With Thanksgiving right around the corner (staring at me and holding a whole turkey, no less), I wake up every day grateful for composers like Rossini, Gounod, Verdi and others for developing an artform that allows the trained human voice to experience all of the greatest of emotions. We opera singers are a lucky breed in that we get to experience some of the most beautiful music and fascinating characters while showcasing our own individual talent. As November is all about being thankful I decided to remind myself why I (and anyone lucky enough to be an opera singer) should be grateful.
1. I am grateful that I have a voice that is suited to opera. It takes a unique timbre and color along with an ability to project that voice into an opera house. After years of training, I can do this!
2. I am grateful for the amazingly talented (and often supportive) colleagues I encounter. In so many of the performing arts, you are allowed an extensive rehearsal period in which to develop the trust that is needed to create great art. But in opera you meet and a few hours later you are embracing lovingly or cursing vehemently all with people you know little about. I am grateful that so many of the folks I work with are so open and willing to “play.”
3. I am grateful for my drive to be an opera singer. Every morning, I find that I am excited about the music I am learning, the emails and calls to make and receive and/or the rehearsal that is to happen. I love the process so much because that is where I truly discover the nuances of the music and the character. I am also grateful for the support system I have that encourages me when I need it and cheers me when I accomplish.
4. I am grateful for being an opera singer who actually LOVES opera. If I am going to invest most of my time and energy in a career, I am happy that I truly enjoy all the aspects. Besides performing, I relish the chance to view the artform live. Nothing excites me more than hearing great singing. Being an opera singer myself, it can be tough to just “listen” without judgment, but I also attempt to focus on the performance and what they bring versus analyzing what they don’t.
5. I am grateful for the opportunities that being an opera singer offers. I get to travel, meet all kinds of people, work in the theatre and (most times) hear some fantastic artists. I also get to work for myself which is a blessing. I get to set my own schedule when it comes to learning roles. On the flip side, I learn a lot about discipline as there are constant deadlines, places to be and business to get done.
6. I am grateful for the challenges of opera. In addition to singing well, we usually have to perform it in a foreign tongue with incredible dramatic intent. I certainly feel a lot smarter when I’ve conquered a role (although do we ever really conquer it?)
7. I am grateful for the joy singing brings me. When I’ve warmed up well and the voice is working, I feel a freedom to tell a story in the most vulnerable, beautiful way. It took me a long time to realize that the audience wants to see the “cracks” in our own armor through the guise of our character. They want to see the freedom, the tears, the anger, the love and all the other emotions that we dare not share in public. When the audience connects to that, I feel like the world is perfect.
8. I am grateful to New York for toughening me up regarding rejection, helping me to build stamina and being in a place ripe with opportunities, resources and auditions.
9. I am grateful for having spent six years on the administrative side of opera. I learned so much about how opera companies run, how each opera house has its own set of standards regarding artists and how all you have control over is your product, not how they view it.
10. Finally I am thankful that opera keeps me on my game. I have learned to love myself more and treat myself so much better because I am devoting so much of myself to my art. Opera encompasses so many of the things I love: music, drama, language, movement, visual arts and live theatre. I am also grateful that when I sing opera it makes me believe in the divine and my way to communicate with that energy is through making beautiful music.
Reminding myself to be thankful, not only in November, but all year long of the privilege of being an opera singer makes every day an exciting adventure that I am so blessed to experience.
Peace,
Eric
Wednesday, November 20, 2013
Friday, November 1, 2013
Temperament
I am in St. Louis working on one of the greatest operas in the repertoire: Faust! The story of an old, cynical man who sells his soul to the devil in order to pursue young love combined with Charles Gounod’s sensual music is what opera is all about. It’s always great when you get to sing a dream role and Valentin is one of mine. I am thrilled to be “living the dream” to quote a wonderful tenor colleague. I have also been having some wonderful discussions about what it takes beyond the talent to succeed in opera. The word that seems to keep coming back is “temperament.” According to Merriam-Webster, temperament is defined as the usual attitude, mood, or behavior of a person or animal. Singers are two people, student and artist. At any given moment we are either learning our craft or sharing our craft and we have to be strong enough to take the criticism of teachers, coaches, directors, conductors and critics and also have the inner-strength to perform as if we are the greatest thing in the world.
Opera singers also have to have a high level of adaptability. We go from city to city singing with artists of all different backgrounds and skill levels. Sometimes we end up staying in the homes of people who may not quite understand the needs of artists to really focus. One has to be a good people person in rehearsals, at donor events and whenever one is presented under the umbrella of the company. And then there is the travel! I have experienced delays, lost luggage, missed pick-ups and trouble getting to rehearsal on time. One must learn to just breathe and keep going knowing that eventually you will get where you are going and get what you need.
Another important thing is that a singer has to be able to be alone…for extended periods of time. Not only because we often spend a lot of time needing to recharge from a full day of rehearsal, but also because there is a necessary discipline needed to be a singer. Sometimes you feel like a monk because as much as you want to go out and about and explore, you have to think about “the voice” and what it needs. I am thankful for the internet and television for being my constant “companions” while I am away from home. As an only child, I like solitude because I get a lot done and since I see singing as my job I put in hours in the morning, take a break, then more hours in the afternoon, early evening. If I have a lot to do, I will work “overtime” to get my daily agenda done.
If I had to make an equation it would be talent + temperament (ability to learn and perform consistently + adaptability+ discipline) + unknown factors that are completely out of our control or x (I consider this the ultimate variable)= a career as an opera singer.
When people say that I am lucky for having work I smile on the inside because I know that luck is a small percentage of why I am fortunate enough to get to perform. I also believe that I am cut out to take the rejection, learn from the critiques and see the career of singing opera as my daily job (and sometimes my life!)
Peace,
Eric
Opera singers also have to have a high level of adaptability. We go from city to city singing with artists of all different backgrounds and skill levels. Sometimes we end up staying in the homes of people who may not quite understand the needs of artists to really focus. One has to be a good people person in rehearsals, at donor events and whenever one is presented under the umbrella of the company. And then there is the travel! I have experienced delays, lost luggage, missed pick-ups and trouble getting to rehearsal on time. One must learn to just breathe and keep going knowing that eventually you will get where you are going and get what you need.
Another important thing is that a singer has to be able to be alone…for extended periods of time. Not only because we often spend a lot of time needing to recharge from a full day of rehearsal, but also because there is a necessary discipline needed to be a singer. Sometimes you feel like a monk because as much as you want to go out and about and explore, you have to think about “the voice” and what it needs. I am thankful for the internet and television for being my constant “companions” while I am away from home. As an only child, I like solitude because I get a lot done and since I see singing as my job I put in hours in the morning, take a break, then more hours in the afternoon, early evening. If I have a lot to do, I will work “overtime” to get my daily agenda done.
If I had to make an equation it would be talent + temperament (ability to learn and perform consistently + adaptability+ discipline) + unknown factors that are completely out of our control or x (I consider this the ultimate variable)= a career as an opera singer.
When people say that I am lucky for having work I smile on the inside because I know that luck is a small percentage of why I am fortunate enough to get to perform. I also believe that I am cut out to take the rejection, learn from the critiques and see the career of singing opera as my daily job (and sometimes my life!)
Peace,
Eric
Saturday, October 5, 2013
Inspiration and Stamina
Opera singers (unless they are singing at some of the bigger houses) rarely get to do more than two to four performances of a single role at a time. It’s not until after the performances are over that you get a chance to revisit it and learn more about how to sing/act it. But I have been quite lucky with this production of Skylight Music Theatre’s Fidelio. I have already been able to sing Don Pizarro at least nine times and with this weekend’s performances, I will sing three more. Sometime last week, I started fighting with allergies with included nasal congestion, drainage and phlegm that just wanted to sit right on my vocal cords. But throughout the process I kept going, relying on technique to help me. I also reminded myself how lucky I was to be singing this demanding role and constantly looked for inspiration and stamina.
Inspiration #1: Early on while being here in Milwaukee I had the chance to visit the Milwaukee Sign Language School where I saw students ranging from some hearing loss to full loss. This school was filled with students of varying levels who were not only able to communicate, but who had an appreciation for music and theatre because they had participated in several collaborative productions. What was most amazing was watching these kids who in society’s eyes were deemed “different” show something most “normal” students in school lack: joy. In this environment, the students seemed happy, even the shy ones, because they knew that they were loved and more than that, they were lucky to be in a place that understood and nurtured them. It reminded me of being in the theatre where many “weird” folks gather and under the love of opera, create magic.
Inspiration #2: I was sitting in a café having breakfast and was taken aback when the server came over and after introducing himself, told me how good I had been in the production. I was certainly happy that he liked the production and my performance. What struck me more, however, was his upbeat personality. He didn’t just have the basic friendliness that it seems that all Milwaukeeans have. He genuinely seemed to be interested in not only talking to each of his tables, but he really wanted them to have a great dining experience. His enthusiasm went as far as to even show the new server the exact way to make an Arnold Palmer. I was impressed with his joy at doing his job. Who knows if he is a professional server or an actor waiting tables to pay the bills? It didn’t matter because in that moment he seemed to be at his happiest. It was a wonderful reminder that I have much to be grateful for and even when I am not at my best, I am still VERY lucky to be performing. In the moment, I get to choose to be my happiest.
So, as I go into the final weekend of performances after a wonderful, long and exciting run, I remember to drink lots of water, get plenty of rest, eat well and do my very best in the place that inspires me the most.
Peace,
Eric
Inspiration #1: Early on while being here in Milwaukee I had the chance to visit the Milwaukee Sign Language School where I saw students ranging from some hearing loss to full loss. This school was filled with students of varying levels who were not only able to communicate, but who had an appreciation for music and theatre because they had participated in several collaborative productions. What was most amazing was watching these kids who in society’s eyes were deemed “different” show something most “normal” students in school lack: joy. In this environment, the students seemed happy, even the shy ones, because they knew that they were loved and more than that, they were lucky to be in a place that understood and nurtured them. It reminded me of being in the theatre where many “weird” folks gather and under the love of opera, create magic.
Inspiration #2: I was sitting in a café having breakfast and was taken aback when the server came over and after introducing himself, told me how good I had been in the production. I was certainly happy that he liked the production and my performance. What struck me more, however, was his upbeat personality. He didn’t just have the basic friendliness that it seems that all Milwaukeeans have. He genuinely seemed to be interested in not only talking to each of his tables, but he really wanted them to have a great dining experience. His enthusiasm went as far as to even show the new server the exact way to make an Arnold Palmer. I was impressed with his joy at doing his job. Who knows if he is a professional server or an actor waiting tables to pay the bills? It didn’t matter because in that moment he seemed to be at his happiest. It was a wonderful reminder that I have much to be grateful for and even when I am not at my best, I am still VERY lucky to be performing. In the moment, I get to choose to be my happiest.
So, as I go into the final weekend of performances after a wonderful, long and exciting run, I remember to drink lots of water, get plenty of rest, eat well and do my very best in the place that inspires me the most.
Peace,
Eric
Friday, September 13, 2013
Opera Villains Unite
Operatic names like Micaëla, Cenerentola, Mimi and Figaro conjure up smiles as we think of how good and kind they are. Some triumph in the end by finding love or wealth while others become saints in our eyes as they give up their very essence, but before they touch our hearts. I am not interested in them today.
Today I am concerned with those who scheme, lie, steal, kill and manipulate others in order to get what they want. I am interested in finding the most dastardly of them all to rule a band of operatic bad guys (and girls). So today I present you, the audience, with 13 of the most heinous, foul souls to appear in opera. Each will offer their specific reasons of why they should be at the helm of this new organization known as the League of Operatic Villains Extraordinaire (LOVE). You, dear opera fans, will vote for your choice.
Iago
With a tongue of silken poison, and a smile of great disdain,
I ignite fury and confusion, to those with much to gain,
In this existence I seek only to prove, that God above sets us here to lose
For passing me over, many will suffer so that I may seek my revenge undercover
Half-truths, innuendo and dreadful questions I raise
Upon your death, my sole intention is to gaze.
Dr. Bartolo
I am a man with only two needs: a pretty young woman and all of her wealth. I am smart, charming, and like things of a vintage nature (not any of this new-fangled operatic crap!) Some have said I am a curmudgeon; well I say they can suck it! I have great scheming skills and am able to spot when I am being lied to (that’s right Figaro!) I have such a powerful and interesting personality that I appear in TWO operas. That’s more than any of these other hacks can say!
Duke of Mantua
I have the wealth, the resources, the regal bearing and most of all the charm to run any organization of ill-repute. If I had one vice, it would be that I love and love a lot. I mean, A LOT! What can I say; I believe in enjoying life’s greatest pleasures and because of my handsome face, seem to have the greatest of luck. Nothing bad EVER happens to me. Besides, what better person to be the face of an organization named LOVE?
Salome
Beautiful I have been called; a youthful seductress. Alluring with a sense of…what was that? Childlike innocence entangled with a sense of decadence. Mother says I deserve whatever I desire. Is that music playing? I am a strong-willed lady with many “layers” and my body yearns to be touched. He’s really handsome…I must have him. I am a Princess and love to be bathed in the finest…He is REALLY cute…I must have him! What was I saying? Yes, powerful, elegant and…Why don’t you love me? I won’t be ignored! …A flower ready to be plucked. I dream of intertwining my flesh with the scent and body of a man whose weak, yet strong, powerful, yet gentle, BEAUTIFUL YET UGLY! I’m sorry, what was I saying? He is REALLY, REALLY cute!!
Scarpia
Unlike all of you, I already have great power as a member of the Secret Police. I have a connection to the church and the government and am able to bend people to my will; even most operatic sopranos. I am not afraid to lie to get exactly what I want and I have a highly organized and loyal network of spies. I am clearly the best man for the job.
The Four Villains
Each one of us possess extraordinary powers, but combined we are the ultimate super villain!
I, Coppélius, have super strength, able to rip through metal and steel (even life-size dolls)
I, Dr. Miracle, possess great knowledge of black magic and can conjure the dead to do my will
I, Dappertutto, have the ability to steal souls
And I, Lindorf, am a master of intrigue, able to achieve almost any goal
Individually we are strong, but together we are unstoppable!
John Claggart
I am simply a man who hates beauty and goodness.
Perfection sickens me and I will do whatever I can to destroy it.
The cheeriness of those who walk freely devoid of the weight of the world turn my stomach
I will not rest until all beauty and goodness is wiped off the face of the earth.
And I will begin with him.
Mephistophélès
I am the Devil. Any questions?
The Queen of the Night
I possess great power and once I have destroyed Sarastro, I will double that power with the Circle of the Sun. I do this all so that my daughter, an innocent, may be able to make the correct choice and side with darkness. I believe in a world where women are the dominant sex! Under the cover of darkness, I command my army of women to destroy all men so that we, the beautiful ones, will reign supreme!
Nick Shadow
By pretending to be human, I take souls to Hell
Leading them towards a path where things do not go well
Appearing as advisor, confidant and friend
With finesse I lead them to a doomed end
Idle hands I give much to do
Be careful, watch your back or it might just be you.
Don Pizarro
If you disagree with my leadership style then I just might have to tuck you away in a cell for all of time. I am not afraid of corruption, lies and even murder, if it means that I retain my powerful hold on the jail system. Ruling with an iron fist has proven to be wise as it keeps everyone that works for me in check. It also distracts them from asking too many questions. I only trust a few and am constantly flanked by my guards, my sword and most of all, my trusty dagger. I have the intellect, the connections and the requisite drive to lead this organization and will keep its trusted secrets from ever reaching the surface.
Witch
There seems to be some mistake as to why I am here. I am a simple lady who loves to make sweet things. I love to live alone and rarely bother anyone…unless they stumble into my “neck of the woods.” By nature I adore fruits and vegetables and dine upon a steady diet of all sorts of desserts. But once in a while I get a little craving for…flesh and I must say I seem to lose all control when someone, I mean something, delicious finds its way to my gingerbread house. I especially love plump, tender boys as they have a little more meat on their bones. I already have a network of daycare centers set up where parents drop off their young ones. Then, using my magical powers, I do a forgetful spell that makes parents forget where their child is. They go about posting missing child photos here and there while I escape with their tasty little morsel! Eventually I will have them all and then make the biggest, most delectable kiddy pot pie you’ve ever tasted! But other than I am just a little old lady who likes nature and decorating my home.
Don Giovanni
All I care about is the conquest of the most beautiful, the most powerful, the most fragile and even the most difficult. Champagne, women and feast are the most decadent things in the world and I will do anything, ANYTHING to have them. I have lied, raped, and killed and I feel absolutely no remorse. Why should I? There is nothing beyond this life and if there is, I am not afraid. I am a man who believes that life is for the taking and those who stand in my way, well, they don’t for long.
Now ladies and gentlemen: Place your votes by leaving a comment on this page. The top 5 vote-getters will be announced in one week and then, after another round of voting, the head of the League of Operatic Villains Extraordinaire will be named!
Peace,
Eric
Today I am concerned with those who scheme, lie, steal, kill and manipulate others in order to get what they want. I am interested in finding the most dastardly of them all to rule a band of operatic bad guys (and girls). So today I present you, the audience, with 13 of the most heinous, foul souls to appear in opera. Each will offer their specific reasons of why they should be at the helm of this new organization known as the League of Operatic Villains Extraordinaire (LOVE). You, dear opera fans, will vote for your choice.
Iago
With a tongue of silken poison, and a smile of great disdain,
I ignite fury and confusion, to those with much to gain,
In this existence I seek only to prove, that God above sets us here to lose
For passing me over, many will suffer so that I may seek my revenge undercover
Half-truths, innuendo and dreadful questions I raise
Upon your death, my sole intention is to gaze.
Dr. Bartolo
I am a man with only two needs: a pretty young woman and all of her wealth. I am smart, charming, and like things of a vintage nature (not any of this new-fangled operatic crap!) Some have said I am a curmudgeon; well I say they can suck it! I have great scheming skills and am able to spot when I am being lied to (that’s right Figaro!) I have such a powerful and interesting personality that I appear in TWO operas. That’s more than any of these other hacks can say!
Duke of Mantua
I have the wealth, the resources, the regal bearing and most of all the charm to run any organization of ill-repute. If I had one vice, it would be that I love and love a lot. I mean, A LOT! What can I say; I believe in enjoying life’s greatest pleasures and because of my handsome face, seem to have the greatest of luck. Nothing bad EVER happens to me. Besides, what better person to be the face of an organization named LOVE?
Salome
Beautiful I have been called; a youthful seductress. Alluring with a sense of…what was that? Childlike innocence entangled with a sense of decadence. Mother says I deserve whatever I desire. Is that music playing? I am a strong-willed lady with many “layers” and my body yearns to be touched. He’s really handsome…I must have him. I am a Princess and love to be bathed in the finest…He is REALLY cute…I must have him! What was I saying? Yes, powerful, elegant and…Why don’t you love me? I won’t be ignored! …A flower ready to be plucked. I dream of intertwining my flesh with the scent and body of a man whose weak, yet strong, powerful, yet gentle, BEAUTIFUL YET UGLY! I’m sorry, what was I saying? He is REALLY, REALLY cute!!
Scarpia
Unlike all of you, I already have great power as a member of the Secret Police. I have a connection to the church and the government and am able to bend people to my will; even most operatic sopranos. I am not afraid to lie to get exactly what I want and I have a highly organized and loyal network of spies. I am clearly the best man for the job.
The Four Villains
Each one of us possess extraordinary powers, but combined we are the ultimate super villain!
I, Coppélius, have super strength, able to rip through metal and steel (even life-size dolls)
I, Dr. Miracle, possess great knowledge of black magic and can conjure the dead to do my will
I, Dappertutto, have the ability to steal souls
And I, Lindorf, am a master of intrigue, able to achieve almost any goal
Individually we are strong, but together we are unstoppable!
John Claggart
I am simply a man who hates beauty and goodness.
Perfection sickens me and I will do whatever I can to destroy it.
The cheeriness of those who walk freely devoid of the weight of the world turn my stomach
I will not rest until all beauty and goodness is wiped off the face of the earth.
And I will begin with him.
Mephistophélès
I am the Devil. Any questions?
The Queen of the Night
I possess great power and once I have destroyed Sarastro, I will double that power with the Circle of the Sun. I do this all so that my daughter, an innocent, may be able to make the correct choice and side with darkness. I believe in a world where women are the dominant sex! Under the cover of darkness, I command my army of women to destroy all men so that we, the beautiful ones, will reign supreme!
Nick Shadow
By pretending to be human, I take souls to Hell
Leading them towards a path where things do not go well
Appearing as advisor, confidant and friend
With finesse I lead them to a doomed end
Idle hands I give much to do
Be careful, watch your back or it might just be you.
Don Pizarro
If you disagree with my leadership style then I just might have to tuck you away in a cell for all of time. I am not afraid of corruption, lies and even murder, if it means that I retain my powerful hold on the jail system. Ruling with an iron fist has proven to be wise as it keeps everyone that works for me in check. It also distracts them from asking too many questions. I only trust a few and am constantly flanked by my guards, my sword and most of all, my trusty dagger. I have the intellect, the connections and the requisite drive to lead this organization and will keep its trusted secrets from ever reaching the surface.
Witch
There seems to be some mistake as to why I am here. I am a simple lady who loves to make sweet things. I love to live alone and rarely bother anyone…unless they stumble into my “neck of the woods.” By nature I adore fruits and vegetables and dine upon a steady diet of all sorts of desserts. But once in a while I get a little craving for…flesh and I must say I seem to lose all control when someone, I mean something, delicious finds its way to my gingerbread house. I especially love plump, tender boys as they have a little more meat on their bones. I already have a network of daycare centers set up where parents drop off their young ones. Then, using my magical powers, I do a forgetful spell that makes parents forget where their child is. They go about posting missing child photos here and there while I escape with their tasty little morsel! Eventually I will have them all and then make the biggest, most delectable kiddy pot pie you’ve ever tasted! But other than I am just a little old lady who likes nature and decorating my home.
Don Giovanni
All I care about is the conquest of the most beautiful, the most powerful, the most fragile and even the most difficult. Champagne, women and feast are the most decadent things in the world and I will do anything, ANYTHING to have them. I have lied, raped, and killed and I feel absolutely no remorse. Why should I? There is nothing beyond this life and if there is, I am not afraid. I am a man who believes that life is for the taking and those who stand in my way, well, they don’t for long.
Now ladies and gentlemen: Place your votes by leaving a comment on this page. The top 5 vote-getters will be announced in one week and then, after another round of voting, the head of the League of Operatic Villains Extraordinaire will be named!
Peace,
Eric
Wednesday, September 4, 2013
Fidelio in Bollywood
What do you get when you take a heroic opera originally written in German about a woman who disguises herself as a man to rescue her husband whose been missing for two years and mix it with traditional elements of Bollywood films of the 50s and 60s? You get what is certain to be one of the most interesting productions I have worked on in years, that's what!
I am currently in Milwaukee, Wisconsin preparing to make my debut with Skylight Music Theatre in the role of the villainous Don Pizarro in Beethoven's only opera "Fidelio." Skylight's 2013-14 season is all about struggle, escape and liberation and "Fidelio" is the epitome of a "rescue opera." Florestan has been imprisoned for revealing the corruption of Don Pizarro, a prison Governor. His wife Leonore has disguised herself as a man named Fidelio and has taken up employment in the very jail cell where she believes Florestan is imprisoned. Working alongside the lead jailor Rocco, she searches for him. Complications ensue as Rocco's daughter Marzelline falls in love with Fidelio and Rocco agrees that the two can marry. Pizarro receives word that Don Fernando has become aware of his corruption and is making a surprise inspection. He decides to murder Florestand and enlists Rocco to dig the grave. Leonore insists to Rocco that he needs help in the cell and he agrees. Finding her husband she is terrified b his sight, but relieved that he is alive. Pizarro enters to commit the murder, but Leonore throws herself in front of her husband revealing that she is his wife. The sound of a trumpet announces the arrival of Fernando and upon his arrival Rocco reveals the truth about Pizarro's plan. Pizarro is taken away and everyone rejoices at the reunited couple and the power of love. The opera is quintessential Beethoven--intense struggle through darkness towards the eventual release into the light.
Taking that as the base, Skylight is adding elements of 50s and 60s Bollywood which include strong presentational gestures, scenes that burst into colorful life with song and dance numbers and characters that are based on very specific archetypes. The wonderful choreographer Deepa Devasena and Associate Stage Director Edwin Cahill along with the leadership of Artist Director Viswa Subbaraman are melding the dramatic, melodic and visual worlds of opera and Bollywood into a thrilling cohesive drama.
Here is the promotional postcard announcing the dates:
Repetiteur Jaime Johns plays the score and keeps us in check.
This is just a small glimpse into what my scores look like:
And here is the model for the set for the production. Notice the large tree on the right side and the colorful cut out set against the dark set. These are strong elements of Bollywood film.
And here are two of my favorite elements of the production: My costume and my dagger!
Between the villain gestures of Bollywood, the in-depth character analysis of Don Pizarro and what makes him tick and the glorious music of Beethoven, I am looking forward to a production that will offer a fresh take on a wonderful opera and hopefully present new colors to the characters of the opera. And maybe a big Bollywood dance routine at the end!
Peace,
Eric
I am currently in Milwaukee, Wisconsin preparing to make my debut with Skylight Music Theatre in the role of the villainous Don Pizarro in Beethoven's only opera "Fidelio." Skylight's 2013-14 season is all about struggle, escape and liberation and "Fidelio" is the epitome of a "rescue opera." Florestan has been imprisoned for revealing the corruption of Don Pizarro, a prison Governor. His wife Leonore has disguised herself as a man named Fidelio and has taken up employment in the very jail cell where she believes Florestan is imprisoned. Working alongside the lead jailor Rocco, she searches for him. Complications ensue as Rocco's daughter Marzelline falls in love with Fidelio and Rocco agrees that the two can marry. Pizarro receives word that Don Fernando has become aware of his corruption and is making a surprise inspection. He decides to murder Florestand and enlists Rocco to dig the grave. Leonore insists to Rocco that he needs help in the cell and he agrees. Finding her husband she is terrified b his sight, but relieved that he is alive. Pizarro enters to commit the murder, but Leonore throws herself in front of her husband revealing that she is his wife. The sound of a trumpet announces the arrival of Fernando and upon his arrival Rocco reveals the truth about Pizarro's plan. Pizarro is taken away and everyone rejoices at the reunited couple and the power of love. The opera is quintessential Beethoven--intense struggle through darkness towards the eventual release into the light.
Taking that as the base, Skylight is adding elements of 50s and 60s Bollywood which include strong presentational gestures, scenes that burst into colorful life with song and dance numbers and characters that are based on very specific archetypes. The wonderful choreographer Deepa Devasena and Associate Stage Director Edwin Cahill along with the leadership of Artist Director Viswa Subbaraman are melding the dramatic, melodic and visual worlds of opera and Bollywood into a thrilling cohesive drama.
Here is the promotional postcard announcing the dates:
Repetiteur Jaime Johns plays the score and keeps us in check.
This is just a small glimpse into what my scores look like:
And here is the model for the set for the production. Notice the large tree on the right side and the colorful cut out set against the dark set. These are strong elements of Bollywood film.
And here are two of my favorite elements of the production: My costume and my dagger!
Between the villain gestures of Bollywood, the in-depth character analysis of Don Pizarro and what makes him tick and the glorious music of Beethoven, I am looking forward to a production that will offer a fresh take on a wonderful opera and hopefully present new colors to the characters of the opera. And maybe a big Bollywood dance routine at the end!
Peace,
Eric
Saturday, August 24, 2013
Light Vs. Dark
I would call myself a sunny person by nature and believe that I come across as quite gregarious and silly. (And maybe I am; you don’t know me.) But in truth, I have times when I am “blue,” fussy, pouty and more often than not like to be alone in order to recharge. I would dare say that I might be shy, but am also very good at being the “center” of attention. All of this is to say that, like most people, I have many moods, sides and colors.
I bring this up as I prepare to play two very different roles. One, Don Pizarro, is an out and out cruel man who is planning to murder Florestan, a political prisoner, in order to keep himself in power. The other, Valentin, is a soldier who only wants to protect his sister. Later when he returns home and finds her pregnant, he simply wants to defend the honor of his sister; in theory a good man. Both roles require a great technique, but make quite different vocal demands. As part of my research, I listen to any and every one I can in order to get a better understanding of the character (and learn how others approach the vocal challenges.) I came across a fascinating production of Faust with baritone Simon Keenlyside singing Valentin which led me to an interview where he spoke about finding the right colors for each character. He spoke of the differences between singing roles like Don Giovanni and that of Pelleas. He based his choices on the personality of the characters themselves and let the music be the guiding force for creating that character.
I must say that I have had fun exploring my darker side as I sing through Pizarro’s music with its constant driving rhythm, sinister tonality and unusual intervals. On top of that, Pizarro’s music and text alternate between the anger (sometimes full rage) he feels and his attempt to mask it by appearing calm and in control, which in some ways is more frightening. To try and get further inside his head I have been watching shows like “Oz”, both the “Battle Royale” and “Hunger Games” films and read the entire “Hunger Games” series to better understand the nature of those who will do anything to stay in power, even murder. I don’t think any character is one-dimensional even though they are usually built on archetypes so now I am in the process of finding what motivates someone to commit such horrible acts and feel that they are “right.” As a side note, I am usually cast as the comedic character or the good guy in the drama, but like many actors, I think we want the challenge of playing against type or at least delving into the darker side of ourselves and bringing that to the stage.
After a short break, I get to sing one of my dream roles: Valentin. I have longed to sing this role since I first heard the aria "Avant de quitter ces lieux" back in my college days and I am happy to finally get the chance. I am fascinated by the many traits he presents. He is at once brave, religious, impulsive, and masculine and yet he is more than just the “good guy.” Valentin's music is very linear, strong and masculine, but in his opening recitative and aria there is a strong sense of vulnerability where we see Valentin's doubt. His surface is the soldier, but his truth (especially when he curses Marguerite) has pain, anger and suffering.
On the surface Valentin is all good. He continues to keep us in this belief when he returns from war and is informed that his sister is in church. However, once he finds out that his sister has become pregnant by Faust and that he and Mephistopheles are out front, he loses his “religion” and simply wants to kill. He becomes mortally wounded while dueling with Faust and when his sister comes to his side, instead of cherishing the final few moments they have together; he tells her that in the event that God forgives her, he still wishes her to be damned. Adding insult to injury he does this in front of the entire village, which only adds to Marguerite’s pain and dismay.
We often talk in terms of light and dark in singing. According to the chiaroscuro school of thought, the voice will have elements of both in a wonderful balance (or tug of war?) Carrying that thought further into creating a character, it seems that both Pizarro and Valentin have both elements (not in balance, however, because who wants to see perfectly balanced characters making good choices on stage?) And I, as an artist, get to find those colors; that balance and find the humanity within them while also delving into my own light and dark for inspiration. Am I lucky or what?
Peace,
Eric
I bring this up as I prepare to play two very different roles. One, Don Pizarro, is an out and out cruel man who is planning to murder Florestan, a political prisoner, in order to keep himself in power. The other, Valentin, is a soldier who only wants to protect his sister. Later when he returns home and finds her pregnant, he simply wants to defend the honor of his sister; in theory a good man. Both roles require a great technique, but make quite different vocal demands. As part of my research, I listen to any and every one I can in order to get a better understanding of the character (and learn how others approach the vocal challenges.) I came across a fascinating production of Faust with baritone Simon Keenlyside singing Valentin which led me to an interview where he spoke about finding the right colors for each character. He spoke of the differences between singing roles like Don Giovanni and that of Pelleas. He based his choices on the personality of the characters themselves and let the music be the guiding force for creating that character.
I must say that I have had fun exploring my darker side as I sing through Pizarro’s music with its constant driving rhythm, sinister tonality and unusual intervals. On top of that, Pizarro’s music and text alternate between the anger (sometimes full rage) he feels and his attempt to mask it by appearing calm and in control, which in some ways is more frightening. To try and get further inside his head I have been watching shows like “Oz”, both the “Battle Royale” and “Hunger Games” films and read the entire “Hunger Games” series to better understand the nature of those who will do anything to stay in power, even murder. I don’t think any character is one-dimensional even though they are usually built on archetypes so now I am in the process of finding what motivates someone to commit such horrible acts and feel that they are “right.” As a side note, I am usually cast as the comedic character or the good guy in the drama, but like many actors, I think we want the challenge of playing against type or at least delving into the darker side of ourselves and bringing that to the stage.
After a short break, I get to sing one of my dream roles: Valentin. I have longed to sing this role since I first heard the aria "Avant de quitter ces lieux" back in my college days and I am happy to finally get the chance. I am fascinated by the many traits he presents. He is at once brave, religious, impulsive, and masculine and yet he is more than just the “good guy.” Valentin's music is very linear, strong and masculine, but in his opening recitative and aria there is a strong sense of vulnerability where we see Valentin's doubt. His surface is the soldier, but his truth (especially when he curses Marguerite) has pain, anger and suffering.
On the surface Valentin is all good. He continues to keep us in this belief when he returns from war and is informed that his sister is in church. However, once he finds out that his sister has become pregnant by Faust and that he and Mephistopheles are out front, he loses his “religion” and simply wants to kill. He becomes mortally wounded while dueling with Faust and when his sister comes to his side, instead of cherishing the final few moments they have together; he tells her that in the event that God forgives her, he still wishes her to be damned. Adding insult to injury he does this in front of the entire village, which only adds to Marguerite’s pain and dismay.
We often talk in terms of light and dark in singing. According to the chiaroscuro school of thought, the voice will have elements of both in a wonderful balance (or tug of war?) Carrying that thought further into creating a character, it seems that both Pizarro and Valentin have both elements (not in balance, however, because who wants to see perfectly balanced characters making good choices on stage?) And I, as an artist, get to find those colors; that balance and find the humanity within them while also delving into my own light and dark for inspiration. Am I lucky or what?
Peace,
Eric
Thursday, August 8, 2013
2013-2014: Four languages, 150 years and a lot of notes
The music of Beethoven, Gounod, J. Strauss II, Henze, Rossini, and Gershwin comprise my upcoming season where I will be singing several new roles and making some wonderful company debuts.
In September I make my role and house debut with Skylight Music Theater (Milwaukee, WI) singing my first Don Pizarro (Fidelio) in an English-language production. Updating the action to mirror a Bollywood film, new Skylight Music Theater Artistic Director Viswa Subbaraman will direct and conduct in his Skylight debut. I am looking forward to another role and house debut when I join Winter Opera St. Louis singing Valentin in their November production of Faust. The production also stars tenor Clay Hilley as Faust, bass Timothy Bruno as Mephistopheles and soprano Julia Ebner as Marguerite. I return to Bel Cantanti Opera (Washington DC) in December to sing Falke in Die Fledermaus marking my fourth appearance with the company having appeared as Sharpless (Madama Butterfly), Figaro (Le Nozze di Figaro) and Taddeo (L'Italiana in Algeri).
January brings an exciting debut singing the title role in Hans Werner Henze's El Cimarron (The Runaway Slave) in a co-production with New York's Center for Contemporary Opera and Skylight Music Theater. The opera is based on the story of escaped Cuban slave Esteban Montejo and premiered at the Berlin Festival in 1970. In March I am excited to return to Opera Naples to sing one of my favorite roles, Figaro in Il Barbiere di Siviglia. I made my Opera Naples debut last season as Theseus in A Midsummer Night's Dream. In April I revisit the music of Gershwin singing excerpts from "Porgy and Bess” with the Lebanon Symphony Orchestra. The concert also features soprano Kearstin Piper Brown.
After a wonderful and busy 2012-2013 season featuring performances with Long Island Opera, Opera Columbus, Bronx Opera, Opera Naples, the Harrisburg Symphony, St. Petersburg Opera, Bel Cantanti Opera and the Center for Contemporary Opera, I am looking forward to a musically diverse and artistically inspiring 2013-2014 season.
In September I make my role and house debut with Skylight Music Theater (Milwaukee, WI) singing my first Don Pizarro (Fidelio) in an English-language production. Updating the action to mirror a Bollywood film, new Skylight Music Theater Artistic Director Viswa Subbaraman will direct and conduct in his Skylight debut. I am looking forward to another role and house debut when I join Winter Opera St. Louis singing Valentin in their November production of Faust. The production also stars tenor Clay Hilley as Faust, bass Timothy Bruno as Mephistopheles and soprano Julia Ebner as Marguerite. I return to Bel Cantanti Opera (Washington DC) in December to sing Falke in Die Fledermaus marking my fourth appearance with the company having appeared as Sharpless (Madama Butterfly), Figaro (Le Nozze di Figaro) and Taddeo (L'Italiana in Algeri).
January brings an exciting debut singing the title role in Hans Werner Henze's El Cimarron (The Runaway Slave) in a co-production with New York's Center for Contemporary Opera and Skylight Music Theater. The opera is based on the story of escaped Cuban slave Esteban Montejo and premiered at the Berlin Festival in 1970. In March I am excited to return to Opera Naples to sing one of my favorite roles, Figaro in Il Barbiere di Siviglia. I made my Opera Naples debut last season as Theseus in A Midsummer Night's Dream. In April I revisit the music of Gershwin singing excerpts from "Porgy and Bess” with the Lebanon Symphony Orchestra. The concert also features soprano Kearstin Piper Brown.
After a wonderful and busy 2012-2013 season featuring performances with Long Island Opera, Opera Columbus, Bronx Opera, Opera Naples, the Harrisburg Symphony, St. Petersburg Opera, Bel Cantanti Opera and the Center for Contemporary Opera, I am looking forward to a musically diverse and artistically inspiring 2013-2014 season.
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