Comprimario work- what you learn.

(Eapen as Beppe, with Crystallia Spilianaki as Nedda in Chelsea Opera's production of I Pagliacci)

After spending a good bit of time doing comprimario and character tenor work, I moved to NYC to make the transition to singing leading tenor work. Chelsea Opera hired me to sing the part of Beppe in I Pagliacci in 2006. It was a chance for me to sing a smaller part that still required a legitimate sound. I had previously sung the role with Tri-Cities Opera as an apprentice, and this was a chance for me to revisit a role with a more full sound. Beppe is a great part because, even though it is technically a comprimario part, there is still an aria at the end of the show that requires some techinical singing and it's a chance for the character to show off a bit!

These kinds of smaller roles are a real challenge. Much of the time you sing small interjections against the leads and you have to find ways to bring out your character while those leads are singing their music (which is much more important to the narrative of the show). It's a trade-off: As Beppe, I have to be a person with a motive and a purpose but I have to show that in a way that is unobtrusive to the stars of the show as they do the heavy lifting.

This was the first time that I was mentioned in a review by the New York Times. It was cool because it was simply a mention-- I made it through both unscathed and unpraised. I consider that a great first step.