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"Dear Mark,

Since I am going to be telling you all about my life and my life's work, I would like it if you would call me Jennie. And....I hope I can call you Mark?"

Few people project a cozy camaraderie through the relatively cool medium of email as does American super-mezzo Jennifer Larmore. This is perhaps not surprising when one considers that despite a career that has taken her to all the great opera houses in the world - in a repertoire of over sixty roles encompassing a range of periods and styles from Monteverdi to Poulenc and beyond - Ms. Larmore enjoys a reputation as one of the nicest people in the business. A multifaceted diva, she hosts her own radio program, "Backstage With Jennifer Larmore," on XM Satellite radio and carries a mini disc recorder with her everywhere in order to catch interesting tidbits for the show. A prolific recording artist, Larmore has recorded some four dozen operas and recital discs, and is a five-time Grammy nominee with a 1992 win for Handel's Giulio Cesare. Particularly celebrated in Europe, her various honors include the French Chevalier des arts et des lettres, presented to her personally by Hugues Gall in June of 2003.

After a bit of efficient cyber negotiation, arrangements were made for Ms. Larmore to speak with usOperaweb between rehearsals for The Tales of Hoffmann at Covent Garden in London. We begin at the beginning, with Ms. Larmore's Georgia childhood and early musical training.

"I was born in Atlanta, Georgia, to William and Eloise Larmore. Singing has always been a part of my life. I'm the baby of 4 children-3 girls and 1 boy, all of whom have beautiful voices. As a matter of fact, our whole family is musical. In the 1920s my grandmother played the piano for the silent movies; my great-aunt was a music teacher and my father sang amateur opera. Every Wednesday, my father sat us kids down and played records of singers like John Charles Thomas or Nelson Eddy and Jeanette MacDonald. We hated it of course, but as we grew up, it started to rub off ... especially on me!

"I sang in church and school choirs and was the kid with the most gusto! Teachers were always pinning notes to my parents on my dress, suggesting they encourage me in music because I had an aptitude for it. As I grew up, it became apparent that all I cared about was singing. When I was 10 years old, and the Metropolitan Opera tour came to Atlanta, my parents took me to see La Traviata. I'll never forget the lights going down, the conductor coming out and the first strains of the music beginning. When I heard the soprano start singing, I knew that's what I wanted to do.

"Throughout my teen years, I studied piano, flute, was a member of the school band and orchestra and sang in madrigal and choral groups. Even though I was not taking private voice lessons, my parents, band and choral directors encouraged me to enter the Georgia State Voice Competition. I won it four years in a row! So encouraged, I attended Westminister Choir College in Princeton, NJ, as a vocal major. My friends couldn't understand why I would want to do this to myself, as a major in voice performance was considered frivolous at best. One friend said, "Why don't you major in voice teaching instead of performance so you'll have something to fall back on?" She might as well have been speaking Swahili, I didn't intend to "fall back on" anything. I intended to succeed.

"I began my vocal studies at Westminster and even then my voice teacher, Dr. Robert H. McIver (now at Eastman School of Music in Rochester, NY), had the presence of mind to delve into repertoire, languages, style, and stage comportment instead of in-depth technical training. He intuitively saw that I had a natural voice and the best thing we could do would be to see how it developed. He wasn't "begging off" teaching me -- just the opposite. I learned more from that man than he will ever know. I didn't have any vocal problems; just little things which Dr. McIver helped adjust.

"After college, I moved to Washington, DC, where I studied with John Bullock (Sandra Bullock's father). He was a very controversial teacher who taught all about the "crying" muscles we use as babies but never think about as adults. He helped to open a high extension to my voice and to learn what true stamina is, picking up where Dr. McIver left off. I was with him for three years. We remain great friends to this day. He is now the president of Sandy's film company, which is a big loss to a great many voice students.

"I'm just lucky that I not only had a voice with which to realize this dream but also parents and teachers who encouraged me every step of the way. "

Tell us a bit about your galley years. How were your early experiences, once you had your technique in place and began to venture out into the big, wide, world?

"More often than not, early experiences are ones we "chalk up" to youth and try to forget. Once I did a competition and sang the performance of my life. I thought I had first prize in the bag, but when they announced the winner, the prize had gone to another. Afterwards, one judge said to me, 'you were clearly the winner, but you are obviously going to have a great career and you don't need any help.' Another one said, 'you're too pretty and your looks would be better suited to Las Vegas or the movies, not Opera.' My how times have changed! Being good enough to win does not necessarily mean you will! Developing a thick skin is a must; every career has its hefty dose of rejection."

You made your debut, as Sesto in Mozart's 'La clemenza di Tito', in France. How did your breakthrough occur?

"I've had quite a few big breaks, and to this day feel as if they just keep coming. But the first -- like your first love -- is unforgettable. I needed an agent to inform me of auditions...easier said than done! For every singer there's that surreal 'Catch 22' when you know one spark will start it all, but you can't get anyone to take you seriously. My husband, bass-baritone William Powers, who was already an established singer at the time, was auditioning for a series of opera companies who were holding 'cattle calls'. Bill asked if I could be included in his audition. Bill's agent said that I could, if there was time at the end of the hearing. I felt like they were patting me on the head, saying, 'all right little girl, you just wait over in the corner and maybe we'll deign to hear you.' There did happen to be five minutes left at the end of Bill's audition period, so I ran up and sang. Pierre Médecin from Opéra de Nice was there and gave me seven contracts on the spot! That started everything."

You have managed to carve out a major career in a time particularly rich with lyric mezzo soprano voices of international caliber, no mean achievement in the world of opera, which is fiendishly competitive to begin with. How do you account for the unusual number of world class mezzos today, and how do you cope with the competition emotionally?

"There have always been a lot of mezzos but we've been stuck in roles such as the Mother, the Witch and so on. Sopranos have been the 'glamour girls.' Thanks to mezzos such as [Marilyn] Horne, [Teresa] Berganza, [Frederica] von Stade and [Janet] Baker, we now have a chance to shine in glamorous roles that once were strictly the property of the sopranos. Also, Rossini and Handel have come to figure prominently in the standard repertoire. I also believe that many of the mezzos on the scene today are not really and truly mezzos, but I say more power to you if you feel comfortable in this fach and can pull it off. I am happy to be in the company of most of the mezzos singing today. We're lucky that the most beautiful of all voice parts is so well represented!"

You have been particularly celebrated in those Rossini and Handel roles, a repertoire requiring the highest level of technical accomplishment and imagination for embellishment. Could you describe your approach to ornamentation of the vocal line?

"I know my voice well: which ornaments work, and how they fit with my voice, so I usually prefer to write or compose my own. But, there is a process to this beyond just coming up with ideas; one must sit down at the piano with the coach or conductor and go over the ornaments, then decide which ones work best for the music and the voice together. Collaboration is imperative in making good music."

What are your feelings about come scritto (as written) conductors who disallow ornamentation?

"If a conductor is unwilling to listen to a singer's point of view (or vice-versa) then you will not have music to move a listener. I have dealt with such rigid autocrats and have instantly lost respect for them. Conductors and singers who are secure in their talent and share a mutual respect for each other's artistry will collaborate, listen and discuss what's best for the music. Only then can you have a true musical process that leads to something wonderful in performance."

Where did the delightful idea of ornamenting Orlofsky's aria come from, as you did in the Met's 'Die Fledermaus' production last year? That was most unusual!

"Embellishing Orlofsky's aria was something that I did on the spur of the moment and since it felt right, I kept it in! Why shouldn't Orlofsky have a little fun?"

You mention that the increased presence of Baroque repertoire today has created more opportunity for the mezzo voice. Many of these roles are now also taken by countertenors-both you and David Daniels have sung Giulio Cesare, for example. What are your feelings about the whole countertenor revolution?

"Ah yes, the countertenor is usually a 'roll of the eyes' for the mezzo. But I know quite a few and many have become dear friends. For a while there, they were coming out of the woodwork and I must say that most of them sounded like...well, men just singing in falsetto! But, occasionally one comes along that tears your heart out. It has to do with the musicianship of the singer and the timbre of his voice. By nature of the countertenor voice, there is usually only one color, so this gets old after about 5 minutes. But when you find a unique voice filled with color, and a sensitive singer to go with it, then you've found something special."

You are an internationally lauded American singer. As a true citizen of the performing arts world, what are your thoughts on American vocal music and the contribution of American singers to the art form?

"American singers generally have a reputation of being among the very best. I am always asked in interviews why, and it comes down to a certain work/study ethic as well as the competitive spirit and good voice teaching. My career has taken me to all the major venues on almost every continent and I've seen how my American colleagues sing, behave and work. It makes me proud to see how well they do.

I made a CD of American songs called My Native Land with my wonderful French accompanist, Antoine Palloc. There was a wealth of repertoire from which to choose, and we certainly had our work cut out for us trying to narrow it down to a precious few! Of all the people I asked about American song repertoire, Antoine, a Frenchman, had the most knowledge! He went to graduate school in America, and American song repertoire is one of his interests. It was an honor to record so many of my countrymen's works. I program a lot of American music in recitals and concerts, but even so, there is so much wonderful repertoire that goes wanting. Unfortunately, there's not much opportunity for composers of American music."

You have also recorded a disc of songs by Jake Heggie, and I note you list Sister Helen in his 'Dead Men Walking' among your repertoire. Are you planning to sing the role in production?

"Following the performances of Dead Man Walking in Cincinnati last season, Jake spoke to me at length about preparing the role of "Sister Helen" for future productions. It's powerful music and a fabulous acting tour de force. To date, however, I have not had the opportunity to sing the role in public."

Your productivity in the studio is quite an accomplishment, particularly in an era of decreasing production of recorded opera. How was your recording career launched?

"Singers lament a lot of things in this day and age: the state of opera, the loss of focus on the singer going to the directors, the emphasis on all things visual; and we don't always agree on these trends and fads. But one thing we all agree on is the necessity of a good recording career. To put it bluntly, if one has a recording contract, then half the PR battle is won. You reach local and international markets that would just be impossible to tap into otherwise.

"Throughout my career, my husband has been a guiding force, and when I say "force" I mean just that! Early on, I made a cassette tape of six arias at a professional studio which Bill insisted on sending to all of the major recording companies. I thought he was out of his mind! His retort was, 'You have NO idea how good you are!' To my great surprise very soon after, I received a call from Pal Moe at Deutsche Grammophon who said, 'We get 50 to 60 tapes a week, yet there was something about yours that jumped out at us. We want you to come in and sing in person.' Bill wasn't surprised at all because he always had faith in me, but I was bowled over! This led to three recordings with Deutsche Grammophon, and my first Grammy nomination; also to a meeting with Renate Kupfer of Teldec Classics, which led to an exclusive recording contract. I had one of the last, great, really exclusive contracts with Teldec. With them, I recorded my entire repertoire to date, and when Teldec closed down -- as have so many others--I had four dozen recordings to my name, a fan base stretching all over the world, and some wonderful friendships that last to this day."

Are there any among your recordings you would name your favorites?

"Pinning down my favorite recording is akin to asking a mother which of her children she likes best! I will always have a special place in my heart for my Giulio Cesare with Harmonia Mundi. Working with Rene Jacobs was one of those once-in-a-lifetime experiences when everything clicks. That recording went on to win a Gramophone Award and to be considered one of the best of the times. I'm extremely proud of my work with Teldec, Harmonia Mundi, DGG and most recently Opera Rara. It's a treat to still be recording in a world where people can burn their own CDs and don't really have to go out and buy anything anymore. Making a recording is incredibly hard work, but it's rewarding when someone comes up to you and tells you that they have all your records, intensely gratifying to know they love your work. But it's also important to remember that a recording is like a snapshot, a moment in time. It's how you sound at that precise moment, not how you sounded yesterday or will sound next week, but at that moment."

Which of your various roles give you the most satisfaction? Do you have any dream roles, even out of your own fach?

"This may sound corny, but I have always enjoyed being a mezzo and singing mezzo roles. I loved Carmen because, even though the singing was the easy part, I could sink my teeth into the role itself. Cesare gives me a chance to experience power and authority; Romeo is full of passion and youth; Rosina [in The Barber of Seville] is always different depending on who's the Figaro. I have always wanted to do Octavian [in Der Rosenkavalier], but haven't.....yet! There are some roles a singer naturally outgrows. For me, those are Dorabella in Così [fan tutte] and Cherubino in [The Marriage of] Figaro. I still do the Cherubino arias in concert, but not onstage."

Do you have particular regimen for maintaining vocal health?

"I try to stay well but am not neurotic about my voice. It would be great if I could take my voice out, massage it, put it away for a while in a little box, then come back and take it out. But that's not reality. Being a singer is a way of life, not something you take off and put on when the whim hits. The smart singers take good care of their health and don't put themselves in potentially bad situations where sickness can grab hold or partying can ruin or damage their voices. There's a tremendous amount of discipline and sacrifice that goes along with the choice of this way of life."

What is your relationship with music when you are not performing? Do you listen to opera at home?

"I almost never listen to opera on the radio, nor will I choose it to play when looking for a CD. I'll most often choose classic rock, jazz, or dance music. I love Motown! You can't drag me to an opera (unless I go to support a friend or colleague). I am always onstage; so I hear plenty of opera! When I'm offstage, I need a break."

Have you ever had moments when you wanted to throw in the towel? How do you maintain balance in a huge career like this and feed your spirit when the pressures grow intense?

"I would be lying if I didn't tell you how many times I wish I could step out of the limelight, play 'Miss Domestic Goddess', and never set foot on another airplane. But then again, how many people can say they've met kings, queens, presidents, movie stars; been on TV, on the cover of magazines, sung on the most prestigious stages of the world and led a life most people only dream of? Who in their right mind would trade that in? I love my career and my life. I was lucky enough to catch the brass ring. Paul Simon wrote a lyric, 'Some folks never catch their star'. That breaks my heart. I can't imagine wanting something so badly but never getting it. If my career were over tomorrow, I would be able to look back and feel as if I've achieved more than I ever thought possible. I've packed 60 years into the last 18! Still, nobody makes a career on their own. I have had my husband around me, my parents, my friends, family, coaches, agents, record producers, public relations consultants, conductors, and they have ALL made 'catching my star' possible. I never forget for one minute how lucky I am.

"But let's keep things in perspective: I have many other nonmusical concerns that interest me. While singing opera is a dream come true, there are people dying from hunger in the world. There are heartache [and] sadness and children whose basic rights are violated every single day. I grew up in a household with two of the finest people put on this earth, dedicated to helping people. My parents taught us that being good to your fellow man isn't something you do, it's an imperative way of life. They've worked at missions, feeding and helping the homeless and hungry all their lives and they're still at it in one way or another. I strive to emulate them in a small way by working for UNICEF whenever my schedule permits. Additionally, I am in the process of working with Alexander Pendrite assembling an international concert to benefit some endangered animal species and their habitats."

You really seem to be a straight shooter, and your career has been notably free of scandal. How have you gone about reserving drama for the stage?

"For PR value, I suppose a scandal would come in handy! Some have criticized me for not being 'diva-like' enough, to the extent that I've even been called, 'not a serious artist'! Nothing is farther from the truth. The crux of the matter is this: I don't have the time or inclination to act like I'm better than anyone else. We all know that the best way for a second-rate band to gain recognition is to trash their hotel room! I don't need to do that! I always show-up prepared, on time, ready to perform, I don't throw fits or cause problems, and maybe that's boring. But people need entertainment and I need to sing -- the two meet and we're both happy. Being a "diva" in the negative sense would mean expending a lot more energy than I'm willing to give. I would rather keep my head on my shoulders, you on the edge of your seat, and enjoy the gift I've been given."

Do I sense a remaining bit of Southern graciousness in your communicative style?

"I certainly hope so!"

Okay, just to wrap things up, we HAVE to ask this one! The Internet was burning with a story claiming you actually sang your husband out of a traffic ticket. Was this a bit of operatic apocrypha or is it really true?

"It is really true! Bill was singing The Great Gatsby at the Metropolitan Opera and it just happened to be at one of those rare times when I was home. I was summoned to traffic court at 8:00 a.m. to represent him in his absence and ended up singing arias for the judge. She dismissed all charges! One of the arias I sang was 'Una voce poco fa' [from The Barber of Seville]. Curiously, that aria also got us out of a potentially bad situation in Argentina. Bill and I were going back to Chicago after singing together at the Teatro Colon. We both had been paid in cash and were transporting it back home with us. I thought he had the receipt and he thought I had it. Neither of us did! So, the policemen at Customs thought we were drug runners! We told them that we were opera singers who had just finished performances at the Teatro Colon, but they didn't believe us. I ended up singing 'Una voce' to the whole crowd and the policemen felt obliged to let us go. So, you see? Not only is opera a wonderful profession, it's good for proving you're an honest, upstanding citizen!"

Well, that sounds like an honorable goal for a Georgia girl who doesn't have the inclination to be a haughty diva!

"I suppose I could be called the 'Anti-Diva'. Well, long may she reign!"

Mark Thomas Ketterson is a freelance writer and psychotherapist in private clinical practice in Chicago.