Q & A with Gina Galati of "The Ballad of Baby Doe"

Gina Galati

Soprano Gina Galati sings the role of Elizabeth "Baby Doe" Tabor in Winter Opera St. Louis' The Ballad of Baby Doe. She pulls double duty in this production, also serving as the company's Artistic Director. Operatic Saint Louis recently engaged her in a Q & A session where she offers a perspective on her role and the opera.

The Ballad of Baby Doe represents a couple of “firsts” for Winter Opera: the first local premiere of a celebrated opera as well as the first opera by an American composer—Douglas Moore. How did you and Musical Director Steven Jarvi come to choose this piece for your sixth season?

We wanted to produce our first American opera and realized that The Ballad of Baby Doe had never been done previously in St. Louis. Plus, we thought the opera would present a nice challenge for the company.

Which aspects of the real life Elizabeth Doe—as well as Latouche’s rendering of her in the libretto—intrigued you the most in preparing the title role?

What intrigued me the most is her strong character and dedication to Horace Tabor even though it causes her ruin. Her vows and strong unconditional love also appealed to me. Elizabeth could have moved on and secured a better future, but she gave her life to him and his passions instead.

The role of Elizabeth Doe provides musical lines and phrases both gorgeous and challenging for a coloratura soprano. What particular musical challenges did the role present to you as a singer?

The most challenging parts of the role are the large interval leaps in the melody which come out of nowhere sometimes. Also, vocal entrances can be tricky at times because Douglas Moore's choices in tonality are not always the obvious ones.

You have sung several roles from the Italian repertoire, notably Puccini, Verdi and Donizetti. How does the American Elizabeth Doe compare to the women you have previously portrayed onstage?

I feel that Elizabeth Doe is the first character I have played that actively makes the decisions that bring on her demise. She was not sick. She made her own way through life because of her vows. It was nice playing a real American woman, too!

What musical moments in the opera are some of the most affecting and rewarding for you?

I think the last aria—"Always Through the Changing"—is very beautiful and any person, especially those who have lost a loved one, can identify with the words. I also love the Silver Aria ("Gold is a fine thing...") with its beautiful accompaniment which nicely describes the beauty of silver as well as Baby Doe's ability to make peace between groups quarreling. Her really admirable qualities come out in this aria.

Visit www.ginagalati.com to learn more about Ms. Galati and her upcoming career.

The Ballad of Baby Doe runs February 8th (8pm) and 10th (3pm) at the Skip Viragh Center for the Arts on the campus of Chaminade College Preparatory School (425 S. Lindbergh Blvd; map). Tickets may be purchased by calling 314-865-0038 or online at http://winteroperastl.tix.com/ $10 Student Rush Tickets available at the door; valid Student ID required. For more information on this and future productions, visit WinterOperaSTL.org