Operatic names like Micaëla, Cenerentola, Mimi and Figaro conjure up smiles as we think of how good and kind they are. Some triumph in the end by finding love or wealth while others become saints in our eyes as they give up their very essence, but before they touch our hearts. I am not interested in them today.
Today I am concerned with those who scheme, lie, steal, kill and manipulate others in order to get what they want. I am interested in finding the most dastardly of them all to rule a band of operatic bad guys (and girls). So today I present you, the audience, with 13 of the most heinous, foul souls to appear in opera. Each will offer their specific reasons of why they should be at the helm of this new organization known as the League of Operatic Villains Extraordinaire (LOVE). You, dear opera fans, will vote for your choice.
Iago
With a tongue of silken poison, and a smile of great disdain,
I ignite fury and confusion, to those with much to gain,
In this existence I seek only to prove, that God above sets us here to lose
For passing me over, many will suffer so that I may seek my revenge undercover
Half-truths, innuendo and dreadful questions I raise
Upon your death, my sole intention is to gaze.
Dr. Bartolo
I am a man with only two needs: a pretty young woman and all of her wealth. I am smart, charming, and like things of a vintage nature (not any of this new-fangled operatic crap!) Some have said I am a curmudgeon; well I say they can suck it! I have great scheming skills and am able to spot when I am being lied to (that’s right Figaro!) I have such a powerful and interesting personality that I appear in TWO operas. That’s more than any of these other hacks can say!
Duke of Mantua
I have the wealth, the resources, the regal bearing and most of all the charm to run any organization of ill-repute. If I had one vice, it would be that I love and love a lot. I mean, A LOT! What can I say; I believe in enjoying life’s greatest pleasures and because of my handsome face, seem to have the greatest of luck. Nothing bad EVER happens to me. Besides, what better person to be the face of an organization named LOVE?
Salome
Beautiful I have been called; a youthful seductress. Alluring with a sense of…what was that? Childlike innocence entangled with a sense of decadence. Mother says I deserve whatever I desire. Is that music playing? I am a strong-willed lady with many “layers” and my body yearns to be touched. He’s really handsome…I must have him. I am a Princess and love to be bathed in the finest…He is REALLY cute…I must have him! What was I saying? Yes, powerful, elegant and…Why don’t you love me? I won’t be ignored! …A flower ready to be plucked. I dream of intertwining my flesh with the scent and body of a man whose weak, yet strong, powerful, yet gentle, BEAUTIFUL YET UGLY! I’m sorry, what was I saying? He is REALLY, REALLY cute!!
Scarpia
Unlike all of you, I already have great power as a member of the Secret Police. I have a connection to the church and the government and am able to bend people to my will; even most operatic sopranos. I am not afraid to lie to get exactly what I want and I have a highly organized and loyal network of spies. I am clearly the best man for the job.
The Four Villains
Each one of us possess extraordinary powers, but combined we are the ultimate super villain!
I, Coppélius, have super strength, able to rip through metal and steel (even life-size dolls)
I, Dr. Miracle, possess great knowledge of black magic and can conjure the dead to do my will
I, Dappertutto, have the ability to steal souls
And I, Lindorf, am a master of intrigue, able to achieve almost any goal
Individually we are strong, but together we are unstoppable!
John Claggart
I am simply a man who hates beauty and goodness.
Perfection sickens me and I will do whatever I can to destroy it.
The cheeriness of those who walk freely devoid of the weight of the world turn my stomach
I will not rest until all beauty and goodness is wiped off the face of the earth.
And I will begin with him.
Mephistophélès
I am the Devil. Any questions?
The Queen of the Night
I possess great power and once I have destroyed Sarastro, I will double that power with the Circle of the Sun. I do this all so that my daughter, an innocent, may be able to make the correct choice and side with darkness. I believe in a world where women are the dominant sex! Under the cover of darkness, I command my army of women to destroy all men so that we, the beautiful ones, will reign supreme!
Nick Shadow
By pretending to be human, I take souls to Hell
Leading them towards a path where things do not go well
Appearing as advisor, confidant and friend
With finesse I lead them to a doomed end
Idle hands I give much to do
Be careful, watch your back or it might just be you.
Don Pizarro
If you disagree with my leadership style then I just might have to tuck you away in a cell for all of time. I am not afraid of corruption, lies and even murder, if it means that I retain my powerful hold on the jail system. Ruling with an iron fist has proven to be wise as it keeps everyone that works for me in check. It also distracts them from asking too many questions. I only trust a few and am constantly flanked by my guards, my sword and most of all, my trusty dagger. I have the intellect, the connections and the requisite drive to lead this organization and will keep its trusted secrets from ever reaching the surface.
Witch
There seems to be some mistake as to why I am here. I am a simple lady who loves to make sweet things. I love to live alone and rarely bother anyone…unless they stumble into my “neck of the woods.” By nature I adore fruits and vegetables and dine upon a steady diet of all sorts of desserts. But once in a while I get a little craving for…flesh and I must say I seem to lose all control when someone, I mean something, delicious finds its way to my gingerbread house. I especially love plump, tender boys as they have a little more meat on their bones. I already have a network of daycare centers set up where parents drop off their young ones. Then, using my magical powers, I do a forgetful spell that makes parents forget where their child is. They go about posting missing child photos here and there while I escape with their tasty little morsel! Eventually I will have them all and then make the biggest, most delectable kiddy pot pie you’ve ever tasted! But other than I am just a little old lady who likes nature and decorating my home.
Don Giovanni
All I care about is the conquest of the most beautiful, the most powerful, the most fragile and even the most difficult. Champagne, women and feast are the most decadent things in the world and I will do anything, ANYTHING to have them. I have lied, raped, and killed and I feel absolutely no remorse. Why should I? There is nothing beyond this life and if there is, I am not afraid. I am a man who believes that life is for the taking and those who stand in my way, well, they don’t for long.
Now ladies and gentlemen: Place your votes by leaving a comment on this page. The top 5 vote-getters will be announced in one week and then, after another round of voting, the head of the League of Operatic Villains Extraordinaire will be named!
Peace,
Eric
Friday, September 13, 2013
Wednesday, September 4, 2013
Fidelio in Bollywood
What do you get when you take a heroic opera originally written in German about a woman who disguises herself as a man to rescue her husband whose been missing for two years and mix it with traditional elements of Bollywood films of the 50s and 60s? You get what is certain to be one of the most interesting productions I have worked on in years, that's what!
I am currently in Milwaukee, Wisconsin preparing to make my debut with Skylight Music Theatre in the role of the villainous Don Pizarro in Beethoven's only opera "Fidelio." Skylight's 2013-14 season is all about struggle, escape and liberation and "Fidelio" is the epitome of a "rescue opera." Florestan has been imprisoned for revealing the corruption of Don Pizarro, a prison Governor. His wife Leonore has disguised herself as a man named Fidelio and has taken up employment in the very jail cell where she believes Florestan is imprisoned. Working alongside the lead jailor Rocco, she searches for him. Complications ensue as Rocco's daughter Marzelline falls in love with Fidelio and Rocco agrees that the two can marry. Pizarro receives word that Don Fernando has become aware of his corruption and is making a surprise inspection. He decides to murder Florestand and enlists Rocco to dig the grave. Leonore insists to Rocco that he needs help in the cell and he agrees. Finding her husband she is terrified b his sight, but relieved that he is alive. Pizarro enters to commit the murder, but Leonore throws herself in front of her husband revealing that she is his wife. The sound of a trumpet announces the arrival of Fernando and upon his arrival Rocco reveals the truth about Pizarro's plan. Pizarro is taken away and everyone rejoices at the reunited couple and the power of love. The opera is quintessential Beethoven--intense struggle through darkness towards the eventual release into the light.
Taking that as the base, Skylight is adding elements of 50s and 60s Bollywood which include strong presentational gestures, scenes that burst into colorful life with song and dance numbers and characters that are based on very specific archetypes. The wonderful choreographer Deepa Devasena and Associate Stage Director Edwin Cahill along with the leadership of Artist Director Viswa Subbaraman are melding the dramatic, melodic and visual worlds of opera and Bollywood into a thrilling cohesive drama.
Here is the promotional postcard announcing the dates:
Repetiteur Jaime Johns plays the score and keeps us in check.
This is just a small glimpse into what my scores look like:
And here is the model for the set for the production. Notice the large tree on the right side and the colorful cut out set against the dark set. These are strong elements of Bollywood film.
And here are two of my favorite elements of the production: My costume and my dagger!
Between the villain gestures of Bollywood, the in-depth character analysis of Don Pizarro and what makes him tick and the glorious music of Beethoven, I am looking forward to a production that will offer a fresh take on a wonderful opera and hopefully present new colors to the characters of the opera. And maybe a big Bollywood dance routine at the end!
Peace,
Eric
I am currently in Milwaukee, Wisconsin preparing to make my debut with Skylight Music Theatre in the role of the villainous Don Pizarro in Beethoven's only opera "Fidelio." Skylight's 2013-14 season is all about struggle, escape and liberation and "Fidelio" is the epitome of a "rescue opera." Florestan has been imprisoned for revealing the corruption of Don Pizarro, a prison Governor. His wife Leonore has disguised herself as a man named Fidelio and has taken up employment in the very jail cell where she believes Florestan is imprisoned. Working alongside the lead jailor Rocco, she searches for him. Complications ensue as Rocco's daughter Marzelline falls in love with Fidelio and Rocco agrees that the two can marry. Pizarro receives word that Don Fernando has become aware of his corruption and is making a surprise inspection. He decides to murder Florestand and enlists Rocco to dig the grave. Leonore insists to Rocco that he needs help in the cell and he agrees. Finding her husband she is terrified b his sight, but relieved that he is alive. Pizarro enters to commit the murder, but Leonore throws herself in front of her husband revealing that she is his wife. The sound of a trumpet announces the arrival of Fernando and upon his arrival Rocco reveals the truth about Pizarro's plan. Pizarro is taken away and everyone rejoices at the reunited couple and the power of love. The opera is quintessential Beethoven--intense struggle through darkness towards the eventual release into the light.
Taking that as the base, Skylight is adding elements of 50s and 60s Bollywood which include strong presentational gestures, scenes that burst into colorful life with song and dance numbers and characters that are based on very specific archetypes. The wonderful choreographer Deepa Devasena and Associate Stage Director Edwin Cahill along with the leadership of Artist Director Viswa Subbaraman are melding the dramatic, melodic and visual worlds of opera and Bollywood into a thrilling cohesive drama.
Here is the promotional postcard announcing the dates:
Repetiteur Jaime Johns plays the score and keeps us in check.
This is just a small glimpse into what my scores look like:
And here is the model for the set for the production. Notice the large tree on the right side and the colorful cut out set against the dark set. These are strong elements of Bollywood film.
And here are two of my favorite elements of the production: My costume and my dagger!
Between the villain gestures of Bollywood, the in-depth character analysis of Don Pizarro and what makes him tick and the glorious music of Beethoven, I am looking forward to a production that will offer a fresh take on a wonderful opera and hopefully present new colors to the characters of the opera. And maybe a big Bollywood dance routine at the end!
Peace,
Eric
Saturday, August 24, 2013
Light Vs. Dark
I would call myself a sunny person by nature and believe that I come across as quite gregarious and silly. (And maybe I am; you don’t know me.) But in truth, I have times when I am “blue,” fussy, pouty and more often than not like to be alone in order to recharge. I would dare say that I might be shy, but am also very good at being the “center” of attention. All of this is to say that, like most people, I have many moods, sides and colors.
I bring this up as I prepare to play two very different roles. One, Don Pizarro, is an out and out cruel man who is planning to murder Florestan, a political prisoner, in order to keep himself in power. The other, Valentin, is a soldier who only wants to protect his sister. Later when he returns home and finds her pregnant, he simply wants to defend the honor of his sister; in theory a good man. Both roles require a great technique, but make quite different vocal demands. As part of my research, I listen to any and every one I can in order to get a better understanding of the character (and learn how others approach the vocal challenges.) I came across a fascinating production of Faust with baritone Simon Keenlyside singing Valentin which led me to an interview where he spoke about finding the right colors for each character. He spoke of the differences between singing roles like Don Giovanni and that of Pelleas. He based his choices on the personality of the characters themselves and let the music be the guiding force for creating that character.
I must say that I have had fun exploring my darker side as I sing through Pizarro’s music with its constant driving rhythm, sinister tonality and unusual intervals. On top of that, Pizarro’s music and text alternate between the anger (sometimes full rage) he feels and his attempt to mask it by appearing calm and in control, which in some ways is more frightening. To try and get further inside his head I have been watching shows like “Oz”, both the “Battle Royale” and “Hunger Games” films and read the entire “Hunger Games” series to better understand the nature of those who will do anything to stay in power, even murder. I don’t think any character is one-dimensional even though they are usually built on archetypes so now I am in the process of finding what motivates someone to commit such horrible acts and feel that they are “right.” As a side note, I am usually cast as the comedic character or the good guy in the drama, but like many actors, I think we want the challenge of playing against type or at least delving into the darker side of ourselves and bringing that to the stage.
After a short break, I get to sing one of my dream roles: Valentin. I have longed to sing this role since I first heard the aria "Avant de quitter ces lieux" back in my college days and I am happy to finally get the chance. I am fascinated by the many traits he presents. He is at once brave, religious, impulsive, and masculine and yet he is more than just the “good guy.” Valentin's music is very linear, strong and masculine, but in his opening recitative and aria there is a strong sense of vulnerability where we see Valentin's doubt. His surface is the soldier, but his truth (especially when he curses Marguerite) has pain, anger and suffering.
On the surface Valentin is all good. He continues to keep us in this belief when he returns from war and is informed that his sister is in church. However, once he finds out that his sister has become pregnant by Faust and that he and Mephistopheles are out front, he loses his “religion” and simply wants to kill. He becomes mortally wounded while dueling with Faust and when his sister comes to his side, instead of cherishing the final few moments they have together; he tells her that in the event that God forgives her, he still wishes her to be damned. Adding insult to injury he does this in front of the entire village, which only adds to Marguerite’s pain and dismay.
We often talk in terms of light and dark in singing. According to the chiaroscuro school of thought, the voice will have elements of both in a wonderful balance (or tug of war?) Carrying that thought further into creating a character, it seems that both Pizarro and Valentin have both elements (not in balance, however, because who wants to see perfectly balanced characters making good choices on stage?) And I, as an artist, get to find those colors; that balance and find the humanity within them while also delving into my own light and dark for inspiration. Am I lucky or what?
Peace,
Eric
I bring this up as I prepare to play two very different roles. One, Don Pizarro, is an out and out cruel man who is planning to murder Florestan, a political prisoner, in order to keep himself in power. The other, Valentin, is a soldier who only wants to protect his sister. Later when he returns home and finds her pregnant, he simply wants to defend the honor of his sister; in theory a good man. Both roles require a great technique, but make quite different vocal demands. As part of my research, I listen to any and every one I can in order to get a better understanding of the character (and learn how others approach the vocal challenges.) I came across a fascinating production of Faust with baritone Simon Keenlyside singing Valentin which led me to an interview where he spoke about finding the right colors for each character. He spoke of the differences between singing roles like Don Giovanni and that of Pelleas. He based his choices on the personality of the characters themselves and let the music be the guiding force for creating that character.
I must say that I have had fun exploring my darker side as I sing through Pizarro’s music with its constant driving rhythm, sinister tonality and unusual intervals. On top of that, Pizarro’s music and text alternate between the anger (sometimes full rage) he feels and his attempt to mask it by appearing calm and in control, which in some ways is more frightening. To try and get further inside his head I have been watching shows like “Oz”, both the “Battle Royale” and “Hunger Games” films and read the entire “Hunger Games” series to better understand the nature of those who will do anything to stay in power, even murder. I don’t think any character is one-dimensional even though they are usually built on archetypes so now I am in the process of finding what motivates someone to commit such horrible acts and feel that they are “right.” As a side note, I am usually cast as the comedic character or the good guy in the drama, but like many actors, I think we want the challenge of playing against type or at least delving into the darker side of ourselves and bringing that to the stage.
After a short break, I get to sing one of my dream roles: Valentin. I have longed to sing this role since I first heard the aria "Avant de quitter ces lieux" back in my college days and I am happy to finally get the chance. I am fascinated by the many traits he presents. He is at once brave, religious, impulsive, and masculine and yet he is more than just the “good guy.” Valentin's music is very linear, strong and masculine, but in his opening recitative and aria there is a strong sense of vulnerability where we see Valentin's doubt. His surface is the soldier, but his truth (especially when he curses Marguerite) has pain, anger and suffering.
On the surface Valentin is all good. He continues to keep us in this belief when he returns from war and is informed that his sister is in church. However, once he finds out that his sister has become pregnant by Faust and that he and Mephistopheles are out front, he loses his “religion” and simply wants to kill. He becomes mortally wounded while dueling with Faust and when his sister comes to his side, instead of cherishing the final few moments they have together; he tells her that in the event that God forgives her, he still wishes her to be damned. Adding insult to injury he does this in front of the entire village, which only adds to Marguerite’s pain and dismay.
We often talk in terms of light and dark in singing. According to the chiaroscuro school of thought, the voice will have elements of both in a wonderful balance (or tug of war?) Carrying that thought further into creating a character, it seems that both Pizarro and Valentin have both elements (not in balance, however, because who wants to see perfectly balanced characters making good choices on stage?) And I, as an artist, get to find those colors; that balance and find the humanity within them while also delving into my own light and dark for inspiration. Am I lucky or what?
Peace,
Eric
Thursday, August 8, 2013
2013-2014: Four languages, 150 years and a lot of notes
The music of Beethoven, Gounod, J. Strauss II, Henze, Rossini, and Gershwin comprise my upcoming season where I will be singing several new roles and making some wonderful company debuts.
In September I make my role and house debut with Skylight Music Theater (Milwaukee, WI) singing my first Don Pizarro (Fidelio) in an English-language production. Updating the action to mirror a Bollywood film, new Skylight Music Theater Artistic Director Viswa Subbaraman will direct and conduct in his Skylight debut. I am looking forward to another role and house debut when I join Winter Opera St. Louis singing Valentin in their November production of Faust. The production also stars tenor Clay Hilley as Faust, bass Timothy Bruno as Mephistopheles and soprano Julia Ebner as Marguerite. I return to Bel Cantanti Opera (Washington DC) in December to sing Falke in Die Fledermaus marking my fourth appearance with the company having appeared as Sharpless (Madama Butterfly), Figaro (Le Nozze di Figaro) and Taddeo (L'Italiana in Algeri).
January brings an exciting debut singing the title role in Hans Werner Henze's El Cimarron (The Runaway Slave) in a co-production with New York's Center for Contemporary Opera and Skylight Music Theater. The opera is based on the story of escaped Cuban slave Esteban Montejo and premiered at the Berlin Festival in 1970. In March I am excited to return to Opera Naples to sing one of my favorite roles, Figaro in Il Barbiere di Siviglia. I made my Opera Naples debut last season as Theseus in A Midsummer Night's Dream. In April I revisit the music of Gershwin singing excerpts from "Porgy and Bess” with the Lebanon Symphony Orchestra. The concert also features soprano Kearstin Piper Brown.
After a wonderful and busy 2012-2013 season featuring performances with Long Island Opera, Opera Columbus, Bronx Opera, Opera Naples, the Harrisburg Symphony, St. Petersburg Opera, Bel Cantanti Opera and the Center for Contemporary Opera, I am looking forward to a musically diverse and artistically inspiring 2013-2014 season.
In September I make my role and house debut with Skylight Music Theater (Milwaukee, WI) singing my first Don Pizarro (Fidelio) in an English-language production. Updating the action to mirror a Bollywood film, new Skylight Music Theater Artistic Director Viswa Subbaraman will direct and conduct in his Skylight debut. I am looking forward to another role and house debut when I join Winter Opera St. Louis singing Valentin in their November production of Faust. The production also stars tenor Clay Hilley as Faust, bass Timothy Bruno as Mephistopheles and soprano Julia Ebner as Marguerite. I return to Bel Cantanti Opera (Washington DC) in December to sing Falke in Die Fledermaus marking my fourth appearance with the company having appeared as Sharpless (Madama Butterfly), Figaro (Le Nozze di Figaro) and Taddeo (L'Italiana in Algeri).
January brings an exciting debut singing the title role in Hans Werner Henze's El Cimarron (The Runaway Slave) in a co-production with New York's Center for Contemporary Opera and Skylight Music Theater. The opera is based on the story of escaped Cuban slave Esteban Montejo and premiered at the Berlin Festival in 1970. In March I am excited to return to Opera Naples to sing one of my favorite roles, Figaro in Il Barbiere di Siviglia. I made my Opera Naples debut last season as Theseus in A Midsummer Night's Dream. In April I revisit the music of Gershwin singing excerpts from "Porgy and Bess” with the Lebanon Symphony Orchestra. The concert also features soprano Kearstin Piper Brown.
After a wonderful and busy 2012-2013 season featuring performances with Long Island Opera, Opera Columbus, Bronx Opera, Opera Naples, the Harrisburg Symphony, St. Petersburg Opera, Bel Cantanti Opera and the Center for Contemporary Opera, I am looking forward to a musically diverse and artistically inspiring 2013-2014 season.
Tuesday, July 23, 2013
Night of the New Opera
Opera got its start back in Italy in the late 1500s. Since then opera has evolved over the last 400 years to include great masterpieces by Mozart, Verdi, Puccini, Wagner and a host of others. But opera has not stopped evolving. As a matter of fact, opera composition is thriving and new works are being written, developed and performed every day.
I have had the pleasure of working with the Center for Contemporary Opera twice; last year in Matthew Harris/Terry Quinn’s The Mark of Cain and this year in Todd Goodman’s Night of the Living Dead. When I was in school I always imagined that I would be relegated to the standards of opera and never saw myself as someone who would be involved in new opera, but as an American singer, one must remain open to all opportunities that present themselves.
My first experience with “new” music was as an apprentice at Des Moines Metro Opera where I was assigned scenes from Dominick Argento’s The Aspern Papers (1987) and Douglas Moore’s The Wings of the Dove (1961). With any composer that is new to me, I have discovered that no matter how much I dissect and analyze, I have to wait for the composer’s language to reveal itself. A perfect example of this is Strauss. Once you’ve done an opera role you get a stronger sense of what the composer will do, where the music will go. I have found that I must continue to listen even when I think I know a piece as more and more of its secrets will unfold.
I have had some great experiences: last year’s The Mark of Cain and this year’s Night of the Living Dead and some not so good ones (that shall remain nameless!) Learning a new score takes time as one must simply get one's head around the parameters set up by the composer. I try to find all the details and make some sort of notation so that particular moments always catch my attention. From there, if I am lucky the composer supplies a MIDI score so I can to listen to what the composer has envisioned. This is basically where I get to hear what the vocal line sounds like with the accompaniment and from this process I get the score in my ears. After all of this is done, I then add the voice. It’s fascinating to figure out a score and the technique to sing a score at the same time. Because it’s new there aren’t always examples of who to listen to or what the standards are. I am still finding nuances and discoveries with the “Night” score. Here’s a little preview of what my score looks like:
The one thing I have always learned is that 20th and 21st century opera are a mixture of cerebral and emotional. You spend so much time working to get it in your mind, but then you have to get in the body. I used to be one of those “I ain’t singin’ no stinkin’ new music,” but now I know that new music is part of the evolution of opera and for every handful of new scores, great gems are being developed and performed all over the world.
Peace,
Eric
I have had the pleasure of working with the Center for Contemporary Opera twice; last year in Matthew Harris/Terry Quinn’s The Mark of Cain and this year in Todd Goodman’s Night of the Living Dead. When I was in school I always imagined that I would be relegated to the standards of opera and never saw myself as someone who would be involved in new opera, but as an American singer, one must remain open to all opportunities that present themselves.
My first experience with “new” music was as an apprentice at Des Moines Metro Opera where I was assigned scenes from Dominick Argento’s The Aspern Papers (1987) and Douglas Moore’s The Wings of the Dove (1961). With any composer that is new to me, I have discovered that no matter how much I dissect and analyze, I have to wait for the composer’s language to reveal itself. A perfect example of this is Strauss. Once you’ve done an opera role you get a stronger sense of what the composer will do, where the music will go. I have found that I must continue to listen even when I think I know a piece as more and more of its secrets will unfold.
I have had some great experiences: last year’s The Mark of Cain and this year’s Night of the Living Dead and some not so good ones (that shall remain nameless!) Learning a new score takes time as one must simply get one's head around the parameters set up by the composer. I try to find all the details and make some sort of notation so that particular moments always catch my attention. From there, if I am lucky the composer supplies a MIDI score so I can to listen to what the composer has envisioned. This is basically where I get to hear what the vocal line sounds like with the accompaniment and from this process I get the score in my ears. After all of this is done, I then add the voice. It’s fascinating to figure out a score and the technique to sing a score at the same time. Because it’s new there aren’t always examples of who to listen to or what the standards are. I am still finding nuances and discoveries with the “Night” score. Here’s a little preview of what my score looks like:
The one thing I have always learned is that 20th and 21st century opera are a mixture of cerebral and emotional. You spend so much time working to get it in your mind, but then you have to get in the body. I used to be one of those “I ain’t singin’ no stinkin’ new music,” but now I know that new music is part of the evolution of opera and for every handful of new scores, great gems are being developed and performed all over the world.
Peace,
Eric
Wednesday, June 26, 2013
Does not compute
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
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
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
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