Reviews, interviews, critics.
Opera singers trying to make a name for themselves are eventually faced with the two-edged sword that is mass media. As the world we know bends to new technology, however, so does the very fiber of music criticism.
I sat down—virtually, that is—with a member of this revolution whose relatively new Internet blog on all things operatic is gaining rapid momentum. In this exclusive interview, “gr8 OC” runs us through her meteoric rise to anonymous fame, her predictions on the changing landscape of music journalism, and her advice on the future of opera.
I understand you’ve been doing this for only a year. How did it take off?
I was lucky enough to attend a huge amount of performances in Italy, and was lucky enough to meet a crop of people @ La Scala, and i was traveling all over Italy to see pretty rare and under-attended operas/symphonies . . . and I realized that this had to be shared with readers, especially since all reviews were given in Italian, so it cut off accessibility to most English speakers.
Did you have any previous journalism experience or Internet presence?
It’s my first blog, which is why it’s on TypePad, since they basically host everything for you. No previous journalism dabbling. But yeah, I’ve been on the Internet since the early days. Not as the gr8 *~*OC*~*, tho.
Such humble beginnings, and now you’re an institution. Where did this runaway success come from?
I owe everything to my own awesomeness. The blog became a word-of-mouth phenomenon. Worship me.
Any idea how many hits you get a day?
Oh snap! That’s like asking a diva her age and weight. That’s between me and my prospective advertisers. (But as of now, the blog is ad-free.)
OK, but suffice it to say that you’re fairly popular. When did it start getting big?
I’d say one month after I started blogging I noticed a huge spike in traffic, and traffic has been growing alarmingly every since.
Some of our readers might not be familiar with your work. Can you describe some of your career highlights?
I broke the news of Alagna leaving mid-scene @ La Scala during Aida in December 2006. I had an exclusive interview with his lawyer, [and] massive follow-ups to his latest antics. I broke the news of Giancarlo Menotti’s passing. Juan Diego Florez sent me an exclusive statement of commemoration on the passing of Luciano Pavarotti. I spoke with Norman Lebrecht live on the BBC on a blogger/critic panel, and I am proud to have brought soprano Elaine Alvarez to my readers’ attention before the Chicago and Washington papers noticed her.
I blogged all my opera/symphony-inspired trips to Salzburg, Vienna, Santa Fe, and premieres all around Italy. I <3 it! & I’m looking forward to blogging Tristan und Isolde @ la prima @ Scala. And live-blogging from my Blackberry Florez’s mid-act encore during “Fille” @ La Scala since a 70-year “no encore” rule!
It sounds like you’re getting some sweeter news breaks and interviews than many pro journalists out there. How do you explain this?
I’m feisty! My readership spans across management offices of many, many opera houses, both in the USA and Italy (the GM of Opera di Roma has given me statements and one official interview), and infiltrates areas that other opera/music blogs haven’t been able to. I cover news as it breaks, and have been able to get down the speed edge.
How is blogging changing the face of classical music journalism?
The problem with big newspapers and big news online sites [is that they] have small budgets and clearly don’t cater to the classical music <3’s interests. It is rare that newspapers send critics to travel around Europe to cover what is necessary to be covered. And in that case, music bloggers can bring reviews and feedback, images, and first-hand accounts to the public. You have this phenomenon of bringing uncovered performances to a large & curious public. Music blogging has the luxury of focusing on one issue and obsessing over single topics that is just not allowed in mainstream news. What makes Opera Chic interesting, in my view, is that opera coverage comes from a young lady who loves gaming and fashion in a way that you wouldn’t be exposed to from your typical opera critic. That’s true. Your youthful writing style and pop-culture attitude really give your blog a distinctly fun and cutting-edge voice. Was this a conscious choice?
No, that’s pretty much me. I have a really weird sense of humor/irony/sarcasm.
Are you a geek?
My biggest beef is with the perception that opera is for nerds. It’s what all the cool kids are doing. Opera is pretty gangsta.
You’ve mentioned to me before that you’re not a singer. So where did this obsession with opera come from?
All the hot tenors.
Do you have a musical background?
I was formerly a floor-mopper at the Mariinsky Theater.
You’re from New York. How did you end up in Milan?
I came for the ravioli di zucca and ended up staying for the opera.
Elaine Alvarez was not your only “discovery.” You’ve been the champion of many fresh faces on the operatic stage. What advice would you give to up-and-coming talent?
Seek out the old school. The old maestri like Bergonzi and Scotto are so very willing to share their knowledge with the many hopefuls. Go to as many masterclasses as you can tolerate.
Is opera blogging strictly a hobby, or do you manage to squeeze some sort of income out of it?
Good lord! I’ve spent thousands of dollars between tickets and trips, hotels and cars, and the costs of hosting a blog. I have not made one single Euro unit.
Do you want to hear my OC dream?
Yes, what is your OC dream?
If Opera Chic made money on the blog, here is what I would do with the investment: I would hire a team of paparazzi like x17 or TMZ and have them follow around our singers. I’d give anything to see [Roberto] Alagna picking up his kids from school or [Renée] Fleming taking out the trash, [Rolando] Villazon at 7-11, or [Erwin] Schrott leaving the gym. It would be lawlsome. [lol (laugh out loud) +awesome = lawlsome -ed.] They’d get so [upset], though.
You know this is a magazine read by singers. I don’t think you’re going to win any hearts with our subscribers by suggesting paparazzi!
It’s the price of fame.
Since you derive no financial gain from this project, you must be riding on some less tangible benefits.
It’s all for fun, a hobby, also a good way to keep my English intact as I perfect my Italian. I am a pretty altruistic person, so I derive pleasure from opening the closed world of Italian opera/culture to Americans who can’t be here.
Your writing style makes opera seem accessible to the young and hip. Do you think what you do brings classical music to the new generation? Or are they getting there on their own? Or are we all doomed?
The world is such a different place than our parent’s generation: Internet & HDTV makes the exchange of information so much quicker, and if opera as an art is to survive, it has to be dragged kicking and screaming into the new medium. I think the OC voice is something that new opera followers can identify with.
Do you think the future of music journalism is blogging, or can “big journalism” survive?
On one hand you have the big media outlets for the first time unable to keep up with the armies of bloggers that seem to always be in the right place/right time to cover breaking news and events—especially in arts and culture, where it is always underfunded. On the other hand, big media will always be more disseminated, obviously.
What I envision for the future is some sort of mixed-media situation where you’ll still have critics in the big papers and magazines but [the publications] will have to open classical music blogs, for a smaller audience . . . I don’t see them keeping on getting scooped forever by somebody who just went to a concert where something cool happened and the Big Media critics/reporters just weren’t there. In the Orange County Register, for example, they carry classical music coverage, but on their website they also have a blog by their critic Tim Mangan. The future looks somewhat like that.
Since bloggers such as you have become more important in the music criticism landscape, how does an aspiring singer catch your attention? Are you more open to scouting new talent than a print media journalist?
Well, their hotness is very important to Shallow OC. Also, are they ready to concede sexual favors or not? That’s what counts here; pay or shut up baby. Put out or get out. heh.
I’m not sure I can print that . . .
No for real—wait—serious answer! I hope opera houses will follow Rome’s example and scout more for young talent, as I posted recently. [See exclusive interview with Opera di Roma General Manager Francesco Ernani, http://operachic.typepad.com/opera_chic/2007/10/opera-chic-excl.html.] It’s good business and good artistic strategy.
Let’s just add that I’d advise young singers to check out the cautionary tales: Licitra, Alagna. Don’t rush things. Look at people like Armiliato, Dessi, Devia. They’re in it for the long run. The old school still has a lot to teach that way—it’s hard to say no to money and engagements, but studying and doing things only when you’re ready is key.
Visit Opera Chic’s blog at operachic.typepad.com.
