After GrAduAtion: WhAt noW?
Flying Solo
Performer to debut in stage production
You can go home again. Just ask John Allen Nelson ’06. Nelson makes his Minnesota Opera debut in a named role in April, as the Mandarin in “Turandot.” “Performing the role of the Mandarin in “Turandot” is such a wonderful step in a young career,” says Nelson, a native of St. Paul who was the 2010 winner of the Society of Singers’ annual Graduate Scholarship competition. “In opera, there are many levels of roles within each show. As a young singer, you want to focus on smaller roles in order to perfect your craft in support of older professionals. You can closely observe those who have been singing lead roles all over the world while also getting valuable solo performing experience. “The Mandarin is even better than just
supporting the leads – he actually opens the opera. The first few minutes of singing the audience will hear is the Mandarin – me – setting up the story. It doesn’t get any better than that,” Nelson says. This is actually the second solo moment for Nelson in a Minnesota Opera production. “I was fortunate enough to have a solo in ‘Pinocchio’ in 2009,” Nelson says. “My character in ‘Pinocchio’ was more of an ensemble member who had a brief solo. This is my Minnesota Opera debut as the Mandarin, because it is a named character.” Nelson, who completed his graduate work at the University of Missouri-Kansas City Conservatory of Music and Dance, has performed as a young artist at Opera Colorado, and served as an apprentice artist with the Des Moines, Iowa, Metro Opera.
Lounge Act
CSB grad taps new audiences
Engelbart playing Papagena in Lyric Opera of Kansas City’s production of “Die Zauberflote.”
photo: Matt Foerschler
When Angie Engelbart ’01 walks out on stage, the stakes can be high. “There’s a lot of pressure to be perfect,” Engelbart says. But she can let her hair down when she performs with Opera on Tap. The program brings opera to the masses with performances at a lounge in Los Angeles. “Opera on Tap started in New York as a fun way for singers to relax, try some new repertoire and, yes, get some new folks in on the action,” Engelbart said. “The first time I did one, I strutted around the stage singing (Leonard) Bernstein and sang all my high notes from atop the bar. Standing up on the stage with a beer in your hand loosens everybody up – the singer, the audience, the accompanist, and sometimes, you even learn something! “It’s not something you’ll become famous at, or get industry ‘cred’ for, but I have to say, the most artistic, exciting choices happen sometimes at these events,” Engelbart says. She spent a year as a soprano apprentice with the Kansas City Opera, “which was eye-opening. Getting a real paycheck for
singing is such a treat, and the folks there really taught me a lot about preparing a role, having standards for yourself and photo: Kelly McKay your performance, and what it means to be a professional singer: life on the road, working freelance, being a good colleague.” For the past few years, she has worked for the Hawaii Performing Arts Festival, and does a lot of performances and voice teaching on the Big Island. Engelbart also works with many regional companies in southern California and has recorded operatic background vocals on an indie rock album. One of her favorite roles was the Doll from “The Tales of Hoffman.” “With my voice type (a coloratura soprano), I’m really lucky in that I get a lot of bang for my buck,” Engelbart says. “We’ll come onstage for all of 10 minutes, sing some big fireworks for one scene, and walk away with lots of credit and wows, while the bigger-voiced sopranos have to carry the whole opera.”