Hey, Detroiters! Welcome back to Culture Canvas.
Houston opera singer Nicole Heaston is Armida in a Detroit Opera House production of George Frideric Handel’s “Rinaldo.” And, there are two more chances to see it on Friday and Saturday.
“Rinaldo” is viewed through the lens of a child’s fantasy in a contemporary pediatric ward. It features a heroic journey with knights, sorcerers, monsters and magic.
I talked to Heaston about joining the production, playing a villain and how she got her start singing opera in Chicago.
Editor’s note: This transcript was lightly edited for length and clarity.
BridgeDetroit: What has it been like playing Armida?
Heaston: There’s nothing I love more than a good Handel villain and they’re usually women and they’re usually sorceresses. I’ve played two other sorceresses; crazy, evil women who usually are in love with the countertenor. I absolutely adore doing those roles.
With theater, it’s always fun to find creative ways to make magic happen. My favorite part is that I come in with this whip, and every time I whip it, something magical happens. You’ll hear a thunderbolt and you’ll see lightning go off, and you think of what they used back in Handel’s time to create these magical moments on stage.
BridgeDetroit: What do you enjoy about Handel’s work?
Heaston: He writes some of the most beautiful music for singers, especially the roles that I enjoy. The evil sorceresses always have a beautiful aria where they have a moment of introspectiveness and where they have a moment to show true emotion and sadness where they’re not just somebody that’s just spewing hatred. It’s such an interesting way that he writes these roles and taps into these beautiful arias that can really touch your soul as an artist and as an audience.
BridgeDetroit: Have you had a chance to bond with the cast over the last two weeks in rehearsals?
Heaston: Interestingly enough, all of us have bonded before this. A lot of us have worked together before, we’re old friends. Other than the conductor and the director, the people in the cast we’ve all known each other, so we all clicked pretty quickly. I’ve known (lead Anthony Roth Constanzo) probably the longest. We met each other 11 years ago.
BridgeDetroit: You’ve had a long career performing all around the world. How did you get into opera singing?
Heaston: I got into singing opera once when I was in high school. I’d been singing in choir since I was a child. I was in the Chicago Children’s Choir and I sang alto, but I would sing a lot of the gospel songs because I didn’t necessarily think singing classical music was for me.
When I got to high school, I went to Kenwood Academy and my choir teacher was the one who told me I was a classical singer and an opera singer. And I was like, ‘No, I don’t think so. I’ve never heard of Black people singing opera.’ And she says, ‘No, you are an opera singer.’ She had me learn some arias, and I auditioned for the NAACP ACT-SO competition in my junior and senior years and I won nationally. With that money, I was able to buy a car. At that point, I was like, ‘If I can buy a car, I might as well try and see if I can make this for a living.’
I ended up going to the University of Akron and then I went to the University of Cincinnati College-Conservatory of Music for my master’s degree. I did my first opera and I loved it. I was like, ‘Somebody’s paying me to dress up and sing music. It can’t get any better than that.’ I was sold.
BridgeDetroit: When you were attending college and getting started in your career, did you see many Black people in the opera space?
Heaston: When I first started, not really. One of the reasons I went to the University of Akron is the school choir came to my high school to perform and a soprano came out, Karen Clark Green. She was the most beautiful Black woman who only opened up her mouth and became that much more beautiful. Karen was very much somebody I could look up to. And there were Black people in the school, but when you saw professionals, you really didn’t see a lot of Black people.
When I started off my career and went to Germany, France, Italy or even the United States, a majority of the time, I was the only African American, not only on the stage but in the building. You wouldn’t see a lot of Black people working in communications or working in the board offices or the artistic director offices.
Because I went to a private school growing up in Chicago, I was used to being one of the few Black people in the room. So, it wasn’t something that made me utterly uncomfortable, but it was something that I definitely took note of and recognized. And my thing was, I want to be there so that someone will see me in the audience and be like, ‘Oh, she’s doing this, I can do this too.’ But that has changed in the last, seven, eight years. Now I’m seeing three Black people in the production. It’s happening, which is much better than it used to be.
BridgeDetroit: What do you hope the audience takes from “Rinaldo?”
Heaston: There’s a couple of things I want them to take. For the audience, it’ll probably be their first time hearing a countertenor, which is basically hearing a male sing in a higher register. Usually, it’s quite a shock to people. What’s great about “Rinaldo” is that they’re going to get three countertenors for the price of one, and get a chance to to hear that unique sound. Here we are in the town of Motown, and you got The Temptations, and you have the Four Tops and all of them had someone that sang in the falsetto range. So, if you put it into that context, these are people we’ve heard in the popular vernacular frequently. They’re going to experience a very cute show. It’s set in a children’s hospital in the mind of a sick child while looking out for the girl who’s sleeping in the bed next to him. It’s a sweet concept and I think they’ll go away with a nice evening.
As always, have a great week!
Cheers,
Micah
313 Scene
- BridgeDetroit Engagement Editor Bryce Huffman and American Black Journal contributor Daijah Moss talked with Detroit techno pioneer Carl Craig about his Instagram series “All Black Vinyl.” The series showcases Black artists from Craig’s extensive record collection every Wednesday throughout February. Now in its fifth year, the series uplifts the rich legacy of Black musicians who have shaped genres, broken barriers and influenced music history.
- The Detroit Pistons will host a “Big Sean Night” during the Tuesday, March 25 game against the San Antonio Spurs at Little Caesars Arena. The festivities, which start at 7 p.m., will include Big Sean-themed activations in the concourse and during the game, as well as special merch like Big Sean jerseys for sale. (Detroit Metro Times)
- HGTV has green-lighted “Condemned,” a new home improvement show set in the Motor City. “During the eight, one-hour episodes property investor and rehabber Kristyn Patterson and her builder father, Pancho Patterson, will renovate houses that are set for the wrecking ball. The show is slated to premiere this summer. (Detroit Metro Times)
- Wu-Tang Clan will play Little Caesars Arena on July 8 in what will likely be the final Detroit performance by the fabled hip-hop collective. The group on Monday announced its Wu-Tang Forever: The Final Chamber, a 27-date farewell tour that will launch in Baltimore in June and wrap up in Philadelphia July 18. Run the Jewels has been tapped to open all shows on the tour. Tickets will go on sale at 10 a.m. Friday through Ticketmaster. There are no presale windows. (Detroit Free Press)
What’s Going on in the D?
- The Charles H. Wright Museum of African American History is hosting a gallery talk at 6 p.m. Thursday for its exhibit, “A Journey Through Portraiture.” It celebrates the legacy of Michigan artist Paul Collins. Known for his exceptional figurative work, Collins captured the nuanced complexity of the human experience through his travels and art. The event is free with $15 museum admission.
- The Redford Theatre is screening the French classic, “Amelie” at 8 p.m. Friday. The film follows the titular character (Audrey Tautou) who uses her creative wiles to orchestrate the love lives of those around her, but has little control of her own. Tickets are $7.
- Ford Rd Patio Bar and Grill is hosting its 7th annual Mardi Gras party at 9 p.m. Friday. The event will feature a DJ, drink specials and New Orleans-themed food like jambalaya.
- Eastern Market bar Detroit City Distillery is having its annual Paczki Day party at 10 a.m. Saturday. Riopelle Street will be shut down with the party going on inside and outside. Srodek’s Campau Quality Sausage, Co. will provide food, with paczki from New Palace Bakery. As for drinks, the bar will have its Paczki Day vodka and its new paczki cream liquor.
