Being an opera singer in training can be really tough sometimes. Due to the nature of the business and the physical development aspect, it is a career that involves extreme amounts of patience. We are taught from a very young age to have patience. Listen, but not listen too much. Enjoy the music, but focus on your technique. Have patience, have patience, have patience.
As someone who has a low level of patience (I've gotten MUCH better!!), this is very difficult. The older you get and the more you listen and study, the more you know what your body SHOULD be doing, vocally. You hear tenors or sopranos in their 30's and 40's, in their prime years, and you want your high notes to sound JUST LIKE THEIRS. But they don't. And they shouldn't; they have years of patience and vocal development ahead of you. Again, it is the nature of the business.....it is a given. You can't expect perfection at the age of 25; it really just is not possible.
As you approach your upper 20's though, things do start really coming together. For men, their voices are starting to settle (womens voices, as we all know, mature much sooner than their male counterparts). We all feel like we are coming into our own as artists and starting to really feel what a solid technique is...something you can count on to be there (or get you out of a tough passage!). You start getting glimpses of what the business is like. You start seriously coaching, going on auditions, continuing lessons, meeting conductors, doing masterclasses, getting cast in some productions; you start to feel like a "real" opera singer (we can address that title at another time). You meet other singers your age, maybe through the business, maybe not. You start talking to them about who they study with, who they coach with, what they're doing next summer....and you start to doubt what you're doing. "Am I putting myself out there enough? Should I have auditioned for that?? Are they BETTER than me???"
This is something that has always bothered me, and has always affected me. At this age, you start seeing other singers "succeed" and it makes you doubt yourself. It makes you feel like you are behind everyone else and that you need to play catch-up.
As mentioned in a previous post, I am a firm believer in the words that my dad lived his life by: "Stay Focused." Why would you let the path that someone else is taking derail you and your success? We are all different. We are different people with different voice types, different up-bringings, different vocal cords, different educations. We are different in every way. Even people in the same fach are all different, and that's what makes us unique individuals.
As artists, we all have something different and special to say; that's why we're in this business, isn't it? We're obviously not in it for the money...or the stable paychecks. We are in it because we, as individuals, want to put our stamp on whatever it is we are doing at the time (whether it be a concert of arias, a particular role, or even directing a show).
If we spend too much time focused on others, how is that serving our ultimate purpose and path? I'm not referring to listening to other singers....there is an EXTREME amount you can learn from listening to other singers (both your colleagues and professionals). I am talking about focusing on what everyone else is DOING. Are they going to Aspen or Santa Fe next summer? Are they singing this role with this little start-up company?? Obsessing over what everyone else is doing, in my opinion, makes you lose track of yourself.
I had a moment of realization a few years ago during a "ringer" gig at a church in DC over Easter weekend. The paid quartet was talking after rehearsal about our backgrounds, who we studied with.....the same old, same old. It turned out the mezzo and the soprano had actually gone to the same undergrad together years prior. They got to talking about various other singers they knew from school and what they were doing now. The mezzo made a few comments about another soprano who appeared to be this soprano's "main competition" at the time. She asked the question about competing for a certain role, or why she had not. This soprano looked at her and said, "If I spent all of my time thinking about what she was singing or auditioning for, when would I have had time to practice for MYSELF?"
This really hit home for me, and at that time I realized that we do, to a certain extent, have to be in this for ourselves. Of course we are all supportive of one another (even through all the auditions and competing for roles). At the end of the day, even when you sing the same rep as someone else, you have different things to say in the same arias. We are all different artists.
This brings to mind a story I heard from a friend about a year ago. Apparently my friend had a very close friend who happened to be invited to a party on the Upper West Side in, I believe, one of the Trump buildings. The host of this party had purchased two apartments in this building in order to build a small concert hall. For this private party, the host wanted an "aria-off" where the two singers would sing arias, back to back, several of them exactly the same. The two singers were......Renee Fleming and Anna Netrebko. Some people were SHOCKED to hear this. Arguably opera's two most loved sopranos on the same stage in the same night singing the same or similar rep!! Quel surprise!!! After initially being REALLY jealous that I was not there, it made me appreciate them both as artists even more. They both very easily could have said they would not do that. However, they were able to probably laugh about it; they, I'm sure, knew that their interpretations would be totally different, that they each had their own statement to make on any given aria.
What I guess I'm trying to say is, we are all different. Everyone has their own path! Some people may achieve international success before they are 30, and some people may not until they are 50. It should not matter when you achieve that success, and you can't let what feel as a late start get you down. Everyone has their own path and their own time. It may not be when you want it to be, but if you really stay focused on your own progress and path, I firmly believe that it will happen for you. You may not be the next Netrebko or Pavarotti, but then again, you probably wouldn't want to be. You should want to be YOU, and no one else. Be true to yourself as a person, as an artist, as a singer. Be open and vulnerable on stage, but fiercely focused off. You can't always expect perfection from yourself (I believe even Fleming says she aims for about 92% perfection on stage at any given time). Be happy for your friends and enjoy success together with one another, but don't let anyone else distract you from achieving what you want.
After all, would you rather be upset that someone is going to Santa Fe, or have a fierce high C for the next audition? The choice is yours.
Sunday, August 28, 2011
Friday, August 26, 2011
How many sopranos does it take to....
OK, so I realize that title may be a little misleading. How many of you came here to see a list of tacky soprano jokes?! Sorry, but you won't find that here; I hope this post doesn't disappoint!
I "listen" religiously. There are very few times when I don't have opera running through my head, humming while doing work, and I even workout listening to opera. I am an opera NERD....and I wouldn't have it any other way. I am a self-proclaimed soprano fanatic. I LOVE the soprano voice. Something about the bloom and ease of production really soothes me and invigorates me at the same time. Of course I have my list of favorites, current and old; sopranos I think for the most part can do no wrong, especially when singing the rep that they are known for.
I die for Fleming in most things. I understand that she is not for everyone, but something about her artistry and the color of her voice really speak to me. Her singing German and French rep in particular, in my opinion, are pretty unparalleled today. She's not afraid to make musical and artistic choices that are ALWAYS purposeful and informed; she is a student of her craft and I have the utmost respect for her. Her Rosenkavalier (the trio in particular) and most of the role of Thais, I think, are two things that could have been written for her voice (she agrees about Thais).
Renee Fleming in the final trio from Der Rosenkavalier: http://www.youtube.com/watch?v=SgJrbPiauZ4&feature=related
Diana Damrau. WOW. What a technique! Not only is Ms. Damrau one of the most charming women I have ever met, but she is FEARLESS on stage. She inhabits her characters, and has the solid technique to back it up and serve her purposes as she sees fit. One can watch her as the innocent and tortured Gilda, as the coquettish Rosina, and then a terrifying Queen of the Night, all which she executes brilliantly. I am very excited to see where her voice goes in the next few years. You can hear more body creeping in with every performance, and I can't wait to hear maybe a Countess, or even a Violetta (She is, according to her, contracted in the next few years singing the latter). While I do prefer her singing German rep (her Sophie is spot on every time), she has a voice that excites me, day in and day out.
Damrau as the Queen of the Night: http://www.youtube.com/watch?v=UXOYcd6KZ0E
Anna Netrebko has a voice that is unlike anything you've ever heard before. You really cannot appreciate the voice until you hear it live....the size of the instrument just cannot translate to recordings....something gets lost. While there are definitely things that I do not like her singing, her Mimi is probably the most beautiful current Mimi I have heard....and I have heard a lot! The color of the voice is so dark that I really love it in her native Russian repertoire as well. She is disarmingly charming, an inhabiting actress, and her Poison aria at the Met is probably something that will go down in history.
Anna Netrebko's Poison aria: http://www.youtube.com/watch?v=BhCm2PHxHaM
There are few people in the opera industry today that I would consider a better, more inventive actress than Natalie Dessay. I will always buy a ticket to see a production that she is in to see her interpretation of the character on that particular night. Coming from the background of a french actress and then to singing, Dessay always attacks roles from the perspective of the character; everything that she does on stage serves the better cause of the drama. She is particularly known currently for her Lucia, her Marie, her rapid fire coloratura and extreme high notes of 10 years ago.
Natalie Dessay as the MAD Lucia at the Met: http://www.youtube.com/watch?v=sYQrXw5YUEs
Maria Callas can do, virtually, no wrong for me. She does not have a conventionally beautiful voice, but that's one of the things I love most about her. Her performances were raw and vulnerable. They were inconsistent because she put so much of herself into everything that she did. She lived on the edge on stage....she took risks.....she had her ups and downs.....she DEFINED opera in the 1950's, and the media LOVED her for it. A lot of people don't like her voice, but I feel for it. Something about the voice speaks to me, particularly in her verismo roles (her Tosca wrecks my life every time). Having never had the pleasure of hearing her live, and knowing that very few video clips exist of her in her prime really kills me. Talking with people who did see her live say that you can't appreciate Callas until you saw her on stage. She could do anything or nothing and take absolute command of the stage. She didn't just inhabit her roles, she WAS them in every sense of the word, which you can hear in every one of her recordings that she made.
Maria Callas singing "La Mamma Morta": http://www.youtube.com/watch?v=xXzeEfH6PTk
So, you ask, why is a tenor so in love with sopranos? He's gone on for quite a while now about sopranos, and never even once has mentioned a tenor that he loves or listens to. Don't let this fool you into thinking that I never listen to tenors....I do, quite a bit actually. However, the reason that I love sopranos so much is that I am able to get lost in the music. Listening to the soprano voice keeps that passion fresh in my mind and body every day.
I am a tenor. I think like a tenor. I understand (and am still learning!!) what goes into making the tenor sound. When I listen to tenors, I listen to their technique; I can't just sit back and enjoy the sound. I am constantly critiquing or marveling at the sound they may be making, but ultimately I am pulled out of the drama of the piece, out of the music.
What I love about opera is that it does transcend reality and reaches into the depths of my soul. It makes me feel something that I have never felt anywhere else in my entire life so far. It's so hard to explain, but I am so blessed to have found my undying passion so early on in life. I love watching a production, or listening, and being absolutely transfixed on the music and the drama. I love losing myself in the passion of a passionate and heart-wrenching performance.
This is why I love sopranos so much. I don't think about their technique. While a lot of what they are doing right or wrong is similar to that of a tenor, the sound is so jarringly different that I don't get lost in their technique....I don't analyze every little note that is sung. I sit back and can actually get lost in the beauty of the tone and subsequently in the diva-infused drama of the performance. Sopranos allow me to connect to the art form which has proven one of the more meaningful aspects of my life.
I do listen all the time. I am an opera nerd, and I am proud of that. Does everyone have to listen as much as I do? Absolutely not. Does everyone have to like sopranos, and specifically the ones that I do? I hope not! As artists we are always learning and evolving. I encourage EVERYONE to listen more. Listen to what you like. Listen to what you DON'T like! Listen to opera, jazz, musical theatre, tribal music, folk music....the list goes on. I encourage, especially young singers, to listen to a lot of opera so that you can hear what you like and don't like as far as singers, musical style, dramatic affectation of the voice, etc. You can learn SO MUCH from just listening to other singers, current and of the past.
Listening has not just provided me with undying joy, but it has provided me with an education. It may not be the curriculum-ridden education of an academic institution, but it has provided me with a wealth of knowledge and understanding about the voice that I would consider invaluable. You don't have to let it take over your life (like I sometimes do!!!), but every informed singer should be just that.....informed; making choices because you WANT to make them and because you have a purpose behind making them. Start by listening to your favorite singer on youtube. I recommend youtube because then you can see the "related" videos on the side....it's a great way to get lost in the music and find yourself two hours later with that much more exposure to different interpretations and performances. After all, we are artists....we are here to put OUR stamp on the music, or play, or whatever it is that we are doing. How else would you ever expect to learn what you like and don't like without exposing yourself to the interpretations of others?
I am by no means saying copy what Callas did here, copy what Fleming did here; that's not the point. The point is to educate yourself and become the artist that you can be. Why else be doing what you're doing?? Listen. Inform yourself. Listen to your voice part and others. Listen for different reasons, and to get different things out of it. I listen to tenors to learn. I listen to sopranos to feel undying vulnerable emotion.
Now how many sopranos does it take to fill up my ipod? There will never be a limit.....
I "listen" religiously. There are very few times when I don't have opera running through my head, humming while doing work, and I even workout listening to opera. I am an opera NERD....and I wouldn't have it any other way. I am a self-proclaimed soprano fanatic. I LOVE the soprano voice. Something about the bloom and ease of production really soothes me and invigorates me at the same time. Of course I have my list of favorites, current and old; sopranos I think for the most part can do no wrong, especially when singing the rep that they are known for.
I die for Fleming in most things. I understand that she is not for everyone, but something about her artistry and the color of her voice really speak to me. Her singing German and French rep in particular, in my opinion, are pretty unparalleled today. She's not afraid to make musical and artistic choices that are ALWAYS purposeful and informed; she is a student of her craft and I have the utmost respect for her. Her Rosenkavalier (the trio in particular) and most of the role of Thais, I think, are two things that could have been written for her voice (she agrees about Thais).
Renee Fleming in the final trio from Der Rosenkavalier: http://www.youtube.com/watch?v=SgJrbPiauZ4&feature=related
Diana Damrau. WOW. What a technique! Not only is Ms. Damrau one of the most charming women I have ever met, but she is FEARLESS on stage. She inhabits her characters, and has the solid technique to back it up and serve her purposes as she sees fit. One can watch her as the innocent and tortured Gilda, as the coquettish Rosina, and then a terrifying Queen of the Night, all which she executes brilliantly. I am very excited to see where her voice goes in the next few years. You can hear more body creeping in with every performance, and I can't wait to hear maybe a Countess, or even a Violetta (She is, according to her, contracted in the next few years singing the latter). While I do prefer her singing German rep (her Sophie is spot on every time), she has a voice that excites me, day in and day out.
Damrau as the Queen of the Night: http://www.youtube.com/watch?v=UXOYcd6KZ0E
Anna Netrebko has a voice that is unlike anything you've ever heard before. You really cannot appreciate the voice until you hear it live....the size of the instrument just cannot translate to recordings....something gets lost. While there are definitely things that I do not like her singing, her Mimi is probably the most beautiful current Mimi I have heard....and I have heard a lot! The color of the voice is so dark that I really love it in her native Russian repertoire as well. She is disarmingly charming, an inhabiting actress, and her Poison aria at the Met is probably something that will go down in history.
Anna Netrebko's Poison aria: http://www.youtube.com/watch?v=BhCm2PHxHaM
There are few people in the opera industry today that I would consider a better, more inventive actress than Natalie Dessay. I will always buy a ticket to see a production that she is in to see her interpretation of the character on that particular night. Coming from the background of a french actress and then to singing, Dessay always attacks roles from the perspective of the character; everything that she does on stage serves the better cause of the drama. She is particularly known currently for her Lucia, her Marie, her rapid fire coloratura and extreme high notes of 10 years ago.
Natalie Dessay as the MAD Lucia at the Met: http://www.youtube.com/watch?v=sYQrXw5YUEs
Maria Callas can do, virtually, no wrong for me. She does not have a conventionally beautiful voice, but that's one of the things I love most about her. Her performances were raw and vulnerable. They were inconsistent because she put so much of herself into everything that she did. She lived on the edge on stage....she took risks.....she had her ups and downs.....she DEFINED opera in the 1950's, and the media LOVED her for it. A lot of people don't like her voice, but I feel for it. Something about the voice speaks to me, particularly in her verismo roles (her Tosca wrecks my life every time). Having never had the pleasure of hearing her live, and knowing that very few video clips exist of her in her prime really kills me. Talking with people who did see her live say that you can't appreciate Callas until you saw her on stage. She could do anything or nothing and take absolute command of the stage. She didn't just inhabit her roles, she WAS them in every sense of the word, which you can hear in every one of her recordings that she made.
Maria Callas singing "La Mamma Morta": http://www.youtube.com/watch?v=xXzeEfH6PTk
So, you ask, why is a tenor so in love with sopranos? He's gone on for quite a while now about sopranos, and never even once has mentioned a tenor that he loves or listens to. Don't let this fool you into thinking that I never listen to tenors....I do, quite a bit actually. However, the reason that I love sopranos so much is that I am able to get lost in the music. Listening to the soprano voice keeps that passion fresh in my mind and body every day.
I am a tenor. I think like a tenor. I understand (and am still learning!!) what goes into making the tenor sound. When I listen to tenors, I listen to their technique; I can't just sit back and enjoy the sound. I am constantly critiquing or marveling at the sound they may be making, but ultimately I am pulled out of the drama of the piece, out of the music.
What I love about opera is that it does transcend reality and reaches into the depths of my soul. It makes me feel something that I have never felt anywhere else in my entire life so far. It's so hard to explain, but I am so blessed to have found my undying passion so early on in life. I love watching a production, or listening, and being absolutely transfixed on the music and the drama. I love losing myself in the passion of a passionate and heart-wrenching performance.
This is why I love sopranos so much. I don't think about their technique. While a lot of what they are doing right or wrong is similar to that of a tenor, the sound is so jarringly different that I don't get lost in their technique....I don't analyze every little note that is sung. I sit back and can actually get lost in the beauty of the tone and subsequently in the diva-infused drama of the performance. Sopranos allow me to connect to the art form which has proven one of the more meaningful aspects of my life.
I do listen all the time. I am an opera nerd, and I am proud of that. Does everyone have to listen as much as I do? Absolutely not. Does everyone have to like sopranos, and specifically the ones that I do? I hope not! As artists we are always learning and evolving. I encourage EVERYONE to listen more. Listen to what you like. Listen to what you DON'T like! Listen to opera, jazz, musical theatre, tribal music, folk music....the list goes on. I encourage, especially young singers, to listen to a lot of opera so that you can hear what you like and don't like as far as singers, musical style, dramatic affectation of the voice, etc. You can learn SO MUCH from just listening to other singers, current and of the past.
Listening has not just provided me with undying joy, but it has provided me with an education. It may not be the curriculum-ridden education of an academic institution, but it has provided me with a wealth of knowledge and understanding about the voice that I would consider invaluable. You don't have to let it take over your life (like I sometimes do!!!), but every informed singer should be just that.....informed; making choices because you WANT to make them and because you have a purpose behind making them. Start by listening to your favorite singer on youtube. I recommend youtube because then you can see the "related" videos on the side....it's a great way to get lost in the music and find yourself two hours later with that much more exposure to different interpretations and performances. After all, we are artists....we are here to put OUR stamp on the music, or play, or whatever it is that we are doing. How else would you ever expect to learn what you like and don't like without exposing yourself to the interpretations of others?
I am by no means saying copy what Callas did here, copy what Fleming did here; that's not the point. The point is to educate yourself and become the artist that you can be. Why else be doing what you're doing?? Listen. Inform yourself. Listen to your voice part and others. Listen for different reasons, and to get different things out of it. I listen to tenors to learn. I listen to sopranos to feel undying vulnerable emotion.
Now how many sopranos does it take to fill up my ipod? There will never be a limit.....
Saturday, August 20, 2011
Put down the proverbial cheeseburger....
As an opera singer, one gets VERY familiar with non-singers saying to them, "You sing opera?? I thought you had to be FAT to sing opera," and, "You don't look like an opera singer." At this point, we singers kindly remind them that they are associating with a stereotype, then we dive into deeper explanations of different rep and different voice types, different fachs and the acceptable weight ranges for each of them.....all while the questioner is extremely overwhelmed and has NO idea what we are talking about. But this brings up a very relevant question in the opera industry now: When is fat TOO fat, and at what point do we become obsessed with our weight?
As someone who has always struggled with their weight, and someone who has also changed their entire body from about 8 years ago (for the better!!), I tend to be on the slightly more obsessive side (....comments from the peanut gallery anyone??). I have taken quite a strong stance toward the "new" opera, where Hollywood good looks are as important as a fierce voice, solid technique, the acting ability of a true ACTOR, not just a singer who can emote. In my opinion, in a world that is obsessed with filming everything in "HD," we must not let ourselves become irrelevant. Do I think then that we should sacrifice our vocal ability and technique in order to be thinner, ABSOLUTELY not; I firmly believe that beauty of the voice and technique, as an opera singer, should be our first concern. Once you have achieved that, or at least get on your feet, then we can start adding layers into the mix.
But this brings about the question mentioned above. It is pretty widely recognized that the face of opera has changed in the past few years. There are ALWAYS very strong debates about this, the Live in HD phenomenon, and operas now being directed for the camera rather than for the stage, rendering some productions brilliantly filmed but quite lackluster in the house....but that's a WHOLE other posting. Here we are talking about weight.
There are certain singers (I don't want to mention any names) who I would consider in particular to have "set the bar" for the ability to look like a super model and still have a great voice. When these singers really started busting onto the scene, everyone around them had to "stay relevant" and drop the extra padding they were carrying in their Brunhilde costume....For a while we saw it affecting their voices, and to a certain extent, it really still is. A lot of people said at the time that singers were caring too much about their appearances, that singers couldn't be thin, that we weren't focusing on our voices and were neglecting them, etc. That very well may be true. Also, as someone who has lost a significant amount of weight, I can attest that it is VERY much easier to sing, even 5-10 lbs heavier; you have to be much more conscious, at least initially, of how you are breathing and making sure that you are really lowering your support entirely when you do start to trim down.
In 2011 now, it seems the younger generations of singers have really latched onto this ideal, that we must be Hollywood hot. It's no longer acceptable to play a woman dying of consumption and still weigh 350 lbs....the audiences today are simply smarter than that. I think the younger singers are better off in a sense (IF they find one of the rare teachers today who can really teach a fierce technique); they are growing up in this industry already maintaining their weights, working on the voices, etc. I believe it has been a little harder for the current "A-listers" to adapt, because they already had established identities as singers and performers (with their weight, image, voice etc). We are actually now seeing a few singers in particular, some of whom STARTED the skinny trend actually putting on quite a bit of weight. Does this mean they're not singing well? Absolutely not....they are singing quite well indeed. Personally I find it hard to believe that they would allow themselves to get that way, especially in an industry where people are looking at you all the time, more and more every season, but who am I to say.....
We now come to the topic of becoming obsessed with your weight. I have a tendency toward this one more than my haagen-dazs crazed counterparts. At what point are we, probably particularly my generation, too focused on our weight?
This is a really interesting question, and one that I'm sure a lot of psychologists would love to get their hands on....I'll take a brief stab at it. I can see the surface levels, and then levels that dive a bit deeper....I don't want to try and solve any life problems here, but simply open up a line of ideas that may make people, simply, more aware of this.
On the surface, sure, who DOESN'T want to be thinner? Everyone wants to be "skinny popular" of course. As with everything, moderation is key; it comes down to basic health that we should not be starving ourselves (and to lose weight, that is actually QUITE the opposite of what we should be doing), however this is hard to tell some people. My generation is full of over-achievers, people who need stimulation at all times (why do you think I have seen quite a few amazing cities in Europe, but have never personally been west of Dallas!). Our generation wants more, they want it bigger better and more glamorous, NOW PLEASE, without having to do the work for it. As we have gotten "older," our parents have taught us to work hard for what we want, to strive for greatness, to know you can achieve whatever you want as long as you "stay focused." They have also taught us the value of a dollar, how to clean our rooms and take care of the expensive things they may buy us. All of this has shaped our work ethic, who we are as people, and has ultimately made us these super human over-achieving creatures that don't know when to stop....we can get obsessive.
As singers who are already nervous enough at all times about what someone is going to critique us about (our breath support, our portamento in that phrase, did the portamento then mess up the line of the piece....or the dreaded..."I just don't hear you in this role"). These, for the most part, are all subjective (save the breath support!!); they are all a matter of opinion, and you can sing the same line the same way for 6 different people and I guarantee half will love it and half will hate it and tell you to do it another way. As singers, we deal with so much uncertainty with all of these things and more; when is my next contract, how much are they paying me? is that enough to live off of and save until my NEXT contract which is when and paying me how much....and then on top of that you have to learn these new roles and have lessons on them and coach the Hell out of them to get them ready. There are so many variables in this industry it's no wonder young singers have become obsessed with their weight. Weight is one variable that they CAN control. No matter what someone says, a scale doesn't lie. Your waistband does not lie! I think young singers have latched onto this (and rightfully so to a certain extent) and they have RUN with it, metaphorically and....well....literally it would seem. It gives them a sense of groundedness in an otherwise uncertain industry; something they know they can feel good about.
We must make sure that we do not let this weight debate begin to run our lives. It is always important to be AWARE of these things which will make us more well rounded performers. Chances are, they will also make us feel better about ourselves which will ultimately make us more comfortable on stage, subsequently sing better, etc. We must be careful to not let ourselves sway too much either way....just like no one wants to see a fat Ariadne in a little black dress, no one wants to see a waif of a Brunhilde, who really looks more like a Cherubino at best.
With our bodies as our instruments, we should strive to be HEALTHY. We don't need to be a size 0 in order for the general public to find us attractive (or a casting director), but at the same time, we should not be complacent in allowing ourselves to eat a donut in between every entrance backstage and then wonder why our costumes are feeling a little tighter...all while eating another donut. In this age of the "HD," we should all look to find the happy medium; that which makes you feel like the best you. You should love yourself and have confidence in yourself while still being able to focus on that voice and technique. We should want to look our best, but SOUND our best....after all, we're singers, not models, right?
While I don't support starving yourself through every fad diet, I certainly promote healthy eating, active exercise habits, and monitoring our weights to be appropriately believable in whatever roles we may be singing or preparing. Don't you?
Now why don't you put down that cheeseburger and pick up a Greek yogurt instead.....
As someone who has always struggled with their weight, and someone who has also changed their entire body from about 8 years ago (for the better!!), I tend to be on the slightly more obsessive side (....comments from the peanut gallery anyone??). I have taken quite a strong stance toward the "new" opera, where Hollywood good looks are as important as a fierce voice, solid technique, the acting ability of a true ACTOR, not just a singer who can emote. In my opinion, in a world that is obsessed with filming everything in "HD," we must not let ourselves become irrelevant. Do I think then that we should sacrifice our vocal ability and technique in order to be thinner, ABSOLUTELY not; I firmly believe that beauty of the voice and technique, as an opera singer, should be our first concern. Once you have achieved that, or at least get on your feet, then we can start adding layers into the mix.
But this brings about the question mentioned above. It is pretty widely recognized that the face of opera has changed in the past few years. There are ALWAYS very strong debates about this, the Live in HD phenomenon, and operas now being directed for the camera rather than for the stage, rendering some productions brilliantly filmed but quite lackluster in the house....but that's a WHOLE other posting. Here we are talking about weight.
There are certain singers (I don't want to mention any names) who I would consider in particular to have "set the bar" for the ability to look like a super model and still have a great voice. When these singers really started busting onto the scene, everyone around them had to "stay relevant" and drop the extra padding they were carrying in their Brunhilde costume....For a while we saw it affecting their voices, and to a certain extent, it really still is. A lot of people said at the time that singers were caring too much about their appearances, that singers couldn't be thin, that we weren't focusing on our voices and were neglecting them, etc. That very well may be true. Also, as someone who has lost a significant amount of weight, I can attest that it is VERY much easier to sing, even 5-10 lbs heavier; you have to be much more conscious, at least initially, of how you are breathing and making sure that you are really lowering your support entirely when you do start to trim down.
In 2011 now, it seems the younger generations of singers have really latched onto this ideal, that we must be Hollywood hot. It's no longer acceptable to play a woman dying of consumption and still weigh 350 lbs....the audiences today are simply smarter than that. I think the younger singers are better off in a sense (IF they find one of the rare teachers today who can really teach a fierce technique); they are growing up in this industry already maintaining their weights, working on the voices, etc. I believe it has been a little harder for the current "A-listers" to adapt, because they already had established identities as singers and performers (with their weight, image, voice etc). We are actually now seeing a few singers in particular, some of whom STARTED the skinny trend actually putting on quite a bit of weight. Does this mean they're not singing well? Absolutely not....they are singing quite well indeed. Personally I find it hard to believe that they would allow themselves to get that way, especially in an industry where people are looking at you all the time, more and more every season, but who am I to say.....
We now come to the topic of becoming obsessed with your weight. I have a tendency toward this one more than my haagen-dazs crazed counterparts. At what point are we, probably particularly my generation, too focused on our weight?
This is a really interesting question, and one that I'm sure a lot of psychologists would love to get their hands on....I'll take a brief stab at it. I can see the surface levels, and then levels that dive a bit deeper....I don't want to try and solve any life problems here, but simply open up a line of ideas that may make people, simply, more aware of this.
On the surface, sure, who DOESN'T want to be thinner? Everyone wants to be "skinny popular" of course. As with everything, moderation is key; it comes down to basic health that we should not be starving ourselves (and to lose weight, that is actually QUITE the opposite of what we should be doing), however this is hard to tell some people. My generation is full of over-achievers, people who need stimulation at all times (why do you think I have seen quite a few amazing cities in Europe, but have never personally been west of Dallas!). Our generation wants more, they want it bigger better and more glamorous, NOW PLEASE, without having to do the work for it. As we have gotten "older," our parents have taught us to work hard for what we want, to strive for greatness, to know you can achieve whatever you want as long as you "stay focused." They have also taught us the value of a dollar, how to clean our rooms and take care of the expensive things they may buy us. All of this has shaped our work ethic, who we are as people, and has ultimately made us these super human over-achieving creatures that don't know when to stop....we can get obsessive.
As singers who are already nervous enough at all times about what someone is going to critique us about (our breath support, our portamento in that phrase, did the portamento then mess up the line of the piece....or the dreaded..."I just don't hear you in this role"). These, for the most part, are all subjective (save the breath support!!); they are all a matter of opinion, and you can sing the same line the same way for 6 different people and I guarantee half will love it and half will hate it and tell you to do it another way. As singers, we deal with so much uncertainty with all of these things and more; when is my next contract, how much are they paying me? is that enough to live off of and save until my NEXT contract which is when and paying me how much....and then on top of that you have to learn these new roles and have lessons on them and coach the Hell out of them to get them ready. There are so many variables in this industry it's no wonder young singers have become obsessed with their weight. Weight is one variable that they CAN control. No matter what someone says, a scale doesn't lie. Your waistband does not lie! I think young singers have latched onto this (and rightfully so to a certain extent) and they have RUN with it, metaphorically and....well....literally it would seem. It gives them a sense of groundedness in an otherwise uncertain industry; something they know they can feel good about.
We must make sure that we do not let this weight debate begin to run our lives. It is always important to be AWARE of these things which will make us more well rounded performers. Chances are, they will also make us feel better about ourselves which will ultimately make us more comfortable on stage, subsequently sing better, etc. We must be careful to not let ourselves sway too much either way....just like no one wants to see a fat Ariadne in a little black dress, no one wants to see a waif of a Brunhilde, who really looks more like a Cherubino at best.
With our bodies as our instruments, we should strive to be HEALTHY. We don't need to be a size 0 in order for the general public to find us attractive (or a casting director), but at the same time, we should not be complacent in allowing ourselves to eat a donut in between every entrance backstage and then wonder why our costumes are feeling a little tighter...all while eating another donut. In this age of the "HD," we should all look to find the happy medium; that which makes you feel like the best you. You should love yourself and have confidence in yourself while still being able to focus on that voice and technique. We should want to look our best, but SOUND our best....after all, we're singers, not models, right?
While I don't support starving yourself through every fad diet, I certainly promote healthy eating, active exercise habits, and monitoring our weights to be appropriately believable in whatever roles we may be singing or preparing. Don't you?
Now why don't you put down that cheeseburger and pick up a Greek yogurt instead.....
Thursday, August 18, 2011
work work work, then.....more work?
After a recent turn in events in taking on more responsibility at the office, I sit here and think to myself....how does one find the balance between their proverbial "9-5" and the career they passionately pursue outside of "the office"?
A lot of people, especially when they are young, seem to get caught up "trying to make money" so they can support themselves while trying to pursue another career (singing, acting, starting a business, etc). The difficult balance to find is that balance that allows you to keep the job that provides you financial stability, while still allowing yourself ample time to dedicate to the other career...all while not allowing either to upset the other.
This is TOUGH! I don't know that anybody has the answer, and I don't think there is any even remotely textbook answer for this. For me, it has taken almost two years at the same job, and a LOT of faith in myself! It has not always been easy, and I still have my days...trust me.
A lot of it has come to me recently. I am not one with a lot of patience...ask my mother....she will most likely say that is the UNDERSTATEMENT of the century! (I know, mom). Having found my teacher, Michael Paul, has really made me tighten my act. Everything in my life, in every aspect, has to be there to ultimately help me achieve my greater goal. Work may not always be my favorite (who ALWAYS loves work???), but who cares. I could complain about the fact that I'm not bringing in millions a year in singing contracts, OR, I could recognize that I am not in the place in my life where I would ever expect that kind of success. I also had to recognize that right now is the time in my career (singing!) that I need to be investing in voice lessons, coachings, etc; this is the time to lay the groundwork for a long and fruitful career, not the time to get greedy.....that can come later!!!
Having a steady job (that allows me to use my knowledge base and has TONS of other perks) allows me the means to live in a nice apartment with a great roommate, take care of our amazing dog, and support myself (MOSTLY) to live comfortably while still taking lessons, coaching, etc. It takes the mindset of looking for the GOOD in things; not focusing on the negative and allowing it to take you over, knock you down, make you lose FOCUS. You must always keep your eye on the prize.
As my dad always said: "There are two words that you should always live your life by: STAY FOCUSED." I laughed at the time and really didn't understand how true what he said was. You can achieve absolutely ANYTHING by staying focused. It doesn't just take simply FOCUS, but also allowing yourself to feel and KNOW that you deserve this success and can achieve it. For more on this topic, I absolutely recommend "A Place of Yes" by Bethenny Frankel.
Simply feeling entitled to success will never get you anywhere. It takes FOCUS, DRIVE, and the humility to fall down, know when you don't know everything, but have the will to learn and move forward. Understand that you don't have to identify with your "9-5" exclusively, but also respect it for enabling you to achieve the success you have or want to have! Keep your life balanced and simple. Keep your eye on the prize, enjoy life at every chance you get. As a singer, we don't really have the option to play hard, but at the end of the day, are you looking to have a great night out, or have a great high C? Maybe when you know the answer to that question, you can evaluate your drive and focus.
Enjoy your work, but don't get lost in it. See it for what it is, and pour your entire soul into your art and passion when you are on your own time. You can achieve anything that you want to achieve, as long as you STAY FOCUSED.
Time for my bow yet?
A lot of people, especially when they are young, seem to get caught up "trying to make money" so they can support themselves while trying to pursue another career (singing, acting, starting a business, etc). The difficult balance to find is that balance that allows you to keep the job that provides you financial stability, while still allowing yourself ample time to dedicate to the other career...all while not allowing either to upset the other.
This is TOUGH! I don't know that anybody has the answer, and I don't think there is any even remotely textbook answer for this. For me, it has taken almost two years at the same job, and a LOT of faith in myself! It has not always been easy, and I still have my days...trust me.
A lot of it has come to me recently. I am not one with a lot of patience...ask my mother....she will most likely say that is the UNDERSTATEMENT of the century! (I know, mom). Having found my teacher, Michael Paul, has really made me tighten my act. Everything in my life, in every aspect, has to be there to ultimately help me achieve my greater goal. Work may not always be my favorite (who ALWAYS loves work???), but who cares. I could complain about the fact that I'm not bringing in millions a year in singing contracts, OR, I could recognize that I am not in the place in my life where I would ever expect that kind of success. I also had to recognize that right now is the time in my career (singing!) that I need to be investing in voice lessons, coachings, etc; this is the time to lay the groundwork for a long and fruitful career, not the time to get greedy.....that can come later!!!
Having a steady job (that allows me to use my knowledge base and has TONS of other perks) allows me the means to live in a nice apartment with a great roommate, take care of our amazing dog, and support myself (MOSTLY) to live comfortably while still taking lessons, coaching, etc. It takes the mindset of looking for the GOOD in things; not focusing on the negative and allowing it to take you over, knock you down, make you lose FOCUS. You must always keep your eye on the prize.
As my dad always said: "There are two words that you should always live your life by: STAY FOCUSED." I laughed at the time and really didn't understand how true what he said was. You can achieve absolutely ANYTHING by staying focused. It doesn't just take simply FOCUS, but also allowing yourself to feel and KNOW that you deserve this success and can achieve it. For more on this topic, I absolutely recommend "A Place of Yes" by Bethenny Frankel.
Simply feeling entitled to success will never get you anywhere. It takes FOCUS, DRIVE, and the humility to fall down, know when you don't know everything, but have the will to learn and move forward. Understand that you don't have to identify with your "9-5" exclusively, but also respect it for enabling you to achieve the success you have or want to have! Keep your life balanced and simple. Keep your eye on the prize, enjoy life at every chance you get. As a singer, we don't really have the option to play hard, but at the end of the day, are you looking to have a great night out, or have a great high C? Maybe when you know the answer to that question, you can evaluate your drive and focus.
Enjoy your work, but don't get lost in it. See it for what it is, and pour your entire soul into your art and passion when you are on your own time. You can achieve anything that you want to achieve, as long as you STAY FOCUSED.
Time for my bow yet?
Tuesday, August 16, 2011
and the curtain rises.....
In an effort to make my identity as a singer more pronounced, I figured I'd give this whole blog thing a shot....why not. And what better way to do it than by making it about my experiences as a singer? Don't worry everyone, this will NOT be an "I love Renee Fleming" blog.....although she more than likely will make occasional appearances in the postings. I'm not really sure what route this is going to go in. Maybe no one but my family will read it, and maybe it will be a way for them to follow my journey even when I am halfway around the world. All I do know is that I want it to be able to include anything and everything that may be relevant to singing. I don't want to be limited or restrained when it comes to what I can post. I don't want to keep rambling, so....3.....2.....1......and the overture begins.....
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