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Subject: Re: Nina Stemme / Mildred Bailey / Liza Elliott
From: "G. Paul Padillo" <[log in to unmask]>
Reply-To:G. Paul Padillo
Date:Mon, 14 Aug 2017 12:44:55 -0400

text/plain (40 lines)

Idia wrote:

"In my opinion the best cross-over I have EVER heard was Patricia Racette 
and her album "Diva on Detour" which is superb. She sounds like a true cab
cabaret or jazz singer and not an opera singer attempting to do jazz.
I wish she'd go back to it."

I agree, few singers male or female have transitioned as smoothly as Racette
Racette.  For her, it is a sort of return to her roots, as she began singing 
jazz and pop before studying opera.  In interviews she has mentioned late 
nights spent in her youth learning from - and jamming with - “old jazz 
guys” and it shows.  She continues to perform her cabaret act around the gl
globe, and will be performing it in Madrid next year.  

With a propensity for 20th and 21st century roles rarely seen in 
most “divas,”  alongside roles in works by Corigliano, Shostakovich, 
Poulenc, Floyd, Britten, Menotti and Janacek, et al., the soprano has made 
a splash in several musical theatre roles including runs as Fosca in 
Sondheim’s “Passion” and Julie in Kern’s “Show Boat.”  This season Racette 
adds two juicy 20th century roles to her - Magda Sorel in Menotti’s “The 
Consul,” and Anna Maurrant, in Weill’s “Street Scene,” as well as makes 
her directorial debut in “Traviata” for Opera Theatre of St. Louis.  

She has her detractors here but also a number of fans who she keeps 
making happy!


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