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Ready for a Spring of Singing

It's been a while since my last post, but now I'm back. Sometimes prioritizing is difficult, and the last couple of months have been a challenging time for me. My responsibilities at work come first unless I have made other arrangements with my boss. The first quarter of the year is a demanding time for any accounting department, including preparations for the new fiscal year and year-end closing of the previous year's accounting records, tax preparation, the annual visit from the external auditors, etc. All of this means long hours daily at work and some weekends. This year is no different, but I also have had some exciting musical projects that demand the remainder of my time after work. First, I'd like to tell you about two operatic roles that I am currently preparing for spring performances. I have performed over 15 roles to date in the standard operatic repertoire and am frequently asked to sing Verdi and Mozart heroines ranging from Aida to the Countess in "The Marriage of Figaro." I am excited to report that I will reprise two of my favorite roles, Leonora in Giuseppi Verdi's "Il trovatore," and Donna Anna in Mozart's ensemble masterpiece "Don Giovanni" next month. I look for new challenges when repeating a role that I learned previously: searching for nuances to be more expressive, combing through the score for new interpretations of the composer's notation and the words in the libretto. I try to achieve higher standards for myself with each performance. Also, rehearsing and performing two or more roles that are stylistically different with distinct vocal requirements concurrently presents special demands for the singer. I am not as concerned about limitations on my rehearsal time due to work commitments this year. That's because I find that it is less stressful to rehearse and/or perform multiple roles in the same time period when the roles are those I have been performed previously. Last March, I performed two new roles at the same time: Micaela in "Carmen" and Leonora in "La Forza del Destino." The two months before the performances required a lot of juggling of my time for role preparation and rehearsals. I was repeating poetic Italian verses over and over again to memorize the libretto of "Forza" on the subway to work each day, while practicing the French for "Carmen" on weekends. Meanwhile, I was also in chorus rehearsals for performances of "Die Meistersinger von Nurnberg" at the MET. Somewhat surprisingly, I had only one scheduling conflict last March with three opera engagements and my day job. The result was only one lost performance that was happily resolved. Looking back now, I am astonished that I maintained my sanity! Such is the life of a singer, but I wouldn't trade it for a billion dollars. Well, ciaò for now and à bientôt (for "Carmen" lovers).

By Cheryl Warfield  |  Sun, 16 Mar 2008 at 8:48 PM  |  Permalink  |  Comments (0)  |  TrackBack (0)

Artists Listening to Artists

Conductor and pianist David Leighton recently gave an open rehearsal, and while listening to it, I thought of how important it is for artists to attend live performances outside their own disciplines. The recital he was preparing for included: two impromptus by Franz Schubert from op. 90 and the Wanderer Fantasy op. 15; Chopin nocturnes op. 9, no. 1 in B-flat minor and the familiar op. 9 no. 2 in E-flat major; and Chopin's Sonata 3 op. 58 in B Minor. Mr. Leighton played beautifully for approximately 75 minutes, especially the latter Chopin nocturne for which he employed split second hesitations that enhanced the romantic feel of the music. It was a delightful evening for a small audience set in the salon where he rehearses and coaches, a room that is quite familiar to me: I have spent many hours there coaching new music and preparing for operatic performances. Though I studied piano for several years, I was not motivated to play professionally as a soloist or accompanist. I appreciate the art of the piano — actually, I love it and miss playing the piano at times. I had studied two of Mr. Leighton's selections in high school. Having a familiarity with the music always provides a deeper experience for the listener. I was amazed at the thoughts that gushed through my mind as he played — and how cohesive and flowing they were. I was sent to a sanctuary that I seldom have time to seek out. And more importantly, I had no interruptions: cell phones off, no television or CDs, only peace and imagination. During the concert, I reminisced of college days when attendance at performances was mandatory for performance majors and the number of concerts needed for a single credit seemed higher than the number of days in the year. Back then, the well-intended college curriculum seemed more like a punishment, as the purpose of ritualized attendance was not readily apparent. While I always make time for several must-see operatic performances each season, I realize now that I want to fully explore live performances of other musical genres. My time is limited, but I plan to hear and see other performances outside of opera in the coming months. Mr. Leighton's concert on Sunday, February 17, 2008 at 2:30 p.m. will be held at the Olive Free Library in Ulster County as part of the Trail Mix concert series sponsored by the Woodstock Piano Company. Mr. Leighton will play a 100 year old, 7-foot Steinway grand piano provided by the piano company. For more information, and for a biography of Mr. Leighton, visit http://www.woodstockpianocompany.com/trailmix.html#feb17. See you for now. Ciao!

By Cheryl Warfield  |  Mon, 11 Feb 2008 at 8:05 PM  |  Permalink  |  Comments (0)  |  TrackBack (0)

The Operatic Toasts of the Town

Last month, the opera world held its version of a "parade of champions" in Manhattan at the 3^rd annual Opera News Awards where five operatic superstars were honored for their lifetime achievement, including: Leontyne Price, the great soprano who broke the color barrier for leading ladies at the Met and beyond in the 1960s; renowned City Opera and Met conductor Julius Rudel; and three artists still in the prime of their artistic careers -- baritone Thomas Hampson plus mezzo-sopranos Olga Borodina and Stephanie Blythe. The ceremony was as grand as the art form itself. There were moving tributes and video clips of the honorees at the height of their artistic abilities and an elegant foray of gastronomical pleasures including salmon, sliced chateaubriand, and wines. The grand ballroom of the Pierre Hotel, an elegant and stately architectural structure currently under going renovation, served as a perfect setting for the majestic event.

Mezzo soprano Susan Graham was an entertaining host for the night. A 2005 recipient of the Opera News Awards, Ms. Graham effectively combined clever wit with southern charm. She was brilliantly bejeweled and dazzled the entire evening as she entered and exited the podium between honoree presentations. I had the opportunity to see Ms. Graham host the Metropolitan Opera finals several years ago when she proved herself to be a capable host of that event and a fine ambassador of opera. The ambience of the evening is captured in the audio below as Ms. Graham discusses what it feels like to be a previous recipient of the award and the importance for the opera world to gather together in celebration of the achievements of some of the brightest and best at Opera News Awards.

Featured presenters of the evening were also well known for their distinguished contributions to the arts: piano virtuoso Van Cliburn, baritone Sherrill Milnes, dramatic soprano Deborah Voight (a 2006 Opera News award winner), mezzo-soprano Joyce DiDonato, and Tony award winning director Jack O"Brien.

I highly recommend that every opera singer, opera aficionado, teacher of voice and anyone who is curious about the art form, attend the live awards show at least once. It is an event that provides inspiration, motivation, and a night of regalia. It provides for opera lovers a thrill that rivals the joy that fans of the winning Super Bowl team feel during a ticker tape parade.

Because this event serves as the closest thing to a Super Bowl of operatic superstars, it deserves to be available to the public. I will do my best to recount for you the magical moments of the event from the perspective of each honoree in upcoming posts with the hope that someday, future awards may be viewed on PBS or via internet streaming. Stay tuned.

By Cheryl Warfield  |  Thu, 7 Feb 2008 at 9:24 PM  |  Permalink  |  Comments (1)  |  TrackBack (0)

Opera News Awards Gala

The Metropolitan Opera Guild's third annual Opera News Awards gala will be held on Thursday, January 24, 2008, at the Pierre Hotel in New York City. In attendance will be some of the opera world's greatest stars, including this year's honorees: the mezzo-sopranos Stephanie Blythe and Olga Borodina, the baritone Thomas Hampson (whom I had the pleasure of interviewing via telephone while he was on location performing the role of Germont in the Lyric Opera of Chicago's production of "La traviata"), the soprano Leontyne Price, and the conductor Julius Rudel. The event will be co-hosted by the mezzo-soprano Susan Graham, a 2005 recipient of the award, and the actress Sigourney Weaver. Glamour will intertwine with expressions of gratitude and endearment as five brilliant artists receive acknowledgment from peers for career accomplishments. I'll be there for a behind-the-scenes look at the entire event. Before then, information about the honorees and details about the gala may be found in the January 2008 issue of Opera News or by calling (212) 769-7009.

The week before the gala, I had the pleasure of interviewing F. Paul Driscoll, the editor in chief of Opera News and the co-author of "Fantastic Opera," (Harry N. Abrams) to discuss this year's ceremony, the history of Opera News and the Opera News Awards. Mr. Driscoll eloquently writes about his connection to four of the five honorees, including his first interview with Prima Donna Leontyne Price at Opera News Online.

Opera News is a monthly publication of the Metropolitan Opera Guild, a not-for-profit organization devoted to the support of the Metropolitan Opera and to programs that stimulate interest in opera. The magazine was first published in 1936 and has won three ASCAP–Deems Taylor awards for excellence in music journalism. An audio recording of my interview with Mr. Driscoll is available below.

By Cheryl Warfield  |  Fri, 18 Jan 2008 at 10:24 PM  |  Permalink  |  Comments (0)  |  TrackBack (0)

Everybody Needs a Mentor

I've been fortunate to have many positive influences in both the workaday world and my artistic life. But there are several special individuals who helped me reshape my world and expand my horizons. Their influence came through comments made at that right time to change my thinking. One person is my boss here at The New York Sun, who made a singular comment that forever changed my thoughts about coupling my divergent accounting and artistic skills to my advantage. I'll explain in another post why I am in a constant state of gratitude for the transformations that have occurred since that conversation. The other person believed strongly in my vocal talents from the first time he worked with me. He alone persuaded me to move to New York to realize my dream to become a professional singer. His name is Gregory Buchalter, and he is an assistant conductor at the Metropolitan Opera. You can read about his career at www.operacamerata.org/Gregory.htm. Even now I can still feel the exuberance of his comment via telephone to me in Ohio: "Cheryl Warfield, you have the makings of a world class singer. I believe you will become a working singer if you move to New York." These words gave me the courage I needed to move to New York and I have never regretted that decision. I first met Maestro Buchalter at an opera training program for singers. The program was fantastic because it offered aspiring singers an opportunity to work with some of the top professionals in the opera and classical music world. Maestro Buchalter and I had a special musical connection from the moment we met. After the program ended, I returned to Ohio. I continued to study with him whenever I visited New York. Through the years, he has offered advice, wisdom, and knowledge of opera. His mentoring has changed my life, and I am fortunate to have his support.

By Cheryl Warfield  |  Fri, 11 Jan 2008 at 4:35 PM  |  Permalink  |  Comments (0)  |  TrackBack (0)

Tears This Year: A Tribute to Two Opera Greats

As 2007 draws to a close, its' time to reflect on the loss of two operatic greats: soprano Beverly Sills and tenor Luciano Pavarotti. Years may pass before opera lovers have the opportunity to hear or benefit from the artistry and accomplishments of comparable talents. Their contributions to the opera world are immeasurable. I greatly admired the Brooklyn-born Sills' work in arts administration, especially the last year or so of her tenure as general director of the New York City Opera. She was an important role model to me in that she was the first female opera impresario I was aware of. I had my own aspirations to produce opera, and Sills gave me hope. Her willingness and dedication to make contributions to her art form — and to aspiring singers after her retirement from the stage — was commendable. Her fund-raising activities for the opera company that led her to stardom are also impressive. In saying good-bye to her, I quote an excerpt about Sills from the book "Great Singers on Great Singing" by Metropolitan Opera bass Jerome Hines. "Beverly: No one will ever be able to think of you in the past tense. You're always with it, no matter what it may be. Godspeed." Indeed the contributions of her legacy remain in present tense — perfect. Just two months after the loss of Sills came word of the death of Pavarotti, who had the voice of an angel. I was stunned, and I found myself in an emotional state from this loss. . In the mid-nineties, I had the opportunity to perform onstage at Carnegie Hall with the Metropolitan Opera chorus, orchestra, and the great Luciano Pavarotti as the tenor soloist in Verdi's Requiem . When Pavarotti died, I wrote down the following phrase in Latin: Lacrimosa dies illa. (That day of tears.) September 6, 2007 is embedded in my heart. Not until that day could I conceive of the shock and loss experienced by those who heard Caruso sing live. Now I know the effect of the silencing of a celestial voice. Yet I find comfort in that I still hear his voice from beyond in all its glory; a heavenly sound — forever.

By Cheryl Warfield  |  Fri, 28 Dec 2007 at 4:14 PM  |  Permalink  |  Comments (0)  |  TrackBack (0)

Looking Back At a First Audition

During my audition at the Met earlier this week, I found some time to reflect on the long road that got me here. I've auditioned at the Met more than ten times, so by now, I know the ropes. But my first time wasn't so easy. At the time, I had been singing professionally in Ohio, with Opera Columbus, for five seasons. I adored chorus and ensemble singing, first venturing out with the Columbus Symphony Chorus in Mendelssohn's "Elijah." And of course, I was also working a day job: I was an auditor for the State of Ohio. When I learned of the Met's chorus auditions, I asked my boss for the day off and flew to New York the Sunday before the audition. I had prepared my new aria, "Morro ma prima in grazia," from Verdi's opera "Un Ballo in Maschera" (which, by the way, the Met performed recently.) I felt ready, and I went to bed early in order to get a fresh start. Little did I know how important being among the first to arrive would be. I was given audition slot 105, a number that has more than once changed my life. Although I signed up at about 9 a.m., artists who are members of the American Guild of Musical Artists (AGMA) are given priority. By noon I began to worry about having enough time to get to LaGuardia to make my 4 p.m. flight back to Ohio. At 3 p.m., I made the decision to skip my flight and wait for the audition. Finally, by 6 p.m. it was show time. And I was too tired to be nervous. I handed the accompanist my music and nodded for him to begin playing. I couldn't help but be inspired by the introduction, a poignant cello solo in the orchestral score that follows pages of passionate and enraged music indicative of a husband's fury after learning of a wife's unfaithfulness. When I finished the stirring aria, I noticed smiles in the audience. Upon my return to Ohio, I received a telephone call inviting me to sing in the Met extra chorus for three productions the next season. What a thrill that call gave me. And what a relief: Now I could join the union and never again have to wait nine hours to audition! Well, that's how my singing career started in New York. Ciao for now.

By Cheryl Warfield  |  Wed, 26 Dec 2007 at 2:34 PM  |  Permalink  |  Comments (0)  |  TrackBack (0)

I Hope I Get It

Today, I auditioned to sing with the Metropolitan Opera's extra chorus. This audition has become something of an annual tradition for me; it's the second time I've auditioned for Maestro Donald Palumbo, the Met's chorus master, in more than a decade of extra chorus auditions. I arrived a little before 11 a.m, about a half hour before my scheduled audition time, and it's a good thing I did. The fact that I have a time slot is not a small thing: Auditions are at a premium. Many singers must wait in line to be placed on the open call list. In fact, some hopefuls are turned away because there are usually more singers who wish to audition than time permits. Anyone on the current roster in the extra chorus is guaranteed an audition slot. Which can be tricky: If the Met presents several operas with large extra choruses, the number of choristers may exceed the number of openings for the next season. That's what made this audition so competitive. The tension was palpable when I arrived at the waiting area, lined with seats for singers. Steve Losito, the assistant to the chorus manager, was standing outside the audition entrance, handsomely suited and expertly organized for the long day's events. He gestured me to approach. While a tenor was auditioning, he quietly informed me that everything was on schedule and that perhaps I would sing earlier than my 11:26 appointment slot — if the mezzo scheduled to sing before me did not arrive on time. Indeed the mezzo was late, so I sang early. I walked into List Hall, the rehearsal room for the Met chorus, where I was greeted by the chorus master, chorus manager, union representatives, and others. For this year's audition, I chose to sing "Und op die Wolke" from the German opera Der Freischütz. Usually I sing in Italian; I have a big voice that is great for Verdi and Puccini. But I wanted a change from what I sang at last year's audition — "Pace, mio dio" from La Forza del Destino — and "Und op die Wolke" is a work of similar level of difficulty. The aria lasts less than three minutes, and when it was done, I thanked everyone and headed home. I'll have to wait more than three months for the results, but I'm ever hopeful. This audition reminded me of my first at the Met — which was back in the 1990s. I'll share some of that experience with you in my next post. Until then, ciao.

By Cheryl Warfield  |  Wed, 19 Dec 2007 at 1:13 PM  |  Permalink  |  Comments (0)  |  TrackBack (0)

The secrets of life as an opera singer - with a day job

Like many artists living in America's cultural capital, I have a dual existence. I am a classically trained, professional singer who works in the business office at The New York Sun. Since the 1990s, I've sung in the extra chorus at the Metropolitan Opera. I've performed operatic roles ranging from "Aïda" to "Tosca" at venues in New York and Europe. I've produced my own one-woman show about the life of legendary singer Dorothy Maynor, and I've appeared on Broadway in Hal Prince's revival of "Showboat." But not only that, on any given day here at the Sun, I make sure the bills are paid, the paychecks are delivered, and the expense reports are honest.

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By Cheryl Warfield  |  Tue, 18 Dec 2007 at 3:16 PM  |  Permalink  |  Comments (0)  |  TrackBack (0)

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