
In Amelia, Icarus (the boy who flew too near the sun in Greek mythology), is a recurring character in Amelia’s dreams. We see him building wings with his father Daedalus in Act 1 Scene 2—initially in a dream, though they continue to prepare for their escape as the scene between Amelia and her husband, Paul, continues.
The most challenging part of the production for Coppolo is his Act 2 performance of the Young Boy. “The Act 2 material was, by the end of the workshop, the toughest 12 pages of music I have ever been charged with singing,” he says, noting that in the years since the workshop a few pages of equally difficult music were added. Then there’s the extra challenge of singing high notes from a hospital bed while his character hallucinates. “It is quite a challenge to stay disciplined and focused as a singer while still communicating the story as an actor,” he says. “One of the toughest transitions from the workshop to the stage was finding realistic body positions as the dying boy that would still let me sing.”

Creating these two characters has been an interesting experience for Coppolo, who has drawn on memories and past personal experiences. “I know what it is to be a frightened little boy who wants to live in the safety of his father’s arms,” he says, referring to the hospital scene where the ailing Boy cries out for his Father. But, much like his characters, Coppolo also understands the desire to take flight: “I know what it is to want to push my perceived limits.”
Photos credits. Top: Kate Lindsey (Amelia) and Nicholas Coppolo (Icarus). Bottom: Jordan Bisch (Father) and Nicholas Coppolo (Young Boy). All photos © Rozarii Lynch.
For me Coppolo's hallucination aria in Act 2 was one of the high points of Amelia. It had a dramatic intensity that I didn't always find in the storyline and libretto.
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