Arlene Alvarado was recently awarded first place in the Emerging Professional Division of the 2005 Classical Singer International Competition. This season she returns to Toronto’s Opera In Concert to sing Verdi’s I masnadieri. Ms. Alvarado was an Austin Lyric Opera Young Artist Associate in 2001-2002 where she sang the roles of Gilda (Rigoletto), Alice Ford (Falstaff), and Rosina (The Barber of Seville). Other roles include Soleá (El Gato Montés), Angelica (Suor Angelica), Mimì (La bohème), Micaela (Carmen), Donna Anna (Don Giovanni), Gabrielle (La vie parisienne), Violetta (La traviata), and the Witch (Into the Woods).
Ms. Alvarado began her music studies at New York City’s Harlem School of the Arts, and has since won consecutive awards to study vocal performance and audio recording technology at The Cleveland Institute of Music, Case Western Reserve University, and The Crane School of Music. Ms. Alvarado enjoys the distinction of being the first young composer selected for The Metropolitan Opera Guild In-School Project, where she composed three original musicals for the guild’s Educational Outreach Program.
What were some influential experiences in your youth that led you to a career in music?
When I was a kid, The Metropolitan Opera Guild In-School Project came to my music school and did their first Opera Project. They gave young people all the necessary tools to write, produce, and express their very own mini-operatic work of art. I had the part of composer and pianist. As we performed at Lincoln Center, with such applause and appreciation, the impression was immutable. These people were genuinely moved! Their worlds were changed because I had done my part and shared my work with them!
I began to see myself making a real difference in someone else’s world, affecting things outside myself, and feeling empowered to desire more from life than what I was witnessing all around me. The invitation to write two more shows marked me as a champion for this cause in a profound way, and very much defined my life as I live it today.
What has been your career highlight to this point?
My career highlight has been singing Gilda in Verdi’s Rigoletto with the Austin Lyric Opera. I was covering as a young artist associate and was given the chance to go on. I was very well prepared, and had just 12 hours notice! There were at least a thousand or more people, offering me a standing ovation! It was the most thrilling singing experience of my lifetime.
What is your favorite part about being an opera singer?
The transformation process of learning to become the embodiment of the music and the character is the most fun and exhilarating work this side of heaven! However, I am a girly girl, and I do love the fuss of getting all dolled up!
If you could sing any one role, what
would it be?
I enjoy many types of classical acoustic sounds. The modernist trends with continuously distended harmonies can be stimulating, and the emerging multitude of funky music genres are like picking candy! But the float-my-boat, single-most satisfying, heartwarming, sonorous, and pleasurable auditory experience has always been Verdi’s La traviata! It is my dream!
How do you handle rejection?
In dealing with rejection, I have had to learn to understand myself, and to ask myself some hard questions. The distinctions of who I am, and where I fit began to emerge when I asked myself: 1) What specific things must I accomplish in life to feel really alive? 2) What is my authentic reason for wanting to sing professionally? 3) What motivation drives everything I do? 4) What payoff makes it all worth doing?
For me, singing is the most appropriate vehicle through which I fulfill the deep call in my life. As you learn where you fit on the planet, you won’t have to look for your spot, the spot will find you, and rejection will not be painful anymore, it will simply be “yes” or “no.”
Critically acclaimed artist Rochelle Bard is originally from Boston, where she received her master’s degree from the New England Conservatory of Music. Recently, she was named a finalist in the prestigious MacAllister Awards. In the spring of 2005, Ms. Bard was engaged as a studio artist with the Baltimore Opera Company, where she sang the role of Barbarina, as well as studied the role of the Countess in the main-stage production of Le nozze di Figaro. Ms. Bard also covered Giulietta in Les contes d’Hoffmann for the main-stage and sang Giannetta in L’elisir d’amore.
In addition to her performances with Baltimore Opera, Ms. Bard has appeared on the stages of Tanglewood, New England Light Opera, Cape Cod Opera, Opera Boston, Longwood Opera, Opera Lyrica di Orvieto, and the Chautauqua Institute. Her operatic roles include Antonia and Giulietta in “Hoffmann,” the title role in The Merry Widow, and Gilda, among others. She was also a finalist in the Jensen Foundation Competition and a regional semi-finalist in the Metropolitan National Council Awards. Upcoming engagements include performing Anna Maurant in Street Scene with Maine Grand Opera.
What were some influential experiences in your youth that led you to a career in music?
I was first a pianist and accompanist and played for singers for years before singing myself. Music has always been a central part of life and I was always partial to vocal music. I used to play and sing to forget about what else was going on. It wasn’t until after college that I realized that I might be able to make a career out of my hobby. I am fortunate to absolutely love my job.
What are your goals for the next five years? In the next 10 years?
My goal for the next few years is to sing for as many companies as possible, make new connections, and perform new roles. My goal for 10 years from now is to not have to do so many auditions!
Who are some of your role models, mentors, or influential people in your life?
I could write out a list of singers, teachers and coaches who have inspired me greatly, but I have to go back to my roots on this one. My mother instilled in me the idea that I can do anything I set my mind to. I could not tackle this career if I was not ambitious and motivated to begin with.
If you could sing any one role, what would it be?
Violetta. I’m waiting!
How do you balance career and family?
Thankfully, my family is enthusiastically supportive of my career. They will follow me just about anywhere to see my performances. My partner is also a singer, and I couldn’t have imagined how satisfying it is to share the ups and downs with someone on the inside. I always thought that dating a singer would be too much drama, but each singer is different. It can be lonely traveling to auditions, and it is wonderful having a singer to travel with much of the time. He and I support each other through the trials and celebrate the successes.
Are there any other thoughts you’d like to share with Classical Singer readers?
Remember that you are only responsible for yourself and putting your best self forward. Resist the urge to try to predict what will come of auditions, and be pleasantly surprised when you get that call every once in a while for a great job. Something that is not always taught in school is the idea of not only getting hired, but getting rehired. Get your job done while being a good colleague and people will remember you.
