Opera singers are always looking for arias that will make a strong impression in their auditions. Some arias stress the vocal side of performing; others stress the dramatic, while still others could be considered atmosphere, personality, or character pieces.
“Monica’s Waltz” from Gian Carlo Menotti’s The Medium is an example of a dramatic piece. Without the singer acting out the parts of Monica and her imagined characters, as well as Toby, the aria becomes a long, lifeless exercise in futility. Singers who approach this aria as an opportunity to show their dramatic strengths, however, have chosen a worthy companion.
“Monica’s Waltz” is full of dramatic variations and possibilities ranging from the fun-loving, optimistic Monica, to playacting Monica, to Toby impersonating Monica, and finally to the tender, compassionate Monica. What a wonderful opportunity for a singer to show the levels of emotion she has, and the skills she has developed to express them.
Yes, I said skills. Without the skill to express a specific emotion, something irrelevant—or nothing at all—may be the actor’s unintended expression. Monica changes her characters and emotions with lightning speed, but always with a goal in mind. Chart out where the changes occur in the score and exactly what they are, and then ask why. What is the motivation for that change?
Since acting is doing, ponder what you can do to express what Monica is saying or meaning. Audience members are not mind readers. It is only through movement that the audience understands there is a change of emotion in a character. Movement creates meaning. You should have movement and color in your voice, of course, but that is not enough. It is by physical movement that we assess Monica’s emotional state, her subtextual meaning, and her relationship with Toby.
Singers should always bear in mind that every word and note is a problem to solve (an artistic decision is necessary for everything): What is its meaning and what subtext am I trying to project? Don’t stop at the first solution—explore the possibilities.
The absence of an actual Toby on stage during the audition creates problems for the singer, but using her imagination—seeing Toby in her mind as clearly as she would see a real person—she can create a riveting performance of deep emotional engagement. Movement carries her emotional engagement to the audience.
Usually, the aria begins with the musical interlude on page 62 (Schirmer score) at the Allegro, where Monica is enjoying the puppet show Toby is presenting. We see Monica enraptured with the shenanigans of the puppets until the fermata at the end of the first line on page 63. In an audition, we should see that she is looking at something funny, surprising, shocking and engrossing, but her reactions should be more muted than they would be if she were performing in an opera production. She should see the puppets hitting one another or running, and we should see her reaction to these actions. In an audition setting, the physicalization of the singer in most circumstances should be the same as in a full staging, but expressed at about 15 percent. A move down right should be a slow step down right. A sit should be a step back.
At the end of the puppet show, what does the fermata-held chord represent? The climactic ending to the show. What would a person watching the show do in an excited response? In this instance, probably stand up and clap. The singer could express this with a quick, small jump forward (as if standing up) and rapid clapping (she is excited). (What is Toby probably doing? Bowing, perhaps?) Monica could react to Toby’s bowing by singing the “bravo.” (Most everything a singer sings is in reality a reaction to something else).
Monica then has a new thought (which we sense because we see a new idea on her face and in her body). She says: “And after the theater …” This is the set up line, as if you are getting the other person’s attention. Then comes another change as the idea flourishes: “… supper and dance.” (A wonderful idea, don’t you think, Toby? And, to top it off, “Music!” Nothing could be better. Let me show you.)
So much is happening during this long measure—but what we usually see is generic excitement, and what we usually hear is all these ideas mashed together. There should be no rush. We should always see the idea in the face of a character before any singing or moving.
Monica then sings: “Um-pa-pa.”
What is that? It sounds like a band, or maybe a tuba. Where did that come from? The fermata rest following her word “music” must have some meaning. Directors are always looking for actors who include all the musical ingredients (including interpretive markings) in their acting. The fermata here signals a large change of idea. Monica decides it would be fun to conduct a band, so she conducts her “um-pa-pas.” (Wouldn’t Toby be thrilled to have a band march by? Maybe he would join in by pretending to play a clarinet.)
Monica would be exceedingly expressive at this time because she is playing a fun game, and it is for Toby’s enjoyment. For entertainment purposes, Monica might gesture up in the sky as she says “up in the sky,” and pretend to play a trombone and guitar on those words. Because she is singing for Toby’s benefit, might she not include him in her story by pointing to a make-believe tie and coat on Toby? (He looks at himself and is delighted.) Monica then makes it more personal by taking a star from the heavens and placing it inside his coat, after which she pats the place where she put it (next to his heart).
Monica is now so excited at seeing Toby enjoying her story that she can’t keep herself from dancing. In a full performance, she might waltz around the stage, with Toby trying to get the steps right and eventually joining her awkwardly. In an audition, however, this is not a good alternative. Instead, Monica can sway to the waltz rhythm, swishing her skirt back and forth, but not too vigorously—more like in a dream state (two swishes for each measure, for example).
Monica stops for her “follow me” and perhaps does a waltz step with a slight sway on “one, two, three, one.” Now she talks directly to Toby: “If you’re not shy” and gestures the hair, star and shoe words. (It is all happening too fast for Toby.) As Toby is reaching to buckle her shoe, she sweeps her shoe away, grabbing his hands to put them on her waist. All of this can be accomplished for an audition by doing specific, efficient gestures that are sharp and precise.
On her fermata-held “O” Monica makes a big preparation, as if to physicalize “readyyyyyy go,” then returns to the waltzing, with her hands on her waist (holding Toby’s hands)—the same type of movement as before: swaying twice per measure. On “follow me, moon and sun” she may continue to sway but perhaps turn more to her side, while her face is still turned out (as if she is getting more emotionally involved with the dancing).
A very important concept is at work here. It is necessary to continually add variety in any staging. In this instance, the same music and words are expressed with the same kind of dancing moves, but the first is sweeping the skirt and the second is hands on waist.
The music and words now take a different turn. Her repeats of “follow me” almost sound like a broken record. What would make her sing these repetitive words and notes? The music following her words continues in a like manner until an abrupt ending. A staging might be that Monica, lost in her own world, spins away from Toby and around the stage in a trance, only to be stopped when Toby grabs her arm. (She is not paying attention to him anymore and he has to grab her as she spins by, because she has her eyes closed.)
If you noticed, I started my look at a phrase from the perspective of a staged performance. Opera is created for stage performance, and a full understanding of the drama flows from a staged performance. Singers should always stage out their arias before singing them in an audition. Use the concepts in this article, and use actions, gestures and props to express the emotions and subtext. If you need help, ask a stage director. As I mentioned before, however, in an audition the singer should perform it on a much smaller scale.
How can you transform the aforementioned staging into effective audition material? When the music and words become repetitive and Monica gets lost in herself, take your hands off your waist and float them up to your shoulders, as if you are hugging yourself. Continue swaying while smiling with your eyes closed. This action gives a subdued impression of flying around the room in ecstatic reverie.
The dissonant fermata-held chord at the end of this passage is where Monica stops abruptly, shocked out her dream-like state. (Actually, that chord is not where Toby touches her. It is when she opens her eyes, shocked.) She looks at Toby during the first fermata. You should show that you are looking at Toby, who is trying to express something and, not succeeding, is becoming more frustrated. The look should not be static, since you should be saying her inner monologue in your head.
Monica sees several levels of Toby’s frustration and responds, “What is the matter, Toby”? Again, during the second fermata you should be responding to each one of Toby’s attempts to say something. In the Adagio following Monica’s next question, during the lovely, tender music in the piano’s treble clef, perhaps, as the staging instructions in the score suggest, Toby touches her face tenderly. (Toby is in love with Monica, but being mute, hasn’t been able to communicate that fact to her.) You can indicate this by slowly touching your face, as if following Toby’s hand.
As Monica understands that Toby intensely wants to express something, she decides to be his mouthpiece (another game, not quite realizing that Toby has genuine feelings for her). She tells him to kneel down and she kneels behind him and sings to “Monica” with slightly exaggerated gestures.
You can transfer this action into audition mode by pointing at the floor for Toby to kneel, then stepping to one side as if behind Toby, slightly facing the other direction. Raise your glance from Toby to where “Monica” is standing. Begin with restricted begging gestures toward “Monica,” and to yourself as Toby. We should see the pain and agony of someone who has difficulty in expressing his true feelings, but who is determined to do so. If the actress has the skills, her gestures should become more masculine while emoting Toby’s heartfelt emotions.
When Monica sings, “How dare you,” jump to “Monica’s” side and face the opposite direction while playacting your queenly disgust. Then, abruptly, return to your “Toby” position and continue to speak for Toby. (Each time you change character you should make a quick physical change). Using a variety of gestures, whenever you speak for Toby your gestures should become larger. They are still not as large as if you were on the stage, until we come to the final climactic moment, where your arms may be fully extended moving through the B-flat.
Suddenly looking down, Monica realizes Toby is crying. She steps to her “Monica” side, gently gesturing to him. While she sings her last line, she may be holding his face in her hands (at a slight angle from the center). Tenderly she sings to him, and on her last word she brings him close to her in a hug. You may choose to kneel down to hold Toby’s face, but only if a strong relationship with Toby has been established.
This is a decidedly dramatic presentation, and there will always be people who say: “Don’t do all that distracting movement, just sing beautifully.” But almost anyone who witnesses this aria as dramatically as I have suggested will be touched by its deep feelings, its multi-leveled character, its heart-wrenching truths, and its lively fun and play. It sparkles. It thrills. It moves and touches us in our deepest selves, making “Monica’s Waltz” an enchanting experience.
