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

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.