I am in the midst of rehearsals for a wonderful production of The Barber of Seville with the North Shore Music Festival in Port Washington, NY (about 30 minutes outside of the city). The company is fairly new and was started by baritone and Executive Director Daniel Klein who wanted to create an opera company that offers opportunities to up-and-coming singers, fulfilled a need for professional classical music on the North Shore of Long Island and could collaborate with local agencies to present a host of events. After a particularly active rehearsal a group of us went out for drinks to decompress (oddly the way it seems that singers decompress is to talk about singing!) Of course the topic of opera companies struggling came up and one of my colleagues talked about how singers need to reclaim our artform in order for it to survive.
Many of my friends are exceptionally talented singers who have reinvented themselves and not only rely on the “opera world” to give them performing opportunities. The funny thing is that the more control the artists seem to take of their own careers, the more it seems that opera companies take them seriously. Two friends of mine, soprano Adrienne Danrich and baritone Adelmo Guidarelli have found a way to stay connected to their operatic roots by creating shows that not only showcase their talents as artists, but as creatives. By writing, producing and/or starring in their own shows, they have given themselves a way to find their niche in the crowded opera world while also finding a way to generate interest (and income) in opera in a new and fresh way.
Both artists have created shows that reflect their personal interests and tastes. Adrienne’s shows This Little Light of Mine: The Stories of Marian Anderson and Leontyne Price and An Evening in the Harlem Renaissance are inventive one-woman shows that highlight history and serve as musical tributes to two great operatic legends as well as the writers and performers of the Harlem Renaissance that forged the way for many African American artists today. Using a combination of live performance, power point, recordings and some original music, she has created a genre called a “living documentary.” Both shows have been successful and it seems that by focusing on doing what she loves, Adrienne has found a way to interest opera companies in not only her talent, but her intellect.
On the opposite performance spectrum is baritone Adelmo Guidarelli’s Operation Opera. The show is an edgy, hilarious and fast-paced glimpse into the world of opera. Aiming to entertain and educate, the program has been a hit with school-age children, families, adults as well as opera lovers and those new to opera. Performances have been seen at the Edinburgh Festival in the UK, Symphony Space in NYC, Off-Broadway and part of Ryan Seacrest’s reality show “Bank of Hollywood.” Playing with the traditional and the unexpected, Operation Opera is a fun way to introduce people to opera while also giving those who know opera a chance to laugh at it though Adlemo’s wit and talent.
There are multiple artists performing their own shows throughout the country ranging from recitals with a twist, cabarets, educational programs and full-scale productions. As larger companies continue to go through economic upheaval and have to restructure, many artists are seeing this as an opportunity to create, reinvent and bring opera back to an intimate scale where the performer is the focus and the audience gets to be up-close and personal with the singer. For every story we read about opera companies diminishing, there should be stories about opera companies (small-scale for the moment) popping up looking to fill the gap left behind. By creating our own works, we thus ensure our artform, the one we have invested so much time and energy into, will continue to evolve and thrive. Go forth and create!
Peace,
Eric
Tuesday, July 10, 2012
Wednesday, June 20, 2012
A critical look at criticism
Opera Singers are two people in one. The first is the bold, passionate artist who loves to makes glorious sounds, command the stage and make it seem like they were born to entertain. The other is the fragile soul that in many ways needs self-approval as well as that of the audience and yes, even the critics in order to feel accomplished. Many of us perform because we have that inner voice telling us that we must (sometimes it doesn’t shut up!) and because there is no greater, more amazing feeling than receiving accolades for the hours and hours of hard work that we have put into preparing for the performance.
For fans of shows like American Idol and X-Factor where contestants present themselves before a panel of judges and get instant feedback about how they excelled and where they need to improve, you’ll be happy to know that the opera world is very similar in the amount of critical response one receives. It begins with the voice lesson where it is the teacher’s sole job to fix, enhance and refine the technical side of what a singer must do (very much like an ice skater needs a basic set of skills in order to become competitive.) Then it is on to the vocal coach who works mainly with the language, musical style and interpretation. The singer must use their entire technical prowess to try and achieve what is being asked of them from the vocal coach. Basically it means taking that incredible sound and creating a fully dimensional character by correct use of language and attention to musical details. (And note: sometimes those musical details are like tiny mysteries hidden within the vastness of an opera score.)
Finally the singer is ready to stage the opera with the cast and director. The stage director and conductor will most likely have strong opinions about the music, the character and the overall shape of the role. As an artist, one must be open to all of the ideas of others, but also have a strong sense of what works best for them. (This is actually one of the trickiest parts of being a professional singer, as there has to be a trust built between the many people with whom you work so that you are able to try new things without throwing off the work of others.)
After all of the work has been done (or as I like to call it, the process); then comes the performance (or if you are lucky performances.) The audience and critics see the end result and make an assessment. The audience gives its approval through applause and shouts of “Bravo”, “Brava” or “Bravi” and the critics hopefully write a glowing review of your performance. But what happens when you have worked so hard on something and you get a bad review? How does one handle it? Should one even read reviews? And more importantly, if you believe the good ones, do you have to believe the bad ones as well?
To date I have had four bad reviews. (Isn’t it funny that I can’t remember the number of good reviews even though they significantly outnumber the four bad ones?) Each one hurt and I can say that after receiving the first one, I nearly quit singing (There is a running joke among my friends that I “quit” every six months, so take that last statement with a grain of salt.) What’s most difficult about bad reviews is that they feel so very personal. A great review feels like they are simply giving you a much-deserved great account of the hard work that you have put in over the last few months. It validates that you are indeed what you want to believe: a talented opera singer. But when you get a bad review it makes you feel like it is a personal attack on your whole being. (In most cases it is not, but it still feels that way.) What can make it even worse is that this critic has the power of an audience who reads their assessment of your work. With the Internet as it is, anyone with access to a computer can write and post a review that is seen by many.
I have come to peace with reviews (I say that today, but if I got a bad one tomorrow, I might threaten to “quit” again!) Opera singing is very subjective and not everyone will like what I have to say (or sing.) I think of operatic talent in the same way I think of different types of foods. There are certain foods that I simply do not like, but it doesn’t mean that the food item is “bad.” I simply don’t like the flavor and nothing anyone says or does will change that. (I’m talking about you, onions!) However onions play a very important role in many recipes and people of all walks of life like onions and will champion them. There are singers out there working today that are like onions for me, but I respect that they are getting work. The critical voice of the critics are based on their personal tastes that have been shaped and formed over many years and they will either love you or hate you (is there anything in between?) One must learn to accept this as a part of the business. If it makes you feel any better, even the big singers at the top of the field get bad reviews, and yet their careers are going ahead full-steam.
A singer must have a thick skin in order to endure all of the “feedback” received from teachers, coaches, directors, conductors, colleagues and critics. All of these voices have something to say about your work, but the one voice that is most necessary to always listen to, is the one inside that tells you that you are a fantastic artist and deserve to be doing exactly what you are doing. (Don’t and I repeat don’t listen to that other voice that tells you anything other than the best about yourself. That voice is destructive and only makes you want to quit. Keep your comments to yourself Negative Norman!)
The best advice I have ever received regarding criticism is that you must be open to it in order to improve, understand that it comes through the filter of the person giving it and know that opinions are like butt-holes, everyone has one.
Peace,
Eric
For fans of shows like American Idol and X-Factor where contestants present themselves before a panel of judges and get instant feedback about how they excelled and where they need to improve, you’ll be happy to know that the opera world is very similar in the amount of critical response one receives. It begins with the voice lesson where it is the teacher’s sole job to fix, enhance and refine the technical side of what a singer must do (very much like an ice skater needs a basic set of skills in order to become competitive.) Then it is on to the vocal coach who works mainly with the language, musical style and interpretation. The singer must use their entire technical prowess to try and achieve what is being asked of them from the vocal coach. Basically it means taking that incredible sound and creating a fully dimensional character by correct use of language and attention to musical details. (And note: sometimes those musical details are like tiny mysteries hidden within the vastness of an opera score.)
Finally the singer is ready to stage the opera with the cast and director. The stage director and conductor will most likely have strong opinions about the music, the character and the overall shape of the role. As an artist, one must be open to all of the ideas of others, but also have a strong sense of what works best for them. (This is actually one of the trickiest parts of being a professional singer, as there has to be a trust built between the many people with whom you work so that you are able to try new things without throwing off the work of others.)
After all of the work has been done (or as I like to call it, the process); then comes the performance (or if you are lucky performances.) The audience and critics see the end result and make an assessment. The audience gives its approval through applause and shouts of “Bravo”, “Brava” or “Bravi” and the critics hopefully write a glowing review of your performance. But what happens when you have worked so hard on something and you get a bad review? How does one handle it? Should one even read reviews? And more importantly, if you believe the good ones, do you have to believe the bad ones as well?
To date I have had four bad reviews. (Isn’t it funny that I can’t remember the number of good reviews even though they significantly outnumber the four bad ones?) Each one hurt and I can say that after receiving the first one, I nearly quit singing (There is a running joke among my friends that I “quit” every six months, so take that last statement with a grain of salt.) What’s most difficult about bad reviews is that they feel so very personal. A great review feels like they are simply giving you a much-deserved great account of the hard work that you have put in over the last few months. It validates that you are indeed what you want to believe: a talented opera singer. But when you get a bad review it makes you feel like it is a personal attack on your whole being. (In most cases it is not, but it still feels that way.) What can make it even worse is that this critic has the power of an audience who reads their assessment of your work. With the Internet as it is, anyone with access to a computer can write and post a review that is seen by many.
I have come to peace with reviews (I say that today, but if I got a bad one tomorrow, I might threaten to “quit” again!) Opera singing is very subjective and not everyone will like what I have to say (or sing.) I think of operatic talent in the same way I think of different types of foods. There are certain foods that I simply do not like, but it doesn’t mean that the food item is “bad.” I simply don’t like the flavor and nothing anyone says or does will change that. (I’m talking about you, onions!) However onions play a very important role in many recipes and people of all walks of life like onions and will champion them. There are singers out there working today that are like onions for me, but I respect that they are getting work. The critical voice of the critics are based on their personal tastes that have been shaped and formed over many years and they will either love you or hate you (is there anything in between?) One must learn to accept this as a part of the business. If it makes you feel any better, even the big singers at the top of the field get bad reviews, and yet their careers are going ahead full-steam.
A singer must have a thick skin in order to endure all of the “feedback” received from teachers, coaches, directors, conductors, colleagues and critics. All of these voices have something to say about your work, but the one voice that is most necessary to always listen to, is the one inside that tells you that you are a fantastic artist and deserve to be doing exactly what you are doing. (Don’t and I repeat don’t listen to that other voice that tells you anything other than the best about yourself. That voice is destructive and only makes you want to quit. Keep your comments to yourself Negative Norman!)
The best advice I have ever received regarding criticism is that you must be open to it in order to improve, understand that it comes through the filter of the person giving it and know that opinions are like butt-holes, everyone has one.
Peace,
Eric
Wednesday, June 13, 2012
I'm getting married...twice
The day after finishing St. Petersburg Opera (and getting an offer to return, more on that in a future post), I jumped head first into rehearsals for another Le Nozze di Figaro production, this time as a guest artist with the Bel Cantanti Opera Summer Festival in Washington, DC. The rehearsals have been going well and I am grateful to my friend, stage director Peter Kozma and new, wonderful conductor colleague Kathleen Scott for making the transition so very easy.
Part of the joy of singing Figaro, beyond Mozart’s glorious music and the richness of the character laid down by DaPonte is the interaction with the singer performing Susanna. I’m lucky to have two talented sopranos playing her and as an actor, it allows me to stay in the moment, because each singer brings her own colors to the role. It always feels fresh and alive (and sometimes confusing...who am I rolling on the floor with today?)
Other roles in the show are double cast as well including Cherubino, Marcellina, Bartolo, Curzio and Barbarina. This does make for a more complicated rehearsal process as sometimes things have to be repeated multiple times in order to solidify them, but it’s also great when someone “gets” it and you can have a new moment on stage. The downside is that I am in rehearsals from sun up to sun down and I have had to learn to mark a lot vocally, but the thing that I owe my colleagues is not to mark the acting, even when I am quite tired.
During the course of the next few days, I will have sung Figaro 6 times (Four full runs and two performances.) That’s a lot of love to give (to Susanna and to the art form), but I am lucky to get to do this every day. I am usually pretty wiped out at the end of rehearsal and sometimes it takes a lot of energy just to warm up before going into rehearsal, but once I get set and the music is playing, it’s like a fantastic roller coaster ride and by the time “Ah tutti contenti” (All are happy) rolls around near the end of Act 4, I am truly pretty happy.
The wedding dates are set for June 16 and 17…a few days away and there are many more “wedding rehearsals” ahead this week. I’ll keep you posted on all the developments.
Peace,
Eric
Part of the joy of singing Figaro, beyond Mozart’s glorious music and the richness of the character laid down by DaPonte is the interaction with the singer performing Susanna. I’m lucky to have two talented sopranos playing her and as an actor, it allows me to stay in the moment, because each singer brings her own colors to the role. It always feels fresh and alive (and sometimes confusing...who am I rolling on the floor with today?)
Other roles in the show are double cast as well including Cherubino, Marcellina, Bartolo, Curzio and Barbarina. This does make for a more complicated rehearsal process as sometimes things have to be repeated multiple times in order to solidify them, but it’s also great when someone “gets” it and you can have a new moment on stage. The downside is that I am in rehearsals from sun up to sun down and I have had to learn to mark a lot vocally, but the thing that I owe my colleagues is not to mark the acting, even when I am quite tired.
During the course of the next few days, I will have sung Figaro 6 times (Four full runs and two performances.) That’s a lot of love to give (to Susanna and to the art form), but I am lucky to get to do this every day. I am usually pretty wiped out at the end of rehearsal and sometimes it takes a lot of energy just to warm up before going into rehearsal, but once I get set and the music is playing, it’s like a fantastic roller coaster ride and by the time “Ah tutti contenti” (All are happy) rolls around near the end of Act 4, I am truly pretty happy.
The wedding dates are set for June 16 and 17…a few days away and there are many more “wedding rehearsals” ahead this week. I’ll keep you posted on all the developments.
Peace,
Eric
Friday, May 25, 2012
You got it, now love it
Everyday that I get up to go to a singing job, I am happy. I am not only happy because I love to sing, but because I realize that there are so many singers out there who have had the training, have the voice, the looks and have invested so much and yet, they are sitting behind a desk, working in a restaurant, tending behind bar or any other number of jobs that are paying the bills while they hit the audition trail.
I worked with a colleague who after I complemented them on how busy they were, gave me a “It’s too much” face and walked away. I was shocked. This person didn’t realize that there were hundreds (possibly thousands) who would love to be so busy doing exactly what they love everyday, getting decent pay and being surrounded by like-minded individuals.
It is very easy to see all the things that are wrong with this or that company, this or that colleague, this or that costume etc…but we have to stop and recognize that there are so many people who would LOVE to be sitting in that rehearsal, working those long hours and singing their hearts out. We are all humans and we get tired, cranky, frustrated and like many opera singers, myself included, have to juggle between keeping our voices in tip top shape and giving it time to restore. Sometimes the demands of the career can take a toll and we start becoming negative about what we have to do instead of waking up each day excited about what we get to do.
I have found myself not appreciating where I am lately and so I am reminding myself (and others) that every singing job we get means that there are people who did not get it and that we should be grateful. There are opportunities to learn from the conductor, the director, our colleagues and those behind the scenes and that we should be grateful that we get to get up everyday and go into a rehearsal for 6 (or more) hours versus sitting behind a desk temping. I am blessed with a voice that has afforded me the chance to sing glorious music, work with wonderfully unique, fascinating and talented people and take me to places I would normally never get to see so I am grateful.
My goal this weekend is to remind myself that I am a working singer and that with the market being so competitive and filled with such an overabundance of talent, I should be grateful for every opera job I am fortunate enough to experience. I am getting paid to sing. Isn’t that what I’ve worked so hard for? So why not enjoy it? Or better yet, love it! Instead of complaining about how much we have to do, maybe we should recognize that we have so much to do because all of the time, energy and financial investments are paying off and that with great talent comes great expectations. We all want the “career” but then when it is given to us, the tendency is to complain about how much time and energy it takes to maintain the expectations placed upon us.
It’s my belief that the people who have achieved the most success in this business are those who set themselves apart by having an extraordinary voice, a brilliant set of acting chops, a wonderful command of languages and that special “it” factor. But on top of that, they appear to love being an opera singer and enjoy everything from the rehearsal process to performing to being in the spotlight. They seem to have a fire, a passion and a sheer joy for what they do. And they always seem grateful.
Peace,
Eric
I worked with a colleague who after I complemented them on how busy they were, gave me a “It’s too much” face and walked away. I was shocked. This person didn’t realize that there were hundreds (possibly thousands) who would love to be so busy doing exactly what they love everyday, getting decent pay and being surrounded by like-minded individuals.
It is very easy to see all the things that are wrong with this or that company, this or that colleague, this or that costume etc…but we have to stop and recognize that there are so many people who would LOVE to be sitting in that rehearsal, working those long hours and singing their hearts out. We are all humans and we get tired, cranky, frustrated and like many opera singers, myself included, have to juggle between keeping our voices in tip top shape and giving it time to restore. Sometimes the demands of the career can take a toll and we start becoming negative about what we have to do instead of waking up each day excited about what we get to do.
I have found myself not appreciating where I am lately and so I am reminding myself (and others) that every singing job we get means that there are people who did not get it and that we should be grateful. There are opportunities to learn from the conductor, the director, our colleagues and those behind the scenes and that we should be grateful that we get to get up everyday and go into a rehearsal for 6 (or more) hours versus sitting behind a desk temping. I am blessed with a voice that has afforded me the chance to sing glorious music, work with wonderfully unique, fascinating and talented people and take me to places I would normally never get to see so I am grateful.
My goal this weekend is to remind myself that I am a working singer and that with the market being so competitive and filled with such an overabundance of talent, I should be grateful for every opera job I am fortunate enough to experience. I am getting paid to sing. Isn’t that what I’ve worked so hard for? So why not enjoy it? Or better yet, love it! Instead of complaining about how much we have to do, maybe we should recognize that we have so much to do because all of the time, energy and financial investments are paying off and that with great talent comes great expectations. We all want the “career” but then when it is given to us, the tendency is to complain about how much time and energy it takes to maintain the expectations placed upon us.
It’s my belief that the people who have achieved the most success in this business are those who set themselves apart by having an extraordinary voice, a brilliant set of acting chops, a wonderful command of languages and that special “it” factor. But on top of that, they appear to love being an opera singer and enjoy everything from the rehearsal process to performing to being in the spotlight. They seem to have a fire, a passion and a sheer joy for what they do. And they always seem grateful.
Peace,
Eric
Tuesday, May 15, 2012
It's all covered
I am currently in St. Petersburg, Fl covering the role of Figaro in Mozart's Le nozze di Figaro. I have been a cover before and have in two instances had to step into rehearsal. One particular day I got the call to actually go on and while everyone else was buzzing with nervous energy, I was excited to do it.
Being a cover is a weird job as you are at every rehearsal and you sit and watch. It's rare that you will get a chance to actually play on the stage (unless the company is relaxed and lets you.) You often have to absorb all the information that is given to the person you are covering and yet the only chance to get to "do it" is in the privacy of your home. Some houses actually set aside separate rehearsals specifically for the covers, which allows you to get the staging in your body. You may also get the chance to sing with the orchestra and feel how the role sits in your body.
Having been on both sides of the coin where I have been a cover and been covered I know that the relationship between the two artists sharing the role can be anything from fantastically supportive to civil to non-existent. The person who has the role is focused on the job and the person covering is focused on trying to make certain they have the role together in the event that they need to step in.
Some artists that are being covered are quite generous and will share tips on acting, singing or language. Some will simply ignore the cover as they might feel a bit of someone breathing down their neck that keeps offering them tea. Others will smile and at least acknowledge that there is another person ready to jump in, but will also let them know in that smile that there is not a chance in hell that they will give up a rehearsal or performance. The cover could also be anything from a super excited person who is there to learn to someone who wants to "Kerrigan" the person they are covering so that they can go on.
The job of the cover is to be there, learn what they need to learn, be pleasant and when given the opportunity to sing in rehearsal or do the show to dazzle the company so much that they think, this artist is one to consider for a mainstage role (or another cover assignment.)
Some people hate being a cover and find the whole experience frustrating. Since I am constant student, I find it a great way to learn. Every singer has something to teach us and I enjoy watching and listening. If I hear a singer that I really like, I take constant notes about how they approach a particular phrase, how they react to their colleagues onstage and how they work with the various others behind the scenes.
I recently did a production of La Traviata where I sang the Marquis. While I was not covering the role of Germont, I was constantly impressed with the technique, the style and the demeanor of the artist playing Germont. He managed the difficult balance of being a supportive colleague, a self-nurturing artist and a constant professional. He was fun, light, serious, dedicated, friendly, kind and yet took the necessary time and space to be completely prepared and ready for rehearsals and performances. Did I mention that he is one of the finest singers out there doing it?
I took a lot of notes on how approached phrasing, how he interacted with the staff and conductor, how he channeled his energy onstage and how he handled the technical demands of the role. Sometimes we get so caught up in what we are doing that we forget to be a student and just learn. This is why I love covering because someone is paying you to be a student of the art and in most cases the person you are covering is giving a masterclass on so many things opera.
So remember these little tips for covering:
1) Know your stuff (score, character, the period, the language)
2) Be ready to sit and watch and be ready to jump in if needed
3) Give the person you are covering space and let them approach you
4) Smile and enjoy that you are working
5) Take great notes
6) If called on to step in, be amazing and make the company say, "wow, this kid is great!"
Peace,
Eric
Being a cover is a weird job as you are at every rehearsal and you sit and watch. It's rare that you will get a chance to actually play on the stage (unless the company is relaxed and lets you.) You often have to absorb all the information that is given to the person you are covering and yet the only chance to get to "do it" is in the privacy of your home. Some houses actually set aside separate rehearsals specifically for the covers, which allows you to get the staging in your body. You may also get the chance to sing with the orchestra and feel how the role sits in your body.
Having been on both sides of the coin where I have been a cover and been covered I know that the relationship between the two artists sharing the role can be anything from fantastically supportive to civil to non-existent. The person who has the role is focused on the job and the person covering is focused on trying to make certain they have the role together in the event that they need to step in.
Some artists that are being covered are quite generous and will share tips on acting, singing or language. Some will simply ignore the cover as they might feel a bit of someone breathing down their neck that keeps offering them tea. Others will smile and at least acknowledge that there is another person ready to jump in, but will also let them know in that smile that there is not a chance in hell that they will give up a rehearsal or performance. The cover could also be anything from a super excited person who is there to learn to someone who wants to "Kerrigan" the person they are covering so that they can go on.
The job of the cover is to be there, learn what they need to learn, be pleasant and when given the opportunity to sing in rehearsal or do the show to dazzle the company so much that they think, this artist is one to consider for a mainstage role (or another cover assignment.)
Some people hate being a cover and find the whole experience frustrating. Since I am constant student, I find it a great way to learn. Every singer has something to teach us and I enjoy watching and listening. If I hear a singer that I really like, I take constant notes about how they approach a particular phrase, how they react to their colleagues onstage and how they work with the various others behind the scenes.
I recently did a production of La Traviata where I sang the Marquis. While I was not covering the role of Germont, I was constantly impressed with the technique, the style and the demeanor of the artist playing Germont. He managed the difficult balance of being a supportive colleague, a self-nurturing artist and a constant professional. He was fun, light, serious, dedicated, friendly, kind and yet took the necessary time and space to be completely prepared and ready for rehearsals and performances. Did I mention that he is one of the finest singers out there doing it?
I took a lot of notes on how approached phrasing, how he interacted with the staff and conductor, how he channeled his energy onstage and how he handled the technical demands of the role. Sometimes we get so caught up in what we are doing that we forget to be a student and just learn. This is why I love covering because someone is paying you to be a student of the art and in most cases the person you are covering is giving a masterclass on so many things opera.
So remember these little tips for covering:
1) Know your stuff (score, character, the period, the language)
2) Be ready to sit and watch and be ready to jump in if needed
3) Give the person you are covering space and let them approach you
4) Smile and enjoy that you are working
5) Take great notes
6) If called on to step in, be amazing and make the company say, "wow, this kid is great!"
Peace,
Eric
Friday, April 13, 2012
The show must go on!
You rehearse for three weeks getting to know your colleagues and forming some sort of connection and then suddenly you hear some of the worst news in the operatic world...someone, in this instance, our originally scheduled soprano who was set to make her debut as Violetta, has strep and can't do the show! The young lady who is covering the role is not ready, not because she is under prepared, but because the original cover had to cancel and she was bumped up so she was quickly learning the role, but was not ready to go onstage and actually sing. Enter the soprano who had sung another role with the company earlier that season and who happened to have done the role of Violetta a few years back. At the Orchestra Dress she sang the role from the side with a score. The next night she performed it having just learned earlier that day at 3 pm that she would be performing and at last night's opening, she went on and "did the damn thing!"
Recently soprano Hei-Kyung Hong was called upon to open the Met's recent production of "La Traviata" when Nataile Dessay was unable to perform due to illness. (Something in the NYC water?) Hong has been a "cover" artist at the Met for many years saving productions here and there while also singing leading roles at the Met. It takes nerves of steal, a calm soul and a sound technique to jump in on a moment's notice because ultimately the show must go on!
I write about this because often some of the greatest opportunities come in the flash of a moment and having an arsenal of roles ready and performed allows a singer to jump in and not only save the performance, but the company.
While a Young Artist at Virginia Opera, I was assigned to cover Rocco the jailor in Beethoven's "Fidelio." Now I NEVER thought I would go on as the guy singing the role was a rock star, but I was fully prepared and ready just in case. Opening night came and went and was a huge success. But on the day of the second performance, a matinee, I received the phone call telling me that I was going on that afternoon. I rushed to the theater, after a quick water splash-splash taking with me some water, some deodorant and my score. I arrived amidst a buzz of excitement with my colleagues giving me the "it's going to be great even though I've never heard you sing before and we've barely met" smile, the costumer drenched in sweat as she realizes that I'm about 7 inches shorter than the person I'm covering and that she had to make some SERIOUS alterations, the conductor who wanted to make certain I was ready and the artistic staff who were highly frantic, but trying to mask it, asking me over and over again if I was calm.
Oddly enough I was. I felt no terror because I knew in my head that I could do this. I wasn't going to be perfect, but I had been to the rehearsals, done at least three cover rehearsals and knew the score pretty well although I am certain I put a few "ich's" and "ach's" where there were none. The ovation I received from the audience was wonderful and made me realize that I could not only do this, but I could do this well. It was one of the great moments in my operatic life and it gave me a great deal of respect for anyone who covers and has to go on at the drop of a hat.
For every opera singer out there performing, there is another one (sometimes two) waiting in the wings (or in the audience or at home on their couch) just in case they need to go on and being ready musically, dramatically and most importantly emotionally makes them an invaluable artist in the operatic world.
Peace,
Eric
Recently soprano Hei-Kyung Hong was called upon to open the Met's recent production of "La Traviata" when Nataile Dessay was unable to perform due to illness. (Something in the NYC water?) Hong has been a "cover" artist at the Met for many years saving productions here and there while also singing leading roles at the Met. It takes nerves of steal, a calm soul and a sound technique to jump in on a moment's notice because ultimately the show must go on!
I write about this because often some of the greatest opportunities come in the flash of a moment and having an arsenal of roles ready and performed allows a singer to jump in and not only save the performance, but the company.
While a Young Artist at Virginia Opera, I was assigned to cover Rocco the jailor in Beethoven's "Fidelio." Now I NEVER thought I would go on as the guy singing the role was a rock star, but I was fully prepared and ready just in case. Opening night came and went and was a huge success. But on the day of the second performance, a matinee, I received the phone call telling me that I was going on that afternoon. I rushed to the theater, after a quick water splash-splash taking with me some water, some deodorant and my score. I arrived amidst a buzz of excitement with my colleagues giving me the "it's going to be great even though I've never heard you sing before and we've barely met" smile, the costumer drenched in sweat as she realizes that I'm about 7 inches shorter than the person I'm covering and that she had to make some SERIOUS alterations, the conductor who wanted to make certain I was ready and the artistic staff who were highly frantic, but trying to mask it, asking me over and over again if I was calm.
Oddly enough I was. I felt no terror because I knew in my head that I could do this. I wasn't going to be perfect, but I had been to the rehearsals, done at least three cover rehearsals and knew the score pretty well although I am certain I put a few "ich's" and "ach's" where there were none. The ovation I received from the audience was wonderful and made me realize that I could not only do this, but I could do this well. It was one of the great moments in my operatic life and it gave me a great deal of respect for anyone who covers and has to go on at the drop of a hat.
For every opera singer out there performing, there is another one (sometimes two) waiting in the wings (or in the audience or at home on their couch) just in case they need to go on and being ready musically, dramatically and most importantly emotionally makes them an invaluable artist in the operatic world.
Peace,
Eric
Monday, April 2, 2012
Inspiration
I have been listening to a lot of opera lately. In addition to listening to recordings of "Le Nozze di Figaro" and "La Traviata," (Traviata goes up with Dicapo Opera in a few weeks and then I jump into two different productions of "Nozze" first with St. Petersburg Opera, then Bel Cantanti Opera in DC), I have been trying to catch the MET's Radio Broadcast (online) and any other gems of the operatic nature when I find out about them.
Part of my listening is purely to understand how various artists handle certain arias, phrases, recitatives and part of it is to remember the sheer joy and beauty that comes from great singing. It always puts me back in focus and reminds me that the music, the drama, the character and the text are the most important things and what one does with them are what keeps us coming back to these great works of art over and over again.
Last Saturday I listened to the MET's broadcast of "L'Elisir d"Amore", Donizetti's bubbly score with wonderful characters, a lovely story of blossoming romance filled with complications and some of the best artists in the world singing. Juan Diego Florez's "Una furtiva lagrima" brought down the house with the audience calling for an encore, so he repeated it adding a little different twist here and there. (A rare event at the MET.) Besides loving what the singers were doing vocally and dramatically, I was inspired by the sheer joy that was coming through the broadcast and that the singers seemed to be excited and happy to be there.
A few days later, I heard the Lyric Opera of Chicago's "Rising Stars" Concert which featured members of the Ryan Opera Center (the professional training program) in arias and ensembles from the Bel Canto, French, German, Russian and American arsenals. It was a great oppotunity to hear some exciting young singers who are well-trained and making great strides in becoming well-rounded performers. Again, I felt inspired to refine, practice, interpret and rethink all of the music I am so fortunate to get to sing.
The pressures of making a living, being prepared, understanding one's place in the business and balancing one's professional and personal lives can make it seem like being an opera singer is all about just trying to stay on top of things and that can be exhausting. Sometimes we have to look outside of ourselves for inspiration and not only in the amazing singing of others, but in film, art, music of all styles, fashion, dance and other art forms where an artist is able to transcend just doing enough to get by and really truly sparks something within us that makes us not only feel something, but makes us want to have that same effect in our own art-making.
We give so much as artists and we need to replenish oursleves through absorbing other forms of art in which we can draw inspiration. So get out there and listen, see, hear, feel and react!
Peace,
Eric
Part of my listening is purely to understand how various artists handle certain arias, phrases, recitatives and part of it is to remember the sheer joy and beauty that comes from great singing. It always puts me back in focus and reminds me that the music, the drama, the character and the text are the most important things and what one does with them are what keeps us coming back to these great works of art over and over again.
Last Saturday I listened to the MET's broadcast of "L'Elisir d"Amore", Donizetti's bubbly score with wonderful characters, a lovely story of blossoming romance filled with complications and some of the best artists in the world singing. Juan Diego Florez's "Una furtiva lagrima" brought down the house with the audience calling for an encore, so he repeated it adding a little different twist here and there. (A rare event at the MET.) Besides loving what the singers were doing vocally and dramatically, I was inspired by the sheer joy that was coming through the broadcast and that the singers seemed to be excited and happy to be there.
A few days later, I heard the Lyric Opera of Chicago's "Rising Stars" Concert which featured members of the Ryan Opera Center (the professional training program) in arias and ensembles from the Bel Canto, French, German, Russian and American arsenals. It was a great oppotunity to hear some exciting young singers who are well-trained and making great strides in becoming well-rounded performers. Again, I felt inspired to refine, practice, interpret and rethink all of the music I am so fortunate to get to sing.
The pressures of making a living, being prepared, understanding one's place in the business and balancing one's professional and personal lives can make it seem like being an opera singer is all about just trying to stay on top of things and that can be exhausting. Sometimes we have to look outside of ourselves for inspiration and not only in the amazing singing of others, but in film, art, music of all styles, fashion, dance and other art forms where an artist is able to transcend just doing enough to get by and really truly sparks something within us that makes us not only feel something, but makes us want to have that same effect in our own art-making.
We give so much as artists and we need to replenish oursleves through absorbing other forms of art in which we can draw inspiration. So get out there and listen, see, hear, feel and react!
Peace,
Eric
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