As opera singers we spend years and years (and sometimes more years) and thousands and thousands (and sometimes more thousands) of dollars trying to have an opera career. We've studied and rehearsed and polished in an attempt to get our careers going. And yet some singers make it look so easy going from school to major Young Artist Program while other singers seem to be unable to put all the pieces together even if they seem to have all the elements.
After speaking to a friend recently who was experiencing tons of doubt, it made me wonder if perhaps we singers get trapped worrying more about the career and not refining the craft. Some would say that what we do is not "rocket science" and yet there is a great deal of mystery to the art of not only singing well, but being a compelling artist who not only dazzles vocally, but has the ability to make an audience want to watch them onstage for three to five hours. In addition, the expectation is that the singer will also be attractive enough to show that opera is filled with sexy, talented performers dispelling the myths of the large-sized opera singer with horns. It can be a lot of pressure.
For certain singers, their is an obsession with the "career." They are often in the know about every component of the opera world from who is singing where, who is hiring whom and have an opinion of who is at the top of their game who needs to hang it up. They know which singers, agents, coaches and programs are hot and which ones are not. They have the best headshots, well-crafted resumes, have a dynamic website and seem to know everyone in the "business"and yet they don't seem to be working.
Before taking a break from singing, I was experiencing some success--at least with Young Artist Programs. I was going from program to program because in way it was a form of security. While I was getting hired to do YAPs, I was not getting invited to sing leading roles. Was I not good enough? I decided to get the website, study resumes, follow singers and find fault with those not hiring me. I became very disillusioned and ultimately stepped away. It wasn't until I started working with singers that I realized how much "control" the singer actually has over their career, but it all came down to their "craft"
What is "craft?" The craft is the thing we present-our voice/technique, languages and style and our dramatic connection. The ability to sing/perform like a top pro seems to be the only way to get the "career." Singers who come unprepared musically, dramatically, linguistically or who are not singing at the expected level tend to not get hired. If you are hearing the same things over and over, then at some point the artist has to say one of two things 1) I am going to fix this in order to move to the next level or 2) My voice doesn't do that and they have to accept me as I am. Think about the singers who are having success and notice the risks they take, the level of preparation they invest and how they manage their lives and their careers.
In the "old days," singers had sponsors, several voice lessons a week, conductors who taught roles and the time and space to nurture their talent. Today's fast-paced lifestyle does make it tough to simply get a voice lesson, but again it's a great opportunity to take "control" of our own destiny. No longer do we have to rely on our teacher, coach, friends or enemies to tell us how good we are. We are able to decide for ourselves the level of commitment we put into how great our product is. If we were to imagine our singing like that of an inventor who spends countless hours refining his/her invention before placing it front of a potential investor, I think we would offer a different level of intensity, insight and interest in our performances.
It's a far scarier prospect to take the blame of our lack of success off of "them" and take responsibility for it. It means that we have to accept that what we present in an audition, performance, coaching etc...is truly ours and that we can make it great or we can make it OK. Sure there are always going to be people who are not interested in our product no matter how great it is, but I daresay that every singer that is having a career, has worked tirelessly on their craft and has learned (or is learning) to deal with the career.
Ultimately we have no control over what "they" see. All we can do is walk into that audition, performance, lesson etc...and be our most amazing self. What would it be like if we sang for the sheer joy of it? If they get it, great, if they don't then we can assess what we've done, work to improve and get ready for the next opportunity to knock their socks off. If we refine our craft, then it only makes sense that a career will come. Of course what that "career" looks like is a whole other issue, right?
Peace,
Eric
Tuesday, January 26, 2010
Wednesday, January 20, 2010
The Color of Opera
For those who love opera, it is almost impossible to explain the impact it has on the human soul. When you hear a voice that is so extraordinary, it can send shivers down your spine. When you see great artists in a great opera, you can't help but fall in love. The other thing that makes opera so amazing is that those who create, produce, direct, conduct, coach etc...come from all walks of life encompassing a variety of countries, styles and ideals.
For many people of color involved in opera, there is a great pride of being a successful artist in a predominately Caucasian world. Whether you are singing leading roles at the Metropolitan Opera, experiencing a world-class career in Europe or just at the beginning of a career here in the US, African American singers, both men and women, are finding that there is a place for them in a world that used to welcome certain voice types, but seemingly ignored others.
As I attend rehearsals each day for the 75th Anniversary tour of Porgy and Bess, I find that I am amazed by the number of excellent singers and the fact that they come not only from the worlds of opera, but also musical theatre. The age range is between the early 20s up to the 40s and the level of experience ranges from some singers who have performed the opera multiple times to people like me who are immersing themselves in this great work for the first time.
Over the last few years, African American singers have seen an explosion of performance opportunities and it seems that major opera houses are hiring more and more singers of color not only in roles from Porgy and Bess, but are also being cast in a variety of roles where African Americans were usually not found.
It has given me a strong sense of hope about the future of Black singers and it also reminds me to be grateful to those who have paved the way before me. Without the likes of Marian Anderson, Leontyne Price, Martina Arroyo, Grace Bumbry, Willie Waters, Shirley Verrett, George Shirley, William Warfield, Mattiwilda Dobbs, Williard White and countless other artists past and present, I would not be able to devote myself to this career so to them I say a great thanks.
As 2010 gets into full swing, I take great pride in all the components that make me the unique talent I am and hope that for many years all those components are valued, seen and heard.
Peace,
Eric
For many people of color involved in opera, there is a great pride of being a successful artist in a predominately Caucasian world. Whether you are singing leading roles at the Metropolitan Opera, experiencing a world-class career in Europe or just at the beginning of a career here in the US, African American singers, both men and women, are finding that there is a place for them in a world that used to welcome certain voice types, but seemingly ignored others.
As I attend rehearsals each day for the 75th Anniversary tour of Porgy and Bess, I find that I am amazed by the number of excellent singers and the fact that they come not only from the worlds of opera, but also musical theatre. The age range is between the early 20s up to the 40s and the level of experience ranges from some singers who have performed the opera multiple times to people like me who are immersing themselves in this great work for the first time.
Over the last few years, African American singers have seen an explosion of performance opportunities and it seems that major opera houses are hiring more and more singers of color not only in roles from Porgy and Bess, but are also being cast in a variety of roles where African Americans were usually not found.
It has given me a strong sense of hope about the future of Black singers and it also reminds me to be grateful to those who have paved the way before me. Without the likes of Marian Anderson, Leontyne Price, Martina Arroyo, Grace Bumbry, Willie Waters, Shirley Verrett, George Shirley, William Warfield, Mattiwilda Dobbs, Williard White and countless other artists past and present, I would not be able to devote myself to this career so to them I say a great thanks.
As 2010 gets into full swing, I take great pride in all the components that make me the unique talent I am and hope that for many years all those components are valued, seen and heard.
Peace,
Eric
Wednesday, January 13, 2010
And so it begins
The last few months have been filled with so much change. A few weeks ago I was working on the administrative side of opera and somewhat happy, but feeling stuck. After the end of a recent relationship, I took some time to examine what it was that I really wanted. Was I happy? And if not, what could I do to take control of getting back to happy?
I soon discovered that singing was the missing link and that I had to get back to it. As if the Universe was ready to call my bluff, some local singing opportunities arose and there I was balancing being a singer with working a desk job. (Isn't that they way?) I decided to go one step beyond and got some auditions for companies that would be hearing folks during the all important December month. I knew that if I wanted to be competitive, I would have to have a vocal check-up with someone unfamiliar with my voice. So it was off to baritone-god, former Met star and vocal guru, Mark Oswald. I certainly wasn't excited to plunk down $140 for an hour's worth of "learnin'", but after looking at where his students were singing and reading the testimonials on his website, I figured I at least needed to try.
I arrived promptly for my 9 am lesson and after an hour of mostly vocalizing and singing a few excerpts from two of my arias, I felt light a huge light bulb had been turned on! His idea of optimum resonance in all parts of the voice and on all vowels was a revelation and certainly helped me to find more "squillo" (ring) in the middle voice and ease in the top. I felt stoked and excited about the week of auditions ahead of me.
Five auditions in NYC and a several before that have yielded two contracts. I have never felt more sure of my path in life and am excited to really, finally become the CEO of my brand, Eric McKeever, baritone. I now know that this is a career and not just about singing well. It's my job and I am embracing all of it and if something isn't working, then I will take responsibility and fix it.
There have been many who have said "You can't make a career as a singer," "There's no security," or "They only want x, y and z."
To those I say the following:
-There are singers having careers all over the world. Some are younger than me, some are older, but they are proof that it is possible. So I think, if they can do it, so can I.
-True, the life of a singer is basically like working freelance. You have to "hustle" to get work lined up and it is very competitive, but if your brand is fantastic, someone will want it. When you look at the number of people getting laid off from the corporate world you realize that often the idea of security is not as clean cut as we might think. Often singers who invest the time and energy into their singing careers as if it a full time job, yield results.
Finally:
-Every person who hires has an ideal. While we may never know what that is, we can present our best self at all times. That means being extraordinary. That's a tall order, but again this is a business about putting the best possible person on stage. If you have a stunning voice, looks of a god or goddess, can act better than Meryl Streep and are connected to all the right people, then perhaps things will be easier for you. Perhaps. If you are not carved from the Perfect Opera Singer mold, then you have to find your place in the music/opera world and present your best self and aim to sing so well that the "other" elements won't matter. Again, a tall order, but not impossible. There are so many singers who don't fit the mold who are having careers so there's room for all as long as it is fabulous!
Peace,
Eric
I soon discovered that singing was the missing link and that I had to get back to it. As if the Universe was ready to call my bluff, some local singing opportunities arose and there I was balancing being a singer with working a desk job. (Isn't that they way?) I decided to go one step beyond and got some auditions for companies that would be hearing folks during the all important December month. I knew that if I wanted to be competitive, I would have to have a vocal check-up with someone unfamiliar with my voice. So it was off to baritone-god, former Met star and vocal guru, Mark Oswald. I certainly wasn't excited to plunk down $140 for an hour's worth of "learnin'", but after looking at where his students were singing and reading the testimonials on his website, I figured I at least needed to try.
I arrived promptly for my 9 am lesson and after an hour of mostly vocalizing and singing a few excerpts from two of my arias, I felt light a huge light bulb had been turned on! His idea of optimum resonance in all parts of the voice and on all vowels was a revelation and certainly helped me to find more "squillo" (ring) in the middle voice and ease in the top. I felt stoked and excited about the week of auditions ahead of me.
Five auditions in NYC and a several before that have yielded two contracts. I have never felt more sure of my path in life and am excited to really, finally become the CEO of my brand, Eric McKeever, baritone. I now know that this is a career and not just about singing well. It's my job and I am embracing all of it and if something isn't working, then I will take responsibility and fix it.
There have been many who have said "You can't make a career as a singer," "There's no security," or "They only want x, y and z."
To those I say the following:
-There are singers having careers all over the world. Some are younger than me, some are older, but they are proof that it is possible. So I think, if they can do it, so can I.
-True, the life of a singer is basically like working freelance. You have to "hustle" to get work lined up and it is very competitive, but if your brand is fantastic, someone will want it. When you look at the number of people getting laid off from the corporate world you realize that often the idea of security is not as clean cut as we might think. Often singers who invest the time and energy into their singing careers as if it a full time job, yield results.
Finally:
-Every person who hires has an ideal. While we may never know what that is, we can present our best self at all times. That means being extraordinary. That's a tall order, but again this is a business about putting the best possible person on stage. If you have a stunning voice, looks of a god or goddess, can act better than Meryl Streep and are connected to all the right people, then perhaps things will be easier for you. Perhaps. If you are not carved from the Perfect Opera Singer mold, then you have to find your place in the music/opera world and present your best self and aim to sing so well that the "other" elements won't matter. Again, a tall order, but not impossible. There are so many singers who don't fit the mold who are having careers so there's room for all as long as it is fabulous!
Peace,
Eric
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