One of the great joys of learning and performing a role is that more than likely you will get to do it again. I am experencing the joy of singing Schaunard in excerpts of La boheme with St. Petersburg Opera as part of the holiday concert called Seasonal Sparkle (great name, right?) The other joy is taking what you have learned from your coachings and lessons and previous productions and bringing that to the table. What's always interesting to me is that often a singer will have to "make adjustments" to what they have done in the past in order to perfomer in the present. An example of this is that last conductor wanted the character of Schaunard to bring a lightness to his talky text, while the conductor I am currently working with is much more into a broader vocal line so as the singer I have to jump to the now and sing it the way they are asking. This does two things: 1) It gives the conductor faith in your ability to be led and 2) it shows that your technique is flexible enough to make the change and quickly. One of the worst things a singer can do is to say the dreaded "I can only do it this way" line which can make one come off not only as a diva/divo, but as someone who doesn't show trust in the conductor's wishes. Now, I'm not saying that you have to give in if something is clearly not working for you, but the push-pull that is so necessary in music is also necessary in the conductor-singer dynamic. It's really about creating trust on both sides and if the singer puts up a wall, then the conductor thinks to themselves, well this singer may be good, but they are missing out on the opportunity to be great.
Something else that changes how one sings a role they've done before is their colleagues. A different Colline certainly affects the way I sing Schuanard. A different point of view from the director will color how I approach the entire character that up til now, I thought I had figured out. It makes it fun to create that push-pull with another set of singing actors who bring their own energies, colors and thoughts to the table. Performing a familiar role with new people actually can keep the freshness of the character and helps to bring out new colors.
The final joy of doing a role again is that you can "play" a lot more. Often we get so caught up in our performance that we forget that we are onstage with other people. Each person brings their strengths and weaknesses to the stage and part of the joy of rehearsal (and sometimes performance) is going with the flow and working with what you are given. It can be really great to share some insight you might have about your character with someone who is singing their role for the first time. This spark of information may lead to that light bulb moment and the next thing you know, you and that actor have a "bit" that only you two know about, but that makes a particular moment special onstage.
As I prepare for the performance, I look forward to what my current boheme colleagues bring to the stage and what special moments we can create to keep not only Schaunard fresh, but this timeless work which seems as relevant today as it did when it premiered.
Peace,
Eric
Friday, December 16, 2011
Saturday, December 3, 2011
And one of them is black
I’m currently in rehearsals for a January production of “Amahl and the Night Visitors.” Believe it or not, this is my first time singing this beautiful work by Gian Carlo Menotti. Written for the NBC Opera, it premiered on Christmas Eve, 1951. The opera tells the story of Amahl, a small cripple boy and his Mother and the night they are visited by the Three Wise Men (Kings) following the Star. I am making my debut in the role of Balthazar, the black king.
One of the best lines in the show is when Amahl is responding to the knocks on the door and each time, as he opens the door wider and wider, he sees that there are three Kings in total. He alerts his Mother and on the third time informs her that there are indeed three Kings and one of them is black. It’s one a handful of humorous moments in the opera that still ring true today almost 60 years later.
As a black man in opera I am usually the only person of color in the room (unless it’s a production of Porgy and Bess in which case you can’t swing a cooked ham hock without knocking over another baritone singing “I got plenty o’ nuttin’.) I have come to terms with being “the black” in the show and feel pretty cool about it all. (Note that back in the day, I used to think that no would ever hire me because I was black…and short, but then Lawrence Brownlee came along and ruined that excuse I was content to make. Thanks a lot, Larry!) I realized that if I was really great, I mean really great, I just might convince that Artistic Director to hire me. And I can say that so far that has worked. I have sung everything from Mozart to Gilbert and Sullivan to musical theatre and in most cases, my skin color was not an issue.
However there are two (funny?) stories where my race was an issue. Story number one involves working in a production of The Secret Garden where I was not only expected to sing and act the role of Major Holmes, but I also had to learn sign language because the production featured deaf actors. I was also cast to be the “voice” for the deaf actor who played Ben. Probably the most challenging component of this piece, outside of throwing opera and musical theatre people together with deaf actors, was coordinating the acting of the deaf actor playing Ben and me voicing the role (dialogue and singing.) After a particularly tense rehearsal where the Ben actor and I were not lining up with his sign language and my singing, the director asked the actor (using a sign language interpreter) if he could see me. He signed something and the sign language interpreter went beet red. When I asked her what he said. She turned me and responded “Too black.” I wasn’t sure whether to laugh hysterically or cry hysterically, but I do know that I felt some form of hysteria coming on, but I wasn’t sure which. Needless to say that I was pissed at him for days and decided not to speak to him, but then I realized…Anyway after the production ended I found out that it had never really been an issue for him. Most people who use sign language are not trying to create a poetic interpretation of what they mean. They just say it!
Story number two involves performing as a Young Artist with (unnamed) opera company at a major function where the crowd was drunk and not listening and I was irritated because we (me and the other Young Artists) were running late in getting to the event. After singing my first aria to a crowd of people who were clearly more interested in hearing what the bartender had to offer, I left the large conference room and waited in the hall. One of the drunken audience members was clearly looking for someone or something so I was not surprised when he came up to me. What DID surprise me was when he attempted to place a drink order. Before he could complete his order I said, in my most authoritative and irritated voice, “I don’t work here!” I then turned in an operatic huff and walked back into the room to finish my part in what was probably one my least favorite performing experiences. After the event ended, my colleague who is now a dear friend, found it very funny not only that the guy had tried to order a drink from me, but also how dramatic my response to him had been. After a few hours of sulking, I had to admit that the situation did have a humorous spin to it and I could indeed laugh.
I relay these stories not to say that being black in opera is any harder than being too short, too tall, too heavy, too skinny, too this or too that. When we signed up for the life of an opera singer, we knew that there would be challenges and that some people would have no desire to hire us based on our voice, our height or the fact that the tie we are wearing has the same color as the eyes of the person that dumped them in tenth grade. We work in the entertainment field and people hire who they believe will do the best job. Sometimes they want that 6 foot 4 baritone who looks like George Clooney, but the good news, and it is good news, is that sometimes they want the 5’8” bald African American baritone who sings Rossini. Good thing I’m out there and can do it!
Peace,
Eric
One of the best lines in the show is when Amahl is responding to the knocks on the door and each time, as he opens the door wider and wider, he sees that there are three Kings in total. He alerts his Mother and on the third time informs her that there are indeed three Kings and one of them is black. It’s one a handful of humorous moments in the opera that still ring true today almost 60 years later.
As a black man in opera I am usually the only person of color in the room (unless it’s a production of Porgy and Bess in which case you can’t swing a cooked ham hock without knocking over another baritone singing “I got plenty o’ nuttin’.) I have come to terms with being “the black” in the show and feel pretty cool about it all. (Note that back in the day, I used to think that no would ever hire me because I was black…and short, but then Lawrence Brownlee came along and ruined that excuse I was content to make. Thanks a lot, Larry!) I realized that if I was really great, I mean really great, I just might convince that Artistic Director to hire me. And I can say that so far that has worked. I have sung everything from Mozart to Gilbert and Sullivan to musical theatre and in most cases, my skin color was not an issue.
However there are two (funny?) stories where my race was an issue. Story number one involves working in a production of The Secret Garden where I was not only expected to sing and act the role of Major Holmes, but I also had to learn sign language because the production featured deaf actors. I was also cast to be the “voice” for the deaf actor who played Ben. Probably the most challenging component of this piece, outside of throwing opera and musical theatre people together with deaf actors, was coordinating the acting of the deaf actor playing Ben and me voicing the role (dialogue and singing.) After a particularly tense rehearsal where the Ben actor and I were not lining up with his sign language and my singing, the director asked the actor (using a sign language interpreter) if he could see me. He signed something and the sign language interpreter went beet red. When I asked her what he said. She turned me and responded “Too black.” I wasn’t sure whether to laugh hysterically or cry hysterically, but I do know that I felt some form of hysteria coming on, but I wasn’t sure which. Needless to say that I was pissed at him for days and decided not to speak to him, but then I realized…Anyway after the production ended I found out that it had never really been an issue for him. Most people who use sign language are not trying to create a poetic interpretation of what they mean. They just say it!
Story number two involves performing as a Young Artist with (unnamed) opera company at a major function where the crowd was drunk and not listening and I was irritated because we (me and the other Young Artists) were running late in getting to the event. After singing my first aria to a crowd of people who were clearly more interested in hearing what the bartender had to offer, I left the large conference room and waited in the hall. One of the drunken audience members was clearly looking for someone or something so I was not surprised when he came up to me. What DID surprise me was when he attempted to place a drink order. Before he could complete his order I said, in my most authoritative and irritated voice, “I don’t work here!” I then turned in an operatic huff and walked back into the room to finish my part in what was probably one my least favorite performing experiences. After the event ended, my colleague who is now a dear friend, found it very funny not only that the guy had tried to order a drink from me, but also how dramatic my response to him had been. After a few hours of sulking, I had to admit that the situation did have a humorous spin to it and I could indeed laugh.
I relay these stories not to say that being black in opera is any harder than being too short, too tall, too heavy, too skinny, too this or too that. When we signed up for the life of an opera singer, we knew that there would be challenges and that some people would have no desire to hire us based on our voice, our height or the fact that the tie we are wearing has the same color as the eyes of the person that dumped them in tenth grade. We work in the entertainment field and people hire who they believe will do the best job. Sometimes they want that 6 foot 4 baritone who looks like George Clooney, but the good news, and it is good news, is that sometimes they want the 5’8” bald African American baritone who sings Rossini. Good thing I’m out there and can do it!
Peace,
Eric
Saturday, November 19, 2011
A few tips to remember during audition season
Audition season is in full swing and I want to remind myself to stay fresh during the process. It’s very easy to get down about the idea of singing for a room of people who don’t know you and knowing that they hold your fate in their hands. But I aim to remind myself that I LOVE singing and more than that, I LOVE performing. I am willing to do what it takes to be successful at what I do and since the audition process is a large part of being a singer, I better find a way to LOVE it!
So I am posting a few things to keep in mind that will help every singer who sits there and waits for their name to be called in the hopes of dazzling the panel in the allotted five to ten minutes in order to get work.
1)Be as prepared as possible. One of the major factors that separate the working singer from the pack is their preparation. And it goes beyond just musicality. Obviously the singing should be en pointe, but the drama and better yet, the understanding of the drama are essential. A singer has to have the music in their body and should possess a complete understanding of the character and where they are in the story. This will get your headshot and resume to head of the pack (and possibly get you hired or at least the chance to sing for the company in the future.) Remember, every character on stage wants something and one of the most interesting components of opera is that it tends to be good people making bad choices.
2)The next thing is to be your “on” self. The people behind the table want to hire folks that perform the role incredibly well, who can charm donors, has a gregarious personality and is EASY to work with over the course of rehearsals and performances. Since we all work in the world of make believe, sometimes we have to make believe that we want to make small talk with the donor who compares our performance to that of a legend or the novice opera-goer who says that Phantom of the Opera is their favorite opera. We must remember that our public “self” needs to be a little heightened in the audition room in order to make ourselves memorable. These administrators hear hundreds of singers and tend to remember those who make the best overall impression.
3)Dress for success. Often we hear about the female fashion faux pas at auditions, but men remember that a well-cut suit, tailored, if necessary, can create the image we have worked so hard to project during our singing. And know that if your suit is great and your shoes look like something a farmer wore while harvesting wheat, they will focus on them and not your gorgeous voice.
4)Treat everyone at the audition as if they could hire you, because sometimes that monitor sitting outside the room might have a say in whether or not you get the job. Also treat all the other people at the audition like they could hire you, because you never know whom they might know or if they have an “in” with that company.
5)Have your music double-sided copied in a folder, clearly marked and easy to navigate. Cross out anything you don’t want the accompanist to play. Mark cuts VERY clearly and if there is something tricky in your score, alert your accompanist so that you two are on the same page.
6)Speaking of the accompanist, if the company doesn’t provide one, hire a great accompanist that you trust and that trusts you. This is integral in making your audition its best. Your accompanist should know where you breathe, when you need time to slow down or need to go faster and should contribute to your musical experience. If you don’t know someone, ask the company you are singing for or others in the business for recommendations.
7)Assess and release. Once you are in the room, just sing. If you are prepared, well warmed up and feeling good, muscle memory should take over. (The hard work comes with the hours of practice to get it to sound its best.) Never assess your singing while it is going on. It takes you out of the moment and you can’t fix something that has gone by. This is not to say forget about technique, but remember that what you do in the present is what can alter what has happened in the past in order to change your future. And when that audition is done, release it. (OK, that’s hard one, but it will keep you sane.) If you’ve recorded your audition, give yourself some space before you listen so that you can assess it in an honest way. Immediately after an audition we are still emotionally connected and it can be hard to hear ourselves objectively. After you listen and decide what you’d like fix, work to change what you didn’t like as opposed to fixating on the fact that something wasn’t “right.”
8)Finally and most important: The more auditions you do, the better chance you have at being hired. This is a numbers game and you increase your chances of getting work if you sing for as many people as possible and in my humble opinion, if you’ve auditioned for someone and been hired, BE WILLING TO SING FOR THEM AGAIN. People often hear you at one point and put you in a box. If you are singing new rep and haven’t sung for a company in a while, it’s important to have them hear you again so that they have an updated opinion of your talent.
Many singers dislike the audition process. It can be exhausting, expensive and feel futile. But what if we looked at it as an opportunity to attend a cool party where we get to be charming, talented, sexy, well dressed and the center of attention for at least five minutes? Perhaps it would take away some of the “pressure” and would allow the audition experience to actually be fun.
Peace,
Eric
So I am posting a few things to keep in mind that will help every singer who sits there and waits for their name to be called in the hopes of dazzling the panel in the allotted five to ten minutes in order to get work.
1)Be as prepared as possible. One of the major factors that separate the working singer from the pack is their preparation. And it goes beyond just musicality. Obviously the singing should be en pointe, but the drama and better yet, the understanding of the drama are essential. A singer has to have the music in their body and should possess a complete understanding of the character and where they are in the story. This will get your headshot and resume to head of the pack (and possibly get you hired or at least the chance to sing for the company in the future.) Remember, every character on stage wants something and one of the most interesting components of opera is that it tends to be good people making bad choices.
2)The next thing is to be your “on” self. The people behind the table want to hire folks that perform the role incredibly well, who can charm donors, has a gregarious personality and is EASY to work with over the course of rehearsals and performances. Since we all work in the world of make believe, sometimes we have to make believe that we want to make small talk with the donor who compares our performance to that of a legend or the novice opera-goer who says that Phantom of the Opera is their favorite opera. We must remember that our public “self” needs to be a little heightened in the audition room in order to make ourselves memorable. These administrators hear hundreds of singers and tend to remember those who make the best overall impression.
3)Dress for success. Often we hear about the female fashion faux pas at auditions, but men remember that a well-cut suit, tailored, if necessary, can create the image we have worked so hard to project during our singing. And know that if your suit is great and your shoes look like something a farmer wore while harvesting wheat, they will focus on them and not your gorgeous voice.
4)Treat everyone at the audition as if they could hire you, because sometimes that monitor sitting outside the room might have a say in whether or not you get the job. Also treat all the other people at the audition like they could hire you, because you never know whom they might know or if they have an “in” with that company.
5)Have your music double-sided copied in a folder, clearly marked and easy to navigate. Cross out anything you don’t want the accompanist to play. Mark cuts VERY clearly and if there is something tricky in your score, alert your accompanist so that you two are on the same page.
6)Speaking of the accompanist, if the company doesn’t provide one, hire a great accompanist that you trust and that trusts you. This is integral in making your audition its best. Your accompanist should know where you breathe, when you need time to slow down or need to go faster and should contribute to your musical experience. If you don’t know someone, ask the company you are singing for or others in the business for recommendations.
7)Assess and release. Once you are in the room, just sing. If you are prepared, well warmed up and feeling good, muscle memory should take over. (The hard work comes with the hours of practice to get it to sound its best.) Never assess your singing while it is going on. It takes you out of the moment and you can’t fix something that has gone by. This is not to say forget about technique, but remember that what you do in the present is what can alter what has happened in the past in order to change your future. And when that audition is done, release it. (OK, that’s hard one, but it will keep you sane.) If you’ve recorded your audition, give yourself some space before you listen so that you can assess it in an honest way. Immediately after an audition we are still emotionally connected and it can be hard to hear ourselves objectively. After you listen and decide what you’d like fix, work to change what you didn’t like as opposed to fixating on the fact that something wasn’t “right.”
8)Finally and most important: The more auditions you do, the better chance you have at being hired. This is a numbers game and you increase your chances of getting work if you sing for as many people as possible and in my humble opinion, if you’ve auditioned for someone and been hired, BE WILLING TO SING FOR THEM AGAIN. People often hear you at one point and put you in a box. If you are singing new rep and haven’t sung for a company in a while, it’s important to have them hear you again so that they have an updated opinion of your talent.
Many singers dislike the audition process. It can be exhausting, expensive and feel futile. But what if we looked at it as an opportunity to attend a cool party where we get to be charming, talented, sexy, well dressed and the center of attention for at least five minutes? Perhaps it would take away some of the “pressure” and would allow the audition experience to actually be fun.
Peace,
Eric
Sunday, October 30, 2011
Audition Horror Story
To celebrate Halloween and audition season, I have decided to share three of the most frightening audition stories ever told. (OK, maybe not the MOST frightening, but certainly scary from a singer's point of view.)
Story number one concerns a baritone on his way to compete in the District Metropolitan Opera National Council Auditions. He's barely 25 and it will be his first time competing. He has high hopes and thinks he might at least advance to the regionals. He has rehearsed, practiced and planned and is now on his way to making his dream come true of being named a district winner (before going off to conquer the regionals, semi-finals and then eventually being named a National winner and launching his international career.) En route to the auditions (he has decided to drive to the audition site) he is mentally going through his list of arias, imaging how he looks in his perfect audition attire and thinking about how great it will be when he wins.
Upon arrival at the audition site, he gathers his clothing and collects his European men's carryall containing all the necessary toiletries; his photo, resume and his...Wait! He begins to shuffle through his bag, checks his backseat, looks under both the driver and passenger car seats and realizes (cue Psycho music) he has forgotten his aria book!! He is scheduled to sing in less than an hour and must find some way to get the music for the five arias he is set to sing. Panic! Luckily for him, the audition is at a University that has a large music library. He rushes over and finds a surly library assistant who seems to have no sympathy for his situation and offers little in the way of help. Finally, he throws a bit of divo weight around and gets a REAL librarian. After five minutes of explaining that while he is not a student, he needs to get copies of the music as he is scheduled to sing in, YIKES, 35 minutes. The librarian agrees that he may checkout the vocal scores as long as he leaves his driver's license. Done. After scouring the stakes he realizes that there is one aria that he can't find! Damn you obscure aria in English! He thinks quickly and comes up with an English alternative that he knows but hasn't really practiced much. He returns to the check-out desk where the surly library assistant is giving him a "you ain't gonna' be a winner today" look as he checks out the scores and takes his license and places it in what I can only suppose is an envelope for losers. He rushes back to the audition auditorium with fifteen minutes to change, warm-up and be ready to go.
His time to sing arrives. He gets through his opening aria and is asked for his barely rehearsed English offering. He surprisingly does not fall apart, but on the downside, he is not named a winner (or even given an encouragement award.) The blur that follows includes talking to the three judges who tell him he seemed nervous and a bit unprepared. DUH! But as he drives home, he realizes that while he felt like a zombie for the better part of the audition and the interaction with the judges, he has come away having learned a valuable lesson. Always, ALWAYS check your European men's carryall and make certain you have your music!!
Scary story number two takes place two years later. A young soprano with a spectacular voice is singing Desdemona's "Salce, Salce" from Verdi's Otello in the same high-profile competition from the previous tale. After she finishes, the audience remains spellbound. She seems poised to be one of the winners (and could go all the way!) The judges confer and ask for Fiordilgi's fiendishly difficult "Come Scoglio." Where the Verdi aria is all about smooth, legato, ravishing soft singing and dramatic storytelling, "Come Scoglio" from Mozart's Cosi Fan Tutte is all about wide vocal jumps, coloratura passages and "balls to the wall" singing. She begins and is doing very well, but then a hiccup: she goes for one of the runs and completely blows it. She then lets forth a four-letter word that makes everyone packed inside the theater look up. I believe there were at least three or four audible gasps and suddenly this potential front-runner seems to be like a horse that has been shot in the leg and is falling to the ground. She finishes the aria and looks so mad that it appears she might scream bloody murder. She gives a fake smile and walks off the stage. She has never been heard from since.
The final tale of audition horror comes from a friend of friend so it MUST be true! A young soprano is preparing to sing for Opera Company X that is hearing people for its upcoming season. She is using the company assigned accompanist and before she launches into her introduction to the audition panel, she talks to the accompanist about her desired tempi. She turns and introduces herself and before she completely get the name of her first aria out, the accompanist has launched into the intro. What's worse is that they are playing at a much faster speed than the soprano wants. She thought back to her audition class where they were always told that no matter what the accompanist was doing; sing at the tempo that works for you. Recalling this advice, she begins to sing hoping the accompanist notices that she wants to go much slower. Either the accompanist was not paying attention or had different ideas about how fast the aria should go, because they kept playing at the tempo they had set or the poor soprano had to struggle through her audition piece. She could barely get through it vocally let alone put forth any dramatic efforts. After the aria finished, the panel, which had barely looked up, thanked her in that manner that meant "better luck next time." Furious with the accompanist, the petite soprano, who had seemed so pleasant when she entered the room, took her music from the accompanist and without missing a beat used the book to pop the accompanist upside the head simply saying "Too fast!" She walked out of the audition and rumor has it she never did another audition again.
I relate these (true?) stories mainly for comedic effect, but also to remind myself and the thousands of other singers preparing to audition of three simple rules: 1) Always have your music, 2) Try to refrain from dropping the F-bomb if you make a mistake and 3) No matter what the accompanist does, never, never hit them upside the head.
Peace,
Eric
Story number one concerns a baritone on his way to compete in the District Metropolitan Opera National Council Auditions. He's barely 25 and it will be his first time competing. He has high hopes and thinks he might at least advance to the regionals. He has rehearsed, practiced and planned and is now on his way to making his dream come true of being named a district winner (before going off to conquer the regionals, semi-finals and then eventually being named a National winner and launching his international career.) En route to the auditions (he has decided to drive to the audition site) he is mentally going through his list of arias, imaging how he looks in his perfect audition attire and thinking about how great it will be when he wins.
Upon arrival at the audition site, he gathers his clothing and collects his European men's carryall containing all the necessary toiletries; his photo, resume and his...Wait! He begins to shuffle through his bag, checks his backseat, looks under both the driver and passenger car seats and realizes (cue Psycho music) he has forgotten his aria book!! He is scheduled to sing in less than an hour and must find some way to get the music for the five arias he is set to sing. Panic! Luckily for him, the audition is at a University that has a large music library. He rushes over and finds a surly library assistant who seems to have no sympathy for his situation and offers little in the way of help. Finally, he throws a bit of divo weight around and gets a REAL librarian. After five minutes of explaining that while he is not a student, he needs to get copies of the music as he is scheduled to sing in, YIKES, 35 minutes. The librarian agrees that he may checkout the vocal scores as long as he leaves his driver's license. Done. After scouring the stakes he realizes that there is one aria that he can't find! Damn you obscure aria in English! He thinks quickly and comes up with an English alternative that he knows but hasn't really practiced much. He returns to the check-out desk where the surly library assistant is giving him a "you ain't gonna' be a winner today" look as he checks out the scores and takes his license and places it in what I can only suppose is an envelope for losers. He rushes back to the audition auditorium with fifteen minutes to change, warm-up and be ready to go.
His time to sing arrives. He gets through his opening aria and is asked for his barely rehearsed English offering. He surprisingly does not fall apart, but on the downside, he is not named a winner (or even given an encouragement award.) The blur that follows includes talking to the three judges who tell him he seemed nervous and a bit unprepared. DUH! But as he drives home, he realizes that while he felt like a zombie for the better part of the audition and the interaction with the judges, he has come away having learned a valuable lesson. Always, ALWAYS check your European men's carryall and make certain you have your music!!
Scary story number two takes place two years later. A young soprano with a spectacular voice is singing Desdemona's "Salce, Salce" from Verdi's Otello in the same high-profile competition from the previous tale. After she finishes, the audience remains spellbound. She seems poised to be one of the winners (and could go all the way!) The judges confer and ask for Fiordilgi's fiendishly difficult "Come Scoglio." Where the Verdi aria is all about smooth, legato, ravishing soft singing and dramatic storytelling, "Come Scoglio" from Mozart's Cosi Fan Tutte is all about wide vocal jumps, coloratura passages and "balls to the wall" singing. She begins and is doing very well, but then a hiccup: she goes for one of the runs and completely blows it. She then lets forth a four-letter word that makes everyone packed inside the theater look up. I believe there were at least three or four audible gasps and suddenly this potential front-runner seems to be like a horse that has been shot in the leg and is falling to the ground. She finishes the aria and looks so mad that it appears she might scream bloody murder. She gives a fake smile and walks off the stage. She has never been heard from since.
The final tale of audition horror comes from a friend of friend so it MUST be true! A young soprano is preparing to sing for Opera Company X that is hearing people for its upcoming season. She is using the company assigned accompanist and before she launches into her introduction to the audition panel, she talks to the accompanist about her desired tempi. She turns and introduces herself and before she completely get the name of her first aria out, the accompanist has launched into the intro. What's worse is that they are playing at a much faster speed than the soprano wants. She thought back to her audition class where they were always told that no matter what the accompanist was doing; sing at the tempo that works for you. Recalling this advice, she begins to sing hoping the accompanist notices that she wants to go much slower. Either the accompanist was not paying attention or had different ideas about how fast the aria should go, because they kept playing at the tempo they had set or the poor soprano had to struggle through her audition piece. She could barely get through it vocally let alone put forth any dramatic efforts. After the aria finished, the panel, which had barely looked up, thanked her in that manner that meant "better luck next time." Furious with the accompanist, the petite soprano, who had seemed so pleasant when she entered the room, took her music from the accompanist and without missing a beat used the book to pop the accompanist upside the head simply saying "Too fast!" She walked out of the audition and rumor has it she never did another audition again.
I relate these (true?) stories mainly for comedic effect, but also to remind myself and the thousands of other singers preparing to audition of three simple rules: 1) Always have your music, 2) Try to refrain from dropping the F-bomb if you make a mistake and 3) No matter what the accompanist does, never, never hit them upside the head.
Peace,
Eric
Thursday, October 20, 2011
Opera sells itself (if you can just get them into the theater)
Last night I performed in the dress rehearsal of Puccini’s La bohème. The audience was made up mostly of high school age students and was peppered with supporters of the opera and various friends and family of cast members. We all know that Puccini crafted a masterpiece. Act I introduces us to the four Bohemians and Mimi. We get to see their world, know what drives them emotionally and see the relationship of Mimi and Rodolfo unfold. In Act II, we see their greater world as they venture out into Paris in the 1830s. We also meet Musetta and get an understanding of the volatile relationship she and Marcello have. Act III the drama really begins to take shape as we get a deeper understanding of the intensity and passion of the relationships between the two couples. By Act IV we see that both Rodolfo and Marcello are back to being single men. The other two friends (Schaunard and Colline) come in and the boys are back to having a good time. Suddenly Musetta enters and says that Mimi is dying. Throughout the wrenching last act Mimi and Rodolfo are reunited along with Marcello and Musetta. Mimi slowly dies as all the Bohemians surround her to say farewell. I have seen La bohème live on three occasions and listened to it more times than I can count. But every time we get to the end it gets me and I get choked up.
This was my first experience singing bohème and it was exciting to have an audience that was so invested in the story. They responded to the humor, the romance and the depth of loss that all interweave throughout this fascinating story. Most of the audience members were “new” to opera, yet were not afraid to laugh, hoot when Marcello and Musetta reunite in Act II, respond to the thrilling Act III quartet and applaud madly for the artists at the curtain call. It confirmed what I’ve always believed about opera; the artform sells itself. These composers were men of the theater and had a sixth sense about how to combine text, music and character that could capture an audience. I’m always happy when a “younger” audience gets to experience opera because they get its visceral impact and even though it is performed in a large theater and in a foreign language, still seem to feel an intimate connection with the main characters.
Maybe one of the problems with attracting people to opera is not the artform, but the idea of what a trip to the opera is. Many people still think it is a gathering of the elite, but a recent rebuff of an article about opera being for the 1% shows that many passionate opera lovers come from a diverse background:
http://www.npr.org/blogs/deceptivecadence/2011/10/13/141319827/opera-is-for-the-99-heres-what-you-told-us
Perhaps the real solution is to get away from so much formality and let the audience feel that they can truly respond to the action happening on stage. Of course you want the audience to be enraptured by the gorgeous arias, remain spellbound by the acting and respond generously at the curtain call, but you also want them to feel that the entire operatic experience is one that engulfs all the senses (listening to amazing music, tasting great cocktails while at intermission, the romantic scent of their date’s new perfume, the sight of people from all walks of life and the feeling of emotional impact of having experienced an amazing performance.) Isn’t that what great theater does?
Peace,
Eric
This was my first experience singing bohème and it was exciting to have an audience that was so invested in the story. They responded to the humor, the romance and the depth of loss that all interweave throughout this fascinating story. Most of the audience members were “new” to opera, yet were not afraid to laugh, hoot when Marcello and Musetta reunite in Act II, respond to the thrilling Act III quartet and applaud madly for the artists at the curtain call. It confirmed what I’ve always believed about opera; the artform sells itself. These composers were men of the theater and had a sixth sense about how to combine text, music and character that could capture an audience. I’m always happy when a “younger” audience gets to experience opera because they get its visceral impact and even though it is performed in a large theater and in a foreign language, still seem to feel an intimate connection with the main characters.
Maybe one of the problems with attracting people to opera is not the artform, but the idea of what a trip to the opera is. Many people still think it is a gathering of the elite, but a recent rebuff of an article about opera being for the 1% shows that many passionate opera lovers come from a diverse background:
http://www.npr.org/blogs/deceptivecadence/2011/10/13/141319827/opera-is-for-the-99-heres-what-you-told-us
Perhaps the real solution is to get away from so much formality and let the audience feel that they can truly respond to the action happening on stage. Of course you want the audience to be enraptured by the gorgeous arias, remain spellbound by the acting and respond generously at the curtain call, but you also want them to feel that the entire operatic experience is one that engulfs all the senses (listening to amazing music, tasting great cocktails while at intermission, the romantic scent of their date’s new perfume, the sight of people from all walks of life and the feeling of emotional impact of having experienced an amazing performance.) Isn’t that what great theater does?
Peace,
Eric
Wednesday, October 12, 2011
Lighten up
Yesterday was a great day of creative discovery. I am singing the role of Schaunard in La boheme and the conductor pulled me aside and told me that I was working too hard at singing the role. He said I needed to find lightness in my sound so that I would, not only be truer to the character, but sing the role better. He told me that there is a time and place for the bigger singing, but much of the role was about the language and expression. I tried it in rehearsal and it worked well. It felt like my voice, but different, less controlled and more “wild” in a sense. Dare I say, playful?
I relate this story because I am in the final week of Julia Cameron’s The Artist Way. For those not familiar, the book is a phenomenal way of tapping into our own creativity and releasing a lot of the interior issues that keep us from being our best creative selves. One of the main themes of the book is synchronicity, where it seems like multiple coincidences are happening. Think a series of events that answer questions asked or solidify thoughts that one is indeed on the right path. During the final week, one works on a sense of faith (trust) and releasing things that bog down our creativity.
Just yesterday morning I filled three pages of my journal with all the bad habits, fears, anger, resentment and pains that I am more than willing to release to be a better creative. So it came as no surprise that I was being asked to do the same thing with the way I produce my singing. Since a singer’s voice is so interconnected with one’s emotions, it can be a very difficult hurdle to jump over when asked to alter what one thinks of as “their sound.” My desire to be taken seriously and considered a “real” artist was clouding how I envisioned what I needed to sound like. By asking me to “lighten up” I was really being asked to let go of what I think I SHOULD sound like and just be. Scary, right?
On the way home from rehearsal I kept thinking: what was I gaining by singing “heavy”? Would singing lighter make others think that I had a less “rich” voice? I think on an even deeper level I felt that if I sang with my “lighter” sound, would I like it? Would others? Of course, this is where trust (faith, belief) comes into the picture. By releasing, I was allowing more of my true self to been seen. By having faith in other ideals, I was letting go. Sometimes we think the real us is less interesting than the imagined “us” we want to present to the world.
We study, practice, rehearse and develop as technicians as a way to serve the stories that we tell. We work to make our singing something beautiful, expressive and correct, but more than that, we want to achieve a visceral high where our voice, our acting and our artistic sensibilities are fused into one vessel for some of the greatest music in the world (in my opinion.) Why add something that makes it harder?
One of my favorite quotes is “Leap and the net will appear.” I have been leaping for that last two years and while it seemed like sometimes the net was not underneath me, I have always landed safely. Each artist has his or her own set of hurdles to overcome on their journey to creating, but we must remember that creating is fun and that sometimes the very thing we need to be that magnificent artist is to just to lighten up.
Peace,
Eric
I relate this story because I am in the final week of Julia Cameron’s The Artist Way. For those not familiar, the book is a phenomenal way of tapping into our own creativity and releasing a lot of the interior issues that keep us from being our best creative selves. One of the main themes of the book is synchronicity, where it seems like multiple coincidences are happening. Think a series of events that answer questions asked or solidify thoughts that one is indeed on the right path. During the final week, one works on a sense of faith (trust) and releasing things that bog down our creativity.
Just yesterday morning I filled three pages of my journal with all the bad habits, fears, anger, resentment and pains that I am more than willing to release to be a better creative. So it came as no surprise that I was being asked to do the same thing with the way I produce my singing. Since a singer’s voice is so interconnected with one’s emotions, it can be a very difficult hurdle to jump over when asked to alter what one thinks of as “their sound.” My desire to be taken seriously and considered a “real” artist was clouding how I envisioned what I needed to sound like. By asking me to “lighten up” I was really being asked to let go of what I think I SHOULD sound like and just be. Scary, right?
On the way home from rehearsal I kept thinking: what was I gaining by singing “heavy”? Would singing lighter make others think that I had a less “rich” voice? I think on an even deeper level I felt that if I sang with my “lighter” sound, would I like it? Would others? Of course, this is where trust (faith, belief) comes into the picture. By releasing, I was allowing more of my true self to been seen. By having faith in other ideals, I was letting go. Sometimes we think the real us is less interesting than the imagined “us” we want to present to the world.
We study, practice, rehearse and develop as technicians as a way to serve the stories that we tell. We work to make our singing something beautiful, expressive and correct, but more than that, we want to achieve a visceral high where our voice, our acting and our artistic sensibilities are fused into one vessel for some of the greatest music in the world (in my opinion.) Why add something that makes it harder?
One of my favorite quotes is “Leap and the net will appear.” I have been leaping for that last two years and while it seemed like sometimes the net was not underneath me, I have always landed safely. Each artist has his or her own set of hurdles to overcome on their journey to creating, but we must remember that creating is fun and that sometimes the very thing we need to be that magnificent artist is to just to lighten up.
Peace,
Eric
Sunday, July 31, 2011
The (new) Golden Age
I recently saw Woody Allen’s latest film “Midnight in Paris.” Owen Wilson stars as an American writer named Gil living in modern-day Paris who yearns to experience the Paris of the 1920s. He believes the past is more inspiring, filled with creativity and is magical. Through a turn of events he is transported to the exact time he longs for where he meets the likes of Cole Porter, Ernest Hemingway, Pablo Picasso, F. Scott Fitzgerald and Gertrude Stein. Along the way Gil also meets Adriana played with beautiful charm by Marion Cotillard. Gil experiences all the joie de vivre of Paris’ 1920s and it seems he is set to stay there until another turn of events finds him and Adriana in the 1890s, her ideal time as opposed to the 20s which she finds far less exciting. Suddenly he realizes that the only ideal time is that of his own and he returns with a greater knowledge of his current self and the value of now.
It made me think immediately of all those who singers and fans who yearn for the operatic giants of the past. Many of us have had that experience that turned us on to opera and have heard the “greats” in one of their signature roles. We were transfixed by the sheer excitement, beauty and artistry that they shared. We often hear that no one sings like the greats (some say the 60s and 70s, others the 40s and 50s, while others hearken back to the 20s and 30s etc…) and yet after viewing Mr. Allen’s latest movie, I wonder if we had the opportunity to visit those sacred monsters back during the “Golden Age” if they would think that they were in the Golden Age of Singing or would they want to be back in the days of Lamperti, Melba, Garcia etc…
Certainly things are different today. Singers can barely afford to be part of this career with voice lessons, auditions, coachings and travel being so expensive. Many young singers can barely stay afloat financially, emotionally, artistically because of so many demands made on the novice singer. We also live in an age where information can be found at the touch of a button making the young singer less likely to learn the art of opera the “old fashioned way.” But through all of the changes in technology, pace of life, support for the arts and the evolution of tonal, dramatic and physical preferences, the art of opera has survived and there are great singers today who, in my humble opinion, sing as well as many of the past. Are they all super stars? No. Are they all household names? No. Some of them are well-known stars. Some are constantly working but are not known by the general public and are known only to those who immerse themselves in opera while others are just waiting for their big break into the “business.”
I don’t mean to imply that we should ignore the legacy of the great artists of the past as they have left us many lessons and their connections to the composers, pedagogues and singers of years gone by is innvaluable. The past gives a long lineage of information and inspiration. As a baritone I like to know that baritone Antonio Tamburini (1800-1876) gave way to “King of the Baritones” Mattia Battastini (1856-1928), Titta Ruffo (1877-1956) known as the “Voice of the Lion” and the elegant Giuseppe DeLuca (1876-1950). Other non-Italians of that time included Frenchman Victor Maurel (1848-1923), Englishman Sir Charles Santley (1834-1922). These led to the great singers Tito Gobbi (1913-1984), Ettore Bastianini (1922-1967), the Welsh baritone Geraint Evans (1922-1992), and a host of American baritones including Lawrence Tibbett (1896-1960), Leonard Warren (1911-1960) and Robert Merrill (1917-2004). This led to the likes of Renato Brunson (b. 1934), Sherill Milnes (b. 1935) and Thomas Allen (b. 1944). This is by no means a comprehensive list, but some of the names that I study.
I imagine when my generation turns 70 or 80, they will talk of the vocal beauty of Renee Fleming, the stunning fioritura of Cecilia Bartoli, the suave, elegant legato of Dmitri Hvorostovsky, the fiery temperament of Angela Gheorghiu, the dazzling commitment of Natalie Dessay, the vocal allure of Jonas Kaufman, the grand voice of Stephanie Blythe, the longevity of career of Thomas Hampson, the dynamic range of Bryn Terfel, the sensual sound of Denyce Graves and so on. The singers of the future will constantly be compared to the singers of our time as well as those of the past. Long live the current Golden Age!
It made me think immediately of all those who singers and fans who yearn for the operatic giants of the past. Many of us have had that experience that turned us on to opera and have heard the “greats” in one of their signature roles. We were transfixed by the sheer excitement, beauty and artistry that they shared. We often hear that no one sings like the greats (some say the 60s and 70s, others the 40s and 50s, while others hearken back to the 20s and 30s etc…) and yet after viewing Mr. Allen’s latest movie, I wonder if we had the opportunity to visit those sacred monsters back during the “Golden Age” if they would think that they were in the Golden Age of Singing or would they want to be back in the days of Lamperti, Melba, Garcia etc…
Certainly things are different today. Singers can barely afford to be part of this career with voice lessons, auditions, coachings and travel being so expensive. Many young singers can barely stay afloat financially, emotionally, artistically because of so many demands made on the novice singer. We also live in an age where information can be found at the touch of a button making the young singer less likely to learn the art of opera the “old fashioned way.” But through all of the changes in technology, pace of life, support for the arts and the evolution of tonal, dramatic and physical preferences, the art of opera has survived and there are great singers today who, in my humble opinion, sing as well as many of the past. Are they all super stars? No. Are they all household names? No. Some of them are well-known stars. Some are constantly working but are not known by the general public and are known only to those who immerse themselves in opera while others are just waiting for their big break into the “business.”
I don’t mean to imply that we should ignore the legacy of the great artists of the past as they have left us many lessons and their connections to the composers, pedagogues and singers of years gone by is innvaluable. The past gives a long lineage of information and inspiration. As a baritone I like to know that baritone Antonio Tamburini (1800-1876) gave way to “King of the Baritones” Mattia Battastini (1856-1928), Titta Ruffo (1877-1956) known as the “Voice of the Lion” and the elegant Giuseppe DeLuca (1876-1950). Other non-Italians of that time included Frenchman Victor Maurel (1848-1923), Englishman Sir Charles Santley (1834-1922). These led to the great singers Tito Gobbi (1913-1984), Ettore Bastianini (1922-1967), the Welsh baritone Geraint Evans (1922-1992), and a host of American baritones including Lawrence Tibbett (1896-1960), Leonard Warren (1911-1960) and Robert Merrill (1917-2004). This led to the likes of Renato Brunson (b. 1934), Sherill Milnes (b. 1935) and Thomas Allen (b. 1944). This is by no means a comprehensive list, but some of the names that I study.
I imagine when my generation turns 70 or 80, they will talk of the vocal beauty of Renee Fleming, the stunning fioritura of Cecilia Bartoli, the suave, elegant legato of Dmitri Hvorostovsky, the fiery temperament of Angela Gheorghiu, the dazzling commitment of Natalie Dessay, the vocal allure of Jonas Kaufman, the grand voice of Stephanie Blythe, the longevity of career of Thomas Hampson, the dynamic range of Bryn Terfel, the sensual sound of Denyce Graves and so on. The singers of the future will constantly be compared to the singers of our time as well as those of the past. Long live the current Golden Age!
Wednesday, June 22, 2011
2011-2012 season
As an opera singer, each singer's work is divided into seasons and they usually begin in late August/early September and end sometime during the summer of the following year. The announcement of that season offers a glimpse into the life of where each singer will be and what role, opera and composer we get to share with an audience.
Next season includes a return to two opera companies, several role debuts and a new adventure.
In the fall I will return to Indianapolis Opera (where I was a Young Artist back in 2002) to sing Yamadori in their upcoming production of Madama Butterfly. I made my debut as the Notary in Don Pasquale and also sang the 2nd Philistine (because the 1st one couldn't quite get the message across) in Samson et Dalila. It will be wonderful to return to Indy which is a fun city with a great company. Yamadori will be a role debut.
After a week off, I return to Dayton Opera to sing Schaunard in La Boheme. I am so happy to be returning after appearing in last season's Porgy and Bess as Jake and being a former Young Artist as well. (I did a LOT of Young Artist programs). Dayton Opera is a spunky company with great singers, conductors, directors and a real passion for opera and Boheme will be a crowd favorite.
Following that I make my debut at Georgia College in January performing my performance project "Rogues and Scoundrels." I look forward to returning to my interractive recital as it was a wonderful success. I am excited to debut it with a new audience, new collaborating artists and some new pieces.
Finally, I end the season by joining the Dicapo Opera Resident Artist Program. I will be singing supporting roles, covering major roles, performing outreach singing a variety of languages, composers and styles. This will be a fantastic opportunity to work alongside exciting artists at a vibrant opera company in New York.
2011-2012 offers a lot of new music to learn, characters to create and ideas to share. Bring it!
Peace,
Eric
Next season includes a return to two opera companies, several role debuts and a new adventure.
In the fall I will return to Indianapolis Opera (where I was a Young Artist back in 2002) to sing Yamadori in their upcoming production of Madama Butterfly. I made my debut as the Notary in Don Pasquale and also sang the 2nd Philistine (because the 1st one couldn't quite get the message across) in Samson et Dalila. It will be wonderful to return to Indy which is a fun city with a great company. Yamadori will be a role debut.
After a week off, I return to Dayton Opera to sing Schaunard in La Boheme. I am so happy to be returning after appearing in last season's Porgy and Bess as Jake and being a former Young Artist as well. (I did a LOT of Young Artist programs). Dayton Opera is a spunky company with great singers, conductors, directors and a real passion for opera and Boheme will be a crowd favorite.
Following that I make my debut at Georgia College in January performing my performance project "Rogues and Scoundrels." I look forward to returning to my interractive recital as it was a wonderful success. I am excited to debut it with a new audience, new collaborating artists and some new pieces.
Finally, I end the season by joining the Dicapo Opera Resident Artist Program. I will be singing supporting roles, covering major roles, performing outreach singing a variety of languages, composers and styles. This will be a fantastic opportunity to work alongside exciting artists at a vibrant opera company in New York.
2011-2012 offers a lot of new music to learn, characters to create and ideas to share. Bring it!
Peace,
Eric
Monday, May 9, 2011
What do I begin with?
Back in the throws of the audition game, I find that my experience has drastically changed from when I was a singer in my 20s. Then I was struggling to figure out what rep to sing, how to really create a character and once in the audition, what aria to start with. I was always told to sing, in no uncertain terms, what I sing best regardless of the repertoire that is being cast.
Back in late 2009, getting my audition packet together was a lot like trying to figure out which five outfits to to wear for a series of swanky parties where your social status could be made or broken by the slight nod of the fashion glitterati (I tend to go for the dramatic analogies.) I always knew that Figaro's famous opening aria Largo al factotum would figure prominently on my audition list as I felt that this aria (and the role) fit me vocally and dramatically. In addition, I always found that Figaro's ebullient entrance allowed me to focus on the character and its vocal excitement that my nerves would have to sit on the side and wait for the second piece before jumping into the game.
I usually made a pretty strong impression in that aria, but once the second piece was selected, most likely a slow aria that showed the exact opposite qualities of Figaro, I would usually fall apart (not completely, but enough to make me leave the audition wondering Whose voice was that?) Where his aria is fast, high, pretty full in sound and filled with lots of patter and personality, my other arias were mostly lyric in style, more serious and, for some reason, held a certain terror for me. More specifically, it was the onset of the first pitch that made my open throat close up and I often felt like I was barely able to phonate. Needless to say, I always hoped that my Figaro would dazzle them enough to let them forget my sloppy entrance, shallow breath and barely there acting. Most often it resulted in a disappointed look on their faces as they probably felt my defeat vibrating from within me.
After taking time away and coming back with a new attitude, sense of confidence and some experimentation, I came to realize that I had to start with the aria that scared me the most. While this seemed like a crazy idea, I knew that if I could master that aria in an audition up front, the next aria they would select-hopefully something that would show the dazzle, agility, high notes and personality-would leave them with a great impression versus disappointment. Your last note is often the one they remember the best.
Armed with a list that included Figaro's entrance aria, Dandini's aria from La Cenerentola, The French baritone national anthem "Avant de quitter ces lieux", Belcore's bel canto entrance "Come Paride vezzoso" and "E allor perche, di" sung by Silvio, the lyric baritone role from Pagliacci, I had a list that, on paper, looked like I really knew what type of baritone I was. I decided to start with Silvio's brief aria because it was short, full of line, had great high notes and was dramatic in the sense that the character is very passionate. I had performed his big duet with Nedda first as a graduate student and later as an apprentice at Des Moines Metro Opera. In both cases I found that the role challenged me both musically and dramatically. From a musical standpoint, I had to learn to master the liquid legato required while also mastering the inflection of the text so that this man's outpourings, which range from tenderness to fury were sung well. Dramatically I had an even more difficult time as I had to become very comfortable playing the "romantic" type. Actually he's more sexual that romantic and the relationship he and Nedda has runs much deeper than just sex. I always think of Silvio as the same as Nedda. Both are longing for freedom, she from her wandering life and he from his loneliness and I believe boredom. Along comes this woman who has so many things: she's passionate, sexual and in his eyes, free. It really excites him and the thought of that ending makes him afraid which manifests itself in angry outbursts and painful longing.
With so much back story, a performance history and connection to the music and character, you would think that Silvio's brief aria would set me up for any audition. It actually did the opposite. Because I had to work so hard as a young singer to master this music and character, I found that every time I opened my mouth to sing any of his music in an audition setting, a host of fears would surface and manifest itself technically. With ALL of this in my head, subconsciously, I would have a tough time getting under my body, meaning having full access to my support. I would physically collapse and not sing with a steady, supported tone causing me to work way too hard to get through this brief piece. Near the end of the aria, where he sings a climactic high note, I could finally relax and feel like I was "acting." Fail!
After a few bad experiences with Silvio, I realized that this great audition piece was not right for me. I took it off my list (along with "Avant de quitter" because I always felt that I was fighting with the right tempo and at each audition I felt as if I was spending more time trying to settle in tempo-wise and not enough actually worrying about the text, the line or the drama.) So I had two empty spots to fill.
I have always loved French operatic music and I began an extensive search for the right French aria including experimenting with Hamlet's "O vin, dissipe la tristesse", Mercutio's Queen Mab aria and arias from Manon, Iphigenie en Tauride, and "Sois immobille" from Rossini's Guillame Tell. I was looking for something that showed line, that showed the language, that had a character I could relate to and that I would be able to sing well in an audition situation. After lots of trying things out, I settled on Herod's "Vision fugitive" from Massenet's Herodiade. I am essentially a lyric baritone that has a good deal of facility so this aria didn't quite fit into my earlier package, but in some recent auditions, people have expressed an interest in hearing something a little heavier that could show the richness of my voice. I fell in love with this aria as a grad student. (It should be noted that it helped me win the Ohio State University Concerto Competition although I ended up singing "Largo al factotum" because it was something that my teacher and I felt would be the best choice to sing with the orchestra and before a live audience.) What has been fascinating is that this aria feels so good. It's recit sets my voice up very well allowing me to aim for a settled, supported sound, but also find a great character. The aria is at once lyric, nuanced, dramatic, expressive and serious and very different from my other arias. I also like that it challenges me to find different colors, apply messa di voce, sing full without pushing and show a "darker" side of my self.
With one aria left, I began thinking about how else to distinguish myself from the pack. In the last ten years, Handel has become a staple at many opera houses (most of them large regional or beyond.) I've always loved Handel since my undergad days and after hearing Norman Triegle sing Handel's Giulio Cesare and dreamed of singing this role which combined florid writing,incredible music and a fascinating personality--a budding artist's dream. I looked through the wealth of Handel arias for baritone (really bass, bass-baritone or baritone) and found "See the raging flames" from his dramatic oratorio Joshua. It had all the elements that make Handel exciting: runs, drama, story and more over, it was in English and an aria that felt like it fit well in my voice and on my list.
So now, armed with three bel canto arias (Donizetti and two Rossini), an English aria that fits in line with those and shows that I am really interested in Handel and a French piece that shows where I think my voice might be headed in a few years, I was ready to audition. But now back to the beginning question, what to begin with?
I now begin every audition with "Vision fugitive." Why? Because after starting with "Largo" for several years I came to understand that his vigor, excitement, patter and tessitura fit me very well, but singing anything lyric after that was a major challenge simply because my body, support and voice were functioning in a very "excited" place. It was extremely difficult to bring that down and sing something lyrical. With the "Vision fugitive" I am able to settle the voice, feel grounded and low, create a warm, rich sound while also adjusting to the acoustics of the audition space (anywhere from very dry to overly live). After the first few bars I can really "let go" and enjoy his obsession with this vision of Salome. It's a LOT of fun. I think it intrigues people who look at my list and wonder if I can sing something different. They usually ask for either of the Rossini arias which are a wonderful contrast and two characters I really enjoy singing. It's strange but they are easier to sing after singing something full-throated. I always try not to give too much in the French so that I can scale the voice back for the more florid stuff, but by contrast, it also does allow me to have the option to offer a fuller tone in the Rossini. People find a full sound in Rossini exciting especially if they can do the fioritura well.
Choosing audition rep is a lot like showing off your person style. What fits one day may change, what looked "odd" the other day can actually be perfect the next and often those staples that we like the best are classic pieces that seem to never go out of style. After selecting the right vocal "outfits", the singer gets to decide which first piece will dazzle, spark interest and give an honest assessment of their voice and dramatic gifts, but hopefully all five will be able to give a complete picture of the singer's talent, style and taste.
Peace,
Eric
Back in late 2009, getting my audition packet together was a lot like trying to figure out which five outfits to to wear for a series of swanky parties where your social status could be made or broken by the slight nod of the fashion glitterati (I tend to go for the dramatic analogies.) I always knew that Figaro's famous opening aria Largo al factotum would figure prominently on my audition list as I felt that this aria (and the role) fit me vocally and dramatically. In addition, I always found that Figaro's ebullient entrance allowed me to focus on the character and its vocal excitement that my nerves would have to sit on the side and wait for the second piece before jumping into the game.
I usually made a pretty strong impression in that aria, but once the second piece was selected, most likely a slow aria that showed the exact opposite qualities of Figaro, I would usually fall apart (not completely, but enough to make me leave the audition wondering Whose voice was that?) Where his aria is fast, high, pretty full in sound and filled with lots of patter and personality, my other arias were mostly lyric in style, more serious and, for some reason, held a certain terror for me. More specifically, it was the onset of the first pitch that made my open throat close up and I often felt like I was barely able to phonate. Needless to say, I always hoped that my Figaro would dazzle them enough to let them forget my sloppy entrance, shallow breath and barely there acting. Most often it resulted in a disappointed look on their faces as they probably felt my defeat vibrating from within me.
After taking time away and coming back with a new attitude, sense of confidence and some experimentation, I came to realize that I had to start with the aria that scared me the most. While this seemed like a crazy idea, I knew that if I could master that aria in an audition up front, the next aria they would select-hopefully something that would show the dazzle, agility, high notes and personality-would leave them with a great impression versus disappointment. Your last note is often the one they remember the best.
Armed with a list that included Figaro's entrance aria, Dandini's aria from La Cenerentola, The French baritone national anthem "Avant de quitter ces lieux", Belcore's bel canto entrance "Come Paride vezzoso" and "E allor perche, di" sung by Silvio, the lyric baritone role from Pagliacci, I had a list that, on paper, looked like I really knew what type of baritone I was. I decided to start with Silvio's brief aria because it was short, full of line, had great high notes and was dramatic in the sense that the character is very passionate. I had performed his big duet with Nedda first as a graduate student and later as an apprentice at Des Moines Metro Opera. In both cases I found that the role challenged me both musically and dramatically. From a musical standpoint, I had to learn to master the liquid legato required while also mastering the inflection of the text so that this man's outpourings, which range from tenderness to fury were sung well. Dramatically I had an even more difficult time as I had to become very comfortable playing the "romantic" type. Actually he's more sexual that romantic and the relationship he and Nedda has runs much deeper than just sex. I always think of Silvio as the same as Nedda. Both are longing for freedom, she from her wandering life and he from his loneliness and I believe boredom. Along comes this woman who has so many things: she's passionate, sexual and in his eyes, free. It really excites him and the thought of that ending makes him afraid which manifests itself in angry outbursts and painful longing.
With so much back story, a performance history and connection to the music and character, you would think that Silvio's brief aria would set me up for any audition. It actually did the opposite. Because I had to work so hard as a young singer to master this music and character, I found that every time I opened my mouth to sing any of his music in an audition setting, a host of fears would surface and manifest itself technically. With ALL of this in my head, subconsciously, I would have a tough time getting under my body, meaning having full access to my support. I would physically collapse and not sing with a steady, supported tone causing me to work way too hard to get through this brief piece. Near the end of the aria, where he sings a climactic high note, I could finally relax and feel like I was "acting." Fail!
After a few bad experiences with Silvio, I realized that this great audition piece was not right for me. I took it off my list (along with "Avant de quitter" because I always felt that I was fighting with the right tempo and at each audition I felt as if I was spending more time trying to settle in tempo-wise and not enough actually worrying about the text, the line or the drama.) So I had two empty spots to fill.
I have always loved French operatic music and I began an extensive search for the right French aria including experimenting with Hamlet's "O vin, dissipe la tristesse", Mercutio's Queen Mab aria and arias from Manon, Iphigenie en Tauride, and "Sois immobille" from Rossini's Guillame Tell. I was looking for something that showed line, that showed the language, that had a character I could relate to and that I would be able to sing well in an audition situation. After lots of trying things out, I settled on Herod's "Vision fugitive" from Massenet's Herodiade. I am essentially a lyric baritone that has a good deal of facility so this aria didn't quite fit into my earlier package, but in some recent auditions, people have expressed an interest in hearing something a little heavier that could show the richness of my voice. I fell in love with this aria as a grad student. (It should be noted that it helped me win the Ohio State University Concerto Competition although I ended up singing "Largo al factotum" because it was something that my teacher and I felt would be the best choice to sing with the orchestra and before a live audience.) What has been fascinating is that this aria feels so good. It's recit sets my voice up very well allowing me to aim for a settled, supported sound, but also find a great character. The aria is at once lyric, nuanced, dramatic, expressive and serious and very different from my other arias. I also like that it challenges me to find different colors, apply messa di voce, sing full without pushing and show a "darker" side of my self.
With one aria left, I began thinking about how else to distinguish myself from the pack. In the last ten years, Handel has become a staple at many opera houses (most of them large regional or beyond.) I've always loved Handel since my undergad days and after hearing Norman Triegle sing Handel's Giulio Cesare and dreamed of singing this role which combined florid writing,incredible music and a fascinating personality--a budding artist's dream. I looked through the wealth of Handel arias for baritone (really bass, bass-baritone or baritone) and found "See the raging flames" from his dramatic oratorio Joshua. It had all the elements that make Handel exciting: runs, drama, story and more over, it was in English and an aria that felt like it fit well in my voice and on my list.
So now, armed with three bel canto arias (Donizetti and two Rossini), an English aria that fits in line with those and shows that I am really interested in Handel and a French piece that shows where I think my voice might be headed in a few years, I was ready to audition. But now back to the beginning question, what to begin with?
I now begin every audition with "Vision fugitive." Why? Because after starting with "Largo" for several years I came to understand that his vigor, excitement, patter and tessitura fit me very well, but singing anything lyric after that was a major challenge simply because my body, support and voice were functioning in a very "excited" place. It was extremely difficult to bring that down and sing something lyrical. With the "Vision fugitive" I am able to settle the voice, feel grounded and low, create a warm, rich sound while also adjusting to the acoustics of the audition space (anywhere from very dry to overly live). After the first few bars I can really "let go" and enjoy his obsession with this vision of Salome. It's a LOT of fun. I think it intrigues people who look at my list and wonder if I can sing something different. They usually ask for either of the Rossini arias which are a wonderful contrast and two characters I really enjoy singing. It's strange but they are easier to sing after singing something full-throated. I always try not to give too much in the French so that I can scale the voice back for the more florid stuff, but by contrast, it also does allow me to have the option to offer a fuller tone in the Rossini. People find a full sound in Rossini exciting especially if they can do the fioritura well.
Choosing audition rep is a lot like showing off your person style. What fits one day may change, what looked "odd" the other day can actually be perfect the next and often those staples that we like the best are classic pieces that seem to never go out of style. After selecting the right vocal "outfits", the singer gets to decide which first piece will dazzle, spark interest and give an honest assessment of their voice and dramatic gifts, but hopefully all five will be able to give a complete picture of the singer's talent, style and taste.
Peace,
Eric
Friday, May 6, 2011
Springing into something new
I used to be on the administrative side of opera and loved it (most of the time.) However I always knew deep in my being that I was meant to be on the stage so I left my last administrative gig a year and a half ago in order to pursue this crazy life I now have and haven't looked back. It's been tough at times. On more than one occasion I wondered if I made the right choice. After the thousands of dollars invested in lessons, coachings and auditions, anyone in their right mind would have to take stock and see if it was all worth it. But being here in NYC right now and having several auditions lined up and lots of exciting things in development (more of that in future posts) I am reassured that I am on the right path. (Even though it has its bumps.)
I relate all this because I recently read that my former employer Opera Columbus has had to slash staff and will be under assumption of the Columbus Association for Performing Arts. I'm certain it was a difficult decision for this plucky company to make, but one that ensured that the artform is preserved. While several members lost their jobs, two staffers will be added into the CAPA fold and will continue to work for Opera Columbus.
When the economy went south and things were toughest at Opera Columbus, I realized that my desire for security at a 9 to 5 was just as fragile as the thought of being a performer. I decided then to take a risk (it always begins with a risk) and go back into singing. I admit I have been VERY lucky. I have somehow come to understand how to manage the demands of being a singer and the knowledge it takes to be in the "business." It is a constant juggle and while I love it, I do wish that things could be more consistent. Less feast or famine and more, well, feast-feast.
I've also had the luxury of branching out and doing some unusual things like my interactive recital Rogues and Scoundrels which had its premiere in April in Columbus, Ohio. It was a success and will be performed again next January at Georgia College. I am also returning to doing straight plays with a role in Evolution Theatre's Kindness which is part of RAPPture, a festival of plays by Adam Rapp.
I will be announcing my 2011-2012 season soon and am looking forward to mixing it up with more opera, recital/cabaret, musical theatre, straight theatre and some other ventures which I will reveal as they materialize.
With the warm weather upon us (and a lot of rain as well,) it's time to allow the seeds of ideas to be nurtured and grow so that "springing" into the future will be filled with great beauty, purpose and excitement.
Peace,
Eric
I relate all this because I recently read that my former employer Opera Columbus has had to slash staff and will be under assumption of the Columbus Association for Performing Arts. I'm certain it was a difficult decision for this plucky company to make, but one that ensured that the artform is preserved. While several members lost their jobs, two staffers will be added into the CAPA fold and will continue to work for Opera Columbus.
When the economy went south and things were toughest at Opera Columbus, I realized that my desire for security at a 9 to 5 was just as fragile as the thought of being a performer. I decided then to take a risk (it always begins with a risk) and go back into singing. I admit I have been VERY lucky. I have somehow come to understand how to manage the demands of being a singer and the knowledge it takes to be in the "business." It is a constant juggle and while I love it, I do wish that things could be more consistent. Less feast or famine and more, well, feast-feast.
I've also had the luxury of branching out and doing some unusual things like my interactive recital Rogues and Scoundrels which had its premiere in April in Columbus, Ohio. It was a success and will be performed again next January at Georgia College. I am also returning to doing straight plays with a role in Evolution Theatre's Kindness which is part of RAPPture, a festival of plays by Adam Rapp.
I will be announcing my 2011-2012 season soon and am looking forward to mixing it up with more opera, recital/cabaret, musical theatre, straight theatre and some other ventures which I will reveal as they materialize.
With the warm weather upon us (and a lot of rain as well,) it's time to allow the seeds of ideas to be nurtured and grow so that "springing" into the future will be filled with great beauty, purpose and excitement.
Peace,
Eric
Friday, March 18, 2011
Wrestling with Recitative
Anyone who has seen a Mozart, Donizetti, Rossini or other bel canto opera has experienced recitative. Often known by its shorthand recit, recitative is where singers communicate the story through rapid fire Italian that mimics natural speech. There are two types of 'recit; recitativo secco (dry recit) where there is only continuo (usually a harpsichord) and recitativo accompagnato where the orchestra plays.
Rossini's L'Italiana in Algeri is filled with recit and one of the joys (and challenges) is to not only learn all the text and notes in the proper order, but also to infuse it with personality so that what is being said is delivered well and helps move the story along. Recits are filled with action and reaction and can sometimes be like watching a tennis match (or a doubles match if there are four singers on the stage.) So how does one begin to get a handle (and one's lips) around it?
First I translate, translate and translate. Translation #1: A literal translation so that I know what each word means. Translation #2: I consult the Nico Castel volumes which are not only filled with a literal translation, but also explains exactly what the text means (idiomatic expressions, figures of speech, double entendres etc...) and finally Translation #3: How would my character say it when I infuse my own personality into it?
It usually takes me longer to learn recits that it does to learn to learn the numbers because the melodic structure is minimal and after a while recits can begin to sound alike so it's always important to know exactly what you are saying and what the other characters are saying.
My next step in the process is to rapidly repeat the text and notes over and over again until they become second nature. This is where patience and a sense of humor are necessary. At first the brain may go left while the tongue goes right, but eventually it all starts to fit together. Like dialogue, it's smart to learn your cue lines and the text of your colleagues so that you know what this conversation really means.
Finally, you get to put it all together with the other characters and you often discover (as is the case with lines in a play) that how someone delivers a line may inspire a new delivery of your line and vice-versa so it helps to keep it fresh. There is a sense of improvisation in recitative which, once mastered, can be a lot of fun. But the process of getting it all together can be a lot like wrestling with Hulk Hogan (then, not now) and means that you have to be prepared, pumped up (at least mentally) and ready to take your competitor (that tongue-twisting line on page 215) down!
Peace,
Eric
Rossini's L'Italiana in Algeri is filled with recit and one of the joys (and challenges) is to not only learn all the text and notes in the proper order, but also to infuse it with personality so that what is being said is delivered well and helps move the story along. Recits are filled with action and reaction and can sometimes be like watching a tennis match (or a doubles match if there are four singers on the stage.) So how does one begin to get a handle (and one's lips) around it?
First I translate, translate and translate. Translation #1: A literal translation so that I know what each word means. Translation #2: I consult the Nico Castel volumes which are not only filled with a literal translation, but also explains exactly what the text means (idiomatic expressions, figures of speech, double entendres etc...) and finally Translation #3: How would my character say it when I infuse my own personality into it?
It usually takes me longer to learn recits that it does to learn to learn the numbers because the melodic structure is minimal and after a while recits can begin to sound alike so it's always important to know exactly what you are saying and what the other characters are saying.
My next step in the process is to rapidly repeat the text and notes over and over again until they become second nature. This is where patience and a sense of humor are necessary. At first the brain may go left while the tongue goes right, but eventually it all starts to fit together. Like dialogue, it's smart to learn your cue lines and the text of your colleagues so that you know what this conversation really means.
Finally, you get to put it all together with the other characters and you often discover (as is the case with lines in a play) that how someone delivers a line may inspire a new delivery of your line and vice-versa so it helps to keep it fresh. There is a sense of improvisation in recitative which, once mastered, can be a lot of fun. But the process of getting it all together can be a lot like wrestling with Hulk Hogan (then, not now) and means that you have to be prepared, pumped up (at least mentally) and ready to take your competitor (that tongue-twisting line on page 215) down!
Peace,
Eric
Saturday, March 5, 2011
The Italian Girl in Algers meets the baritone boy
Week 1 of rehearsals are nearly done and I have so many Italian words running through my brain that I sometimes forget that I speak English! Along with staging, dance movements (yes, I said dance movements) and trying to remember my cast mates' names, it's a wonder I can keep my head on straight. (It should be noted that I got lost trying to find my way out of DC and back to Baltimore where I am staying.)
I have to say that for my first "L'Italiana in Algeri" AKA "The Italian Girl in Algers," I am pretty happy with my level of preparation. I have a good understanding of the role and characterization. (Pats himself on the back.) Of course I had lots of help--thanks to Nico Castel's text and translation, hours and hours of practice and memorization, the various people who helped coach the role and the "additional" coaching I received via the fabulous singers who have performed this opera in the past. YouTube rocks!
Besides the total amount of text associated with Rossini, the greatest challenges come from being able to make musical lines out of the patter (lots of fast text), sing legato when there is a line and try to find the balance between vocal beauty and character in the voice. Taking a cue from Johnny Depp who is known for fusing two personalities to create his characters, I have decided that my character Taddeo, the former lover of Isabella (the Italian Girl,) is a cross between Fred Sanford and Snagglepuss--exit stage left as I have a heart attack.
Making a role debut is always filled with excitement (and some fear--I am a neurotic singer after all.) Add onto that a debut with a company and you get the idea that the level of preparation needs to be very high. It's helpful to have colleagues whose level of preparation is as high, a stage director who wants to milk the comedic elements with precision and a conductor who is as passionate about Rossini as I am.
We still have several weeks to explore, stage, create and play and I am looking forward to every minute as I add another Rossini role to my repertoire. Viva Rossini!
Peace,
Eric
I have to say that for my first "L'Italiana in Algeri" AKA "The Italian Girl in Algers," I am pretty happy with my level of preparation. I have a good understanding of the role and characterization. (Pats himself on the back.) Of course I had lots of help--thanks to Nico Castel's text and translation, hours and hours of practice and memorization, the various people who helped coach the role and the "additional" coaching I received via the fabulous singers who have performed this opera in the past. YouTube rocks!
Besides the total amount of text associated with Rossini, the greatest challenges come from being able to make musical lines out of the patter (lots of fast text), sing legato when there is a line and try to find the balance between vocal beauty and character in the voice. Taking a cue from Johnny Depp who is known for fusing two personalities to create his characters, I have decided that my character Taddeo, the former lover of Isabella (the Italian Girl,) is a cross between Fred Sanford and Snagglepuss--exit stage left as I have a heart attack.
Making a role debut is always filled with excitement (and some fear--I am a neurotic singer after all.) Add onto that a debut with a company and you get the idea that the level of preparation needs to be very high. It's helpful to have colleagues whose level of preparation is as high, a stage director who wants to milk the comedic elements with precision and a conductor who is as passionate about Rossini as I am.
We still have several weeks to explore, stage, create and play and I am looking forward to every minute as I add another Rossini role to my repertoire. Viva Rossini!
Peace,
Eric
Wednesday, February 16, 2011
Black History, Bel Canto and Bad Boys
January has come and gone and February has its icy (yet not too bad) chill upon us. I have been lucky to have a lot on my plate this winter so while my fingers and toes suffer through this blustery weather, my heart has remained warm with wonderful music.
I recently returned from Louisville KY, where I participated in their touring show "Oh Freedom." Using spirituals, narration, props and a nice dose of humor, the show presented a great overview of black history highlighting important events from the slave trade, Emancipation, Reconstruction, the Harlem Renaissance, the Civil Rights Movement and leading up to present day. I worked with three wonderful colleagues and had a wonderful time singing some great spirituals, art songs, opera and even some contemporary tunes. Here is a link to the promotional video put together by Kentucky Opera:
http://www.youtube.com/watch?v=cIv3TsjhNyU
As far as Bel Canto (beautiful singing) is concerned, I am getting ready to head off to sing the role of Taddeo in Rossini's sparkling comedy "L'Italiana in Algeri" featuring vocal fireworks and a plot filled with twists and turns. I am making my debut with Bel Cantanti Opera and also debuting the role of Taddeo. All I can say is that I am thrilled to be singing this fun, vocally challenging role (he has a LOT of Italian.) The preparation is going well and I hope to soon have the whole "in my body" as singers like to say. I always seem to have the music going through my head which is a sure sign that is settling into my subconscious!
Finally I am preparing for my newest performance project: "Rogues and Scoundrels: Rethink the Recital." The program will present some of classical music most fascinating bad boys along with elements of theatre and is an interactive experience where the audience becomes part of the performance. I am funding this project through Kickstarter.com, a website that is the largest funding platform for creative projects in the world! Donations can range from $1 to $100 or more and each level of donation comes with specific benefits! Check it out:
http://www.kickstarter.com/projects/579480669/rogues-and-scoundrels-rethink-the-recital
My project is already at 25% of goal so I am excited about where it could go!
So that's what I've been up to. I'll check in again once I am settled in DC when "L'Italiana in Algeri" begins rehearsals!
Peace,
Eric
I recently returned from Louisville KY, where I participated in their touring show "Oh Freedom." Using spirituals, narration, props and a nice dose of humor, the show presented a great overview of black history highlighting important events from the slave trade, Emancipation, Reconstruction, the Harlem Renaissance, the Civil Rights Movement and leading up to present day. I worked with three wonderful colleagues and had a wonderful time singing some great spirituals, art songs, opera and even some contemporary tunes. Here is a link to the promotional video put together by Kentucky Opera:
http://www.youtube.com/watch?v=cIv3TsjhNyU
As far as Bel Canto (beautiful singing) is concerned, I am getting ready to head off to sing the role of Taddeo in Rossini's sparkling comedy "L'Italiana in Algeri" featuring vocal fireworks and a plot filled with twists and turns. I am making my debut with Bel Cantanti Opera and also debuting the role of Taddeo. All I can say is that I am thrilled to be singing this fun, vocally challenging role (he has a LOT of Italian.) The preparation is going well and I hope to soon have the whole "in my body" as singers like to say. I always seem to have the music going through my head which is a sure sign that is settling into my subconscious!
Finally I am preparing for my newest performance project: "Rogues and Scoundrels: Rethink the Recital." The program will present some of classical music most fascinating bad boys along with elements of theatre and is an interactive experience where the audience becomes part of the performance. I am funding this project through Kickstarter.com, a website that is the largest funding platform for creative projects in the world! Donations can range from $1 to $100 or more and each level of donation comes with specific benefits! Check it out:
http://www.kickstarter.com/projects/579480669/rogues-and-scoundrels-rethink-the-recital
My project is already at 25% of goal so I am excited about where it could go!
So that's what I've been up to. I'll check in again once I am settled in DC when "L'Italiana in Algeri" begins rehearsals!
Peace,
Eric
Wednesday, January 26, 2011
But this is how I sing it...
I recently read a quote on the “book of faces” posted by a friend that went like this: “"If I'm going to sing like someone else, then I don't need to sing at all." ~ Billie Holiday. So many singers work with people who innocently say “try this phrase like so and so does it,” or “here’s where (insert artist of the past,) would do a crescendo then descrescendo,” or “If you can’t sing it like famous diva, then you shouldn’t be singing it.” Many of those in the opera business are there to offer their expertise as they have worked with the “greats,” but at some point we as artists have to say this is how I sing it. (I chose “artists” over the word “singers” because I believe that with the tools we are given-the score, the language, the stories, the advice from the teachers, coaches and conductors, our technique and our own voices, we truly do create soemthing beautiful, memorable and amazing.)
We go to undergrad and sometimes grad school with a handful of information as we begin to explore how to make our voices into the instruments that opera lovers (and company heads) want to pay to hear. It is a long process of putting the voice, text and acting together as each thread is important. In the beginning we need many ears to help us learn the sounds and release the fears that keep us in check. Once we leave school we still try and make our way and hold onto the title “young artist,” sometimes for MANY years, in an effort to let people know that we are still putting the pieces together. At some point, however, we have to say “All right. I have all this information, the tools, the network and the freedom to create.” It’s our chance to become all the things that make us a great opera singer. It’s an exciting and scary place to be as we get to take full responsibility for our performances. We ultimately become the ones who make the decisions and sometimes asserting that can be tough, but it is necessary.
With recordings, videos, DVDS, YouTube, bootleg/pirated 8-tracks and all the other media out there it is possible to be overwhelmed with the number of ways that singers can sing a role, an aria or a phrase. But the one thing that makes all of those interpretations valid is that those artists did something so special that it’s still remembered for years and years (or months, or weeks or days depending on whether the artist is still performing.) Our goal as opera singers is to tell the great stories of opera with our voices. As a performer we want to put our personal stamp on it and make it something so amazing that people will be talking about it for days, weeks, months or years.
One day some young singer will be in a coaching and that coach will say: “Sing it like (insert your name here.)” So with that knowledge in mind we are able to take it with a grain of salt when someone tells us to sound more like singer X or do it like singer Z, because in the end the only way we can do it is by singing with our own voice and ideas. The greats knew that and that is what makes them someone we want to listen to over and over again.
Peace,
Eric
We go to undergrad and sometimes grad school with a handful of information as we begin to explore how to make our voices into the instruments that opera lovers (and company heads) want to pay to hear. It is a long process of putting the voice, text and acting together as each thread is important. In the beginning we need many ears to help us learn the sounds and release the fears that keep us in check. Once we leave school we still try and make our way and hold onto the title “young artist,” sometimes for MANY years, in an effort to let people know that we are still putting the pieces together. At some point, however, we have to say “All right. I have all this information, the tools, the network and the freedom to create.” It’s our chance to become all the things that make us a great opera singer. It’s an exciting and scary place to be as we get to take full responsibility for our performances. We ultimately become the ones who make the decisions and sometimes asserting that can be tough, but it is necessary.
With recordings, videos, DVDS, YouTube, bootleg/pirated 8-tracks and all the other media out there it is possible to be overwhelmed with the number of ways that singers can sing a role, an aria or a phrase. But the one thing that makes all of those interpretations valid is that those artists did something so special that it’s still remembered for years and years (or months, or weeks or days depending on whether the artist is still performing.) Our goal as opera singers is to tell the great stories of opera with our voices. As a performer we want to put our personal stamp on it and make it something so amazing that people will be talking about it for days, weeks, months or years.
One day some young singer will be in a coaching and that coach will say: “Sing it like (insert your name here.)” So with that knowledge in mind we are able to take it with a grain of salt when someone tells us to sound more like singer X or do it like singer Z, because in the end the only way we can do it is by singing with our own voice and ideas. The greats knew that and that is what makes them someone we want to listen to over and over again.
Peace,
Eric
Monday, January 3, 2011
2010 in review
Somewhere around December 27th after the hoopla of Christmas, but before the dropping of the giant ball that rings in the new year, I tend to reflect on my past year and what I've done and learned.
2010 was a year of extraordinary change. I took a chance at the age of 39 and left my secure (most of the time) job and ventured back into the realm of being a performer. On many occasions, mostly in between performance opportunities, I questioned what the he!% I was doing. Who in their right mind would try and get back into the opera world at 39 after taking nearly 7 years off?!
Back in December of 2009 I auditioned for the 75th Anniversary National tour of Porgy and Bess. It was really just on a whim and I never thought I would get it so I had no real fear until a few days after my audition when I received an e-mail asking me to come back to New York to be seen by the entire production team (director, producers, conductors.) I sang well, but it as one of those things that you can never predict. Subsequently I was offered the role of Jake. The tour would begin rehearsals in about three weeks and I had to decide if I should leave my job, my city and my current life and go on this adventure. I've always been a bit of a bohemian wanderer and have always believed that you can live the life you dream so I jumped at the opportunity.
Now, I've always been an insecure singer, but I had to step up and "fake it." I had to be strong, secure, confident, consistent and amazing everyday as I never knew who was listening. One of the most surreal experiences was being called in to audition for a feature film. The company was looking for a male African American opera singer to play the lead in an untitled project and had sent a scout to one of the Porgy and Bess rehearsals. I was so excited and felt that I nailed the audition, but as things are likely to happen, the project was shelved. Still I was certain that the universe was pointing me in the right direction.
After a few more weeks in rehearsal, we hit the road and did 45 performances from February to June. The experience of touring and delivering a show (sometimes two in a day) several days a week was grueling. It was a great exercise in remaining mentally tough and was certainly not for the weak of spirit. The demands to be "en pointe" every show can be tough, but that is what we are being paid for and I loved the challenge of keeping it fresh every time.
In the five weeks off from the tour, I was contracted to cover the role of Jake and sing the role of Robbins in Virginia Opera's Porgy and Bess. it was so fun to work on a different production with a different director and conductor. I learned even more about the magic of Gershwin's opera and met some wonderful people on the way.
Following the tour, I auditioned for and won the role of Casey O'Brien in the musical Boy Meets Boy where I met a kind and nurturing director and found out that the skill of memorizing a musical had as much of a challenge as memorizing an opera. I was very fortunate to receive great reviews for both the Porgy and Bess and Boy Meets Boy and it made it realize that I was indeed doing the right thing!
I was then fortunate to be offered the role of Fred Graham in Kiss Me, Kate. I was also fortunate that the director and soprano singing Lilli were old colleagues and that the other two principals were fantastic as well. The four singers shared an apartment making it very much Real World meets Opera World, but without the fighting and such.
In late September I made the short drive to Dayton, Ohio to reaquaint myself with Jake as rehearsals for Dayton Opera's Porgy and Bess got underway. It was a fantastic way to end the performance year and again reaffirmed that I was indeed doing the right thing. Right around that same time, I was offered the role of "The Clinician" in a pyschology training video. The director was the same one who had directed Boy Meets Boy. So I was actually spending my days in rehearsals for Porgy and Bess and memorizing the dialogue for the video at night. It was thrilling to be so busy.
November and December saw lots of auditions and me turning 40. I thought I would be OK with turning the big 4-0, but it actually knocked me for a loop and I had to remind myself that I was venturing into new territory and that I couldn't get down on myself. Then came being in New York!
Money was tight as I was trying to get to New York, pay for auditions, pay my bills and still have time to practice. I spent the month of December in New York auditioning not only for opera, but also trying to break into the field of being an Extra. It's not easy and is really all about what the directors need and want. I also found some part-time work as a cater waiter and learned that while the work is exhausting, I am strong enough to stand on my feet, smile and take that empty plate from that up and coming celebrity with the best of them.
Finally, I took another step towards uping my professional image by launching ericmckeeverbaritone.com. It has been an exciting process and one that would have been impossible if not for the patience, talent and understanding of Keith Morgan of www.buckledown-interactive.com
I also want to thank you the reader for following my journey and for supporting it.
I look forward to sharing more success, dreams and stories in 2011.
Happy New Year!
Peace,
Eric
2010 was a year of extraordinary change. I took a chance at the age of 39 and left my secure (most of the time) job and ventured back into the realm of being a performer. On many occasions, mostly in between performance opportunities, I questioned what the he!% I was doing. Who in their right mind would try and get back into the opera world at 39 after taking nearly 7 years off?!
Back in December of 2009 I auditioned for the 75th Anniversary National tour of Porgy and Bess. It was really just on a whim and I never thought I would get it so I had no real fear until a few days after my audition when I received an e-mail asking me to come back to New York to be seen by the entire production team (director, producers, conductors.) I sang well, but it as one of those things that you can never predict. Subsequently I was offered the role of Jake. The tour would begin rehearsals in about three weeks and I had to decide if I should leave my job, my city and my current life and go on this adventure. I've always been a bit of a bohemian wanderer and have always believed that you can live the life you dream so I jumped at the opportunity.
Now, I've always been an insecure singer, but I had to step up and "fake it." I had to be strong, secure, confident, consistent and amazing everyday as I never knew who was listening. One of the most surreal experiences was being called in to audition for a feature film. The company was looking for a male African American opera singer to play the lead in an untitled project and had sent a scout to one of the Porgy and Bess rehearsals. I was so excited and felt that I nailed the audition, but as things are likely to happen, the project was shelved. Still I was certain that the universe was pointing me in the right direction.
After a few more weeks in rehearsal, we hit the road and did 45 performances from February to June. The experience of touring and delivering a show (sometimes two in a day) several days a week was grueling. It was a great exercise in remaining mentally tough and was certainly not for the weak of spirit. The demands to be "en pointe" every show can be tough, but that is what we are being paid for and I loved the challenge of keeping it fresh every time.
In the five weeks off from the tour, I was contracted to cover the role of Jake and sing the role of Robbins in Virginia Opera's Porgy and Bess. it was so fun to work on a different production with a different director and conductor. I learned even more about the magic of Gershwin's opera and met some wonderful people on the way.
Following the tour, I auditioned for and won the role of Casey O'Brien in the musical Boy Meets Boy where I met a kind and nurturing director and found out that the skill of memorizing a musical had as much of a challenge as memorizing an opera. I was very fortunate to receive great reviews for both the Porgy and Bess and Boy Meets Boy and it made it realize that I was indeed doing the right thing!
I was then fortunate to be offered the role of Fred Graham in Kiss Me, Kate. I was also fortunate that the director and soprano singing Lilli were old colleagues and that the other two principals were fantastic as well. The four singers shared an apartment making it very much Real World meets Opera World, but without the fighting and such.
In late September I made the short drive to Dayton, Ohio to reaquaint myself with Jake as rehearsals for Dayton Opera's Porgy and Bess got underway. It was a fantastic way to end the performance year and again reaffirmed that I was indeed doing the right thing. Right around that same time, I was offered the role of "The Clinician" in a pyschology training video. The director was the same one who had directed Boy Meets Boy. So I was actually spending my days in rehearsals for Porgy and Bess and memorizing the dialogue for the video at night. It was thrilling to be so busy.
November and December saw lots of auditions and me turning 40. I thought I would be OK with turning the big 4-0, but it actually knocked me for a loop and I had to remind myself that I was venturing into new territory and that I couldn't get down on myself. Then came being in New York!
Money was tight as I was trying to get to New York, pay for auditions, pay my bills and still have time to practice. I spent the month of December in New York auditioning not only for opera, but also trying to break into the field of being an Extra. It's not easy and is really all about what the directors need and want. I also found some part-time work as a cater waiter and learned that while the work is exhausting, I am strong enough to stand on my feet, smile and take that empty plate from that up and coming celebrity with the best of them.
Finally, I took another step towards uping my professional image by launching ericmckeeverbaritone.com. It has been an exciting process and one that would have been impossible if not for the patience, talent and understanding of Keith Morgan of www.buckledown-interactive.com
I also want to thank you the reader for following my journey and for supporting it.
I look forward to sharing more success, dreams and stories in 2011.
Happy New Year!
Peace,
Eric
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