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5.  MORE TENOR INTERVIEWS

 

"Don't you know that a tenor is not a denizen of this world, he is a world in himself."

- Hector Berlioz
Evenings With the Orchestra

 

 

With the dozens of interviews taking place, it's inevitable that patterns start to appear, creating parallels, weaving counterpoint. There are two common threads in the tenor interviews that stand out: First and foremost is an intense desire to communicate with the audience - the passion for making music. Second is that singers are more alike than they are different - yes, despite all that mystique, even tenors! - and it's the similarities that form the bonds. The differences are what make each of them unique.

Several of them said that tenors are all in a sort of club together - a bit unspoken, no secret handshake, but definitely bonded together. Another tenor agreed: "Yeah," he said, "like prisoners....!"

For more comments that crop up over and over again, see the Which Tenor...? quiz below.


 

THE TENOR BOOK5     ONE-ON-ONE: Q&A
 

 

NEIL ROSENSHEIN:
NR:    I didn’t have a natural voice or a natural top, I had no range, I developed it technically. Which I’m glad about now because I know sort of how I did it or how it’s done, and I became a technique nut. And my friends and I would sit there and talk about technique for hours. And I had wonderful colleagues like Neil Shicoff and Rocky Blake, tenor colleagues. Baritones as well, but the tenors, it’s really kind of a high-risk club, sky-diver club, and we would go and talk about technique, and how do you do that… and I’ve never found any tenor who was protective of his technique. Ask them, including Pavarotti and Domingo, Kraus, I’ve worked with, Corelli as well… and everyone, whether they were those great superstars or they were my colleagues, Shicoff and Rocky and whoever … How do you do that? I can do it softly, I’ll show you how to do it softly and you show me how to do it very loud! Okay, yeah! Good! We did unbelievable things to try to... we were gonna go to doctors to take our brains out if it would give us more space to resonate…

mlh:    [laughing]

NR:    … especially if you didn’t have the problem of a big brain. Wasn’t our problem, right? But, I heard the music and the very thing we talked about before, the whole visceral effect - of all the voices, the one that hit me is the tenor. And I wasn’t a tenor... I want to be a tenor! What’s a tenor? I don’t know! but if that’s a tenor… that’s what I want to be!

 

Norman Shankle & Todd Geer, San Diego - backstageJohn McVeigh, San Diego, City Deli
 

 

ERIC JENNINGS:
mlh:    You were a piano major in college. How did you get from there to vocal studies?

EJ:    By this time I was starting to study romantic music, and my piano teacher suggested that I learn how to breathe. And he sent me to a singer, because he said that Chopin learned from Bellini, mimicked Bellini on the piano, and that it really helps - to play that music, you really have to understand the breath. And to this day, I first learn my music at the piano when I have to sing, and if I have to play, if I’m working on a piece to play, I sing what I have to play.

 

ROBERT TEAR:
Robert Tear, Los Angeles mlh:   Do you enjoy the complexity of somebody like Captain Vere? do you enjoy that more than a character who is less complex?

RT:    Oh yes. Oh yes, it’s much more interesting. I mean, it’s a much more interesting character than say, Don Ottavio. [pause – he’s waiting for the reaction]

mlh:   [laughs]

RT:    [laughing] If you know what I mean! I think Don Ottavio, actually, he’s… rather just... always getting his sword out, isn’t he?

mlh:   [more laughing]

RT:    I love the opera of course, it’s perfectly wonderful… but that would be my idea of hell. Going around, singing Don Ottavio everywhere … for the rest of my life.
Rico Serbo, New York

mlh:    When did you know you first wanted to sing?

SCOTT WYATT:    Well, let’s see, I was in the 8th grade, and the first bad grade I ever got in school was in Spanish class. So it was a D+ in Spanish that forced me into chorus. And I had no clue what I was doing, I had never sung before except at Christmas time with Grandma, you know. And at the end of the semester, our teacher made us come up in quartets and sing some of our repertoire as our final, and I stepped up there as the only tenor with a bass, and a soprano and alto, and we started singing an arrangement of Chestnuts Roasting on the Open Fire, and they all stopped in the middle of the song and just started staring at me.

mlh:    [laughs]

SW:    I thought I’d done something really wrong, I was totally embarrassed, I turned all red and everything. And one of them just looked at me and said How do you get that cool quiver thing in your voice? And I go, I don’t know, is it wrong?
 
NEIL ROSENSHEIN:    So, the voice, the voice is just a tool, you know? It’s no different than a dancer’s body. And you have to remember your purpose in this, and that is to communicate emotion and move people and not say look at my beautiful voice or beautiful body. Say something or think! It's boring after two minutes… if it’s incredibly beautiful, after two and a half minutes… that’s about it! So the voice is only a tool for expression. When you get very focused on voice and coaching and all this, and that doesn’t sound right, that doesn’t sound right… it’s difficult enough, so much tradition, so many singers you want to sound like – you don’t really want to sound like them, but you want to accomplish what they accomplished. You want to move someone as well as they move you. People forget, and make the sound as opposed to... take that trip and take everyone with them. It’s a hard thing to take a trip and take 4,000 people in the public on this trip with you. And the tenor, if he’s free and involved and has that talent, can have an awfully long chain behind him and he can be pulling a lot of people to a faraway place that they can’t get to themselves.

mlh:    But I’d rather - I mean personally, and just as an aside - I’d rather be on the Peter Grimes train than on the Edgardo train.

NR:    Oh yeah, right! But the thing is with the Peter Grimes train, you can’t get off. The Edgardo train, everybody gets off at the first or second stop! [laughing]

 

RAMÓN VARGAS:
Ramón Vargas, Los Angeles - his dressing room at the Opera

Q: When you take on a new role, how do you approach it? what comes first, the music or the words?

A:  Singing is the last thing I do.

 

MORE INTERVIEWS Ramón Vargas / Allan Glassman / Fabio Armiliato / Michele Farruggia /
Beau Palmer / Richard Kness / Michel Sénéchal / Carlo Scibelli / Todd Geer /
Lars Mellander / Gregory Turay / John Osborn / Siegfried Jerusalem /
Joel Sorensen / Neil Rosenshein / Jorge Lopez-Yañez / Rockwell Blake /
Norman Shankle / Alan Fischer / Paul Ferris / Gregorio González /
Eric Jennings / Marcello Giordani / Robert Tear  / John Keyes /
Matthew Polenzani / Sergej Larin / Roberto Alagna / Jay Hunter Morris
 
 

Common threads from all the interviews:

WHICH TENOR...? [answers below]

 

1. Which tenor's recordings are turned to first by the vast majority of today's tenors for inspiration or studying a new role?

2. Which tenor is named most often as having provided the most indelibly unforgettable on-stage memory in the opera house?

3. Which tenor's voice more than any other inspired more of today's singers to pursue a career in opera?

 

 
Marcello Giordani, New York Richard Kness, New York - Star Diner - Open 24 Hours
Allan Glassman, Lincoln Center Plaza Neil Rosenshein, New York
Sergej Larin, San Diego

 

"Making his operatic debut in January of 1906 at Savona, Italy, in the title role of Mascagni's L'Amico Fritz and billed as Giovanni Foli, tenor John McCormack reached the middle of his big aria in Act three when he realized that he was not going to make the high B flat that climaxes the number. It's an exposed note; the aria may be said to lead up to it as a prayer leads up to 'Amen,' and it could not possibly be ducked.

McCormack hit upon a daring solution, based on the, to him, loud orchestra. Comes the B flat, he will open his mouth as wide as possible, throw out his arms in a pose suggestive of Tenor Doing High Note, and let the orchestra sing the note for him.

He does it.

And the audience is so thrilled it demands an encore."

told by Ethan Mordden in Opera Anecdotes

 

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AUTHOR'S JOURNAL     Analyzing the Interviews
 
"It's amazing the things people will tell you, especially when one is a writer. I feel I'm constantly swimming through this maze of stories."

- John Guare
playwright

 

 

 

 


What does it take to make it in today’s operatic world?
What are the rewards – and the perils – of surviving and excelling?

What's it really all about?

The tenors I've talked to discuss inspirations, teachers, worries, auditions, traveling, fans, colleagues, critics, recording... and a love of the music. Other singers talk about similar concerns, and a picture starts to emerge of singers being more alike than they are different.

Sometimes a conversation yields a single thought or paragraph that I want to use - to support, or counter something said by another. Other times, I'll wish I could use an entire hour's worth of talk!

Most often, I would make the photographic portraits at the end of the session - that's given us a time to get to know each other, my subject and I. And that tends to make for better communication through the camera lens. I call it "guerilla photography" as it took place in about 3 minutes or less, on the spot, using whatever backgrounds or light was present at the time and place. The sense of place started to be important to the portraits, to literally "place" the person in a specific location.

Though this makes them all quite different, they are still clearly by the same photographer - that's not surprising, since everything I shoot has a bit of me in it. In its own way, a kind of self-portrait.

 

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THE INTERVIEWS - in conversation with ROCKWELL BLAKE
Rockwell Blake: preeminent Rossini tenor of his generation, major international career and honors. Intelligent, thoughtful, funny, and charming - as most tenors are. Maybe a little more so.

Tenor Rockwell Blake in his dressing room - Chicago Lyric Opera

mlh: 
  Talk a little, if you would, about what happens when you go back to a role. Because in opera you have almost a closed set of operas and roles, and you keep returning to them. But I’ve had some people tell me that they don’t really understand how to sing a role until they’ve performed it six or 7 times – and I don’t mean performances, but different productions.

RB:    Yeah, yeah, yeah, yeah. No, it’s not a truism.

mlh:    What do you learn? What do you bring from one to the next, and then as you start returning to it, what do you discover?
RB:     Well… you discover that the intentions, actually you tend to discover the personality of the individual who first sang it. Because oftentimes these pieces that I sing are created for individuals, like a suit of clothing sewn on their bodies. Or voices. It tends to reveal to me the people involved. Who they were in the sense of the vocal instrument that they had. I think when I go back and do things I’ve done over and over and over again, it’s not so much that I revisit them… I visit upon them things that I carry with me. And apply them. And I bring new tools, new ideas, new, fresh ideas to the opera itself. And I approach it differently. I can’t do things always the same way, so I’m looking for a new accent, doing something without a breath instead of taking a breath – in a phrase maybe I’ll take a breath, maybe I won’t so it’s longer than the night before… if I can influence it, faster or slower.

mlh:    Is this to keep it interesting for yourself, or is it an exploring kind of mode?

RB:    It’s… exploration. Exploration of all those things which one learns and one also reads about. What are all the tools you can use to interpret and imbue the music with some meaning, personal meaning. And it’s all a matter of style. On the stage, doing things in front of an audience, is style - that for me, has to do with that doing things with music that are not actually written on the page. The composer has not told you what to do, and you take the liberty, whether the composer likes it or not. There are those who complain that we overdo it, and interpret it too much.

mlh:    Oh, I don’t know. Some of the contemporary accounts of operas in Rossini’s days and before…

RB:    In our day and age, what we do is less than tame. But still, there are a lot of subtle things that we have a chance to do on the stage in a performance. And I guess it would be similar, if I were doing legitimate theatre, I couldn’t possibly deliver a line in exactly the same way every night. I want to have, on some level I want communication with the audience. So all of these explorations of changing things gives you the opportunity, when you end up having to do a thing again, you have a whole palette of stuff that you can do to make it completely different. And that is, for me, the most important facet of a performer, an interpretive artist, is to have as many tools as possible with which to interpret, because you can. If you can only sing something in two ways, what happens the third time? or the fourth, fifth, sixth, seventh and eighth and you get up into hundreds of times you do a thing.

 

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EXPLORE MORE


Interested in more? Just below, there's basic information about enjoying opera in general... there are photographic essays in connection with individual operas with links to stories of the operas... there are more pages in this Tenor Book section... and in Words & Music you'll find detailed profiles about many of ML Hart's favorite singers throughout history. And still more. Wander through, and enjoy.


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MEMORABLE TENORS - EARLY 20TH CENTURY
Miguel Fleta, John McCormack, Lauritz Melchior, Tito Schipa, Richard Tauber

coming soon: 19th CENTURY TENORS / SOPRANOS
the creators of the music that Rockwell Blake often sings

 

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Answers to
"WHICH TENOR..."

1. Jussi Björling

2. Jon Vickers

3. Mario Lanza


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original content © copyright 1998-2006 ML Hart and images/graphics © copyright 1999 ML Hart
except where noted
excerpts from book reviews can be found in context here

exclusive excerpts from ML Hart's interviews with:
Neil Rosenshein - March 20, 1999
Eric Jennings - November 9, 1998
Robert Tear - June 16, 2000
Scott Wyatt - April 18, 2001
Ramón Vargas - September 26, 1998
Rockwell Blake - October 29, 1999

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