Articles and Features

Indulge Magazine: Cover and Feature

www real vegas online casino

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 . usa online casino echeck deposit

“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. what online gambling sites are safe

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.

“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.

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.

Download the entire article in PDF format (5MB – opens in a new window).
the best online casinos uk
virtual bingo com
virtual vegas 7007 slots