No matter what happens, the show must go on! Many of us in the performing arts have heard it said, but it's when things seem to be most out of our control that this old adage rings true.
I am currently singing the role of Jake in the National Tour of Porgy and Bess and have racked up at least 40 performances. (I stopped counting somewhere between San Antonio and Sarasota.) Most of the performances have been "business as usual" with my cast mates giving 150% and each performance ending with an overwhelming standing ovation. It wasn't until a recent performance in Charlotte, NC that I realized that being a performer means anything, and I mean anything can happen.
Case and point: Following the 20-minute intermission of our recent Saturday evening performance, Jake is set to descend a flight of stairs while announcing to his wife that he is on his way out to sea. It's a beautiful moment that foreshadows the storm that will eventually destroy Jake's boat and cause Clara to run into the storm looking for him. The sound of chimes ringing signals the curtain to rise. The curtain began its slow rise as I began my descent down. The curtain however had a different idea in mind and got caught causing it to lower as I was getting close to singing my opening line. As my music approached, the curtain moved up and down forcing me to fight to see the conductor and get the first line out before the curtain completely covered the scene. Finally giving up, the curtain hit the floor setting of a chain reaction that made the conductor stop the orchestra, the audience to laugh and me to climb back up the stairs with a puzzled look on my face. Before I had a moment to settle, the chimes and curtain began their synchronized dance only for the curtain to again get "stage fright" and lower itself. By this point, I laughed as I wondered how things would turn out. Would the show go on? Would we start over or simply skip my scene altogether? All of this was racing through my mind as I reminded myself to be the consummate professional and just go with the flow. Finally on the third attempt the curtain went up (but only half-way) framing the scene like an odd peep-show where the customer had only put in enough money to view a portion of the show. On the last note of the fisher men's song the curtain, assured of its purpose, went all the way up revealing the entire set and adding dramatic weight to my character's exit. The audience applauded I'm sure with a mix of joy and relief.
I was not the only person to experience an "unusual" performance. Following the show, the lovely soprano who sings my wife was attending the meet and greet portion of the evening where fans of the show come backstage and express how much they enjoyed the performance and in particular, the person they are speaking to. For her, all was normal, until a well-meaning patron made his way over to her. She expected the usual "Your aria was beautiful," "Your performance was moving," etc...but instead the patron simply shook her hand and said that she was holding the baby incorrectly. After a moment of "What?" she gathered her wits about her and simply nodded and smiled. She realized that when you put yourself out there as a performer you not only invite praise, but also critiques from the audience member who is convinced that what they have to say is the end-all-be-all to the newspaper critic who may not like the color of your outfit (or how you hold the baby,) thus affecting how they view your entire performance.
Nothing makes things more unexpected than the arrival of allergens. I often think of them as uninvited party guests. They show up and never seem to want to leave and bring nothing but trouble. Several singers were suffering from some sort of reaction and it actually caused one of the main characters to lose the top part of his voice during the performance. Nothing is more frightening for a singer than losing one's voice. Luckily the company employs covers (understudies) to be ready on a moment's notice. It's often a daunting task to jump into a role when you haven't had the luxury of performing it multiple times. It's even scarier when you have to do it mid-performance. But that was exactly what happened. Because he went on in the role he covered for his colleague, his cover was then bumped up to perform the roles now left vacant. Because we are paid to be ready and live by the idea that the audience deserves the best show possible, the shifts must appear seamless, no matter how much sweat, blood and tears are happening backstage.
The reason we perform is that it allows up to reveal and revel in our true selves. We work hard to make sure those mechanical things, the voice, the performance, the sets, costumes, curtains etc...are all lined up so that can free ourselves and bring truth to the characters we play. But sometimes all that planning gets thrown out the window and we have to deal with the present moment ( a curtain that wants a starring role, a "critic" who wants to have their voice heard or a voice that simply needs to rest) and yet the show waits for no man (or woman) and we must keep going no matter what and rely on the training of being a true professional to get us through.
Peace,
Eric
Wednesday, May 19, 2010
Thursday, April 1, 2010
You better work!
The current economic state presents opera singers with the challenge of being gainfully employed throughout the year. In the good times, singers had to hustle to be employed full-time, but now it seems that more and more singers are struggling to find work. So what does a singer do to ensure that they can spend more time singing and less time worrying?
A change of attitude towards the business is necessary. Take a look at the number of singers you know who are working. If you can name ten, that means that it is possible and you can release the belief that there isn't enough work. Next a singer must accept that they are the CEO of their own product. The singer has to know what their brand is and where it fits into the market. Are you a sexy Mozart singer? Are a you a dramatic voice with an imposing frame? Are you a singer who can play comedy well? It takes the fach categorization one step further. We have to discover our niche in an over-crowded field and how we stand out.
If you are an independent singer, you have to think of yourself as your own agent. Now this can be tricky as those in power are much more comfortable working with agents versus artists. However, artists who have a comfortable relationship with an opera company should be able to talk fairly openly with the company about audition feedback and possible casting choices.
When you have a relationship with a company it's important to keep them informed. Opera companies hear from singers every day. Some are singers they know, some are unknown, some they really love, some they like, but have nothing for (yes this does really happen) and some who seem to not make an impression. It's not uncommon for the powers that be to have thousands of singers in their database (or heads) and a simple e-mail or postcard letting them know what you are doing puts you in their consciousness and let's them see that you are working (and worth hiring.)
The other thing we can do is always be amazing. This is the hardest part, but knowing how competitive this field is, why would we not give ourselves every advantage? Every time we get a chance to sing in public, it should be as if we are performing at the highest level and think that a job could come out of it (and there are times that this does happen.)
Just like Heidi Klum says "Somedays you're in, somedays you're out." Opera is a fickle business so that means we need to be prepared for anything. As the CEO of Opera Singer Extraordinaire Inc., we have to keep our business ahead of the game, competitive and offering a product that is amazing, interesting and one that people want.
Peace,
Eric
A change of attitude towards the business is necessary. Take a look at the number of singers you know who are working. If you can name ten, that means that it is possible and you can release the belief that there isn't enough work. Next a singer must accept that they are the CEO of their own product. The singer has to know what their brand is and where it fits into the market. Are you a sexy Mozart singer? Are a you a dramatic voice with an imposing frame? Are you a singer who can play comedy well? It takes the fach categorization one step further. We have to discover our niche in an over-crowded field and how we stand out.
If you are an independent singer, you have to think of yourself as your own agent. Now this can be tricky as those in power are much more comfortable working with agents versus artists. However, artists who have a comfortable relationship with an opera company should be able to talk fairly openly with the company about audition feedback and possible casting choices.
When you have a relationship with a company it's important to keep them informed. Opera companies hear from singers every day. Some are singers they know, some are unknown, some they really love, some they like, but have nothing for (yes this does really happen) and some who seem to not make an impression. It's not uncommon for the powers that be to have thousands of singers in their database (or heads) and a simple e-mail or postcard letting them know what you are doing puts you in their consciousness and let's them see that you are working (and worth hiring.)
The other thing we can do is always be amazing. This is the hardest part, but knowing how competitive this field is, why would we not give ourselves every advantage? Every time we get a chance to sing in public, it should be as if we are performing at the highest level and think that a job could come out of it (and there are times that this does happen.)
Just like Heidi Klum says "Somedays you're in, somedays you're out." Opera is a fickle business so that means we need to be prepared for anything. As the CEO of Opera Singer Extraordinaire Inc., we have to keep our business ahead of the game, competitive and offering a product that is amazing, interesting and one that people want.
Peace,
Eric
Monday, March 8, 2010
Advice for being on the Road
I have embarked on my first national tour and I can say is that there is no preparation for this kind of work. You prepare for the singing, the acting, but no one tells you about the cramped dressing rooms, the behind-the-scenes intrigue or the bus bathroom that smells like something the cat just covered up in its litter box. Nonetheless, I have to express a sheer joy at being an employed singer singing one of the great American operas.
Traveling with a cast of 30, an orchestra of 18, a company manager and performing a show every night can wear a person down and cause a person to act in a "crazy" way. So in an attempt to give some insight into how to survive a national tour, here are five simple rules:
1) Be on time. If you are late, it shows that you think your time is more important than everyone else and makes you look like a jerk. In the event that you are late, apologize to your colleagues as it lets them know that you are aware that you have wasted their time.
2) Keep your complaining to a minimum. Nothing is less attractive to your colleagues and those in power than someone who has a complaint about everything. Of course we want everything to be "perfect," but the reality is that sometimes things don't work out. Unless it is specifically your job, know that the tour manager will work out the issue and it's your job to be rested and prepared to perform. Also, people who tend to complain and complain tend not to get rehired. Don't let your constant complaining be the "audition aria" that keeps you from getting the job.
3) Remember why you are on the road. I sometimes see singers forget that the tour is a job and the expectation is that you deliver the expected product. We are singers first and everything else second. It's important to be rested, prepared and focused. If someone is paying you to sing, then the expectation is that you will sing (and sing well!)
4) On days off, do something fun. Tours can be grueling, so it's necessary to have some fun. Go to a movie, get a great meal, have a drink with your colleagues or lay in bed and watch TV, eat ice-cream and clip your toenails. Whatever it is that you enjoy.
5) Be grateful. If you are fortunate enough to get a job singing, remember to be grateful as there are hundreds of singers who would kill for this experience.
By following these simple rules, the national tour will be a fun, festive experience that keeps a smile on your smile and a song in your heart.
Peace,
Eric
Traveling with a cast of 30, an orchestra of 18, a company manager and performing a show every night can wear a person down and cause a person to act in a "crazy" way. So in an attempt to give some insight into how to survive a national tour, here are five simple rules:
1) Be on time. If you are late, it shows that you think your time is more important than everyone else and makes you look like a jerk. In the event that you are late, apologize to your colleagues as it lets them know that you are aware that you have wasted their time.
2) Keep your complaining to a minimum. Nothing is less attractive to your colleagues and those in power than someone who has a complaint about everything. Of course we want everything to be "perfect," but the reality is that sometimes things don't work out. Unless it is specifically your job, know that the tour manager will work out the issue and it's your job to be rested and prepared to perform. Also, people who tend to complain and complain tend not to get rehired. Don't let your constant complaining be the "audition aria" that keeps you from getting the job.
3) Remember why you are on the road. I sometimes see singers forget that the tour is a job and the expectation is that you deliver the expected product. We are singers first and everything else second. It's important to be rested, prepared and focused. If someone is paying you to sing, then the expectation is that you will sing (and sing well!)
4) On days off, do something fun. Tours can be grueling, so it's necessary to have some fun. Go to a movie, get a great meal, have a drink with your colleagues or lay in bed and watch TV, eat ice-cream and clip your toenails. Whatever it is that you enjoy.
5) Be grateful. If you are fortunate enough to get a job singing, remember to be grateful as there are hundreds of singers who would kill for this experience.
By following these simple rules, the national tour will be a fun, festive experience that keeps a smile on your smile and a song in your heart.
Peace,
Eric
Wednesday, February 10, 2010
What not to sing
One of my favorite television shows is "What Not to Wear." Show hosts Stacey London and Clinton Kelly secretly video tape unsuspecting folks in dire need of a makeover before ambushing them in public (along with the assistance of several friend and family) in order to let the person of questionable stylistic taste know that they need to throw out the old and embrace the new. Usually there are tears, fears and leers as the "project" surrenders to the rules, goes shopping for two days and gets a fresh new hair cut and make-up lesson from cohorts Nick Arrojo and Carmindy. By the end of the episode the poorly dressed has seen the error of their ways and is reformed into a stylista who is ready to show off their sparkling new look and attitude.
I began thinking what it would be like if there were a version of this for opera singers. Singers who are in need of an audition aria make over would hear why their current repertoire is unflattering and not presenting them in their best light. Like "What Not the Wear," I'm certain that the unsuspecting opera singer would resist kicking and screaming that what they offer is best for them and they don't need to change. The “experts” would listen to their offered five and give feedback on what was good about it and what "showed them up." After learning about the singer’s voice, the experts would introduce the rules (or things that the singer’s voice does well) and offer suggestions on what rep would really make their talents stand out. Of course, the opera singer would have to surrender their ego and listen and try out the new rep in order for the make over to be a complete success.
As I continue doing auditions, I realize that when you are doing the mainstage audition circuit, most of the voices are pretty good and it boils down to what a singer sings and how well they sing it. My early journey of discovering the right rep was not so easy. Often one “expert” would say this and another “expert” that and it all sounded very confusing. Thank goodness for the voice teacher and coach who knew my voice, but I still felt like I hadn’t unearthed what it was I did best (and could make me competitive.) That was until I found those five arias that I felt that I could sing at anytime of the day, anywhere and even if I felt less than perfect. I tried on many operatic arias, before finding the ones that fit.
While I would never place myself in the category of an “expert,” I think it’s always wise not to sing things that show what you can’t do versus what you can do. Why give the people listening the chance to notice that you don’t do the traditional float of a high note, that your coloratura is unclean or that you really don’t know the meaning of what you’re singing about? At the end of the day, those listening want to be dazzled. So it is our job to sing things (according to our particular vocal type and style) that give the best impression. Every aria we sing in an audition should be like our favorite outfits we wear: cute, comfortable, stylish and when people see (or hear it) they offer many complements.
We all need guidance and if we repeatedly hear that “what we are wearing” vocally isn’t suited to us, then it might be smart to go to an “expert” and get a real assessment so that when you walk into that audition, you have the best "suit" of arias. Instead of saying “Well, that wasn’t so hot.” They’ll say something to the equivalent of Stacy’s “Shut the front door!” as we show ourselves wearing our best vocal fit.
Peace,
Eric
I began thinking what it would be like if there were a version of this for opera singers. Singers who are in need of an audition aria make over would hear why their current repertoire is unflattering and not presenting them in their best light. Like "What Not the Wear," I'm certain that the unsuspecting opera singer would resist kicking and screaming that what they offer is best for them and they don't need to change. The “experts” would listen to their offered five and give feedback on what was good about it and what "showed them up." After learning about the singer’s voice, the experts would introduce the rules (or things that the singer’s voice does well) and offer suggestions on what rep would really make their talents stand out. Of course, the opera singer would have to surrender their ego and listen and try out the new rep in order for the make over to be a complete success.
As I continue doing auditions, I realize that when you are doing the mainstage audition circuit, most of the voices are pretty good and it boils down to what a singer sings and how well they sing it. My early journey of discovering the right rep was not so easy. Often one “expert” would say this and another “expert” that and it all sounded very confusing. Thank goodness for the voice teacher and coach who knew my voice, but I still felt like I hadn’t unearthed what it was I did best (and could make me competitive.) That was until I found those five arias that I felt that I could sing at anytime of the day, anywhere and even if I felt less than perfect. I tried on many operatic arias, before finding the ones that fit.
While I would never place myself in the category of an “expert,” I think it’s always wise not to sing things that show what you can’t do versus what you can do. Why give the people listening the chance to notice that you don’t do the traditional float of a high note, that your coloratura is unclean or that you really don’t know the meaning of what you’re singing about? At the end of the day, those listening want to be dazzled. So it is our job to sing things (according to our particular vocal type and style) that give the best impression. Every aria we sing in an audition should be like our favorite outfits we wear: cute, comfortable, stylish and when people see (or hear it) they offer many complements.
We all need guidance and if we repeatedly hear that “what we are wearing” vocally isn’t suited to us, then it might be smart to go to an “expert” and get a real assessment so that when you walk into that audition, you have the best "suit" of arias. Instead of saying “Well, that wasn’t so hot.” They’ll say something to the equivalent of Stacy’s “Shut the front door!” as we show ourselves wearing our best vocal fit.
Peace,
Eric
Thursday, February 4, 2010
Character Discovery
The opera world is filled with great traditions. From fabulous singers who redefined roles, to conductors who re-envisioned scores to composers who evolved the musical language of music theatre, there is a wealth of information available to an artist venturing on the formidable task of recreating a role.
As opera singers we are called upon to take these great works with their myriad of traditions and reinvent them for a modern audience. Of course our first step is to know the traditions so that we can honor the past and pick and choose what things to carry over into our performance. Often we get all the information from the past and try and integrate it into our current selves. The best performers are those who seem to easily meld the past with the present giving us a whole new future of a particular role.
I have been thinking about this quite a bit as I discover the role of Jake. This is my first Porgy and Bess and while I know the music so well that I am humming it all the time (literally all the time!) I am still discovering the "secrets" of the characters of Catfish Row. I am fortunate that this particular production affords the luxury of a long rehearsal period. I am also lucky that there are two singers for each Porgy and Bess and that the other singers range in experience from many productions of Porgy and Bess to novices like myself. Everyone brings their A-game, but it's also really fascinating to watch those who know "share their knowledge" and those who are just learning, discover.
Part of my process for the role of Jake has been creating relationships with the other characters. How does Jake feel about Porgy, Bess, Serena, Lily, Peter, Crown, Robbins etc...Just as I come up with a concrete idea, I find that it changes when another singer steps into that role. An example of this is when Jake pokes fun at Porgy about being attracted to Bess. With one Porgy, I find that his take on this ribbing runs very deep and it causes my character to feel quite remorseful. With another Porgy, I find that Jake takes on a less remorseful vibe and has more of a conflict with the members of Catfish Row who think his joking has gone too far. While these interactions are probably too small for the audience to pick up on, they help create a realism for me and the other actors and keeps me on my toes and in the moment.
Another interesting journey has been discovering the relationship of Jake and Clara and not only how they feel about each other, but what they mean to the neighbors of Catfish Row. I am very fortunate that both the Clara and Clara cover like creating a through line for this adorable husband and wife who are able to laugh and love while maintaining a deep bond.
It reminds me again of the great challenge of being an opera singer. Just as we practice and practice to get our voices to do the exact demands the composer wished for, we must also spend time to uncover the meanings of the text and the dramatic situation. Our ultimate goal is to create characters who are vocally and dramatically thorough. Of course the composers and librettists have given us many clues into the minds of these characters, but there are also great interpretations to be studied and learned from. Finally we have our own sensibilities that lead us down the road of discovery and closeness with the characters whom we inhabit for three to five hours. What an extraordinary profession we have, indeed!
Peace,
Eric
As opera singers we are called upon to take these great works with their myriad of traditions and reinvent them for a modern audience. Of course our first step is to know the traditions so that we can honor the past and pick and choose what things to carry over into our performance. Often we get all the information from the past and try and integrate it into our current selves. The best performers are those who seem to easily meld the past with the present giving us a whole new future of a particular role.
I have been thinking about this quite a bit as I discover the role of Jake. This is my first Porgy and Bess and while I know the music so well that I am humming it all the time (literally all the time!) I am still discovering the "secrets" of the characters of Catfish Row. I am fortunate that this particular production affords the luxury of a long rehearsal period. I am also lucky that there are two singers for each Porgy and Bess and that the other singers range in experience from many productions of Porgy and Bess to novices like myself. Everyone brings their A-game, but it's also really fascinating to watch those who know "share their knowledge" and those who are just learning, discover.
Part of my process for the role of Jake has been creating relationships with the other characters. How does Jake feel about Porgy, Bess, Serena, Lily, Peter, Crown, Robbins etc...Just as I come up with a concrete idea, I find that it changes when another singer steps into that role. An example of this is when Jake pokes fun at Porgy about being attracted to Bess. With one Porgy, I find that his take on this ribbing runs very deep and it causes my character to feel quite remorseful. With another Porgy, I find that Jake takes on a less remorseful vibe and has more of a conflict with the members of Catfish Row who think his joking has gone too far. While these interactions are probably too small for the audience to pick up on, they help create a realism for me and the other actors and keeps me on my toes and in the moment.
Another interesting journey has been discovering the relationship of Jake and Clara and not only how they feel about each other, but what they mean to the neighbors of Catfish Row. I am very fortunate that both the Clara and Clara cover like creating a through line for this adorable husband and wife who are able to laugh and love while maintaining a deep bond.
It reminds me again of the great challenge of being an opera singer. Just as we practice and practice to get our voices to do the exact demands the composer wished for, we must also spend time to uncover the meanings of the text and the dramatic situation. Our ultimate goal is to create characters who are vocally and dramatically thorough. Of course the composers and librettists have given us many clues into the minds of these characters, but there are also great interpretations to be studied and learned from. Finally we have our own sensibilities that lead us down the road of discovery and closeness with the characters whom we inhabit for three to five hours. What an extraordinary profession we have, indeed!
Peace,
Eric
Tuesday, January 26, 2010
Career versus craft
As opera singers we spend years and years (and sometimes more years) and thousands and thousands (and sometimes more thousands) of dollars trying to have an opera career. We've studied and rehearsed and polished in an attempt to get our careers going. And yet some singers make it look so easy going from school to major Young Artist Program while other singers seem to be unable to put all the pieces together even if they seem to have all the elements.
After speaking to a friend recently who was experiencing tons of doubt, it made me wonder if perhaps we singers get trapped worrying more about the career and not refining the craft. Some would say that what we do is not "rocket science" and yet there is a great deal of mystery to the art of not only singing well, but being a compelling artist who not only dazzles vocally, but has the ability to make an audience want to watch them onstage for three to five hours. In addition, the expectation is that the singer will also be attractive enough to show that opera is filled with sexy, talented performers dispelling the myths of the large-sized opera singer with horns. It can be a lot of pressure.
For certain singers, their is an obsession with the "career." They are often in the know about every component of the opera world from who is singing where, who is hiring whom and have an opinion of who is at the top of their game who needs to hang it up. They know which singers, agents, coaches and programs are hot and which ones are not. They have the best headshots, well-crafted resumes, have a dynamic website and seem to know everyone in the "business"and yet they don't seem to be working.
Before taking a break from singing, I was experiencing some success--at least with Young Artist Programs. I was going from program to program because in way it was a form of security. While I was getting hired to do YAPs, I was not getting invited to sing leading roles. Was I not good enough? I decided to get the website, study resumes, follow singers and find fault with those not hiring me. I became very disillusioned and ultimately stepped away. It wasn't until I started working with singers that I realized how much "control" the singer actually has over their career, but it all came down to their "craft"
What is "craft?" The craft is the thing we present-our voice/technique, languages and style and our dramatic connection. The ability to sing/perform like a top pro seems to be the only way to get the "career." Singers who come unprepared musically, dramatically, linguistically or who are not singing at the expected level tend to not get hired. If you are hearing the same things over and over, then at some point the artist has to say one of two things 1) I am going to fix this in order to move to the next level or 2) My voice doesn't do that and they have to accept me as I am. Think about the singers who are having success and notice the risks they take, the level of preparation they invest and how they manage their lives and their careers.
In the "old days," singers had sponsors, several voice lessons a week, conductors who taught roles and the time and space to nurture their talent. Today's fast-paced lifestyle does make it tough to simply get a voice lesson, but again it's a great opportunity to take "control" of our own destiny. No longer do we have to rely on our teacher, coach, friends or enemies to tell us how good we are. We are able to decide for ourselves the level of commitment we put into how great our product is. If we were to imagine our singing like that of an inventor who spends countless hours refining his/her invention before placing it front of a potential investor, I think we would offer a different level of intensity, insight and interest in our performances.
It's a far scarier prospect to take the blame of our lack of success off of "them" and take responsibility for it. It means that we have to accept that what we present in an audition, performance, coaching etc...is truly ours and that we can make it great or we can make it OK. Sure there are always going to be people who are not interested in our product no matter how great it is, but I daresay that every singer that is having a career, has worked tirelessly on their craft and has learned (or is learning) to deal with the career.
Ultimately we have no control over what "they" see. All we can do is walk into that audition, performance, lesson etc...and be our most amazing self. What would it be like if we sang for the sheer joy of it? If they get it, great, if they don't then we can assess what we've done, work to improve and get ready for the next opportunity to knock their socks off. If we refine our craft, then it only makes sense that a career will come. Of course what that "career" looks like is a whole other issue, right?
Peace,
Eric
After speaking to a friend recently who was experiencing tons of doubt, it made me wonder if perhaps we singers get trapped worrying more about the career and not refining the craft. Some would say that what we do is not "rocket science" and yet there is a great deal of mystery to the art of not only singing well, but being a compelling artist who not only dazzles vocally, but has the ability to make an audience want to watch them onstage for three to five hours. In addition, the expectation is that the singer will also be attractive enough to show that opera is filled with sexy, talented performers dispelling the myths of the large-sized opera singer with horns. It can be a lot of pressure.
For certain singers, their is an obsession with the "career." They are often in the know about every component of the opera world from who is singing where, who is hiring whom and have an opinion of who is at the top of their game who needs to hang it up. They know which singers, agents, coaches and programs are hot and which ones are not. They have the best headshots, well-crafted resumes, have a dynamic website and seem to know everyone in the "business"and yet they don't seem to be working.
Before taking a break from singing, I was experiencing some success--at least with Young Artist Programs. I was going from program to program because in way it was a form of security. While I was getting hired to do YAPs, I was not getting invited to sing leading roles. Was I not good enough? I decided to get the website, study resumes, follow singers and find fault with those not hiring me. I became very disillusioned and ultimately stepped away. It wasn't until I started working with singers that I realized how much "control" the singer actually has over their career, but it all came down to their "craft"
What is "craft?" The craft is the thing we present-our voice/technique, languages and style and our dramatic connection. The ability to sing/perform like a top pro seems to be the only way to get the "career." Singers who come unprepared musically, dramatically, linguistically or who are not singing at the expected level tend to not get hired. If you are hearing the same things over and over, then at some point the artist has to say one of two things 1) I am going to fix this in order to move to the next level or 2) My voice doesn't do that and they have to accept me as I am. Think about the singers who are having success and notice the risks they take, the level of preparation they invest and how they manage their lives and their careers.
In the "old days," singers had sponsors, several voice lessons a week, conductors who taught roles and the time and space to nurture their talent. Today's fast-paced lifestyle does make it tough to simply get a voice lesson, but again it's a great opportunity to take "control" of our own destiny. No longer do we have to rely on our teacher, coach, friends or enemies to tell us how good we are. We are able to decide for ourselves the level of commitment we put into how great our product is. If we were to imagine our singing like that of an inventor who spends countless hours refining his/her invention before placing it front of a potential investor, I think we would offer a different level of intensity, insight and interest in our performances.
It's a far scarier prospect to take the blame of our lack of success off of "them" and take responsibility for it. It means that we have to accept that what we present in an audition, performance, coaching etc...is truly ours and that we can make it great or we can make it OK. Sure there are always going to be people who are not interested in our product no matter how great it is, but I daresay that every singer that is having a career, has worked tirelessly on their craft and has learned (or is learning) to deal with the career.
Ultimately we have no control over what "they" see. All we can do is walk into that audition, performance, lesson etc...and be our most amazing self. What would it be like if we sang for the sheer joy of it? If they get it, great, if they don't then we can assess what we've done, work to improve and get ready for the next opportunity to knock their socks off. If we refine our craft, then it only makes sense that a career will come. Of course what that "career" looks like is a whole other issue, right?
Peace,
Eric
Wednesday, January 20, 2010
The Color of Opera
For those who love opera, it is almost impossible to explain the impact it has on the human soul. When you hear a voice that is so extraordinary, it can send shivers down your spine. When you see great artists in a great opera, you can't help but fall in love. The other thing that makes opera so amazing is that those who create, produce, direct, conduct, coach etc...come from all walks of life encompassing a variety of countries, styles and ideals.
For many people of color involved in opera, there is a great pride of being a successful artist in a predominately Caucasian world. Whether you are singing leading roles at the Metropolitan Opera, experiencing a world-class career in Europe or just at the beginning of a career here in the US, African American singers, both men and women, are finding that there is a place for them in a world that used to welcome certain voice types, but seemingly ignored others.
As I attend rehearsals each day for the 75th Anniversary tour of Porgy and Bess, I find that I am amazed by the number of excellent singers and the fact that they come not only from the worlds of opera, but also musical theatre. The age range is between the early 20s up to the 40s and the level of experience ranges from some singers who have performed the opera multiple times to people like me who are immersing themselves in this great work for the first time.
Over the last few years, African American singers have seen an explosion of performance opportunities and it seems that major opera houses are hiring more and more singers of color not only in roles from Porgy and Bess, but are also being cast in a variety of roles where African Americans were usually not found.
It has given me a strong sense of hope about the future of Black singers and it also reminds me to be grateful to those who have paved the way before me. Without the likes of Marian Anderson, Leontyne Price, Martina Arroyo, Grace Bumbry, Willie Waters, Shirley Verrett, George Shirley, William Warfield, Mattiwilda Dobbs, Williard White and countless other artists past and present, I would not be able to devote myself to this career so to them I say a great thanks.
As 2010 gets into full swing, I take great pride in all the components that make me the unique talent I am and hope that for many years all those components are valued, seen and heard.
Peace,
Eric
For many people of color involved in opera, there is a great pride of being a successful artist in a predominately Caucasian world. Whether you are singing leading roles at the Metropolitan Opera, experiencing a world-class career in Europe or just at the beginning of a career here in the US, African American singers, both men and women, are finding that there is a place for them in a world that used to welcome certain voice types, but seemingly ignored others.
As I attend rehearsals each day for the 75th Anniversary tour of Porgy and Bess, I find that I am amazed by the number of excellent singers and the fact that they come not only from the worlds of opera, but also musical theatre. The age range is between the early 20s up to the 40s and the level of experience ranges from some singers who have performed the opera multiple times to people like me who are immersing themselves in this great work for the first time.
Over the last few years, African American singers have seen an explosion of performance opportunities and it seems that major opera houses are hiring more and more singers of color not only in roles from Porgy and Bess, but are also being cast in a variety of roles where African Americans were usually not found.
It has given me a strong sense of hope about the future of Black singers and it also reminds me to be grateful to those who have paved the way before me. Without the likes of Marian Anderson, Leontyne Price, Martina Arroyo, Grace Bumbry, Willie Waters, Shirley Verrett, George Shirley, William Warfield, Mattiwilda Dobbs, Williard White and countless other artists past and present, I would not be able to devote myself to this career so to them I say a great thanks.
As 2010 gets into full swing, I take great pride in all the components that make me the unique talent I am and hope that for many years all those components are valued, seen and heard.
Peace,
Eric
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