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High Notes and High Drama at the Met Auditions


By Mary Kunz Goldman

Want some drama in your life? Consider stopping by the Metropolitan Opera auditions, going on all day -- until 6 p.m. or thereabouts -- at the Nichols School Flickinger Performing Arts Center. It's free! Buzz caught the first hour, sticking around until the first potty break. (It is fun to hear a Metropolitan Opera judge say "potty break.")

Buffalo baritone James Wright (above), whose candidacy was written about in The News the other day, made a very good showing. Wright, in a natty suit with his hair slicked, looked vaguely and appropriately old-fashioned. He began with an aria from Gounod's "Faust," "Avant de quitter ces lieux," and it was easy to see why. That aria had a Sign of the Cross built into it, right at the start!

Who, auditioning for the Met, would not want to call down all the blessings you possibly could? And it apparently worked. Wright was called back to sing part of another aria -- a good sign. 

All the other singers we heard were sopranos. Naturally there was high drama. Most memorable was when Maria Lindsey's accompanist stopped dead in the middle of "Volate, Amori," from Handel's "Ariodante." The situation might actually have helped Miss Lindsey, a singer from Colorado, because she got to show off her poise. She never lost her smile or her cool.

You could say she Handeled it well! 


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