Anyone who has seen a Mozart, Donizetti, Rossini or other bel canto opera has experienced recitative. Often known by its shorthand recit, recitative is where singers communicate the story through rapid fire Italian that mimics natural speech. There are two types of 'recit; recitativo secco (dry recit) where there is only continuo (usually a harpsichord) and recitativo accompagnato where the orchestra plays.
Rossini's L'Italiana in Algeri is filled with recit and one of the joys (and challenges) is to not only learn all the text and notes in the proper order, but also to infuse it with personality so that what is being said is delivered well and helps move the story along. Recits are filled with action and reaction and can sometimes be like watching a tennis match (or a doubles match if there are four singers on the stage.) So how does one begin to get a handle (and one's lips) around it?
First I translate, translate and translate. Translation #1: A literal translation so that I know what each word means. Translation #2: I consult the Nico Castel volumes which are not only filled with a literal translation, but also explains exactly what the text means (idiomatic expressions, figures of speech, double entendres etc...) and finally Translation #3: How would my character say it when I infuse my own personality into it?
It usually takes me longer to learn recits that it does to learn to learn the numbers because the melodic structure is minimal and after a while recits can begin to sound alike so it's always important to know exactly what you are saying and what the other characters are saying.
My next step in the process is to rapidly repeat the text and notes over and over again until they become second nature. This is where patience and a sense of humor are necessary. At first the brain may go left while the tongue goes right, but eventually it all starts to fit together. Like dialogue, it's smart to learn your cue lines and the text of your colleagues so that you know what this conversation really means.
Finally, you get to put it all together with the other characters and you often discover (as is the case with lines in a play) that how someone delivers a line may inspire a new delivery of your line and vice-versa so it helps to keep it fresh. There is a sense of improvisation in recitative which, once mastered, can be a lot of fun. But the process of getting it all together can be a lot like wrestling with Hulk Hogan (then, not now) and means that you have to be prepared, pumped up (at least mentally) and ready to take your competitor (that tongue-twisting line on page 215) down!
Peace,
Eric
Friday, March 18, 2011
Saturday, March 5, 2011
The Italian Girl in Algers meets the baritone boy
Week 1 of rehearsals are nearly done and I have so many Italian words running through my brain that I sometimes forget that I speak English! Along with staging, dance movements (yes, I said dance movements) and trying to remember my cast mates' names, it's a wonder I can keep my head on straight. (It should be noted that I got lost trying to find my way out of DC and back to Baltimore where I am staying.)
I have to say that for my first "L'Italiana in Algeri" AKA "The Italian Girl in Algers," I am pretty happy with my level of preparation. I have a good understanding of the role and characterization. (Pats himself on the back.) Of course I had lots of help--thanks to Nico Castel's text and translation, hours and hours of practice and memorization, the various people who helped coach the role and the "additional" coaching I received via the fabulous singers who have performed this opera in the past. YouTube rocks!
Besides the total amount of text associated with Rossini, the greatest challenges come from being able to make musical lines out of the patter (lots of fast text), sing legato when there is a line and try to find the balance between vocal beauty and character in the voice. Taking a cue from Johnny Depp who is known for fusing two personalities to create his characters, I have decided that my character Taddeo, the former lover of Isabella (the Italian Girl,) is a cross between Fred Sanford and Snagglepuss--exit stage left as I have a heart attack.
Making a role debut is always filled with excitement (and some fear--I am a neurotic singer after all.) Add onto that a debut with a company and you get the idea that the level of preparation needs to be very high. It's helpful to have colleagues whose level of preparation is as high, a stage director who wants to milk the comedic elements with precision and a conductor who is as passionate about Rossini as I am.
We still have several weeks to explore, stage, create and play and I am looking forward to every minute as I add another Rossini role to my repertoire. Viva Rossini!
Peace,
Eric
I have to say that for my first "L'Italiana in Algeri" AKA "The Italian Girl in Algers," I am pretty happy with my level of preparation. I have a good understanding of the role and characterization. (Pats himself on the back.) Of course I had lots of help--thanks to Nico Castel's text and translation, hours and hours of practice and memorization, the various people who helped coach the role and the "additional" coaching I received via the fabulous singers who have performed this opera in the past. YouTube rocks!
Besides the total amount of text associated with Rossini, the greatest challenges come from being able to make musical lines out of the patter (lots of fast text), sing legato when there is a line and try to find the balance between vocal beauty and character in the voice. Taking a cue from Johnny Depp who is known for fusing two personalities to create his characters, I have decided that my character Taddeo, the former lover of Isabella (the Italian Girl,) is a cross between Fred Sanford and Snagglepuss--exit stage left as I have a heart attack.
Making a role debut is always filled with excitement (and some fear--I am a neurotic singer after all.) Add onto that a debut with a company and you get the idea that the level of preparation needs to be very high. It's helpful to have colleagues whose level of preparation is as high, a stage director who wants to milk the comedic elements with precision and a conductor who is as passionate about Rossini as I am.
We still have several weeks to explore, stage, create and play and I am looking forward to every minute as I add another Rossini role to my repertoire. Viva Rossini!
Peace,
Eric
Wednesday, February 16, 2011
Black History, Bel Canto and Bad Boys
January has come and gone and February has its icy (yet not too bad) chill upon us. I have been lucky to have a lot on my plate this winter so while my fingers and toes suffer through this blustery weather, my heart has remained warm with wonderful music.
I recently returned from Louisville KY, where I participated in their touring show "Oh Freedom." Using spirituals, narration, props and a nice dose of humor, the show presented a great overview of black history highlighting important events from the slave trade, Emancipation, Reconstruction, the Harlem Renaissance, the Civil Rights Movement and leading up to present day. I worked with three wonderful colleagues and had a wonderful time singing some great spirituals, art songs, opera and even some contemporary tunes. Here is a link to the promotional video put together by Kentucky Opera:
http://www.youtube.com/watch?v=cIv3TsjhNyU
As far as Bel Canto (beautiful singing) is concerned, I am getting ready to head off to sing the role of Taddeo in Rossini's sparkling comedy "L'Italiana in Algeri" featuring vocal fireworks and a plot filled with twists and turns. I am making my debut with Bel Cantanti Opera and also debuting the role of Taddeo. All I can say is that I am thrilled to be singing this fun, vocally challenging role (he has a LOT of Italian.) The preparation is going well and I hope to soon have the whole "in my body" as singers like to say. I always seem to have the music going through my head which is a sure sign that is settling into my subconscious!
Finally I am preparing for my newest performance project: "Rogues and Scoundrels: Rethink the Recital." The program will present some of classical music most fascinating bad boys along with elements of theatre and is an interactive experience where the audience becomes part of the performance. I am funding this project through Kickstarter.com, a website that is the largest funding platform for creative projects in the world! Donations can range from $1 to $100 or more and each level of donation comes with specific benefits! Check it out:
http://www.kickstarter.com/projects/579480669/rogues-and-scoundrels-rethink-the-recital
My project is already at 25% of goal so I am excited about where it could go!
So that's what I've been up to. I'll check in again once I am settled in DC when "L'Italiana in Algeri" begins rehearsals!
Peace,
Eric
I recently returned from Louisville KY, where I participated in their touring show "Oh Freedom." Using spirituals, narration, props and a nice dose of humor, the show presented a great overview of black history highlighting important events from the slave trade, Emancipation, Reconstruction, the Harlem Renaissance, the Civil Rights Movement and leading up to present day. I worked with three wonderful colleagues and had a wonderful time singing some great spirituals, art songs, opera and even some contemporary tunes. Here is a link to the promotional video put together by Kentucky Opera:
http://www.youtube.com/watch?v=cIv3TsjhNyU
As far as Bel Canto (beautiful singing) is concerned, I am getting ready to head off to sing the role of Taddeo in Rossini's sparkling comedy "L'Italiana in Algeri" featuring vocal fireworks and a plot filled with twists and turns. I am making my debut with Bel Cantanti Opera and also debuting the role of Taddeo. All I can say is that I am thrilled to be singing this fun, vocally challenging role (he has a LOT of Italian.) The preparation is going well and I hope to soon have the whole "in my body" as singers like to say. I always seem to have the music going through my head which is a sure sign that is settling into my subconscious!
Finally I am preparing for my newest performance project: "Rogues and Scoundrels: Rethink the Recital." The program will present some of classical music most fascinating bad boys along with elements of theatre and is an interactive experience where the audience becomes part of the performance. I am funding this project through Kickstarter.com, a website that is the largest funding platform for creative projects in the world! Donations can range from $1 to $100 or more and each level of donation comes with specific benefits! Check it out:
http://www.kickstarter.com/projects/579480669/rogues-and-scoundrels-rethink-the-recital
My project is already at 25% of goal so I am excited about where it could go!
So that's what I've been up to. I'll check in again once I am settled in DC when "L'Italiana in Algeri" begins rehearsals!
Peace,
Eric
Wednesday, January 26, 2011
But this is how I sing it...
I recently read a quote on the “book of faces” posted by a friend that went like this: “"If I'm going to sing like someone else, then I don't need to sing at all." ~ Billie Holiday. So many singers work with people who innocently say “try this phrase like so and so does it,” or “here’s where (insert artist of the past,) would do a crescendo then descrescendo,” or “If you can’t sing it like famous diva, then you shouldn’t be singing it.” Many of those in the opera business are there to offer their expertise as they have worked with the “greats,” but at some point we as artists have to say this is how I sing it. (I chose “artists” over the word “singers” because I believe that with the tools we are given-the score, the language, the stories, the advice from the teachers, coaches and conductors, our technique and our own voices, we truly do create soemthing beautiful, memorable and amazing.)
We go to undergrad and sometimes grad school with a handful of information as we begin to explore how to make our voices into the instruments that opera lovers (and company heads) want to pay to hear. It is a long process of putting the voice, text and acting together as each thread is important. In the beginning we need many ears to help us learn the sounds and release the fears that keep us in check. Once we leave school we still try and make our way and hold onto the title “young artist,” sometimes for MANY years, in an effort to let people know that we are still putting the pieces together. At some point, however, we have to say “All right. I have all this information, the tools, the network and the freedom to create.” It’s our chance to become all the things that make us a great opera singer. It’s an exciting and scary place to be as we get to take full responsibility for our performances. We ultimately become the ones who make the decisions and sometimes asserting that can be tough, but it is necessary.
With recordings, videos, DVDS, YouTube, bootleg/pirated 8-tracks and all the other media out there it is possible to be overwhelmed with the number of ways that singers can sing a role, an aria or a phrase. But the one thing that makes all of those interpretations valid is that those artists did something so special that it’s still remembered for years and years (or months, or weeks or days depending on whether the artist is still performing.) Our goal as opera singers is to tell the great stories of opera with our voices. As a performer we want to put our personal stamp on it and make it something so amazing that people will be talking about it for days, weeks, months or years.
One day some young singer will be in a coaching and that coach will say: “Sing it like (insert your name here.)” So with that knowledge in mind we are able to take it with a grain of salt when someone tells us to sound more like singer X or do it like singer Z, because in the end the only way we can do it is by singing with our own voice and ideas. The greats knew that and that is what makes them someone we want to listen to over and over again.
Peace,
Eric
We go to undergrad and sometimes grad school with a handful of information as we begin to explore how to make our voices into the instruments that opera lovers (and company heads) want to pay to hear. It is a long process of putting the voice, text and acting together as each thread is important. In the beginning we need many ears to help us learn the sounds and release the fears that keep us in check. Once we leave school we still try and make our way and hold onto the title “young artist,” sometimes for MANY years, in an effort to let people know that we are still putting the pieces together. At some point, however, we have to say “All right. I have all this information, the tools, the network and the freedom to create.” It’s our chance to become all the things that make us a great opera singer. It’s an exciting and scary place to be as we get to take full responsibility for our performances. We ultimately become the ones who make the decisions and sometimes asserting that can be tough, but it is necessary.
With recordings, videos, DVDS, YouTube, bootleg/pirated 8-tracks and all the other media out there it is possible to be overwhelmed with the number of ways that singers can sing a role, an aria or a phrase. But the one thing that makes all of those interpretations valid is that those artists did something so special that it’s still remembered for years and years (or months, or weeks or days depending on whether the artist is still performing.) Our goal as opera singers is to tell the great stories of opera with our voices. As a performer we want to put our personal stamp on it and make it something so amazing that people will be talking about it for days, weeks, months or years.
One day some young singer will be in a coaching and that coach will say: “Sing it like (insert your name here.)” So with that knowledge in mind we are able to take it with a grain of salt when someone tells us to sound more like singer X or do it like singer Z, because in the end the only way we can do it is by singing with our own voice and ideas. The greats knew that and that is what makes them someone we want to listen to over and over again.
Peace,
Eric
Monday, January 3, 2011
2010 in review
Somewhere around December 27th after the hoopla of Christmas, but before the dropping of the giant ball that rings in the new year, I tend to reflect on my past year and what I've done and learned.
2010 was a year of extraordinary change. I took a chance at the age of 39 and left my secure (most of the time) job and ventured back into the realm of being a performer. On many occasions, mostly in between performance opportunities, I questioned what the he!% I was doing. Who in their right mind would try and get back into the opera world at 39 after taking nearly 7 years off?!
Back in December of 2009 I auditioned for the 75th Anniversary National tour of Porgy and Bess. It was really just on a whim and I never thought I would get it so I had no real fear until a few days after my audition when I received an e-mail asking me to come back to New York to be seen by the entire production team (director, producers, conductors.) I sang well, but it as one of those things that you can never predict. Subsequently I was offered the role of Jake. The tour would begin rehearsals in about three weeks and I had to decide if I should leave my job, my city and my current life and go on this adventure. I've always been a bit of a bohemian wanderer and have always believed that you can live the life you dream so I jumped at the opportunity.
Now, I've always been an insecure singer, but I had to step up and "fake it." I had to be strong, secure, confident, consistent and amazing everyday as I never knew who was listening. One of the most surreal experiences was being called in to audition for a feature film. The company was looking for a male African American opera singer to play the lead in an untitled project and had sent a scout to one of the Porgy and Bess rehearsals. I was so excited and felt that I nailed the audition, but as things are likely to happen, the project was shelved. Still I was certain that the universe was pointing me in the right direction.
After a few more weeks in rehearsal, we hit the road and did 45 performances from February to June. The experience of touring and delivering a show (sometimes two in a day) several days a week was grueling. It was a great exercise in remaining mentally tough and was certainly not for the weak of spirit. The demands to be "en pointe" every show can be tough, but that is what we are being paid for and I loved the challenge of keeping it fresh every time.
In the five weeks off from the tour, I was contracted to cover the role of Jake and sing the role of Robbins in Virginia Opera's Porgy and Bess. it was so fun to work on a different production with a different director and conductor. I learned even more about the magic of Gershwin's opera and met some wonderful people on the way.
Following the tour, I auditioned for and won the role of Casey O'Brien in the musical Boy Meets Boy where I met a kind and nurturing director and found out that the skill of memorizing a musical had as much of a challenge as memorizing an opera. I was very fortunate to receive great reviews for both the Porgy and Bess and Boy Meets Boy and it made it realize that I was indeed doing the right thing!
I was then fortunate to be offered the role of Fred Graham in Kiss Me, Kate. I was also fortunate that the director and soprano singing Lilli were old colleagues and that the other two principals were fantastic as well. The four singers shared an apartment making it very much Real World meets Opera World, but without the fighting and such.
In late September I made the short drive to Dayton, Ohio to reaquaint myself with Jake as rehearsals for Dayton Opera's Porgy and Bess got underway. It was a fantastic way to end the performance year and again reaffirmed that I was indeed doing the right thing. Right around that same time, I was offered the role of "The Clinician" in a pyschology training video. The director was the same one who had directed Boy Meets Boy. So I was actually spending my days in rehearsals for Porgy and Bess and memorizing the dialogue for the video at night. It was thrilling to be so busy.
November and December saw lots of auditions and me turning 40. I thought I would be OK with turning the big 4-0, but it actually knocked me for a loop and I had to remind myself that I was venturing into new territory and that I couldn't get down on myself. Then came being in New York!
Money was tight as I was trying to get to New York, pay for auditions, pay my bills and still have time to practice. I spent the month of December in New York auditioning not only for opera, but also trying to break into the field of being an Extra. It's not easy and is really all about what the directors need and want. I also found some part-time work as a cater waiter and learned that while the work is exhausting, I am strong enough to stand on my feet, smile and take that empty plate from that up and coming celebrity with the best of them.
Finally, I took another step towards uping my professional image by launching ericmckeeverbaritone.com. It has been an exciting process and one that would have been impossible if not for the patience, talent and understanding of Keith Morgan of www.buckledown-interactive.com
I also want to thank you the reader for following my journey and for supporting it.
I look forward to sharing more success, dreams and stories in 2011.
Happy New Year!
Peace,
Eric
2010 was a year of extraordinary change. I took a chance at the age of 39 and left my secure (most of the time) job and ventured back into the realm of being a performer. On many occasions, mostly in between performance opportunities, I questioned what the he!% I was doing. Who in their right mind would try and get back into the opera world at 39 after taking nearly 7 years off?!
Back in December of 2009 I auditioned for the 75th Anniversary National tour of Porgy and Bess. It was really just on a whim and I never thought I would get it so I had no real fear until a few days after my audition when I received an e-mail asking me to come back to New York to be seen by the entire production team (director, producers, conductors.) I sang well, but it as one of those things that you can never predict. Subsequently I was offered the role of Jake. The tour would begin rehearsals in about three weeks and I had to decide if I should leave my job, my city and my current life and go on this adventure. I've always been a bit of a bohemian wanderer and have always believed that you can live the life you dream so I jumped at the opportunity.
Now, I've always been an insecure singer, but I had to step up and "fake it." I had to be strong, secure, confident, consistent and amazing everyday as I never knew who was listening. One of the most surreal experiences was being called in to audition for a feature film. The company was looking for a male African American opera singer to play the lead in an untitled project and had sent a scout to one of the Porgy and Bess rehearsals. I was so excited and felt that I nailed the audition, but as things are likely to happen, the project was shelved. Still I was certain that the universe was pointing me in the right direction.
After a few more weeks in rehearsal, we hit the road and did 45 performances from February to June. The experience of touring and delivering a show (sometimes two in a day) several days a week was grueling. It was a great exercise in remaining mentally tough and was certainly not for the weak of spirit. The demands to be "en pointe" every show can be tough, but that is what we are being paid for and I loved the challenge of keeping it fresh every time.
In the five weeks off from the tour, I was contracted to cover the role of Jake and sing the role of Robbins in Virginia Opera's Porgy and Bess. it was so fun to work on a different production with a different director and conductor. I learned even more about the magic of Gershwin's opera and met some wonderful people on the way.
Following the tour, I auditioned for and won the role of Casey O'Brien in the musical Boy Meets Boy where I met a kind and nurturing director and found out that the skill of memorizing a musical had as much of a challenge as memorizing an opera. I was very fortunate to receive great reviews for both the Porgy and Bess and Boy Meets Boy and it made it realize that I was indeed doing the right thing!
I was then fortunate to be offered the role of Fred Graham in Kiss Me, Kate. I was also fortunate that the director and soprano singing Lilli were old colleagues and that the other two principals were fantastic as well. The four singers shared an apartment making it very much Real World meets Opera World, but without the fighting and such.
In late September I made the short drive to Dayton, Ohio to reaquaint myself with Jake as rehearsals for Dayton Opera's Porgy and Bess got underway. It was a fantastic way to end the performance year and again reaffirmed that I was indeed doing the right thing. Right around that same time, I was offered the role of "The Clinician" in a pyschology training video. The director was the same one who had directed Boy Meets Boy. So I was actually spending my days in rehearsals for Porgy and Bess and memorizing the dialogue for the video at night. It was thrilling to be so busy.
November and December saw lots of auditions and me turning 40. I thought I would be OK with turning the big 4-0, but it actually knocked me for a loop and I had to remind myself that I was venturing into new territory and that I couldn't get down on myself. Then came being in New York!
Money was tight as I was trying to get to New York, pay for auditions, pay my bills and still have time to practice. I spent the month of December in New York auditioning not only for opera, but also trying to break into the field of being an Extra. It's not easy and is really all about what the directors need and want. I also found some part-time work as a cater waiter and learned that while the work is exhausting, I am strong enough to stand on my feet, smile and take that empty plate from that up and coming celebrity with the best of them.
Finally, I took another step towards uping my professional image by launching ericmckeeverbaritone.com. It has been an exciting process and one that would have been impossible if not for the patience, talent and understanding of Keith Morgan of www.buckledown-interactive.com
I also want to thank you the reader for following my journey and for supporting it.
I look forward to sharing more success, dreams and stories in 2011.
Happy New Year!
Peace,
Eric
Sunday, November 14, 2010
My website has gone live!
It's been a great experience learning, editing and researching what I wanted my website to look like. Now, thanks to my website guru Keith Morgan of Buckledown Interactive, I have a website that is professional, exciting and really feels like it is tailored-made to my personality.
I looked at a lot of websites ranging from the big singers (very "flashy", pun intended) to those of friends. I wanted something very clean, sophisticated and yet with a bit of whimsy. After many meetings, e-mails and submitting of text, Keith made it look effortless!
There will be some additional updates on upcoming performances as soon as they become "official." And there is link from the website to the blog.
For more information on Buckledown Interactive, visit their website at: http://www.buckledown-interactive.com/
To check out the website: www.ericmckeeverbaritone.com
Peace,
Eric
I looked at a lot of websites ranging from the big singers (very "flashy", pun intended) to those of friends. I wanted something very clean, sophisticated and yet with a bit of whimsy. After many meetings, e-mails and submitting of text, Keith made it look effortless!
There will be some additional updates on upcoming performances as soon as they become "official." And there is link from the website to the blog.
For more information on Buckledown Interactive, visit their website at: http://www.buckledown-interactive.com/
To check out the website: www.ericmckeeverbaritone.com
Peace,
Eric
Tuesday, October 26, 2010
The final Five
Auditioning for opera can be difficult, scary and all-around uncomfortable. Part of it is that you have 5 to 10 minutes to show those listening why they should hire you over anyone else. The other part is that there are just so many great singers out there and they all want to work. So the best thing one can do is have five fantastic audition arias that show what is special about your voice. After returning to the opera arena, I've noticed that certain arias that felt easy and right, feel different and don't have the "special" quality to them anymore.
With a lot of thought about roles I want to sing and what I want people to know about my voice, I've selected five arias that FINALLY feel perfect. (Of course, that is when I am in great voice!)
As audition season swiftly approaches I am excited to debut my list of arias which include two of my "oldies, but goodies", two new arias and one that I used to do several years ago, put away and am now bringing it back. I'm excited about all of these pieces because they not only show off my vocal skills, but offer great chracters and drama to play making the audition process just a little bit easier.
Peace,
Eric
With a lot of thought about roles I want to sing and what I want people to know about my voice, I've selected five arias that FINALLY feel perfect. (Of course, that is when I am in great voice!)
As audition season swiftly approaches I am excited to debut my list of arias which include two of my "oldies, but goodies", two new arias and one that I used to do several years ago, put away and am now bringing it back. I'm excited about all of these pieces because they not only show off my vocal skills, but offer great chracters and drama to play making the audition process just a little bit easier.
Peace,
Eric
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