As an opera singer, you spend the majority of your time singing music from composers of the 18th, 19th and early 20th century. The wealth of roles and composers is extensive and one has to do quite a bit of homework in order to not only understand the pieces musically, but also dramatically and what was actually happening historically in order to understand the composer's intentions. There are vocal coaches and singers who serve as an invaluable resource in helping a singer navigate the terrain of what the composer and librettist intended. Coupled with the singer's intentions and the guidance of the stage director, a singer hopefully creates a fully dimensional character.
At the present, I am singing the world premiere reading of an opera called The Mark of Cain by composer Matthew Harris and librettist Terry Quinn. Because the piece is brand spanking new, it is a luxury to have the composer and the librettist there at the rehearsals offering insight, correcting pitches we might be approximating (some of the intervals-distances from pitch to pitch-are very tricky), and clarifying why a certain passage was set a certain way whether musically or dramatically. It has helped me in creating a character, finding vocal colors and gaining a better understanding of what the composer and librettist had in their ear when they were writing and composing. It's actually very exciting! Imagine being able to tell Verdi and Piave or Mozart and DaPonte that you really love this particular passage or have them give you notes on text and music or, even better, have them tell you that you are fantastic!
One of the other interesting things about working on a 21st century opera is gaining insight into the composer's musical language. The overall piece is filled with some difficult tonality, but is incredibly tonal. It has a wide range (at least my role does) and yet it is highly singable. The librettist's text offers some beautiful moments of operatic language while at the same time is highly fresh and current. I had an opportunity to speak to both of them about their process and was fascinated to know that the composer started with the middle of the opera and worked his way out while the librettist and the composer worked separately and connected via email. This reminded me of the letters betweeen Verdi and Piave and while there has been many years since we've communicated via letters, the practice of working apart is still in practice.
I've worked on two new operas in the past, but this experience is the most special. I think my knowledge as a singer and an actor has allowed me to enjoy the process a lot more. I also think the fact that I am the lead and that the text, music and character seem to fit my voice well makes me want to champion this new opera and hopefully have the chance to sing it again!
Peace,
Eric
Sunday, March 25, 2012
Sunday, March 4, 2012
What exactly do you do?
Inspired by the rash of posts that aim to explain various professions from the eyes of various parts of society, I decided to clarify what it is that I ACTUALLY do. Even some of my dearest friends think I just wake up, jet off to an exotic locale,sing a few phrases and collect a check. Sometimes this does happen, but it's very rare. The majority of my time is NOT spent in the act of singing, but trying to get singing work. And when there is work, the majority of my time is spent in preparation and finally, there is the work itself which usually lasts about three weeks (sometimes longer if you are lucky.) For those who wonder "what is it that you do all day?" This blog post is for you.
There are four types of days when one is an opera singer: performance day, rehearsal day, audition day and for many, the most common of days: the hustle, practice, email, market, workout, memorize, update, research and work day.
I'll start with Performance Day:
This is the day that I love the most. It's special for two reasons: 1) You get to perform and 2) You get paid to perform--two of my favorite things. I was fortunate to have a very busy fall seasom and am looking forward to a busy spring and summer and it is those performance days that keep you plugging along even in the face of rejection, a bad singing day, expenses such as voice lessons, coachings, travel and photos and resumes and that nagging voice that tells you, you should be MORE successful. Performance days take a lot out of me so I like to rest as much as possible, reamin silent and sometimes eat just enough to get through the show, but no more than that. Sometimes you have to interact with colleagues, possibly sign a poster or meet with VIPs pre-performance, but mostly you just relax, go to the theater, get into make-up and costume, warm-up and go. I will often study the score the day of the show as it makes me feel "settled." Perhaps it's more a way to remain focused without exuding too much energy. It's funny, but I really like being alone with the score (my lover at that time) and immersing myself. Finally once I get to the theater I can feel the energy of the performance and if the elements allign, then the show can be magical!
Rehearsal day:
The company meets and you sing through the show with the other cast members with the conductor and stage the show with the director. One of the big differences between the opera world and the musical theatre and theatre worlds is that you show up with the role completely memorized and already with a strong point of view of your character. While there is a chance to work with the conductor and director to shape these things, the singer must already have it very well engrained and what I like to call "in the body." What I love most about rehearsal is finding the chemistry with my colleagues. Sometimes it's like finding a long-lost friend, other times, it develops slowly into something really warm and easy and sometimes you just go in and do your job and do your best to create the illusion that the singer you must be in love with will keep their "crazy" bottled up enough to get through the day. It can be a crap shoot, but it's never dull!
Audition day:
This is the day when you go before the firing squad also known as the audition panel. In truth, many singers HATE auditioning. I have grown to like it, but some days you are amazing and other days you walk out wondering whose voice that was coming out of your body. A lot of my non-singing friends think this must be the easiest thing in the world, but unlike shows like American Idol and the Voice, the judges don't offer feedback (sometimes they will, but it is rare) and if you are singing for mainstage, you may have to wait days, weeks, months (or even years) before you hear anything!
Opera auditions are a lot like taking an oral Nationalized Standard Test. You have to show a high level of vocal beauty, power, nuance and drama. On top of that you must show that you not only can pronounce the text well (sometimes for native speakers) but also that you understand not only the literal meaning of the text, but also the subtext. Finally you must show that you understand the context in which your aria is happening through action and movement. A servant role from a Mozart opera will move and react differently than a noble character from a Verdi opera. The preparation that goes into an audition is usually many long hours of memorizing, practicing, researching and mental focus all for five to ten minutes of an audition. It's a crazy process, but without the audition, one can't get work.
The hustle, practice, email, market, workout, memorize, update, research and work day:
This day may begin at 8am with reading emails, responding to emails and writing emails. The emails are all about past work (thank you's), current work (clarification of rehearsal notes etc...) and future work (auditions, travel arrangements, cuts to the score etc...) Then there is the part of the day that I call the "hustle." This is all about getting work for the future. This includes researching auditions, getting auditions and following up after auditions. This takes up a good deal of time, but is neccessary! Then I might move to the marketing portion of my day-this involves emailing places where you've worked to let them know what you are doing now, contacting people who could hire you in an area where you will be working to come hear a performance or sending info to the press to cover a recital you are given. (Note: You and your agent will work on this together and the higher you are on the operatic rung, the less you have to do yourself.) Next we go to the workout. Opera Singers are now being shown in HD and the expectation is that you are an amazing singer, fabulous actor and look like someone who one would want to, as Eddie Murphy said in "Coming to America": "put on a plate and sop up with a biscuit." Men in opera may have to go shirtless and if you are a great singing actor and you're very good-looking and in shape, you will move up to the front of the pack. After the workout, one goes into practice mode (which sometimes comes before the workout depending on the day). This is where you not only practice the music for the upcoming opera, but work on technical things you and your teacher want to improve. This may also include a voice lesson or a vocal coaching where you work on technique, dramatic interpretation and language. This can take any where from an hour to several hours. The final part is memorization. It takes a long time to learn the text, notes, stories, characters, historical context and nuances of an opera. Most singers are cast six months to several years ahead so as to give the singer enough time to learn all of these things.
The final thing is that a singer must work (unless they are singing constantly at the world's greatest opera houses) to maintain the expenses of this career (lessons, coachings, travel etc...) By the time one does all of this, it's usually six pm or later and another day comes to an end. This takes incredible DISCIPLINE and some days you don't feel like doing it, but this business is too competitive to "not feel like it."
I have been very fortunate that I am able to do this as my career. I am also very fortunate that I have a wonderful support system of family, friends and colleagues and that I absolutely LOVE what I am doing.
What they don't tell you in school is that not everyone has an easy time of this career, but if you love it beyond belief, are disciplined, willing to deal with rejection and the uncertainty of the business, then you just might make it. While it's always good to remember the immortal words of DJay from the movie "Hustle and Flow" It's hard out there for a pimp, it's more important to follow the advice of recent Screen Actors Guild winner for Best Actress, Viola Davis "Dream Big. Dream Fierce."
Peace,
Eric
Wednesday, February 1, 2012
Dream Big, Dream Fierce
My last post was filled with questioning. After a difficult audition season where I was always the "bridesmaid, but never the bride" I found myself doubting if this is what I'm meant to do. It's no great revelation that the life of a performing artist is akin to riding an unknown rollercoaster. The phrase going with the flow is a neccesary thing as one tries to navigate through auditions, lessons, coachings, finances and self-worth. When the work is plenty, the outlook is good. When you hear "no", you find yourself wondering if you are good enough.
I happened to find myself watching the SAG awards last weekend and Viola Davis, perhaps one of the greatest actors of our time, won Best Actress in a Leading role. Her speech, as all of her speeches tend to be, was filled with hope, gratitude, acknowledgment and class. She reminded the students where she grew up to "dream big, dream fierce." Something in me clicked and I remembered that nothing is permanent including feeling low. I reminded myself that for the last two years I have had an amazing run with opportunities that most singers would kill for. I also reminded myself that I had only returned to the buisness two years ago and that what I was hearing wasn't "no, you're not good enough", but "maybe not this role, but we like what you are doing and want to hear you again for other things."
Once I understood this, I realized that I was judging myself far more harshly than any of those who could have hired me. I wasn't looking at the situation fully and was just dealing with the rejection that does indeed suck. Just as I came to this realization a few offers from companies I had auditioned for came to me. It was as if the Universe, God, Good Orderly Direction was saying :Now that you've moped and learned your lesson, you can move forward.
In the last few years I have seen some of my friends achieve amazing success. Some are singing and covering at the MET, some have been cast on new TV shows, winning Emmys for original works or debuting on Broadway. Some are making important debuts with opera companies or winning major competitions. I am surrounded by incredible talent and the fact that I get to sometimes work with these people is a testament that I am in that bubble of possibilty where one audition or one performance could propel my career forward.
My dream is to be a working opera singer where I get to work with fantastic colleagues, sing glorious music and enjoy the life of a musician. I am doing that. I am making my living as a singer and sometimes it's tough (like any job) and sometimes it's one of the greatest joys in my life. It took Viola Davis to remind me that in order to do what I do I must always remember to "Dream Big. Dream Fierce."
Peace,
Eric McKeever
I happened to find myself watching the SAG awards last weekend and Viola Davis, perhaps one of the greatest actors of our time, won Best Actress in a Leading role. Her speech, as all of her speeches tend to be, was filled with hope, gratitude, acknowledgment and class. She reminded the students where she grew up to "dream big, dream fierce." Something in me clicked and I remembered that nothing is permanent including feeling low. I reminded myself that for the last two years I have had an amazing run with opportunities that most singers would kill for. I also reminded myself that I had only returned to the buisness two years ago and that what I was hearing wasn't "no, you're not good enough", but "maybe not this role, but we like what you are doing and want to hear you again for other things."
Once I understood this, I realized that I was judging myself far more harshly than any of those who could have hired me. I wasn't looking at the situation fully and was just dealing with the rejection that does indeed suck. Just as I came to this realization a few offers from companies I had auditioned for came to me. It was as if the Universe, God, Good Orderly Direction was saying :Now that you've moped and learned your lesson, you can move forward.
In the last few years I have seen some of my friends achieve amazing success. Some are singing and covering at the MET, some have been cast on new TV shows, winning Emmys for original works or debuting on Broadway. Some are making important debuts with opera companies or winning major competitions. I am surrounded by incredible talent and the fact that I get to sometimes work with these people is a testament that I am in that bubble of possibilty where one audition or one performance could propel my career forward.
My dream is to be a working opera singer where I get to work with fantastic colleagues, sing glorious music and enjoy the life of a musician. I am doing that. I am making my living as a singer and sometimes it's tough (like any job) and sometimes it's one of the greatest joys in my life. It took Viola Davis to remind me that in order to do what I do I must always remember to "Dream Big. Dream Fierce."
Peace,
Eric McKeever
Wednesday, January 25, 2012
To be or not to be...
The last two months have been rather tough. After what turned out to be a rather odd audition season, I find myself back in the place of questioning whether or not I want to continue on this path. My auditions have gone very well and people seemed incredibly impressed and yet I still seem to be passed over for things. I have had many quiet moments thinking, writing and reasoning trying to figure out why I am not where I want to be. The holidays were filled with a bit of melancholy as many things have come back as a "no" and some things changed because of a new direction for the production. Hopes were dashed and dreams deferred, so why continue when I could go back into arts administraiton and at least have some sense of consistency?
For some people they go the traditional path of undergrad, grad school, major YAP, agent and then work. Sometimes these things overlap especially if someone is particularly good. My path as a singer has had its shares of ups and downs. While still in grad school, I was cast as a cover for the world premiere of an opera at the Lyric Opera of Chicago. It was an amazing experience! After that I was hired back two more times to sing with the Lyric Opera's Opera in the Neighborhoods program singing alongside alumni of the Lyric Opera Center. Again, I felt like I was working with some great talent and really learning a lot. Then things became tough and after doing nearly every regional opera company YAP in the midwest, I got stuck and then injured and had to stop and recover. Barely back to full health, I went off to do another YAP and had a rollercoaster of a ride filled with excitment (making my mainstage debut for an indesposed colleague) to feeling like nothing (singing for a room full of drunk people who didn't care.) I was tired, confused, lonely and hurting so I decided I needed to reassess.
After 6 years of being away from singing, I jumped back into this wacky business after getting a role in the National Tour of Porgy and Bess. I was rejuvenated and excited about singing again. I had retapped my artistic self and it felt very good, but now two years later, I feel tired, lost and confused again. I feel like I have all the goods and have been told as much, but something is keeping me from getting jobs and I also feel like I could be doing something else that would serve people and myself in a better way. I have always believed that others should not influence how we feel about ourselves and we are constantly told to follow our dreams. I have to decided if I am going to continue this or if I need to find another dream to pursue because of all the things I have tried in my life, this, being an opera singer, has always been the most dfficult.
I don't know where I will be in 6 months, but I sense that I need for something MAJOR to happen. I believe in my talent and I know there are others that do as well. What I don't believe in is the life. Perhaps I am not cut out for it. I have missed and given up so much by being away and yet being away is the only way to get work so...
I simply am in the process of questioning if this is where I am best suited. I love opera so much and I love performing and learning and growing. Perhaps in a few days something will come through and perhaps I will come to the conclusion that I don't have to do this as a career, but I will continue to write about my journey "back in the game" as I think it gives a lot of insight into the mind of someone who wants it and goes for it and the joys, fears, rewards and doubts that come with it.
Peace,
Eric
For some people they go the traditional path of undergrad, grad school, major YAP, agent and then work. Sometimes these things overlap especially if someone is particularly good. My path as a singer has had its shares of ups and downs. While still in grad school, I was cast as a cover for the world premiere of an opera at the Lyric Opera of Chicago. It was an amazing experience! After that I was hired back two more times to sing with the Lyric Opera's Opera in the Neighborhoods program singing alongside alumni of the Lyric Opera Center. Again, I felt like I was working with some great talent and really learning a lot. Then things became tough and after doing nearly every regional opera company YAP in the midwest, I got stuck and then injured and had to stop and recover. Barely back to full health, I went off to do another YAP and had a rollercoaster of a ride filled with excitment (making my mainstage debut for an indesposed colleague) to feeling like nothing (singing for a room full of drunk people who didn't care.) I was tired, confused, lonely and hurting so I decided I needed to reassess.
After 6 years of being away from singing, I jumped back into this wacky business after getting a role in the National Tour of Porgy and Bess. I was rejuvenated and excited about singing again. I had retapped my artistic self and it felt very good, but now two years later, I feel tired, lost and confused again. I feel like I have all the goods and have been told as much, but something is keeping me from getting jobs and I also feel like I could be doing something else that would serve people and myself in a better way. I have always believed that others should not influence how we feel about ourselves and we are constantly told to follow our dreams. I have to decided if I am going to continue this or if I need to find another dream to pursue because of all the things I have tried in my life, this, being an opera singer, has always been the most dfficult.
I don't know where I will be in 6 months, but I sense that I need for something MAJOR to happen. I believe in my talent and I know there are others that do as well. What I don't believe in is the life. Perhaps I am not cut out for it. I have missed and given up so much by being away and yet being away is the only way to get work so...
I simply am in the process of questioning if this is where I am best suited. I love opera so much and I love performing and learning and growing. Perhaps in a few days something will come through and perhaps I will come to the conclusion that I don't have to do this as a career, but I will continue to write about my journey "back in the game" as I think it gives a lot of insight into the mind of someone who wants it and goes for it and the joys, fears, rewards and doubts that come with it.
Peace,
Eric
Friday, December 16, 2011
Schaunard Redux-How will I do it this time?
One of the great joys of learning and performing a role is that more than likely you will get to do it again. I am experencing the joy of singing Schaunard in excerpts of La boheme with St. Petersburg Opera as part of the holiday concert called Seasonal Sparkle (great name, right?) The other joy is taking what you have learned from your coachings and lessons and previous productions and bringing that to the table. What's always interesting to me is that often a singer will have to "make adjustments" to what they have done in the past in order to perfomer in the present. An example of this is that last conductor wanted the character of Schaunard to bring a lightness to his talky text, while the conductor I am currently working with is much more into a broader vocal line so as the singer I have to jump to the now and sing it the way they are asking. This does two things: 1) It gives the conductor faith in your ability to be led and 2) it shows that your technique is flexible enough to make the change and quickly. One of the worst things a singer can do is to say the dreaded "I can only do it this way" line which can make one come off not only as a diva/divo, but as someone who doesn't show trust in the conductor's wishes. Now, I'm not saying that you have to give in if something is clearly not working for you, but the push-pull that is so necessary in music is also necessary in the conductor-singer dynamic. It's really about creating trust on both sides and if the singer puts up a wall, then the conductor thinks to themselves, well this singer may be good, but they are missing out on the opportunity to be great.
Something else that changes how one sings a role they've done before is their colleagues. A different Colline certainly affects the way I sing Schuanard. A different point of view from the director will color how I approach the entire character that up til now, I thought I had figured out. It makes it fun to create that push-pull with another set of singing actors who bring their own energies, colors and thoughts to the table. Performing a familiar role with new people actually can keep the freshness of the character and helps to bring out new colors.
The final joy of doing a role again is that you can "play" a lot more. Often we get so caught up in our performance that we forget that we are onstage with other people. Each person brings their strengths and weaknesses to the stage and part of the joy of rehearsal (and sometimes performance) is going with the flow and working with what you are given. It can be really great to share some insight you might have about your character with someone who is singing their role for the first time. This spark of information may lead to that light bulb moment and the next thing you know, you and that actor have a "bit" that only you two know about, but that makes a particular moment special onstage.
As I prepare for the performance, I look forward to what my current boheme colleagues bring to the stage and what special moments we can create to keep not only Schaunard fresh, but this timeless work which seems as relevant today as it did when it premiered.
Peace,
Eric
Something else that changes how one sings a role they've done before is their colleagues. A different Colline certainly affects the way I sing Schuanard. A different point of view from the director will color how I approach the entire character that up til now, I thought I had figured out. It makes it fun to create that push-pull with another set of singing actors who bring their own energies, colors and thoughts to the table. Performing a familiar role with new people actually can keep the freshness of the character and helps to bring out new colors.
The final joy of doing a role again is that you can "play" a lot more. Often we get so caught up in our performance that we forget that we are onstage with other people. Each person brings their strengths and weaknesses to the stage and part of the joy of rehearsal (and sometimes performance) is going with the flow and working with what you are given. It can be really great to share some insight you might have about your character with someone who is singing their role for the first time. This spark of information may lead to that light bulb moment and the next thing you know, you and that actor have a "bit" that only you two know about, but that makes a particular moment special onstage.
As I prepare for the performance, I look forward to what my current boheme colleagues bring to the stage and what special moments we can create to keep not only Schaunard fresh, but this timeless work which seems as relevant today as it did when it premiered.
Peace,
Eric
Saturday, December 3, 2011
And one of them is black
I’m currently in rehearsals for a January production of “Amahl and the Night Visitors.” Believe it or not, this is my first time singing this beautiful work by Gian Carlo Menotti. Written for the NBC Opera, it premiered on Christmas Eve, 1951. The opera tells the story of Amahl, a small cripple boy and his Mother and the night they are visited by the Three Wise Men (Kings) following the Star. I am making my debut in the role of Balthazar, the black king.
One of the best lines in the show is when Amahl is responding to the knocks on the door and each time, as he opens the door wider and wider, he sees that there are three Kings in total. He alerts his Mother and on the third time informs her that there are indeed three Kings and one of them is black. It’s one a handful of humorous moments in the opera that still ring true today almost 60 years later.
As a black man in opera I am usually the only person of color in the room (unless it’s a production of Porgy and Bess in which case you can’t swing a cooked ham hock without knocking over another baritone singing “I got plenty o’ nuttin’.) I have come to terms with being “the black” in the show and feel pretty cool about it all. (Note that back in the day, I used to think that no would ever hire me because I was black…and short, but then Lawrence Brownlee came along and ruined that excuse I was content to make. Thanks a lot, Larry!) I realized that if I was really great, I mean really great, I just might convince that Artistic Director to hire me. And I can say that so far that has worked. I have sung everything from Mozart to Gilbert and Sullivan to musical theatre and in most cases, my skin color was not an issue.
However there are two (funny?) stories where my race was an issue. Story number one involves working in a production of The Secret Garden where I was not only expected to sing and act the role of Major Holmes, but I also had to learn sign language because the production featured deaf actors. I was also cast to be the “voice” for the deaf actor who played Ben. Probably the most challenging component of this piece, outside of throwing opera and musical theatre people together with deaf actors, was coordinating the acting of the deaf actor playing Ben and me voicing the role (dialogue and singing.) After a particularly tense rehearsal where the Ben actor and I were not lining up with his sign language and my singing, the director asked the actor (using a sign language interpreter) if he could see me. He signed something and the sign language interpreter went beet red. When I asked her what he said. She turned me and responded “Too black.” I wasn’t sure whether to laugh hysterically or cry hysterically, but I do know that I felt some form of hysteria coming on, but I wasn’t sure which. Needless to say that I was pissed at him for days and decided not to speak to him, but then I realized…Anyway after the production ended I found out that it had never really been an issue for him. Most people who use sign language are not trying to create a poetic interpretation of what they mean. They just say it!
Story number two involves performing as a Young Artist with (unnamed) opera company at a major function where the crowd was drunk and not listening and I was irritated because we (me and the other Young Artists) were running late in getting to the event. After singing my first aria to a crowd of people who were clearly more interested in hearing what the bartender had to offer, I left the large conference room and waited in the hall. One of the drunken audience members was clearly looking for someone or something so I was not surprised when he came up to me. What DID surprise me was when he attempted to place a drink order. Before he could complete his order I said, in my most authoritative and irritated voice, “I don’t work here!” I then turned in an operatic huff and walked back into the room to finish my part in what was probably one my least favorite performing experiences. After the event ended, my colleague who is now a dear friend, found it very funny not only that the guy had tried to order a drink from me, but also how dramatic my response to him had been. After a few hours of sulking, I had to admit that the situation did have a humorous spin to it and I could indeed laugh.
I relay these stories not to say that being black in opera is any harder than being too short, too tall, too heavy, too skinny, too this or too that. When we signed up for the life of an opera singer, we knew that there would be challenges and that some people would have no desire to hire us based on our voice, our height or the fact that the tie we are wearing has the same color as the eyes of the person that dumped them in tenth grade. We work in the entertainment field and people hire who they believe will do the best job. Sometimes they want that 6 foot 4 baritone who looks like George Clooney, but the good news, and it is good news, is that sometimes they want the 5’8” bald African American baritone who sings Rossini. Good thing I’m out there and can do it!
Peace,
Eric
One of the best lines in the show is when Amahl is responding to the knocks on the door and each time, as he opens the door wider and wider, he sees that there are three Kings in total. He alerts his Mother and on the third time informs her that there are indeed three Kings and one of them is black. It’s one a handful of humorous moments in the opera that still ring true today almost 60 years later.
As a black man in opera I am usually the only person of color in the room (unless it’s a production of Porgy and Bess in which case you can’t swing a cooked ham hock without knocking over another baritone singing “I got plenty o’ nuttin’.) I have come to terms with being “the black” in the show and feel pretty cool about it all. (Note that back in the day, I used to think that no would ever hire me because I was black…and short, but then Lawrence Brownlee came along and ruined that excuse I was content to make. Thanks a lot, Larry!) I realized that if I was really great, I mean really great, I just might convince that Artistic Director to hire me. And I can say that so far that has worked. I have sung everything from Mozart to Gilbert and Sullivan to musical theatre and in most cases, my skin color was not an issue.
However there are two (funny?) stories where my race was an issue. Story number one involves working in a production of The Secret Garden where I was not only expected to sing and act the role of Major Holmes, but I also had to learn sign language because the production featured deaf actors. I was also cast to be the “voice” for the deaf actor who played Ben. Probably the most challenging component of this piece, outside of throwing opera and musical theatre people together with deaf actors, was coordinating the acting of the deaf actor playing Ben and me voicing the role (dialogue and singing.) After a particularly tense rehearsal where the Ben actor and I were not lining up with his sign language and my singing, the director asked the actor (using a sign language interpreter) if he could see me. He signed something and the sign language interpreter went beet red. When I asked her what he said. She turned me and responded “Too black.” I wasn’t sure whether to laugh hysterically or cry hysterically, but I do know that I felt some form of hysteria coming on, but I wasn’t sure which. Needless to say that I was pissed at him for days and decided not to speak to him, but then I realized…Anyway after the production ended I found out that it had never really been an issue for him. Most people who use sign language are not trying to create a poetic interpretation of what they mean. They just say it!
Story number two involves performing as a Young Artist with (unnamed) opera company at a major function where the crowd was drunk and not listening and I was irritated because we (me and the other Young Artists) were running late in getting to the event. After singing my first aria to a crowd of people who were clearly more interested in hearing what the bartender had to offer, I left the large conference room and waited in the hall. One of the drunken audience members was clearly looking for someone or something so I was not surprised when he came up to me. What DID surprise me was when he attempted to place a drink order. Before he could complete his order I said, in my most authoritative and irritated voice, “I don’t work here!” I then turned in an operatic huff and walked back into the room to finish my part in what was probably one my least favorite performing experiences. After the event ended, my colleague who is now a dear friend, found it very funny not only that the guy had tried to order a drink from me, but also how dramatic my response to him had been. After a few hours of sulking, I had to admit that the situation did have a humorous spin to it and I could indeed laugh.
I relay these stories not to say that being black in opera is any harder than being too short, too tall, too heavy, too skinny, too this or too that. When we signed up for the life of an opera singer, we knew that there would be challenges and that some people would have no desire to hire us based on our voice, our height or the fact that the tie we are wearing has the same color as the eyes of the person that dumped them in tenth grade. We work in the entertainment field and people hire who they believe will do the best job. Sometimes they want that 6 foot 4 baritone who looks like George Clooney, but the good news, and it is good news, is that sometimes they want the 5’8” bald African American baritone who sings Rossini. Good thing I’m out there and can do it!
Peace,
Eric
Saturday, November 19, 2011
A few tips to remember during audition season
Audition season is in full swing and I want to remind myself to stay fresh during the process. It’s very easy to get down about the idea of singing for a room of people who don’t know you and knowing that they hold your fate in their hands. But I aim to remind myself that I LOVE singing and more than that, I LOVE performing. I am willing to do what it takes to be successful at what I do and since the audition process is a large part of being a singer, I better find a way to LOVE it!
So I am posting a few things to keep in mind that will help every singer who sits there and waits for their name to be called in the hopes of dazzling the panel in the allotted five to ten minutes in order to get work.
1)Be as prepared as possible. One of the major factors that separate the working singer from the pack is their preparation. And it goes beyond just musicality. Obviously the singing should be en pointe, but the drama and better yet, the understanding of the drama are essential. A singer has to have the music in their body and should possess a complete understanding of the character and where they are in the story. This will get your headshot and resume to head of the pack (and possibly get you hired or at least the chance to sing for the company in the future.) Remember, every character on stage wants something and one of the most interesting components of opera is that it tends to be good people making bad choices.
2)The next thing is to be your “on” self. The people behind the table want to hire folks that perform the role incredibly well, who can charm donors, has a gregarious personality and is EASY to work with over the course of rehearsals and performances. Since we all work in the world of make believe, sometimes we have to make believe that we want to make small talk with the donor who compares our performance to that of a legend or the novice opera-goer who says that Phantom of the Opera is their favorite opera. We must remember that our public “self” needs to be a little heightened in the audition room in order to make ourselves memorable. These administrators hear hundreds of singers and tend to remember those who make the best overall impression.
3)Dress for success. Often we hear about the female fashion faux pas at auditions, but men remember that a well-cut suit, tailored, if necessary, can create the image we have worked so hard to project during our singing. And know that if your suit is great and your shoes look like something a farmer wore while harvesting wheat, they will focus on them and not your gorgeous voice.
4)Treat everyone at the audition as if they could hire you, because sometimes that monitor sitting outside the room might have a say in whether or not you get the job. Also treat all the other people at the audition like they could hire you, because you never know whom they might know or if they have an “in” with that company.
5)Have your music double-sided copied in a folder, clearly marked and easy to navigate. Cross out anything you don’t want the accompanist to play. Mark cuts VERY clearly and if there is something tricky in your score, alert your accompanist so that you two are on the same page.
6)Speaking of the accompanist, if the company doesn’t provide one, hire a great accompanist that you trust and that trusts you. This is integral in making your audition its best. Your accompanist should know where you breathe, when you need time to slow down or need to go faster and should contribute to your musical experience. If you don’t know someone, ask the company you are singing for or others in the business for recommendations.
7)Assess and release. Once you are in the room, just sing. If you are prepared, well warmed up and feeling good, muscle memory should take over. (The hard work comes with the hours of practice to get it to sound its best.) Never assess your singing while it is going on. It takes you out of the moment and you can’t fix something that has gone by. This is not to say forget about technique, but remember that what you do in the present is what can alter what has happened in the past in order to change your future. And when that audition is done, release it. (OK, that’s hard one, but it will keep you sane.) If you’ve recorded your audition, give yourself some space before you listen so that you can assess it in an honest way. Immediately after an audition we are still emotionally connected and it can be hard to hear ourselves objectively. After you listen and decide what you’d like fix, work to change what you didn’t like as opposed to fixating on the fact that something wasn’t “right.”
8)Finally and most important: The more auditions you do, the better chance you have at being hired. This is a numbers game and you increase your chances of getting work if you sing for as many people as possible and in my humble opinion, if you’ve auditioned for someone and been hired, BE WILLING TO SING FOR THEM AGAIN. People often hear you at one point and put you in a box. If you are singing new rep and haven’t sung for a company in a while, it’s important to have them hear you again so that they have an updated opinion of your talent.
Many singers dislike the audition process. It can be exhausting, expensive and feel futile. But what if we looked at it as an opportunity to attend a cool party where we get to be charming, talented, sexy, well dressed and the center of attention for at least five minutes? Perhaps it would take away some of the “pressure” and would allow the audition experience to actually be fun.
Peace,
Eric
So I am posting a few things to keep in mind that will help every singer who sits there and waits for their name to be called in the hopes of dazzling the panel in the allotted five to ten minutes in order to get work.
1)Be as prepared as possible. One of the major factors that separate the working singer from the pack is their preparation. And it goes beyond just musicality. Obviously the singing should be en pointe, but the drama and better yet, the understanding of the drama are essential. A singer has to have the music in their body and should possess a complete understanding of the character and where they are in the story. This will get your headshot and resume to head of the pack (and possibly get you hired or at least the chance to sing for the company in the future.) Remember, every character on stage wants something and one of the most interesting components of opera is that it tends to be good people making bad choices.
2)The next thing is to be your “on” self. The people behind the table want to hire folks that perform the role incredibly well, who can charm donors, has a gregarious personality and is EASY to work with over the course of rehearsals and performances. Since we all work in the world of make believe, sometimes we have to make believe that we want to make small talk with the donor who compares our performance to that of a legend or the novice opera-goer who says that Phantom of the Opera is their favorite opera. We must remember that our public “self” needs to be a little heightened in the audition room in order to make ourselves memorable. These administrators hear hundreds of singers and tend to remember those who make the best overall impression.
3)Dress for success. Often we hear about the female fashion faux pas at auditions, but men remember that a well-cut suit, tailored, if necessary, can create the image we have worked so hard to project during our singing. And know that if your suit is great and your shoes look like something a farmer wore while harvesting wheat, they will focus on them and not your gorgeous voice.
4)Treat everyone at the audition as if they could hire you, because sometimes that monitor sitting outside the room might have a say in whether or not you get the job. Also treat all the other people at the audition like they could hire you, because you never know whom they might know or if they have an “in” with that company.
5)Have your music double-sided copied in a folder, clearly marked and easy to navigate. Cross out anything you don’t want the accompanist to play. Mark cuts VERY clearly and if there is something tricky in your score, alert your accompanist so that you two are on the same page.
6)Speaking of the accompanist, if the company doesn’t provide one, hire a great accompanist that you trust and that trusts you. This is integral in making your audition its best. Your accompanist should know where you breathe, when you need time to slow down or need to go faster and should contribute to your musical experience. If you don’t know someone, ask the company you are singing for or others in the business for recommendations.
7)Assess and release. Once you are in the room, just sing. If you are prepared, well warmed up and feeling good, muscle memory should take over. (The hard work comes with the hours of practice to get it to sound its best.) Never assess your singing while it is going on. It takes you out of the moment and you can’t fix something that has gone by. This is not to say forget about technique, but remember that what you do in the present is what can alter what has happened in the past in order to change your future. And when that audition is done, release it. (OK, that’s hard one, but it will keep you sane.) If you’ve recorded your audition, give yourself some space before you listen so that you can assess it in an honest way. Immediately after an audition we are still emotionally connected and it can be hard to hear ourselves objectively. After you listen and decide what you’d like fix, work to change what you didn’t like as opposed to fixating on the fact that something wasn’t “right.”
8)Finally and most important: The more auditions you do, the better chance you have at being hired. This is a numbers game and you increase your chances of getting work if you sing for as many people as possible and in my humble opinion, if you’ve auditioned for someone and been hired, BE WILLING TO SING FOR THEM AGAIN. People often hear you at one point and put you in a box. If you are singing new rep and haven’t sung for a company in a while, it’s important to have them hear you again so that they have an updated opinion of your talent.
Many singers dislike the audition process. It can be exhausting, expensive and feel futile. But what if we looked at it as an opportunity to attend a cool party where we get to be charming, talented, sexy, well dressed and the center of attention for at least five minutes? Perhaps it would take away some of the “pressure” and would allow the audition experience to actually be fun.
Peace,
Eric
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