The show must go on!

You rehearse for three weeks getting to know your colleagues and forming some sort of connection and then suddenly you hear some of the worst news in the operatic world...someone, in this instance, our originally scheduled soprano who was set to make her debut as Violetta, has strep and can't do the show! The young lady who is covering the role is not ready, not because she is under prepared, but because the original cover had to cancel and she was bumped up so she was quickly learning the role, but was not ready to go onstage and actually sing. Enter the soprano who had sung another role with the company earlier that season and who happened to have done the role of Violetta a few years back. At the Orchestra Dress she sang the role from the side with a score. The next night she performed it having just learned earlier that day at 3 pm that she would be performing and at last night's opening, she went on and "did the damn thing!"

Recently soprano Hei-Kyung Hong was called upon to open the Met's recent production of "La Traviata" when Nataile Dessay was unable to perform due to illness. (Something in the NYC water?) Hong has been a "cover" artist at the Met for many years saving productions here and there while also singing leading roles at the Met. It takes nerves of steal, a calm soul and a sound technique to jump in on a moment's notice because ultimately the show must go on!

I write about this because often some of the greatest opportunities come in the flash of a moment and having an arsenal of roles ready and performed allows a singer to jump in and not only save the performance, but the company.

While a Young Artist at Virginia Opera, I was assigned to cover Rocco the jailor in Beethoven's "Fidelio." Now I NEVER thought I would go on as the guy singing the role was a rock star, but I was fully prepared and ready just in case. Opening night came and went and was a huge success. But on the day of the second performance, a matinee, I received the phone call telling me that I was going on that afternoon. I rushed to the theater, after a quick water splash-splash taking with me some water, some deodorant and my score. I arrived amidst a buzz of excitement with my colleagues giving me the "it's going to be great even though I've never heard you sing before and we've barely met" smile, the costumer drenched in sweat as she realizes that I'm about 7 inches shorter than the person I'm covering and that she had to make some SERIOUS alterations, the conductor who wanted to make certain I was ready and the artistic staff who were highly frantic, but trying to mask it, asking me over and over again if I was calm.

Oddly enough I was. I felt no terror because I knew in my head that I could do this. I wasn't going to be perfect, but I had been to the rehearsals, done at least three cover rehearsals and knew the score pretty well although I am certain I put a few "ich's" and "ach's" where there were none. The ovation I received from the audience was wonderful and made me realize that I could not only do this, but I could do this well. It was one of the great moments in my operatic life and it gave me a great deal of respect for anyone who covers and has to go on at the drop of a hat.

For every opera singer out there performing, there is another one (sometimes two) waiting in the wings (or in the audience or at home on their couch) just in case they need to go on and being ready musically, dramatically and most importantly emotionally makes them an invaluable artist in the operatic world.

Peace,
Eric

Inspiration

I have been listening to a lot of opera lately. In addition to listening to recordings of "Le Nozze di Figaro" and "La Traviata," (Traviata goes up with Dicapo Opera in a few weeks and then I jump into two different productions of "Nozze" first with St. Petersburg Opera, then Bel Cantanti Opera in DC), I have been trying to catch the MET's Radio Broadcast (online) and any other gems of the operatic nature when I find out about them.

Part of my listening is purely to understand how various artists handle certain arias, phrases, recitatives and part of it is to remember the sheer joy and beauty that comes from great singing. It always puts me back in focus and reminds me that the music, the drama, the character and the text are the most important things and what one does with them are what keeps us coming back to these great works of art over and over again.

Last Saturday I listened to the MET's broadcast of "L'Elisir d"Amore", Donizetti's bubbly score with wonderful characters, a lovely story of blossoming romance filled with complications and some of the best artists in the world singing. Juan Diego Florez's "Una furtiva lagrima" brought down the house with the audience calling for an encore, so he repeated it adding a little different twist here and there. (A rare event at the MET.) Besides loving what the singers were doing vocally and dramatically, I was inspired by the sheer joy that was coming through the broadcast and that the singers seemed to be excited and happy to be there.

A few days later, I heard the Lyric Opera of Chicago's "Rising Stars" Concert which featured members of the Ryan Opera Center (the professional training program) in arias and ensembles from the Bel Canto, French, German, Russian and American arsenals. It was a great oppotunity to hear some exciting young singers who are well-trained and making great strides in becoming well-rounded performers. Again, I felt inspired to refine, practice, interpret and rethink all of the music I am so fortunate to get to sing.

The pressures of making a living, being prepared, understanding one's place in the business and balancing one's professional and personal lives can make it seem like being an opera singer is all about just trying to stay on top of things and that can be exhausting. Sometimes we have to look outside of ourselves for inspiration and not only in the amazing singing of others, but in film, art, music of all styles, fashion, dance and other art forms where an artist is able to transcend just doing enough to get by and really truly sparks something within us that makes us not only feel something, but makes us want to have that same effect in our own art-making.

We give so much as artists and we need to replenish oursleves through absorbing other forms of art in which we can draw inspiration. So get out there and listen, see, hear, feel and react!

Peace,

Eric

And now for something totally different

As an opera singer, you spend the majority of your time singing music from composers of the 18th, 19th and early 20th century. The wealth of roles and composers is extensive and one has to do quite a bit of homework in order to not only understand the pieces musically, but also dramatically and what was actually happening historically in order to understand the composer's intentions. There are vocal coaches and singers who serve as an invaluable resource in helping a singer navigate the terrain of what the composer and librettist intended. Coupled with the singer's intentions and the guidance of the stage director, a singer hopefully creates a fully dimensional character.

At the present, I am singing the world premiere reading of an opera called The Mark of Cain by composer Matthew Harris and librettist Terry Quinn. Because the piece is brand spanking new, it is a luxury to have the composer and the librettist there at the rehearsals offering insight, correcting pitches we might be approximating (some of the intervals-distances from pitch to pitch-are very tricky), and clarifying why a certain passage was set a certain way whether musically or dramatically. It has helped me in creating a character, finding vocal colors and gaining a better understanding of what the composer and librettist had in their ear when they were writing and composing. It's actually very exciting! Imagine being able to tell Verdi and Piave or Mozart and DaPonte that you really love this particular passage or have them give you notes on text and music or, even better, have them tell you that you are fantastic!

One of the other interesting things about working on a 21st century opera is gaining insight into the composer's musical language. The overall piece is filled with some difficult tonality, but is incredibly tonal. It has a wide range (at least my role does) and yet it is highly singable. The librettist's text offers some beautiful moments of operatic language while at the same time is highly fresh and current. I had an opportunity to speak to both of them about their process and was fascinated to know that the composer started with the middle of the opera and worked his way out while the librettist and the composer worked separately and connected via email. This reminded me of the letters betweeen Verdi and Piave and while there has been many years since we've communicated via letters, the practice of working apart is still in practice.

I've worked on two new operas in the past, but this experience is the most special. I think my knowledge as a singer and an actor has allowed me to enjoy the process a lot more. I also think the fact that I am the lead and that the text, music and character seem to fit my voice well makes me want to champion this new opera and hopefully have the chance to sing it again!

Peace,
Eric

What exactly do you do?

Inspired by the rash of posts that aim to explain various professions from the eyes of various parts of society, I decided to clarify what it is that I ACTUALLY do. Even some of my dearest friends think I just wake up, jet off to an exotic locale,sing a few phrases and collect a check. Sometimes this does happen, but it's very rare. The majority of my time is NOT spent in the act of singing, but trying to get singing work. And when there is work, the majority of my time is spent in preparation and finally, there is the work itself which usually lasts about three weeks (sometimes longer if you are lucky.) For those who wonder "what is it that you do all day?" This blog post is for you.

There are four types of days when one is an opera singer: performance day, rehearsal day, audition day and for many, the most common of days: the hustle, practice, email, market, workout, memorize, update, research and work day.

I'll start with Performance Day:

This is the day that I love the most. It's special for two reasons: 1) You get to perform and 2) You get paid to perform--two of my favorite things. I was fortunate to have a very busy fall seasom and am looking forward to a busy spring and summer and it is those performance days that keep you plugging along even in the face of rejection, a bad singing day, expenses such as voice lessons, coachings, travel and photos and resumes and that nagging voice that tells you, you should be MORE successful. Performance days take a lot out of me so I like to rest as much as possible, reamin silent and sometimes eat just enough to get through the show, but no more than that. Sometimes you have to interact with colleagues, possibly sign a poster or meet with VIPs pre-performance, but mostly you just relax, go to the theater, get into make-up and costume, warm-up and go. I will often study the score the day of the show as it makes me feel "settled." Perhaps it's more a way to remain focused without exuding too much energy. It's funny, but I really like being alone with the score (my lover at that time) and immersing myself. Finally once I get to the theater I can feel the energy of the performance and if the elements allign, then the show can be magical!

Rehearsal day:

The company meets and you sing through the show with the other cast members with the conductor and stage the show with the director. One of the big differences between the opera world and the musical theatre and theatre worlds is that you show up with the role completely memorized and already with a strong point of view of your character. While there is a chance to work with the conductor and director to shape these things, the singer must already have it very well engrained and what I like to call "in the body." What I love most about rehearsal is finding the chemistry with my colleagues. Sometimes it's like finding a long-lost friend, other times, it develops slowly into something really warm and easy and sometimes you just go in and do your job and do your best to create the illusion that the singer you must be in love with will keep their "crazy" bottled up enough to get through the day. It can be a crap shoot, but it's never dull!


Audition day:

This is the day when you go before the firing squad also known as the audition panel. In truth, many singers HATE auditioning. I have grown to like it, but some days you are amazing and other days you walk out wondering whose voice that was coming out of your body. A lot of my non-singing friends think this must be the easiest thing in the world, but unlike shows like American Idol and the Voice, the judges don't offer feedback (sometimes they will, but it is rare) and if you are singing for mainstage, you may have to wait days, weeks, months (or even years) before you hear anything!

Opera auditions are a lot like taking an oral Nationalized Standard Test. You have to show a high level of vocal beauty, power, nuance and drama. On top of that you must show that you not only can pronounce the text well (sometimes for native speakers) but also that you understand not only the literal meaning of the text, but also the subtext. Finally you must show that you understand the context in which your aria is happening through action and movement. A servant role from a Mozart opera will move and react differently than a noble character from a Verdi opera. The preparation that goes into an audition is usually many long hours of memorizing, practicing, researching and mental focus all for five to ten minutes of an audition. It's a crazy process, but without the audition, one can't get work.

The hustle, practice, email, market, workout, memorize, update, research and work day:

This day may begin at 8am with reading emails, responding to emails and writing emails. The emails are all about past work (thank you's), current work (clarification of rehearsal notes etc...) and future work (auditions, travel arrangements, cuts to the score etc...) Then there is the part of the day that I call the "hustle." This is all about getting work for the future. This includes researching auditions, getting auditions and following up after auditions. This takes up a good deal of time, but is neccessary! Then I might move to the marketing portion of my day-this involves emailing places where you've worked to let them know what you are doing now, contacting people who could hire you in an area where you will be working to come hear a performance or sending info to the press to cover a recital you are given. (Note: You and your agent will work on this together and the higher you are on the operatic rung, the less you have to do yourself.) Next we go to the workout. Opera Singers are now being shown in HD and the expectation is that you are an amazing singer, fabulous actor and look like someone who one would want to, as Eddie Murphy said in "Coming to America": "put on a plate and sop up with a biscuit." Men in opera may have to go shirtless and if you are a great singing actor and you're very good-looking and in shape, you will move up to the front of the pack. After the workout, one goes into practice mode (which sometimes comes before the workout depending on the day). This is where you not only practice the music for the upcoming opera, but work on technical things you and your teacher want to improve. This may also include a voice lesson or a vocal coaching where you work on technique, dramatic interpretation and language. This can take any where from an hour to several hours. The final part is memorization. It takes a long time to learn the text, notes, stories, characters, historical context and nuances of an opera. Most singers are cast six months to several years ahead so as to give the singer enough time to learn all of these things.

The final thing is that a singer must work (unless they are singing constantly at the world's greatest opera houses) to maintain the expenses of this career (lessons, coachings, travel etc...) By the time one does all of this, it's usually six pm or later and another day comes to an end. This takes incredible DISCIPLINE and some days you don't feel like doing it, but this business is too competitive to "not feel like it."

I have been very fortunate that I am able to do this as my career. I am also very fortunate that I have a wonderful support system of family, friends and colleagues and that I absolutely LOVE what I am doing.

What they don't tell you in school is that not everyone has an easy time of this career, but if you love it beyond belief, are disciplined, willing to deal with rejection and the uncertainty of the business, then you just might make it. While it's always good to remember the immortal words of DJay from the movie "Hustle and Flow" It's hard out there for a pimp, it's more important to follow the advice of recent Screen Actors Guild winner for Best Actress, Viola Davis "Dream Big. Dream Fierce."

Peace,

Eric

Dream Big, Dream Fierce

My last post was filled with questioning. After a difficult audition season where I was always the "bridesmaid, but never the bride" I found myself doubting if this is what I'm meant to do. It's no great revelation that the life of a performing artist is akin to riding an unknown rollercoaster. The phrase going with the flow is a neccesary thing as one tries to navigate through auditions, lessons, coachings, finances and self-worth. When the work is plenty, the outlook is good. When you hear "no", you find yourself wondering if you are good enough.

I happened to find myself watching the SAG awards last weekend and Viola Davis, perhaps one of the greatest actors of our time, won Best Actress in a Leading role. Her speech, as all of her speeches tend to be, was filled with hope, gratitude, acknowledgment and class. She reminded the students where she grew up to "dream big, dream fierce." Something in me clicked and I remembered that nothing is permanent including feeling low. I reminded myself that for the last two years I have had an amazing run with opportunities that most singers would kill for. I also reminded myself that I had only returned to the buisness two years ago and that what I was hearing wasn't "no, you're not good enough", but "maybe not this role, but we like what you are doing and want to hear you again for other things."

Once I understood this, I realized that I was judging myself far more harshly than any of those who could have hired me. I wasn't looking at the situation fully and was just dealing with the rejection that does indeed suck. Just as I came to this realization a few offers from companies I had auditioned for came to me. It was as if the Universe, God, Good Orderly Direction was saying :Now that you've moped and learned your lesson, you can move forward.

In the last few years I have seen some of my friends achieve amazing success. Some are singing and covering at the MET, some have been cast on new TV shows, winning Emmys for original works or debuting on Broadway. Some are making important debuts with opera companies or winning major competitions. I am surrounded by incredible talent and the fact that I get to sometimes work with these people is a testament that I am in that bubble of possibilty where one audition or one performance could propel my career forward.

My dream is to be a working opera singer where I get to work with fantastic colleagues, sing glorious music and enjoy the life of a musician. I am doing that. I am making my living as a singer and sometimes it's tough (like any job) and sometimes it's one of the greatest joys in my life. It took Viola Davis to remind me that in order to do what I do I must always remember to "Dream Big. Dream Fierce."


Peace,
Eric McKeever

To be or not to be...

The last two months have been rather tough. After what turned out to be a rather odd audition season, I find myself back in the place of questioning whether or not I want to continue on this path. My auditions have gone very well and people seemed incredibly impressed and yet I still seem to be passed over for things. I have had many quiet moments thinking, writing and reasoning trying to figure out why I am not where I want to be. The holidays were filled with a bit of melancholy as many things have come back as a "no" and some things changed because of a new direction for the production. Hopes were dashed and dreams deferred, so why continue when I could go back into arts administraiton and at least have some sense of consistency?

For some people they go the traditional path of undergrad, grad school, major YAP, agent and then work. Sometimes these things overlap especially if someone is particularly good. My path as a singer has had its shares of ups and downs. While still in grad school, I was cast as a cover for the world premiere of an opera at the Lyric Opera of Chicago. It was an amazing experience! After that I was hired back two more times to sing with the Lyric Opera's Opera in the Neighborhoods program singing alongside alumni of the Lyric Opera Center. Again, I felt like I was working with some great talent and really learning a lot. Then things became tough and after doing nearly every regional opera company YAP in the midwest, I got stuck and then injured and had to stop and recover. Barely back to full health, I went off to do another YAP and had a rollercoaster of a ride filled with excitment (making my mainstage debut for an indesposed colleague) to feeling like nothing (singing for a room full of drunk people who didn't care.) I was tired, confused, lonely and hurting so I decided I needed to reassess.

After 6 years of being away from singing, I jumped back into this wacky business after getting a role in the National Tour of Porgy and Bess. I was rejuvenated and excited about singing again. I had retapped my artistic self and it felt very good, but now two years later, I feel tired, lost and confused again. I feel like I have all the goods and have been told as much, but something is keeping me from getting jobs and I also feel like I could be doing something else that would serve people and myself in a better way. I have always believed that others should not influence how we feel about ourselves and we are constantly told to follow our dreams. I have to decided if I am going to continue this or if I need to find another dream to pursue because of all the things I have tried in my life, this, being an opera singer, has always been the most dfficult.

I don't know where I will be in 6 months, but I sense that I need for something MAJOR to happen. I believe in my talent and I know there are others that do as well. What I don't believe in is the life. Perhaps I am not cut out for it. I have missed and given up so much by being away and yet being away is the only way to get work so...

I simply am in the process of questioning if this is where I am best suited. I love opera so much and I love performing and learning and growing. Perhaps in a few days something will come through and perhaps I will come to the conclusion that I don't have to do this as a career, but I will continue to write about my journey "back in the game" as I think it gives a lot of insight into the mind of someone who wants it and goes for it and the joys, fears, rewards and doubts that come with it.

Peace,
Eric

Schaunard Redux-How will I do it this time?

One of the great joys of learning and performing a role is that more than likely you will get to do it again. I am experencing the joy of singing Schaunard in excerpts of La boheme with St. Petersburg Opera as part of the holiday concert called Seasonal Sparkle (great name, right?) The other joy is taking what you have learned from your coachings and lessons and previous productions and bringing that to the table. What's always interesting to me is that often a singer will have to "make adjustments" to what they have done in the past in order to perfomer in the present. An example of this is that last conductor wanted the character of Schaunard to bring a lightness to his talky text, while the conductor I am currently working with is much more into a broader vocal line so as the singer I have to jump to the now and sing it the way they are asking. This does two things: 1) It gives the conductor faith in your ability to be led and 2) it shows that your technique is flexible enough to make the change and quickly. One of the worst things a singer can do is to say the dreaded "I can only do it this way" line which can make one come off not only as a diva/divo, but as someone who doesn't show trust in the conductor's wishes. Now, I'm not saying that you have to give in if something is clearly not working for you, but the push-pull that is so necessary in music is also necessary in the conductor-singer dynamic. It's really about creating trust on both sides and if the singer puts up a wall, then the conductor thinks to themselves, well this singer may be good, but they are missing out on the opportunity to be great.

Something else that changes how one sings a role they've done before is their colleagues. A different Colline certainly affects the way I sing Schuanard. A different point of view from the director will color how I approach the entire character that up til now, I thought I had figured out. It makes it fun to create that push-pull with another set of singing actors who bring their own energies, colors and thoughts to the table. Performing a familiar role with new people actually can keep the freshness of the character and helps to bring out new colors.

The final joy of doing a role again is that you can "play" a lot more. Often we get so caught up in our performance that we forget that we are onstage with other people. Each person brings their strengths and weaknesses to the stage and part of the joy of rehearsal (and sometimes performance) is going with the flow and working with what you are given. It can be really great to share some insight you might have about your character with someone who is singing their role for the first time. This spark of information may lead to that light bulb moment and the next thing you know, you and that actor have a "bit" that only you two know about, but that makes a particular moment special onstage.

As I prepare for the performance, I look forward to what my current boheme colleagues bring to the stage and what special moments we can create to keep not only Schaunard fresh, but this timeless work which seems as relevant today as it did when it premiered.

Peace,

Eric