The role of the opera singer is two-fold. One must be a constant student willing to listen, learn and have others offer advice on how to improve our gifts. But then when it comes time to perform, one must take the reins like an artist trusting their instincts by doing what feels (physically and mentally) right.
It is often the case that those charged with offering their opinion come with their own ideas and if you trust what they tell you and see that the advice offered sparks a great response from your colleagues, then it is certainly worth taking into consideration. It is our job to incorporate all the advice from teachers, coaches, diction experts, conductors and directors and mix that information into our batter of our own take on the role vocally and dramatically. It can be tough when someone gives a bit of criticism that doesn’t quite make sense not because the advice is bad, but because the way in which it is said may not make sense based on the singer’s perception.
Just like the search for an ideal voice teacher, one must find a teacher with whom they not only respect and trust, but whose way of describing something connects with the singer. Many teachers will teach similar techniques, but how one disseminates that information makes all the difference in the world. The same holds true for taking in suggestions from coaches, directors and conductors. Many are offering ways in which to improve a singer’s performance, but singers, just like the individuality of their voices, have individual ways of processing “fixes.” Some are able to make the adjustment right on the spot, while others need time to digest it. I have found that I am willing to try anything in rehearsal, but if something feels foreign or more difficult I will find a way to negotiate for what works better. Since I can’t hear what others hear, I have come to fully trust my Digital Voice Recorder. After a recent diction coaching where I was told to make some changes and I did on the spot and received great praise, I was told the next day that I had reverted to my “old ways.” I was bit surprised because internally it felt exactly like what had been asked of me. I left the rehearsal very confused. Luckily I had recorded it and while I did not hear what that person had mentioned, I DID hear things that I felt I could do to clear up my diction.
As a singer, I have to remember that while I wish I were perfect, I am a work in progress. I am either trying to perfect technique, language, drama or style. We also have to contend with the opinions of others and sometimes those opinions are in direct conflict. A wonderful example of this is that the review I received from a recent production of “Die Fledermaus”, which praised my performance, but said my “German diction was wanting.” By contrast a Native German speaker and opera singer reached out to me after the same performance and told me my diction was “Superb!...miles above the rest of the cast.” I had to laugh because these two people, at the same performance, heard two completely different things. It reminded me that I can only do what I can do and some will love it and others will not be as responsive. Regardless of the opinions around me, I must trust myself.
We all want to be the best. We’ve trained, auditioned, sacrificed and worked so hard. Those around us also want us to do well and many will give us their point of view on how to do so and yet, sometimes the information may not “compute.” In truth, we have to have confidence, a pair of ears we trust and more than anything else the ability to take advice and criticism and make them work for us. Because we are the artist who is out there we have to, like Leontyne Price said, “Love our voice” and have complete and utter faith in our talent and our preparation. The journey of an opera singer is to sort through everything that is said to and about us and simply learn the best way to communicate the story through our unique instrument using all the tools we have in that moment.
Peace,
Eric
Wednesday, June 26, 2013
Thursday, June 13, 2013
Technology in opera rehearsal
It was only a few short months ago. I was immersed in rehearsals for Bronx Opera’s “La Gazza Ladra” and as is typical, some artists were referring to their scores in order to get a handle on a certain phrase or bit of staging. But as I began to look around, I realized that several of my colleagues weren’t holding physical scores, but instead were using IPads to follow along, adjust their screen size and even make notes! What was this, the future? I was informed that there was an app out there called forescore and it allowed a singer to download a score (as long as it was available online) and they could actually use it like a “regular” score. For many it meant that they could carry around multiple scores without having the backache that went with carry the physical ones. On opening night, the conductor actually conducted from his IPad proving to me that this app could become more than a passing fad.
As fascinated as I am with the app and the 21st century-ness of it all, I find myself resistant to its use. (Most likely because I don’t have an IPad, but that is beside the point.) For me, there is something wonderfully old-school about cracking open a score and making markings. Even cooler is getting a used score that has the markings of someone else. It feels like I am connected to history and tradition. But I am at peace with my colleagues who use this 21st century technology as I think it is very cutting-edge.
On the flip side of this, I am becoming increasingly distressed by seeing singers using cell phones DURING a rehearsal period (not during breaks, but as they are getting actual direction.) I nearly lost my S$%t watching some singers in the chorus of the current opera I am working on with their phones out during staging where they are supposed to be covering principal roles in which that staging is being given. If we as opera singers don’t seem to give a crap about the artform we are fortunate enough to be surrounded by, then how can we expect an audience to stay focused?
I have to be honest, it even bothers me when singers are merely sitting in a rehearsal and have their phones out. For me there is something so disrespectful about looking out as a performer and seeing that your colleagues are not engaged in what is happening on the stage because they would rather play “Tasty Smash.”*
(*For copyright reasons I have renamed it. Also, I love the game to which I am referring and don’t want to insult them.)
Now I bet some of you are saying: well,if your singing was interesting enough, you would be able to sway them away from their phones. I agree that if someone is singing their face off, I will look up from my score and pay more attention. But if I am not interested in what my colleagues are doing, I try to leave the space or get out of plain site so as to allow them the respect they deserve.
My belief is that it seems like any opera performance is much better if the colleagues are listening and learning from each other as opposed to it ignoring what else is happening when they are not the focus. I remember being in a rehearsal and the director referred to opera as "high art." As individual as being an opera singer is, there is something magical about developing wonderful onstage and offstage relationships. These relationships, in addition to great singing and acting, are what give a performance that certain je ne sais quoi. Those relationships are built on mutual admiration and respect and you can only get and give it if you are in the present moment with the other singers, the conductor and the director. Opera is an ensemble activity and while it is our job to bring our A-game to the table, a performance can only sparkle if all the elements are aligned and working together.
So maybe I am resistant to bringing the technology aspect into my opera rehearsals because I feel like I want to stay connected to the present moment and if I am looking down at my phone (computer, IPad, whatever…) I am missing the potential to learn something new, see something interesting or connect with a colleague. No matter how great one person is, it is when we see the chemistry of artists with each other that really amps up any given performance. Maybe I am resistant because I really have little interest in technology outside of checking my email, sending an update to potential, checking up on friends on the book of many faces and playing a tasty game that shall remain nameless. Maybe it’s that I love opera so much and have such respect (and understanding) of the amount of sacrifice that goes into being an opera singer that like anything we hold in awe, we give it our undivided attention. Nonetheless, I think we can say the following: IPad with the forescore app: good. Using your phone while in the midst of a rehearsal: bad.
Peace,
Eric
Thursday, May 30, 2013
"Ariadne auf Naxos" with a twist
Everyone says opera needs a “makeover” in order to become relevant to the 21st century audience. (Well not everyone, just those who want butts in seats.) While sitting with my colleagues during the intermission of the dress rehearsal of my current production “Ariadne auf Naxos,” we got to thinking about how we would make opera more contemporary (but with full tongue-in-cheek.) So we decided that if we were to recast opera with figures from the world of popular music, people would sit up and listen (while others would die immediately on the spot!)
So here is the cast list for a 2013 “Ariadne auf Naxos”:
Ariadne-this role requires a big voice, a diva presence and someone capable of great phrasing. The natural choice is someone with a real voice and great style like Jennifer Hudson who certainly knows about tragedy and has the acting chops to carry an opera.
Zerbinetta-this role is filled with vocal fireworks and requires an extended range. Years ago, Mariah Carey with her fabulous whistle tone would have been the obvious choice, but she is no longer the “coquette” and the crown of vocal gymnastics queen seems to belong to Christina Aguilera.
The Composer-This was a tough one as it requires a fiery personality, a strong voice and an ability to look good in a pants suit. For some reason, Nicki Minaj seemed a good option although I’m sure once I publish this I’ll think of someone more appropriate.
The Three Nymphs-Who else could reinterpret the three nymphs while still retaining their own individuality? Why Destiny’s Child of course.
The Dance Master-With his ability to be lithe, light on his feet and filled with an innate sense of rhythm, Justin Timberlake would be ideal for this fantastic supporting role.
Harlekin-Has to be young, handsome, but still able to be the comedian. He also has a wonderful tune to sing and yet has to be able to sing in a group. Adam Levine fits the bill. Former Mr. Jessica Simpson and 98 Degrees alumni, Nick Lachey would be his cover.
Scaramuccio, Truffaldin and Brighella-Tight harmonies and complex dance moves means we could choose between the more experienced Boys II Men or just take 3 of the 5 One Direction members and teach them how to really sing well.
The Music Teacher-He needs to be someone who can “school” the young ones on how to do things and has the respect of everyone in the business. The Artist Formerly Known as…now known as Prince is perfect!
Bacchus-Last but not least, the role of Bacchus requires a great stage carriage, a voice filled with raw emotion and grandeur to spare. The only possible singer: Aretha Franklin. After her “Nessum Dorma” it’s clear she loves opera and knows the tenor rep.
Have another opera you’d like to see recast? Let me know.
Peace,
Eric
So here is the cast list for a 2013 “Ariadne auf Naxos”:
Ariadne-this role requires a big voice, a diva presence and someone capable of great phrasing. The natural choice is someone with a real voice and great style like Jennifer Hudson who certainly knows about tragedy and has the acting chops to carry an opera.
Zerbinetta-this role is filled with vocal fireworks and requires an extended range. Years ago, Mariah Carey with her fabulous whistle tone would have been the obvious choice, but she is no longer the “coquette” and the crown of vocal gymnastics queen seems to belong to Christina Aguilera.
The Composer-This was a tough one as it requires a fiery personality, a strong voice and an ability to look good in a pants suit. For some reason, Nicki Minaj seemed a good option although I’m sure once I publish this I’ll think of someone more appropriate.
The Three Nymphs-Who else could reinterpret the three nymphs while still retaining their own individuality? Why Destiny’s Child of course.
The Dance Master-With his ability to be lithe, light on his feet and filled with an innate sense of rhythm, Justin Timberlake would be ideal for this fantastic supporting role.
Harlekin-Has to be young, handsome, but still able to be the comedian. He also has a wonderful tune to sing and yet has to be able to sing in a group. Adam Levine fits the bill. Former Mr. Jessica Simpson and 98 Degrees alumni, Nick Lachey would be his cover.
Scaramuccio, Truffaldin and Brighella-Tight harmonies and complex dance moves means we could choose between the more experienced Boys II Men or just take 3 of the 5 One Direction members and teach them how to really sing well.
The Music Teacher-He needs to be someone who can “school” the young ones on how to do things and has the respect of everyone in the business. The Artist Formerly Known as…now known as Prince is perfect!
Bacchus-Last but not least, the role of Bacchus requires a great stage carriage, a voice filled with raw emotion and grandeur to spare. The only possible singer: Aretha Franklin. After her “Nessum Dorma” it’s clear she loves opera and knows the tenor rep.
Have another opera you’d like to see recast? Let me know.
Peace,
Eric
Wednesday, May 8, 2013
Crazy or an opera singer?
One of the joys of NYC is being on the subway next to someone and you hear that they are having a full-blown conversation. You look up and realize that there is no one on the other side of the conversation and see that they are actually muttering to themselves. It is usually accompanied by a rather funky stench, a shopping cart filled with plastic bags and frequent outbursts about what Nene just did. But there are those times when you see someone and they seem perfectly normal as they are dressed in the latest trends and are sans extra baggage and yet, they are clearly talking to…no one. I would get a kick out trying to figure out what it is they are whispering to themselves and if they truly see the person to whom it seems they are addressing. What makes a seemingly normal looking New Yorker have a whole train ride of one-sided chit-chat?
It wasn’t until about a week ago, while in the midst of perfecting my latest role of the Music Teacher in “Ariadne auf Naxos,” that it was brought to my attention that I have a habit of muttering the text in rhythm under my breath and to the casual observer, it would seem that I am skating right into Cuckooville. In my defense, I have had to learn six new roles this season and have another new role to learn in a month so lots of repetition is a must. I know I have a role down cold when I can pick any spot in the opera and can rattle off the words like they are second nature. However, I was not aware that the rattling was out loud and could be viewed by others as someone on the way to Crazy Town.
My mind flashed back to all those seemingly normal folks I had seen having one-sided conversations and I realized that they were, like me, working out the nuances of an upcoming role. My theory was confirmed this morning as I went for a walk and realized, that unbeknownst to my conscious mind, I was mumbling the Music Teacher’s lines while walking down the street. Now, anyone who chooses the life of an opera singer has to have a touch of the crazy in them, however the next time you see someone chit-chatting to the air, have faith that they just might be the next great opera singer preparing a new, challenging role…or they might be Crazy Louie coming to bum a quarter. It is New York after all.
Peace,
Eric
Wednesday, April 24, 2013
But I don't sing in German
Since my return to singing over the last three years, I have done quite a bit of singing in Italian and English. I recently had the chance to sing Escamillo and have at least four French arias ready to go, but based on my own perception of my voice and my “look” I have steered clear of the German repertoire thinking to myself: I don’t really sing in German. I even went as far as to tell someone those exact words in a recent audition for a piece in German. Any wonder I didn’t get it?
As I have discovered in this business, some artists easily fit into a niche and others (and I feel I fall into this category) tend to be able to bounce about and sing a wide variety of literature. I always thought that perhaps the only role I would sing in German would perhaps be Papageno, but as it turns out I am about to sing the Music Teacher in Richard Strauss’ Ariadne auf Naxos and immediately follow that up with Falke in Johann Strauss’ Die Fledermaus. Even more interesting is that I am up for another German role next season. All of sudden I’ve gone from someone who “doesn’t sing in German” to someone who is singing in German.
I have always thought I knew what was best for me and where I would end up in the opera world, but again, I am surprised (like I was with being cast as Escamillo earlier in the season) that there are people who see as more than just a “black” singer and who believe I can transcend roles that would traditionally go to white performers. It’s a wonderful feeling to see that opera while trying to focus on realism and appeal to the general public also wants to find new and exciting ways to express itself and that includes casting those who may not at first glance seem an ideal fit, but might have something unique to say about a particular role.
It reminds of the statement “Don’t tell yourself ‘No.’” I truly believe that the singers who are succeeding spend more time telling themselves “yes” and less time worrying about what others think. So here I am: a black lyric baritone who has sung everything from Mozart’s Figaro to Britten’s Theseus to Rossini’s Fernando in La gazza ladra to Escamillo and many interesting and surprising roles in between. I have trained, studied, practiced and believed so why shouldn’t I be a singer who sings in German? So I say “yes” to what may come because I always need to remind myself that I can…even auf Deutsch.
Peace,
Eric
As I have discovered in this business, some artists easily fit into a niche and others (and I feel I fall into this category) tend to be able to bounce about and sing a wide variety of literature. I always thought that perhaps the only role I would sing in German would perhaps be Papageno, but as it turns out I am about to sing the Music Teacher in Richard Strauss’ Ariadne auf Naxos and immediately follow that up with Falke in Johann Strauss’ Die Fledermaus. Even more interesting is that I am up for another German role next season. All of sudden I’ve gone from someone who “doesn’t sing in German” to someone who is singing in German.
I have always thought I knew what was best for me and where I would end up in the opera world, but again, I am surprised (like I was with being cast as Escamillo earlier in the season) that there are people who see as more than just a “black” singer and who believe I can transcend roles that would traditionally go to white performers. It’s a wonderful feeling to see that opera while trying to focus on realism and appeal to the general public also wants to find new and exciting ways to express itself and that includes casting those who may not at first glance seem an ideal fit, but might have something unique to say about a particular role.
It reminds of the statement “Don’t tell yourself ‘No.’” I truly believe that the singers who are succeeding spend more time telling themselves “yes” and less time worrying about what others think. So here I am: a black lyric baritone who has sung everything from Mozart’s Figaro to Britten’s Theseus to Rossini’s Fernando in La gazza ladra to Escamillo and many interesting and surprising roles in between. I have trained, studied, practiced and believed so why shouldn’t I be a singer who sings in German? So I say “yes” to what may come because I always need to remind myself that I can…even auf Deutsch.
Peace,
Eric
Thursday, April 11, 2013
Congrats to you; now what about me?
I am always excited when I hear that a friend in this business gets a fantastic engagement. I like it when someone I know to be hard working, super-talented and dedicated gets an offer that will showcase their abilities. As of late, many of my friends have been getting offers and as thrilled as I am, there is a small part of me that thinks: “what about me?”
First of all, I have had a phenomenal season with no less than 8 new roles in every language and some fantastic debuts and great reviews, so please know that even I am sort of looking at myself like “What you talkin’ about, Willis?” But I have also been auditioning my butt off and it seems like I’m always the bridesmaid, but never the bride.
As an artist, I’ve learned not to take “no” too personally, although I am “sensitive “ every time I hear it. I also know that every artist has heard “no,” and that every artist has to have a tough hide in order to stay focused on the present and what could be and not spend time and energy on what is not. However, the goal is to be an amazing artist so I need to give amazing auditions in order to get amazing work.
I do a lot of reading about how to envision what I want out of life. I read a fantastic passage about the law of attraction and it said that if you see great wealth, success, love or whatever it is you are hoping to attract surrounding you, instead of seeing it as “ why does everyone have it ?”, one must rethink it as attracting it on all sides and if it surrounds you and you are seeing it constantly, then surely you are on the same plain. I think it is similar to the people we attract. If you find yourself surrounded by great friends, then you, in turn, must be a great friend. If you have an amazing partner, then you are indeed a great partner. If it seems that everyone you know is getting hired here and there, then you are in the same realm of possibility and great things are en route. One can call it faith, the law of attraction or new-agey poppycock, but the more aware you become of the great fortune of others, the more you will begin to allow it to come to you. Another way to think of it is if I am surrounded by singers of a high-level, then I too, must a high-level singer.
So my goal for Spring is to stop worrying so much about what I have been passed over for and become very aware of the success of those around me. Even in the face of "no", I am still seeing many a "yes" all over the place, so my many "yeses" are just around the corner. I will continue to be overjoyed for their success, just as I know they are with mine.
Peace,
Eric
First of all, I have had a phenomenal season with no less than 8 new roles in every language and some fantastic debuts and great reviews, so please know that even I am sort of looking at myself like “What you talkin’ about, Willis?” But I have also been auditioning my butt off and it seems like I’m always the bridesmaid, but never the bride.
As an artist, I’ve learned not to take “no” too personally, although I am “sensitive “ every time I hear it. I also know that every artist has heard “no,” and that every artist has to have a tough hide in order to stay focused on the present and what could be and not spend time and energy on what is not. However, the goal is to be an amazing artist so I need to give amazing auditions in order to get amazing work.
I do a lot of reading about how to envision what I want out of life. I read a fantastic passage about the law of attraction and it said that if you see great wealth, success, love or whatever it is you are hoping to attract surrounding you, instead of seeing it as “ why does everyone have it ?”, one must rethink it as attracting it on all sides and if it surrounds you and you are seeing it constantly, then surely you are on the same plain. I think it is similar to the people we attract. If you find yourself surrounded by great friends, then you, in turn, must be a great friend. If you have an amazing partner, then you are indeed a great partner. If it seems that everyone you know is getting hired here and there, then you are in the same realm of possibility and great things are en route. One can call it faith, the law of attraction or new-agey poppycock, but the more aware you become of the great fortune of others, the more you will begin to allow it to come to you. Another way to think of it is if I am surrounded by singers of a high-level, then I too, must a high-level singer.
So my goal for Spring is to stop worrying so much about what I have been passed over for and become very aware of the success of those around me. Even in the face of "no", I am still seeing many a "yes" all over the place, so my many "yeses" are just around the corner. I will continue to be overjoyed for their success, just as I know they are with mine.
Peace,
Eric
Friday, March 22, 2013
On the road again
Today I am getting ready for the dress rehearsal of Verdi's La Traviata with the Harrisburg Symphony in Harrisburg, PA. I am having a fantastic time because all the singers are wonderful, the orchestra sounds fantastic, the conductor Stuart Malina is a dream and the Symphony staff are amazing!
The trip to this wonderful place began as usual on the LIRR (Long Island Railroad.) Here I am excited about departing.
And here I am few moments later after they announced that we will be delayed in our departure.
But no worries! I have learned that while NYC never sleeps, she sometimes runs late so leaving early in order to get where one is going is essential. I made it into Penn Station where I would take the Amtrak to Harrisburg, PA. A quick three-hour trip. We made a stop in Elizabethtown, PA made famous by the film starring Orlando Bloom. What is he up to these days?
The trip was ideal with large and comfy seating, working wifi and kind conductors. As we got closer and closer to Harrisburg, the final stop, this one took a brief rest as he must have worked a long shift and needed a little shut-eye. I won't tell anyone, sir.
Downtown Harrisburg is charming and quaint. The company has been nothing, but extraordinary and I highly recommend that any singer that can, make the trip and audition. They treat you like royalty!! And did I mention that the hall is beautiful and singing in it feels great?
And here is the view from my lovely room at the hotel. The hotel is conveniently located near food and is in a cool neighborhood downtown. We are in walking distance of the theater, but the staff has insisted on picking us up and taking us to and from rehearsal. I also like that the rehearsal process has been fun, fast and filled with great music making. Well played Harrisburg, well played!
Peace,
Eric
The trip to this wonderful place began as usual on the LIRR (Long Island Railroad.) Here I am excited about departing.
And here I am few moments later after they announced that we will be delayed in our departure.
But no worries! I have learned that while NYC never sleeps, she sometimes runs late so leaving early in order to get where one is going is essential. I made it into Penn Station where I would take the Amtrak to Harrisburg, PA. A quick three-hour trip. We made a stop in Elizabethtown, PA made famous by the film starring Orlando Bloom. What is he up to these days?
The trip was ideal with large and comfy seating, working wifi and kind conductors. As we got closer and closer to Harrisburg, the final stop, this one took a brief rest as he must have worked a long shift and needed a little shut-eye. I won't tell anyone, sir.
Downtown Harrisburg is charming and quaint. The company has been nothing, but extraordinary and I highly recommend that any singer that can, make the trip and audition. They treat you like royalty!! And did I mention that the hall is beautiful and singing in it feels great?
And here is the view from my lovely room at the hotel. The hotel is conveniently located near food and is in a cool neighborhood downtown. We are in walking distance of the theater, but the staff has insisted on picking us up and taking us to and from rehearsal. I also like that the rehearsal process has been fun, fast and filled with great music making. Well played Harrisburg, well played!
Peace,
Eric
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