When I first read Susan Eisenberg’s cover story featuring Robert Orth (p. 20), I couldn’t stop reading. I knew little of Orth’s career and began reading, curious to learn more. His background as a school teacher and musical theatre leading man drew me in, and I read on with greater interest. The stories of his unique career path into new operas and then his insights about what it really means to be successful kept me enthralled to the very end.
I had a similar experience the one time I have seen Orth on stage. It was a beautiful May evening, and I had convinced my best girlfriend to go with me see Orth in Utah Opera’s state premiere of Ricky Ian Gordon’s Grapes of Wrath. I was intrigued to see what this new work was all about. My opera-neophyte friend, however, was hesitant about her first foray into the world of all song and no dialogue. So I promised her that if it was too much for her, we could sneak out after the second or even first act, if she was really bored.
When Act One came to an end, we had hardly moved in our seats, transfixed by the music and the story. By the time Act Two ended, only a fire, earthquake, or herd of wild elephants could have driven us from the theater. Completely wrapped up in the characters’ lives, both the veteran and the neophyte couldn’t wait to see how it ended.
In this economically challenging time, Robert Orth’s career and my experience seeing him as Pa Joad underline the importance of new works in what many consider a struggling industry. Orth has found success by tailoring himself to these new operas and becoming a favorite of many living composers. Read his bio and you’ll quickly see that he has been a part of most of the major premieres of this century and last.
Opera companies also recognize the power of these new works to fill seats. And nowhere is this happening more than in the biggest state in the union. Four thriving Texas opera houses have made world premieres a major focus, and Olivia Giovetti reports on the results (p. 20).
Contemporary classical vocal music expands beyond just opera, as Tony Arnold’s career illustrates (p. 46). On the path to a conducting career, she left school mid-conducting degree to instead pursue a career as a contemporary classical vocalist. According to Arnold, chamber music is really thriving in the midst of the recent economic crisis, and singers can find many opportunities in that genre.
As you consider how new music might fit into your own career path, be sure to read how soprano Kiera Duffy has made a name for herself singing contemporary works (p. 36). And then turn a few pages to read about two composers: John Corigliano and Mark Adamo (p. 42). As Orth, Duffy, and Arnold all attest, good relationships with living composers can lead to work for singers.
Whether or not contemporary music is part of your career path, may these singers, composer, and producers of such works inspire you to new heights, new insights, and new success.
