Becoming a Cantor

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ver the past 15 years, when opera contracts were becoming increasingly scarce, baritone Joseph Flaxman was making a decent living. He was performing roles with companies like Opera Memphis, Kentucky Opera, Chautauqua Opera, Des Moines Metro Opera, and Sarasota Opera, among others. Yet in the fall of 2018, he decided to change careers and start studying to become a cantor. Classical Singer sat down with him to find out what prompted this decision, what his studies entail, how he feels about his decision today, and what advice he has for other Jewish singers who wish to explore careers as cantors. 

You were working regularly as an opera singer, you had a manager, and you were receiving strong reviews. What made you decide to leave the opera world and become a cantor? 

Although I loved being on the road, meeting new people, and seeing new places, the life of a freelance artist is extremely challenging even when things are going well. When my wife and I decided that we wanted children, the road became far less appealing. 

The idea of becoming a cantor was always in the back of my mind. I was named after my grandfather, Joseph, who died before I was born. He apparently loved to sing and he wished that he had time to be more religiously observant. It was his dream to become a cantor. 

From time to time I wondered whether I could be the one to fulfill his dream. My hometown rabbi influenced my thinking too. When I left for my undergraduate studies, he told me that I could always go to cantorial school in the future. 

My occasional musings took more shape when I sang in the choir at Park Avenue Synagogue in Manhattan. There I had the opportunity to observe Cantor Azi Schwartz. I was deeply inspired and moved by his singing. It connected me to the music and to the faith of my ancestors on a visceral level. I think the seeds of my future were being planted during those services. 

Later, when I was on the road, I usually attended some services at local synagogues. In many cases, cantors would come up to me afterwards and say, “You have a voice! Why don’t I ever see you?” I’d explain that I was in town for only a few weeks, which frequently led to invitations for dinner at the house of the rabbi or the president of the synagogue. 

When I was singing at Opera Memphis, I got to experience a Passover barbeque. When I was at Opera Naples, I celebrated Sukkot on the beach. These experiences were awesome, and they further increased my interest in becoming a Jewish musical professional. 

You decided to apply to, and were accepted into, two cantorial programs, at Hebrew Union College (HUC) and the Jewish Theological Seminary. Because you leaned more toward the Reform movement rather than Conservative Judaism, you chose the former. Tell me about your studies so far. 

HUC offers a five-year program. The first year takes place in Jerusalem, and during that year I had a busy course load with a focus on Israel’s history and the Hebrew language. Like many Reform Jews, I could pronounce Hebrew, but I did not know what most of it meant. So I had to study hard to pass the modern Hebrew entrance exam. My opera background really helped, though, because it gave me a certain comfort level in learning foreign languages. 

I’m now back in the U.S. and on my second year. This year I’m dividing my time between coursework and a cantorial internship. I’m studying the liturgy more intensively, learning lots of music, and taking a class on clergy life. I’m also taking guitar lessons, which is a lot of fun. 

I lucked out with my internship, which is at the Stephen Wise Free Synagogue in New York City. Dan Singer, the cantor there, serves as my mentor. He’s a fantastic cantor who also has a master’s degree in opera and he gives great advice. 

What exactly is the role of a cantor? It seems to encompass more than musical performance. 

Yes. Many people assume that a rabbi leads the service and a cantor just provides the music. But actually, the cantor is historically the person who leads the service through music, and the rabbi gives a sermon. Cantors don’t “perform” per se, either. Their job is to create a communal prayer space through music. Sure, there are what I call “moments of majesty” when cantors show off a bit, but our main objective is to make everyone feel connected through musical worship. 

Also, in the Reform movement, the line between rabbis and cantors is becoming increasingly blurred. We’re seeing more rabbis with musical backgrounds and more cantors who are interacting with the community more extensively: meeting with congregants, visiting patients in hospice, going to Shiva [Jewish mourning ritual] calls and, in some cases, giving sermons. This type of work is really attractive to me because I’m a people person. 

How do you protect your voice through long services or multiple services in a row? 

Well, I never sing off the voice. Also, much of the music falls within a fairly narrow range compared to opera. In most synagogues the cantor has a microphone, plus you can sing pieces in whatever key you want to, which helps. No one ever complains that you didn’t sing something in the original key because there really is no original key! 

You just served as an assistant cantor for your first set of High Holiday services. What did you learn from this experience? 

First, it’s really helpful to see the mountain you need to climb so you can manage your time. Now I feel that I’ve got a solid foundation for the High Holiday liturgy and the High Holiday music. The music varies somewhat from synagogue to synagogue, but once I serve as a lead cantor for the High Holiday services, I think I will be well prepared. One thing that surprised me was how much I missed having a conductor! Because of COVID, the band was seated far away. 

What happens when you complete your studies? 

At that point, there are two options. Most graduates usually start at a synagogue with a one- or two-year contract. If things work out and the congregation likes you, you might get a three-year, five-year, or 10-year contract. That’s when you become a fixture in the synagogue. 

Alternatively, you can serve as an interim cantor, which allows you to travel around. Synagogues employ interim cantors when they lose a long-time cantor and they want to devote sufficient time to choosing an appropriate replacement. 

What advice would you give opera singers who are contemplating cantorial studies? 

I’d emphasize that singing is only part of the equation. You have to attain decent proficiency in Hebrew before you can even begin your studies. You also have to have strong people skills. You’ll be interacting with community members of all ages, including little kids as well as middle-schoolers preparing for bar and bat mitzvahs. 

A five-year program requires a great deal of commitment, and the studies are a hybrid of schooling and hands-on training. It’s a bit like a medical program in that way. 

Singers should ask themselves whether they see themselves in the role of a religious leader as well as a musician, whether they’re sympathetic listeners, and whether they’re self-motivated in terms of arranging and composing music. Finally, cantors have to be humble. It’s not all about you. It’s about other people’s connection to the community and to their faith, and what you can do to help people in that pursuit. 

How does your family feel about your new career? 

Everybody is thrilled. I’m doing some online children’s services these days and my elder son, who’s almost four, loves those. Because the Stephen Wise Free Synagogue livestreams its services every Friday, my parents and siblings have all been able to tune in and see me on a regular basis. 

My wife likes to tune in, too. She watched the recent High Holiday services and told me afterward that I seemed super comfortable. She said I looked happy. I was.