I’m not one to normally reminisce mainly because I try to focus on the now. I am also fortunate to have many wonderful things keeping me motivated to stay here in the present. But as I sit here in Milwaukee during tech week for a fantastic piece that at first glance seemed like an impossible venture, I think back to how things have changed for the better over the last year. Anyone who knows me knows that I like to collect useless data (such as who are the frontrunners in the Oscar race or which opera singers are singing what repertoire.) So I decided to put that “nerdy” side of myself to work and share some statistics from 2013.
From January to December I sang eight roles, seven of them new. I was lucky enough to sing Rossini, Britten, Verdi, Puccini, Beethoven, Gounod, Johann and Richard Strauss. I also performed excerpts from a new opera by living composer Todd Goodman. When I wasn’t onstage, I was auditioning. I did 14 auditions and received 6 contract offers (I had to turn down 3 of the contracts due to scheduling issues, but hopefully I will get to work with those companies in the future.) That’s a 42% average which is pretty darn good when you consider the industry standard is 1 job for every 10 auditions.
In addition to tons of music, I did tons of traveling. The year brought me to Naples, FL (in February no less), Harrisburg, PA, Washington DC, St. Petersburg, FL, Milwaukee, WI and St. Louis, MO. I endured delayed flights, late luggage and hours spent on busses, trains and planes. I spent 19 weeks away from home singing and (luckily) five weeks singing in the City (Bronx Opera and the Center for Contemporary Opera.)
The roles came in the four standard operatic languages: Italian, English, German and French. I spent so much time memorizing text and music that I am certain my brain has grown two sizes. I worked with over 100 singers, 9 conductors, 6 stage directors (some twice) and one choreographer whose demanding phrase “Again!” still makes me chuckle whenever I think about it. Many of these artists inspired me with their talent, dedication and passion for opera.
As 2013 winds down and I prepare for a busy 2014, I take this brief moment to acknowledge the amazing path I am walking. Just a few years ago I had given up and now I am blessed to be doing exactly what I love with many wonderful performance opportunities on the horizon. In addition to all of this, I got engaged and am getting married at the end of August. This year has been absolutely amazing and I expect 2014 to be even better. But I am here, in this moment and what I have before me is study and rehearsal. So back to work I go!
Peace,
Eric
Monday, December 30, 2013
Saturday, December 21, 2013
What the fach is with all this self-imposed labeling?
I recently read a post from an artistic director about a 19 year-old soprano looking to audition who called herself “a young dramatic soprano.” The artistic director was immediately put off mainly because the girl who was still learning how to sing had already labeled herself and was hoping to audition under that label. I thought that this was a rare phenomenon, but I recently heard several young singers proclaiming themselves as a Verdi this or a Puccini that. I was surprised because many of these singers were making these assessments based on their own small singer friend arena and not on the knowledge and experience of international level teachers, conductors or coaches. I find it fascinating that singers who are in the beginnings of their careers and still fine-tuning their techniques are so certain of what their voices are. We all have to sing the roles that are right for our voices and there certainly are young singers with big voices. A tenor with a fuller instrument may not be able to negotiate the demands of Mozart’s Ferrando, but does that mean he jumps right into Calaf?
I have always been reticent to call myself anything besides a baritone. (And that took several years as when I was younger some people thought I might be a tenor.) Labels like lyric, dramatic, Verdi, bel-canto are helpful when one is trying to figure out which roles to sing, but if you’ve never done any of those roles, how can deem yourself a specialist? I would love to focus on the operas of Rossini Donizetti, Verdi and the French repertoire, yet I am just NOW getting hired to sing those roles. Later in the season, I will be singing my fifth Rossini role (which I love) and I would be more than happy to sing as much Rossini that comes my way, but a few years ago as much I wanted to sing every Rossini baritone role, I had to first learn how to sing.
In our fast-paced and competitive society, everyone wants to stand out. But something people forget when they label themselves in an attempt to be categorized, once you call yourself a Wagner soprano, you place the expectation of what Wagner sopranos who are working sound like. Soprano Christine Goerke recently had a smashing success as the Dyer’s Wife in Strauss’ “Die Frau ohne Schatten.” She always had a large instrument and yet she sang Mozart, Handel, and Gluck roles early on and is just now taking on Turandot, Ariadne and the heavier Strauss and Wagner roles. This explains why she has survived for so long. It’s been a slow ascent, but now she is poised to be one of the most exciting dramatic voices of our generation.
Instead of placing a stamp on one’s self early in the process, I think it’s important to have a sold technique. Once the contracts start coming in and companies start hiring you for a specific composer several times, then perhaps the label can be added to the voice type. Until then be a mezzo or a baritone and sing your audition arias (lyric something or other) well. Yes, they should all be of the same fach to avoid confusion, but some wonderful advice I’ve always heard is to ere on the lighter side. Do you want to call yourself a big-voiced lyric (who sings in big houses all over the world) or a lighter-voiced self-labeled dramatic who has no idea if they can even sustain the entire role let alone over an entire orchestra in a large hall.
Peace,
Eric
I have always been reticent to call myself anything besides a baritone. (And that took several years as when I was younger some people thought I might be a tenor.) Labels like lyric, dramatic, Verdi, bel-canto are helpful when one is trying to figure out which roles to sing, but if you’ve never done any of those roles, how can deem yourself a specialist? I would love to focus on the operas of Rossini Donizetti, Verdi and the French repertoire, yet I am just NOW getting hired to sing those roles. Later in the season, I will be singing my fifth Rossini role (which I love) and I would be more than happy to sing as much Rossini that comes my way, but a few years ago as much I wanted to sing every Rossini baritone role, I had to first learn how to sing.
In our fast-paced and competitive society, everyone wants to stand out. But something people forget when they label themselves in an attempt to be categorized, once you call yourself a Wagner soprano, you place the expectation of what Wagner sopranos who are working sound like. Soprano Christine Goerke recently had a smashing success as the Dyer’s Wife in Strauss’ “Die Frau ohne Schatten.” She always had a large instrument and yet she sang Mozart, Handel, and Gluck roles early on and is just now taking on Turandot, Ariadne and the heavier Strauss and Wagner roles. This explains why she has survived for so long. It’s been a slow ascent, but now she is poised to be one of the most exciting dramatic voices of our generation.
Instead of placing a stamp on one’s self early in the process, I think it’s important to have a sold technique. Once the contracts start coming in and companies start hiring you for a specific composer several times, then perhaps the label can be added to the voice type. Until then be a mezzo or a baritone and sing your audition arias (lyric something or other) well. Yes, they should all be of the same fach to avoid confusion, but some wonderful advice I’ve always heard is to ere on the lighter side. Do you want to call yourself a big-voiced lyric (who sings in big houses all over the world) or a lighter-voiced self-labeled dramatic who has no idea if they can even sustain the entire role let alone over an entire orchestra in a large hall.
Peace,
Eric
Wednesday, November 20, 2013
Grateful to Opera
With Thanksgiving right around the corner (staring at me and holding a whole turkey, no less), I wake up every day grateful for composers like Rossini, Gounod, Verdi and others for developing an artform that allows the trained human voice to experience all of the greatest of emotions. We opera singers are a lucky breed in that we get to experience some of the most beautiful music and fascinating characters while showcasing our own individual talent. As November is all about being thankful I decided to remind myself why I (and anyone lucky enough to be an opera singer) should be grateful.
1. I am grateful that I have a voice that is suited to opera. It takes a unique timbre and color along with an ability to project that voice into an opera house. After years of training, I can do this!
2. I am grateful for the amazingly talented (and often supportive) colleagues I encounter. In so many of the performing arts, you are allowed an extensive rehearsal period in which to develop the trust that is needed to create great art. But in opera you meet and a few hours later you are embracing lovingly or cursing vehemently all with people you know little about. I am grateful that so many of the folks I work with are so open and willing to “play.”
3. I am grateful for my drive to be an opera singer. Every morning, I find that I am excited about the music I am learning, the emails and calls to make and receive and/or the rehearsal that is to happen. I love the process so much because that is where I truly discover the nuances of the music and the character. I am also grateful for the support system I have that encourages me when I need it and cheers me when I accomplish.
4. I am grateful for being an opera singer who actually LOVES opera. If I am going to invest most of my time and energy in a career, I am happy that I truly enjoy all the aspects. Besides performing, I relish the chance to view the artform live. Nothing excites me more than hearing great singing. Being an opera singer myself, it can be tough to just “listen” without judgment, but I also attempt to focus on the performance and what they bring versus analyzing what they don’t.
5. I am grateful for the opportunities that being an opera singer offers. I get to travel, meet all kinds of people, work in the theatre and (most times) hear some fantastic artists. I also get to work for myself which is a blessing. I get to set my own schedule when it comes to learning roles. On the flip side, I learn a lot about discipline as there are constant deadlines, places to be and business to get done.
6. I am grateful for the challenges of opera. In addition to singing well, we usually have to perform it in a foreign tongue with incredible dramatic intent. I certainly feel a lot smarter when I’ve conquered a role (although do we ever really conquer it?)
7. I am grateful for the joy singing brings me. When I’ve warmed up well and the voice is working, I feel a freedom to tell a story in the most vulnerable, beautiful way. It took me a long time to realize that the audience wants to see the “cracks” in our own armor through the guise of our character. They want to see the freedom, the tears, the anger, the love and all the other emotions that we dare not share in public. When the audience connects to that, I feel like the world is perfect.
8. I am grateful to New York for toughening me up regarding rejection, helping me to build stamina and being in a place ripe with opportunities, resources and auditions.
9. I am grateful for having spent six years on the administrative side of opera. I learned so much about how opera companies run, how each opera house has its own set of standards regarding artists and how all you have control over is your product, not how they view it.
10. Finally I am thankful that opera keeps me on my game. I have learned to love myself more and treat myself so much better because I am devoting so much of myself to my art. Opera encompasses so many of the things I love: music, drama, language, movement, visual arts and live theatre. I am also grateful that when I sing opera it makes me believe in the divine and my way to communicate with that energy is through making beautiful music.
Reminding myself to be thankful, not only in November, but all year long of the privilege of being an opera singer makes every day an exciting adventure that I am so blessed to experience.
Peace,
Eric
1. I am grateful that I have a voice that is suited to opera. It takes a unique timbre and color along with an ability to project that voice into an opera house. After years of training, I can do this!
2. I am grateful for the amazingly talented (and often supportive) colleagues I encounter. In so many of the performing arts, you are allowed an extensive rehearsal period in which to develop the trust that is needed to create great art. But in opera you meet and a few hours later you are embracing lovingly or cursing vehemently all with people you know little about. I am grateful that so many of the folks I work with are so open and willing to “play.”
3. I am grateful for my drive to be an opera singer. Every morning, I find that I am excited about the music I am learning, the emails and calls to make and receive and/or the rehearsal that is to happen. I love the process so much because that is where I truly discover the nuances of the music and the character. I am also grateful for the support system I have that encourages me when I need it and cheers me when I accomplish.
4. I am grateful for being an opera singer who actually LOVES opera. If I am going to invest most of my time and energy in a career, I am happy that I truly enjoy all the aspects. Besides performing, I relish the chance to view the artform live. Nothing excites me more than hearing great singing. Being an opera singer myself, it can be tough to just “listen” without judgment, but I also attempt to focus on the performance and what they bring versus analyzing what they don’t.
5. I am grateful for the opportunities that being an opera singer offers. I get to travel, meet all kinds of people, work in the theatre and (most times) hear some fantastic artists. I also get to work for myself which is a blessing. I get to set my own schedule when it comes to learning roles. On the flip side, I learn a lot about discipline as there are constant deadlines, places to be and business to get done.
6. I am grateful for the challenges of opera. In addition to singing well, we usually have to perform it in a foreign tongue with incredible dramatic intent. I certainly feel a lot smarter when I’ve conquered a role (although do we ever really conquer it?)
7. I am grateful for the joy singing brings me. When I’ve warmed up well and the voice is working, I feel a freedom to tell a story in the most vulnerable, beautiful way. It took me a long time to realize that the audience wants to see the “cracks” in our own armor through the guise of our character. They want to see the freedom, the tears, the anger, the love and all the other emotions that we dare not share in public. When the audience connects to that, I feel like the world is perfect.
8. I am grateful to New York for toughening me up regarding rejection, helping me to build stamina and being in a place ripe with opportunities, resources and auditions.
9. I am grateful for having spent six years on the administrative side of opera. I learned so much about how opera companies run, how each opera house has its own set of standards regarding artists and how all you have control over is your product, not how they view it.
10. Finally I am thankful that opera keeps me on my game. I have learned to love myself more and treat myself so much better because I am devoting so much of myself to my art. Opera encompasses so many of the things I love: music, drama, language, movement, visual arts and live theatre. I am also grateful that when I sing opera it makes me believe in the divine and my way to communicate with that energy is through making beautiful music.
Reminding myself to be thankful, not only in November, but all year long of the privilege of being an opera singer makes every day an exciting adventure that I am so blessed to experience.
Peace,
Eric
Friday, November 1, 2013
Temperament
I am in St. Louis working on one of the greatest operas in the repertoire: Faust! The story of an old, cynical man who sells his soul to the devil in order to pursue young love combined with Charles Gounod’s sensual music is what opera is all about. It’s always great when you get to sing a dream role and Valentin is one of mine. I am thrilled to be “living the dream” to quote a wonderful tenor colleague. I have also been having some wonderful discussions about what it takes beyond the talent to succeed in opera. The word that seems to keep coming back is “temperament.” According to Merriam-Webster, temperament is defined as the usual attitude, mood, or behavior of a person or animal. Singers are two people, student and artist. At any given moment we are either learning our craft or sharing our craft and we have to be strong enough to take the criticism of teachers, coaches, directors, conductors and critics and also have the inner-strength to perform as if we are the greatest thing in the world.
Opera singers also have to have a high level of adaptability. We go from city to city singing with artists of all different backgrounds and skill levels. Sometimes we end up staying in the homes of people who may not quite understand the needs of artists to really focus. One has to be a good people person in rehearsals, at donor events and whenever one is presented under the umbrella of the company. And then there is the travel! I have experienced delays, lost luggage, missed pick-ups and trouble getting to rehearsal on time. One must learn to just breathe and keep going knowing that eventually you will get where you are going and get what you need.
Another important thing is that a singer has to be able to be alone…for extended periods of time. Not only because we often spend a lot of time needing to recharge from a full day of rehearsal, but also because there is a necessary discipline needed to be a singer. Sometimes you feel like a monk because as much as you want to go out and about and explore, you have to think about “the voice” and what it needs. I am thankful for the internet and television for being my constant “companions” while I am away from home. As an only child, I like solitude because I get a lot done and since I see singing as my job I put in hours in the morning, take a break, then more hours in the afternoon, early evening. If I have a lot to do, I will work “overtime” to get my daily agenda done.
If I had to make an equation it would be talent + temperament (ability to learn and perform consistently + adaptability+ discipline) + unknown factors that are completely out of our control or x (I consider this the ultimate variable)= a career as an opera singer.
When people say that I am lucky for having work I smile on the inside because I know that luck is a small percentage of why I am fortunate enough to get to perform. I also believe that I am cut out to take the rejection, learn from the critiques and see the career of singing opera as my daily job (and sometimes my life!)
Peace,
Eric
Opera singers also have to have a high level of adaptability. We go from city to city singing with artists of all different backgrounds and skill levels. Sometimes we end up staying in the homes of people who may not quite understand the needs of artists to really focus. One has to be a good people person in rehearsals, at donor events and whenever one is presented under the umbrella of the company. And then there is the travel! I have experienced delays, lost luggage, missed pick-ups and trouble getting to rehearsal on time. One must learn to just breathe and keep going knowing that eventually you will get where you are going and get what you need.
Another important thing is that a singer has to be able to be alone…for extended periods of time. Not only because we often spend a lot of time needing to recharge from a full day of rehearsal, but also because there is a necessary discipline needed to be a singer. Sometimes you feel like a monk because as much as you want to go out and about and explore, you have to think about “the voice” and what it needs. I am thankful for the internet and television for being my constant “companions” while I am away from home. As an only child, I like solitude because I get a lot done and since I see singing as my job I put in hours in the morning, take a break, then more hours in the afternoon, early evening. If I have a lot to do, I will work “overtime” to get my daily agenda done.
If I had to make an equation it would be talent + temperament (ability to learn and perform consistently + adaptability+ discipline) + unknown factors that are completely out of our control or x (I consider this the ultimate variable)= a career as an opera singer.
When people say that I am lucky for having work I smile on the inside because I know that luck is a small percentage of why I am fortunate enough to get to perform. I also believe that I am cut out to take the rejection, learn from the critiques and see the career of singing opera as my daily job (and sometimes my life!)
Peace,
Eric
Saturday, October 5, 2013
Inspiration and Stamina
Opera singers (unless they are singing at some of the bigger houses) rarely get to do more than two to four performances of a single role at a time. It’s not until after the performances are over that you get a chance to revisit it and learn more about how to sing/act it. But I have been quite lucky with this production of Skylight Music Theatre’s Fidelio. I have already been able to sing Don Pizarro at least nine times and with this weekend’s performances, I will sing three more. Sometime last week, I started fighting with allergies with included nasal congestion, drainage and phlegm that just wanted to sit right on my vocal cords. But throughout the process I kept going, relying on technique to help me. I also reminded myself how lucky I was to be singing this demanding role and constantly looked for inspiration and stamina.
Inspiration #1: Early on while being here in Milwaukee I had the chance to visit the Milwaukee Sign Language School where I saw students ranging from some hearing loss to full loss. This school was filled with students of varying levels who were not only able to communicate, but who had an appreciation for music and theatre because they had participated in several collaborative productions. What was most amazing was watching these kids who in society’s eyes were deemed “different” show something most “normal” students in school lack: joy. In this environment, the students seemed happy, even the shy ones, because they knew that they were loved and more than that, they were lucky to be in a place that understood and nurtured them. It reminded me of being in the theatre where many “weird” folks gather and under the love of opera, create magic.
Inspiration #2: I was sitting in a café having breakfast and was taken aback when the server came over and after introducing himself, told me how good I had been in the production. I was certainly happy that he liked the production and my performance. What struck me more, however, was his upbeat personality. He didn’t just have the basic friendliness that it seems that all Milwaukeeans have. He genuinely seemed to be interested in not only talking to each of his tables, but he really wanted them to have a great dining experience. His enthusiasm went as far as to even show the new server the exact way to make an Arnold Palmer. I was impressed with his joy at doing his job. Who knows if he is a professional server or an actor waiting tables to pay the bills? It didn’t matter because in that moment he seemed to be at his happiest. It was a wonderful reminder that I have much to be grateful for and even when I am not at my best, I am still VERY lucky to be performing. In the moment, I get to choose to be my happiest.
So, as I go into the final weekend of performances after a wonderful, long and exciting run, I remember to drink lots of water, get plenty of rest, eat well and do my very best in the place that inspires me the most.
Peace,
Eric
Inspiration #1: Early on while being here in Milwaukee I had the chance to visit the Milwaukee Sign Language School where I saw students ranging from some hearing loss to full loss. This school was filled with students of varying levels who were not only able to communicate, but who had an appreciation for music and theatre because they had participated in several collaborative productions. What was most amazing was watching these kids who in society’s eyes were deemed “different” show something most “normal” students in school lack: joy. In this environment, the students seemed happy, even the shy ones, because they knew that they were loved and more than that, they were lucky to be in a place that understood and nurtured them. It reminded me of being in the theatre where many “weird” folks gather and under the love of opera, create magic.
Inspiration #2: I was sitting in a café having breakfast and was taken aback when the server came over and after introducing himself, told me how good I had been in the production. I was certainly happy that he liked the production and my performance. What struck me more, however, was his upbeat personality. He didn’t just have the basic friendliness that it seems that all Milwaukeeans have. He genuinely seemed to be interested in not only talking to each of his tables, but he really wanted them to have a great dining experience. His enthusiasm went as far as to even show the new server the exact way to make an Arnold Palmer. I was impressed with his joy at doing his job. Who knows if he is a professional server or an actor waiting tables to pay the bills? It didn’t matter because in that moment he seemed to be at his happiest. It was a wonderful reminder that I have much to be grateful for and even when I am not at my best, I am still VERY lucky to be performing. In the moment, I get to choose to be my happiest.
So, as I go into the final weekend of performances after a wonderful, long and exciting run, I remember to drink lots of water, get plenty of rest, eat well and do my very best in the place that inspires me the most.
Peace,
Eric
Friday, September 13, 2013
Opera Villains Unite
Operatic names like Micaëla, Cenerentola, Mimi and Figaro conjure up smiles as we think of how good and kind they are. Some triumph in the end by finding love or wealth while others become saints in our eyes as they give up their very essence, but before they touch our hearts. I am not interested in them today.
Today I am concerned with those who scheme, lie, steal, kill and manipulate others in order to get what they want. I am interested in finding the most dastardly of them all to rule a band of operatic bad guys (and girls). So today I present you, the audience, with 13 of the most heinous, foul souls to appear in opera. Each will offer their specific reasons of why they should be at the helm of this new organization known as the League of Operatic Villains Extraordinaire (LOVE). You, dear opera fans, will vote for your choice.
Iago
With a tongue of silken poison, and a smile of great disdain,
I ignite fury and confusion, to those with much to gain,
In this existence I seek only to prove, that God above sets us here to lose
For passing me over, many will suffer so that I may seek my revenge undercover
Half-truths, innuendo and dreadful questions I raise
Upon your death, my sole intention is to gaze.
Dr. Bartolo
I am a man with only two needs: a pretty young woman and all of her wealth. I am smart, charming, and like things of a vintage nature (not any of this new-fangled operatic crap!) Some have said I am a curmudgeon; well I say they can suck it! I have great scheming skills and am able to spot when I am being lied to (that’s right Figaro!) I have such a powerful and interesting personality that I appear in TWO operas. That’s more than any of these other hacks can say!
Duke of Mantua
I have the wealth, the resources, the regal bearing and most of all the charm to run any organization of ill-repute. If I had one vice, it would be that I love and love a lot. I mean, A LOT! What can I say; I believe in enjoying life’s greatest pleasures and because of my handsome face, seem to have the greatest of luck. Nothing bad EVER happens to me. Besides, what better person to be the face of an organization named LOVE?
Salome
Beautiful I have been called; a youthful seductress. Alluring with a sense of…what was that? Childlike innocence entangled with a sense of decadence. Mother says I deserve whatever I desire. Is that music playing? I am a strong-willed lady with many “layers” and my body yearns to be touched. He’s really handsome…I must have him. I am a Princess and love to be bathed in the finest…He is REALLY cute…I must have him! What was I saying? Yes, powerful, elegant and…Why don’t you love me? I won’t be ignored! …A flower ready to be plucked. I dream of intertwining my flesh with the scent and body of a man whose weak, yet strong, powerful, yet gentle, BEAUTIFUL YET UGLY! I’m sorry, what was I saying? He is REALLY, REALLY cute!!
Scarpia
Unlike all of you, I already have great power as a member of the Secret Police. I have a connection to the church and the government and am able to bend people to my will; even most operatic sopranos. I am not afraid to lie to get exactly what I want and I have a highly organized and loyal network of spies. I am clearly the best man for the job.
The Four Villains
Each one of us possess extraordinary powers, but combined we are the ultimate super villain!
I, Coppélius, have super strength, able to rip through metal and steel (even life-size dolls)
I, Dr. Miracle, possess great knowledge of black magic and can conjure the dead to do my will
I, Dappertutto, have the ability to steal souls
And I, Lindorf, am a master of intrigue, able to achieve almost any goal
Individually we are strong, but together we are unstoppable!
John Claggart
I am simply a man who hates beauty and goodness.
Perfection sickens me and I will do whatever I can to destroy it.
The cheeriness of those who walk freely devoid of the weight of the world turn my stomach
I will not rest until all beauty and goodness is wiped off the face of the earth.
And I will begin with him.
Mephistophélès
I am the Devil. Any questions?
The Queen of the Night
I possess great power and once I have destroyed Sarastro, I will double that power with the Circle of the Sun. I do this all so that my daughter, an innocent, may be able to make the correct choice and side with darkness. I believe in a world where women are the dominant sex! Under the cover of darkness, I command my army of women to destroy all men so that we, the beautiful ones, will reign supreme!
Nick Shadow
By pretending to be human, I take souls to Hell
Leading them towards a path where things do not go well
Appearing as advisor, confidant and friend
With finesse I lead them to a doomed end
Idle hands I give much to do
Be careful, watch your back or it might just be you.
Don Pizarro
If you disagree with my leadership style then I just might have to tuck you away in a cell for all of time. I am not afraid of corruption, lies and even murder, if it means that I retain my powerful hold on the jail system. Ruling with an iron fist has proven to be wise as it keeps everyone that works for me in check. It also distracts them from asking too many questions. I only trust a few and am constantly flanked by my guards, my sword and most of all, my trusty dagger. I have the intellect, the connections and the requisite drive to lead this organization and will keep its trusted secrets from ever reaching the surface.
Witch
There seems to be some mistake as to why I am here. I am a simple lady who loves to make sweet things. I love to live alone and rarely bother anyone…unless they stumble into my “neck of the woods.” By nature I adore fruits and vegetables and dine upon a steady diet of all sorts of desserts. But once in a while I get a little craving for…flesh and I must say I seem to lose all control when someone, I mean something, delicious finds its way to my gingerbread house. I especially love plump, tender boys as they have a little more meat on their bones. I already have a network of daycare centers set up where parents drop off their young ones. Then, using my magical powers, I do a forgetful spell that makes parents forget where their child is. They go about posting missing child photos here and there while I escape with their tasty little morsel! Eventually I will have them all and then make the biggest, most delectable kiddy pot pie you’ve ever tasted! But other than I am just a little old lady who likes nature and decorating my home.
Don Giovanni
All I care about is the conquest of the most beautiful, the most powerful, the most fragile and even the most difficult. Champagne, women and feast are the most decadent things in the world and I will do anything, ANYTHING to have them. I have lied, raped, and killed and I feel absolutely no remorse. Why should I? There is nothing beyond this life and if there is, I am not afraid. I am a man who believes that life is for the taking and those who stand in my way, well, they don’t for long.
Now ladies and gentlemen: Place your votes by leaving a comment on this page. The top 5 vote-getters will be announced in one week and then, after another round of voting, the head of the League of Operatic Villains Extraordinaire will be named!
Peace,
Eric
Today I am concerned with those who scheme, lie, steal, kill and manipulate others in order to get what they want. I am interested in finding the most dastardly of them all to rule a band of operatic bad guys (and girls). So today I present you, the audience, with 13 of the most heinous, foul souls to appear in opera. Each will offer their specific reasons of why they should be at the helm of this new organization known as the League of Operatic Villains Extraordinaire (LOVE). You, dear opera fans, will vote for your choice.
Iago
With a tongue of silken poison, and a smile of great disdain,
I ignite fury and confusion, to those with much to gain,
In this existence I seek only to prove, that God above sets us here to lose
For passing me over, many will suffer so that I may seek my revenge undercover
Half-truths, innuendo and dreadful questions I raise
Upon your death, my sole intention is to gaze.
Dr. Bartolo
I am a man with only two needs: a pretty young woman and all of her wealth. I am smart, charming, and like things of a vintage nature (not any of this new-fangled operatic crap!) Some have said I am a curmudgeon; well I say they can suck it! I have great scheming skills and am able to spot when I am being lied to (that’s right Figaro!) I have such a powerful and interesting personality that I appear in TWO operas. That’s more than any of these other hacks can say!
Duke of Mantua
I have the wealth, the resources, the regal bearing and most of all the charm to run any organization of ill-repute. If I had one vice, it would be that I love and love a lot. I mean, A LOT! What can I say; I believe in enjoying life’s greatest pleasures and because of my handsome face, seem to have the greatest of luck. Nothing bad EVER happens to me. Besides, what better person to be the face of an organization named LOVE?
Salome
Beautiful I have been called; a youthful seductress. Alluring with a sense of…what was that? Childlike innocence entangled with a sense of decadence. Mother says I deserve whatever I desire. Is that music playing? I am a strong-willed lady with many “layers” and my body yearns to be touched. He’s really handsome…I must have him. I am a Princess and love to be bathed in the finest…He is REALLY cute…I must have him! What was I saying? Yes, powerful, elegant and…Why don’t you love me? I won’t be ignored! …A flower ready to be plucked. I dream of intertwining my flesh with the scent and body of a man whose weak, yet strong, powerful, yet gentle, BEAUTIFUL YET UGLY! I’m sorry, what was I saying? He is REALLY, REALLY cute!!
Scarpia
Unlike all of you, I already have great power as a member of the Secret Police. I have a connection to the church and the government and am able to bend people to my will; even most operatic sopranos. I am not afraid to lie to get exactly what I want and I have a highly organized and loyal network of spies. I am clearly the best man for the job.
The Four Villains
Each one of us possess extraordinary powers, but combined we are the ultimate super villain!
I, Coppélius, have super strength, able to rip through metal and steel (even life-size dolls)
I, Dr. Miracle, possess great knowledge of black magic and can conjure the dead to do my will
I, Dappertutto, have the ability to steal souls
And I, Lindorf, am a master of intrigue, able to achieve almost any goal
Individually we are strong, but together we are unstoppable!
John Claggart
I am simply a man who hates beauty and goodness.
Perfection sickens me and I will do whatever I can to destroy it.
The cheeriness of those who walk freely devoid of the weight of the world turn my stomach
I will not rest until all beauty and goodness is wiped off the face of the earth.
And I will begin with him.
Mephistophélès
I am the Devil. Any questions?
The Queen of the Night
I possess great power and once I have destroyed Sarastro, I will double that power with the Circle of the Sun. I do this all so that my daughter, an innocent, may be able to make the correct choice and side with darkness. I believe in a world where women are the dominant sex! Under the cover of darkness, I command my army of women to destroy all men so that we, the beautiful ones, will reign supreme!
Nick Shadow
By pretending to be human, I take souls to Hell
Leading them towards a path where things do not go well
Appearing as advisor, confidant and friend
With finesse I lead them to a doomed end
Idle hands I give much to do
Be careful, watch your back or it might just be you.
Don Pizarro
If you disagree with my leadership style then I just might have to tuck you away in a cell for all of time. I am not afraid of corruption, lies and even murder, if it means that I retain my powerful hold on the jail system. Ruling with an iron fist has proven to be wise as it keeps everyone that works for me in check. It also distracts them from asking too many questions. I only trust a few and am constantly flanked by my guards, my sword and most of all, my trusty dagger. I have the intellect, the connections and the requisite drive to lead this organization and will keep its trusted secrets from ever reaching the surface.
Witch
There seems to be some mistake as to why I am here. I am a simple lady who loves to make sweet things. I love to live alone and rarely bother anyone…unless they stumble into my “neck of the woods.” By nature I adore fruits and vegetables and dine upon a steady diet of all sorts of desserts. But once in a while I get a little craving for…flesh and I must say I seem to lose all control when someone, I mean something, delicious finds its way to my gingerbread house. I especially love plump, tender boys as they have a little more meat on their bones. I already have a network of daycare centers set up where parents drop off their young ones. Then, using my magical powers, I do a forgetful spell that makes parents forget where their child is. They go about posting missing child photos here and there while I escape with their tasty little morsel! Eventually I will have them all and then make the biggest, most delectable kiddy pot pie you’ve ever tasted! But other than I am just a little old lady who likes nature and decorating my home.
Don Giovanni
All I care about is the conquest of the most beautiful, the most powerful, the most fragile and even the most difficult. Champagne, women and feast are the most decadent things in the world and I will do anything, ANYTHING to have them. I have lied, raped, and killed and I feel absolutely no remorse. Why should I? There is nothing beyond this life and if there is, I am not afraid. I am a man who believes that life is for the taking and those who stand in my way, well, they don’t for long.
Now ladies and gentlemen: Place your votes by leaving a comment on this page. The top 5 vote-getters will be announced in one week and then, after another round of voting, the head of the League of Operatic Villains Extraordinaire will be named!
Peace,
Eric
Wednesday, September 4, 2013
Fidelio in Bollywood
What do you get when you take a heroic opera originally written in German about a woman who disguises herself as a man to rescue her husband whose been missing for two years and mix it with traditional elements of Bollywood films of the 50s and 60s? You get what is certain to be one of the most interesting productions I have worked on in years, that's what!
I am currently in Milwaukee, Wisconsin preparing to make my debut with Skylight Music Theatre in the role of the villainous Don Pizarro in Beethoven's only opera "Fidelio." Skylight's 2013-14 season is all about struggle, escape and liberation and "Fidelio" is the epitome of a "rescue opera." Florestan has been imprisoned for revealing the corruption of Don Pizarro, a prison Governor. His wife Leonore has disguised herself as a man named Fidelio and has taken up employment in the very jail cell where she believes Florestan is imprisoned. Working alongside the lead jailor Rocco, she searches for him. Complications ensue as Rocco's daughter Marzelline falls in love with Fidelio and Rocco agrees that the two can marry. Pizarro receives word that Don Fernando has become aware of his corruption and is making a surprise inspection. He decides to murder Florestand and enlists Rocco to dig the grave. Leonore insists to Rocco that he needs help in the cell and he agrees. Finding her husband she is terrified b his sight, but relieved that he is alive. Pizarro enters to commit the murder, but Leonore throws herself in front of her husband revealing that she is his wife. The sound of a trumpet announces the arrival of Fernando and upon his arrival Rocco reveals the truth about Pizarro's plan. Pizarro is taken away and everyone rejoices at the reunited couple and the power of love. The opera is quintessential Beethoven--intense struggle through darkness towards the eventual release into the light.
Taking that as the base, Skylight is adding elements of 50s and 60s Bollywood which include strong presentational gestures, scenes that burst into colorful life with song and dance numbers and characters that are based on very specific archetypes. The wonderful choreographer Deepa Devasena and Associate Stage Director Edwin Cahill along with the leadership of Artist Director Viswa Subbaraman are melding the dramatic, melodic and visual worlds of opera and Bollywood into a thrilling cohesive drama.
Here is the promotional postcard announcing the dates:
Repetiteur Jaime Johns plays the score and keeps us in check.
This is just a small glimpse into what my scores look like:
And here is the model for the set for the production. Notice the large tree on the right side and the colorful cut out set against the dark set. These are strong elements of Bollywood film.
And here are two of my favorite elements of the production: My costume and my dagger!
Between the villain gestures of Bollywood, the in-depth character analysis of Don Pizarro and what makes him tick and the glorious music of Beethoven, I am looking forward to a production that will offer a fresh take on a wonderful opera and hopefully present new colors to the characters of the opera. And maybe a big Bollywood dance routine at the end!
Peace,
Eric
I am currently in Milwaukee, Wisconsin preparing to make my debut with Skylight Music Theatre in the role of the villainous Don Pizarro in Beethoven's only opera "Fidelio." Skylight's 2013-14 season is all about struggle, escape and liberation and "Fidelio" is the epitome of a "rescue opera." Florestan has been imprisoned for revealing the corruption of Don Pizarro, a prison Governor. His wife Leonore has disguised herself as a man named Fidelio and has taken up employment in the very jail cell where she believes Florestan is imprisoned. Working alongside the lead jailor Rocco, she searches for him. Complications ensue as Rocco's daughter Marzelline falls in love with Fidelio and Rocco agrees that the two can marry. Pizarro receives word that Don Fernando has become aware of his corruption and is making a surprise inspection. He decides to murder Florestand and enlists Rocco to dig the grave. Leonore insists to Rocco that he needs help in the cell and he agrees. Finding her husband she is terrified b his sight, but relieved that he is alive. Pizarro enters to commit the murder, but Leonore throws herself in front of her husband revealing that she is his wife. The sound of a trumpet announces the arrival of Fernando and upon his arrival Rocco reveals the truth about Pizarro's plan. Pizarro is taken away and everyone rejoices at the reunited couple and the power of love. The opera is quintessential Beethoven--intense struggle through darkness towards the eventual release into the light.
Taking that as the base, Skylight is adding elements of 50s and 60s Bollywood which include strong presentational gestures, scenes that burst into colorful life with song and dance numbers and characters that are based on very specific archetypes. The wonderful choreographer Deepa Devasena and Associate Stage Director Edwin Cahill along with the leadership of Artist Director Viswa Subbaraman are melding the dramatic, melodic and visual worlds of opera and Bollywood into a thrilling cohesive drama.
Here is the promotional postcard announcing the dates:
Repetiteur Jaime Johns plays the score and keeps us in check.
This is just a small glimpse into what my scores look like:
And here is the model for the set for the production. Notice the large tree on the right side and the colorful cut out set against the dark set. These are strong elements of Bollywood film.
And here are two of my favorite elements of the production: My costume and my dagger!
Between the villain gestures of Bollywood, the in-depth character analysis of Don Pizarro and what makes him tick and the glorious music of Beethoven, I am looking forward to a production that will offer a fresh take on a wonderful opera and hopefully present new colors to the characters of the opera. And maybe a big Bollywood dance routine at the end!
Peace,
Eric
Saturday, August 24, 2013
Light Vs. Dark
I would call myself a sunny person by nature and believe that I come across as quite gregarious and silly. (And maybe I am; you don’t know me.) But in truth, I have times when I am “blue,” fussy, pouty and more often than not like to be alone in order to recharge. I would dare say that I might be shy, but am also very good at being the “center” of attention. All of this is to say that, like most people, I have many moods, sides and colors.
I bring this up as I prepare to play two very different roles. One, Don Pizarro, is an out and out cruel man who is planning to murder Florestan, a political prisoner, in order to keep himself in power. The other, Valentin, is a soldier who only wants to protect his sister. Later when he returns home and finds her pregnant, he simply wants to defend the honor of his sister; in theory a good man. Both roles require a great technique, but make quite different vocal demands. As part of my research, I listen to any and every one I can in order to get a better understanding of the character (and learn how others approach the vocal challenges.) I came across a fascinating production of Faust with baritone Simon Keenlyside singing Valentin which led me to an interview where he spoke about finding the right colors for each character. He spoke of the differences between singing roles like Don Giovanni and that of Pelleas. He based his choices on the personality of the characters themselves and let the music be the guiding force for creating that character.
I must say that I have had fun exploring my darker side as I sing through Pizarro’s music with its constant driving rhythm, sinister tonality and unusual intervals. On top of that, Pizarro’s music and text alternate between the anger (sometimes full rage) he feels and his attempt to mask it by appearing calm and in control, which in some ways is more frightening. To try and get further inside his head I have been watching shows like “Oz”, both the “Battle Royale” and “Hunger Games” films and read the entire “Hunger Games” series to better understand the nature of those who will do anything to stay in power, even murder. I don’t think any character is one-dimensional even though they are usually built on archetypes so now I am in the process of finding what motivates someone to commit such horrible acts and feel that they are “right.” As a side note, I am usually cast as the comedic character or the good guy in the drama, but like many actors, I think we want the challenge of playing against type or at least delving into the darker side of ourselves and bringing that to the stage.
After a short break, I get to sing one of my dream roles: Valentin. I have longed to sing this role since I first heard the aria "Avant de quitter ces lieux" back in my college days and I am happy to finally get the chance. I am fascinated by the many traits he presents. He is at once brave, religious, impulsive, and masculine and yet he is more than just the “good guy.” Valentin's music is very linear, strong and masculine, but in his opening recitative and aria there is a strong sense of vulnerability where we see Valentin's doubt. His surface is the soldier, but his truth (especially when he curses Marguerite) has pain, anger and suffering.
On the surface Valentin is all good. He continues to keep us in this belief when he returns from war and is informed that his sister is in church. However, once he finds out that his sister has become pregnant by Faust and that he and Mephistopheles are out front, he loses his “religion” and simply wants to kill. He becomes mortally wounded while dueling with Faust and when his sister comes to his side, instead of cherishing the final few moments they have together; he tells her that in the event that God forgives her, he still wishes her to be damned. Adding insult to injury he does this in front of the entire village, which only adds to Marguerite’s pain and dismay.
We often talk in terms of light and dark in singing. According to the chiaroscuro school of thought, the voice will have elements of both in a wonderful balance (or tug of war?) Carrying that thought further into creating a character, it seems that both Pizarro and Valentin have both elements (not in balance, however, because who wants to see perfectly balanced characters making good choices on stage?) And I, as an artist, get to find those colors; that balance and find the humanity within them while also delving into my own light and dark for inspiration. Am I lucky or what?
Peace,
Eric
I bring this up as I prepare to play two very different roles. One, Don Pizarro, is an out and out cruel man who is planning to murder Florestan, a political prisoner, in order to keep himself in power. The other, Valentin, is a soldier who only wants to protect his sister. Later when he returns home and finds her pregnant, he simply wants to defend the honor of his sister; in theory a good man. Both roles require a great technique, but make quite different vocal demands. As part of my research, I listen to any and every one I can in order to get a better understanding of the character (and learn how others approach the vocal challenges.) I came across a fascinating production of Faust with baritone Simon Keenlyside singing Valentin which led me to an interview where he spoke about finding the right colors for each character. He spoke of the differences between singing roles like Don Giovanni and that of Pelleas. He based his choices on the personality of the characters themselves and let the music be the guiding force for creating that character.
I must say that I have had fun exploring my darker side as I sing through Pizarro’s music with its constant driving rhythm, sinister tonality and unusual intervals. On top of that, Pizarro’s music and text alternate between the anger (sometimes full rage) he feels and his attempt to mask it by appearing calm and in control, which in some ways is more frightening. To try and get further inside his head I have been watching shows like “Oz”, both the “Battle Royale” and “Hunger Games” films and read the entire “Hunger Games” series to better understand the nature of those who will do anything to stay in power, even murder. I don’t think any character is one-dimensional even though they are usually built on archetypes so now I am in the process of finding what motivates someone to commit such horrible acts and feel that they are “right.” As a side note, I am usually cast as the comedic character or the good guy in the drama, but like many actors, I think we want the challenge of playing against type or at least delving into the darker side of ourselves and bringing that to the stage.
After a short break, I get to sing one of my dream roles: Valentin. I have longed to sing this role since I first heard the aria "Avant de quitter ces lieux" back in my college days and I am happy to finally get the chance. I am fascinated by the many traits he presents. He is at once brave, religious, impulsive, and masculine and yet he is more than just the “good guy.” Valentin's music is very linear, strong and masculine, but in his opening recitative and aria there is a strong sense of vulnerability where we see Valentin's doubt. His surface is the soldier, but his truth (especially when he curses Marguerite) has pain, anger and suffering.
On the surface Valentin is all good. He continues to keep us in this belief when he returns from war and is informed that his sister is in church. However, once he finds out that his sister has become pregnant by Faust and that he and Mephistopheles are out front, he loses his “religion” and simply wants to kill. He becomes mortally wounded while dueling with Faust and when his sister comes to his side, instead of cherishing the final few moments they have together; he tells her that in the event that God forgives her, he still wishes her to be damned. Adding insult to injury he does this in front of the entire village, which only adds to Marguerite’s pain and dismay.
We often talk in terms of light and dark in singing. According to the chiaroscuro school of thought, the voice will have elements of both in a wonderful balance (or tug of war?) Carrying that thought further into creating a character, it seems that both Pizarro and Valentin have both elements (not in balance, however, because who wants to see perfectly balanced characters making good choices on stage?) And I, as an artist, get to find those colors; that balance and find the humanity within them while also delving into my own light and dark for inspiration. Am I lucky or what?
Peace,
Eric
Thursday, August 8, 2013
2013-2014: Four languages, 150 years and a lot of notes
The music of Beethoven, Gounod, J. Strauss II, Henze, Rossini, and Gershwin comprise my upcoming season where I will be singing several new roles and making some wonderful company debuts.
In September I make my role and house debut with Skylight Music Theater (Milwaukee, WI) singing my first Don Pizarro (Fidelio) in an English-language production. Updating the action to mirror a Bollywood film, new Skylight Music Theater Artistic Director Viswa Subbaraman will direct and conduct in his Skylight debut. I am looking forward to another role and house debut when I join Winter Opera St. Louis singing Valentin in their November production of Faust. The production also stars tenor Clay Hilley as Faust, bass Timothy Bruno as Mephistopheles and soprano Julia Ebner as Marguerite. I return to Bel Cantanti Opera (Washington DC) in December to sing Falke in Die Fledermaus marking my fourth appearance with the company having appeared as Sharpless (Madama Butterfly), Figaro (Le Nozze di Figaro) and Taddeo (L'Italiana in Algeri).
January brings an exciting debut singing the title role in Hans Werner Henze's El Cimarron (The Runaway Slave) in a co-production with New York's Center for Contemporary Opera and Skylight Music Theater. The opera is based on the story of escaped Cuban slave Esteban Montejo and premiered at the Berlin Festival in 1970. In March I am excited to return to Opera Naples to sing one of my favorite roles, Figaro in Il Barbiere di Siviglia. I made my Opera Naples debut last season as Theseus in A Midsummer Night's Dream. In April I revisit the music of Gershwin singing excerpts from "Porgy and Bess” with the Lebanon Symphony Orchestra. The concert also features soprano Kearstin Piper Brown.
After a wonderful and busy 2012-2013 season featuring performances with Long Island Opera, Opera Columbus, Bronx Opera, Opera Naples, the Harrisburg Symphony, St. Petersburg Opera, Bel Cantanti Opera and the Center for Contemporary Opera, I am looking forward to a musically diverse and artistically inspiring 2013-2014 season.
In September I make my role and house debut with Skylight Music Theater (Milwaukee, WI) singing my first Don Pizarro (Fidelio) in an English-language production. Updating the action to mirror a Bollywood film, new Skylight Music Theater Artistic Director Viswa Subbaraman will direct and conduct in his Skylight debut. I am looking forward to another role and house debut when I join Winter Opera St. Louis singing Valentin in their November production of Faust. The production also stars tenor Clay Hilley as Faust, bass Timothy Bruno as Mephistopheles and soprano Julia Ebner as Marguerite. I return to Bel Cantanti Opera (Washington DC) in December to sing Falke in Die Fledermaus marking my fourth appearance with the company having appeared as Sharpless (Madama Butterfly), Figaro (Le Nozze di Figaro) and Taddeo (L'Italiana in Algeri).
January brings an exciting debut singing the title role in Hans Werner Henze's El Cimarron (The Runaway Slave) in a co-production with New York's Center for Contemporary Opera and Skylight Music Theater. The opera is based on the story of escaped Cuban slave Esteban Montejo and premiered at the Berlin Festival in 1970. In March I am excited to return to Opera Naples to sing one of my favorite roles, Figaro in Il Barbiere di Siviglia. I made my Opera Naples debut last season as Theseus in A Midsummer Night's Dream. In April I revisit the music of Gershwin singing excerpts from "Porgy and Bess” with the Lebanon Symphony Orchestra. The concert also features soprano Kearstin Piper Brown.
After a wonderful and busy 2012-2013 season featuring performances with Long Island Opera, Opera Columbus, Bronx Opera, Opera Naples, the Harrisburg Symphony, St. Petersburg Opera, Bel Cantanti Opera and the Center for Contemporary Opera, I am looking forward to a musically diverse and artistically inspiring 2013-2014 season.
Tuesday, July 23, 2013
Night of the New Opera
Opera got its start back in Italy in the late 1500s. Since then opera has evolved over the last 400 years to include great masterpieces by Mozart, Verdi, Puccini, Wagner and a host of others. But opera has not stopped evolving. As a matter of fact, opera composition is thriving and new works are being written, developed and performed every day.
I have had the pleasure of working with the Center for Contemporary Opera twice; last year in Matthew Harris/Terry Quinn’s The Mark of Cain and this year in Todd Goodman’s Night of the Living Dead. When I was in school I always imagined that I would be relegated to the standards of opera and never saw myself as someone who would be involved in new opera, but as an American singer, one must remain open to all opportunities that present themselves.
My first experience with “new” music was as an apprentice at Des Moines Metro Opera where I was assigned scenes from Dominick Argento’s The Aspern Papers (1987) and Douglas Moore’s The Wings of the Dove (1961). With any composer that is new to me, I have discovered that no matter how much I dissect and analyze, I have to wait for the composer’s language to reveal itself. A perfect example of this is Strauss. Once you’ve done an opera role you get a stronger sense of what the composer will do, where the music will go. I have found that I must continue to listen even when I think I know a piece as more and more of its secrets will unfold.
I have had some great experiences: last year’s The Mark of Cain and this year’s Night of the Living Dead and some not so good ones (that shall remain nameless!) Learning a new score takes time as one must simply get one's head around the parameters set up by the composer. I try to find all the details and make some sort of notation so that particular moments always catch my attention. From there, if I am lucky the composer supplies a MIDI score so I can to listen to what the composer has envisioned. This is basically where I get to hear what the vocal line sounds like with the accompaniment and from this process I get the score in my ears. After all of this is done, I then add the voice. It’s fascinating to figure out a score and the technique to sing a score at the same time. Because it’s new there aren’t always examples of who to listen to or what the standards are. I am still finding nuances and discoveries with the “Night” score. Here’s a little preview of what my score looks like:
The one thing I have always learned is that 20th and 21st century opera are a mixture of cerebral and emotional. You spend so much time working to get it in your mind, but then you have to get in the body. I used to be one of those “I ain’t singin’ no stinkin’ new music,” but now I know that new music is part of the evolution of opera and for every handful of new scores, great gems are being developed and performed all over the world.
Peace,
Eric
I have had the pleasure of working with the Center for Contemporary Opera twice; last year in Matthew Harris/Terry Quinn’s The Mark of Cain and this year in Todd Goodman’s Night of the Living Dead. When I was in school I always imagined that I would be relegated to the standards of opera and never saw myself as someone who would be involved in new opera, but as an American singer, one must remain open to all opportunities that present themselves.
My first experience with “new” music was as an apprentice at Des Moines Metro Opera where I was assigned scenes from Dominick Argento’s The Aspern Papers (1987) and Douglas Moore’s The Wings of the Dove (1961). With any composer that is new to me, I have discovered that no matter how much I dissect and analyze, I have to wait for the composer’s language to reveal itself. A perfect example of this is Strauss. Once you’ve done an opera role you get a stronger sense of what the composer will do, where the music will go. I have found that I must continue to listen even when I think I know a piece as more and more of its secrets will unfold.
I have had some great experiences: last year’s The Mark of Cain and this year’s Night of the Living Dead and some not so good ones (that shall remain nameless!) Learning a new score takes time as one must simply get one's head around the parameters set up by the composer. I try to find all the details and make some sort of notation so that particular moments always catch my attention. From there, if I am lucky the composer supplies a MIDI score so I can to listen to what the composer has envisioned. This is basically where I get to hear what the vocal line sounds like with the accompaniment and from this process I get the score in my ears. After all of this is done, I then add the voice. It’s fascinating to figure out a score and the technique to sing a score at the same time. Because it’s new there aren’t always examples of who to listen to or what the standards are. I am still finding nuances and discoveries with the “Night” score. Here’s a little preview of what my score looks like:
The one thing I have always learned is that 20th and 21st century opera are a mixture of cerebral and emotional. You spend so much time working to get it in your mind, but then you have to get in the body. I used to be one of those “I ain’t singin’ no stinkin’ new music,” but now I know that new music is part of the evolution of opera and for every handful of new scores, great gems are being developed and performed all over the world.
Peace,
Eric
Wednesday, June 26, 2013
Does not compute
The role of the opera singer is two-fold. One must be a constant student willing to listen, learn and have others offer advice on how to improve our gifts. But then when it comes time to perform, one must take the reins like an artist trusting their instincts by doing what feels (physically and mentally) right.
It is often the case that those charged with offering their opinion come with their own ideas and if you trust what they tell you and see that the advice offered sparks a great response from your colleagues, then it is certainly worth taking into consideration. It is our job to incorporate all the advice from teachers, coaches, diction experts, conductors and directors and mix that information into our batter of our own take on the role vocally and dramatically. It can be tough when someone gives a bit of criticism that doesn’t quite make sense not because the advice is bad, but because the way in which it is said may not make sense based on the singer’s perception.
Just like the search for an ideal voice teacher, one must find a teacher with whom they not only respect and trust, but whose way of describing something connects with the singer. Many teachers will teach similar techniques, but how one disseminates that information makes all the difference in the world. The same holds true for taking in suggestions from coaches, directors and conductors. Many are offering ways in which to improve a singer’s performance, but singers, just like the individuality of their voices, have individual ways of processing “fixes.” Some are able to make the adjustment right on the spot, while others need time to digest it. I have found that I am willing to try anything in rehearsal, but if something feels foreign or more difficult I will find a way to negotiate for what works better. Since I can’t hear what others hear, I have come to fully trust my Digital Voice Recorder. After a recent diction coaching where I was told to make some changes and I did on the spot and received great praise, I was told the next day that I had reverted to my “old ways.” I was bit surprised because internally it felt exactly like what had been asked of me. I left the rehearsal very confused. Luckily I had recorded it and while I did not hear what that person had mentioned, I DID hear things that I felt I could do to clear up my diction.
As a singer, I have to remember that while I wish I were perfect, I am a work in progress. I am either trying to perfect technique, language, drama or style. We also have to contend with the opinions of others and sometimes those opinions are in direct conflict. A wonderful example of this is that the review I received from a recent production of “Die Fledermaus”, which praised my performance, but said my “German diction was wanting.” By contrast a Native German speaker and opera singer reached out to me after the same performance and told me my diction was “Superb!...miles above the rest of the cast.” I had to laugh because these two people, at the same performance, heard two completely different things. It reminded me that I can only do what I can do and some will love it and others will not be as responsive. Regardless of the opinions around me, I must trust myself.
We all want to be the best. We’ve trained, auditioned, sacrificed and worked so hard. Those around us also want us to do well and many will give us their point of view on how to do so and yet, sometimes the information may not “compute.” In truth, we have to have confidence, a pair of ears we trust and more than anything else the ability to take advice and criticism and make them work for us. Because we are the artist who is out there we have to, like Leontyne Price said, “Love our voice” and have complete and utter faith in our talent and our preparation. The journey of an opera singer is to sort through everything that is said to and about us and simply learn the best way to communicate the story through our unique instrument using all the tools we have in that moment.
Peace,
Eric
It is often the case that those charged with offering their opinion come with their own ideas and if you trust what they tell you and see that the advice offered sparks a great response from your colleagues, then it is certainly worth taking into consideration. It is our job to incorporate all the advice from teachers, coaches, diction experts, conductors and directors and mix that information into our batter of our own take on the role vocally and dramatically. It can be tough when someone gives a bit of criticism that doesn’t quite make sense not because the advice is bad, but because the way in which it is said may not make sense based on the singer’s perception.
Just like the search for an ideal voice teacher, one must find a teacher with whom they not only respect and trust, but whose way of describing something connects with the singer. Many teachers will teach similar techniques, but how one disseminates that information makes all the difference in the world. The same holds true for taking in suggestions from coaches, directors and conductors. Many are offering ways in which to improve a singer’s performance, but singers, just like the individuality of their voices, have individual ways of processing “fixes.” Some are able to make the adjustment right on the spot, while others need time to digest it. I have found that I am willing to try anything in rehearsal, but if something feels foreign or more difficult I will find a way to negotiate for what works better. Since I can’t hear what others hear, I have come to fully trust my Digital Voice Recorder. After a recent diction coaching where I was told to make some changes and I did on the spot and received great praise, I was told the next day that I had reverted to my “old ways.” I was bit surprised because internally it felt exactly like what had been asked of me. I left the rehearsal very confused. Luckily I had recorded it and while I did not hear what that person had mentioned, I DID hear things that I felt I could do to clear up my diction.
As a singer, I have to remember that while I wish I were perfect, I am a work in progress. I am either trying to perfect technique, language, drama or style. We also have to contend with the opinions of others and sometimes those opinions are in direct conflict. A wonderful example of this is that the review I received from a recent production of “Die Fledermaus”, which praised my performance, but said my “German diction was wanting.” By contrast a Native German speaker and opera singer reached out to me after the same performance and told me my diction was “Superb!...miles above the rest of the cast.” I had to laugh because these two people, at the same performance, heard two completely different things. It reminded me that I can only do what I can do and some will love it and others will not be as responsive. Regardless of the opinions around me, I must trust myself.
We all want to be the best. We’ve trained, auditioned, sacrificed and worked so hard. Those around us also want us to do well and many will give us their point of view on how to do so and yet, sometimes the information may not “compute.” In truth, we have to have confidence, a pair of ears we trust and more than anything else the ability to take advice and criticism and make them work for us. Because we are the artist who is out there we have to, like Leontyne Price said, “Love our voice” and have complete and utter faith in our talent and our preparation. The journey of an opera singer is to sort through everything that is said to and about us and simply learn the best way to communicate the story through our unique instrument using all the tools we have in that moment.
Peace,
Eric
Thursday, June 13, 2013
Technology in opera rehearsal
It was only a few short months ago. I was immersed in rehearsals for Bronx Opera’s “La Gazza Ladra” and as is typical, some artists were referring to their scores in order to get a handle on a certain phrase or bit of staging. But as I began to look around, I realized that several of my colleagues weren’t holding physical scores, but instead were using IPads to follow along, adjust their screen size and even make notes! What was this, the future? I was informed that there was an app out there called forescore and it allowed a singer to download a score (as long as it was available online) and they could actually use it like a “regular” score. For many it meant that they could carry around multiple scores without having the backache that went with carry the physical ones. On opening night, the conductor actually conducted from his IPad proving to me that this app could become more than a passing fad.
As fascinated as I am with the app and the 21st century-ness of it all, I find myself resistant to its use. (Most likely because I don’t have an IPad, but that is beside the point.) For me, there is something wonderfully old-school about cracking open a score and making markings. Even cooler is getting a used score that has the markings of someone else. It feels like I am connected to history and tradition. But I am at peace with my colleagues who use this 21st century technology as I think it is very cutting-edge.
On the flip side of this, I am becoming increasingly distressed by seeing singers using cell phones DURING a rehearsal period (not during breaks, but as they are getting actual direction.) I nearly lost my S$%t watching some singers in the chorus of the current opera I am working on with their phones out during staging where they are supposed to be covering principal roles in which that staging is being given. If we as opera singers don’t seem to give a crap about the artform we are fortunate enough to be surrounded by, then how can we expect an audience to stay focused?
I have to be honest, it even bothers me when singers are merely sitting in a rehearsal and have their phones out. For me there is something so disrespectful about looking out as a performer and seeing that your colleagues are not engaged in what is happening on the stage because they would rather play “Tasty Smash.”*
(*For copyright reasons I have renamed it. Also, I love the game to which I am referring and don’t want to insult them.)
Now I bet some of you are saying: well,if your singing was interesting enough, you would be able to sway them away from their phones. I agree that if someone is singing their face off, I will look up from my score and pay more attention. But if I am not interested in what my colleagues are doing, I try to leave the space or get out of plain site so as to allow them the respect they deserve.
My belief is that it seems like any opera performance is much better if the colleagues are listening and learning from each other as opposed to it ignoring what else is happening when they are not the focus. I remember being in a rehearsal and the director referred to opera as "high art." As individual as being an opera singer is, there is something magical about developing wonderful onstage and offstage relationships. These relationships, in addition to great singing and acting, are what give a performance that certain je ne sais quoi. Those relationships are built on mutual admiration and respect and you can only get and give it if you are in the present moment with the other singers, the conductor and the director. Opera is an ensemble activity and while it is our job to bring our A-game to the table, a performance can only sparkle if all the elements are aligned and working together.
So maybe I am resistant to bringing the technology aspect into my opera rehearsals because I feel like I want to stay connected to the present moment and if I am looking down at my phone (computer, IPad, whatever…) I am missing the potential to learn something new, see something interesting or connect with a colleague. No matter how great one person is, it is when we see the chemistry of artists with each other that really amps up any given performance. Maybe I am resistant because I really have little interest in technology outside of checking my email, sending an update to potential, checking up on friends on the book of many faces and playing a tasty game that shall remain nameless. Maybe it’s that I love opera so much and have such respect (and understanding) of the amount of sacrifice that goes into being an opera singer that like anything we hold in awe, we give it our undivided attention. Nonetheless, I think we can say the following: IPad with the forescore app: good. Using your phone while in the midst of a rehearsal: bad.
Peace,
Eric
Thursday, May 30, 2013
"Ariadne auf Naxos" with a twist
Everyone says opera needs a “makeover” in order to become relevant to the 21st century audience. (Well not everyone, just those who want butts in seats.) While sitting with my colleagues during the intermission of the dress rehearsal of my current production “Ariadne auf Naxos,” we got to thinking about how we would make opera more contemporary (but with full tongue-in-cheek.) So we decided that if we were to recast opera with figures from the world of popular music, people would sit up and listen (while others would die immediately on the spot!)
So here is the cast list for a 2013 “Ariadne auf Naxos”:
Ariadne-this role requires a big voice, a diva presence and someone capable of great phrasing. The natural choice is someone with a real voice and great style like Jennifer Hudson who certainly knows about tragedy and has the acting chops to carry an opera.
Zerbinetta-this role is filled with vocal fireworks and requires an extended range. Years ago, Mariah Carey with her fabulous whistle tone would have been the obvious choice, but she is no longer the “coquette” and the crown of vocal gymnastics queen seems to belong to Christina Aguilera.
The Composer-This was a tough one as it requires a fiery personality, a strong voice and an ability to look good in a pants suit. For some reason, Nicki Minaj seemed a good option although I’m sure once I publish this I’ll think of someone more appropriate.
The Three Nymphs-Who else could reinterpret the three nymphs while still retaining their own individuality? Why Destiny’s Child of course.
The Dance Master-With his ability to be lithe, light on his feet and filled with an innate sense of rhythm, Justin Timberlake would be ideal for this fantastic supporting role.
Harlekin-Has to be young, handsome, but still able to be the comedian. He also has a wonderful tune to sing and yet has to be able to sing in a group. Adam Levine fits the bill. Former Mr. Jessica Simpson and 98 Degrees alumni, Nick Lachey would be his cover.
Scaramuccio, Truffaldin and Brighella-Tight harmonies and complex dance moves means we could choose between the more experienced Boys II Men or just take 3 of the 5 One Direction members and teach them how to really sing well.
The Music Teacher-He needs to be someone who can “school” the young ones on how to do things and has the respect of everyone in the business. The Artist Formerly Known as…now known as Prince is perfect!
Bacchus-Last but not least, the role of Bacchus requires a great stage carriage, a voice filled with raw emotion and grandeur to spare. The only possible singer: Aretha Franklin. After her “Nessum Dorma” it’s clear she loves opera and knows the tenor rep.
Have another opera you’d like to see recast? Let me know.
Peace,
Eric
So here is the cast list for a 2013 “Ariadne auf Naxos”:
Ariadne-this role requires a big voice, a diva presence and someone capable of great phrasing. The natural choice is someone with a real voice and great style like Jennifer Hudson who certainly knows about tragedy and has the acting chops to carry an opera.
Zerbinetta-this role is filled with vocal fireworks and requires an extended range. Years ago, Mariah Carey with her fabulous whistle tone would have been the obvious choice, but she is no longer the “coquette” and the crown of vocal gymnastics queen seems to belong to Christina Aguilera.
The Composer-This was a tough one as it requires a fiery personality, a strong voice and an ability to look good in a pants suit. For some reason, Nicki Minaj seemed a good option although I’m sure once I publish this I’ll think of someone more appropriate.
The Three Nymphs-Who else could reinterpret the three nymphs while still retaining their own individuality? Why Destiny’s Child of course.
The Dance Master-With his ability to be lithe, light on his feet and filled with an innate sense of rhythm, Justin Timberlake would be ideal for this fantastic supporting role.
Harlekin-Has to be young, handsome, but still able to be the comedian. He also has a wonderful tune to sing and yet has to be able to sing in a group. Adam Levine fits the bill. Former Mr. Jessica Simpson and 98 Degrees alumni, Nick Lachey would be his cover.
Scaramuccio, Truffaldin and Brighella-Tight harmonies and complex dance moves means we could choose between the more experienced Boys II Men or just take 3 of the 5 One Direction members and teach them how to really sing well.
The Music Teacher-He needs to be someone who can “school” the young ones on how to do things and has the respect of everyone in the business. The Artist Formerly Known as…now known as Prince is perfect!
Bacchus-Last but not least, the role of Bacchus requires a great stage carriage, a voice filled with raw emotion and grandeur to spare. The only possible singer: Aretha Franklin. After her “Nessum Dorma” it’s clear she loves opera and knows the tenor rep.
Have another opera you’d like to see recast? Let me know.
Peace,
Eric
Wednesday, May 8, 2013
Crazy or an opera singer?
One of the joys of NYC is being on the subway next to someone and you hear that they are having a full-blown conversation. You look up and realize that there is no one on the other side of the conversation and see that they are actually muttering to themselves. It is usually accompanied by a rather funky stench, a shopping cart filled with plastic bags and frequent outbursts about what Nene just did. But there are those times when you see someone and they seem perfectly normal as they are dressed in the latest trends and are sans extra baggage and yet, they are clearly talking to…no one. I would get a kick out trying to figure out what it is they are whispering to themselves and if they truly see the person to whom it seems they are addressing. What makes a seemingly normal looking New Yorker have a whole train ride of one-sided chit-chat?
It wasn’t until about a week ago, while in the midst of perfecting my latest role of the Music Teacher in “Ariadne auf Naxos,” that it was brought to my attention that I have a habit of muttering the text in rhythm under my breath and to the casual observer, it would seem that I am skating right into Cuckooville. In my defense, I have had to learn six new roles this season and have another new role to learn in a month so lots of repetition is a must. I know I have a role down cold when I can pick any spot in the opera and can rattle off the words like they are second nature. However, I was not aware that the rattling was out loud and could be viewed by others as someone on the way to Crazy Town.
My mind flashed back to all those seemingly normal folks I had seen having one-sided conversations and I realized that they were, like me, working out the nuances of an upcoming role. My theory was confirmed this morning as I went for a walk and realized, that unbeknownst to my conscious mind, I was mumbling the Music Teacher’s lines while walking down the street. Now, anyone who chooses the life of an opera singer has to have a touch of the crazy in them, however the next time you see someone chit-chatting to the air, have faith that they just might be the next great opera singer preparing a new, challenging role…or they might be Crazy Louie coming to bum a quarter. It is New York after all.
Peace,
Eric
Wednesday, April 24, 2013
But I don't sing in German
Since my return to singing over the last three years, I have done quite a bit of singing in Italian and English. I recently had the chance to sing Escamillo and have at least four French arias ready to go, but based on my own perception of my voice and my “look” I have steered clear of the German repertoire thinking to myself: I don’t really sing in German. I even went as far as to tell someone those exact words in a recent audition for a piece in German. Any wonder I didn’t get it?
As I have discovered in this business, some artists easily fit into a niche and others (and I feel I fall into this category) tend to be able to bounce about and sing a wide variety of literature. I always thought that perhaps the only role I would sing in German would perhaps be Papageno, but as it turns out I am about to sing the Music Teacher in Richard Strauss’ Ariadne auf Naxos and immediately follow that up with Falke in Johann Strauss’ Die Fledermaus. Even more interesting is that I am up for another German role next season. All of sudden I’ve gone from someone who “doesn’t sing in German” to someone who is singing in German.
I have always thought I knew what was best for me and where I would end up in the opera world, but again, I am surprised (like I was with being cast as Escamillo earlier in the season) that there are people who see as more than just a “black” singer and who believe I can transcend roles that would traditionally go to white performers. It’s a wonderful feeling to see that opera while trying to focus on realism and appeal to the general public also wants to find new and exciting ways to express itself and that includes casting those who may not at first glance seem an ideal fit, but might have something unique to say about a particular role.
It reminds of the statement “Don’t tell yourself ‘No.’” I truly believe that the singers who are succeeding spend more time telling themselves “yes” and less time worrying about what others think. So here I am: a black lyric baritone who has sung everything from Mozart’s Figaro to Britten’s Theseus to Rossini’s Fernando in La gazza ladra to Escamillo and many interesting and surprising roles in between. I have trained, studied, practiced and believed so why shouldn’t I be a singer who sings in German? So I say “yes” to what may come because I always need to remind myself that I can…even auf Deutsch.
Peace,
Eric
As I have discovered in this business, some artists easily fit into a niche and others (and I feel I fall into this category) tend to be able to bounce about and sing a wide variety of literature. I always thought that perhaps the only role I would sing in German would perhaps be Papageno, but as it turns out I am about to sing the Music Teacher in Richard Strauss’ Ariadne auf Naxos and immediately follow that up with Falke in Johann Strauss’ Die Fledermaus. Even more interesting is that I am up for another German role next season. All of sudden I’ve gone from someone who “doesn’t sing in German” to someone who is singing in German.
I have always thought I knew what was best for me and where I would end up in the opera world, but again, I am surprised (like I was with being cast as Escamillo earlier in the season) that there are people who see as more than just a “black” singer and who believe I can transcend roles that would traditionally go to white performers. It’s a wonderful feeling to see that opera while trying to focus on realism and appeal to the general public also wants to find new and exciting ways to express itself and that includes casting those who may not at first glance seem an ideal fit, but might have something unique to say about a particular role.
It reminds of the statement “Don’t tell yourself ‘No.’” I truly believe that the singers who are succeeding spend more time telling themselves “yes” and less time worrying about what others think. So here I am: a black lyric baritone who has sung everything from Mozart’s Figaro to Britten’s Theseus to Rossini’s Fernando in La gazza ladra to Escamillo and many interesting and surprising roles in between. I have trained, studied, practiced and believed so why shouldn’t I be a singer who sings in German? So I say “yes” to what may come because I always need to remind myself that I can…even auf Deutsch.
Peace,
Eric
Thursday, April 11, 2013
Congrats to you; now what about me?
I am always excited when I hear that a friend in this business gets a fantastic engagement. I like it when someone I know to be hard working, super-talented and dedicated gets an offer that will showcase their abilities. As of late, many of my friends have been getting offers and as thrilled as I am, there is a small part of me that thinks: “what about me?”
First of all, I have had a phenomenal season with no less than 8 new roles in every language and some fantastic debuts and great reviews, so please know that even I am sort of looking at myself like “What you talkin’ about, Willis?” But I have also been auditioning my butt off and it seems like I’m always the bridesmaid, but never the bride.
As an artist, I’ve learned not to take “no” too personally, although I am “sensitive “ every time I hear it. I also know that every artist has heard “no,” and that every artist has to have a tough hide in order to stay focused on the present and what could be and not spend time and energy on what is not. However, the goal is to be an amazing artist so I need to give amazing auditions in order to get amazing work.
I do a lot of reading about how to envision what I want out of life. I read a fantastic passage about the law of attraction and it said that if you see great wealth, success, love or whatever it is you are hoping to attract surrounding you, instead of seeing it as “ why does everyone have it ?”, one must rethink it as attracting it on all sides and if it surrounds you and you are seeing it constantly, then surely you are on the same plain. I think it is similar to the people we attract. If you find yourself surrounded by great friends, then you, in turn, must be a great friend. If you have an amazing partner, then you are indeed a great partner. If it seems that everyone you know is getting hired here and there, then you are in the same realm of possibility and great things are en route. One can call it faith, the law of attraction or new-agey poppycock, but the more aware you become of the great fortune of others, the more you will begin to allow it to come to you. Another way to think of it is if I am surrounded by singers of a high-level, then I too, must a high-level singer.
So my goal for Spring is to stop worrying so much about what I have been passed over for and become very aware of the success of those around me. Even in the face of "no", I am still seeing many a "yes" all over the place, so my many "yeses" are just around the corner. I will continue to be overjoyed for their success, just as I know they are with mine.
Peace,
Eric
First of all, I have had a phenomenal season with no less than 8 new roles in every language and some fantastic debuts and great reviews, so please know that even I am sort of looking at myself like “What you talkin’ about, Willis?” But I have also been auditioning my butt off and it seems like I’m always the bridesmaid, but never the bride.
As an artist, I’ve learned not to take “no” too personally, although I am “sensitive “ every time I hear it. I also know that every artist has heard “no,” and that every artist has to have a tough hide in order to stay focused on the present and what could be and not spend time and energy on what is not. However, the goal is to be an amazing artist so I need to give amazing auditions in order to get amazing work.
I do a lot of reading about how to envision what I want out of life. I read a fantastic passage about the law of attraction and it said that if you see great wealth, success, love or whatever it is you are hoping to attract surrounding you, instead of seeing it as “ why does everyone have it ?”, one must rethink it as attracting it on all sides and if it surrounds you and you are seeing it constantly, then surely you are on the same plain. I think it is similar to the people we attract. If you find yourself surrounded by great friends, then you, in turn, must be a great friend. If you have an amazing partner, then you are indeed a great partner. If it seems that everyone you know is getting hired here and there, then you are in the same realm of possibility and great things are en route. One can call it faith, the law of attraction or new-agey poppycock, but the more aware you become of the great fortune of others, the more you will begin to allow it to come to you. Another way to think of it is if I am surrounded by singers of a high-level, then I too, must a high-level singer.
So my goal for Spring is to stop worrying so much about what I have been passed over for and become very aware of the success of those around me. Even in the face of "no", I am still seeing many a "yes" all over the place, so my many "yeses" are just around the corner. I will continue to be overjoyed for their success, just as I know they are with mine.
Peace,
Eric
Friday, March 22, 2013
On the road again
Today I am getting ready for the dress rehearsal of Verdi's La Traviata with the Harrisburg Symphony in Harrisburg, PA. I am having a fantastic time because all the singers are wonderful, the orchestra sounds fantastic, the conductor Stuart Malina is a dream and the Symphony staff are amazing!
The trip to this wonderful place began as usual on the LIRR (Long Island Railroad.) Here I am excited about departing.
And here I am few moments later after they announced that we will be delayed in our departure.
But no worries! I have learned that while NYC never sleeps, she sometimes runs late so leaving early in order to get where one is going is essential. I made it into Penn Station where I would take the Amtrak to Harrisburg, PA. A quick three-hour trip. We made a stop in Elizabethtown, PA made famous by the film starring Orlando Bloom. What is he up to these days?
The trip was ideal with large and comfy seating, working wifi and kind conductors. As we got closer and closer to Harrisburg, the final stop, this one took a brief rest as he must have worked a long shift and needed a little shut-eye. I won't tell anyone, sir.
Downtown Harrisburg is charming and quaint. The company has been nothing, but extraordinary and I highly recommend that any singer that can, make the trip and audition. They treat you like royalty!! And did I mention that the hall is beautiful and singing in it feels great?
And here is the view from my lovely room at the hotel. The hotel is conveniently located near food and is in a cool neighborhood downtown. We are in walking distance of the theater, but the staff has insisted on picking us up and taking us to and from rehearsal. I also like that the rehearsal process has been fun, fast and filled with great music making. Well played Harrisburg, well played!
Peace,
Eric
The trip to this wonderful place began as usual on the LIRR (Long Island Railroad.) Here I am excited about departing.
And here I am few moments later after they announced that we will be delayed in our departure.
But no worries! I have learned that while NYC never sleeps, she sometimes runs late so leaving early in order to get where one is going is essential. I made it into Penn Station where I would take the Amtrak to Harrisburg, PA. A quick three-hour trip. We made a stop in Elizabethtown, PA made famous by the film starring Orlando Bloom. What is he up to these days?
The trip was ideal with large and comfy seating, working wifi and kind conductors. As we got closer and closer to Harrisburg, the final stop, this one took a brief rest as he must have worked a long shift and needed a little shut-eye. I won't tell anyone, sir.
Downtown Harrisburg is charming and quaint. The company has been nothing, but extraordinary and I highly recommend that any singer that can, make the trip and audition. They treat you like royalty!! And did I mention that the hall is beautiful and singing in it feels great?
And here is the view from my lovely room at the hotel. The hotel is conveniently located near food and is in a cool neighborhood downtown. We are in walking distance of the theater, but the staff has insisted on picking us up and taking us to and from rehearsal. I also like that the rehearsal process has been fun, fast and filled with great music making. Well played Harrisburg, well played!
Peace,
Eric
Saturday, February 23, 2013
Behind the curtain
The magical land of Britten’s opera “A Midsummer Night’s Dream” comes with several challenges: the complexity of the score, the sheer number of forces it takes to sing it ranging from fairies to six rustics, two sets of nobility and two pairs of lovers; and finally two people to wrangle the orchestra and singers.
For the opera to succeed, one must have an Oberon who is ideally ethereal, mysterious, masculine and also able to sing Britten’s role with great clarity and warmth. Did I mention that he must also be a countertenor? Countertenors are men who sing in the same range as altos, mezzos or sopranos. Alfred Deller, who created the role of Oberon for Britten, began a revival of the voice type as opera purists wanted to replicate the sound that must have been what castri sounded like (without the “chop chop.”) Opera Naples has found a thrilling Oberon in countertenor John Gaston. Here he is posing before rehearsal.
To add to the atmosphere of this production, we are performing in an unconventional space which allows the audience to be in the midst of the production. I am a huge fan of this as the audience gets to experience the world of Shakespeare and Britten from all angles. Director Cecil MacKinnon has brought this world to life. Here she is giving direction to one of the actors who will be singing from the second level and here she is finalizing details with stage management.
Soprano Heather Buck plays Tytania, Oberon’s fairy wife. She is vocally beautiful, physically alluring and dramatically assured. Here she is entering with the fairies.
The role of Bottom requires a singing actor who is able to be comedic, dramatic and at the same time endearing. Bass-baritone Andrew Gray excels in this tour-de-force role. Here he is exploring the space before rehearsal begins.
Puck, the servant of Oberon who sets much of the confusion in motion is played by dancer David Tanciar and the lovers, soprano Julia Ann Humula, mezzo Adrienne Blanks, tenor Evelio Mendez and baritone Michael Scarelle sing some of Britten’s most haunting and sensuous music as they fall in and out of love like teenagers with ranging hormones.
The beauty of the opera is that there are three separate stories and yet they weave in and out of each other. The lovers are affected by Puck, the rustics perform for the Duke and the Duke (Theseus) and his soon-to-be wife Hippolyta grant the lovers permission to drop all of their teen angst and get married. Here is a shot of the rustics, the group that performs their play for the Duke of Athens (me), all assembled.
And here I am ready to “reign” over tonight’s performance. What an exciting work to perform and in such a unique space.
Bravo to Opera Naples for producing a 20th century opera in a fresh staging that allows the audience to become enveloped in the changing lives of fairies and mortals.
For the opera to succeed, one must have an Oberon who is ideally ethereal, mysterious, masculine and also able to sing Britten’s role with great clarity and warmth. Did I mention that he must also be a countertenor? Countertenors are men who sing in the same range as altos, mezzos or sopranos. Alfred Deller, who created the role of Oberon for Britten, began a revival of the voice type as opera purists wanted to replicate the sound that must have been what castri sounded like (without the “chop chop.”) Opera Naples has found a thrilling Oberon in countertenor John Gaston. Here he is posing before rehearsal.
To add to the atmosphere of this production, we are performing in an unconventional space which allows the audience to be in the midst of the production. I am a huge fan of this as the audience gets to experience the world of Shakespeare and Britten from all angles. Director Cecil MacKinnon has brought this world to life. Here she is giving direction to one of the actors who will be singing from the second level and here she is finalizing details with stage management.
Soprano Heather Buck plays Tytania, Oberon’s fairy wife. She is vocally beautiful, physically alluring and dramatically assured. Here she is entering with the fairies.
The role of Bottom requires a singing actor who is able to be comedic, dramatic and at the same time endearing. Bass-baritone Andrew Gray excels in this tour-de-force role. Here he is exploring the space before rehearsal begins.
Puck, the servant of Oberon who sets much of the confusion in motion is played by dancer David Tanciar and the lovers, soprano Julia Ann Humula, mezzo Adrienne Blanks, tenor Evelio Mendez and baritone Michael Scarelle sing some of Britten’s most haunting and sensuous music as they fall in and out of love like teenagers with ranging hormones.
The beauty of the opera is that there are three separate stories and yet they weave in and out of each other. The lovers are affected by Puck, the rustics perform for the Duke and the Duke (Theseus) and his soon-to-be wife Hippolyta grant the lovers permission to drop all of their teen angst and get married. Here is a shot of the rustics, the group that performs their play for the Duke of Athens (me), all assembled.
And here I am ready to “reign” over tonight’s performance. What an exciting work to perform and in such a unique space.
Bravo to Opera Naples for producing a 20th century opera in a fresh staging that allows the audience to become enveloped in the changing lives of fairies and mortals.
Sunday, February 10, 2013
From Blizzard to Beautiful
Many of my non-singing friends think I lead such a “glamorous” life with travel, dinners, special events and performances all over the country. I do admit that every now and again, I marvel at some of the opportunities my voice has afforded me. But for every great singing engagement I get to do, there is always the “just getting there,” story that seems to balance it out. This is one of those stories.
The night before leaving Long Island (I just moved here for love), we were met with Blizzard Nemo that brought cold temperatures, gusting winds and tons of snow.
10:00 am I called to get a cab to take me to the LIRR (Long Island Railroad), but was greeted with a prompt “we’re closed.” Things weren’t starting off well. Luckily, I was able to find a ride to the train and only had to walk through knee-high snow to get to the car that picked me up.
The train was set to leave at 11:35 am which I had to take because the next train out was at 1:35 and I had a 3:00 flight to catch. While sitting on the train, I was able to capture another shot of the extraordinary amount of snow that fell.
I had a chance to snap this shot as I waited for an additional 25 minutes as the train was delayed because of weather conditions.
1:00 pm, I arrived at the Jamaica train station in order to take the E train.
Somewhere between the chill of the train, the chill of the subway station and the chill of waiting outside for the Q33 bus to take me to the airport, I caught a glimpse of the sun which reminded me that I was heading to sunny Florida. This helped warm the tips of my fingers which felt as though they were getting a little numb.
2:15 I arrived at the airport, checked-in, (very easy!) and got through security in plenty of time to board my first flight. I arrived in St. Louis and had just enough time to snap this pic of my connecting flight in mid-air. Just kidding, this was just to show that I was getting warmer (literally and figuratively) to being in Florida.
5:30 pm I took this photo of my cute boots which I would be happy to put away for a couple of weeks as I was about to enjoy 70-80 degree weather. Who knew this photo would later mock me once I arrived in Ft. Myers, FL.
9:20 pm We hit the ground from flight number 2 and I was excited to meet my driver (yes, they sent a car service). I got to baggage claim and was looking forward to my suitcase filled with my cute clothes, toiletries and many shoes. But alas, my baggage had other plans. Perhaps it went to Miami.
I arrived at my host’s house sans luggage, but with a nice toiletries bag courtesy of Southwest filled with useful things like a hairbrush and Lady Speed Stick.
My host was kind enough to give me some pasta and I got to bed in hopes of starting fresh today.
9:00 am I awoke and was glad to see this view from the backyard.
And here I am with one of my best friends: coffee.
So after a nearly 11 hour trip complete with a few adventures and a good night’s sleep, I am ready for a great rehearsal (and to quote Shelia E, “The Glamorous Life”).
Peace,
Eric
The night before leaving Long Island (I just moved here for love), we were met with Blizzard Nemo that brought cold temperatures, gusting winds and tons of snow.
10:00 am I called to get a cab to take me to the LIRR (Long Island Railroad), but was greeted with a prompt “we’re closed.” Things weren’t starting off well. Luckily, I was able to find a ride to the train and only had to walk through knee-high snow to get to the car that picked me up.
The train was set to leave at 11:35 am which I had to take because the next train out was at 1:35 and I had a 3:00 flight to catch. While sitting on the train, I was able to capture another shot of the extraordinary amount of snow that fell.
I had a chance to snap this shot as I waited for an additional 25 minutes as the train was delayed because of weather conditions.
Somewhere between the chill of the train, the chill of the subway station and the chill of waiting outside for the Q33 bus to take me to the airport, I caught a glimpse of the sun which reminded me that I was heading to sunny Florida. This helped warm the tips of my fingers which felt as though they were getting a little numb.
2:15 I arrived at the airport, checked-in, (very easy!) and got through security in plenty of time to board my first flight. I arrived in St. Louis and had just enough time to snap this pic of my connecting flight in mid-air. Just kidding, this was just to show that I was getting warmer (literally and figuratively) to being in Florida.
9:20 pm We hit the ground from flight number 2 and I was excited to meet my driver (yes, they sent a car service). I got to baggage claim and was looking forward to my suitcase filled with my cute clothes, toiletries and many shoes. But alas, my baggage had other plans. Perhaps it went to Miami.
I arrived at my host’s house sans luggage, but with a nice toiletries bag courtesy of Southwest filled with useful things like a hairbrush and Lady Speed Stick.
My host was kind enough to give me some pasta and I got to bed in hopes of starting fresh today.
9:00 am I awoke and was glad to see this view from the backyard.
And here I am with one of my best friends: coffee.
So after a nearly 11 hour trip complete with a few adventures and a good night’s sleep, I am ready for a great rehearsal (and to quote Shelia E, “The Glamorous Life”).
Peace,
Eric
Thursday, January 31, 2013
There are enough shoes for everyone
When the economy turned south, I was working on the administrative side of opera. I loved my job, but it became very stressful wondering if the company could survive, if we would have to take weeks off without pay or if my job would even still exist. It was around the holidays and I was feeling lost, as if I was not doing what I was meant to do. I ran across a listing for an audition for a National Tour of “Porgy and Bess” and as you may know, I came, I saw and I toured. After that I made the transition to full-time performer. I figured if I was going to be stressed about the stability of work, I should be doing what I loved. Even in the most difficult financial periods, I have managed to work and make great strides. In addition to believing in my talent and having the fire in my belly, I remembered the words of a wonderful baritone named Scott Hogsed with whom I had the pleasure of sharing the stage with as a young singer: “There are enough shoes for everyone.”
It changed how I perceived the opera industry. We all know the odds are not in our favor if you look at the data. Thousands of singers, hundreds of jobs, and yet his belief (and mine) is that if you work harder, sing better and are a great person to work with, you will work. Will you sing leading roles all around the globe? Perhaps. Will you sing supporting roles at regional opera companies? Perhaps. Will you sing at smaller companies making little money, but hoping to get good exposure? Probably. The point is this: We can only see the “industry” from our point of view. If it is our goal to sing at La Scala, then nothing will matter until we get there. That can be a good or bad thing depending on the person. Some would relish the chance to hone their skills in smaller companies so that when they make it to La Scala they are fully prepared and ready. Others see the “steps” to get there as an annoyance because, until that goal is achieved, they don’t believe they are “doing it.”
As I continue to make strides in my career, I am fortunate enough to see that friends are doing the same. It is as if our “time” has arrived. Granted, not all of us are singing at the same level, but the thing is, we are singing, we are getting hired, and we are auditioning with those we are reading about. In her book, Renee Fleming compares making the transition to the next level to swimming across the English Channel. It can be cold, lonely and hard, but once on the other side, there is great reward. But that swim is what tests most of us. Some stop and go back, some drown, some stop and just peddle hoping to be saved and some keep their heads together, keep breathing and no matter the difficulty, keep going as they see the end goal in mind.
We all have a talent (and there are plenty of folks who want to tell you what that is), we all have a work ethic (only we really know how much we want to put in) and we all have a hunger for the career (again, only we know how much we really want it.) Everyday there are auditions; everyday someone gets hired; everyday someone becomes the “next big thing.” Something that has helped me is aiming to be as good as those who are where I want to be and also preparing as if I want to sing at that level. In my mind, I imagined my Bronx Opera debut as my singing for an international audience in a foreign country. It helped up my game.
In essence, anyone who wants a career as a performing artist has a streak of optimism. We believe that we can and deserve to make our living doing what we love and that we should be compensated well for it. However, a lot of the messages that we hear are that the industry is “hard”, that only a small percentage “make it,” or that if you didn’t go to school X, do program Y or know mr./ms. Z, you can forget about it. And yet, Scott’s words align more with my optimistic point of view. I do believe that there is enough work out there. I do believe that hard work, talent and the fire to be one of the best will take you to a level where you can do this for living. Perhaps I am a bit of a Pollyanna , but this attitude has helped me to become a singer who is working so for me, this point of view works.
There will be things we sing for where we are not hired, that is going to happen (and even happens to the greats) so accepting that allows us to be less devastated when we don’t get it (of course, being sensitive artists, there may be a bit of a meltdown—not that I am speaking from ANY sort of experience.) But we need to have the belief deep within us that we could be hired. We need to believe that we SHOULD be hired and that we are so amazing that they HAVE to hire us! I have gone into auditions and psyched myself out and in most cases, I have NOT been hired, but it’s those ones where I walk in and believe I can do this, I deserve this and I am simply singing as a formality that work out much better.
Just like there are thousands of styles of shoes out there, there are plenty of singing jobs of all types. We may have champaign shoe taste (career aspirations), but only Payless money (limited talent, experience, etc...). But just like those who work hard to pay for those $500 kicks, we have to work harder if we want to have our dream career. I see it a lot like my philosophy of happiness. Happiness must come from within, from inside as opposed to waiting for the exterior things to bring us joy. I see the career in the same way. We have to prepare as if we are already at the level in which we hope to perform instead of thinking well when I get to that level, then I'll...It means that we may have to take some bruises to our ego which might be quite comfortable with where we are, but every singer (even the greats) deal with criticism in order to become their best.
I leave you with a bit of wonderful advice from Ms. Leontyne Price. One must love their voice and be willing to share that love with those listening. One must also block out all the noise that comes with a career and simply focus on the work. That is all that matters. And as she says, her career was “not too shabby.”
Peace,
Eric
It changed how I perceived the opera industry. We all know the odds are not in our favor if you look at the data. Thousands of singers, hundreds of jobs, and yet his belief (and mine) is that if you work harder, sing better and are a great person to work with, you will work. Will you sing leading roles all around the globe? Perhaps. Will you sing supporting roles at regional opera companies? Perhaps. Will you sing at smaller companies making little money, but hoping to get good exposure? Probably. The point is this: We can only see the “industry” from our point of view. If it is our goal to sing at La Scala, then nothing will matter until we get there. That can be a good or bad thing depending on the person. Some would relish the chance to hone their skills in smaller companies so that when they make it to La Scala they are fully prepared and ready. Others see the “steps” to get there as an annoyance because, until that goal is achieved, they don’t believe they are “doing it.”
As I continue to make strides in my career, I am fortunate enough to see that friends are doing the same. It is as if our “time” has arrived. Granted, not all of us are singing at the same level, but the thing is, we are singing, we are getting hired, and we are auditioning with those we are reading about. In her book, Renee Fleming compares making the transition to the next level to swimming across the English Channel. It can be cold, lonely and hard, but once on the other side, there is great reward. But that swim is what tests most of us. Some stop and go back, some drown, some stop and just peddle hoping to be saved and some keep their heads together, keep breathing and no matter the difficulty, keep going as they see the end goal in mind.
We all have a talent (and there are plenty of folks who want to tell you what that is), we all have a work ethic (only we really know how much we want to put in) and we all have a hunger for the career (again, only we know how much we really want it.) Everyday there are auditions; everyday someone gets hired; everyday someone becomes the “next big thing.” Something that has helped me is aiming to be as good as those who are where I want to be and also preparing as if I want to sing at that level. In my mind, I imagined my Bronx Opera debut as my singing for an international audience in a foreign country. It helped up my game.
In essence, anyone who wants a career as a performing artist has a streak of optimism. We believe that we can and deserve to make our living doing what we love and that we should be compensated well for it. However, a lot of the messages that we hear are that the industry is “hard”, that only a small percentage “make it,” or that if you didn’t go to school X, do program Y or know mr./ms. Z, you can forget about it. And yet, Scott’s words align more with my optimistic point of view. I do believe that there is enough work out there. I do believe that hard work, talent and the fire to be one of the best will take you to a level where you can do this for living. Perhaps I am a bit of a Pollyanna , but this attitude has helped me to become a singer who is working so for me, this point of view works.
There will be things we sing for where we are not hired, that is going to happen (and even happens to the greats) so accepting that allows us to be less devastated when we don’t get it (of course, being sensitive artists, there may be a bit of a meltdown—not that I am speaking from ANY sort of experience.) But we need to have the belief deep within us that we could be hired. We need to believe that we SHOULD be hired and that we are so amazing that they HAVE to hire us! I have gone into auditions and psyched myself out and in most cases, I have NOT been hired, but it’s those ones where I walk in and believe I can do this, I deserve this and I am simply singing as a formality that work out much better.
Just like there are thousands of styles of shoes out there, there are plenty of singing jobs of all types. We may have champaign shoe taste (career aspirations), but only Payless money (limited talent, experience, etc...). But just like those who work hard to pay for those $500 kicks, we have to work harder if we want to have our dream career. I see it a lot like my philosophy of happiness. Happiness must come from within, from inside as opposed to waiting for the exterior things to bring us joy. I see the career in the same way. We have to prepare as if we are already at the level in which we hope to perform instead of thinking well when I get to that level, then I'll...It means that we may have to take some bruises to our ego which might be quite comfortable with where we are, but every singer (even the greats) deal with criticism in order to become their best.
I leave you with a bit of wonderful advice from Ms. Leontyne Price. One must love their voice and be willing to share that love with those listening. One must also block out all the noise that comes with a career and simply focus on the work. That is all that matters. And as she says, her career was “not too shabby.”
Peace,
Eric
Friday, January 18, 2013
Refilling the Well
Last night I had the great privilege of seeing the Metropolitan Opera’s “Le Comte Ory” by Rossini. I haven’t been to the Met in years and the last time I was in standing room and while it was cool, last night’s experience was absolutely perfect! Perfect seats, perfect outfit, perfect show…perfect, perfect, perfect!
A wonderful colleague of mine had an extra ticket to the production so I jumped at the chance to see this cheerful opera starring Juan Diego Florez in the title role. I would have been quite happy, but then I found out that South African soprano Pretty Yende would be making her MET debut that very night. A great tenor + a Rossini opera + a highly-anticipated MET debut only heightened my excitement.
I arrived early and took a few shots before meeting up with mezzo-soprano Juli Borst who so kindly allowed me to accompany her.
We took a few photos before the opera started and met a lovely woman who offered to take our photo together. She couldn’t quite figure out how to do it from my IPod so we just let her take one with Juli’s IPhone (insert comedy routine.) She asked if we were from New York and we said yes. Keeping the conversation going she told us she was from California and was with a group that came out to NY to come to the MET. “Are you a Juan Diego Florez fan?” I asked. Without missing a beat she responded “I love the San Diego Chargers.” I decided that I would end the conversation there, get in position for the photo and get myself prepared for the opera. Thinking of her response, I certainly didn’t have any trouble smiling as she took the picture.
The seats belonged to Juli’s friend’s father who was unable to attend. Here is a shot of the stage from our wonderful seats.
The production began and we were off, the director opted to stage the overture and give the audience more detail on what would lead up to the opening of the opera. Soprano Pretty Yende fell as she was leaving the stage during the overture and an audible gasp was heard throughout the house. Of course, by the time she came in to sing her opening aria, she had clearly resolved to throw caution to the wind and lit the house on fire. She and Juan Diego had a palpable chemistry and were able to milk all the humor while tossing off long lyric lines, runs and high notes like they were nothing. I also have to say that mezzo Karine DeShayes (a voice new to me) showed herself to be a lovely singing actress as Isolier, the male page of Ory, with a beautiful, rich voice and fantastic coloratura!
During the intermission, Juli and I made our way down to the lowest level to see the MET’s wall of fame. It’s actually quite large and includes singers of yesterday and today and was inspired by the photos that hung at the old MET. It was quite stimulating to see so many great artists including a photo of young Jessye Norman that must be seen. Here is a shot of just a segment of the wall.
Act II seemed to fly by and when this international cast (Pretty Yende, South Africa; Juan Diego Florez, Peru; Karine Deshayes, France; Nathan Gunn, USA; Nicola Uliveri, Italy; Susanne Resmark, Sweden and conductor Maurizio Benini, Italy) took their bows, the crowd went wild. Soprano Pretty Yende generated the kind of applause that seems to guarantee that she is on the road to superstardom!
I am always looking for inspiration in the music, text and stories of the characters I am singing. I also find it necessary to seek out inspiration from other sources including listening to other singers so when a free ticket to MET comes my way, I know I have to go. As an artist we are asked to give and give and give. Our well of inspiration does run pretty deep, but we must refill it with experiences that move us, challenge us and ultimately fill us. Last night’s performance gave me more drive, more joy and more excitement about my career path. I see amazing, wonderful talent everywhere around me and am grateful to be performing alongside them. I am also grateful when I see great art in front of me and am able to just sit back, relax and enjoy the ride.
Peace,
Eric
A wonderful colleague of mine had an extra ticket to the production so I jumped at the chance to see this cheerful opera starring Juan Diego Florez in the title role. I would have been quite happy, but then I found out that South African soprano Pretty Yende would be making her MET debut that very night. A great tenor + a Rossini opera + a highly-anticipated MET debut only heightened my excitement.
I arrived early and took a few shots before meeting up with mezzo-soprano Juli Borst who so kindly allowed me to accompany her.
We took a few photos before the opera started and met a lovely woman who offered to take our photo together. She couldn’t quite figure out how to do it from my IPod so we just let her take one with Juli’s IPhone (insert comedy routine.) She asked if we were from New York and we said yes. Keeping the conversation going she told us she was from California and was with a group that came out to NY to come to the MET. “Are you a Juan Diego Florez fan?” I asked. Without missing a beat she responded “I love the San Diego Chargers.” I decided that I would end the conversation there, get in position for the photo and get myself prepared for the opera. Thinking of her response, I certainly didn’t have any trouble smiling as she took the picture.
The seats belonged to Juli’s friend’s father who was unable to attend. Here is a shot of the stage from our wonderful seats.
The production began and we were off, the director opted to stage the overture and give the audience more detail on what would lead up to the opening of the opera. Soprano Pretty Yende fell as she was leaving the stage during the overture and an audible gasp was heard throughout the house. Of course, by the time she came in to sing her opening aria, she had clearly resolved to throw caution to the wind and lit the house on fire. She and Juan Diego had a palpable chemistry and were able to milk all the humor while tossing off long lyric lines, runs and high notes like they were nothing. I also have to say that mezzo Karine DeShayes (a voice new to me) showed herself to be a lovely singing actress as Isolier, the male page of Ory, with a beautiful, rich voice and fantastic coloratura!
During the intermission, Juli and I made our way down to the lowest level to see the MET’s wall of fame. It’s actually quite large and includes singers of yesterday and today and was inspired by the photos that hung at the old MET. It was quite stimulating to see so many great artists including a photo of young Jessye Norman that must be seen. Here is a shot of just a segment of the wall.
Act II seemed to fly by and when this international cast (Pretty Yende, South Africa; Juan Diego Florez, Peru; Karine Deshayes, France; Nathan Gunn, USA; Nicola Uliveri, Italy; Susanne Resmark, Sweden and conductor Maurizio Benini, Italy) took their bows, the crowd went wild. Soprano Pretty Yende generated the kind of applause that seems to guarantee that she is on the road to superstardom!
I am always looking for inspiration in the music, text and stories of the characters I am singing. I also find it necessary to seek out inspiration from other sources including listening to other singers so when a free ticket to MET comes my way, I know I have to go. As an artist we are asked to give and give and give. Our well of inspiration does run pretty deep, but we must refill it with experiences that move us, challenge us and ultimately fill us. Last night’s performance gave me more drive, more joy and more excitement about my career path. I see amazing, wonderful talent everywhere around me and am grateful to be performing alongside them. I am also grateful when I see great art in front of me and am able to just sit back, relax and enjoy the ride.
Peace,
Eric
Saturday, January 12, 2013
The calm before the Rossini storm
Rossini is one of my favorite composers because his operas make me smile and challenge me to be a better singer. I have enjoyed performing Figaro, Dandini and Taddeo, and tonight will add the role of Fernando in La Gazza Ladra to my list. I have always had a great love of Bel Canto operas especially ones that explore how to create a character through the repetition of text, cadenzas and vocal colors. It is a big challenge to keep this music fresh and interesting, not because it is “boring,” but that it takes a great deal of concentration, imagination and study to find the nuances. Rossini was very clear about accents, coloratura phrases, dynamics and tempi, but there is still the matter of the cadenzas (a series of notes that allow the singer to “improvise” in order to enhance the character.) And after all of that, the singer must address what the text is all about.
I love doing the work of fusing the musical and the dramatic and have truly enjoyed getting under the skin of Fernando Villabella. He is a soldier on the run, a father trying to protect his daughter and in disguise as a beggar. It makes for fantastic theater and a world of dramatic choices. I have to say I love his music and his character and look forward to bringing him to the stage.
One of the first things I learned as a young singer (even when I didn’t have control over my technique) was that coloratura was not just a way to showcase how fast you can sing a series of notes, but an expression of the character’s emotional state at that moment. It took a while to learn how to sing and act together and even longer to understand how to color text, especially in coloratura passages. Musically Fernando combines lyricism and dramatic moments. It feels like a Verdi character plopped in the middle of a Rossini opera. The role is a complete musical adventure with a heavy Bel Canto flair. Act I provides lyric and dramatic singing, some great cadenzas and wonderful drama. Act II is even more challenging with his aria that alternates between a breathless fear and powerful determination, then is immediately followed by a long and exciting (did I mention “long”) Quintet with chorus that has Fernando going from lyric to dramatic to full-on coloratura and back. Finally the Act II finale demands coloratura brilliance and ends on a fun and light note (actually a lot of notes.) The tone of the opera is comedic to serious to light and offers each character plenty of show-stopping moments.
If you know any Rossini pretty well, you’ll also enjoy hearing snatches of melodies from other Rossini operas and marvel at how they fit perfectly into this piece.
Peace,
Eric
I love doing the work of fusing the musical and the dramatic and have truly enjoyed getting under the skin of Fernando Villabella. He is a soldier on the run, a father trying to protect his daughter and in disguise as a beggar. It makes for fantastic theater and a world of dramatic choices. I have to say I love his music and his character and look forward to bringing him to the stage.
One of the first things I learned as a young singer (even when I didn’t have control over my technique) was that coloratura was not just a way to showcase how fast you can sing a series of notes, but an expression of the character’s emotional state at that moment. It took a while to learn how to sing and act together and even longer to understand how to color text, especially in coloratura passages. Musically Fernando combines lyricism and dramatic moments. It feels like a Verdi character plopped in the middle of a Rossini opera. The role is a complete musical adventure with a heavy Bel Canto flair. Act I provides lyric and dramatic singing, some great cadenzas and wonderful drama. Act II is even more challenging with his aria that alternates between a breathless fear and powerful determination, then is immediately followed by a long and exciting (did I mention “long”) Quintet with chorus that has Fernando going from lyric to dramatic to full-on coloratura and back. Finally the Act II finale demands coloratura brilliance and ends on a fun and light note (actually a lot of notes.) The tone of the opera is comedic to serious to light and offers each character plenty of show-stopping moments.
If you know any Rossini pretty well, you’ll also enjoy hearing snatches of melodies from other Rossini operas and marvel at how they fit perfectly into this piece.
Peace,
Eric
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