If you go
“The Daughter of the Regiment” (in French)
Where: George Mason University Center for the Arts, Fairfax
When: 7 p.m. Dec. 4, 2:30 p.m. Dec. 6
Info: $44 to $98; 888-945-2468; tickets.com
Virginia Opera presents a musical program featuring arias and duets from “A Daughter of the Regiment” and other French operas
Where: La Maison Fran?aise, Washington
When: 7 p.m. Dec. 2
Info: $25 general admission, $20 student with valid ID; instantseats.com, virginiaopera.org
French coloratura soprano Manon Strauss Evrard makes her fourth Virginia Opera appearance in Donizetti’s “The Daughter of the Regiment,” the company’s first production of the opera sung in French. It arrives at George Mason University Center for the Arts direct from performances in Norfolk and Richmond and rave reviews for Evrard as the spirited young Marie. Earlier in the week, the French Embassy hosts Evrard and cast members for an evening of French arias.
Fresh out of the Academy of Vocal Arts in Philadelphia, Evrard made such a striking impression on Virginia Opera’s artistic director, Peter Mark, that he invited her to perform the roles of Hoffman’s three loves in the company’s 2007 production of “Tales of Hoffman.” She proved herself so extraordinary that he cast her last season in the title role of “Lucia di Lammermoor” and again this past spring as Rosina in “The Barber of Seville.” Whether emoting in Lucia’s mad scene or effervescing as the sprightly Rosina, she is in command. Now she revels in a role that seems made for her.
“This role is the best I’ve ever had,” she says. “It’s dead-on for my vocal range and allows great agility in the coloratura part. Marie is a rough kind of girl. She is spontaneous, simple, loves life and is not complicated. The regiment is her father figure. There are touching moments in Act I when she becomes sad because she has to leave the regiment and embrace another destiny, but then she falls in love with Tonio. They have a lovely duet and the acting and singing come together in a happy ending.”
Evrard explains that her family loves opera so much they were torn between naming her Manon or Salome. It was inevitable that she gravitate to music and begin studies at the Paris Conservatoire. Eventually concluding that the classes there were not exactly what she wanted, she went to Italy for further study. There she met famed Italian soprano Renata Scotto, who urged her to come to the United States and study with Bill Schuman at AVA.
Upon passing the audition in 2004, she packed her suitcases, moved to Philadelphia and began capturing attention at each AVA recital and production. Only 27, she has made such an impression that experts compare her with Maria Callas. This coming spring, she will head to the Metropolitan Opera to cover coloratura Marlis Petersen in the title role of Alban Berg’s “Lulu.” Her performance at the Rossini Festival in Pesaro, Italy, next summer will be followed by her Paris Opera debut the following season.
“Even though I’m very young, I have an unusual voice, a dramatic coloratura with unique color and a range from low G to high E,” she said. “I’m very versatile and can sing different types of repertoire. Rossini is perfect for me now, but in the next ten years my voice will evolve and mature. I look forward to covering ‘Lulu,’ which is very difficult with 600 pages to learn.
“Right now, I’m having a great time working with VO colleagues. This opera is for all types of audiences and if they don’t understand French, the super titles will give the clues. I know they enjoy themselves because they are laughing.”
