The career of an opera singer can easily be compared to riding a roller coaster. We strap in at the beginning of our operatic journey and let the ascent of a sustainable career take flight. Often it takes a great deal of time and energy before we experience the rush of a full performance schedule. Yet for others, the ascent is rapid and furious and before they know it, they’re being thrust here and there barely having a chance to savor a single moment. What follows next is always the most difficult to predict and enjoy. Some careers, like some coasters, are fast, frantic, and slightly terrifying. Others are fun, predictable, but not that thrilling. And still some are filled with enough twists and turns that it can literally make us sick.
For many artists, merely staying the course of auditions, role preparation, and performances over several years brings a sense of fulfillment. One of those artists is mezzo-soprano Lisa Chavez. Lisa has been praised for being “bold and commanding” and possessing a “richly nuanced voice that touches far corners of the heart.” She has recently graced the stages of Sarasota Opera, New York City Opera, Opera San Jose, and Knoxville Opera in roles ranging from Carmen to Suzuki to Marcellina. Over the last fifteen years, she’s seen the ups and downs of the career, but still enjoys the thrill of being an opera singer.
The Marriage of Figaro, Knoxville Opera, Bijou Theatre, Knoxville, April 2023
What is your current 2023-2024 season?
I started the season singing Orlofsky in Die Fledermaus with Opera Williamsburg. I then had the privilege of joining some amazing singers for the Diamond Anniversary Concert of Shreveport Opera. I returned to Opera San Jose to sing and record a new work Zheng composed by Shinji Eshima with libretto by Tony Asaro. It also featured Frederica von Stade playing herself. I geeked out a bit!
In the winter I had the joy of working with Ricky Ian Gordon on a re-telling of his first Opera, The Tibetan Book of the Dead. It was a wonderful ensemble cast lead by Nathan Gunn. An extra special part of this was getting the opportunity to work alongside my husband, tenor Michael Boley. Gigs together are the best!
Then to Savannah to sing my first Verdi Requiem with the Savannah Philharmonic. This work has been on my bucket list for a long while now. The soloists also enjoyed singing a Beethoven 9 with the Hilton Head Symphony Orchestra the week before. In June, I took on the role of Salad in La vida breve by Manuel de Falla with Opera Fort Collins. This was my third opera in Spanish
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You’ve been in this industry for a few years. How have you seen it shift and change? How have you managed to pivot as a performer?
It’s funny. Well actually, not that funny. When I was auditioning for Young Artist Programs, of which I did very few, one was only hired as a cover and a ringer in the chorus. Work included outreach, promotional concerts, and school shows. Maybe you got a Kate Pinkerton, Gertrude, but that was lucky. Now, I am often told that such and such company really wanted to hire me, but for budget reasons they need to use their Resident Artists. Such is the plight of mezzos. Rarely are we the lead, but more often the secondary role, and with companies needing to keep their running costs down, there are fewer opportunities. A lot of offers tend to be much more last minute. It necessitates having to be flexible and needing to learn roles in a much more expedited fashion. Now that I have been working for, ahem, many years, I have made many friends who can offer my name as a reference, and often a replacement, for an ailing colleague. Getting those roles under your belt can help in the current time we are in with a seemingly growing number of last-minute cancelations and offers.
Sarasota Opera’s Production of Thérèse
Like a roller coaster there are difficulties. How have you navigated them throughout your career? Specifically, over the last few years?
I’ll have to admit that the last few years have been difficult. Things are still not back to where they were before the shutdown. Companies are still struggling, and I do think there is a possibility for growth as many companies try new things to rejuvenate audiences. This career is so difficult. Sometimes “when it rains it pours” and you feel like you can’t possibly shove in any more music into your brain, voice, or body. Then there is a drought, and you wonder if you can pay your bills. In many ways I feel that luck has helped me, while also budgeting for those down times. Being honest about your personal needs vs wants and spending accordingly. My mother tried, and mostly succeeded, to instill fiscal responsibility from an early age. Keep that credit score up so when you do need to finance that audition tour you’re not paying double in interest. Also, keep your bread-and-butter roles freshened up and prepared. You never know when you might be called for a jump in. It happens more often than people think.
What type of support system(s) do you have in place to help you navigate this challenging career?
I am lucky to have a super supportive husband who also knows the difficulty of this career and the emotional toll it can take when things aren’t going according to plan. Also, I am lucky to have an incredibly supportive family. I have my claque at many performances. For example, at my next performance back home in the Bay Area, I was just informed that at least fifteen family members will be coming to one of the matinees. Honestly, I expect the number to grow. Whether it is family or a network of friends, it makes a difference knowing you have people excited for your success and willing to show up for you when they can. Like I said before, I do feel lucky in many ways.
Opera companies are experimenting with new ways to produce opera alongside continuing to produce traditional productions. What has been your most “out of the box” experience?
I’d say the production of The Tibetan Book of the Dead at Opera Grand Rapids. The whole drama revolved around a car crash. So, we all were in, out, and often on top of this giant Cadillac SUV. I think at one point, seven of us were physically on/in the car. My character also got pregnant and soon after gave birth in the car.
I ask this often of singers: what are some of your dream-roles/works to sing?
Charlotte in Werther is quite high on my list. I love Massenet. Another biggie is Amneris. I’ve had the opportunity to perform her in a concert version with orchestra, but I’m dying to do a full production. Dalila is also on that list.
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The Marriage of Figaro, Knoxville Opera, Bijou Theatre, Knoxville, April 2023
What exciting things do you have coming up in future seasons?
I do have a bunch of cool stuff! Next season I’ll be singing the Marquise de Berkenfield in La fille du régiment with Livermore Valley Opera in California. I’m also returning to Sarasota Opera for my ninth role, Santuzza in Cavalleria Rusticana in 2025. There’s also a Trittico in Europe on the horizon!
As a singer who has experienced an ever-shifting career, what advice would you offer to younger singers?
Find your strengths and work even harder on your less than strong points. Lean on those strengths in auditions. Listen to yourself regularly. Y’all got that computer in your pocket, use it! Record yourself. Often you can hear when things get wonky, and then look at ways to fix it, or at least find a way to approach it differently. Often that moment you think you blew it, really wasn’t that bad, or bad at all!
Also, opera is physical. Find activities you enjoy so you can keep your stamina up and reduce your mental stress. I personally love yoga, but obviously it’s not for everyone. It helps me connect to my breath and helps with my fight or flight response. Find what you enjoy and make it part of your practice.
And finally, stop comparing yourself to others. It’s detrimental to growth, not to mention your mental health. You can admire someone else’s talent and skill, but we are all unique and working towards growth and betterment is the goal. Not losing to or beating someone else for a job or role.
As Lisa continues to go with the flow on this wild ride called opera, we can all be inspired by her courage, tenacity, and work ethic. And she does it all with her hands up in the air no matter where the track goes. Whee!
