ARTISTS CORNER: Soprano Maeve Höglund

Soprano Maeve Höglund

Maeve Höglund makes both her Sarasota Opera debut and her role debut as Susanna in this season's The Marriage of Figaro. She is described as a versatile artist who has been praised repeatedly in New York Times as “a striking soprano,” “outstanding,” and one who “stands out among singers.” 
She recently made her Carnegie Hall debut as soprano soloist in the New York première of Paul Moravec’s The Blizzard Voices with Oratorio Society of New York. Her recent engagements include starring roles in Gotham Chamber Opera’s production, “Baden-Baden 1927,” featuring works by Weill, Hindemith, Toch, and Milhaud, as well as the role of Atilia in Cavalli’s Eliogabalo.


Maeve Höglund is also a featured singer and vocal educator for Jazz at Lincoln Center’s Jazz Academy, a program offering online tutorial education to middle school students in the New York City area.  

Q. Where are you originally from and where do you make your home now?

A. I was born and raised in Olympia, WA.  Most notably known for its constant rainfall many don't know that Washington State is home to one of the largest temperate rainforests in the U.S. - the Hoh Rainforest located on the Olympic Peninsula.

Though Washington State will always be home, I have made a home in Riverdale which is located in the Northwest part of the Bronx in New York City.

Soprano Maeve Höglund (center) at Carnegie Hall

Q. You have such a unique name. What is its origin?

A. Thank you!  My surname is of Swedish heritage and hails the meaning: hög 'high' + lund 'grove'.  This most certainly had to do with the surrounding landscape of where my family is from.  As for my first name, that is a story I love to speak about.  The short version is the following: Maeve is the Anglicized version of Medb (Old Irish spelling) or Meḋḃ, Meaḋḃ (Middle Irish spelling). Maeve was the warrior Queen of Connacht who hailed from what is modern day Ireland but back then was occupied by the Celts.

Most notably, Queen Maeve was the warrior queen of Connacht, the western province of Ireland. Historically, she would have lived sometime around the years 50BC - 50AD. Because of the time period much of her story has become folklore.  I grew up learning that she was the Queen of the Fairies and little people.  It is said that her father was king of Connacht before becoming High King of Ireland and she became ruler of Connacht after him.  She had five recognized husbands, and ruled for over 60 years. She was also said to be the reason her husbands became kings, that to be the ruler of Connacht they had to be 'married to Medb' as in married to the land.

Q. What drew you to become a singer?  Was there a specific “Aha!” moment of clarity?

A. I would have to say that I was always drawn to singing, performing, music & theatre.  From a young age I would love to dress up, sing into the fan or tape recorder, and put on shows for my family.  However, the turning point of singing Opera and classical music was when I spent two summers at Boston University's Tanglewood Institute.  During those summers I heard and met Bryn Terfel, Dawn Upshaw, Angela Gheorghiu, Yo-Yo Ma, among others in addition to hearing my first live Brahms Symphony No. 3 (one of my favorites).  This ignited something in me that I'd never experienced before.  It was then that I was changed forever and that my destiny to be a singer found me and vice-versa.


Q. Did you have other career aspirations in the works before you decided on singing?

A. Even though I knew I wanted to go to school to study music after high school, I actually considered becoming a massage therapist.  I was accepted into New England Conservatory, where I ended up attending, and decided to desert my thoughts to be a massage therapist.  After I graduated the Conservatory I was looking at other arenas where I might bring in money and reconsidered massage school.  I even went as far as attending a pre-enrollment workshop for prospective students.  I actually was quite serious about going but then realized it cost just as much to get a massage degree as it did a Master's in Music.  It was another turning point toward my continued commitment to being a singer.

Maeve Höglund as Susanna with baritone
Philip Cutlip as her betrothed Figaro

Q. This is a role debut for you. What are you looking forward to most about singing this role?

A. It is my role debut for Susanna which I'm absolutely delighted about.  In all honesty, I am so in love with Mozart's music that part of me almost enjoys listening to it more than singing it!  Don't get me wrong, this role is absolutely food for a singer's soul, particularly mine.  Mozart was genius in that way, he knew the voice so well and brilliantly wrote notes to text that challenge and demand the highest caliber of singing & performing.

But for me, there are specific moments in the Opera that cause a transcendental & euphoric experience.  It's as if we get transported back into the time of Mozart and get to relive what the artists and audience of that time experienced. This is what I look most forward to as it makes all the efforts toward my work as a performer worth while.

Q. What can you tell us about this character?  What do you want the audience to know about her?

A. Susanna loves life; for a servant lady, she actually has a great one!  Susanna is not only clever but she is completely spontaneous with the ability to improvise on the spot in order to succeed in humiliating her boss (who of course is trying to take advantage of her through an abolished feudal right).  That takes a special kind of understanding about how to hold your body language, facial expressions and tone of voice.  Her ultimate goal is to marry the man she loves without interference.  All the effort she takes to make that happen says a lot about who she is.  A woman of strength, integrity, wits, passion, heart, and humor.  Who wouldn't fall in love with all that?!

Q. How do you prepare a role for performance?

A. The first thing I do is translate my text.  This is not always literal,  as commonly when translating, phrases can mean something completely different when in another language.  This also requires me to translate the other character's text so that I am certain of the context of our conversations.  For me, the text comes first and then the music.  I actually speak the words as if in a play before I sing it. Once I've got the text down, I then add the music, that way there is a flow to the conversation happening.  I then dive into what actions are taking place and doing a bit of character development.  What is Susanna's background and what did her life look like before the moment that the Opera begins.  What are her relationships with all the character's onstage and what are their histories together.  I also do a bit of reading; for instance, The Marriage of Figaro is an adaption of a play carrying the same name by Pierre Beaumarchais. I also do a bit of research to gain a context for the time period.  Once I feel comfortable with all those elements, I'm ready to get the direction and coaching of a Director and Maestro in addition to working moments out with my colleagues.

With all the elements put together and I'm ready to go!

Q. Are there any famous Susanna’s from the past whose interpretations you admire?

A. Yes...I would say Alison Hagley, Anna Moffo, and Mirella Freni.  All were amazing artists in their own right but dissected the Da Ponte text (Mozart's librettist was Lorenzo Da Ponte) like it was a Shakespeare play.  Most importantly, all had incredible interpretations of the text in addition to being Mozart specialists.

Q. In addition to performing, it sounds like you dedicate a significant amount of time to teaching and education. Can you tell us about the type of work you do and why you enjoy it so much?

A. Yes!  Once I finished my Master's degree I wanted to diversify my activities and was encouraged to become a Teaching Artist.  It was a perfect fit for me because I was able to continue my studies and performing while passing along the tradition of music to those schools and programs in need.  As a teaching artist, we would work in underserved communities and/or New York City schools that had eliminated their music programs or only had weekly after school programs.  There is nothing better than to bring music and a creative outlet to kids and adults who yearn for self expression.  This flowered into doing other outreach work with Jazz at Lincoln center alongside my work privately with vocal students.  I really do love how teaching brings full circle all the knowledge and craftsmanship that has been so generously given to me.  As my performing schedule gets more and more busy, I can't commit as much as I used to but I have made amazing relationships with those programs and students I have been so lucky to serve.

Maeve Höglund as Hélène in Hin und züruck
at Gotham Chamber Opera

Q. Thus far, what is the most bizarre experience you have had during a rehearsal?  During a performance?

A. That's a great question.  I'd have to say that the most recent bizarre experience was while singing Hélène in Hindemith's Hin und züruck with Gotham Chamber Opera.  The whole premise of the Act I piece is a line of actions and conversations leading up to the discovery of my unfaithfulness and ultimate murder by the hands of my husband.  Then, it all goes in the reverse.  The whole scene is played out backwards, like an old VCR on rewind.  Talk about not only a bizarre experience but a tremendous mind trick!

Q, Do you have any pre-performance rituals?  Performance superstitions?  Good luck charms?  If yes, why?

A. Hmmm....I would say the biggest ritual on performance day is to have a relaxing day at home with limited talking and personal interaction.  Prior to curtain call, however, I do a quiet gathering of my mind and allow for all the pieces of the puzzle to take me over.  I end it with a prayer and invitation for all those great singers who have come before me to guide and support me.

Maeve Höglund in The Last Duchess by
Robert Sirota at Symphony Space

Q. How do you relax in between performances?  What hobbies do you enjoy at home and “on the road”?

A. Physical activity!  Nothing is more relaxing and recuperative for me than getting out and being physically active.  I'm athletic and grew up playing sports & doing many outdoor activities.  I love to workout with weights but also love to run, swim, water/snow ski, wakeboard, hike & play tennis.  Many of those fit into the Florida lifestyle but I will unfortunately be missing out on my cold weather activities such as snow skiing. That has always gotten me through winters in New York and I even began instructing last year at a nearby mountain in New Jersey.

Outside of sports I love reading and have brought several books I've been meaning to catch up on.  There is, of course, nothing better than sitting on the beach and getting some good old vitamin D!  I'll certainly be taking advantage of that as often as I can while in Sarasota.  I'm also a big social bug and love being with friends and family.  I happen to have many family friends & friends in Florida and am looking forward to getting to spend time and catch up with them.

Q. How do you stay connected to family and friends when you are “on the road”?  Do you keep a blog? Website? Facebook?  Twitter?

A. I have my performance website (www.maevehoglund.com) which is great for family, friends and fans to keep abreast of my performance schedule.  Facebook and Twitter are certainly the most current interfaces that I use to post updates and stay connected.  I am currently working on putting together a blog section onto my website and will hope to have that up in the near future.  Otherwise, FaceTime, Skype, text, and the phone are such amazing resources we traveling artists have to stay connected.

Can You Sing in Elvish?

Youth Opera members sing in several different languages including Italian, French, Russian, and English. But this fall they will try a new one - Elvish - when Sarasota Youth Opera re-mounts it's production of Dean Burry's The Hobbit in November.

Sarasota Youth Opera 2008 production of The Hobbit

The Hobbit is a classic story of an unwitting hero on a journey. Author J.R.R. Tolkien began The Hobbit as a story for his own children. When he wrote it in book form, it became the mark against which all modern fantasy is measured. It is the first book of Lord of the Rings and the inspiration for most of the genre ever since. As in most adventures, our hero must have companions and a wise guide, encounter many hardships, meet more than a few villains, and finally have the chance to triumph. All of these adventures are spiced with magic, colorful characters, terrifying creatures and, of course, music. Even for those who are not familiar with Tolkien's story, the adventure and characters will become old friends by the end of the opera.

Dean Burry, Canadian composer and librettist, has crafted an operatic fantasy through Middle Earth, which Sarasota Youth Opera will perform May 9 and 10. Last fall, the singers were delighted to meet and sing for Burry. His rapport with the chorus members and willingness to answer their many questions were inspiring. Burry wrote the opera in English, adding phrases in Elvish to set the mood.


To help color this fantasy world, Burry has drawn on a variety of musical styles to represent the various groups of characters: English folk songs for the hobbits, madrigals for the elves, Russian folk songs for dwarves, a little bit of Kurt Weill for goblins, and a habanera-tango for the dragon.


Youth Opera members are excited about bring this piece back to the Sarasota Opera stage for everyone of all ages to enjoy!

Performances of Dean Burry's The Hobbit are Saturday, November 15th at 7:00pm and Sunday, November 16th at 1:30pm. Tickets range from $12 - $55 and are available at www.sarasotaopera.org or by calling (941) 328-1300. 

ARTISTS CORNER: Bartitone Marco Nisticò

Baritone Marco Nistico

ARTISTS CORNER:  Italian born baritone Marco Nisticò's impressive combination of beautiful tone, exquisite artistry, and superior stagecraft has delighted audiences throughout North America, South America, and Europe. In 2013-14 he returned again to the roster of the Metropolitan Opera for the premiere of Nico Muhly’s Two Boys and sings Dulcamara in L’elisir d’amore with Teatro dell’ Opera in Rome. He also returns to Sarasota Opera this winter to reprise the role of Figaro in The Barber of Seville, a role he sang with Sarasota Opera in 2008.  

Q. Where are you originally from and where do you base yourself out of today?

A. I am from Naples, Italy. I live in New York City, on the Upper West Side. One block from Maestro DeRenzi, which is very good, because he has a nice espresso machine and gives me coffee from time to time… 

Q. Why Opera?  What drew you to become a singer? 

A. My father is a singer and a voice teacher.  He’s my voice teacher in fact. I was born into this.

I heard opera every day, from my father’s students at home and attending his performances. When I was growing up, opera was ubiquitous in Italy, everybody would know opera tunes and in elementary school we would learn to play “Va Pensiero” from Nabucco, on our flutes (I was not very good at it).  However, that trend was already changing. Pop music was growing and things changed dramatically. Now most people know that Italy is the birthplace of opera, but never go to a show.

Marco Nistico as Dulcamara in
L'elisir d'amore in Bregenz

Q. What singing did you do as a teenager?

A. I don't know. It just happened.  As a teen I hated opera and did not want to sing.  However, I think I was kind of "destined" to fall into it. One day I asked my dad to help me sing a song I was learning a bit better (for a university assignment I was doing for Sorbonne in Paris).  After that, I was stuck...

Q. What are you looking forward to most about performing the role of Figaro in this season’s production of The Barber of Seville?

A. Figaro is one of my favorite roles. One of the first roles I ever sang. I have sung Figaro in at least 6 different productions and many performances. There have been some in Europe (Wexford in Ireland, Holland, Bulgaria, and Bologna in Italy), Mexico (Guadalajara and San Luis Potosì) as well as here in the United States (Toledo, OH, Opera Festival of New Jersey, and, of course, Sarasota Opera).  I love the free spirit of the character and the music goes perfectly with it.

Q. What is your process for preparing a role for performance?

A. I read the libretto and try to analyze the poetic aspect of the words. I then go to the music and sing it as much as possible, by myself and then with a pianist. Anyway, Figaro, it’s a role I have done many times.

Q. What do you want the audience to know about your character?  What do you find most challenging about this role?

A. Figaro is the smartest guy in the room (and I say “guy” because Rosina is at least as smart). He is also a revolutionary, since he’s a servant who always wins against his masters. What is challenging about the role of Figaro is the fact that it has been sung by all the great baritones of the past and there are some inevitable comparisons. However, I really enjoy being this character.

Marco Nistico as Guglielmo in Cosi Fan Tutte at the Teatro Regio di Torino

Q. You have been a steady presence at Sarasota Opera for several seasons.  You must enjoy singing here.  What do you think makes Sarasota Opera so special that people return season after season?

A. To me what is really special about Sarasota Opera is the emphasis on doing things in the proper style, the importance of language, the care we must take on the connection between words and music, the highly professional production values. It is the fact that serving the composer is the most important thing. It’s the long rehearsal period that allows all of us the time to really explore the characters and their music. And it’s Lido Beach… yeah, that one too.

Marco Nistico as Guglielmo in Cosi Fan Tutte 
at the Teatro Regio di Torino

Q. You have performed all over the world.  Do you find audiences behave differently in all the different countries you perform in?

A. Perhaps… some audiences are more responsive than others. Some like to let you know clearly how they feel and if they like what you do. Some are more quiet during the show, but very enthusiastic at the end. In South Korea we had to go to the hall of the theater right after the show, in costume, and sign autographs for at least an hour. Everybody wanted their kids to take a picture with us… Anyway, I like every kind of audience. Without them, there would be no show. 

Q. Thus far, what is the most bizarre experience you have had during a rehearsal?  During a performance?

A. Maybe this one: During a performance of The Barber of Seville, the orchestra did not come in and I had to sing a cappella a good part of my duet with Rosina. At the moment it was not “fun”, but now it’s a good story to tell. And I will never forget my Rosina’s face, looking at me as to say: “good luck with that, buddy”.

Marco Nistico as Rigoletto
at Sarasota Opera

Q. Do you have any pre-performance rituals?  Performance superstitions?  Good luck charms?  If yes, why?

A. Not really. Just relax during the day and then warm up before performance. I tend to eat only chicken and rice the day of a performance and bring at least a banana in my dressing room.

Q. How do you relax in between performances?  What hobbies do you enjoy at home and “on the road”?

A. I enjoy watching Netflix. I also go to the gym and spend time with friends.

Q. What music do you listen to when you are driving in the car or commuting around New York City?

A. I don’t own a car. The rare times I rent one I listen to NPR (talk). I do not listen to music while “commuting” around NYC. I want to be in touch with the people around me.

Q. How do you stay connected to family and friends when you are “on the road”?  Do you keep a blog?  Website? Facebook?  Twitter?

A. I really do not like personal blogs. I use Facebook, emails, Skype and the phone to talk to family and friends. I talk with Marina, my wife, several times a day on the phone. Blogs?? Unless you are a professional writer, That’s pure vanity…

Marco Nistico (right) as Figaro in Sarasota Opera's 2008 production of The Barber of Seville

Don't miss Marco Nisticò's return to Sarasota Opera as the schemeful Figaro in The Barber of Seville opening February 15th and running for 9 performances through March 21st.  Tickets are available online at www.sarasotaopera.org or by calling (941) 328-1300.