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
Thursday, May 30, 2013
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
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