Sylvia Stoner "Enchanted April" interview with the Metropolitan Ensemble

We had a chance recently to speak with Sylvia Stoner, who portrays Rose in MET's production of Enchanted April. Stoner, an actor and opera singer, recently portrayed the key role in Transformations, produced at the MET Space by the Civic Opera Theatre of Kansas City. In Enchanted April she temporary rests her operatic voice to engage in a purely dramatic role. Linda Ade Brand was the director of Transformations and also directs Enchanted April.

Here is what she told us in our interview:

Question: We know your performances as a singer from the Lyric Opera, Civic Opera, Kansas City Repertory Theatre (Christmas Carol) and other venues around town. But this role is an acting role only...can you give us some background on how you perceive yourself as an actress, and how pure acting differs from operatic singing?

Answer: I have always thought of myself as an actor. While at Skidmore College I majored in both theatre (acting concentration) and music. Perhaps the theatre community does not perceive me as an actor, but I have actually done quite a bit of acting and directing in Kansas City. I have to admit that I love both theater and music and would rather not label myself as a "singer who acts" or "actor who sings."

It is interesting, however, to note the difference between roles available to me in the theater as opposed to opera. For example, I sang the role of Lisa, a fragile 18-year-old, in [Tchaikovsky's opera] Pique Dame this summer. Fortunately for me, Tchaikovsky wrote the role for a soprano voice that could cut through his gorgeous but heavy orchestration. However, I am more realistically cast as Rose in Enchanted April. I can personally relate to her life experiences and understand her.

Pure acting requires the actor to make a choice onstage. In opera, the music dictates the choice that must be made. In both straight plays and opera, the artist must continue to discover or the story dies. Often it is a special challenge in opera to create a scene "with" your partner onstage, especially if this partner acts "at" you all night. Opera singers occasionally forget to stay committed to the text or listen to one another onstage. It's so easy to just plug in with the music and the conductor and forget to tell the story.

Question: You have worked with director Linda Ade Brand before, most recently in the Civic Opera Theatre's production of Transformations which took place in this same theater. Transformations and Enchanted April are very different works, however. How would you compare one to the other, especially in terms of working with Linda?

Answer: In Transformations, Linda challenged the singers to serve both the music and the text. It was a very challenging work musically and we could not dare approach the drama until we knew the music. Linda had an abundance of patience with us, in regards to bringing the music to life with the drama. The opera had to be carefully blocked from the beginning, whereas the blocking was not set in the play at the beginning of our scenes work. In both the opera and the play, Linda collaborates with the artist to create a character and tell the story. I feel that Linda holds the same expectation for me to be committed to my character and colleagues in both the play and the opera.

Question: Tell us a little about working with the other ladies in this cast and how the four of you are learning to play off against one another in your very different roles.

Answer: In Enchanted April, there are four other female characters: Lotty, Lady Caroline, Mrs. Graves, and Costanza. Each of these roles is portrayed by outstanding local actors who are very giving onstage. It is thrilling to work with them. Since all of our characters change dramatically throughout the course of the play, it's quite a lot of fun to see how each of us affects the other's transformation.

Question: After Enchanted April, what is coming up next in your schedule that your fans might be able to see?

Answer: I have fans? I will be performing again in the annual Bloomsday event at the Irish Museum and Cultural Center on June 16. I am pleased to join the full-time voice faculty at Washburn University this fall, where I will also direct opera.

I am very grateful for the opportunity to act with MET. This has been a very rewarding experience for me.