If you are an opera singer who has been working on nothing but the same five arias since your undergrad, try this experiment. Sing the following sentence out loud as a tone row, using some inventive rhythms and without repeating the same note twice. You might find that it is a difficult thing to do, if you have never done it before. Ahhh, wasn’t that refreshing?
Welcome to the intellectual world of contemporary music, where singers are asked to create as much as to interpret. Bringing a piece from paper to performance is a very different experience than finding deeper subtleties in the portrayal of a well known opera character, but immensely satisfying in other ways. For singers who enjoy the collaborative process as much as inhabiting a role, whose musical interests encompass a range of styles, and who are not afraid of leaving their comfort zone, contemporary music offers a wealth of fulfilling opportunities. More importantly, singers who take on challenging contemporary works often experience a boost in their careers that they might not have found elsewhere. As we continue this series on singing outside the mainstream, we take a look at singers whose careers encompass the dynamic world of contemporary music.
“One of the interesting things about the music business today is that one needs to be flexible,” says tenor Matt Morgan, who is rapidly gaining recognition in opera, modern music, and crossover roles. “The days of being someone that only sings opera or musical theatre or recitals are over.”
The challenge of learning a piece in a style you didn’t study in school without the benefit of a recording can greatly improve a singer’s musicianship. A singer’s willingness to explore contemporary styles usually means that she is able to sing other styles as well and, therefore, pursue more performance opportunities. “Some of my first gigs were in early music,” says Lucy Shelton, known best for her distinguished career in contemporary music but whose repertoire ranges from Bach to Boulez.
Does it take an in-born skill to be able to learn difficult music, such as La Musique by Elliott Carter or Ashberyana by Charles Wuorinen, which Shelton has recorded? Like many performers, singers of contemporary music credit growing up in a musical family or early teachers who rigorously taught them ear training, harmony and, most importantly, self-discipline. Beyond that, the most important “special something” needed is a willingness to explore the unfamiliar.
“I don’t think the contemporary branch of my singing career has had much to do with my possessing any unusual musical abilities,” says baritone Thomas Meglioranza, whose career encompasses concerts and recitals in a wide range of music (see cover story). “I have an OK ear, but I don’t have absolute pitch and, like many singers, counting is something that I have to work extra hard at.”
“I call myself a ‘willing female singer,’” says Virginia Dupuy, a mezzo-soprano who started working with great composers at a time when they were writing for “police whistle and kitchen pan.” Singers who collaborate closely with living composers tap into the same fearlessness that draws all singers to perform, along with a sense of curiosity about the entire creative process. “I always wanted to be a full artist, not just an open mouth,” says soprano Maeve Höglund, who has workshopped new works through the American Opera Projects in New York.
At the same time, of course, contemporary music can require hours of demanding study, especially when a singer needs to memorize the unconventional rhythms and melodies that characterize many new works while finding a way to relate to the piece dramatically. “Some folks just love those tritones,” says mezzo-soprano, Nicole J. Mitchell, another American Opera Projects singer. In addition, fees for chamber music can be lower than for traditional opera, especially when considering the time it takes to learn a new work.
The artistic experience, however, is immensely rewarding, and the financial reward can come over the long term. Among the pleasures of premiering a piece, Matt Morgan most enjoys “working with a composer to craft vocal lines in a more functional way and shaping the template for the character that other artists will follow in the future.” All singers speak of the great sense of satisfaction with composers, the ownership that comes from performing a piece for the first time, and the ways in which contemporary music enlivens everything else they sing. “I like to discover songs in my own way and put my own stamp on the music,” says Mitchell. Or, as the general director of American Opera Projects Charles Jarden says, new music attracts singers “looking to alleviate the need to sing yet another Don Ottavio.”
In addition to the satisfaction of working with composers comes the unique way in which audiences and critics experience new works. No listener can come to a new work with a set of preferences and expectations, as opera-goers sometimes do. “I think contemporary music allows the performers and the audience to be more open,” says Mitchell. “Critics don’t compare you to every other performance,” says Dupuy. Moreover, “audience demand for new works is high,” notes Jarden. “Other general directors across the country say they are constantly looking for new works to freshen and revive opera audiences.” Although there is always keen competition in a singing career, the smaller number of singers involved in contemporary music and the rising demand for it suggest that a performer willing to take on new music may find a nice career niche.
Collaboration can also pay off in the long term: if you are the first singer to perform a new work, the composer will always think of you first when there is another possibility to perform the piece. For example, Joseph Schwantner composed a set of songs for one of Shelton’s recitals, which he then arranged for orchestra. Shelton performed those songs in recitals and concerts and later recorded them as well. New works also can bring you more attention in the public eye. “[Contemporary music has] helped keep me on radar screens because many of the pieces I perform are premieres and, therefore, attract more press coverage,” says Meglioranza.
The ability to master a new work also does wonders to improve your musicianship which, in turn, can have direct benefits to your career. “The experience of having to learn things quickly has made it possible for me to ‘rescue’ many standard repertoire productions,” says Morgan. “I cannot tell you how many times my agent has called asking, ‘Can you get to the airport in an hour to fly to a certain city and sing a role that you haven’t looked at in four years?’ Because of my experiences of learning things on the fly, I can always say ‘yes’ with confidence that I will be able to deliver.”
Can studying contemporary music disrupt healthy vocal development? “There’s a certain stigma attached, but once you get into it, it’s just like preparing anything else,” says Dupuy. “You just have to tune your ear to it.” Höglund agrees. “I never approach a piece of music differently than how I approach my technique each day,” she says. Shelton points out that modern operas do not generally demand extended vocal techniques, found in music by experimental composers such as Meredith Monk. Nonetheless, “contemporary music can place a lot of demands on the voice and, if there are any holes in your technique, you can get into trouble fast,” says Morgan.
While early training or conservatory experiences are definitely helpful with new music, this background is not necessarily required for success. “Since I started studying music at the relatively late age of 19, I have always been a shaky sight-reader,” says Meglioranza. “What I think I’m good at is simply being willing to slowly hammer away at a piece until it makes sense to me, and I always strive to make my performances, no matter how complicated the music might look on the page, sound as simple and clear and natural as possible.”
Jarden also emphasizes an emotional connection to the text, a quality that is important to all genres but that plays a special role when introducing listeners to a new piece. “There are two types of singers,” he says, “those who glue themselves to the music stand and those who use it to their advantage.” Dupuy also emphasizes this commitment to interpretation. “The music can come off as incredible,” she says, “or as a grocery list.”
Because many opportunities in contemporary music are in chamber and concert music, singers get work through word of mouth referrals rather than a formal audition process. “A lot of singer recommendations in the new music world are made by the instrumentalists,” notes Meglioranza. Instrumentalists will also seek out singers for specific projects or to form chamber ensembles, such as the Jubal Trio, which Shelton founded with colleagues. “Competitions can be an assist,” says Shelton, who has won the Naumberg Competition twice, once as a soloist and once with the Jubal Trio. But she notes that failure to win a competition should not discourage singers. She mentions how she once was eliminated in the first round of an American music competition, only to be invited back to judge the competition three years later.
Working with composers and instrumentalists in chamber music settings encourages singers to collaborate as peers with other artists, choosing repertoire and colleagues. Singing modern music “means that you are in control of your own development,” says Shelton. “In opera, you are waiting for someone to tell you that you’re ready.”
While a career based largely on contemporary music may mean forgoing singing in large opera houses (unless the Met is going to start a chamber series sometime soon), it creates a myriad of other opportunities. “My interest in modern music has helped my career in so many ways,” says Meglioranza. “For one thing, it’s led to some very exciting collaborations with legendary musicians like Leonard Slatkin, James Levine, Peter Serkin, James Conlon, and many others whose paths I might never have crossed if I were pursuing a more conventional career.”
Another positive aspect of the contemporary music world is that it is more permeable than traditional opera institutions. All singers recommend talking to composers and conductors in the field, who are usually happy to encourage interest in new music among the next generation of performers. Dupuy was able to record a set of Dominick Argento songs after she called the composer to ask if she could. “Contemporary composers are very accessible,” she says, and with good reason. They rely on building a community of musicians who are willing to perform their music and are usually grateful to find a new collaborator. With recordings and performances of new music readily available, it is easier than ever to discover a composer whose style you enjoy and then make contact to see if you can form a new partnership with him or her.
The only other significant recom-mendation for success in the field is to be prepared. “This should go without saying,” says Morgan, “but I cannot tell you how many times I show up for first rehearsals and people still need their notes banged out on the piano. Trust me, this kind of thing does not go unnoticed.”
In short, exploring the diverse world of contemporary music not only brings musical satisfaction and career growth, but adds a new dimension to the singing artist. “Everything we think of as traditional was once new,” says Shelton. “And the tradition won’t continue unless we sing the music of today.” Or, as Mitchell says, “All the great music has not been written yet.” She encourages singers to “be curious, find out what’s out there, and talk to people.” Besides, she says with a laugh, “You’re alive. You’re not dead, and neither are the composers!”
