December 6, 2024 • 31 mins
Join us for an enchanting encounter with Arianna Maubach, the mezzo-soprano sensation who captured hearts and won accolades at the Canadian Opera Company's Center Stage Competition. Arianna takes us on a fascinating journey from her beginnings in a non-musical family to her discovery of a love for singing with the Toronto Children's Chorus. Despite having family in law and entrepreneurship, her passion was nurtured through rigorous training, leading her to the prestigious Royal Conservatory of Music and a Bachelor’s degree at the Eastman School of Music. Arianna reflects on her mentors who were pivotal in shaping her early musical education and career.
As we chat with Arianna, she paints a vivid picture of her preparations for the COC competition performance, sharing insights from her collaboration with music luminaries like Wendy Nielsen and Liz Upchurch. The episode peeks into Arianna’s meticulous aria selection process and her spellbinding experience performing under Maestro Debus, with the goal of savoring each moment on stage. With an ongoing residency at the Academy of Vocal Arts in Philadelphia, Arianna’s aspirations are soaring towards future engagements. Listen as she shares her excitement about upcoming performances, her exploration of new roles, and her burning desire to refine her craft while expanding her repertoire.
All episodes of The Opera Glasses podcast are hosted by the editor of Opera Canada, currently Michael Jones after Elizabeth Bowman hosted seasons 1 and 2. Follow Opera Canada on Instagram, Twitter, Facebook and Visit OperaCanada.ca for all of your Canadian Opera news and reviews.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Michael Jones (00:05):
Good day and welcome to Opera Glasses.
I'm your new host, MichaelJones, and I'm pleased to have
you join us today as weinterview Arianna Maubach.
Arianna was the first placewinner and audience choice
winner at the recent CanadianOpera Company's Center Stage
Competition, so welcome, Arianna.
(00:27):
We're really, really pleased tohave you with us today.
Ariana Maubach (00:30):
Thank you so much for having me, and I'm
especially honored that this isyour first episode as host and I
get to chat with you today, sothank you for having me.
Michael Jones (00:39):
It's a real delight and it's a delight for
me to meet the next generationof singers as you come on
through competitions and throughyou know whatever, what
training programs you're doingand the studying that you're
doing.
But if you don't mind, let'sstart right back at the
(01:00):
beginning.
Beginning.
You are a young woman and youhave decided to become an opera
singer, which is probably notthe career choice for most
primary.
I'm sure that most primaryschool students, when they're
asked what do you want to bewhen you grow up, it's very few
who actually say that they wantto be opera singers, right.
So how did you come about thisas a career path?
(01:22):
What started you off?
What was growing up like foryou?
Ariana Maubach (01:27):
Well, my parents .
I'll start with them.
They certainly are not musical,they're both in law.
My brother is also not musical,he's an entrepreneur.
So I kind of came as a wildcard.
I guess my mom had interest indance and danced at a pretty
high level, and my dad alsoplayed the piano at a high level
and danced at a pretty highlevel, and my dad also played
the piano at a high level, butno, no, no singers whatsoever.
(01:51):
So they decided that they wouldput me in the Toronto
Children's Chorus when I was sixyears old and they were crazy
enough to bring me to RoyThompson Hall when I was four
days old to watch my cousinJessica sing with the Toronto
Children's Chorus.
So that was my firstintroduction to music and to a
venue like Roy Thompson, at justfour days old, like I said.
But yeah, I really had afantastic, fantastic upbringing
(02:15):
with the TCC.
You know the musical education,the theory, the aural skills,
the history and the friendshipelement.
You know I met so many of myclosest friends who I'm still in
touch with and see regularlythrough the Toronto Children's
Chorus.
And so, for people who may notknow about the TCC, it's a very
(02:36):
kind of high-level choir.
The training is intense.
We rehearse multiple times aweek and at the time we were
going on these majorinternational tours.
So we went to Argentina, wewent to Brazil and to Sweden.
Some of those were forcompetitions, other were more
just kind of you know, retreatsand connecting with other choirs
around the world andworkshopping music, but that was
(03:00):
really a terrific introductionto music.
I loved, like I said, singingalongside my friends, being a
part of this greater body ofsound and feeling like I was a
small piece contributing to sucha large, impactful, a large
impactful thing.
A body of sound, like I said.
(03:21):
So that was great.
A Body of Sound, like I said.
So that was great.
And I don't think that therewas ever a moment, though, where
I specifically knew that operawas going to be what I was
eventually going to do.
After I graduated from the choirin 11th grade in high school, I
of course, just decided that Istill wanted to sing, so I
(03:42):
enrolled in private voicelessons at the RCM, at the Royal
Conservatory of Music.
Robert Loewen was my teacherand I did the high school young
artist program there.
I believe it has a differentname now, but I certainly loved
that, and then, from that pointon, it was something that I was
like, okay, I want to try and domy undergrad in this and
(04:05):
continue on with it.
My singing journey was by nomeans finished, so I went to the
Eastman School of Music and Igot my Bachelor's of Music there
in vocal performance.
I had a terrific four yearsthere that I caught from the TCC
.
They were really, reallyimportant in my musical growth
(04:30):
and development initially, sobig shout out to them.
Michael Jones (04:34):
That's wonderful.
Who was in charge?
Who was the artistic director?
Was still Jean, Jean AshworthBartle, or had they moved on by
the time you were there?
Ariana Maubach (04:45):
So when I was starting it was Mrs Bartle, and
then, very shortly after that Ithink I had only a couple years
with Miss Bartle and then it wasElise Bradley.
Michael Jones (04:56):
Oh, of course it was who came after that.
I had forgotten who hadfollowed Jean.
Funny story is that Jean, whenI was very, very young and my
father used to teach together onPrince Edward Island.
So I grew up knowing "MissJean" too, and this was before
she was married, but I knew heras a child as well.
Ariana Maubach (05:19):
Very cool.
I mean, yeah, she's certainly avery well-known, well-known,
beloved woman.
So that's, that's a very funnycoincidence that's very good.
Michael Jones (05:29):
Oh, it was a huge coincidence.
This was before the TorontoChildren's Choir.
I think it even, right for sure, because she didn't, certainly
didn't set out to recruit me.
So, um, so you went to EastmanSchool, did and you did your
undergrad there.
Did you go on for furtherstudies?
Or when did you complete atEastman?
(05:49):
When were you done at Eastman?
I?
Ariana Maubach (05:50):
I did my four-year undergrad there and I
graduated in 2018.
And at that point, you know, Istill knew I feel like I've
always kind of thought of myvoice as being, you know, a
little bit like a pot roast,thought of my voice as being,
you know, a little bit like apot roast, just needing time to
kind of cook and slowly get toits point of being ready to
(06:11):
enjoy, and so I did certainlyfeel like I wanted to have more
technique under my belt before I, you know, started performing.
So I took a gap year.
I nannied for a very closefamily friend of ours and she
had one son at the time and thenlater ended up having a
(06:32):
daughter, and so I was lookingafter a two year old and a
newborn, which certainly tookprobably a decade off of my life
, but I really, really, reallyenjoyed it and learned that I
absolutely love children.
So that was a fantasticexperience.
And all throughout my timenannying, I was taking lessons
with Stephanie Bogle, who laterbecame my full-time teacher when
(06:54):
I joined the Glenn Gould Schooland did my artist diploma there
for two , from 2019 to 2021.
You know, that was obviously aninteresting time for us all,
but the support that GGSprovided me during that time and
the structure of, you know,having something to wake up and
(07:15):
look forward to every day andseeing Stephanie and seeing the
other coaches.
And we even got to kind of workon productions.
We worked on Lucrezia by Bolcom, a fantastic opera that I would
love to do one day again.
It's not very typical to beperformed, but I would certainly
love to do that again.
And then we also The the RapeLucretia, and you know it was a
(07:39):
COVID abbreviated type ofperformance, but, like I said,
it really provided me structureand I made sure that I was
continuing to move forward andmake strides technically during
that time.
So GGS was extremely importantfor
me.
And then I decided I stillwasn't done with school.
So I went and I got a master'sat University of Cincinnati, at
(08:03):
CCM, the College Conservatory ofMusic there, and I spent two
years there, from 2021 to 2023.
Again had a fantastic time.
We were all unleashed at thatpoint, able to perform, able
Bill to Schuman be around eachother and not have to be social,
physically distanced from oneanother, and my training
(08:24):
continued there.
And then the kicker is, I stillwas not wanting to emerge yet,
and so I am currently now aresident artist at the Academy
of Vocal Arts in Philadelphia.
I've been here for, like I said, two years.
I've been involved in manyproductions here and I've had a
fantastic time, and my teacherhere, bill Schumann, has been
(08:47):
incredibly supportive andhelpful and I feel like I'm in
the best shape vocally that I'vebeen ever.
So I thank all of my teacherswho have taught me along the way
.
I certainly owe it to them andto their wisdom and support and
belief in me.
So, yeah, just a shout out tomy my teachers, who I've
(09:08):
mentioned.
I could not be where I amwithout them.
Michael Jones (09:11):
Now a lot of the established singers with whom we
chat, the people who, who, whowe feature in our artist of the
week, talk about the fact thatthey continually need to go back
.
They continually need thisperson that they go to for check
or to make to keep theinstrument healthy?
And do you see yourself in thatplace?
(09:32):
Cause you talk about t
Ariana Maubach (09:36):
Yeah, yes, absolutely.
That's a great point.
I've had, again, like youmentioned, established singers.
I've heard many times that howimportant it is to cultivate,
kind of like you're a race cardriver, and to cultivate your
pit crew and your crew of people.
That who I really look up toand to, like you said, I plan to
rely on for the competition.
You're in Philadelphia now.
Yes.
Michael Jones (10:24):
We talked a little bit Dorab ella operas
that you sang when you were atthe Glenn Gould School.
What roles are you singing now?
What are you learning inPhiladelphia?
(11:37):
like I said humbling,challenging, extremely rewarding
, you know, figuring out andnegotiating what it's like, kind
of sitting've absolutely lovedit.
Like I said, it's beenextremely challenging but has
really been a good teachingexperience in how to sing that
kind of repertoire and I meanthe show is very, is very fun.
Used to begin every lessonwhether that's what we were
working on or not with a bit ofa Mozart aria because she said
your technique has to beabsolutely in place if you're
going to sing this Mozart Ahundred percent.
She would use it as a check-in.
Are you finding that?
Ariana Maubach (12:02):
finding that.
Yeah, absolutely, I mean yeah,that's, she sounds like a smart
woman.
It certainly is a check-in andI would imagine, like you said,
a great way to kind of starteach day of singing.
Michael Jones (12:09):
Yeah, other Mozart roles you've sung or that
.
How about ones that reallyinterest you, that you have,
that you've done bits of, butyou're like, oh, I really want
to do this.
b( v V D
Ariana Maubach (12:19):
I guess, funny story.
I very distinctly rememberbeing at the Young Artist
Performance Academy at the RoyalConservatory of Music and I was
kind of sitting in the hallwaywaiting for a lesson with Bob
Lohan and at the time I had noidea what this person was
singing, but I remember kind ofhumming the tune into my phone
(12:43):
to record it and I was going,which of course is Boy Que
Sapete, and I remember hearingsomeone practicing that and
thinking I love this, what isthis?
And yeah, just kind ofhilarious that ignorant me at
the age of whatever this.
(13:04):
And yeah, just kind ofhilarious that ignorant me at
the age of whatever 16 had noidea what that was.
But so yeah, no, carabino isnot a role that I've that I've
learned in its entirety, but Icertainly know his arias.
I love um clemenza.
There are some fantastic, uh,mezzo arias in that.
But no, dora Bell is the firstMozart role that I've learned in
its entirety.
Michael Jones (13:25):
Okay, um, now the COC competition.
You were in Toronto for a weekfor that is right, is that?
Yes, so what did you doactually leading up to the day
on October 30th?
Ariana Maubach (13:38):
So I flew from Toronto or from Philadelphia,
rather on the Friday, and Idecided that if I was going to
be my most happy, calm andrelaxed self, that I would spend
a few days with my parents,because I'm very, very close
with my family and I love ourneighborhood and I love getting
to walk my dog and, just youknow, feeling human and normal
(13:59):
and having that kind of routinethat I grew up having.
So I spent time there livingwith them.
It was incredibly exciting tofinally get to work with the
esteemed COC music staff, whoI've always heard of and dreamt
of.
Getting to work with WendyNielsen I had actually met when
I was 15 years old.
I went to her vocal institutein St Andrews, new Brunswick,
(14:22):
and I totally fell in love withher and the way that she teaches
there.
But of course, now it's over 10years later where I got to see
her again, so that was a veryexciting moment.
Also, Liz Upchurch, a person whoI've respected and admired and
have been dying to work with forso long.
So getting to coach multiplearias with her was incredibly
(14:45):
exciting.
There was so much food forthought and and as singers we're
always talking about ourtoolbox and, you know, having
people who are adding to thatconstantly and giving you new
tools and ways of thinking aboutthings and they certainly did
that I was.
I left Toronto with lots of newideas and things that I might
envision when I'm practicingnowadays, so I was so thrilled
(15:08):
and excited.
To work with Liz and Wendy and,of course, maestro sing for
Roberto Mauro and Dorian wasincredible and so, yeah, that
was kind of the week leading upto it.
(15:28):
It was very calm, they didn'toverload us.
Our days were filled with maybeone to three coachings and it
was very relaxed.
I had such a fun time meetingthe other finalists.
It was a really lovely crew ofpeople and we all kind of kept
each other sane and were justlaughing and making jokes and
(15:51):
being silly backstage leading upto it, so it was a terrific
experience.
Michael Jones (15:58):
So you did get to spend time with the other
finalists.
Ariana Maubach (16:01):
Yes, I did.
Michael Jones (16:03):
And did you know any of them?
Ariana Maubach (16:05):
in advance.
I didn't, I guess.
No, I actually didn't.
I was gonna say I knew ofcertain people, but I think
because I've been so I haven'tdone a lot of my training in
Toronto, I've been kind of outof the loop with the Canadian
crew of people.
But yeah, I remember that kindof in the second half of the
program or the evening it wasEmma Pennell, Nicholas Murphy
(16:30):
and Olivia LaPointe and myselfand the four of us just had an
absolute ball backstage.
We were just laughing, makingjokes.
You know.
It was such a supportive,relaxed environment.
I couldn't have hoped for abetter, a better crew of singers
to share that stage with.
Michael Jones (16:51):
That's wonderful.
Okay, so that was.
That was the week leading up tothe event.
Tell us about the events onOctober 30.
Tell us how your day went.
When were you up?
How long were you there?
Ariana Maubach (17:26):
And of course, the closed round of the
competition happens directlybefore the curtain opens and
before we do our open roundswith the public.
So there really isn't much timein between.
I think that maybe there wasabout a 30 minute break in
between the open and closedround, but it was good.
I mean, the momentum and theadrenaline was certainly pumping
, so in a way that was helpful.
So in a way that was helpful.
(17:54):
I remember that for the dressrehearsal I was feeling I don't
know.
I think it was the first timethat it kind of set in that this
was going to happen.
And I remember walking out andpeople and singers have always
said that you know, if you havea bad dress rehearsal, you'll
have a great performance.
So I was believing and bankingon that.
Michael Jones (18:13):
Did you do both the arias at the dress rehearsal
?
Both the closed and open?
Ariana Maubach (18:17):
Exactly, and then there was a bit of a break
in between.
I remember I went back to myhotel.
I had some chicken, I steamed,I called a couple friends and my
parents and that was that.
Then I headed across the streetfrom the hotel that they put us
in and it was time that, youknow, being last there's
(18:41):
obviously like a bit moresitting around and waiting and
kind of the pressure.
The pressure builds and thedressing room or the backstage
room slowly starts to dwindle.
You know, suddenly you're justkind of the last one standing.
But, like I said, our crew offour back there Emma, Nick,
Olivia and I were I were keepingeach other sane and strong and
(19:03):
I was certainly very focused.
I was excited and, oddly enough, I remember going out on stage
and not feeling.
I think I was probably a littlebit nervous, excited, but I
distinctly remember looking back, not feeling like I was that
nervous.
There was something that was so.
I mean, I knew that I hadfriends and family in the
(19:24):
audience and a lot of my formerteachers were there, which meant
so much to me and having workedwith with many of the judges
during the week not all of them,but a few of them I knew that
everyone was genuinely rootingfor every single singer that
stepped foot on that stage.
So just knowing that you hadthe support and the love of the
people in the hall was somethingthat was very calming for me
(19:48):
and really kind of put me atease.
And, of course, the incredibleorchestra conducted under
Maestro Debus was so supportive.
I mean, it's not every day thata young artist gets to sing
with an orchestra of thatcaliber and of a conductor of
that caliber, of a conductor ofthat caliber.
So it was such a treat and my,my only goal was to just go out
there and enjoy it and bepresent, and if that's all I did
(20:12):
, I was going to be happy withthat.
I just wanted to to stay in themoment and to think of my
character and to embody Carmenand Isabella, and I feel as
though I did that, and it was.
I mean, the night was thrilling.
Michael Jones (20:28):
So you sang Carmen in the closed round, is
that right?
Ariana Maubach (20:31):
I did, I sang the Seguidilla.
Michael Jones (20:32):
You sang the Segedill a, wonderful.
You talked in your videopackage how drawn you were to
the arias of Carmen, and then Iwas surprised that you sang
racini for us after, aftertelling us how drawn you were to
carmen.
So I'm pleased to know you.
You did it the earler round.
How did you choose which ariasyou were singing that night?
(20:54):
Um, how did you narrow it down,because I'm sure those weren't
your only two on your list,right, right?
And how did you choose what wasfor the private, the closed
round, and what was for theaudience that night?
Ariana Maubach (21:07):
Well, so, interestingly enough, those two
arias the Seguidilla and CrudaSorte have been in my package
for a very long time.
I think I learned them all theway back when I was at GGS, so
in 2019.
And you know, as singers we'realways kind of battling muscle
memory and the challenges thatsinging something old presents.
(21:32):
But, for whatever reason, thosetwo arias have kind of been
able to slowly unravelthemselves and keep evolving,
despite the technical stagesthat I've gone through while
I've had them in my package, andthey really are arias that I
feel like I could sing in mysleep.
The Seguidilla is consistentlymy starter for auditions, and so
(21:54):
I knew that that was somethingthat I wanted to sing and, like
I mentioned, I absolutely adoreCarmen and that character, and
the Rossini is just fun.
You know, I love to sing stuffthat has agility and that is
melismatic.
I find that that's a reallyfreeing way of singing for me.
So the choices were kind ofno-brainers.
(22:17):
I really connect to the piecesand, like I said, enjoy singing
them and find that they flattermy voice and show off the most,
or, I guess, beautiful orimpressive parts of my singing,
and so the choices were easy,and then the COC staff were
super helpful in basicallysuggesting what would be better
(22:40):
to sing for each of the roundsand in my case, I was completely
happy with what they proposedas being my closed round, aria,
and my open round.
Michael Jones (22:52):
There were only seven of you, so it wasn't, and
there was only one other mezzo,I think, in the seven finalists.
Is that right?
Yes, that's correct, and so youdidn't have overlapping
repertoire or anything like that.
Ariana Maubach (23:05):
I believe that maybe a few of the soprani had.
I think there may have been acouple "non-midiers from Don
Giovanni that were offered, butI think that they were.
Someone had sang it for theopen and then the other person
was singing it for the closed,so I believe that that was
really the only overlap ofrepertoire.
But yeah, I mean, I think wewere all kind of thankful that
(23:28):
we all had our own marks to makeon our individual arias and
that there was no issue with anydoubles, so that worked out
really well.
Michael Jones (23:38):
So how long are you in Philadelphia for now?
Ariana Maubach (23:40):
doubles, so that worked out really well.
So how long are you inPhiladelphia for now?
So the Academy of Vocal Artsresident artist training is
technically a four-year program,and I'm in my second of four
and oftentimes people willdecide if you're getting
professional contracts or if youwant to do a different kind of
(24:04):
young artist program.
Then sometimes people willleave after three and they'll
still be able to obtain theirartist diplomas because they
will have fulfilled thoserequirements by their third year
, because the training and theresources are really there at
our disposal to make the most ofand they put on fantastic
productions.
Obviously, the level of singingis incredibly high, so it's
(24:28):
been a really challenging,stimulating and rewarding
environment for the last twoyears.
Michael Jones (24:33):
Wonderful, and summers in Europe or not yet for
yyou?
?
Ariana Maubach (24:38):
So I was fortunate enough, last summer I
actually ended up taking a bitof a break.
My older brother was gettingmarried in Toronto right in the
middle of the summer, so mywhole family was there for that
and that kind of was right inthe middle of you know, all of
these young artists programs andI had thought that maybe I
would want to finally get to goabroad and do kind of a language
(25:01):
study and immersive programthere.
But it just wouldn't have madesense to, you know, get up and
leave in the middle of it tocome fly back to Toronto.
So I had a fantastic summer.
I went out east in Canada, wewent to Newfoundland with our
close family friends, I traveleda bit with my boyfriend, we had
some weddings.
We were in Vermont as well fora wedding.
So it was, it was a reallyfulfilling summer of just
(25:24):
relaxation while slowly, kind ofyou know, keeping the grind
going, practicing, polishing upmy aria package, continuously
working on that, because ofcourse audition season comes
around fast in the fall.
The summer before that I spentin Des Moines, iowa, at Des
Moines Metro Opera.
I had such an amazing summersinging there.
(25:46):
I sang Lynette in the Love forThree Oranges and that was, I
guess, my professional debut.
What a fun, fun, fun, fun showand a very, very nice ease in.
I don't know if everyone willknow the love for Three Oranges,
but Lynette is one of theprincesses or the oranges and
she has a very short lived life.
She's about, she's on stage forabout probably three minutes,
(26:09):
but it was certainly a jampacked full three minutes.
I lived and I died in thosethree minutes.
So that was super fun and I'llbe spending next summer in San
Francisco.
So no plans as of yet to be tobe in Europe, but I really hope
(26:31):
and I trust that those are inthe cards for the future, but
just not quite yet.
Michael Jones (26:36):
And other roles that you're learning now, other
things that sit in your auditionrep.
Ariana Maubach (26:54):
And other roles that you're learning now, other
things that sit could see in mylong-term future, and I'm
finding it very, very satisfyingand technically rewarding to be
stretching myself in those ways.
So, just as an example, I'mlearning O Mio Fernando, which I
love singing.
I've also been kind ofstretching my Rossini
(27:17):
capabilities and I'm looking atTanti Effetti from Donna del
Lago, which is very challenging,um, as a lot of Rossini.
Michael Jones (27:26):
is that's the final aria from Donna del Lago,
right?
Yes?
Ariana Maubach (28:04):
So .
so I've been kind of I'm notsure that it'll be you know
something that I'm ready to addto my package tomorrow.
But I really love the challengeof of working on these pieces
that are stretches and what'sthe other aria that I oh, I just
started looking at Au Malire,immortel from Sappho, so that's
been also really, really fun.
I mean, a lot of this biglegato, slow repertoire kind of
feels like a vocal massage in away.
It feels really good to sing,so I feel like that's kind of
how I know that massage in a way.
It feels really good to sing,so I feel like that's kind of
how I know that I'm in the rightspot.
Michael Jones (28:04):
but whether I sing them, you know, next year
or in several years from now,we'll see, but uh, and you're
young, you're in development, so, absolutely so, you don't
actually know what's your dreamrole that you that you would
love to do someday.
Ariana Maubach (28:21):
I mean, I did say Carmen in my COC interview,
but oh, I would also loveCharlotte from Werther.
Michael Jones (28:29):
I love, which I think every myth grows up loving
, because Of course you have aspectacular whole scene with
Sophie.
That's.
Ariana Maubach (28:36):
Of course, exactly .
.
Michael Jones (28:38):
So yeah, that's probably my other, my other
bucket list role wonderful,that's exciting, okay, so let's
just do some some really funquestions that that you know um
your food's in the thing thatyou love, that you know isn't
good for you oh, I can eat macand cheese for every single meal
(28:59):
for the rest of my life.
What real mac and cheese likeevery single meal for the rest
of my life Real mac and cheese.
Ariana Maubach (29:04):
Like, are you?
Actually making the pasta Arewe talking?
Michael Jones (29:06):
Kraft dinner here .
Ariana Maubach (29:08):
We're talking Kraft dinner.
We're talking about the cheapgood stuff that comes in a box.
That's non-perishable Coffee ortea Coffee, for sure.
I love a full fat milk latte.
I'm not a nut milk girly.
I love a latte with some sortof either vanilla or cinnamon or
caramel.
(29:28):
It's Starbucks holiday drinkseason, so I would always pick
having a chestnut praline latteover black coffee, for sure.
Michael Jones (29:38):
What are you binge watching on TV or on one
of the services over black?
Ariana Maubach (29:41):
coffee, for sure .
What have you been watching ontv or on one of the services?
I'm always embarrassed to admitmy reality tv obsession, but
I'm a huge real housewives fan.
Um, my boyfriend and I werewatching the martha stewart
documentary the other night.
We got about halfway throughthat, but but yeah, real reality
tv is definitely my guiltypleasure.
Michael Jones (30:00):
And what are you reading?
Ariana Maubach (30:02):
What am I reading?
Nico Castel translation of CosìPandute.
Does that count?
Reading, reading, reading.
Constantly trying to memorize.
Michael Jones (30:15):
Good Okay well.
Ariana Maubach (30:33):
thank you so much, Arianna, for taking the
time to speak with us today.
I know that our listeners andreaders in Canada wish you all
the best, and we couldn't behappier for your success.
Any final words fun to chatwith you and to be a guest on
your first episode as host, sothank you for thinking to invite
me and thank you to everyonewho watched the competition that
night, either there in personor online.
Opera supporters mean so muchto us and you're the reason why
(30:56):
we do what we do, so that we canconnect with you.
So thank you for being thereand for supporting the arts.
And that's all for me.
Thank you again for having me.
Michael Jones (31:05):
And thank you so much for joining us and everyone
out there.
Stay tuned for the next episodeof the Opera Glasses podcast.
I'm Michael Jones, we'respeaking with Arianna Malbach
and I'm really pleased to haveyou join us today.
Good day and welcome to Opera Glasses.
I'm your new host, MichaelJones, and I'm pleased to have
you join us today as weinterview Arianna Maubach.
Arianna was the first placewinner and audience choice
winner at the recent CanadianOpera Company's Center Stage
Competition, so welcome, Arianna.
(00:27):
We're really, really pleased tohave you with us today.
Ariana Maubach (00:30):
Thank you so much for having me, and I'm
especially honored that this isyour first episode as host and I
get to chat with you today, sothank you for having me.
Michael Jones (00:39):
It's a real delight and it's a delight for
me to meet the next generationof singers as you come on
through competitions and throughyou know whatever, what
training programs you're doingand the studying that you're
doing.
But if you don't mind, let'sstart right back at the
(01:00):
beginning.
Beginning.
You are a young woman and youhave decided to become an opera
singer, which is probably notthe career choice for most
primary.
I'm sure that most primaryschool students, when they're
asked what do you want to bewhen you grow up, it's very few
who actually say that they wantto be opera singers, right.
So how did you come about thisas a career path?
(01:22):
What started you off?
What was growing up like foryou?
Ariana Maubach (01:27):
Well, my parents .
I'll start with them.
They certainly are not musical,they're both in law.
My brother is also not musical,he's an entrepreneur.
So I kind of came as a wildcard.
I guess my mom had interest indance and danced at a pretty
high level, and my dad alsoplayed the piano at a high level
and danced at a pretty highlevel, and my dad also played
the piano at a high level, butno, no, no singers whatsoever.
(01:51):
So they decided that they wouldput me in the Toronto
Children's Chorus when I was sixyears old and they were crazy
enough to bring me to RoyThompson Hall when I was four
days old to watch my cousinJessica sing with the Toronto
Children's Chorus.
So that was my firstintroduction to music and to a
venue like Roy Thompson, at justfour days old, like I said.
But yeah, I really had afantastic, fantastic upbringing
(02:15):
with the TCC.
You know the musical education,the theory, the aural skills,
the history and the friendshipelement.
You know I met so many of myclosest friends who I'm still in
touch with and see regularlythrough the Toronto Children's
Chorus.
And so, for people who may notknow about the TCC, it's a very
(02:36):
kind of high-level choir.
The training is intense.
We rehearse multiple times aweek and at the time we were
going on these majorinternational tours.
So we went to Argentina, wewent to Brazil and to Sweden.
Some of those were forcompetitions, other were more
just kind of you know, retreatsand connecting with other choirs
around the world andworkshopping music, but that was
(03:00):
really a terrific introductionto music.
I loved, like I said, singingalongside my friends, being a
part of this greater body ofsound and feeling like I was a
small piece contributing to sucha large, impactful, a large
impactful thing.
A body of sound, like I said.
(03:21):
So that was great.
A Body of Sound, like I said.
So that was great.
And I don't think that therewas ever a moment, though, where
I specifically knew that operawas going to be what I was
eventually going to do.
After I graduated from the choirin 11th grade in high school, I
of course, just decided that Istill wanted to sing, so I
(03:42):
enrolled in private voicelessons at the RCM, at the Royal
Conservatory of Music.
Robert Loewen was my teacherand I did the high school young
artist program there.
I believe it has a differentname now, but I certainly loved
that, and then, from that pointon, it was something that I was
like, okay, I want to try and domy undergrad in this and
(04:05):
continue on with it.
My singing journey was by nomeans finished, so I went to the
Eastman School of Music and Igot my Bachelor's of Music there
in vocal performance.
I had a terrific four yearsthere that I caught from the TCC
.
They were really, reallyimportant in my musical growth
(04:30):
and development initially, sobig shout out to them.
Michael Jones (04:34):
That's wonderful.
Who was in charge?
Who was the artistic director?
Was still Jean, Jean AshworthBartle, or had they moved on by
the time you were there?
Ariana Maubach (04:45):
So when I was starting it was Mrs Bartle, and
then, very shortly after that Ithink I had only a couple years
with Miss Bartle and then it wasElise Bradley.
Michael Jones (04:56):
Oh, of course it was who came after that.
I had forgotten who hadfollowed Jean.
Funny story is that Jean, whenI was very, very young and my
father used to teach together onPrince Edward Island.
So I grew up knowing "MissJean" too, and this was before
she was married, but I knew heras a child as well.
Ariana Maubach (05:19):
Very cool.
I mean, yeah, she's certainly avery well-known, well-known,
beloved woman.
So that's, that's a very funnycoincidence that's very good.
Michael Jones (05:29):
Oh, it was a huge coincidence.
This was before the TorontoChildren's Choir.
I think it even, right for sure, because she didn't, certainly
didn't set out to recruit me.
So, um, so you went to EastmanSchool, did and you did your
undergrad there.
Did you go on for furtherstudies?
Or when did you complete atEastman?
(05:49):
When were you done at Eastman?
I?
Ariana Maubach (05:50):
I did my four-year undergrad there and I
graduated in 2018.
And at that point, you know, Istill knew I feel like I've
always kind of thought of myvoice as being, you know, a
little bit like a pot roast,thought of my voice as being,
you know, a little bit like apot roast, just needing time to
kind of cook and slowly get toits point of being ready to
(06:11):
enjoy, and so I did certainlyfeel like I wanted to have more
technique under my belt before I, you know, started performing.
So I took a gap year.
I nannied for a very closefamily friend of ours and she
had one son at the time and thenlater ended up having a
(06:32):
daughter, and so I was lookingafter a two year old and a
newborn, which certainly tookprobably a decade off of my life
, but I really, really, reallyenjoyed it and learned that I
absolutely love children.
So that was a fantasticexperience.
And all throughout my timenannying, I was taking lessons
with Stephanie Bogle, who laterbecame my full-time teacher when
(06:54):
I joined the Glenn Gould Schooland did my artist diploma there
for two , from 2019 to 2021.
You know, that was obviously aninteresting time for us all,
but the support that GGSprovided me during that time and
the structure of, you know,having something to wake up and
(07:15):
look forward to every day andseeing Stephanie and seeing the
other coaches.
And we even got to kind of workon productions.
We worked on Lucrezia by Bolcom, a fantastic opera that I would
love to do one day again.
It's not very typical to beperformed, but I would certainly
love to do that again.
And then we also The the RapeLucretia, and you know it was a
(07:39):
COVID abbreviated type ofperformance, but, like I said,
it really provided me structureand I made sure that I was
continuing to move forward andmake strides technically during
that time.
So GGS was extremely importantfor
me.
And then I decided I stillwasn't done with school.
So I went and I got a master'sat University of Cincinnati, at
(08:03):
CCM, the College Conservatory ofMusic there, and I spent two
years there, from 2021 to 2023.
Again had a fantastic time.
We were all unleashed at thatpoint, able to perform, able
Bill to Schuman be around eachother and not have to be social,
physically distanced from oneanother, and my training
(08:24):
continued there.
And then the kicker is, I stillwas not wanting to emerge yet,
and so I am currently now aresident artist at the Academy
of Vocal Arts in Philadelphia.
I've been here for, like I said, two years.
I've been involved in manyproductions here and I've had a
fantastic time, and my teacherhere, bill Schumann, has been
(08:47):
incredibly supportive andhelpful and I feel like I'm in
the best shape vocally that I'vebeen ever.
So I thank all of my teacherswho have taught me along the way
.
I certainly owe it to them andto their wisdom and support and
belief in me.
So, yeah, just a shout out tomy my teachers, who I've
(09:08):
mentioned.
I could not be where I amwithout them.
Michael Jones (09:11):
Now a lot of the established singers with whom we
chat, the people who, who, whowe feature in our artist of the
week, talk about the fact thatthey continually need to go back
.
They continually need thisperson that they go to for check
or to make to keep theinstrument healthy?
And do you see yourself in thatplace?
(09:32):
Cause you talk about t
Ariana Maubach (09:36):
Yeah, yes, absolutely.
That's a great point.
I've had, again, like youmentioned, established singers.
I've heard many times that howimportant it is to cultivate,
kind of like you're a race cardriver, and to cultivate your
pit crew and your crew of people.
That who I really look up toand to, like you said, I plan to
rely on for the competition.
You're in Philadelphia now.
Yes.
Michael Jones (10:24):
We talked a little bit Dorab ella operas
that you sang when you were atthe Glenn Gould School.
What roles are you singing now?
What are you learning inPhiladelphia?
(11:37):
like I said humbling,challenging, extremely rewarding
, you know, figuring out andnegotiating what it's like, kind
of sitting've absolutely lovedit.
Like I said, it's beenextremely challenging but has
really been a good teachingexperience in how to sing that
kind of repertoire and I meanthe show is very, is very fun.
Used to begin every lessonwhether that's what we were
working on or not with a bit ofa Mozart aria because she said
your technique has to beabsolutely in place if you're
going to sing this Mozart Ahundred percent.
She would use it as a check-in.
Are you finding that?
Ariana Maubach (12:02):
finding that.
Yeah, absolutely, I mean yeah,that's, she sounds like a smart
woman.
It certainly is a check-in andI would imagine, like you said,
a great way to kind of starteach day of singing.
Michael Jones (12:09):
Yeah, other Mozart roles you've sung or that
.
How about ones that reallyinterest you, that you have,
that you've done bits of, butyou're like, oh, I really want
to do this.
b( v V D
Ariana Maubach (12:19):
I guess, funny story.
I very distinctly rememberbeing at the Young Artist
Performance Academy at the RoyalConservatory of Music and I was
kind of sitting in the hallwaywaiting for a lesson with Bob
Lohan and at the time I had noidea what this person was
singing, but I remember kind ofhumming the tune into my phone
(12:43):
to record it and I was going,which of course is Boy Que
Sapete, and I remember hearingsomeone practicing that and
thinking I love this, what isthis?
And yeah, just kind ofhilarious that ignorant me at
the age of whatever this.
(13:04):
And yeah, just kind ofhilarious that ignorant me at
the age of whatever 16 had noidea what that was.
But so yeah, no, carabino isnot a role that I've that I've
learned in its entirety, but Icertainly know his arias.
I love um clemenza.
There are some fantastic, uh,mezzo arias in that.
But no, dora Bell is the firstMozart role that I've learned in
its entirety.
Michael Jones (13:25):
Okay, um, now the COC competition.
You were in Toronto for a weekfor that is right, is that?
Yes, so what did you doactually leading up to the day
on October 30th?
Ariana Maubach (13:38):
So I flew from Toronto or from Philadelphia,
rather on the Friday, and Idecided that if I was going to
be my most happy, calm andrelaxed self, that I would spend
a few days with my parents,because I'm very, very close
with my family and I love ourneighborhood and I love getting
to walk my dog and, just youknow, feeling human and normal
(13:59):
and having that kind of routinethat I grew up having.
So I spent time there livingwith them.
It was incredibly exciting tofinally get to work with the
esteemed COC music staff, whoI've always heard of and dreamt
of.
Getting to work with WendyNielsen I had actually met when
I was 15 years old.
I went to her vocal institutein St Andrews, new Brunswick,
(14:22):
and I totally fell in love withher and the way that she teaches
there.
But of course, now it's over 10years later where I got to see
her again, so that was a veryexciting moment.
Also, Liz Upchurch, a person whoI've respected and admired and
have been dying to work with forso long.
So getting to coach multiplearias with her was incredibly
(14:45):
exciting.
There was so much food forthought and and as singers we're
always talking about ourtoolbox and, you know, having
people who are adding to thatconstantly and giving you new
tools and ways of thinking aboutthings and they certainly did
that I was.
I left Toronto with lots of newideas and things that I might
envision when I'm practicingnowadays, so I was so thrilled
(15:08):
and excited.
To work with Liz and Wendy and,of course, maestro sing for
Roberto Mauro and Dorian wasincredible and so, yeah, that
was kind of the week leading upto it.
(15:28):
It was very calm, they didn'toverload us.
Our days were filled with maybeone to three coachings and it
was very relaxed.
I had such a fun time meetingthe other finalists.
It was a really lovely crew ofpeople and we all kind of kept
each other sane and were justlaughing and making jokes and
(15:51):
being silly backstage leading upto it, so it was a terrific
experience.
Michael Jones (15:58):
So you did get to spend time with the other
finalists.
Ariana Maubach (16:01):
Yes, I did.
Michael Jones (16:03):
And did you know any of them?
Ariana Maubach (16:05):
in advance.
I didn't, I guess.
No, I actually didn't.
I was gonna say I knew ofcertain people, but I think
because I've been so I haven'tdone a lot of my training in
Toronto, I've been kind of outof the loop with the Canadian
crew of people.
But yeah, I remember that kindof in the second half of the
program or the evening it wasEmma Pennell, Nicholas Murphy
(16:30):
and Olivia LaPointe and myselfand the four of us just had an
absolute ball backstage.
We were just laughing, makingjokes.
You know.
It was such a supportive,relaxed environment.
I couldn't have hoped for abetter, a better crew of singers
to share that stage with.
Michael Jones (16:51):
That's wonderful.
Okay, so that was.
That was the week leading up tothe event.
Tell us about the events onOctober 30.
Tell us how your day went.
When were you up?
How long were you there?
Ariana Maubach (17:26):
And of course, the closed round of the
competition happens directlybefore the curtain opens and
before we do our open roundswith the public.
So there really isn't much timein between.
I think that maybe there wasabout a 30 minute break in
between the open and closedround, but it was good.
I mean, the momentum and theadrenaline was certainly pumping
, so in a way that was helpful.
So in a way that was helpful.
(17:54):
I remember that for the dressrehearsal I was feeling I don't
know.
I think it was the first timethat it kind of set in that this
was going to happen.
And I remember walking out andpeople and singers have always
said that you know, if you havea bad dress rehearsal, you'll
have a great performance.
So I was believing and bankingon that.
Michael Jones (18:13):
Did you do both the arias at the dress rehearsal
?
Both the closed and open?
Ariana Maubach (18:17):
Exactly, and then there was a bit of a break
in between.
I remember I went back to myhotel.
I had some chicken, I steamed,I called a couple friends and my
parents and that was that.
Then I headed across the streetfrom the hotel that they put us
in and it was time that, youknow, being last there's
(18:41):
obviously like a bit moresitting around and waiting and
kind of the pressure.
The pressure builds and thedressing room or the backstage
room slowly starts to dwindle.
You know, suddenly you're justkind of the last one standing.
But, like I said, our crew offour back there Emma, Nick,
Olivia and I were I were keepingeach other sane and strong and
(19:03):
I was certainly very focused.
I was excited and, oddly enough, I remember going out on stage
and not feeling.
I think I was probably a littlebit nervous, excited, but I
distinctly remember looking back, not feeling like I was that
nervous.
There was something that was so.
I mean, I knew that I hadfriends and family in the
(19:24):
audience and a lot of my formerteachers were there, which meant
so much to me and having workedwith with many of the judges
during the week not all of them,but a few of them I knew that
everyone was genuinely rootingfor every single singer that
stepped foot on that stage.
So just knowing that you hadthe support and the love of the
people in the hall was somethingthat was very calming for me
(19:48):
and really kind of put me atease.
And, of course, the incredibleorchestra conducted under
Maestro Debus was so supportive.
I mean, it's not every day thata young artist gets to sing
with an orchestra of thatcaliber and of a conductor of
that caliber, of a conductor ofthat caliber.
So it was such a treat and my,my only goal was to just go out
there and enjoy it and bepresent, and if that's all I did
(20:12):
, I was going to be happy withthat.
I just wanted to to stay in themoment and to think of my
character and to embody Carmenand Isabella, and I feel as
though I did that, and it was.
I mean, the night was thrilling.
Michael Jones (20:28):
So you sang Carmen in the closed round, is
that right?
Ariana Maubach (20:31):
I did, I sang the Seguidilla.
Michael Jones (20:32):
You sang the Segedill a, wonderful.
You talked in your videopackage how drawn you were to
the arias of Carmen, and then Iwas surprised that you sang
racini for us after, aftertelling us how drawn you were to
carmen.
So I'm pleased to know you.
You did it the earler round.
How did you choose which ariasyou were singing that night?
(20:54):
Um, how did you narrow it down,because I'm sure those weren't
your only two on your list,right, right?
And how did you choose what wasfor the private, the closed
round, and what was for theaudience that night?
Ariana Maubach (21:07):
Well, so, interestingly enough, those two
arias the Seguidilla and CrudaSorte have been in my package
for a very long time.
I think I learned them all theway back when I was at GGS, so
in 2019.
And you know, as singers we'realways kind of battling muscle
memory and the challenges thatsinging something old presents.
(21:32):
But, for whatever reason, thosetwo arias have kind of been
able to slowly unravelthemselves and keep evolving,
despite the technical stagesthat I've gone through while
I've had them in my package, andthey really are arias that I
feel like I could sing in mysleep.
The Seguidilla is consistentlymy starter for auditions, and so
(21:54):
I knew that that was somethingthat I wanted to sing and, like
I mentioned, I absolutely adoreCarmen and that character, and
the Rossini is just fun.
You know, I love to sing stuffthat has agility and that is
melismatic.
I find that that's a reallyfreeing way of singing for me.
So the choices were kind ofno-brainers.
(22:17):
I really connect to the piecesand, like I said, enjoy singing
them and find that they flattermy voice and show off the most,
or, I guess, beautiful orimpressive parts of my singing,
and so the choices were easy,and then the COC staff were
super helpful in basicallysuggesting what would be better
(22:40):
to sing for each of the roundsand in my case, I was completely
happy with what they proposedas being my closed round, aria,
and my open round.
Michael Jones (22:52):
There were only seven of you, so it wasn't, and
there was only one other mezzo,I think, in the seven finalists.
Is that right?
Yes, that's correct, and so youdidn't have overlapping
repertoire or anything like that.
Ariana Maubach (23:05):
I believe that maybe a few of the soprani had.
I think there may have been acouple "non-midiers from Don
Giovanni that were offered, butI think that they were.
Someone had sang it for theopen and then the other person
was singing it for the closed,so I believe that that was
really the only overlap ofrepertoire.
But yeah, I mean, I think wewere all kind of thankful that
(23:28):
we all had our own marks to makeon our individual arias and
that there was no issue with anydoubles, so that worked out
really well.
Michael Jones (23:38):
So how long are you in Philadelphia for now?
Ariana Maubach (23:40):
doubles, so that worked out really well.
So how long are you inPhiladelphia for now?
So the Academy of Vocal Artsresident artist training is
technically a four-year program,and I'm in my second of four
and oftentimes people willdecide if you're getting
professional contracts or if youwant to do a different kind of
(24:04):
young artist program.
Then sometimes people willleave after three and they'll
still be able to obtain theirartist diplomas because they
will have fulfilled thoserequirements by their third year
, because the training and theresources are really there at
our disposal to make the most ofand they put on fantastic
productions.
Obviously, the level of singingis incredibly high, so it's
(24:28):
been a really challenging,stimulating and rewarding
environment for the last twoyears.
Michael Jones (24:33):
Wonderful, and summers in Europe or not yet for
yyou?
?
Ariana Maubach (24:38):
So I was fortunate enough, last summer I
actually ended up taking a bitof a break.
My older brother was gettingmarried in Toronto right in the
middle of the summer, so mywhole family was there for that
and that kind of was right inthe middle of you know, all of
these young artists programs andI had thought that maybe I
would want to finally get to goabroad and do kind of a language
(25:01):
study and immersive programthere.
But it just wouldn't have madesense to, you know, get up and
leave in the middle of it tocome fly back to Toronto.
So I had a fantastic summer.
I went out east in Canada, wewent to Newfoundland with our
close family friends, I traveleda bit with my boyfriend, we had
some weddings.
We were in Vermont as well fora wedding.
So it was, it was a reallyfulfilling summer of just
(25:24):
relaxation while slowly, kind ofyou know, keeping the grind
going, practicing, polishing upmy aria package, continuously
working on that, because ofcourse audition season comes
around fast in the fall.
The summer before that I spentin Des Moines, iowa, at Des
Moines Metro Opera.
I had such an amazing summersinging there.
(25:46):
I sang Lynette in the Love forThree Oranges and that was, I
guess, my professional debut.
What a fun, fun, fun, fun showand a very, very nice ease in.
I don't know if everyone willknow the love for Three Oranges,
but Lynette is one of theprincesses or the oranges and
she has a very short lived life.
She's about, she's on stage forabout probably three minutes,
(26:09):
but it was certainly a jampacked full three minutes.
I lived and I died in thosethree minutes.
So that was super fun and I'llbe spending next summer in San
Francisco.
So no plans as of yet to be tobe in Europe, but I really hope
(26:31):
and I trust that those are inthe cards for the future, but
just not quite yet.
Michael Jones (26:36):
And other roles that you're learning now, other
things that sit in your auditionrep.
Ariana Maubach (26:54):
And other roles that you're learning now, other
things that sit could see in mylong-term future, and I'm
finding it very, very satisfyingand technically rewarding to be
stretching myself in those ways.
So, just as an example, I'mlearning O Mio Fernando, which I
love singing.
I've also been kind ofstretching my Rossini
(27:17):
capabilities and I'm looking atTanti Effetti from Donna del
Lago, which is very challenging,um, as a lot of Rossini.
Michael Jones (27:26):
is that's the final aria from Donna del Lago,
right?
Yes?
Ariana Maubach (28:04):
So .
so I've been kind of I'm notsure that it'll be you know
something that I'm ready to addto my package tomorrow.
But I really love the challengeof of working on these pieces
that are stretches and what'sthe other aria that I oh, I just
started looking at Au Malire,immortel from Sappho, so that's
been also really, really fun.
I mean, a lot of this biglegato, slow repertoire kind of
feels like a vocal massage in away.
It feels really good to sing,so I feel like that's kind of
how I know that massage in a way.
It feels really good to sing,so I feel like that's kind of
how I know that I'm in the rightspot.
Michael Jones (28:04):
but whether I sing them, you know, next year
or in several years from now,we'll see, but uh, and you're
young, you're in development, so, absolutely so, you don't
actually know what's your dreamrole that you that you would
love to do someday.
Ariana Maubach (28:21):
I mean, I did say Carmen in my COC interview,
but oh, I would also loveCharlotte from Werther.
Michael Jones (28:29):
I love, which I think every myth grows up loving
, because Of course you have aspectacular whole scene with
Sophie.
That's.
Ariana Maubach (28:36):
Of course, exactly .
.
Michael Jones (28:38):
So yeah, that's probably my other, my other
bucket list role wonderful,that's exciting, okay, so let's
just do some some really funquestions that that you know um
your food's in the thing thatyou love, that you know isn't
good for you oh, I can eat macand cheese for every single meal
(28:59):
for the rest of my life.
What real mac and cheese likeevery single meal for the rest
of my life Real mac and cheese.
Ariana Maubach (29:04):
Like, are you?
Actually making the pasta Arewe talking?
Michael Jones (29:06):
Kraft dinner here .
Ariana Maubach (29:08):
We're talking Kraft dinner.
We're talking about the cheapgood stuff that comes in a box.
That's non-perishable Coffee ortea Coffee, for sure.
I love a full fat milk latte.
I'm not a nut milk girly.
I love a latte with some sortof either vanilla or cinnamon or
caramel.
(29:28):
It's Starbucks holiday drinkseason, so I would always pick
having a chestnut praline latteover black coffee, for sure.
Michael Jones (29:38):
What are you binge watching on TV or on one
of the services over black?
Ariana Maubach (29:41):
coffee, for sure .
What have you been watching ontv or on one of the services?
I'm always embarrassed to admitmy reality tv obsession, but
I'm a huge real housewives fan.
Um, my boyfriend and I werewatching the martha stewart
documentary the other night.
We got about halfway throughthat, but but yeah, real reality
tv is definitely my guiltypleasure.
Michael Jones (30:00):
And what are you reading?
Ariana Maubach (30:02):
What am I reading?
Nico Castel translation of CosìPandute.
Does that count?
Reading, reading, reading.
Constantly trying to memorize.
Michael Jones (30:15):
Good Okay well.
Ariana Maubach (30:33):
thank you so much, Arianna, for taking the
time to speak with us today.
I know that our listeners andreaders in Canada wish you all
the best, and we couldn't behappier for your success.
Any final words fun to chatwith you and to be a guest on
your first episode as host, sothank you for thinking to invite
me and thank you to everyonewho watched the competition that
night, either there in personor online.
Opera supporters mean so muchto us and you're the reason why
(30:56):
we do what we do, so that we canconnect with you.
So thank you for being thereand for supporting the arts.
And that's all for me.
Thank you again for having me.
Michael Jones (31:05):
And thank you so much for joining us and everyone
out there.
Stay tuned for the next episodeof the Opera Glasses podcast.
I'm Michael Jones, we'respeaking with Arianna Malbach
and I'm really pleased to haveyou join us today.
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