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most widely known operas. Amina’s role includes one of the most well-known arias written in the Romantic style, titled “Ah! Non credea mirati.” Having performed the aria numerous times, Scotto believes it is one of the tenderest moments in the opera. “I believe [it] is the most beautiful melody ever,” says Scotto. “The melody is so pure.”

Singing Amina was a daunting task in itself, but directing La Sonnambula was a different challenge altogether. For Scotto, the journey from singing to staging began about twenty years ago, when in 1986 the Metropolitan Opera requested that she direct and sing in Madama Butterfly. Though hesitant, she accepted the role and stage directorship because she loved the opera. It seemed like a natural fit, as Madama Butterfly was her first role with the Met in 1965. As a new director, she loved being able to give her ideas to the rest of the cast, and since 1986 has directed many new productions all over the globe. “I have so much fun, especially when I have a new production that begins with my own ideas,” says Scotto. A production of La Traviata directed by Scotto in 1995 won an Emmy award, and she is frequently asked to stage operas.

The birth of Michigan Opera Theatre’s presentation of La Sonnambula began in Miami at Florida Grand Opera with General Director Robert Heuer, the former Founding Managing Director for Michigan Opera Theatre from the beginning of the company to 1979. Scotto was immediately taken with the idea of directing a new production. “Bob Heuer thought that he would like to do Sonnambula … and then I was very happy when he asked me [to direct], because I always wanted to direct Sonnambula in this country. I’m glad we get a chance to present it in Detroit.”

A new opera production is a monumental feat, but in the right hands — in this case Scotto, conductor Richard Bonynge and the cast — can turn out to be a tremendous success. Scotto says that she and Bonynge “get along very well,” and that the relationship between the director and conductor is essential for any production. Ultimately though, opera is in the hands of the singers, says Scotto. “Opera is ultimately in the hands of singers. They have to understand that Bellini is deep and never superficial. Even the happiness comes from the inside out. Breathing from the inside out … It has to be no less than perfect.”

Although Scotto has not worked with Ekaterina Siurina or Eglise Gutierrez, the two Aminas performing in Michigan Opera Theatre’s presentation of Sonnambula, Scotto can relate to them and their process of getting in character. “In my career I try to always identify with the characters, because they all have a human side. [continued...]

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