Magazine: Cover and Feature

On a sun-dappled April day, Ava Pine pulls up to the campus of her alma mater, Texas Christian University, in a beater of a Nissan Altima. She strolls the grounds sheathed in a simple mocha-colored dress from Banana Republic and dons a favorite pair of character shoes she wears whenever she takes the stage.

They are rather humble accoutrements for an artist whom many across the country deem to be one of opera’s supernovas; a soprano on the cusp of international superstardom drawing comparisons to opera legends Beverly Sills and Renée Fleming and, quite possibly, the most important classical music figure to come out of North Texas in a long, long time.

When Pine, 35, brings her considerable vocal prowess back to this month’s Fort Worth Opera Festival, debuting in the challenging lead role in the regional premiere of the operatic take on Aristophanes’ Lysistrata at Bass Hall, she will have performed a rare double play: She will take the stage in Fort Worth after having just starred as Pamina, the lead in the Dallas Opera’s production of The Magic Flute .

“Yeah, back-to-back is very rare,” admits Pine. “Very hard to do mentally.”

She has trekked the miles to TCU on this day, in fact, while on a break from Magic Flute rehearsals in Dallas for an intense hourlong practice session with Stephen Dubberly, Fort Worth Opera’s associate conductor and chorus master, who is helping her perfect an aria from Lysistrata.

The grueling pace of the performance doubleheader for Pine only underscores the kind of demand she is in as she knocks on the door of the national operatic aristocracy. And the fact that she is willing to put the miles on the Altima to do it — “I couldn’t not do Lysia in Fort Worth’s Lysistrata : She’s such the show-runner of this opera,” she says — is but one reason North Texas audiences are having a love affair with Ava.

That — and the fact that she’s so gosh-darn nice.

It all started clicking for Pine only four years ago in Fort Worth when she swooped onto stage as The Angel in Fort Worth Opera’s regional premiere of Angels in America . The years since have seen her on a national barnstorming tear as she has performed with opera companies, symphony orchestras and artistic groups from New Jersey and Washington, D.C., to Arizona and Colorado, from Milwaukee and Michigan to Houston and Austin.

Critics and conductors around the country have become smitten:

“Ava Pine painted the soprano arias…in sumptuous timbres driven by alert, dramatic phrasing,” gushed The York Times in 2009.

“What an incredible voice Ava has. It’s so tremendously flexible in tone and color with really a silvery quality to it,” raves Gregory Carpenter, general director of Opera Colorado. skrill online gambling

“I think her voice is absolutely exquisite — easily one of the most beautiful voices I’ve heard in the last 10 years. She’s simply first-class,” exclaims Joseph Rescigno, artistic adviser and principal conductor for Milwaukee’s Florentine Opera. uk slots online

Pine debuted in Europe in 2010, reprising her role in Angels in America with the BBC Symphony Orchestra.

She has returned to the Fort Worth Opera for 2010’s Elixir of Love and as Cleopatra in last year’s mammoth Julius Caesar.

She also managed to find time to earn a Grammy nomination. Yes, a Grammy nomination — in 2010, for best opera recording — for her first commercial recording, with Ars Lyrica of Houston, singing Cleopatra in Hasse’s Marc’Antonio e Cleopatra.

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NPR Interview with Art and Seek

 

Soprano Ava Pine on the Brink

Ava Pine has become the most popular home-grown opera soprano in Texas. She just sang Dallas Opera’s Magic Flute, and she’ll soon appear in Fort Worth Opera’s Lysistrata. But KERA’s Jermome Weeks reports she has bigger dreams. real gambling on iphone

Read and listen to the story on the Art and Seek website.

“Native Songbird” Profile in 360 West Magazine

The globe-trotting Ava Pine — who, believe us, brings this same vivaciousness to the opera stage — is photographed on a visit to her hometown of Fredericksburg.

Singer Ava Pine has had some memorable firsts: Her first paying gig was the National Anthem at Willie Nelson’s annual Fourth of July picnic in Luckenbach, and for her first appearance on the Bass Hall stage she wore a bikini, high heels and a trashy blond wig.

Few would have thought that this native Texan would end up as a headliner on opera stages from Fort Worth to Florence. Fortunately Ava, angelic-voiced star of last spring’s Fort Worth Opera Festival and soloist this month with the Fort Worth Symphony, is a nice Protestant girl.  If she hadn’t impressed opera director Darren Woods with her singing in the First Presbyterian Church choir, she’d probably still be toiling in a cubicle somewhere.

Instead, the 33-year-old TCU grad, with only about five years’ opera experience (she never thought about an opera career until she was well into her 20s), has performed leading roles in London and New Jersey this year, in addition to Fort Worth.  Music critics are gushing about the beauty of her voice (“ravishing” is a favorite adjective), and although she’s an admitted late bloomer — “I’ve had a lot of people tell me it was too late,” she says — she’s now considered a rising star in her field.

It’s been an unusual path to success, and Fort Worth and Texas have been big parts of it.  Ava now lives in New York City — at least, she says, “that’s where my clothes live” — but it was her dad’s passion for music back in Fredericksburg that really got her started.  He’s a country-style singer-songwriter (an emergency-room physician by day) who frequently coaxed his young daughter to sing onstage with his band.  She liked country just fine, “but it never really felt like home to me, musically. Opera and classical music is what I love. Especially the Baroque.” She just didn’t know that until it was almost too late. real money roulette for ipad

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