One of my favorite television shows is "What Not to Wear." Show hosts Stacey London and Clinton Kelly secretly video tape unsuspecting folks in dire need of a makeover before ambushing them in public (along with the assistance of several friend and family) in order to let the person of questionable stylistic taste know that they need to throw out the old and embrace the new. Usually there are tears, fears and leers as the "project" surrenders to the rules, goes shopping for two days and gets a fresh new hair cut and make-up lesson from cohorts Nick Arrojo and Carmindy. By the end of the episode the poorly dressed has seen the error of their ways and is reformed into a stylista who is ready to show off their sparkling new look and attitude.
I began thinking what it would be like if there were a version of this for opera singers. Singers who are in need of an audition aria make over would hear why their current repertoire is unflattering and not presenting them in their best light. Like "What Not the Wear," I'm certain that the unsuspecting opera singer would resist kicking and screaming that what they offer is best for them and they don't need to change. The “experts” would listen to their offered five and give feedback on what was good about it and what "showed them up." After learning about the singer’s voice, the experts would introduce the rules (or things that the singer’s voice does well) and offer suggestions on what rep would really make their talents stand out. Of course, the opera singer would have to surrender their ego and listen and try out the new rep in order for the make over to be a complete success.
As I continue doing auditions, I realize that when you are doing the mainstage audition circuit, most of the voices are pretty good and it boils down to what a singer sings and how well they sing it. My early journey of discovering the right rep was not so easy. Often one “expert” would say this and another “expert” that and it all sounded very confusing. Thank goodness for the voice teacher and coach who knew my voice, but I still felt like I hadn’t unearthed what it was I did best (and could make me competitive.) That was until I found those five arias that I felt that I could sing at anytime of the day, anywhere and even if I felt less than perfect. I tried on many operatic arias, before finding the ones that fit.
While I would never place myself in the category of an “expert,” I think it’s always wise not to sing things that show what you can’t do versus what you can do. Why give the people listening the chance to notice that you don’t do the traditional float of a high note, that your coloratura is unclean or that you really don’t know the meaning of what you’re singing about? At the end of the day, those listening want to be dazzled. So it is our job to sing things (according to our particular vocal type and style) that give the best impression. Every aria we sing in an audition should be like our favorite outfits we wear: cute, comfortable, stylish and when people see (or hear it) they offer many complements.
We all need guidance and if we repeatedly hear that “what we are wearing” vocally isn’t suited to us, then it might be smart to go to an “expert” and get a real assessment so that when you walk into that audition, you have the best "suit" of arias. Instead of saying “Well, that wasn’t so hot.” They’ll say something to the equivalent of Stacy’s “Shut the front door!” as we show ourselves wearing our best vocal fit.
Peace,
Eric
Wednesday, February 10, 2010
Thursday, February 4, 2010
Character Discovery
The opera world is filled with great traditions. From fabulous singers who redefined roles, to conductors who re-envisioned scores to composers who evolved the musical language of music theatre, there is a wealth of information available to an artist venturing on the formidable task of recreating a role.
As opera singers we are called upon to take these great works with their myriad of traditions and reinvent them for a modern audience. Of course our first step is to know the traditions so that we can honor the past and pick and choose what things to carry over into our performance. Often we get all the information from the past and try and integrate it into our current selves. The best performers are those who seem to easily meld the past with the present giving us a whole new future of a particular role.
I have been thinking about this quite a bit as I discover the role of Jake. This is my first Porgy and Bess and while I know the music so well that I am humming it all the time (literally all the time!) I am still discovering the "secrets" of the characters of Catfish Row. I am fortunate that this particular production affords the luxury of a long rehearsal period. I am also lucky that there are two singers for each Porgy and Bess and that the other singers range in experience from many productions of Porgy and Bess to novices like myself. Everyone brings their A-game, but it's also really fascinating to watch those who know "share their knowledge" and those who are just learning, discover.
Part of my process for the role of Jake has been creating relationships with the other characters. How does Jake feel about Porgy, Bess, Serena, Lily, Peter, Crown, Robbins etc...Just as I come up with a concrete idea, I find that it changes when another singer steps into that role. An example of this is when Jake pokes fun at Porgy about being attracted to Bess. With one Porgy, I find that his take on this ribbing runs very deep and it causes my character to feel quite remorseful. With another Porgy, I find that Jake takes on a less remorseful vibe and has more of a conflict with the members of Catfish Row who think his joking has gone too far. While these interactions are probably too small for the audience to pick up on, they help create a realism for me and the other actors and keeps me on my toes and in the moment.
Another interesting journey has been discovering the relationship of Jake and Clara and not only how they feel about each other, but what they mean to the neighbors of Catfish Row. I am very fortunate that both the Clara and Clara cover like creating a through line for this adorable husband and wife who are able to laugh and love while maintaining a deep bond.
It reminds me again of the great challenge of being an opera singer. Just as we practice and practice to get our voices to do the exact demands the composer wished for, we must also spend time to uncover the meanings of the text and the dramatic situation. Our ultimate goal is to create characters who are vocally and dramatically thorough. Of course the composers and librettists have given us many clues into the minds of these characters, but there are also great interpretations to be studied and learned from. Finally we have our own sensibilities that lead us down the road of discovery and closeness with the characters whom we inhabit for three to five hours. What an extraordinary profession we have, indeed!
Peace,
Eric
As opera singers we are called upon to take these great works with their myriad of traditions and reinvent them for a modern audience. Of course our first step is to know the traditions so that we can honor the past and pick and choose what things to carry over into our performance. Often we get all the information from the past and try and integrate it into our current selves. The best performers are those who seem to easily meld the past with the present giving us a whole new future of a particular role.
I have been thinking about this quite a bit as I discover the role of Jake. This is my first Porgy and Bess and while I know the music so well that I am humming it all the time (literally all the time!) I am still discovering the "secrets" of the characters of Catfish Row. I am fortunate that this particular production affords the luxury of a long rehearsal period. I am also lucky that there are two singers for each Porgy and Bess and that the other singers range in experience from many productions of Porgy and Bess to novices like myself. Everyone brings their A-game, but it's also really fascinating to watch those who know "share their knowledge" and those who are just learning, discover.
Part of my process for the role of Jake has been creating relationships with the other characters. How does Jake feel about Porgy, Bess, Serena, Lily, Peter, Crown, Robbins etc...Just as I come up with a concrete idea, I find that it changes when another singer steps into that role. An example of this is when Jake pokes fun at Porgy about being attracted to Bess. With one Porgy, I find that his take on this ribbing runs very deep and it causes my character to feel quite remorseful. With another Porgy, I find that Jake takes on a less remorseful vibe and has more of a conflict with the members of Catfish Row who think his joking has gone too far. While these interactions are probably too small for the audience to pick up on, they help create a realism for me and the other actors and keeps me on my toes and in the moment.
Another interesting journey has been discovering the relationship of Jake and Clara and not only how they feel about each other, but what they mean to the neighbors of Catfish Row. I am very fortunate that both the Clara and Clara cover like creating a through line for this adorable husband and wife who are able to laugh and love while maintaining a deep bond.
It reminds me again of the great challenge of being an opera singer. Just as we practice and practice to get our voices to do the exact demands the composer wished for, we must also spend time to uncover the meanings of the text and the dramatic situation. Our ultimate goal is to create characters who are vocally and dramatically thorough. Of course the composers and librettists have given us many clues into the minds of these characters, but there are also great interpretations to be studied and learned from. Finally we have our own sensibilities that lead us down the road of discovery and closeness with the characters whom we inhabit for three to five hours. What an extraordinary profession we have, indeed!
Peace,
Eric
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