The term “crossover singing” has become quite trendy as of late. Many classically trained singers have successfully transitioned into musical theatre careers. But do singers who embark on this journey really know what they are doing? How difficult is it to have a career in musical theatre? Do you need a totally different technique and vocal timbre?
I spoke with three singers who have found success in musical theatre and published my article in the November 2012 issue of Classical Singer magazine. Their backgrounds are diverse and their paths to musical theatre unique, but they all had sound advice for those contemplating a career move. Here is one of their stories:
Melissa Rivera
Melissa Rivera, currently pursuing a masters of music degree in opera/musical theatre performance at Southern Illinois University, followed a musical path many singers can easily identify with. Prior to enrolling at San Diego State University as an undergraduate music major in 2003, Rivera had sung in choirs, had been in musical productions, and had sung pop tunes in talent shows.
“I never really intended to be a classical singer,” Rivera says. “I chose to study voice because I knew I wanted to sing, but I had no idea what the training was going to be like. I struggled at first, and it was clear that my voice would never be a large operatic voice.”
So how did Rivera discover that she could sing musical theatre? “I heard about auditions at a local community theatre doing The Sound of Music and My Fair Lady,” she explains, “so I asked my voice teacher to help me prepare for the audition. We realized that my belt voice was not only pretty strong, but had a lot of potential. That is when I knew for sure that musical theatre was my niche. I received a callback for a leading role and was cast in both shows.”
For Rivera, making the transition to musical theatre was a combination of luck and hard work. After finishing her bachelor of music from SDSU in 2008, she took a few years off to continue her training in both genres with Liz Frazer at the University of North Carolina–Greensboro. She found success working at both the professional and community theatre levels, and even won first place in the musical theatre division at the NATS Mid-Atlantic Regionals.
“I was very fortunate that I had done musical theatre in the past and had a decent dance background,” she explains. “My voice took to musical theatre very well once I began to understand the differences between operatic and musical theatre styles. The most difficult part, vocally, was developing my middle mix as it is different depending on the musical style and time period. I can sing these types of roles, but I have to be very well prepared. Belting, however, was easier. I started out belting B-naturals very comfortably, and learning how breath and vowels work differently when belting allowed me to extend my belt even higher.”
The most painful part? “Convincing the theatre world that I wasn’t a music snob and that I could act.” Rivera took this challenge head on. “By taking private acting lessons, enrolling in acting classes, studying Meisner and Stanislavski methods, and even attending a week-long acting intensive in New York with the LAByrinth Theater Company where I studied with Philip Seymour Hoffman, Stephen Adly Guirgis, and Maggie Flanigan. Yet, it still wasn’t enough to shake the ‘park and bark’ stigma classically trained performers are often stuck with. I have the acting world telling me my voice is my strength, and the music world telling me my acting is my strength. I have to work twice as hard as the singers and twice as hard as the actors to be considered for the same roles. It can be very frustrating.”
When asked about the differences between pursuing a career in musical theatre as opposed to opera, Rivera provides these helpful insights. “Classical singers have an advantage due to the existence of Young Artist Programs. As a classical singer, you can often get paid to train, which is wonderful. These sorts of things do not exist for musical theatre. You have to pay for everything. It is very expensive.
“Secondly, finding a classical voice teacher is much easier than finding a knowledgeable musical theatre voice teacher,” she continues. “Many teachers claim to teach musical theatre techniques when in reality they only stick to the classics. Finding someone who is not afraid to teach you how to belt and mix in a healthy way can be a daunting task.
“Thirdly, you are given more time to mature in opera and have a higher chance of career longevity. In musical theatre, you are at a huge disadvantage if you don’t start training early.
“And, finally, type is very important. You may have the perfect voice for Maria in West Side Story, but if you are not young, petite, and Hispanic looking, forget about ever playing that role professionally.”
Rivera also has advice for aspiring singers contemplating a career in musical theatre. “I cannot stress [enough] the importance of continuing voice studies and the impact it has made on my budding career!” she says. “It has made my voice flexible and resilient, and it is so much more fun to sing. Take as many acting and dance classes as your body and schedule can handle. Make friends with the theatre department faculty, even if they do not get along with the music department. Audition for them and ask questions.
“Many classical singers think they are above musical theatre singers because of their focus on technique, but this is not true,” Rivera concludes. “Musical theatre singers have to use different techniques—one is not superior to the other—and thinking so can get you thrown out of an audition or fired. Most importantly, do not choose musical theatre over opera because you think it is easier. Trust me, it is not.”
Crossing Over to Musical Theatre
