Marjorie Owens to Shine at WCO’s ‘Leonore’

The Washington Concert Opera has had quite a 30th-anniversary season.

The organization opened its season with an appropriate anniversary concert, led by star soprano Angela Meade and Vivica Genaux. That was followed by a production of Massenet’s “Herodiade,” starring Michael Fabiano and Joyce El-Khouri.

The WCO wraps up the anniversary season March 15, with a rare production of Beethoven’s “Leonore,” which is famous for being the grand composer’s first version of his greatest opera, “Fidelio.”

It’s also likely to become famous for the starring presence of the sparkling, dynamic young soprano Marjorie Owens in the title role, with Simon O’Neill as Florestan,  Eric Halfvarson as Rocco and coloratura soprano Celena Shafer as Marzeline.

It all happens 6 p.m, Sunday, March 5, at Lisner Auditorium at George Washington University. 

Owens starred as Freihild in Strauss’s “Guntram” at Washington Concert Opera in 2015.

We asked Owens, who grew up in Virginia as part of a Navy family and found her way to express her talent at the Governor’s School for the Arts, a few questions.

**What’s the best thing about being a soprano?**

“Ahhhhh, the high notes. The glorious, glorious high notes.  I gave being a mezzo a try in my 20s. It was delightful and I loved a lot of the repertoire, but the tessitura was just too low.”

**Favorite roles?**

“Ariadne auf Nexos” and Senta from “Fliegende Hollander” (“The Flying Dutchman” to you). I am a Strauss fiend. So, I’ve loved all the Strauss operas I’ve been able to get my hands on. His music just speaks to me, and he writes so beautifully for women.  I think of Senta as Wagner’s most romantic Italian style heroine.”

**When did you discover that you had a special talent and voice?**

“I always loved performing form middle school and beyond. At 14, I felt I was destined to be a coloratura soprano and tried desperately to fit into that niche. (there’s a horrifying video “Glitter and  Be Gay” in a blue boa somewhere) Alas, it was not to be.”

**What other kinds of music to you like as well as performers?**

“I love most types of music-classical,hip hop, electronic, rock, techno. Especially gospel. I love it. You’ll find everything from Adele to Aretha Franklin to Marilyn Manson on my playlists! My main inspiration for opera is Maria Callas (of course, she inspired most all of us), but it took doing a report on her in high school to make me completely smitten with this art form. After her, I fell hard for Corelli, Bastianini, Nilsson, Varnay, Price, London.  There’s too many to list because I was like a kid in a candy store discovering all these amazing singers.”

**Advantages of concert opea and full-scale operas?**

Concert opera feels, to me, more steeped in the music. With full-scale opera, one must always be juggling—reactions to colleagues, minding your technique, not stepping on your costume’s hemline, running down the stairs without missing your cue. It’s a wonderful smorgasbord. With concert opera, it’s a pleasure to be able to focus purely on the music.

**Can you talk a little about “Leonore,” the opera and the role and its challenges?**

I have never sung “Fidelio.” So, this is my first introduction to Beethoven’s masterpiece. I grew up listening to Edda Moser sing this role — so I was well aware of the challenges the aria presents. It took my breath away. The duet with Floristan: I laugh every time I try to sing it, because it’s so joyful.

**If you weren’t a singer what would you be?**

I would probably get involved with dog rescue shelters. My two dachshunds are my favorite things in the whole wide world. I grew up in a dachshund family but I love all dogs with a  slightly scary passion. I’m that friend at the party that hangs out with the hostess’s dogs all night.