A few years ago after playing in the pit for the final dress rehearsal of Utah Opera’s The Flying Dutchman, my oboist friend told me that this was one production I couldn’t miss. I had to see this soprano, she said. Her soaring, high pianissimo was worth the cost of admission alone.
My friend’s rave reviews didn’t disappoint, and I still remember the sounds of the lovely Lise Lindstrom filling the hall as Senta in Wagner’s first opera. She could indeed spin those soft high notes effortlessly. My introduction to her singing and acting was unforgettable.
The next day that introduction continued when Lindstrom and I sat down for lunch together. But this time, I began to get to know the person behind the voice. Lindstrom shared with me her long yet, in some ways, sudden journey to full-time singing. She was refreshingly candid about her struggles with finding her voice and her footing and about how taking on the role of Turandot was really the turning point.
In the seven years since we shared lunch, Lindstrom has gone on to sing that role and many others at major opera houses all over the world. As I learn about her once again, this time in Brian Manternach’s cover story (p. 22), I am reminded how getting to know the Lise Lindstrom behind the beautiful pianissimo—the hard work, attention to detail, diligence, and perseverance—gave me a far greater appreciation of her fine performance.
In an era of sound bites, status updates, and tweets, information bombards us, all in 140 characters or less. But how often do we take the time to read the whole article, to investigate the back story, to get the entire picture? In this issue we bring you the back story for some current hot topics.
First, Michelle Latour interviews directors and administrators of Young Artist Programs to find out what application fees are really used for (p. 42). She also asks them why they do or don’t provide feedback to the hundreds of YAP applicants. Like many singers, your feelings may run deep on the subject. Read what these directors have to say to see if those perceptions are accurate or need some adjusting.
Next, Greg Waxberg talks with those whom many singers consider their greatest foe: critics (p. 32). But perhaps they are actually more of a friend? Critics share what they think about when they are reviewing a production and how they view their own role, while offering some perspective for how singers should view that role too.
Have you ever seen a singer win major competitions throughout his 20s only to disappear from the musical scene just a few years later? Claudia Friedlander offers some possible explanations for why some singers fizzle out too soon (p. 16). Technical issues that can be masked by youth rear their ugly heads once laryngeal ossification happens. A deeper understanding of the big picture—including how to diagnose your own vocal weaknesses—will give you the “whys” and the “hows” to build a solid and reliable technique.
Finally, singers make so many assumptions after an audition based on two little words: “yes” or “no.” But what singers don’t usually know are all of the little details that factor into that decision. Atlanta Opera’s Tomer Zvulun provides some of those missing pieces as he discusses his thought process for hiring and rehiring singers (p. 36). Remembering the many moving pieces involved in casting a production can keep things in perspective.
Don’t be shortsighted by merely paying attention to surface details. Take the time and dig deeper to see the whole picture. Those additional details may completely change your initial impression and will often provide the information that is the know-how you need for your career.
