I recently saw Woody Allen’s latest film “Midnight in Paris.” Owen Wilson stars as an American writer named Gil living in modern-day Paris who yearns to experience the Paris of the 1920s. He believes the past is more inspiring, filled with creativity and is magical. Through a turn of events he is transported to the exact time he longs for where he meets the likes of Cole Porter, Ernest Hemingway, Pablo Picasso, F. Scott Fitzgerald and Gertrude Stein. Along the way Gil also meets Adriana played with beautiful charm by Marion Cotillard. Gil experiences all the joie de vivre of Paris’ 1920s and it seems he is set to stay there until another turn of events finds him and Adriana in the 1890s, her ideal time as opposed to the 20s which she finds far less exciting. Suddenly he realizes that the only ideal time is that of his own and he returns with a greater knowledge of his current self and the value of now.
It made me think immediately of all those who singers and fans who yearn for the operatic giants of the past. Many of us have had that experience that turned us on to opera and have heard the “greats” in one of their signature roles. We were transfixed by the sheer excitement, beauty and artistry that they shared. We often hear that no one sings like the greats (some say the 60s and 70s, others the 40s and 50s, while others hearken back to the 20s and 30s etc…) and yet after viewing Mr. Allen’s latest movie, I wonder if we had the opportunity to visit those sacred monsters back during the “Golden Age” if they would think that they were in the Golden Age of Singing or would they want to be back in the days of Lamperti, Melba, Garcia etc…
Certainly things are different today. Singers can barely afford to be part of this career with voice lessons, auditions, coachings and travel being so expensive. Many young singers can barely stay afloat financially, emotionally, artistically because of so many demands made on the novice singer. We also live in an age where information can be found at the touch of a button making the young singer less likely to learn the art of opera the “old fashioned way.” But through all of the changes in technology, pace of life, support for the arts and the evolution of tonal, dramatic and physical preferences, the art of opera has survived and there are great singers today who, in my humble opinion, sing as well as many of the past. Are they all super stars? No. Are they all household names? No. Some of them are well-known stars. Some are constantly working but are not known by the general public and are known only to those who immerse themselves in opera while others are just waiting for their big break into the “business.”
I don’t mean to imply that we should ignore the legacy of the great artists of the past as they have left us many lessons and their connections to the composers, pedagogues and singers of years gone by is innvaluable. The past gives a long lineage of information and inspiration. As a baritone I like to know that baritone Antonio Tamburini (1800-1876) gave way to “King of the Baritones” Mattia Battastini (1856-1928), Titta Ruffo (1877-1956) known as the “Voice of the Lion” and the elegant Giuseppe DeLuca (1876-1950). Other non-Italians of that time included Frenchman Victor Maurel (1848-1923), Englishman Sir Charles Santley (1834-1922). These led to the great singers Tito Gobbi (1913-1984), Ettore Bastianini (1922-1967), the Welsh baritone Geraint Evans (1922-1992), and a host of American baritones including Lawrence Tibbett (1896-1960), Leonard Warren (1911-1960) and Robert Merrill (1917-2004). This led to the likes of Renato Brunson (b. 1934), Sherill Milnes (b. 1935) and Thomas Allen (b. 1944). This is by no means a comprehensive list, but some of the names that I study.
I imagine when my generation turns 70 or 80, they will talk of the vocal beauty of Renee Fleming, the stunning fioritura of Cecilia Bartoli, the suave, elegant legato of Dmitri Hvorostovsky, the fiery temperament of Angela Gheorghiu, the dazzling commitment of Natalie Dessay, the vocal allure of Jonas Kaufman, the grand voice of Stephanie Blythe, the longevity of career of Thomas Hampson, the dynamic range of Bryn Terfel, the sensual sound of Denyce Graves and so on. The singers of the future will constantly be compared to the singers of our time as well as those of the past. Long live the current Golden Age!
Sunday, July 31, 2011
Wednesday, June 22, 2011
2011-2012 season
As an opera singer, each singer's work is divided into seasons and they usually begin in late August/early September and end sometime during the summer of the following year. The announcement of that season offers a glimpse into the life of where each singer will be and what role, opera and composer we get to share with an audience.
Next season includes a return to two opera companies, several role debuts and a new adventure.
In the fall I will return to Indianapolis Opera (where I was a Young Artist back in 2002) to sing Yamadori in their upcoming production of Madama Butterfly. I made my debut as the Notary in Don Pasquale and also sang the 2nd Philistine (because the 1st one couldn't quite get the message across) in Samson et Dalila. It will be wonderful to return to Indy which is a fun city with a great company. Yamadori will be a role debut.
After a week off, I return to Dayton Opera to sing Schaunard in La Boheme. I am so happy to be returning after appearing in last season's Porgy and Bess as Jake and being a former Young Artist as well. (I did a LOT of Young Artist programs). Dayton Opera is a spunky company with great singers, conductors, directors and a real passion for opera and Boheme will be a crowd favorite.
Following that I make my debut at Georgia College in January performing my performance project "Rogues and Scoundrels." I look forward to returning to my interractive recital as it was a wonderful success. I am excited to debut it with a new audience, new collaborating artists and some new pieces.
Finally, I end the season by joining the Dicapo Opera Resident Artist Program. I will be singing supporting roles, covering major roles, performing outreach singing a variety of languages, composers and styles. This will be a fantastic opportunity to work alongside exciting artists at a vibrant opera company in New York.
2011-2012 offers a lot of new music to learn, characters to create and ideas to share. Bring it!
Peace,
Eric
Next season includes a return to two opera companies, several role debuts and a new adventure.
In the fall I will return to Indianapolis Opera (where I was a Young Artist back in 2002) to sing Yamadori in their upcoming production of Madama Butterfly. I made my debut as the Notary in Don Pasquale and also sang the 2nd Philistine (because the 1st one couldn't quite get the message across) in Samson et Dalila. It will be wonderful to return to Indy which is a fun city with a great company. Yamadori will be a role debut.
After a week off, I return to Dayton Opera to sing Schaunard in La Boheme. I am so happy to be returning after appearing in last season's Porgy and Bess as Jake and being a former Young Artist as well. (I did a LOT of Young Artist programs). Dayton Opera is a spunky company with great singers, conductors, directors and a real passion for opera and Boheme will be a crowd favorite.
Following that I make my debut at Georgia College in January performing my performance project "Rogues and Scoundrels." I look forward to returning to my interractive recital as it was a wonderful success. I am excited to debut it with a new audience, new collaborating artists and some new pieces.
Finally, I end the season by joining the Dicapo Opera Resident Artist Program. I will be singing supporting roles, covering major roles, performing outreach singing a variety of languages, composers and styles. This will be a fantastic opportunity to work alongside exciting artists at a vibrant opera company in New York.
2011-2012 offers a lot of new music to learn, characters to create and ideas to share. Bring it!
Peace,
Eric
Monday, May 9, 2011
What do I begin with?
Back in the throws of the audition game, I find that my experience has drastically changed from when I was a singer in my 20s. Then I was struggling to figure out what rep to sing, how to really create a character and once in the audition, what aria to start with. I was always told to sing, in no uncertain terms, what I sing best regardless of the repertoire that is being cast.
Back in late 2009, getting my audition packet together was a lot like trying to figure out which five outfits to to wear for a series of swanky parties where your social status could be made or broken by the slight nod of the fashion glitterati (I tend to go for the dramatic analogies.) I always knew that Figaro's famous opening aria Largo al factotum would figure prominently on my audition list as I felt that this aria (and the role) fit me vocally and dramatically. In addition, I always found that Figaro's ebullient entrance allowed me to focus on the character and its vocal excitement that my nerves would have to sit on the side and wait for the second piece before jumping into the game.
I usually made a pretty strong impression in that aria, but once the second piece was selected, most likely a slow aria that showed the exact opposite qualities of Figaro, I would usually fall apart (not completely, but enough to make me leave the audition wondering Whose voice was that?) Where his aria is fast, high, pretty full in sound and filled with lots of patter and personality, my other arias were mostly lyric in style, more serious and, for some reason, held a certain terror for me. More specifically, it was the onset of the first pitch that made my open throat close up and I often felt like I was barely able to phonate. Needless to say, I always hoped that my Figaro would dazzle them enough to let them forget my sloppy entrance, shallow breath and barely there acting. Most often it resulted in a disappointed look on their faces as they probably felt my defeat vibrating from within me.
After taking time away and coming back with a new attitude, sense of confidence and some experimentation, I came to realize that I had to start with the aria that scared me the most. While this seemed like a crazy idea, I knew that if I could master that aria in an audition up front, the next aria they would select-hopefully something that would show the dazzle, agility, high notes and personality-would leave them with a great impression versus disappointment. Your last note is often the one they remember the best.
Armed with a list that included Figaro's entrance aria, Dandini's aria from La Cenerentola, The French baritone national anthem "Avant de quitter ces lieux", Belcore's bel canto entrance "Come Paride vezzoso" and "E allor perche, di" sung by Silvio, the lyric baritone role from Pagliacci, I had a list that, on paper, looked like I really knew what type of baritone I was. I decided to start with Silvio's brief aria because it was short, full of line, had great high notes and was dramatic in the sense that the character is very passionate. I had performed his big duet with Nedda first as a graduate student and later as an apprentice at Des Moines Metro Opera. In both cases I found that the role challenged me both musically and dramatically. From a musical standpoint, I had to learn to master the liquid legato required while also mastering the inflection of the text so that this man's outpourings, which range from tenderness to fury were sung well. Dramatically I had an even more difficult time as I had to become very comfortable playing the "romantic" type. Actually he's more sexual that romantic and the relationship he and Nedda has runs much deeper than just sex. I always think of Silvio as the same as Nedda. Both are longing for freedom, she from her wandering life and he from his loneliness and I believe boredom. Along comes this woman who has so many things: she's passionate, sexual and in his eyes, free. It really excites him and the thought of that ending makes him afraid which manifests itself in angry outbursts and painful longing.
With so much back story, a performance history and connection to the music and character, you would think that Silvio's brief aria would set me up for any audition. It actually did the opposite. Because I had to work so hard as a young singer to master this music and character, I found that every time I opened my mouth to sing any of his music in an audition setting, a host of fears would surface and manifest itself technically. With ALL of this in my head, subconsciously, I would have a tough time getting under my body, meaning having full access to my support. I would physically collapse and not sing with a steady, supported tone causing me to work way too hard to get through this brief piece. Near the end of the aria, where he sings a climactic high note, I could finally relax and feel like I was "acting." Fail!
After a few bad experiences with Silvio, I realized that this great audition piece was not right for me. I took it off my list (along with "Avant de quitter" because I always felt that I was fighting with the right tempo and at each audition I felt as if I was spending more time trying to settle in tempo-wise and not enough actually worrying about the text, the line or the drama.) So I had two empty spots to fill.
I have always loved French operatic music and I began an extensive search for the right French aria including experimenting with Hamlet's "O vin, dissipe la tristesse", Mercutio's Queen Mab aria and arias from Manon, Iphigenie en Tauride, and "Sois immobille" from Rossini's Guillame Tell. I was looking for something that showed line, that showed the language, that had a character I could relate to and that I would be able to sing well in an audition situation. After lots of trying things out, I settled on Herod's "Vision fugitive" from Massenet's Herodiade. I am essentially a lyric baritone that has a good deal of facility so this aria didn't quite fit into my earlier package, but in some recent auditions, people have expressed an interest in hearing something a little heavier that could show the richness of my voice. I fell in love with this aria as a grad student. (It should be noted that it helped me win the Ohio State University Concerto Competition although I ended up singing "Largo al factotum" because it was something that my teacher and I felt would be the best choice to sing with the orchestra and before a live audience.) What has been fascinating is that this aria feels so good. It's recit sets my voice up very well allowing me to aim for a settled, supported sound, but also find a great character. The aria is at once lyric, nuanced, dramatic, expressive and serious and very different from my other arias. I also like that it challenges me to find different colors, apply messa di voce, sing full without pushing and show a "darker" side of my self.
With one aria left, I began thinking about how else to distinguish myself from the pack. In the last ten years, Handel has become a staple at many opera houses (most of them large regional or beyond.) I've always loved Handel since my undergad days and after hearing Norman Triegle sing Handel's Giulio Cesare and dreamed of singing this role which combined florid writing,incredible music and a fascinating personality--a budding artist's dream. I looked through the wealth of Handel arias for baritone (really bass, bass-baritone or baritone) and found "See the raging flames" from his dramatic oratorio Joshua. It had all the elements that make Handel exciting: runs, drama, story and more over, it was in English and an aria that felt like it fit well in my voice and on my list.
So now, armed with three bel canto arias (Donizetti and two Rossini), an English aria that fits in line with those and shows that I am really interested in Handel and a French piece that shows where I think my voice might be headed in a few years, I was ready to audition. But now back to the beginning question, what to begin with?
I now begin every audition with "Vision fugitive." Why? Because after starting with "Largo" for several years I came to understand that his vigor, excitement, patter and tessitura fit me very well, but singing anything lyric after that was a major challenge simply because my body, support and voice were functioning in a very "excited" place. It was extremely difficult to bring that down and sing something lyrical. With the "Vision fugitive" I am able to settle the voice, feel grounded and low, create a warm, rich sound while also adjusting to the acoustics of the audition space (anywhere from very dry to overly live). After the first few bars I can really "let go" and enjoy his obsession with this vision of Salome. It's a LOT of fun. I think it intrigues people who look at my list and wonder if I can sing something different. They usually ask for either of the Rossini arias which are a wonderful contrast and two characters I really enjoy singing. It's strange but they are easier to sing after singing something full-throated. I always try not to give too much in the French so that I can scale the voice back for the more florid stuff, but by contrast, it also does allow me to have the option to offer a fuller tone in the Rossini. People find a full sound in Rossini exciting especially if they can do the fioritura well.
Choosing audition rep is a lot like showing off your person style. What fits one day may change, what looked "odd" the other day can actually be perfect the next and often those staples that we like the best are classic pieces that seem to never go out of style. After selecting the right vocal "outfits", the singer gets to decide which first piece will dazzle, spark interest and give an honest assessment of their voice and dramatic gifts, but hopefully all five will be able to give a complete picture of the singer's talent, style and taste.
Peace,
Eric
Back in late 2009, getting my audition packet together was a lot like trying to figure out which five outfits to to wear for a series of swanky parties where your social status could be made or broken by the slight nod of the fashion glitterati (I tend to go for the dramatic analogies.) I always knew that Figaro's famous opening aria Largo al factotum would figure prominently on my audition list as I felt that this aria (and the role) fit me vocally and dramatically. In addition, I always found that Figaro's ebullient entrance allowed me to focus on the character and its vocal excitement that my nerves would have to sit on the side and wait for the second piece before jumping into the game.
I usually made a pretty strong impression in that aria, but once the second piece was selected, most likely a slow aria that showed the exact opposite qualities of Figaro, I would usually fall apart (not completely, but enough to make me leave the audition wondering Whose voice was that?) Where his aria is fast, high, pretty full in sound and filled with lots of patter and personality, my other arias were mostly lyric in style, more serious and, for some reason, held a certain terror for me. More specifically, it was the onset of the first pitch that made my open throat close up and I often felt like I was barely able to phonate. Needless to say, I always hoped that my Figaro would dazzle them enough to let them forget my sloppy entrance, shallow breath and barely there acting. Most often it resulted in a disappointed look on their faces as they probably felt my defeat vibrating from within me.
After taking time away and coming back with a new attitude, sense of confidence and some experimentation, I came to realize that I had to start with the aria that scared me the most. While this seemed like a crazy idea, I knew that if I could master that aria in an audition up front, the next aria they would select-hopefully something that would show the dazzle, agility, high notes and personality-would leave them with a great impression versus disappointment. Your last note is often the one they remember the best.
Armed with a list that included Figaro's entrance aria, Dandini's aria from La Cenerentola, The French baritone national anthem "Avant de quitter ces lieux", Belcore's bel canto entrance "Come Paride vezzoso" and "E allor perche, di" sung by Silvio, the lyric baritone role from Pagliacci, I had a list that, on paper, looked like I really knew what type of baritone I was. I decided to start with Silvio's brief aria because it was short, full of line, had great high notes and was dramatic in the sense that the character is very passionate. I had performed his big duet with Nedda first as a graduate student and later as an apprentice at Des Moines Metro Opera. In both cases I found that the role challenged me both musically and dramatically. From a musical standpoint, I had to learn to master the liquid legato required while also mastering the inflection of the text so that this man's outpourings, which range from tenderness to fury were sung well. Dramatically I had an even more difficult time as I had to become very comfortable playing the "romantic" type. Actually he's more sexual that romantic and the relationship he and Nedda has runs much deeper than just sex. I always think of Silvio as the same as Nedda. Both are longing for freedom, she from her wandering life and he from his loneliness and I believe boredom. Along comes this woman who has so many things: she's passionate, sexual and in his eyes, free. It really excites him and the thought of that ending makes him afraid which manifests itself in angry outbursts and painful longing.
With so much back story, a performance history and connection to the music and character, you would think that Silvio's brief aria would set me up for any audition. It actually did the opposite. Because I had to work so hard as a young singer to master this music and character, I found that every time I opened my mouth to sing any of his music in an audition setting, a host of fears would surface and manifest itself technically. With ALL of this in my head, subconsciously, I would have a tough time getting under my body, meaning having full access to my support. I would physically collapse and not sing with a steady, supported tone causing me to work way too hard to get through this brief piece. Near the end of the aria, where he sings a climactic high note, I could finally relax and feel like I was "acting." Fail!
After a few bad experiences with Silvio, I realized that this great audition piece was not right for me. I took it off my list (along with "Avant de quitter" because I always felt that I was fighting with the right tempo and at each audition I felt as if I was spending more time trying to settle in tempo-wise and not enough actually worrying about the text, the line or the drama.) So I had two empty spots to fill.
I have always loved French operatic music and I began an extensive search for the right French aria including experimenting with Hamlet's "O vin, dissipe la tristesse", Mercutio's Queen Mab aria and arias from Manon, Iphigenie en Tauride, and "Sois immobille" from Rossini's Guillame Tell. I was looking for something that showed line, that showed the language, that had a character I could relate to and that I would be able to sing well in an audition situation. After lots of trying things out, I settled on Herod's "Vision fugitive" from Massenet's Herodiade. I am essentially a lyric baritone that has a good deal of facility so this aria didn't quite fit into my earlier package, but in some recent auditions, people have expressed an interest in hearing something a little heavier that could show the richness of my voice. I fell in love with this aria as a grad student. (It should be noted that it helped me win the Ohio State University Concerto Competition although I ended up singing "Largo al factotum" because it was something that my teacher and I felt would be the best choice to sing with the orchestra and before a live audience.) What has been fascinating is that this aria feels so good. It's recit sets my voice up very well allowing me to aim for a settled, supported sound, but also find a great character. The aria is at once lyric, nuanced, dramatic, expressive and serious and very different from my other arias. I also like that it challenges me to find different colors, apply messa di voce, sing full without pushing and show a "darker" side of my self.
With one aria left, I began thinking about how else to distinguish myself from the pack. In the last ten years, Handel has become a staple at many opera houses (most of them large regional or beyond.) I've always loved Handel since my undergad days and after hearing Norman Triegle sing Handel's Giulio Cesare and dreamed of singing this role which combined florid writing,incredible music and a fascinating personality--a budding artist's dream. I looked through the wealth of Handel arias for baritone (really bass, bass-baritone or baritone) and found "See the raging flames" from his dramatic oratorio Joshua. It had all the elements that make Handel exciting: runs, drama, story and more over, it was in English and an aria that felt like it fit well in my voice and on my list.
So now, armed with three bel canto arias (Donizetti and two Rossini), an English aria that fits in line with those and shows that I am really interested in Handel and a French piece that shows where I think my voice might be headed in a few years, I was ready to audition. But now back to the beginning question, what to begin with?
I now begin every audition with "Vision fugitive." Why? Because after starting with "Largo" for several years I came to understand that his vigor, excitement, patter and tessitura fit me very well, but singing anything lyric after that was a major challenge simply because my body, support and voice were functioning in a very "excited" place. It was extremely difficult to bring that down and sing something lyrical. With the "Vision fugitive" I am able to settle the voice, feel grounded and low, create a warm, rich sound while also adjusting to the acoustics of the audition space (anywhere from very dry to overly live). After the first few bars I can really "let go" and enjoy his obsession with this vision of Salome. It's a LOT of fun. I think it intrigues people who look at my list and wonder if I can sing something different. They usually ask for either of the Rossini arias which are a wonderful contrast and two characters I really enjoy singing. It's strange but they are easier to sing after singing something full-throated. I always try not to give too much in the French so that I can scale the voice back for the more florid stuff, but by contrast, it also does allow me to have the option to offer a fuller tone in the Rossini. People find a full sound in Rossini exciting especially if they can do the fioritura well.
Choosing audition rep is a lot like showing off your person style. What fits one day may change, what looked "odd" the other day can actually be perfect the next and often those staples that we like the best are classic pieces that seem to never go out of style. After selecting the right vocal "outfits", the singer gets to decide which first piece will dazzle, spark interest and give an honest assessment of their voice and dramatic gifts, but hopefully all five will be able to give a complete picture of the singer's talent, style and taste.
Peace,
Eric
Friday, May 6, 2011
Springing into something new
I used to be on the administrative side of opera and loved it (most of the time.) However I always knew deep in my being that I was meant to be on the stage so I left my last administrative gig a year and a half ago in order to pursue this crazy life I now have and haven't looked back. It's been tough at times. On more than one occasion I wondered if I made the right choice. After the thousands of dollars invested in lessons, coachings and auditions, anyone in their right mind would have to take stock and see if it was all worth it. But being here in NYC right now and having several auditions lined up and lots of exciting things in development (more of that in future posts) I am reassured that I am on the right path. (Even though it has its bumps.)
I relate all this because I recently read that my former employer Opera Columbus has had to slash staff and will be under assumption of the Columbus Association for Performing Arts. I'm certain it was a difficult decision for this plucky company to make, but one that ensured that the artform is preserved. While several members lost their jobs, two staffers will be added into the CAPA fold and will continue to work for Opera Columbus.
When the economy went south and things were toughest at Opera Columbus, I realized that my desire for security at a 9 to 5 was just as fragile as the thought of being a performer. I decided then to take a risk (it always begins with a risk) and go back into singing. I admit I have been VERY lucky. I have somehow come to understand how to manage the demands of being a singer and the knowledge it takes to be in the "business." It is a constant juggle and while I love it, I do wish that things could be more consistent. Less feast or famine and more, well, feast-feast.
I've also had the luxury of branching out and doing some unusual things like my interactive recital Rogues and Scoundrels which had its premiere in April in Columbus, Ohio. It was a success and will be performed again next January at Georgia College. I am also returning to doing straight plays with a role in Evolution Theatre's Kindness which is part of RAPPture, a festival of plays by Adam Rapp.
I will be announcing my 2011-2012 season soon and am looking forward to mixing it up with more opera, recital/cabaret, musical theatre, straight theatre and some other ventures which I will reveal as they materialize.
With the warm weather upon us (and a lot of rain as well,) it's time to allow the seeds of ideas to be nurtured and grow so that "springing" into the future will be filled with great beauty, purpose and excitement.
Peace,
Eric
I relate all this because I recently read that my former employer Opera Columbus has had to slash staff and will be under assumption of the Columbus Association for Performing Arts. I'm certain it was a difficult decision for this plucky company to make, but one that ensured that the artform is preserved. While several members lost their jobs, two staffers will be added into the CAPA fold and will continue to work for Opera Columbus.
When the economy went south and things were toughest at Opera Columbus, I realized that my desire for security at a 9 to 5 was just as fragile as the thought of being a performer. I decided then to take a risk (it always begins with a risk) and go back into singing. I admit I have been VERY lucky. I have somehow come to understand how to manage the demands of being a singer and the knowledge it takes to be in the "business." It is a constant juggle and while I love it, I do wish that things could be more consistent. Less feast or famine and more, well, feast-feast.
I've also had the luxury of branching out and doing some unusual things like my interactive recital Rogues and Scoundrels which had its premiere in April in Columbus, Ohio. It was a success and will be performed again next January at Georgia College. I am also returning to doing straight plays with a role in Evolution Theatre's Kindness which is part of RAPPture, a festival of plays by Adam Rapp.
I will be announcing my 2011-2012 season soon and am looking forward to mixing it up with more opera, recital/cabaret, musical theatre, straight theatre and some other ventures which I will reveal as they materialize.
With the warm weather upon us (and a lot of rain as well,) it's time to allow the seeds of ideas to be nurtured and grow so that "springing" into the future will be filled with great beauty, purpose and excitement.
Peace,
Eric
Friday, March 18, 2011
Wrestling with Recitative
Anyone who has seen a Mozart, Donizetti, Rossini or other bel canto opera has experienced recitative. Often known by its shorthand recit, recitative is where singers communicate the story through rapid fire Italian that mimics natural speech. There are two types of 'recit; recitativo secco (dry recit) where there is only continuo (usually a harpsichord) and recitativo accompagnato where the orchestra plays.
Rossini's L'Italiana in Algeri is filled with recit and one of the joys (and challenges) is to not only learn all the text and notes in the proper order, but also to infuse it with personality so that what is being said is delivered well and helps move the story along. Recits are filled with action and reaction and can sometimes be like watching a tennis match (or a doubles match if there are four singers on the stage.) So how does one begin to get a handle (and one's lips) around it?
First I translate, translate and translate. Translation #1: A literal translation so that I know what each word means. Translation #2: I consult the Nico Castel volumes which are not only filled with a literal translation, but also explains exactly what the text means (idiomatic expressions, figures of speech, double entendres etc...) and finally Translation #3: How would my character say it when I infuse my own personality into it?
It usually takes me longer to learn recits that it does to learn to learn the numbers because the melodic structure is minimal and after a while recits can begin to sound alike so it's always important to know exactly what you are saying and what the other characters are saying.
My next step in the process is to rapidly repeat the text and notes over and over again until they become second nature. This is where patience and a sense of humor are necessary. At first the brain may go left while the tongue goes right, but eventually it all starts to fit together. Like dialogue, it's smart to learn your cue lines and the text of your colleagues so that you know what this conversation really means.
Finally, you get to put it all together with the other characters and you often discover (as is the case with lines in a play) that how someone delivers a line may inspire a new delivery of your line and vice-versa so it helps to keep it fresh. There is a sense of improvisation in recitative which, once mastered, can be a lot of fun. But the process of getting it all together can be a lot like wrestling with Hulk Hogan (then, not now) and means that you have to be prepared, pumped up (at least mentally) and ready to take your competitor (that tongue-twisting line on page 215) down!
Peace,
Eric
Rossini's L'Italiana in Algeri is filled with recit and one of the joys (and challenges) is to not only learn all the text and notes in the proper order, but also to infuse it with personality so that what is being said is delivered well and helps move the story along. Recits are filled with action and reaction and can sometimes be like watching a tennis match (or a doubles match if there are four singers on the stage.) So how does one begin to get a handle (and one's lips) around it?
First I translate, translate and translate. Translation #1: A literal translation so that I know what each word means. Translation #2: I consult the Nico Castel volumes which are not only filled with a literal translation, but also explains exactly what the text means (idiomatic expressions, figures of speech, double entendres etc...) and finally Translation #3: How would my character say it when I infuse my own personality into it?
It usually takes me longer to learn recits that it does to learn to learn the numbers because the melodic structure is minimal and after a while recits can begin to sound alike so it's always important to know exactly what you are saying and what the other characters are saying.
My next step in the process is to rapidly repeat the text and notes over and over again until they become second nature. This is where patience and a sense of humor are necessary. At first the brain may go left while the tongue goes right, but eventually it all starts to fit together. Like dialogue, it's smart to learn your cue lines and the text of your colleagues so that you know what this conversation really means.
Finally, you get to put it all together with the other characters and you often discover (as is the case with lines in a play) that how someone delivers a line may inspire a new delivery of your line and vice-versa so it helps to keep it fresh. There is a sense of improvisation in recitative which, once mastered, can be a lot of fun. But the process of getting it all together can be a lot like wrestling with Hulk Hogan (then, not now) and means that you have to be prepared, pumped up (at least mentally) and ready to take your competitor (that tongue-twisting line on page 215) down!
Peace,
Eric
Saturday, March 5, 2011
The Italian Girl in Algers meets the baritone boy
Week 1 of rehearsals are nearly done and I have so many Italian words running through my brain that I sometimes forget that I speak English! Along with staging, dance movements (yes, I said dance movements) and trying to remember my cast mates' names, it's a wonder I can keep my head on straight. (It should be noted that I got lost trying to find my way out of DC and back to Baltimore where I am staying.)
I have to say that for my first "L'Italiana in Algeri" AKA "The Italian Girl in Algers," I am pretty happy with my level of preparation. I have a good understanding of the role and characterization. (Pats himself on the back.) Of course I had lots of help--thanks to Nico Castel's text and translation, hours and hours of practice and memorization, the various people who helped coach the role and the "additional" coaching I received via the fabulous singers who have performed this opera in the past. YouTube rocks!
Besides the total amount of text associated with Rossini, the greatest challenges come from being able to make musical lines out of the patter (lots of fast text), sing legato when there is a line and try to find the balance between vocal beauty and character in the voice. Taking a cue from Johnny Depp who is known for fusing two personalities to create his characters, I have decided that my character Taddeo, the former lover of Isabella (the Italian Girl,) is a cross between Fred Sanford and Snagglepuss--exit stage left as I have a heart attack.
Making a role debut is always filled with excitement (and some fear--I am a neurotic singer after all.) Add onto that a debut with a company and you get the idea that the level of preparation needs to be very high. It's helpful to have colleagues whose level of preparation is as high, a stage director who wants to milk the comedic elements with precision and a conductor who is as passionate about Rossini as I am.
We still have several weeks to explore, stage, create and play and I am looking forward to every minute as I add another Rossini role to my repertoire. Viva Rossini!
Peace,
Eric
I have to say that for my first "L'Italiana in Algeri" AKA "The Italian Girl in Algers," I am pretty happy with my level of preparation. I have a good understanding of the role and characterization. (Pats himself on the back.) Of course I had lots of help--thanks to Nico Castel's text and translation, hours and hours of practice and memorization, the various people who helped coach the role and the "additional" coaching I received via the fabulous singers who have performed this opera in the past. YouTube rocks!
Besides the total amount of text associated with Rossini, the greatest challenges come from being able to make musical lines out of the patter (lots of fast text), sing legato when there is a line and try to find the balance between vocal beauty and character in the voice. Taking a cue from Johnny Depp who is known for fusing two personalities to create his characters, I have decided that my character Taddeo, the former lover of Isabella (the Italian Girl,) is a cross between Fred Sanford and Snagglepuss--exit stage left as I have a heart attack.
Making a role debut is always filled with excitement (and some fear--I am a neurotic singer after all.) Add onto that a debut with a company and you get the idea that the level of preparation needs to be very high. It's helpful to have colleagues whose level of preparation is as high, a stage director who wants to milk the comedic elements with precision and a conductor who is as passionate about Rossini as I am.
We still have several weeks to explore, stage, create and play and I am looking forward to every minute as I add another Rossini role to my repertoire. Viva Rossini!
Peace,
Eric
Wednesday, February 16, 2011
Black History, Bel Canto and Bad Boys
January has come and gone and February has its icy (yet not too bad) chill upon us. I have been lucky to have a lot on my plate this winter so while my fingers and toes suffer through this blustery weather, my heart has remained warm with wonderful music.
I recently returned from Louisville KY, where I participated in their touring show "Oh Freedom." Using spirituals, narration, props and a nice dose of humor, the show presented a great overview of black history highlighting important events from the slave trade, Emancipation, Reconstruction, the Harlem Renaissance, the Civil Rights Movement and leading up to present day. I worked with three wonderful colleagues and had a wonderful time singing some great spirituals, art songs, opera and even some contemporary tunes. Here is a link to the promotional video put together by Kentucky Opera:
http://www.youtube.com/watch?v=cIv3TsjhNyU
As far as Bel Canto (beautiful singing) is concerned, I am getting ready to head off to sing the role of Taddeo in Rossini's sparkling comedy "L'Italiana in Algeri" featuring vocal fireworks and a plot filled with twists and turns. I am making my debut with Bel Cantanti Opera and also debuting the role of Taddeo. All I can say is that I am thrilled to be singing this fun, vocally challenging role (he has a LOT of Italian.) The preparation is going well and I hope to soon have the whole "in my body" as singers like to say. I always seem to have the music going through my head which is a sure sign that is settling into my subconscious!
Finally I am preparing for my newest performance project: "Rogues and Scoundrels: Rethink the Recital." The program will present some of classical music most fascinating bad boys along with elements of theatre and is an interactive experience where the audience becomes part of the performance. I am funding this project through Kickstarter.com, a website that is the largest funding platform for creative projects in the world! Donations can range from $1 to $100 or more and each level of donation comes with specific benefits! Check it out:
http://www.kickstarter.com/projects/579480669/rogues-and-scoundrels-rethink-the-recital
My project is already at 25% of goal so I am excited about where it could go!
So that's what I've been up to. I'll check in again once I am settled in DC when "L'Italiana in Algeri" begins rehearsals!
Peace,
Eric
I recently returned from Louisville KY, where I participated in their touring show "Oh Freedom." Using spirituals, narration, props and a nice dose of humor, the show presented a great overview of black history highlighting important events from the slave trade, Emancipation, Reconstruction, the Harlem Renaissance, the Civil Rights Movement and leading up to present day. I worked with three wonderful colleagues and had a wonderful time singing some great spirituals, art songs, opera and even some contemporary tunes. Here is a link to the promotional video put together by Kentucky Opera:
http://www.youtube.com/watch?v=cIv3TsjhNyU
As far as Bel Canto (beautiful singing) is concerned, I am getting ready to head off to sing the role of Taddeo in Rossini's sparkling comedy "L'Italiana in Algeri" featuring vocal fireworks and a plot filled with twists and turns. I am making my debut with Bel Cantanti Opera and also debuting the role of Taddeo. All I can say is that I am thrilled to be singing this fun, vocally challenging role (he has a LOT of Italian.) The preparation is going well and I hope to soon have the whole "in my body" as singers like to say. I always seem to have the music going through my head which is a sure sign that is settling into my subconscious!
Finally I am preparing for my newest performance project: "Rogues and Scoundrels: Rethink the Recital." The program will present some of classical music most fascinating bad boys along with elements of theatre and is an interactive experience where the audience becomes part of the performance. I am funding this project through Kickstarter.com, a website that is the largest funding platform for creative projects in the world! Donations can range from $1 to $100 or more and each level of donation comes with specific benefits! Check it out:
http://www.kickstarter.com/projects/579480669/rogues-and-scoundrels-rethink-the-recital
My project is already at 25% of goal so I am excited about where it could go!
So that's what I've been up to. I'll check in again once I am settled in DC when "L'Italiana in Algeri" begins rehearsals!
Peace,
Eric
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