Resurrection II

Clearly the rest of the whole has a lot more free time on their hands than Il Vecchio. It was more that a year ago that I last posted. And in the meantime, I directed another young artist production which came together more or less at the very last moment.

Once again, I find it necessary to comment on this younger generation of singers. With one or two exceptions, they brought very little to the table without intense prodding and constant reminding about why we do what we do. The 'self-esteem' generation just does not get it. I saw occasions where specific notes given repeatedly were not implemented in rehearsal or performance. In several instances, I saw the performers give lip back to the costumer's or my notes.

Yeah, I am sure I sound like a broken record (how old are you?) to my friends, acquaintances and my conductors. Every generation looks down on the previous one and wonders, "Can it get any worse?" But, in the world of opera, there are certain traditions that are held. They are passed down from generation to generation. It seems that this one does not want to listen and thinks that its opinions are as valid as those of its elders. It will be as valid when it has 30 years of experience under its belt!

I am sure I'll revist the topic again...maybe I can actually wait another year to do so?

Back from the dead...

It has been quite a long time, hasn't it?

Just finished directing a production with young artists and came away with a few thoughts for the young ones...

You must always come into a production having coached and prepared your music. It is clearly evident when it has not been done. And this means whether the gig is a paid gig or not. You never know where a gig will take you. One of my longest standing musical acquaintences came out of a 'freebie' because of my preparation and attitude toward the project, the music and the people involved.

I know that the cost of preparing a role can be expensive when you add up lessons and coachings but it is just one of the sunken costs. Perhaps not covered but truly recaptureable over the long run of a career.

Yes, I am still alive and kicking...

Seems like so much time has passed since my last post. Well, actually, so much time has passed. Too much, as a matter of fact. (Mental note...do this more often!)

Time flies so quickly these days. Had my first audition experience in well over a year recently and just got the PFO yesterday. I sang well (better than well considering the fact that I sat for almost 1 hour and 20 minutes...cold). Most importantly, though, for the first time I did not have negative thoughts flying through my head when the auditors began to write. That was the direct result of having participated as a "vocal consultant" for the second year with a company that holds its auditions in NYC. I was able to think upon the times that I sat there and wrote positive comments when certain singers sang. In the past I would have jumped to the conclusion that they were notating how much I suck! Typical singer poor self-image, eh? Well, I really did not expect much and so the PFO came as no real surprise but it also came with no real disappointment. You know you've matured when these things just don't mean anything anymore! When you start cranking all this down, it gets harder to audition but easier to accept the rejections. Ah, youth is wasted ....

I saw a sad post on the NFCS site today. Apparently, Marianna Christos died last Saturday. She was a fine soprano...special voice...special actress. I distinctly remember a very moving Mimi that she sang opposite Ricky Leech at NYCO in the mid-80s (on second thought, may be it was Robert Brubaker?). I had heard that she was teaching privately over the last few years. I am betting that she was quite a good teacher. She'll be missed by this community.

Now that tax season is over (how, stressful is that?) and the semester is winding down to the last 2 weeks of classes (lessons), it is time to find a new project for the fall...an artistic, musical one as opposed to the normal ones that a home owner incurs. Summer is currently booked with a directing assignment ... a challenging one, at that.

Hmmm... a themed recital? A joint one with a few of my fellow faculty mates? Something with my students? This will require some thought...

The big "O"

Not orgasm, not opera....

The Olympics... now over but in watching quite a few events, I had a few thoughts about the "olympic spirit," American values and even parallels to opera...

First off, I guess it is sad that the last bits of 'amateur' are gone. The constant barrage of endorsements, the behaviour of our two speed skaters and a clown on skis, just seemed to be too much. The behaviour of many of the American athletes really did not put us in the best light.

But one thing that I observed made me wonder about how the approach would work in the opera world. As I watched the final evening of the women's figure skating, I noted that so many seemed to be attempting moves and elements that were beyond them. While their faces betrayed disappointment and the announcers appeared to predict that they'd struggle with those spins/turns, it did not deter them from attempting them. The failure rate in these performances would never fly in the world of opera. Few singers would ever attempt to sing arias or roles knowing full well that they could not at least meet the minimum requirements...to me not falling down is a requirement.

And while I have always looked at operatic singing as a sport in many ways, it is a a sport that has some of the highest bars to reach. Hey, .333 is a great batting average (1 out of 3) in baseball. A 50% completion rate as a quaterback is a good ratio. A figure skater can fall twice and still receive a gold medal. Woe to the opera singer that cracks on a high note!

Oh, what a life, huh?

Sundry and Sunday thoughts...

Well, the Sunday thought is my KC Chiefs should have gotten into the playoffs and at least made a run for the money. The losses to the Bills and the Giants were really inexplicable. Oh, well, as I have posed the question to my Jets fans, "Are you crying or should we be?"

The Sundry thought (or thoughts) are...

My G*d (no, not Jewish but what the hell), how hard is it to practice after a long week with late nights and no real objective....

For many years, my wife (a fine soprano) and I would read the monthly edition of Classical Singer (and its earlier nom de plume - The New York Opera Newsletter) . Often, there would be an article on "creating your own opportunities" and my wife would display great disdain on the topic. When one is young, one tends to view the opera business (and singing business, in general) as a "seller's market" (ie: if you are not hired by the people selling, you don't have a career). What a limiting view of one's talent, capabilities, and or potential?

Now in my old age (and in reality I ain't all that old - except when compared to the really young ones postng on the various sites), I believe that you must make your own opportunities where possible. If you wait for the opera producing individuals to hire you for your validation of your career,talent, and personal worth, you will be disappointed, demoralized and ultimately, behind the 8 ball because you will not be progressing in your craft.

So, get out there and do it! Concerts, opera, recitals... whatever. The world needs it...you need it.

Basta per questa notte...buona fortuna!

New Year's Resolutions

With the intense schedule of rehearsals for the producton that I directed and some additonal work responsibilites in the 'real world,' I missed my annual resolutions. Now, half way through January, it makes me think back on the years of resolutions that were never met.

Year after year, I wrote of schedules and opera roles to be learned... and while I think I may have worked diligently, many of the goals were left unfulfilled. Yet, I suppose that a grand total of 40+ opera and operetta roles performed is nothing to sneer at. If you add a few musical theatre roles into the mix, we probably get to 50 or so. And then, there were many that were prepared and not performed (Nemorino, Romeo, Alfredo, Pinkerton, and others. Crap, quite a few now that I think of it).

During my younger years, I was often amazed when I would talk to singers around me. They rarely knew any repertoire outside of their own and often did not coach except when they had something coming up. I never approached my career or my preparation that way. Maybe it was reflective of my general love of singing. No doubt, at a certain point I tired of singing some of the standard arias (hey, how many times do you really want to coach "ll mio tesoro") but I was also lucky enough to have a soprano wife with whom I could always sing a duet or two (even if it might be in a fach heavier that I might sing in public).

There was an article in a recent edition of "Psychology Today" on the concept of grit. Well, I cannot think of too many other careers that require "grit" than opera singing (hell, classical singing). That article described "grit" as persistence and passion. If you can find it, read it. It may give you validation or it may give you some guidance (particularly if you are raising children). I think this is a topic for some further discussion.

Hey, did you celebrate "Sanctity of Life Day?" Man, I hate this administraton. It really makes me think about leaving this country!

Well, the production was quite a success. The kids pulled together and delivered wonderful performances. During the final dress rehearsal and each of the two performances, I was able to sit in the hall and just enjoy what I was seeing. I am the type of person that can watch certain movies or old TV shows (ie: Black Adder, Fawlty Towers, the Honeymooners) over and over again, knowing exactly what is coming and yet, laugh. Well, the production held the same quality. I knew what was coming and yet found myself laughing each time.

One of the best feelings was knowing that as the audience laughed at so many of the moments in the show, I could remember back to the rehearsal in which I assigned that bit or that blocking or in many cases, gave the singer that reading of a line. Living with that piece and the concept for the last 3 years, the acceptance of it by that audience was a wonderful experience. Very gratifying. Very satisfactory.

And now, the next project beckons. The problem is that I don't know what that next project is! I currently have quite a few ideas floating around in my head and have yet to settle on one of them. I am in the process of pulling together the details of a post-mortem on this production and also outlining a class that I want to propose. The department is undergoing some major changes. It could be an exciting time (or a very depressing one)... only time will tell.

And yet, despite the lack of time to devote to my own singing, I found myself in great voice on my trip home after a long day of teaching several days ago. Maybe a recital looms? So much to do, so little time.

Oh, by the way, the Met's Magic Flute on Saturday contained some of the most un-legato phrasing I've heard in a long time. (Is un-legato a word ... non-legato, okay, okay). I just don't get it sometimes.