A reader recently responded to an e-mail detailing the lineup of classes at this year’s Classical Singer Convention. “If Classical Singer will not maintain the purity of the classical art form,” the reader wrote, “who can we trust to maintain the distinction implicit in crossover? It is easy to be popular—less easy to be worthy of respect. I am deeply disappointed by the content of this convention.”
CS has a long tradition of devoting some editorial space and convention time to nontraditional opportunities, such as musical theatre and Early and Contemporary Music. Why is this? The answer is simple, and summed up in a few words in this month’s cover story featuring baritone Thomas Meglioranza—an extremely versatile artist enjoying an eclectic career of concert work, recitals, and opera in a whole host of genres.
“Since I didn’t go straight into the opera world after Eastman,” he says, “I had the chance to do a lot more genre hopping when I moved to New York—not only because it suited my interests, but because being versatile made it easier for me to find work as a freelancer.”
With so many singers vying for a significantly smaller number of jobs, versatility is key for sustaining yourself as a singer. Inspired by Meglioranza’s diverse career, the articles in this issue offer a host of ideas for increasing your versatility.
Renée Fleming, featured on p. 33, has joined many established classical singers in crossing over, as Olivia Giovetti points out in this month’s “$50 Week” column. I would guess Fleming and others have chosen to explore nontraditional genres for a variety of reasons—including knowing what sells, expanding their audience base, and pursuing things that interest them. Fleming herself has been singing jazz since her college days.
Musical theatre is just one area outside of the mainstream that singers can pursue. In a series of articles in recent issues, Amanda Keil has covered off-the-beaten-track opportunities that singers can explore to increase both their versatility and marketability. In this issue, she discusses opportunities that await singers in the realm of contemporary music.
Exploring a variety of musical genres can also help you become more well rounded and inform your more mainstream operatic work. Musical theatre can help your acting abilities. Contemporary works can strengthen your musicianship skills. Jazz can help you discover how to immediately connect with an audience. “What the variety of subjects illustrates for me is the essentially eclectic nature of being a singer,” points out Lisa Houston in her concluding column of “Inspirazione.” “Our job description is complex and our understanding of our art and the world we live in must reflect that diversity.”
Determining to branch out and explore new paths can be daunting, especially when we have focused so much of our education and study on one area. It is never too late to adapt, however, as Marianne Labriola shares in “A Singer in the Orchestra.” When health issues threatened her voice, she decided to learn to play an instrument. “Most important of all,” she says when discussing what playing the cello has taught her, “I have been reminded again that it is never too late to take on the challenge of following an alternate path.”
In determining what genres you will pursue as you forge your career, you should consider many factors, including your own interest in and aptitude for different styles of music. Adding to that mix the realities of the current industry and what will make you most employable is not shortchanging yourself or your art, nor does it make you any less of a classical singer.
I am not saying to give up on your operatic dreams. Expanding your skill base does not mean forgetting your classical roots. But as tenor Matt Morgan, interviewed in Keil’s article, says, “The days of being someone that only sings opera or musical theatre or recitals are over.” Keeping an open mind to the diversity of opportunities available for you as a classical singer just might be your key to a flourishing career.
