Road Rant
Recently, I was a happy guest at the Sheraton Malpensa airport. I had an early enough flight to catch to make overnighting there a comfortable alternative to getting up in the wee hours in Torino for the two hour trip to Malpensa. Oh! How I love to travel.
I decided to try the restaurant, and found a wonderful acoustic space. Restaurants are usually really good for intimate conversation which means something like the environment talkative children tend to create when the “Shut up and go to bed!!!” order arrives from parent central. With a blanket and a flashlight an intimate conversatoin acoustic is found and parent central may never know. The space in which Il Canneto Restaurant serves breakfast, lunch and dinner is a marvel of friendly warmth…… But not the blanket type.
My fun began when I noticed an entertaining mistake in the wine list which I pointed out to my server. A little while later, during my meal, a young man came to my table to thank me for the proof reading work I had done for him. We struck up a conversation, and with young singers still fresh in my mind, I asked if he had ever thought to have live singing in the restaurant. The answer was no, but he was willing to bring the idea to the attention of the administration. His superior joined our conversation and admitted to being a La Scala subscriber in her student days, but had to give it up when she lost her ability to acquire a student discounted subscription. She also expressed interest in the idea of live singing in her restaurant. They wondered how they would be able to know who was good and who was not. I left my card with them and asked them to please let me help if classical singing was something they decided to fit into their marketing plans. An audience for a young singer is essential. Who cares where you find it?
My favorite futurist sent me more relevant quotable stuff just in time for this blog. While Greg Sandow talked about his “Speaking about Music” communications course he is teaching at Julliard School, he let a big cat out of the bag. The first sentence I quote makes reference to a “that”, and here is the full meaning of his “that” in just two words: “self-promotion”. He contracts twenty five words in his blog with “that”:
Now students know they’ll have to do a lot of that on their own, and that they’ll have to do it in new, lively, communicative ways. Of course this is tied to the new stress on entrepreneurship in conservatories, Juilliard included. Classical musicians in the future will be much better off if they can create careers on their own, and being able to engage people about what they do is a central part of that.
Future Past
This is really rich. Mr. Sandow is looking into a future that seems distant but familiar. He sees a future in which highly educated, heavily indebted graduates of his university will be better served by finding work outside the traditional classical music outlets. Does he believe that the future will look like the middle ages when guys with guitars or lutes would sing for change in market cities? Of course those future troubadours will need to take his “Speaking about Music” classes to learn how to use their hand-helds and smartphones to market themselves on Face Book and Twitter. Does he consider that the income level of such pursuits would never be able to pay off the debt to which an un-rich student needs to enslave himself or herself in order to pay Julliard tuition? Maybe Julliard is just looking for a way to stay relevant. In the retail business, I’ve heard it said that when demand is down Advertise, Advertise, Advertise. I guess someone at Julliard overheard one of those conversations. Business is business, but I thought Julliard was a music school. Anyway, Mr. Sandow sounds bearish on the music business when he blogs.
Who needs the stuffy theater?
My eyes are always open for opportunities allowing youngsters to cut their teeth in nontraditional venues. I hope future Julliard grads won’t need them to support themselves. Let’s get real. Sandow gets it right in one of his later blogs that I already talked about. Grow the audience in those traditional classical music outlets, and professional level performers will meet healthy demand for their services from those healthy institutions of Classical Music. It’s frustrating that Sandow doesn’t tell us how he thinks this rosy future can be won. What he does tell us is that he and Julliard want their grads to look to non-traditional venues in which to make a living.
Where you find it..
Sandow would seem to be anticipating an imminent collapse of demand for their graduates. This would create a supply of talent in the music world that main line presenters could not save from starvation. I guess I would be wrong to even encourage young people to strive for a career in Opera if my outlook were so skeptical. I think Sandow and Julliard are worse than wrong. If they really believe in their “new stress”, they are stealing money from students, even from those who have to borrow it.
Sandow does say that the keystone or maybe the corner stone for music’s fabulous future is to: “Create performances so powerful — and so much in tune with current culture — that people just about break down our doors to go to them.” Now that statement is so packed with stuff that I would have to destroy my 1000 word limit to comment.
I will keep reading Mr. Sandow’s blogs, but I wonder if we will ever receive even the smallest snippets of his magic formula that forms the basis of his consultancy to classical music.
Read MoreWhy am I here?
I made it to Torino and am hard at work with eight singers and enjoying the company of three auditing onlookers whom I hope will receive something useful from our work.
The final concert is coming tomorrow, Saturday 20, 2014 at 6:00 pm, and I think I should explain to everyone what I think it’s all about. My name isn’t Alfi, but I do have an answer.
When the youngsters, I’m trying to help, face the public we have invited to come to the Circolo della Stampa di Torino to hear our little concert, they will fulfill the spirit and substance of what it’s all about: No matter how hard we may work together during this Master Class, in the end, it is what happens in the performance that counts.
I am here to do everything I can to help these young people make that performance as close to perfection as possible. What do I intend to see happen? Well, let me try to explain myself by listing my employers. I know I am not an authorized employee of anyone on my list, but I feel the same responsibility as if I had contracts with all three.
- The Singers:
Everyone seeking to be a singer by profession is eligible for employer status. For example, this website is for you, if you are trying to find your way to that small spotlight center stage where you will have to stand and deliver. My being in Torino is part of my effort to walk the walk. After all, this website sure is a lot of talking the talk.
- The Great Creator
My most important employer is the most creative person I know: My God. Now, I know me saying I believe in God and His creative power may seem to many of you to be an aside. It is, however, central to everything. Singers have voices because God forms them while the singer is in the womb, not because of a chance digestive event during the singer’s gestation. Not for any other reason than God’s gift. So I am happy to say that I am working for God to see that as many as possible of his gifts of voice to singers receive loving care, and that He may enjoy the product of those gifts as my singing students engage in their creative work. By the way, I also believe that we are creative creatures because God is creative.
- The Audience
Unlike the theaters of the world, I do not forget that “elemental employer”, the audience. I believe that without other peoples’ ears there is no performance. It is always just a rehearsal, or worse; a hobby. I am working for the people still warming the seats. Singers are remarkably hard to convince of the peculiar relationship an artist has with his fellow human beings. Anyone wishing to be a professional using his or her voice for a creative purpose has to understand that the voice is for communicating and as such a communication must take place, and it must be with an audience. Eventually, we’ve got to sell a sufficient number of tickets for participating in that communication to justify the professional level fees for services that theatres are finding harder and harder to pay these days. I stand as ambassador from the ticket buying public, and do my best to direct each gifted singer toward an interesting and satisfying conversation with my employer who continues to buy tickets and hopes to be entertained.
The theater directors of the world seem to forget the audience, and I believe the crisis in the performing arts has its majority explanation in that forgetfulness. It is perhaps the largest problem for a singer as well. Forget your audience, and it will forget you….
Oh! Let’s not forget all those audience regulars who have decided to stop buying tickets. I have no idea how to get them back into the seats, but I know why many of them decided to stop keeping those seats warm.
Singers who only fear their audience are shoulder to shoulder with the theatres of our day, and together they are the ones who can bring about the future feared by everyone who loves the performing arts.
We sing for an audience because that’s what professionals do. You can’t leave God out of the equation. He can certainly listen in while we’re at it, and, by the way, He can even hear and enjoy the voice of someone who only possesses enough courage to break out in song in the shower. That individual would not be my ideal student no matter how beautiful the voice. I don’t argue with God, but a great voice is often just not enough to make it in the professions.
Read More1000 Words on Chickens, Eggs, Opera and Singers
The question is about the order of things, like: “Which came first, the Chicken or the Egg?”
The answer is dependent upon what you assume to be true. It is a grand scale dividing line that separates people of faith. For the person of the Christian faith the assumption that His Scriptures are telling the truth gives rise to answering that the chicken was created before it could lay that first egg. A person who has faith in another god will be much harder pressed for an answer. Wikipedia sort of rests my case.
The “HOT STUFF” of which I wrote on 8 March gives me ammunition for a much smaller argument. It’s about what is going on with “Opera” these days. Which came first; “Opera” or the “Opera Singer”?
Let me put this question in perspective. I have always felt that the craft of singing and the performance art in which I participated was not much more important to Life on Earth than flower arrangements might be to a soldier in a war zone. So this question, as applied to “Opera” “Opera Singer”, is not as important as “Chicken” “Egg”. The soldier needs to be fed breakfast: “Egg” and then for dinner: Roast “Chicken”… If you’re a Southern boy: Fried “Chicken”. If one part of the equation is missing the soldier may eventually starve and not be able to win the war. If both parts of the “Opera” “Opera Singer” or “Flowers” “Flowers in Vase” dichotomy are absent the soldier can still be fed and fight battles. Life will go on. The war for survival can still be won. My interest in the “Opera” “Opera Singer” question is critical to all Opera Singer types, but seems to be carelessly disregarded by most members of what has become an “Opera” conservancy.
Opera News deserves applause for giving Matthew Epstein a chance to explain the tug of war in which he engaged at Chicago Lyric Opera. He became disengaged by the loss of his grip on the rope in Chicago, but, happily, Matthew relocated to NYC to take a new position at CAMI where he can continue to influence the fate of “Opera”. The Opera News article shows us that Matthew Epstein and William Mason have strong opinions about the future of “Opera”, and, unfortunately, they do not agree.
Lets let Matthew start the argument:
“Look, there’s a dichotomy between the old-line New York and Chicago subscribers and the younger audience that goes to BAM and some of the smaller Chicago theaters. There must be a way to satisfy both groups, but it is a mistake to do only what keeps our rapidly aging big-money subscribers happy when the future is in people who aren’t yet at that point. Maybe it’s a younger audience. Maybe it’s a more last-minute-ticket-buying audience. Maybe it can’t or doesn’t want to purchase a full subscription a year in advance. But it is an audience – and a growing audience, and an audience that is going to be tremendously important. And we can’t eliminate from our seasons the very works that may bring in this new audience.”
Matthew introduces the premise that his way “may” be the way to keep “Opera” alive. Bill Mason tugs in the opposite direction with:
“The creative decisions and wishes of a music director and/or artistic director can only be realized if there is the money to pay for them. Financial integrity is no less important than artistic integrity. If your ticket-buying public doesn’t like what you’re presenting most of the time, they will stop buying tickets and stop contributing. This is not to say that Lyric will cease presenting new opera or new and possibly controversial productions. But balance is the key.”
These guys arguments are interesting, and can be a source of syllabus for University types, but that Egg equivalent (Opera Singer) is kind of ignored until Matthew starts talking about the opera singers who have always been his bread and butter:
“The future of opera in America depends on the realization that stars won’t do the trick anymore. There are any number of excellent singers out there, but very few real stars left who will always sell out a house – and that number is diminishing all the time. The future lies in ensemble-oriented productions – well-directed, well-designed and well-conducted productions of interesting repertory, fully rehearsed, and cast with the finest singers available for their parts. And if the stars won’t commit the time and energy required to perfect such a production, you engage other singers.”
Matthew Epstein seems to suggest that the link between “Opera” and “Opera Singer” is really getting frail, and the “which came first” question irrelevant. “Chicken” is dependent on “Egg” for species survival, but Matthew seems to say that “Opera” cannot depend on “Opera Singer” to sell the seats. Why not?
Matthew’s explanation of his vision for the future is unique. It is the first public argument over the future of Opera I have heard or read that included any mention of opera singers. It’s sad that a great agent to the “Stars” only mentions singers in context of his loss of faith in them.
Matthew, from his Worldwide Director’s chair at CAMI’s vocal division, might have suggested ways to increase the number of “Opera Stars”, if he thinks they are needed, and why their number is dwindling, anyway. No. He suggests abandoning those few remaining “Stars”, if found uncooperative, to pursue the perfecting of production values.
So, let’s summate.
Matthew Epstein believes:
The “Opera Singer” isn’t worth an “Egg”. Opera singers, if we follow Matthew’s published logic, are interchangeable necessities that can detract from the genius new Operas and Opera productions that Matthew suggests as key to keeping Opera Houses healthy.
Bill Mason believes:
If he gives the public what it wants, then the public should keep coming to his theater, and contributing to his fund-raising campaigns.
Do opera singers really matter???
Read MoreWhite Christmas Extended
Remember the Water Walk in White Christmas? That white ice is still mostly there. We just need a little snow to refresh the attractiveness of that walkable water, and our Frozen North would again look pristine. Some other northerners up here wish for Spring while I pray for decorative snow, but one wise citizen of these here hills proposed we should be grateful. While a fellow Plattsburghite and I were blocking an isle at Sam’s Club exchanging pleasantries that included opinions on the weather, my interlocutor proposed that we should be thankful for Global Warming. “Can you imagine how cold it would be without it?” Siberia might come to mind.
Frozen Strandberg
Just a few days ago we had sonic events that disturbed the peace and tranquility of the evening. These booms that brought a few of us curious northerners out into the dark with flashlight or oil lamp in hand were reported as cryo – something events,,, “seisms”,, blamed on moisture, some of which is visible as white stuff scattered about us, and freezing cold that insists on penetrating the soil. We had little mini earth quakes because the ground is freezing under our feet. I guess Global Warming, manmade as it is assumed be, has some self-help blessings most of us just never considered, like saving us Rock Eaters from the permafrost suffered by Siberia, but I’m wondering if the thaw will be accompanied by the same sort of unsettling seismic activity in Plattsburgh and in Toronto, Canada. If we do, I expect someone will be thanking or blaming Global Warming for it just like the freezing that brought it.
OK, I’m back from the edge of politics and ready to talk about the important things of life. The snow may still be with us, but our Christmas tree is down, and in storage, so we have more room in the…… Wait… I said important things, didn’t I? OK! OK!! Let’s regroup. How about a question? Like: What should follow “Lesson One.001”?
Dividing lessons with such minute decimals would seem ridiculous but for the problem of keeping within my own blog size limitation. The word count necessary to cover everything I want to say may be inestimable, but I count on my word processor to warn me when I’m going overboard in a blog. My wife, Debbie, is good at it too, but Microsoft Word just keeps adding up my words for me in the lower left corner of my screen as I type my thoughts. Rules, rules, rules. If I make them, like: 1000 words per blog, shouldn’t I follow them?
Label the rest of this blog “Lesson One.001-A” because it’s about the vowel “A”. So here goes. I’ve got five hundred and fifty one words to go. Wait, I just used eleven of them. Ooops there goes another seven… OK! I’ll get to the point.
The “A” vowel is the best vowel. It is the central station of vocal color. The full character/personality/beauty of any vocal instrument is best heard in that vowel. It is true for everyone and not just certain voices. When that vowel is just the best for the voice at hand then we can advance to the rest of them.
So what is the “best”? The best is always a hyphenated best: Personal-Best. Each instrument has a personality. Something really brought home to me when Bruno Price presented a violin blind tasting party after Soovin Kim played a whole bunch of Paganini
for LCCMF at the home of the Vermont Youth Orchestra in Burlington, VT. Mr. Price came packing a trunk load of violins. Jessica Lee and Nelson Lee played each of these instruments for Soovin’s Paganini audience. It was great to hear the differences among the violins and compare the results that two different expert players could get with these precious violins. I was totally blown away. Unlike humans, these instruments couldn’t be bothered to try to sound like the
one that the majority of the audience picked as having the best sound, the Strad. Singers, however, face a vocal world today that invites bad choices even at this “.001-A” early stage of training. Tenors will try, or be advised to try to emulate the “A” vowel of Pavarotti, for example, when to do so is to distort the instrument with which the tenor is gifted. Some of the non Strad violins I heard in Burlington might be “improved”, somehow, with chisel, sandpaper and varnish to bring them closer to the Strad, but such work would destroy the personality of each and every one of them. Among the lesser violins played for us was a southern Italian number that truly fascinated my ears. I won’t get into the why or how of it here, but, because that Neapolitan grabbed my mind, the whole affair refuses to leave the premises.
In the day, nothing has changed, violin makers did the best job they could to fulfill their ideal. The collection that we Paganini appreciators heard in Burlington gave evidence that mans’ hands are capable of wonderful things, but every craftsman producing a Strad, even if it were desired, is not Historicity. Those violins all sounded different, and refused to change character even under the influence of the pros playing them.
In the day, a lot has changed, voices were appreciated for the individual character that each displayed. No parallel here, right? I heard within the differences among those violins the best examples of what pedagogues are told by Garcia to discern in voices. The beauty of Pavarotti’s “A” vowel may have been our Strad of the day, but trying to copy it would be just as bad as dismantling those non-Strad violins, gratefully heard in Burlington, just to push their individual sounds toward the sound that the lone Strad had in the group.
28 words left.
An “A” of beauty that a vocal instrument can produce has a personality unique to itself. Promote it! Not Pavarotti, or Strad, but the beauty in vocal difference!
Read More
Lesson One.001
My mind’s eye view of Garcia’s lessons, which I mentioned in “Lesson One“, started out with visions of this great maestro telling new students about the famous exploits of his father, the glory of the singing of his sisters, the fun he must have had, surrounded by his family in the first Season of Italian Opera ever presented in New York City where he made his Operatic Debut as Figaro in the Barber of Seville, the trial by fire of his debut in Naples where he was unable to prove himself a professional of star quality, and the new, if short lived, freedom from music he discovered when he was able to present his bad reviews of that debut to his daddy. Any ordinary maestro di canto would fit nicely into these images, but, the better I knew the story of Garcia and his father, the more I saw him as a serious professional unlikely to engage in such superficial banter. I now have an idea how he would have sought to guide his newest students toward perfecting the beauty that he recognized in the voices of each of them.
In “Lesson One” I quote Garcia telling us that teachers must deal with many “faults” endemic to untrained voices, and one could be forgiven for misconstruing the negative spin Garcia gives to: “tremulous, nasal, guttural, veiled, harsh, schrill and the “lack of power, range, steadiness, elasticity, or mellowness.” It might seem obvious to some that Garcia was giving us a list of affects that the trained voice must never display, and if one were to fail to read Garcia’s second book, then those so convinced might never find a reason to doubt their conviction. It is in that second book that Garcia describes some of these “faults” as interpretive tools. Yes, they diminish the beauty of the singer’s voice, but they were essential to the interpretive artist of Garcia’s day.
In that second book Garcia gives advice for interpretation that relies on the recitation of words separated from melody, and with this advice he makes a full circle return to using some of the very affects he has told us we will discover in the untrained voice. First, he advises that these vocal “faults” should be eliminated, but then, he wants the singer to reintroduce them as expressive tools after the singer is able to successfully avoid them. When strong emotion is not wanted then the singer should avoid those several faults which may have tainted the singer’s voice at the start of training. But Garcia is most emphatic that the singer be free to put them back into the voice when needed on the stage. More than free to use them, the singer must use them when he wants to impart the correct emotional effects of various degrees of personal disaster or delight which one finds written into the greatest music and even some of the modest music a singer might be called upon to interpret.
So what does the above full circle have to do with Lesson One.001? It has to do with how I believe Garcia sought to “discover and develop, among all the qualities of tone which the student’s voice presents, that one which combines to the highest degree all the desirable conditions.”
My daydreams of Garcia’s first lessons are full of his advice intended to carve away the “faults” presented by the student’s voice, just like Michelangelo carved away marble at “fault” for hiding his David from his eyes. What did Garcia want to chip off the voice? His sketch of things to carve off is quoted above. But why do the listed “faults” haunt and obscure the “germ” of beauty in the voices of the singers that Garcia allowed to enter his studio? Where do the faults on his list come from? Vocal faults are all traceable: some to speech patterns, some to pathologies and some to insufficiencies. Garcia was careful to tell us the qualifications necessary in a student, and if he followed his own advice, pathologies and insufficiencies would not have crossed his studio’s threshold. The student’s speech pattern is certainly another matter. The work of purifying the vocal sound, eliminating offensive accretions on even the first vowel “A” makes me think of “My Fair Lady”. The highly entertaining frustration of the elocution master in this musical stands as one of the best examples of what a Student – Teacher relationship should not be. The process I believe Garcia used for instruction was collaborative, not Warlike. Unlike Professor Higgins of the musical, Garcia did not want to make those speech pattern “faults” disappear forever, and so would seek to have the student voluntarily give them up, not avoid them from fear of reprisal.
Garcia Jr. tells us to listen to all the tone/color qualities that the student’s voice presents and guide the singer to promote those positive qualities the voice already presents while guiding the singer away from those tone/color qualities that are detrimental to the “beauty of the voice”. That “beauty” is what Garcia Sr. claims to be the most powerful tool a singer has when, seeking to “command” the attention of an audience.
Garcia Jr. never gets closer to discussing the subject of personal color qualities than the quote in “Lesson One“. I wrote about the distance he maintained from this discussion in “Why Garcia” and “Factory Made”. He does not suggest the use of Clear Timbre or Dark Timbre, and neither does he say that Chest Voice, Falsetto or Head Voice are relevant issues in this voyage of discovery. His advice is that the natural/untrained voice displays all the “qualities of tone” that we are to seek to promote. They are specific and endemic to each voice, present because of the structure of each individual instrument, and, in the case of these qualities being beautiful, they must be nurtured with the greatest of care. Not covered with Dark or Clear timbres.
This lesson is about treating the student with great care. We must understand that the beautiful voice is a rare item, and deserving of the time and effort to purify the striking qualities that it alone possesses. No teacher can create such a voice. Any teacher can destroy it.
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White Christmas
Our Christmas tree is up in our living room again. We exchanged gifts, and we celebrated. I pray everyone has found reasons to celebrate this Christmas season, especially if the Birth of Christ isn’t one of them. His birth has no equal among my list of reasons to celebrate this Christmas and, come to think of it, this is true of every other Christmas I have enjoyed since I signed up to follow Him. Among this long list of other things to celebrate that enlivened our 2013 celebration of Christ’s Birthday is the marking of two years of existence for this blog. I am so happy to have the struggle of putting this little pile of pages together.
Ice Bronzed back yard at dawn.
I believe the reason I have come this far is the Birthday Baby our Christmas celebrations are all about. He has shown me value in things that, without His guidance, would have had little value to me. His promises He keeps and I rely on them. I believe that if you are reading these pages, and find something useful or even just some entertaining things on them, your discoveries validate a small part of my enlistment with Christ. For His part, and it is a very small sliver of what He has promised, every moment of being at a loss to know what to do for a student or lacking something to type into my little computer for this blog, He comes to my rescue. He always comes to my rescue.
The words I keep adding to these “RockwellBlake.com” pages I think of as little blessings. My blessings, that is. You reading this blog I also count among my blessings. Thanks for coming. If you keep reading, then I have my confirmation that these pages are worth writing.
Celebrations are usually full of interesting tidbits of entertainment. This year we have the best twisted weather.
Global Warming!
No doubt about it. It’s a first for me. The snow that came down all pretty and powdery just a little while ago is now “bronzed” in ice on our roof and in our back yard. Oh yes, we cannot forget the trees. They were not left out of the coating program. For me it is another reminder of just how interesting creation is. When Christ was born, shoes were not for babies and too simple to deserve electroplating . Besides, electroplating didn’t get invented until the 19th Century and didn’t get used on shoes until the 20th Century, but what we have on our roof, backyard and trees sure makes me think that Christ’s Father can remind us in many ways of His Pride and Joy. After all, insurance companies are always talking about the Power of Christ’s Father with the words: “Acts of God”. Why not fulfill my dreams of a “White Christmas” by freezing one into an H2O “bronzed” snow sculpture?
Better than Bronze
If our temperatures stay low enough, the ice will keep, our Christmas season will be white for quite a while, and we could slide across the ice directly into the New Year.
Part of our traditional way to celebrate is to view some of our favorite movies that use Christmas as their central theme. “Holiday Inn” always inspired me to reach for the Kleenex in previous viewings, but, this time I found myself focusing on the singing so much that I was distracted from the emotional flow of the play. Bing Crosby and all his friends have lessons to teach, and I studied so hard that I did everything but take notes….. Tenors don’t take notes.
The Little Ausable River
On the other hand, “White Christmas” came through for me. There is nothing like sniffles and nose blowing to confirm that such a work of art has had the intended effect. Debbie and I, each Christmas time, dust off these old classics as a reminder of what once was seen as really valuable, even by Hollywood. We still have “It’s A Wonderful Life” and “Miracle on 34th Street” to visit again this year. I have my big box of Kleenex at the ready.
Up Close Ice at Dawn
Please accept my gratitude for coming to read what I have to say. Two years ago, I didn’t expect anyone to be interested. Wonders really never cease. My prayers are with you that you have blessings to celebrate this “Holiday Season”. Come back, please, and often so that your visits will add to the great number of blessings I have available to help with any attack of insomnia that I may suffer in the New Year coming. I pray that we all sleep well, when we want to, in 2014, and that we all find ourselves enjoying ever more blessings. Bing Crosby will remind me to count them next Christmas.
How to walk on water.