There are enough shoes for everyone

When the economy turned south, I was working on the administrative side of opera. I loved my job, but it became very stressful wondering if the company could survive, if we would have to take weeks off without pay or if my job would even still exist. It was around the holidays and I was feeling lost, as if I was not doing what I was meant to do. I ran across a listing for an audition for a National Tour of “Porgy and Bess” and as you may know, I came, I saw and I toured. After that I made the transition to full-time performer. I figured if I was going to be stressed about the stability of work, I should be doing what I loved. Even in the most difficult financial periods, I have managed to work and make great strides. In addition to believing in my talent and having the fire in my belly, I remembered the words of a wonderful baritone named Scott Hogsed with whom I had the pleasure of sharing the stage with as a young singer: “There are enough shoes for everyone.”

It changed how I perceived the opera industry. We all know the odds are not in our favor if you look at the data. Thousands of singers, hundreds of jobs, and yet his belief (and mine) is that if you work harder, sing better and are a great person to work with, you will work. Will you sing leading roles all around the globe? Perhaps. Will you sing supporting roles at regional opera companies? Perhaps. Will you sing at smaller companies making little money, but hoping to get good exposure? Probably. The point is this: We can only see the “industry” from our point of view. If it is our goal to sing at La Scala, then nothing will matter until we get there. That can be a good or bad thing depending on the person. Some would relish the chance to hone their skills in smaller companies so that when they make it to La Scala they are fully prepared and ready. Others see the “steps” to get there as an annoyance because, until that goal is achieved, they don’t believe they are “doing it.”

As I continue to make strides in my career, I am fortunate enough to see that friends are doing the same. It is as if our “time” has arrived. Granted, not all of us are singing at the same level, but the thing is, we are singing, we are getting hired, and we are auditioning with those we are reading about. In her book, Renee Fleming compares making the transition to the next level to swimming across the English Channel. It can be cold, lonely and hard, but once on the other side, there is great reward. But that swim is what tests most of us. Some stop and go back, some drown, some stop and just peddle hoping to be saved and some keep their heads together, keep breathing and no matter the difficulty, keep going as they see the end goal in mind.

We all have a talent (and there are plenty of folks who want to tell you what that is), we all have a work ethic (only we really know how much we want to put in) and we all have a hunger for the career (again, only we know how much we really want it.) Everyday there are auditions; everyday someone gets hired; everyday someone becomes the “next big thing.” Something that has helped me is aiming to be as good as those who are where I want to be and also preparing as if I want to sing at that level. In my mind, I imagined my Bronx Opera debut as my singing for an international audience in a foreign country. It helped up my game.

In essence, anyone who wants a career as a performing artist has a streak of optimism. We believe that we can and deserve to make our living doing what we love and that we should be compensated well for it. However, a lot of the messages that we hear are that the industry is “hard”, that only a small percentage “make it,” or that if you didn’t go to school X, do program Y or know mr./ms. Z, you can forget about it. And yet, Scott’s words align more with my optimistic point of view. I do believe that there is enough work out there. I do believe that hard work, talent and the fire to be one of the best will take you to a level where you can do this for living. Perhaps I am a bit of a Pollyanna , but this attitude has helped me to become a singer who is working so for me, this point of view works.

There will be things we sing for where we are not hired, that is going to happen (and even happens to the greats) so accepting that allows us to be less devastated when we don’t get it (of course, being sensitive artists, there may be a bit of a meltdown—not that I am speaking from ANY sort of experience.) But we need to have the belief deep within us that we could be hired. We need to believe that we SHOULD be hired and that we are so amazing that they HAVE to hire us! I have gone into auditions and psyched myself out and in most cases, I have NOT been hired, but it’s those ones where I walk in and believe I can do this, I deserve this and I am simply singing as a formality that work out much better.

Just like there are thousands of styles of shoes out there, there are plenty of singing jobs of all types. We may have champaign shoe taste (career aspirations), but only Payless money (limited talent, experience, etc...). But just like those who work hard to pay for those $500 kicks, we have to work harder if we want to have our dream career. I see it a lot like my philosophy of happiness. Happiness must come from within, from inside as opposed to waiting for the exterior things to bring us joy. I see the career in the same way. We have to prepare as if we are already at the level in which we hope to perform instead of thinking well when I get to that level, then I'll...It means that we may have to take some bruises to our ego which might be quite comfortable with where we are, but every singer (even the greats) deal with criticism in order to become their best.

I leave you with a bit of wonderful advice from Ms. Leontyne Price. One must love their voice and be willing to share that love with those listening. One must also block out all the noise that comes with a career and simply focus on the work. That is all that matters. And as she says, her career was “not too shabby.”

Peace,

Eric

Refilling the Well

Last night I had the great privilege of seeing the Metropolitan Opera’s “Le Comte Ory” by Rossini. I haven’t been to the Met in years and the last time I was in standing room and while it was cool, last night’s experience was absolutely perfect! Perfect seats, perfect outfit, perfect show…perfect, perfect, perfect!

A wonderful colleague of mine had an extra ticket to the production so I jumped at the chance to see this cheerful opera starring Juan Diego Florez in the title role. I would have been quite happy, but then I found out that South African soprano Pretty Yende would be making her MET debut that very night. A great tenor + a Rossini opera + a highly-anticipated MET debut only heightened my excitement.

I arrived early and took a few shots before meeting up with mezzo-soprano Juli Borst who so kindly allowed me to accompany her.

We took a few photos before the opera started and met a lovely woman who offered to take our photo together. She couldn’t quite figure out how to do it from my IPod so we just let her take one with Juli’s IPhone (insert comedy routine.) She asked if we were from New York and we said yes. Keeping the conversation going she told us she was from California and was with a group that came out to NY to come to the MET. “Are you a Juan Diego Florez fan?” I asked. Without missing a beat she responded “I love the San Diego Chargers.” I decided that I would end the conversation there, get in position for the photo and get myself prepared for the opera. Thinking of her response, I certainly didn’t have any trouble smiling as she took the picture.

The seats belonged to Juli’s friend’s father who was unable to attend. Here is a shot of the stage from our wonderful seats.

The production began and we were off, the director opted to stage the overture and give the audience more detail on what would lead up to the opening of the opera. Soprano Pretty Yende fell as she was leaving the stage during the overture and an audible gasp was heard throughout the house. Of course, by the time she came in to sing her opening aria, she had clearly resolved to throw caution to the wind and lit the house on fire. She and Juan Diego had a palpable chemistry and were able to milk all the humor while tossing off long lyric lines, runs and high notes like they were nothing. I also have to say that mezzo Karine DeShayes (a voice new to me) showed herself to be a lovely singing actress as Isolier, the male page of Ory, with a beautiful, rich voice and fantastic coloratura!

During the intermission, Juli and I made our way down to the lowest level to see the MET’s wall of fame. It’s actually quite large and includes singers of yesterday and today and was inspired by the photos that hung at the old MET. It was quite stimulating to see so many great artists including a photo of young Jessye Norman that must be seen. Here is a shot of just a segment of the wall.

Act II seemed to fly by and when this international cast (Pretty Yende, South Africa; Juan Diego Florez, Peru; Karine Deshayes, France; Nathan Gunn, USA; Nicola Uliveri, Italy; Susanne Resmark, Sweden and conductor Maurizio Benini, Italy) took their bows, the crowd went wild. Soprano Pretty Yende generated the kind of applause that seems to guarantee that she is on the road to superstardom!

I am always looking for inspiration in the music, text and stories of the characters I am singing. I also find it necessary to seek out inspiration from other sources including listening to other singers so when a free ticket to MET comes my way, I know I have to go. As an artist we are asked to give and give and give. Our well of inspiration does run pretty deep, but we must refill it with experiences that move us, challenge us and ultimately fill us. Last night’s performance gave me more drive, more joy and more excitement about my career path. I see amazing, wonderful talent everywhere around me and am grateful to be performing alongside them. I am also grateful when I see great art in front of me and am able to just sit back, relax and enjoy the ride.

Peace,
Eric

The calm before the Rossini storm

Rossini is one of my favorite composers because his operas make me smile and challenge me to be a better singer. I have enjoyed performing Figaro, Dandini and Taddeo, and tonight will add the role of Fernando in La Gazza Ladra to my list. I have always had a great love of Bel Canto operas especially ones that explore how to create a character through the repetition of text, cadenzas and vocal colors. It is a big challenge to keep this music fresh and interesting, not because it is “boring,” but that it takes a great deal of concentration, imagination and study to find the nuances. Rossini was very clear about accents, coloratura phrases, dynamics and tempi, but there is still the matter of the cadenzas (a series of notes that allow the singer to “improvise” in order to enhance the character.) And after all of that, the singer must address what the text is all about.

I love doing the work of fusing the musical and the dramatic and have truly enjoyed getting under the skin of Fernando Villabella. He is a soldier on the run, a father trying to protect his daughter and in disguise as a beggar. It makes for fantastic theater and a world of dramatic choices. I have to say I love his music and his character and look forward to bringing him to the stage.

One of the first things I learned as a young singer (even when I didn’t have control over my technique) was that coloratura was not just a way to showcase how fast you can sing a series of notes, but an expression of the character’s emotional state at that moment. It took a while to learn how to sing and act together and even longer to understand how to color text, especially in coloratura passages. Musically Fernando combines lyricism and dramatic moments. It feels like a Verdi character plopped in the middle of a Rossini opera. The role is a complete musical adventure with a heavy Bel Canto flair. Act I provides lyric and dramatic singing, some great cadenzas and wonderful drama. Act II is even more challenging with his aria that alternates between a breathless fear and powerful determination, then is immediately followed by a long and exciting (did I mention “long”) Quintet with chorus that has Fernando going from lyric to dramatic to full-on coloratura and back. Finally the Act II finale demands coloratura brilliance and ends on a fun and light note (actually a lot of notes.) The tone of the opera is comedic to serious to light and offers each character plenty of show-stopping moments.

If you know any Rossini pretty well, you’ll also enjoy hearing snatches of melodies from other Rossini operas and marvel at how they fit perfectly into this piece.
Peace,

Eric

Music as light

“ This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before.”-Leonard Bernstein

The Connecticut tragedy really affected me on many levels. Perhaps that I am in a relationship with someone who is a teacher, perhaps that I spent many of my formative years as a singer working in schools, perhaps because I worked in arts education for six years and saw the power of music to heal and bring people together or perhaps because it is a senseless act that has affected so many innocent people.

At the same time, I was in rehearsals for a production of “Amahl and the Night Visitors” singing my second Balthazar and also making my debut with the Lebanon Symphony in Handel’s Messiah. It was the above phrase that made my performances seem relevant to those who had come not only to hear the beautiful music, but also possibly to connect on a deeper level. I allowed myself to go beyond just sounding good and really aimed to connect to the miraculous natures of both works.

Two magical moments came to me: one could argue that they were out of body experiences or where I felt as though I were a vessel for something greater. Moment one is when Amahl realizes that he can walk after deciding to be selfless and give his crutch to the child. The talented young singer portraying the role certainly had a handle on the dramatic and vocal challenges, but there was something so real about that moment that when Balthazar sings “He walks,” I felt a chill of the divine. The second amazing moment was singing Handel’s glorious “The trumpet shall sound.” It is the very last thing the bass soloist sings and is a tour-de-force of a piece. I made a conscious choice to “give over” to the music and ride along as opposed to trying to “compete” with the orchestra. I found it to be one of those exceptional moments where music, drama, text and spirit were all aligned and I was simply a conduit for something greater. I had complete and utter trust in the conductor, the orchestra and my own talent and allowed to let go and simply connect. The reaction from people was that it was a magnificent "performance", but what they don't know is that I was not thinking of the performance aspect at all and was aiming to convey the powerful message. Perhaps we must give ourselves completely to the music in order to bring our best "performance" forward.

I left the weekend still very aware of the tragic events of Connecticut, but also of the magical power of music and its ability to unite. Two very different composers, two very different vocal demands and two very different settings and yet the end result; to be moved, to be a vessel for great works and to share my artistry not to impress, but to express; were consistent.

It gave me such joy to be able to be part of these wonderful works. To show my reaction to the darkness of violence, I was part of bringing the light of music to heal myself, those in the audience and hopefully, in some indirect way, the world.

Peace,

Eric

Interview with a budget fashion diva

Soprano Karolyn Lee seems to channel divas from the past while still embodying a fresh, contemporary style. In addition to her fashion sense, she has a strikingly beautiful voice that flows easily up the scale, is a compelling actress and possesses that certain je ne sais quoi that makes you watch her every move. I recently spoke to Karolyn about her extraordinary ability to always look fashionable.

E: First of all, where did you go to school?

K: I have a Master’s degree in vocal performance/ pedagogy from Ohio University. I also hold a BA in performance from Slippery Rock University of PA. I am currently singing the role of Musetta with Opera Columbus. I also have performed the roles of Fiordiligi, Arminda, Clorinda and Gretel to name a few.

E: How would you describe your style?

K: I would describe myself as always properly dressed for every occasion. I take influences from every time period. I love the Vintage era, classics that never go out of style, and the 80s are always present in my wardrobe. I also favor bold colors, but the key to making any outfit pop is the accessories!!! Overall, I would say my style evolves; I never stay in one place.

E: Where do you find your fantastic finds?

K: Really, I do most of my shopping at Marshall's, TJ Max, NY and Company. I shop discount stores where you find name brands.

E: Amazing. How do you put together such fabulous outfits on a budget?

K: I shop for name brands such as Michael Kors at stores that sell them at half price, such as Marshall's. You need to take time at these places to find the good buys. I also read fashion magazines such as Essence to see looks and then try to duplicate them within my budget. Sometimes I actually take a magazine with me to use as a reference!

E: That’s fantastic. I would love to run into you, magazine-in-hand and looking through the racks. So based on your research, what are the must-haves for fall/winter?

K: Fur, faux or real, either way it makes a statement!
Black pointed shoes
Legwarmers / leggins
Sweater dress with bold colors
Bold conversation piece jewelry
Long accordion pleated black dress
Clover green cocktail dress
Flamboyant flowers for hair decor

E: That’s an amazing list. When you dress for an audition, besides your singing and acting, what is it that you want to tell the audition panel about yourself through your clothes?

K: That I can reinvent myself in many ways. For example, if I'm auditioning for the role of Musetta, I'm not going to wear a simple black dress. I'm going to wear a dress with BOLD color. I'm telling the panel that I'm ready to play the vixen. A vixen does not wear black or gray. In addition, you want to look young and fresh since youth is such a factor in opera these days. I like to do something that makes me stand out like adding a flower for that extra flair!

E: Finally, what three things should ladies know in to enhance their style?

K: Accessories, hair and makeup must be on point!! Your look should complement who you are and what you are singing. Opera is about being a total package so wrap that package up in great things that truly flatter everything about you.

E: Well thanks for giving the operatic ladies out there some shopping tips for how to be stylish on a budget. I don't know if they'll all look as amazing as you, but at least they now have some tools.

Peace,

Eric

Strangers on a Plane

I tend to be the person who does not want to make small talk on a plane. I either want to eat my sandwich, do my Sudoku or simply fall asleep (or at least pretend to be sleeping so I don’t have to chit-chat about where I am going.) A friend recently told me that I should invest in a hat that says: Ask me about Jesus and also sport a t-shirt that says: Ask me about the devil. This would surely keep the “talkers” away and allow for some puzzle-solving, sandwich-eating peace.

So today, as I flew back to New York after singing for the opening of a new Hilton in Columbus and the last performance of the fall run of La Boheme for Opera Columbus, I encountered two talkers who wanted to know the usual. They seemed nice enough so I engaged them in conversation (doing more than my usual answer of questions in short spurts without returning the favor by inquiring about them.) I asked what they were doing and we chatted for several minutes about their kids, their travels and the like. When it got to my career, they seemed very impressed that I was an opera singer. They were very sweet. I realized that perhaps, I don’t have to be a sour puss and could actually be a charming, kind person. Just then the guy behind me tapped me on the shoulder and handed me a card. He turned out to be someone who worked in opera and handed me his card.

I started thinking that many times in life, we just stay to ourselves. We connect more with our phones and puzzles and in my case, food and forget that there is life happening all around us. My new roommate and I were talking about this phenomenon. She told me of something she heard recently where a girlfriend of hers mentioned that “...we are no longing going on line, but we are online.” We’ve become so engrossed in our own selves either through technology or books or other means and don’t realize that the art of talking/connecting with people face-to-face is a dying art.

So the moral of this tale is that through connecting with people, anything can happen. Had I remained quiet, I would have never learned anything about these lovely people or been given an opportunity that was literally sitting there waiting for me. So the next time you want to accomplish something, don’t just open up your laptop, open your eyes as the opportunity might be sitting next to you in the form of a stranger on a plane.

Peace,

Eric

Opera: fresh, new and served up in an hour

I am in the midst of performances of an updated 1-hour version of La Bohème in English. The purpose of these performances is two-fold: 1) Opera Columbus is looking to reinvent itself and 2) Opera Columbus is looking to find a way to introduce people to opera in a streamlined, digestible and modern way.

This idea of taking a traditional opera and bringing it into an intimate setting is catching fire all over the country and many opera companies are redoing the classics stripping away the distance and bringing the opera closer to its (hopefully new) audience. I have always believed that for opera to survive it had to go two ways, more grandeur so as to compete with the likes of movies and music and also more intimate to make the entire experience less intimidating. The Met and other large companies have the resources to take care of the granduer, but smaller companies have had to find ways to bring operatic experiences to audiences on a smaller (and cheaper) scale. And like introducing someone to any new art form, education has to be the FIRST step. (Gets off of soapbox.)

In truth, there are people who might see an opera, but the perception of opera is skewed with visions of ladies in horns and large men with handkerchiefs (still.) On the flip side, people see Katherine Jenkins, Josh Groban and Andrea Boccelli and assume that they are top-tier opera singers and if they’ve attended one of their concerts then they feel as though they have experienced “opera.” This, of course, can make it tough to enlighten people about the reality of opera. But I see opera companies (new and old) becoming incredibly aggressive about connecting to audiences by offering something new and fresh alongside the traditional. It is breathing new life into the artform. Bringing people to the theater whether to see an hour-long intimate production in English or that same opera in its original grandeur, one must make it relatable.

There are purists who wish that people would just love opera as it is, but I had a revelation about why opera is a challenge for modern society: we live in a world where we can access information (and answers) at the drop of a hat. We are also living in a highly digital age. Opera demands that we listen and concentrate for an extended period of time. It also requires a certain level of critical thinking regarding what to listen for, how to process the story line and give one’s self over to the conventions of opera.

So, I am excited about this hour-long production meant to entice people to "try” opera. It allows people to experience the beauty of the operatic voice in a production that surrounds and envelops. It also has an immediacy that removes the language and distance barriers. Should every company do every opera this way? No. But should companies looking to draw people to an artform that spans hundreds of years find additional and creative ways to introduce it so that people will be more likely to attend a full-scale production? Yes!

Peace,

Eric