I have often joked that I have a decision-making disorder. It took me three and a half years to finally marry my husband. I spent a year doing graduate work in music therapy before ultimately returning to vocal performance for my master’s degree. Ah, but those are major life decisions, you say. Well, it also takes me nearly that long to decide which type of spaghetti to buy on the pasta aisle or what to wear in the morning.
Life revolves around making decisions, which requires making choices. Singers are no strangers to conundrums, as the articles in this issue attest.
Singing the wrong role at the wrong time can lead to serious vocal health issues. So in the early stages of a career, it’s critical to ask, “Should I accept this role?” Greg Waxberg discusses this question (p. 36) with singers, managers, and general directors. Their advice will help you determine when to say “yes” and when to say “no.”
The rigors of this profession, including constant rejection, can often drive singers to wonder if they should get out of the career altogether. After being booed at the Met, Alexandra Deshorties, featured in this month’s cover story, almost answered that question with a resounding “yes!” Find out what ultimately changed her mind (p. 26).
With so many “no”s while waiting for that one “yes,” singers ask themselves if they simply have the vocal chops to make it. Evaluating your technique is imperative, but also incredibly vague. Mark Watson adds clarity to this topic, however, with a step-by-step guide for gauging your true technical abilities (p. 52).
“Networking” is a buzzword singers hear at every turn—and what many say is the key to getting hired and rehired. But what does it mean, exactly, and how is it done? Maestro Joseph Mechavich’s career provides an incredible Networking 101 lesson (p. 46) for every singer. Read how he has made it a natural part of who he is and how that has led him to job after job.
While once the exception, crossing over into musical theatre is becoming a more common career path for classically trained singers. But how do you know if your voice is right for the genre and how do you break into the industry? Four classically trained singers who are enjoying successful musical theatre careers answer those questions and more (p. 18).
These questions are just the tip of the iceberg. Cindy Sadler lays out many more that singers must answer (p. 68): Should I take this audition or should I save the money required for travel, lodging, etc.? Should I sing this role with a major company even though it is a small part and outside of my Fach? Should I accept this job offer that will pay the bills and provide health insurance but will leave me little time for lessons, practicing, and gigs?
Sadler reveals that the answers to these questions are actually found in answering other more important questions: Where am I in my career? What decision makes the most sense for where I am now? Where do I want to be and what path will help me get there? Do I need to sacrifice something good to make something more desirable possible?
And that last question is really what it all comes down to. In attempting to understand my own decision-making disorder, I have determined that decisions—whether big or small—are difficult because choosing often requires deciding between two good things. And to decide on one good thing means giving up something else that can be equally as desirable. Knowing where we ultimately want to be and keeping that end in sight can help us evaluate the pros and cons and make the best, though often hard, decisions.
Now I just need to decide what to have for dinner. For my husband’s sake, let’s hope it doesn’t take three years.
