In the ever evolving opera world, we have seen our industry go through many phases. Opera has certainly come a long way from "park and bark," and has expanded the demands on singers in order to make opera more believable to the masses. We not only have to be flawless singers and technicians, we are now being subjected to Hollywood hotness standards, and we are expected to be fierce actors as well. Now don't get me wrong, as a lifetime overachiever, I love the challenge of these demands on modern day singers. We know how to sing (or can learn to with the right teacher), we can get personal trainers and stylists to help with our appearance.....but what about this acting thing? In an industry where we need so much control all the time, it can be very hard to be able to let go and really enjoy our character; to find the motivation behind our dialogue.
Recently I began working with the Metropolis Opera Project, a Manhattan based company run by Zach James (of the Addam's Family on broadway). The company specializes in world premieres that they commission based upon relevant works of theater. The most recent project they are premiering is an opera called One Hot Kitchen. This is based upon a play by David Caudle (also the librettist) and is composed by Kristin Hevner Wyatt and Daniel Wyatt. The opera is pushing the boundaries in a new genre called Opera Electronica (think club beats meet opera). Most of the cast signed on not really knowing anything about the piece, the musical style, etc....we just knew the production team and cast seemed to be pretty great and anticipated it being a work that really had something to say.
I showed up to my first day of rehearsal at the space with coffee in hand. We had gotten some of our music in advance (although the piece, a world premiere, was still being composed and going through changes). I had printed out the most recent edition of the score and had it all organized like a good little tenor. I had worked on my music, I had read the libretto....I was ready for an informed musical rehearsal! I introduce myself to the director (Norm Johnson), chat with Zach for a minute, and then the other singer showed up....he plays my boyfriend in the show. I quickly came to realize that they had no intention of working any music that day....those rehearsals were separate.....we were there for an acting rehearsal....no music.....no scores.....we were going to be treating the piece that day as though it were a play. We sat down and read through the scene a few times. Norm asked us questions about our relationship, things that didn't even come up in the scene....but things you would know about one another and your relationship....he was helping us pack in the emotions....create the world behind the scenes.
At first I was a little apprehensive; it had been years since I had just ACTED....wasn't thinking about my voice....the coloratura....the high notes. I was just thinking about the character involved. The music would come later, and when it did, we had all these levels we were exploring. By the end of that first rehearsal, we had our scripts down; we knew the 5 beat changes in that scene and had to get through them....aside from that, we were instructed to improv through the scene. Again, at first, it was a little uncomfortable not knowing what we were supposed to be saying. Quickly though, it became liberating....there were no right or wrong answers....there were only possibilities to explore. Sometimes when running the scene it built more than other times....we moved in different patterns....sometimes we stood still most of the scene....we were having fun on stage....allowing ourselves to be pawns of the craft. As we gear up for our tech week, we are so thankful to have had those initial rehearsals where we could let our guards down and explore our characters.
As singers, I think sometimes we identify as just that; we lose our sense of freedom to play....to really dive deeply into these characters (many of which are REALLY fascinating characters, and not just gorgeous or haunting melodies). One thing that I think the public has trouble relating to in opera is the hesitance of the singers to "play" on stage; to really be in the moment and make bold but calculated choices. Think of some of the best actors of all time (Meryl Streep, Al Pacino, etc); would they sit back and play it safe on stage?
I understand that we have so much to think about, and especially to make sure we are not doing anything that will harm our voices....to me that comes without having to say it. But look at the singers who are deemed as some of the most exciting or lauded; Maria Callas, Anna Netrebko, Renee Fleming, Natalie Dessay, Jonas Kaufmann - these singers really look deeper than just the text and the vocal line....they become the characters on stage, and will not necessarily even perform a role the same way twice. They have studied these roles so deeply and really thought of the characters as people....they have analyzed different choices that could be made in different circumstances and really flushed out a persona for the character....they are no longer just characters, they are real living and breathing people.
As we, the next generation of opera stars hone our craft, I urge us to not just get stuck in the music. View the music as additional fuel that may teach you more about your character, that may give you clues as to who they are. Play on stage (when given permission from the director!!), and really make these characters your own. No one wants to see the same Carmen or Lucia or Violetta or Don Jose 50 times. People go to the theater for the excitement of it all....they go to see their favorite shows over and over again to see different interpretations of the same text and music. Push those boundaries, explore with your cast mates, and most importantly allow yourself to be as vulnerable as you can be on stage. Know your music so well that you can sit back and rely on your instincts as an actor to push the drama even further.
I know how smart my performer friends are. I have seen them in action, on stage, in rehearsals. I think the more we are aware of our characters and the more time we allow ourselves to dive without caution into a scene and a character, the more payoff we will see in the end. I mean, let's be serious....why play it safe? We're obviously not in this industry for the steady paycheck and benefits....
Now the next time you are in rehearsal and might be afraid of making a choice....think to yourself....Maria Callas could do it....can I?
