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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. |
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| THE TENOR BOOK5 ONE-ON-ONE: Q&A | ||
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| NEIL ROSENSHEIN: | ||
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| ERIC JENNINGS: | ||
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| ROBERT TEAR: |
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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, its much more interesting. I mean, its a much more interesting character than say, Don Ottavio. [pause hes waiting for the reaction] mlh: [laughs] RT: [laughing] If you know what I mean! I think Don Ottavio, actually, hes rather just... always getting his sword out, isnt he? mlh: [more laughing] RT: I love the opera of course, its perfectly wonderful but that would be my idea of hell. Going around, singing Don Ottavio everywhere for the rest of my life. |
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mlh: When did you know you first wanted to sing? SCOTT WYATT: Well, lets 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 Id 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 dont know, is it wrong? |
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| RAMÓN VARGAS: |
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| 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 |
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| AUTHOR'S JOURNAL Analyzing the Interviews | ||
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What does it take to make it in todays 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. | ||
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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 Ive had some people tell me that they dont really understand how to sing a role until theyve performed it six or 7 times and I dont mean performances, but different productions. RB: Yeah, yeah, yeah, yeah. No, its 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? |
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| 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
Ive done over and over and over again, its 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
cant do things always the same way, so Im looking for a new accent, doing
something without a breath instead of taking a breath in a phrase maybe Ill
take a breath, maybe I wont so its 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: Its 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 its 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 dont know. Some of the contemporary accounts of operas in Rossinis 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 couldnt 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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| NAVIGATION | OperaBasics
- An Introduction The Art of Making Opera - Inside the Book Explore More: Top 10 Ways to Fall in Love With Opera Principal Singers
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WORDS & MUSIC SHOP recommended recordings by tenors & Artist Profiles of many favorites MEMORABLE
TENORS - EARLY 20TH CENTURY coming soon: 19th CENTURY TENORS / SOPRANOS |
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