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

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