Ewa at the Met

One-of-a-kind contralto, Ewa Podles (on Delos: Handel Arias DE 3253, Russian Arias DE 3298), rarely appears in American operatic productions. Her name crops up frequently in programs from European houses, but her unique mahogany-hued voice seems to present a roadblock to American producers. Ewa's presence, even in a small role, usually ends up dominating the entire stage, much to the discomfort of some other singers.

The new Metropolitan Opera brochure detailing the 2008-2009 season contains a surprise. Ewa will finally be singing again at the Met. Perhaps to quiet the insistent clamor of requests from rabid opera fans who crave any work that includes a battle of competing divas, the Met is reviving its venerable production of Ponchielli's "La Gioconda," a supreme example of the "diva-battle" genre. Three principal roles include: La Gioconda, soprano; Laura Adorno, mezzo-soprano; and La Cieca, Gioconda's blind mother, contralto.

Listed are Deborah Voigt, Susan Graham and Ewa Podles. A simple deduction leaves the blind-crippled mother-with-the-big-voice role to Ewa. Poor Cieca is falsely accused by practically everyone in Venice of being a sorceress or witch. In spite of flourishing her rosary beads to no avail she ends up being drowned by the opera's arch villain, Barnaba.

Whatever vocal opportunities the role affords we can be sure that Ewa will make the most of them. As a supreme scene-stealer in any role she tackles (even Erda!), Podles will probably make the minor role of La Cieca into a major reason to see and hear La Gioconda