Discussing Past Juvenility: Interview with Tenor Eric Levintow
In the recent closing of the 2018-2019 season, Opera UCLA premiered a powerful new work titled Lost Childhood. This opera, based on the Holocaust survivor Yehuda Nir's memoir of the same name, marks a significant step forward in Eric Levintow's operatic career.
As the central character, Judah, Levintow delves deep into the emotionally challenging role. Vocally, Judah is a demanding part for a younger singer, with dense orchestral textures and the character being a more mature, older man. To prepare, Levintow read Nir's memoir, refreshed his memory on World War II events, and drew on his own experiences as a Jewish person. He also collaborated with vocal coaches to bring the words to life within the music and drama.
Levintow found the process emotionally challenging, as he had to approximate Judah's mannerisms, voice, and way of carrying himself based on people he has met. Despite the challenges, Levintow expressed a desire to take on roles such as the Duke in Rigoletto, Alfredo from La Traviata, and Nemorino from L'elisir d'amore.
Opera UCLA's production of Lost Childhood was the first in a series of three staged productions written by living female composers. The second opera in the series, Juana, will be staged this fall. While details about Juana are scarce, it is known to centre on the historical figure Juana I of Castile, also known as Juana la Loca ("Joanna the Mad"), a Spanish queen known for her tragic life marked by love, political intrigue, and imprisonment.
Samantha Webster, a third-year undergraduate at UCLA, double-majoring in voice/opera performance and English, will not be performing in the upcoming opera Juana. However, as a student at Opera UCLA, she is undoubtedly looking forward to the exciting operatic opportunities that lie ahead.
Lost Childhood's score, composed by Janice Hamer with a libretto by Mary Azrael, is a testament to the opera's demanding nature. With irregular speech patterns, fluctuating meter, and a modern and dissonant harmonic idiom, the opera challenges both performers and audiences alike.
As Eric Levintow steps into the world of opera with Lost Childhood, it is clear that he is ready to take on more challenging roles in the future. With his passion for the Italian repertoire and his dedication to his craft, Levintow is poised to make a significant impact in the world of opera.
In the future, Eric Levintow plans to tackle roles in operas such as Rigoletto, La Traviata, and L'elisir d'amore, showcasing his versatility in music. As a testament to its complexity, the music in Lost Childhood features irregular speech patterns, fluctuating meter, and a modern and dissonant harmonic idiom, reflecting the demanding nature of entertainment in opera.
