Expert: Sean Martinfield - 10/3/2010

Question
QUESTION: Hello:
I have taken classical voice lessons for four years.  I am now fifteen. I would like to pursue a career in opera.   I value your opinion and would be very grateful if you would take the time to give an opinion of my voice to determine if you feel I could have a viable career in this field.  I wonder if classical crossover is option better suited to me or not.  My website is:  http://www.youtube.com/user/mandybunbun?feature=mhum
Thank you so much for your time.  I look forward to hearing from you.
Best to you,
Mandy

P.S. Do you know who sings the Braodway song Showstoppers?

ANSWER: Hello, Mandy –

Thank you for the question. I'm glad to hear from you again.

I always encourage those who submit their questions to me privately to re-submit openly. Many young singers have concerns similar to yours. So, next time, post your question for everyone to see.

Are you sure about the title, "Showstoppers"? I'm not familiar with it.

These days, there is only one option for the young singer who believes they want to pursue a career in opera. You must commit yourself to it fully.

You must study at the best music conservatory you can because you will be competing against those who have. Everything you do between now and the day of your entrance auditions must be about building up your resumι and performance-ready repertoire. Set your goals on scholarship funding. Study music theory. Take Piano 101.

There is much to be commended in your rendition of "Vedrai, carino" from DON GIOVANNI. At 15, your voice has a richness and power that merits encouragement. At this point – and in view of contest-type preparation and judging according to age categories, etc. – it's your musicianship that's getting in the way. Vocal technique and musicianship are inseparable. The way the composer wants you to shape the phrase, your sense of legato, the placement and development of any note and then its extension, etc., your presentation will be improved through better musicianship.

I also watched about half of your "Quando m'en vo'".
As with the "Vedrai, carino" – your gestures are excessive. It looks like a parody. Focus on your technique. Monitor your tendency to scoop on entrance notes, pay more attention to the tempo, and keep your energy going through the final notes of a phrase. Mozart is not easy to sing.

As for "crossing over" into Broadway – either you want to be an opera singer or you don't. Simple. The thing is, at 15 – you need to become the most informed person on the block about soprano roles and those that might be available to you some day. The more you know about the repertoire, the more you will realize what it takes to sing it. That soprano and the Broadway soprano are two different people. With two very different degrees from the best schools around. The Musical Theatre performer is a professionally trained dancer.

I totally encourage you to continue. Work smarter.

Best regards –
Seαn Martinfield
http://www.sanfranciscosentinel.com/?p=88247



---------- FOLLOW-UP ----------

QUESTION: Hello:
Thank you for taking your time to answer my question.  I value your input so much.  After reading you response, I have two more questions if you have time.  You mentioned that my gestures are too excessive.  Can opera singers be dramatic in their actions?  I also wonder if my musicianship is being properly trained or is this something I am responsible???   Do you feel I am better suited to being a classical crossover artist, a Broadway performer or an opera singer?  
I just want to choose a career path that I will be able to support myself financially in the future.

It is nice to hear from you again too.  I wished I lived in CA.
Best to you,
Mandy  

Answer
Hi, Mandy –

Thank you for the follow-through questions.

Referring to your gestures in your video of "Vedrai, carino" from DON GIOVANNI – they have nothing to do with the character or the scene. In the video of "Quando m'en vo'", that boa has got to go. "Musetta" is not a drag queen. Again, once you get the nature of the scenes and the function of the arias you will understand why your gestures come across as excessive and unnecessary.

Of course opera singers are dramatic! The best response I can give you to the other questions is that you need to attend professional live performances of the operas from which you are singing. If that is difficult because of your location or if it's a matter of finances, then start renting operas on DVD. Perhaps your Main Library has a collection. Ask the Reference Librarian about inter-library loans. For example, watch the Royal Opera House Covent Garden DON GIOVANNI conducted by Sir Charles Mackerras and with soprano Miah Persson as "Zerlina". Check out the LA BOHEME starring Angela Gheorghiu as "Mimi" and Ainhoa Arteta as "Musetta". This is a live recording from the Metropolitan Opera. It is conducted by Nicola Luisotti who is now the Music Director here at San Francisco Opera. These and other productions will give you more realistic information and an experience that will clarify what I'm talking about. Also watch concert performances such as "An Evening With Kiri Te Kanawa". Her arias include the "Jewel Song" from FAUST, "O mio babbino caro" from GIANNI SCHICCHI. There is an endless supply of recorded performances for you to explore. Just start exploring. Who knows? You might be bored with all of it.

When it comes to decisions about a pursuing a career in Opera or Broadway – at 15, no one can tell you what path to choose. Again, you are the one who must know the Repertoire and the nature of The Business. More importantly, there is no such thing as guaranteed financial stability in the performing arts – no matter what you do. And sopranos are a dime-a-dozen.

Careers are built on opportunity and being able to deliver the goods at the right place and at the right time. It's also about who you know. If after more exploration and study, through more competitions and performance opportunities – and eventually being 18 rather than 15 – you discover that your every inclination is towards opera, then you must get yourself into the best conservatory possible. After that – as with Musical Theatre – it's about auditioning.  Most qualified young singers pursue training programs affiliated with major opera companies. In San Francisco we have the Merola Opera Training Program. Singers come in from all over the world to audition for 13 available positions. Imagine the pressure.

Never rely on one teacher to provide you the musical education and vocal training you need.

My very best to you –
Seαn Martinfield
http://www.sanfranciscosentinel.com/?p=90603