Who is the last opera star coming through the ranks of the chorus? In the
distant past that was a possible way to the top, but not lately (cf., the
brilliant and somewhat depressing "In the Shadow of the Stars").

I don't know the answer (Battle?), but I have a theory about who the next
one will be.  My candidate is soprano Anne Nonnemacher, a young soprano
(27?) just accepted in the Met chorus, and scheduled for six works next
season, from the women's chorus non-brainer "Fidelio" (kindly hold your
fire) to the super-tough "Gurrelieder" (concert version in Carnegie Hall).

Why do I think that she is going places? Strangely enough, the idea springs
from a few bars I heard her repeat at a "Falstaff" rehearsal a couple of
years ago.  Blending her voice perfectly with James Taylor's superb Fenton,
Nonnemacher hit that high note perfectly time and again as Jeffrey Kahane
asked the orchestra repeatedly to play those bars.

That was at the '98 Oregon Bach Festival and now that I am in Eugene again,
at rehearsals with Kathy Romey's outstanding Festival Chorus for the St.
John and St.  Matthew Passions, I saw Nonnemacher again and identified the
source of that voice that took up residence in the cortex.  Given the fact
that she is in the chorus, blending in perfectly, I don't really know much
about her voice other than its distinctive quality from that very brief
encounter two years ago.  And yet I am willing to bet on that, believing
that a special sound may be more important in the star-making department
than all the standard prerequisites that need to be there in the first
place anyway.  Good luck to her.

Nonnemacher and all her colleagues from around the world are getting a
wonderful opportunity in this small town with the big festival, singing
with Thomas Quasthoff, and under the baton of Helmuth Rilling.  Beginning
with Bernstein, I have heard some great conductors in rehearsal, but
nothing like Rilling.  You don't expect that anyone would even notice a
man so quiet and understated, and yet when you sit directly behind him,
you become aware of the most intense participation by orchestra and chorus
you'll see anywhere.  He has total recall of the massive Bach works, every
note, every marking without a score, he speaks with a quiet authority that
engenders trust and fierce loyalty.  I have never known anyone -- inside
or outside of music -- who asked less for affection and got more.

Rilling's tentative schedule for next year's other-than-Bach portion
here includes the Verdi Requiem and a concert performance of Boito's
"Mefistofele," one of the few operas he conducts.  Still on the forecasting
kick, I am certain that it will be a very special event -- especially *if*
Quasthoff sings the title role...:)

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