Redux of a Birthday

"The secret to being interesting is to be interested."- a quote from a comic book about dragons that I read many years ago. (I wish I could remember where it was from, it was a great comic book)

I try to live by this rule every day and this birthday has summed up that quote pretty darned well because after over 5 years of living in the city, we finally got to our third (and final) Chinatown-- Flushing, Queens.   It's too bad my wife is a vegetarian because there were far fewer options for her.  That being said, I made out like a bandit.

Flushing's Chinatown is slightly different than the other two (Sunset Park in Brooklyn and of course, Canal Street on Manhattan).  In addition to many of the mainland favorites, there are also selections from regions such as Quingdao (the Northeast of mainland China).  You can find out a lot in this great New York Times article.

We used a map from the article and ended up hitting seven different stands for small bites.  I have posted some pictures and explanations at my facebook page.   It was a perfect birthday adventure- full of learning and lots of eating.

But why?

Why are you an opera singer?

I had sung with a children's choir at a young age and, as a boy, sang on some professional recordings and jingles. When I found out at that young age that someone could actually get paid to sing, the idea stuck in my head.

That isn't the reason, though. My quick answer? Because I'm a terrible rock-and-roll singer.

Seriously? That's the reason. I didn't grow up wanting to be an opera singer.

My role models were (in this order): Robert Plant and Axl Rose. To this very day, hearing "D'yer Mak'er" makes me want to give up opera. After my voice settled down, my sophomore year in high school exposed to a wide variety of music. I learned my first art songs, sang a bunch of musical theater, became involved in jazz choir and show choir. During my junior year, I was Seymour Krelbourn in a really awesome high school production of "Little Shop of Horrors." I know, I know... everyone's high school production was amazing. We won some awards and one of my co-stars went on to sing on Broadway. There was not a weak link in the entire cast. It was my first taste of being a star. I wouldn't say I handled it very well, but I was sixteen and you live and you learn.

That whole time, all I wanted to do was be the lead singer in a hard rock band. Unfortunately, my few times trying were abject failures. I may be able to carry a tune, but there is a certain style and confidence that you need. I simply didn't have it. I once was a guest singer for a band. I definitely brought them down. They were way better than me. I apologize to all those who were subjected to my terrible rendition of "More than Words" and that great band that had to back me up and one of my best friends (to this day) who sang the harmony.

A great descriptor

http://simplemom.net/kaizen-approach-your-goals-gradually/

It's funny how one can find inspiration in the most unlikely of places. I'm neither simple nor a mom, but the simple mom site constantly surprises me with great ideas. If you haven't checked it out, I recommend it as a soothing way to renew your look at the world.

When they discussed this idea of "Kaizen", I realized that it has been my approach to my career for years. It's always nice to learn a new name for something.

Step 5- Credit where Credit is Due

"Never name-drop. DeNiro told me that."- an unknown comedian.

Obviously, the role-prep system that I have described did not spring fully formed from my mind like Athena. Many talented friends and colleagues helped me find this method. They did it with a lot of persistence, patience and good humor. The list below is by no means all-inclusive.

Back during my chorus days in Seattle, Bill Burden showed me that I had absolutely no idea what was needed to be an opera singer. He made it look so darn easy- from stage presence to singing. Just when I thought it would be insurmountable, he generously took time out of his schedule to talk to me about how I could go about starting an opera career. He practically spelled out the bullet points of what skills I needed.

As an apprentice, Peter Sicilian gave me the idea for the book. He also gave me some of the initial questions that I consider when approaching roles. He also helped me through the process of building my first book for the character of Don Basilio in Mozart's The Marriage of Figaro.

Can you Skrabalak a comma? Can you Spierman a two-syllable word sung in English? When a coach provides keen insight into approaching words, I turn them into a verb.

Ann Baltz gave me a stack of emotion flash cards that can freshen up the most boring of recitatives. (and they are great at an opera singer cocktail party... It's like charades for tenors!)

Like I said, this is hardly an all-inclusive list. There are too many others to thank. I'm sure you can see your fingerprints all over this process.

Step 4- Notes and Rhythms

This is where people's image of an opera singer really catches up to my reality. Hours sitting in front of the piano by myself lead to hours with a coach/pianist as we go through the entire score (usually from the end to the front) and hours with my voice teacher, figuring out the nuances of how best to produce the sounds on the correct pitches.

Another common question is: what is the difference between a voice teacher and a coach?

A voice teacher is your guide in your career. They train you to make sounds correctly on every note of your range and work to help you figure out how to make a uniformed, balanced sound from the very low notes to the very high notes. (see figure 1- right)

A coach/pianist is generally a person who, not only plays piano, but many times are opera conductors or music directors. While they are concerned about the sounds that you are making, they are helping you to sing the music with personality. They take the voice training and help you sing opera with style. (see figure 2- below)

Frequently you will work with a coach who has conducted the opera once (or many times) before. They can give you another point of view on characterization, the tempos or speed that the music is sung, how you can best help the conductor of the opera and collaborate well so that you don't cause a crash with the orchestra. For example, if you are holding a high note, you have to somehow- with voice or gesture or look- communicate to the conductor when to bring in the orchestra. If you don't do it right, you might get stuck holding that high note for too long. If you aren't consistent with how you do that, the conductor has to guess and all of the sudden the orchestra might come in while you are in the middle of that (glorious?) high note. It's a collaboration that a coach would guide you through.

Obviously, the images above are figurative, not literal.

Everything but the kitchen sink

Our neighbor Sarah, who sadly just moved away, is the pastry chef at S'nice, a lovely little vegan cafe in Park Slope, Brooklyn. My wife has stopped by several times to get take-out dessert and last night she brought home a new "approved" item: The Kitchen Sink Cookie.

I had no idea that such a cookie existed in this world. Whoever invented this recipe was either a genius, an evil scientist bent on world domination or the biggest stoner who ever was. It has chocolate chips, nuts, pretzel pieces and potato chips all nestled into some sort of oatmeal and peanut butter cookie. I'm not sure if that is completely correct, so go pick one up and let me know if I got it right. It's worth the trip.

Upcoming Gig: Younger Thompson in "Glory Denied"

I will sing the role of Younger Thompson in Chelsea Opera's production of Tom Cipullo's "Glory Denied."

November 11, 12, 13, 2010, 7:30pm with pre opera Meet the Composer 6:45pm
Matinee November 14, 2010, 4:00pm with pre opera Meet the composer 3:45pm

I'll be singing 2 shows and my performance dates will be announced as soon as possible.

St. Peter's Church in Chelsea 346 West 20th St (8th/9th Ave) NY, NY

Tickets available now! Download ticket form

Tickets:general adm $30 adv/35 doorpref'd seats: $35 adv/$40 door seniors/stdts: $20 adv/$25 door OPENING NIGHT RECEPTION: $10

I'll post more about the piece as I continue studying the role. Until then, check out a brief synopsis.