Conductor Joseph Mechavich declares in his interview with Kathleen Buccluegh (p. 42) that we are currently engaged in a “cultural war” as opera companies struggle to stay relevant in today’s evolving cultural landscape. He then calls on all involved in the opera world to be “general[s] in the army of protecting, serving, promoting, and loving this art form.”
Company administrators, teachers, coaches, singers, and so many more make up this army and fight daily battles, big and small, on a variety of fronts. Opera companies battle for audience members and patron’s money and time. Singers face personal battlefields, too—the battlefield of self doubt, the battlefield of conquering a difficult piece of music, the battlefield of stage fright, or the battlefield of the competitive and often cutthroat audition scene.
In this issue, those on the front lines share how they are facing their battles and winning.
Jennifer Johnson Cano, featured in this month’s cover story (p. 24), has always thrived on heading out into the fray. The more challenging a piece of music, the more drawn she is to it and determined to make it her own. When paired with older and more experienced singers in her undergraduate years and then later as a young artist at the Met, Cano resolved to know her music and character inside and out and never be given a correction more than once. Her battlefield tactics are hard work and complete preparation. As a result, Cano feels confident in her ability to deliver.
The battlefield of self doubt is real for most singers. Confidence like Cano’s is within reach for everyone, however, as Kyle Ferrill explains in his article on perfection vs. excellence (p. 38). “True confidence is a belief in oneself born out of preparation and dedication,” he says. “It is the ineffable quality of the great performers, and it is unnecessarily lacking in student performers and young professionals. Too often, young singers think that excellence is years away, when in reality excellence is achievable every day, at every stage in your career.”
As opera companies fight to stay afloat, Mechavich says that not only are patrons key, but that singers’ relationships with those patrons make a big difference. Singers can feel intimidated with this charge at times, because patrons are often older and more affluent. But as Joanie Brittingham reveals in her article on donor relations (p. 32), a little forethought, preparation, and some singer chutzpa will make forging these relationships more fun and much easier than you might think.
When you’re first starting out it can often feel like everyone wants your money—from audition fees to pianist fees to voice lessons, coachings, and summer program tuition, you can feel the sharks circling. Cindy Sadler gives you the tools to be on both the offensive and defensive to avoid being shark bait (p. 12). Defend yourselves against those who just want your money by offensively researching and finding the best and most needed opportunities for yourself.
Preparing for battle also requires arming yourself with supplies, like a well-stocked arsenal of anthologies. Investing in a solid and sound music library now will pay big dividends throughout your career. Christi Amonson gives you the basic books that will be a great foundation to add to as you grow your library in the years to come (p. 18). Unsure of what to ask for this Christmas? Here’s your list!
Each of us can be first-rate, winning generals in this cultural war, if we will face our skirmishes with hard work and complete preparation while defending ourselves against potential predators and arming ourselves with musical supplies. Then we truly will protect, serve, and promote this art form that we love.
