TWO DIVAS, A DILEMMA AND A DRIVE-IN

San Diego Opera may have its live season after all.

BY PAT LAUNER

METROPOLITAN OPERA stars Stephanie Blythe and Angel Blue, and a robust season besides, had been scheduled, and the orchestra contracted, when San Diego Opera general manager David Bennett was bushwhacked by the pandemic.

But Bennett was determined to find a way to offer an October production of La Bohème, Giacomo Puccini’s story of 1830 Parisian bohemians.

His creative thinking culminated in plans for a drive-in production Oct. 24, 27, 30 and Nov. 1 at a location to be announced: the audience in cars parked 6 feet apart, jumbo video screens, sound via FM radio and pricing ($200-$300 per vehicle) tiered to stage proximity.

He hopes to be back in the 3,000-seat San Diego Civic Theatre by February for Puccini’s Suor Angelica and Gianni Schicchi but is “taking the season one step at a time.” Bennett is thrilled with his divas wherever they perform.

ANGEL BLUE IN TURANDOT (2018)

Blue, last seen in San Diego in Turandot (2018) is, he says, “a hot, hot commodity right now, one of the most important sopranos today.”

The statuesque Blue financed her undergrad and graduate education by competing in beauty pageants—she was Miss Arizona and runner-up for Miss California. She then moved to Europe, performing in 35 countries and every major opera house over six years. Early in 2020, she starred in Porgy and Bess at the Met.

But Mimi in La Bohème is her signature role; her 100 Mimi performances included her Met debut.

She has no qualms about performing at a drive-in, but, given Bohème’s romantic plot, thinks the social distancing might be awkward— as would scenes that would normally have her “coughing in Rodolfo’s face.” Given union distancing guidelines, that’s not likely to happen, but, she notes, artists find ways to be creative.

MEZZO SOPRANO STEPHANIE BLYTHE

Talk about creative: Mezzo soprano Blythe, one of the most celebrated artists of her generation, came up with an inspired idea for her SDO performances.

Blythe had been contracted to sing Principesa in the tragic Suor Angelica, and Zita, the title character’s cousin in the farcical Gianni Schicchi. But her vocal range has gotten lower, and she had the gutsy idea of playing the baritone Gianni—and Bennett was all for it.

“I love the character of Gianni,” Blythe says. “Manipulative, cunning, totally in charge. You adore him, you hate him. The piece speaks to current socioeconomic divides, people clamoring for something they feel they deserve, and willing to say and do anything to get what they want.

“I’m not doing this to be funny or disrespectful. I’m interested in the challenge, and I can’t find anywhere this role has been sung by a woman. I’m very fortunate that San Diego Opera would take the plunge with me.”

Blythe’s relationship with the company is close. In 2014, the year SDO nearly shut down, she appeared in Verdi’s Requiem and A Masked Ball and performed her Kate Smith tribute recital.

Blythe, who considers the Met her home base and is artistic director of the graduate vocal arts program at Bard College, has a history of gender exploration. She’s even created a comical alter ego, a bearded tenor named Blythely Oratonio.

“He’s definitely a part of me, but more bawdy,” she says. “He says things I can’t say. He sings everything from rock ‘n’ roll to tenor arias, he sings what the hell he wants. Why shouldn’t Stephanie?”

Amazingly, SDO’s Bennett hasn’t laid off or furloughed any employees during the pandemic. “I’m anxious to employ artists,” he says, “and to give audiences the opportunity to experience a live performance.”

To which we respond, “Toi, toi, toi,” the opera equivalent of “break a leg.”

TOP: STEPHANIE BLYTHE IN A MASKED BALL (2014) IN SAN DIEGO.