Comedy to the rescue

Oh, the weather outside is frightful, but the operas I am working on are delightful. After spending six weeks immersed in the world of Hans Werner Henze’s masterpiece “El Cimarron” and suffering the super chilly temps of my arch nemesis Polar Vortex, I am grateful for the music of Rossini and Mozart to bring me back to a bit of sanity. “The Magic Flute” and the lesser-known Rossini gem “L’occasione fa il ladro” remind me what a joy it is to sing comedic works and warms me from the inside no matter how cold it is outside.

“The Magic Flute” is being performed by the Metropolitan Opera Guild and will tour to schools throughout New York City. The Universe (God, luck, coincidence or whatever you like to call it) brought this opportunity to me through a series of events that began about a year ago. The Metropolitan Opera Guild was looking for teaching artists go into schools and introduce opera while working alongside educators to implement core content standards. With my background in arts education and my performing experience, I knew that this would be an ideal pairing. After a wonderful (and intense) interview process, I was hired and yet my performance schedule kept me from attending the teaching artist training sessions. I knew that I would be able to attend a future training session so I kept them on my radar hoping that other opportunities would arise…and they did. First, the Met Guild, who had always brought schools to the MET, decided it was time to take opera to the schools. They selected a reduced version of the Metropolitan Opera’s current English translation of “The Magic Flute” and set about to find singers who had in-school experience and the chops to sing it at 9:30 am. Second, the Director of Education knew me from my apprentice days at Nashville Opera where he was the former Director of Education. During that time we toured (you guessed it!) “The Magic Flute” and he remembered me and asked if I would be interested. Third, I happened to be free and able to attend the rehearsals and performances (in the a.m.) and there was little conflict with the Rossini opera. It was a go! So from this I have learned several things: you go in for something and yet you get something much greater based on your experience and those who know you. When they say the opera world is small, they really mean it!

At the same time, I am singing the role of Don Parmenione (think George Clooney meets Pepe LePew without the smell) in Little Opera Theatre of New York’s updated production of “Opportunity Makes the Thief.” We are performing the piece in English and setting in the 60s near the Almafi Coast. I marvel at the comedic genius of Rossini and this early one-act opera has a definite connection to Mozart that at certain points you feel as if Wolfgang himself had a hand in writing the opera. The production features some wonderful talent and also gives me another chance to sing in NYC. I enjoy singing in the City for several reasons: 1) I get to go home and sleep in my bed every night. 2) I get to work with singers whose careers are in motion (and some that I’ve worked with before!) so we all get to sit around and talk “shop,” have fun and learn a thing or two about technique by listening and 3) Little Opera Theatre of New York is part of the New York Opera Alliance, a consortium of NYC based opera companies that produce everything from standard rep to lesser-known works to contemporary operas. I have already had the pleasure of singing with other members, Bronx Opera and the Center for Contemporary Opera and because there is such depth of opera in the city, more and more of these companies are getting recognized by various reviewers including Opera News which shows that not only is opera alive and well, but incredibly diverse and vibrant.

Even though the threat of snow, ice and wind chills that seem more at home in Antartica continue to plague the city, I am grateful for the sparkling music of Rossini and Mozart. Besides being musically satisfying to sing, the warmth of Papageno and the suave elegance of Don Parmenione keep me all smiles and fill my brain with great melodies and my heart with warmth.

Peace,

Eric

Is it really 2014?!

I debated for many days what to write for my first post of 2014. Should it be an insightful look at the current production that is taking place? Should it be words of inspiration about the upcoming year and what is ahead of me? Or should it be something light and fun since I feel like my last few posts have been so serious?

I have been performing a piece called "El Cimarron" by Hans Werner Henze. It recounts the story of Esteban Montejo, a slave in Cuba who ran off to live in the woods, returned to civilization following the abolition of slaves, worked in the sugar fields, became a revolutionary during the Cuban-Spanish war and then went off to live life alone. Pretty heavy stuff.

I know, I'll tell you how I unwind! I love movies and television. I haven't had the luxury of going to movies as I am in one of the coldest places in the US and there are no movie theaters nearby. So I have been huddled up in my (very warm) hotel room watching television to keep my mind entertained (and sane) when I am not working on "El Cimarron" or the other two operas that on the horizon.

So here is my list of things to watch:

1. American Horror Story: Coven. Ryan Murphy and Brad Falchuk continue to give us a frightening look at human behavior, but beautifully masked within the confines of a witch tale. Issues of race, gender, the (un)subtle conflict between the quest to remain young versus how the young and beautiful are viewed between women and how human beings react when placed in extreme situations are all present. However, just when you think the show is trying to push these themes down your throat, you find yourself laughing at the high level of camp that gives this season a much lighter feel. It perfectly balances the dark actions and situations and continues to enthrall.

2.Downton Abbey. I saw season 1 and fell in love. I did not see seasons 2 or 3, but by George, I was bound and determined to watch the season 4 premiere. So I did what anyone needing to catch up would do. I turned to the Internet and read all the spoilers and watched all the recaps in order to get caught up. In those 35 minutes of reading and viewing, I gasped out loud several times, but I was ready for season 4. The 2-hour premiere episode took time to regain it's momentum, but I feel like this season will present even more challenges for the main characters as alliances and secrets will continue to crumble and spill out.

3.Cutthroat Kitchen. Alton Brown seems downright sadistic as the host of this show where chefs are not only called on to create dishes on the fly, but sabotage is served up in ample portions. The tension and psychological game play are so fun (and sometimes unnerving) to watch that it really doesn't matter about how the food tastes. This show is all about the process versus the product, yet it is the product that sends one home or gets them the prize. How big that prize is depends on how much the winning chef spends in order to make their opponents cooking trials difficult.

4.Speaking of food, if you're not watching Bob's Burgers, then you are missing one of the funniest animated shows on TV. Bob Belcher, his wife Linda and their three children are just like any other family trying to run a hamburger joint where the daily specials have names like "The Cauliflower's Cumin from inside the House Burger" or "Home for the Challah-Days Burger." The only difference is that they are CRAZY! I find myself laughing so hard at the antics of this misfit family who just wants to be successful. Most interesting are the three children who range from the always-slightly depressed-but-often optimistic Tina, the odd-ball, but endearing son Gene, or the devilishly insane Louise who is a pint-sized Tasmanian Devil in a cute pink hat. It takes about three our four episodes to understand the flow, but once you do, it is a pure delight!

5. Chopped. Chefs compete to create world-class cuisine using mystery basket ingredients that often do not go together and must do it in an allotted amount of time. They are then judged and one chef after another is eliminated until a Chopped Champion is named. Pure adrenaline meets incredible creativity. Note: Don't watch this when you are hungry and have nothing in the house as you will most likely make something that would get you chopped in the first round.

6. I have a crush on Mindy Kaling. She is absolutely hysterical on her show The Mindy Project. Nothing is funnier than people who are professionally adept, but emotionally a mess and this show has a host of characters that will delight you and make you cringe. But what sets this dysfunctional work-place comedy apart from many of the others is the complicated (and very interesting) relationship between Dr. Mindy Lahiri and Dr. Danny Castellano, played by the wonderful Chris Messina. The two have a great chemistry that seems ideal for a romantic relationship, but the only problem is that they seem to not get along. And yet when they do, it is quite lovely against the kookiness of the show.

7. Project Runway. Fashion design, high-pressure challenges, incredibly knowledgeable judges and some of the most interesting up-and-coming talent in the field makes this show a massive success. Each season serves up all the drama and style we love, but keeps it fresh with new contestants and surprising challenges. Add in the mentorship of Tim Gunn and you have a perfectly fashionable show.

8. The show that no one knows (unless they are under the age of 10) is the charming animated series Steven Universe. Everything from it's anime-inspired look to it's sweet story of a young Steven Universe trying to discover his gem powers under the guidance of three very different Crystal Gems named Garnet, Amethyst and Pearl make it a must-see. Each of the Crystal Gems work to save the world while acting as a mentor for Steven. Steven has strong power, but no idea how to wield it and the three Crystal Gems are quite different personality wise with one being brainy, one being a wild-child and one being very Zen. A bonus is that Garnet is voiced by English R and B singer Estelle.

9. What do you get when you have a nighttime soap opera about a woman involved with a married man? What if that man were the President of the United States? And what if it was the job of that woman to "fix" Scandals in Washington DC while trying to figure out the twisted web of lies, deceit and secrets that surround her and the ones she holds most dear? Well, then you would have Scandal starring the beautiful and amazing Kerry Washington as Olivia Pope. What is most intriguing about this show is the delicate balance of the characters, all trying to live and love while also shielding dark secrets. Olivia's own past with her mother and father are merely a personal commentary on the twisted and often shocking situations that she and her associates (warriors they call themselves) are asked to fix. Just when you think you have something figured out, a fascinating twist comes and knocks you on your ass. I have screamed at the TV several times in disbelief. Fun, fast and at times eerie as you question how much of this is based on the real inner-workings of Washington DC.

10. I love, love, love The Amazing Race. Contestants from all walks of life compete on a whirlwind race around the world completing challenges all while trying to come in first. The last team standing wins a million dollars, but for me I love watching the relationships and how teams work together. It doesn't take long to pick out my favorite teams and cheer for them to win, but I also love watching teams learn to communicate or not as they face difficulty after difficulty. It's AMAZING!

Other shows that I like, but didn't make my top ten are Veep, Brooklyn Nine-Nine, Giada at Home, American Dad, Revenge, Love it or List it and House Hunters. There are also several shows I have not seen, but are on my radar to see: Breaking Bad, Girls, True Blood, Orphan Black, Portlandia, Helix, Masters of Sex, Don't Trust Andrew Myre, Game of Thrones and Chozen.

Basically, I love TV and it helps balance the solidarity of learning music, traveling and having to be a disciplined singer.

Happy New Year!

2013: The Year in Review

I’m not one to normally reminisce mainly because I try to focus on the now. I am also fortunate to have many wonderful things keeping me motivated to stay here in the present. But as I sit here in Milwaukee during tech week for a fantastic piece that at first glance seemed like an impossible venture, I think back to how things have changed for the better over the last year. Anyone who knows me knows that I like to collect useless data (such as who are the frontrunners in the Oscar race or which opera singers are singing what repertoire.) So I decided to put that “nerdy” side of myself to work and share some statistics from 2013.

From January to December I sang eight roles, seven of them new. I was lucky enough to sing Rossini, Britten, Verdi, Puccini, Beethoven, Gounod, Johann and Richard Strauss. I also performed excerpts from a new opera by living composer Todd Goodman. When I wasn’t onstage, I was auditioning. I did 14 auditions and received 6 contract offers (I had to turn down 3 of the contracts due to scheduling issues, but hopefully I will get to work with those companies in the future.) That’s a 42% average which is pretty darn good when you consider the industry standard is 1 job for every 10 auditions.

In addition to tons of music, I did tons of traveling. The year brought me to Naples, FL (in February no less), Harrisburg, PA, Washington DC, St. Petersburg, FL, Milwaukee, WI and St. Louis, MO. I endured delayed flights, late luggage and hours spent on busses, trains and planes. I spent 19 weeks away from home singing and (luckily) five weeks singing in the City (Bronx Opera and the Center for Contemporary Opera.)

The roles came in the four standard operatic languages: Italian, English, German and French. I spent so much time memorizing text and music that I am certain my brain has grown two sizes. I worked with over 100 singers, 9 conductors, 6 stage directors (some twice) and one choreographer whose demanding phrase “Again!” still makes me chuckle whenever I think about it. Many of these artists inspired me with their talent, dedication and passion for opera.

As 2013 winds down and I prepare for a busy 2014, I take this brief moment to acknowledge the amazing path I am walking. Just a few years ago I had given up and now I am blessed to be doing exactly what I love with many wonderful performance opportunities on the horizon. In addition to all of this, I got engaged and am getting married at the end of August. This year has been absolutely amazing and I expect 2014 to be even better. But I am here, in this moment and what I have before me is study and rehearsal. So back to work I go!

Peace,

Eric

What the fach is with all this self-imposed labeling?

I recently read a post from an artistic director about a 19 year-old soprano looking to audition who called herself “a young dramatic soprano.” The artistic director was immediately put off mainly because the girl who was still learning how to sing had already labeled herself and was hoping to audition under that label. I thought that this was a rare phenomenon, but I recently heard several young singers proclaiming themselves as a Verdi this or a Puccini that. I was surprised because many of these singers were making these assessments based on their own small singer friend arena and not on the knowledge and experience of international level teachers, conductors or coaches. I find it fascinating that singers who are in the beginnings of their careers and still fine-tuning their techniques are so certain of what their voices are. We all have to sing the roles that are right for our voices and there certainly are young singers with big voices. A tenor with a fuller instrument may not be able to negotiate the demands of Mozart’s Ferrando, but does that mean he jumps right into Calaf?

I have always been reticent to call myself anything besides a baritone. (And that took several years as when I was younger some people thought I might be a tenor.) Labels like lyric, dramatic, Verdi, bel-canto are helpful when one is trying to figure out which roles to sing, but if you’ve never done any of those roles, how can deem yourself a specialist? I would love to focus on the operas of Rossini Donizetti, Verdi and the French repertoire, yet I am just NOW getting hired to sing those roles. Later in the season, I will be singing my fifth Rossini role (which I love) and I would be more than happy to sing as much Rossini that comes my way, but a few years ago as much I wanted to sing every Rossini baritone role, I had to first learn how to sing.

In our fast-paced and competitive society, everyone wants to stand out. But something people forget when they label themselves in an attempt to be categorized, once you call yourself a Wagner soprano, you place the expectation of what Wagner sopranos who are working sound like. Soprano Christine Goerke recently had a smashing success as the Dyer’s Wife in Strauss’ “Die Frau ohne Schatten.” She always had a large instrument and yet she sang Mozart, Handel, and Gluck roles early on and is just now taking on Turandot, Ariadne and the heavier Strauss and Wagner roles. This explains why she has survived for so long. It’s been a slow ascent, but now she is poised to be one of the most exciting dramatic voices of our generation.

Instead of placing a stamp on one’s self early in the process, I think it’s important to have a sold technique. Once the contracts start coming in and companies start hiring you for a specific composer several times, then perhaps the label can be added to the voice type. Until then be a mezzo or a baritone and sing your audition arias (lyric something or other) well. Yes, they should all be of the same fach to avoid confusion, but some wonderful advice I’ve always heard is to ere on the lighter side. Do you want to call yourself a big-voiced lyric (who sings in big houses all over the world) or a lighter-voiced self-labeled dramatic who has no idea if they can even sustain the entire role let alone over an entire orchestra in a large hall.

Peace,

Eric

Grateful to Opera

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

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

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