In 1991, a young soprano from Fullerton, Calif. made her Metropolitan Opera debut as Amelia in Verdi’s Un ballo in maschera to rave reviews. The New York critics described her warm voice as rich, lustrous and secure. A few years later, they were praising not only her gorgeous singing, but also her interpretation of character and painstaking attention to the text.
Even with her fine talent and honed musical skills, the road to the top was not always smooth—and once at the top, the challenges haven’t ended. Already enjoying an international career and significant fame, Deborah Voigt became a household name when a little black dress led to a cancelled contract in the title role of Strauss’ Ariadne auf Naxos with the Royal Opera House. Just two years and several smaller dress sizes later, Ms. Voigt was recently invited back to Covent Garden to sing Ariadne in the 2007-08 season.
Sporting her new svelte frame, the Metropolitan Opera soprano took a few moments—on her birthday, no less—to speak with CS from her New York apartment.
Where were you born?
I was born in Des Plaines, Ill., a suburb of Chicago. My mother used to sing a great deal, and when I was a young girl, she and I sang together in church. Both my brothers are musically inclined as well. I started piano lessons at the age of 7. When, after studying for almost five years, I was asked to memorize Beethoven’s “Moonlight Sonata,” I thought I’d had enough. As a result of those lessons, however, I play well for a singer and don’t have to take my music to a coach for the basic notes. It’s a great tool.
I attended Chapman College in Southern California for a semester and a half. That was a very hard time in my life. I was miserable because my parents were in the process of getting divorced. I also did some college at California State University in Fullerton. After that, I went to work as a computer operator for a while, but returned to the university to do more with my voice.
When did you see your first opera?
When I was 20 and studying opera, my grandmother, who lived in San Diego, thought I should see what was playing at the opera there. It happened to be Prokofiev’s The Love of Three Oranges—an unusual choice, but a good one.
Who were your voice teachers?
My first teacher was Jill Goodsell and I studied with her for three years while I was in high school. I also studied with Jane Paul at California State University for many years. She is now retired, but she gave me a good foundation and was a mentor to me. She is a wonderful musician and she taught good life lessons as well as basic technique.
There really isn’t enough good technique out there. I’m frightened by the lack of technique I see among young singers. Some of them are thrust into careers when they have little idea of what they are doing technically. I also fear that many young artists run to the teacher who is the “flavor of the month.” They need to realize that the relationship between teacher and student is individual and unique. What works for one person does not work for another. It’s all about imagery and making pictures in one’s imagination to help support the sound. You can’t take the instrument out and change the fingering!
I get lots of calls asking, “Who’s your voice teacher?” Currently, I have a wonderful teacher, Ruth Falcon, and I always recommend her. However, I think students need to spend considerable time choosing a teacher. They need to interview him or her and have a few lessons before making a judgment. Singers should see how the teacher’s technique feels when they use it. They might want to make a tape after a lesson or two and see what sounds different. Primarily, a singer needs to go by what feels best.
Did you enter many competitions?
Yes, I did quite a few of them, and the [opportunity] to be heard by important people as a competitor helped me a great deal. Eventually, I was invited to join the Merola Program at San Francisco Opera. I was also part of their Western Opera Theater. When I think of how much I got out of that touring company, it breaks my heart to realize that it’s no longer there for young singers.
How do you bridge the gap between being an apprentice in a program and being a professional singer?
It’s a really hard period in an artist’s life. At that point it’s very difficult to remain diligent and true to the course. I think you have to be willing to accept all kinds of work. It’s a time to reflect upon what kind of career you really want. You have to figure out what is viable for you. Singers have to understand that—and it’s easy for me to say since I am on the Met roster—even if they don’t sing at the Met or the Wiener Staatsoper, they can still have a career. There are many different kinds of careers that can be pursued in music.
Do you have some words of wisdom for aspiring singers?
Be prepared, and understand that much of a career has to do with luck. You can be as talented as anyone in the world, and if you don’t get that lucky opportunity, it may not happen! That being said, if you do get the opportunity, you had better be ready for it. It’s very important for young singers to make sure they are ready to grab those vital moments whenever they present themselves.
What is your advice for auditioners?
The minute you walk into the room, you make a definite impression based on what you wear and how you present yourself. I suggest erring on the side of conservatism, unless you’ve been asked to dress for a specific role. What gives people an even clearer impression of a singer is his or her choice of repertoire. That can be difficult for singers who are just finding their way. You may not know if you can sing the whole role from which you are doing the main aria because you’ve not had a chance to try it. However, if you put everything from Despina to Aida on your list, you tell the auditors you don’t know who you are. I suggest a more linear response rather than trying to show everything you think you can do.
What are your thoughts on weight control?
I have struggled with my weight all me life. I was always losing a few pounds and gaining them right back again, constantly going up and down. Ultimately, it was my knees that brought me to have surgery. They were giving me a lot of pain and I was starting to feel the weight on my body. When I was in my late 20s and early 30s I did not feel it so much, but over the last few years it had begun to wear on me, after 15 years of singing internationally and the travel that it involved. I knew I had to do something. I had been aware of gastric bypass surgery since it was first performed 25 years ago, and saw that it was being done more often with higher rates of success.
It was the right choice for me and I’m very glad I did it, but I don’t recommend it for everyone. It’s a very individual decision. My health is good now and I feel fine. I go to the doctor regularly and have my blood checked so I know all is well. Now, my head is catching up to where my body is. I have always thought of myself as a very heavy person, but that’s changing as I see new photos of myself. It takes some getting used to.
Has the weight loss affected your singing? Have you had to make adjustment in your mechanics of singing?
Since my body feels somewhat different now, I have made some adjustments to my technique. It’s not for me to say whether or not those changes have affected my singing, but most of the critics say I sound fine.
How did you feel about signing for a return to Covent Garden?
I’m absolutely thrilled with the way things worked out with Covent Garden. Opera is a very important aspect of London’s cultural life and I definitely want to sing at the Royal Opera House. I’ve received many notes from fans asking me over and over again when I’d be returning, so it’s especially gratifying now to be able to tell them that it will happen during the 2007-2008 season.
What are your thoughts about the current emphasis on the physical appearance of opera singers?
I think the voice, itself, must be the top consideration when it comes to casting an opera, and that it’s always a loss when the public can’t hear the best possible voice in a role. Although my decision to have gastric bypass surgery was driven entirely by health concerns and not by questions about the roles I might portray in the future, I’m most certainly happy that parts such as Tosca and Salome can now be part of my stage repertoire.
How do you handle singing when you are not totally well?
If the cords are involved, if they are inflamed, it’s better not to sing. If it’s just a plain head cold, you can go ahead. I’ve sung with many a cold! Young kids may not think about the fact that any professional singer has to sing on days when he or she is not well, physically or emotionally. That’s why you need a technique you can rely on.
Is it better to have American or European management?
That depends on where an artist is based. If you are primarily based in Europe, then having European management is probably best for you. If you are singing in the United States most of the time, or are beginning your career here, you’re better off with an American manager. Most likely, your manager will have a number of contacts abroad to work with.
Do you enjoy singing recitals?
They’re good because they give the public a chance to see a different side of your personality. On the other hand, singing two hours of music with no prompter is daunting. I have some troubles with memory, but the more recitals I do, the more comfortable I am with them. I did a great many of them in my early 20s, but I got away from them in the pursuit of opera. I’ve only started getting back to the recital stage over the last three years.
What are your thoughts on recital clothing?
Since people come to a recital to hear the singer and the program, a simple gown is probably the best way to go. Right now, however, I’m enjoying wearing much more flashy clothing than I ever did before.
How do you deal with stress?
I really try to focus on the task at hand: what I’m doing, what I’m saying. I might even get a little angry if that is appropriate. I sing better if I’m angry! There is something about getting “revved up” that helps the performance, particularly if it’s something that you can channel into energy that has some sort of “vibe” to it. That’s helpful, but so is a good laugh! Right before a performance, especially at the Met, everyone sits around a little bit, chews the fat and has a good laugh. I find that both relaxing and stimulating.
Do you manage to have a private life?
I was married for a time and it was very difficult. It’s hard to maintain relationships if you’re fortunate enough to have a thriving career because you’re away from home all the time. Finding someone who is content to wait for you to come home is difficult. If your husband travels with you, life becomes all about you because he has no identity of his own. That’s no fun for either spouse.
It’s definitely harder for women singers, no matter how progressive we think we are with regard to gender roles. I can remember being at a dinner party in Europe when the tenor came in with his wife following him carrying his coat. That was readily accepted, but when the soprano’s husband followed with her coat, the guest sitting next to me snickered, saying, “Oh, there’s so and so with her coat carrier!” I practically flew out of my seat because it was so patently unfair!
Personal relationships are difficult enough when you’re together, let alone when you’re separated for 10 months of the year.
What are some of your important opera and recital dates for the 2006-2007 season?
On Sept. 8, 2006, I sing Amelia in the opening night performance of Verdi’s Un ballo in maschera at San Francisco Opera. In October, I sing Richard Strauss’s Salome in a new production by Francesca Zambello at the Lyric Opera of Chicago. I sing a recital at Los Angeles Opera and a concert version of Salome with Leonard Slatkin and the National Symphony Orchestra in January 2007. Later, I go to the Met to do the title role in a new production of a lesser-known R. Strauss work, Die ägyptische Helena.
