Act I
I just had to make a really difficult call. I left a message with the Washington National Opera chorus to ask them if they still wanted to hear me even though I have the worst cold on record and am losing my voice at a rapid rate. I mean, I can sing, but I’d be auditioning as a baritone. I know they want photos and measurements as well, but my hope is that they do these auditions more than once a year, or if they just want to hear the quality of my voice and it doesn’t matter what range.
Act II
I talked to DC Opera, and they do only hold auditions once a year. So I’m drinking a hot toddy and will see if I can warm up again later tonight and in the morning. I know I’ve got my arias wired. It’s frustrating that I’ve worked so hard and my body is betraying me. I’m also angry at the world because I didn’t practice wrong so that I’m just fatigued. This is a virus that I picked up from somewhere, or an allergy in my home. It didn’t start in my throat- it’s deep in my chest and working upward.
Act III
I woke up this morning hoping that the laryngitis would go away as the day wore on- it’s always worse when I first wake up. Unfortunately, I am still so far under the weather that I don’t even want to move, much less sing. It would have been much more convenient to wait until tomorrow to see what happens overnight, but I couldn’t afford it without being truly selfish. Demand is high for these auditions, and I did not want my first impression at WNO to be that I just didn’t show, not allowing someone else to fill my spot. I also didn’t want my first impression with them to be a fraction of what I am truly capable. I’ve come such a long way since I truly dedicated myself to singing that turning in a high-school level performance while stopping to cough in the middle was just unacceptable to me. It’s hard to have to wait until next January for a second chance, but since I put on my reason for canceling that I was sick, there’s no telling what will happen between now and then. Singers get scheduling conflicts all the time. Fingers crossed that I can audition again later as an understudy without having to wait a year. I don’t feel good about woodshedding two arias over this month only to get sick at the last minute. Before I made this decision, I talked to someone who’d been my voice coach in college, and he stressed to me how important first impressions are. My gut says this would not be a good one, and to let it go, as angry as I am.
I have sung with laryngitis before, and the recording turned out better than I could have hoped…. but it was church good, not professional career good. The mistakes I made from not having as much control over my voice as I needed in the moment were noticeable to me, but probably not the congregation at large. They would have been spotted by a judge in a nanosecond.
I took this audition seriously. I bought two copies of 24 Italian Songs and Arias so that I would have a book for me and one for my accompanist because it was cheaper than buying a new printer. I spent hours with a metronome getting timing perfect. I did breathing exercises twice a day, sometimes three. This involved taking a heavy book or two and setting them over my diaphragm, making sure I could lift them as air filled me up from all the way down. I marked every day, and practiced full voice when I was sure no one was home.
It was an arduous process, only interrupted by my trip to Paris, where I didn’t sing at all. It was a short enough break to give me some rest, and then I was back at it. I truly thought I had an outstanding audition put together last week, and then my dream of singing for RBG this year flushed itself down the toilet.
And for that, I am angry. All that work. All that emotion and brain-bending math as I figured out subdivisions for art songs I didn’t know (I’m terrible at sight reading, and they said it might be required). But What I Know for Sure from this experience is that I am capable of getting in. I know it. When I was healthy, I sounded great. I could reach the cheap seats in the KenCen (of all the issues I’ve had to overcome with singing, volume has never been one of them).
It’s not over. They will see me again. It’s just a Langston Hughes dream deferred, not a raisin in the sun. I’ll only be 42 when the next audition comes around, which means that my voice will still be full enough to sing opera and I won’t be old enough for that vibrato you can drive a MAC truck through. My trusted friends will tell me when I get it and to please sit down.
I also have the added plus of being able to spend more time on different arias, and choose from a wide variety instead of using the one book full of art songs and arias I was familiar enough with to pull off in one month’s time. I have time to learn Russian, Czech, even French diction (Francais c’nest pas comfortable pour moi). I will truly have time to dig through the annals of soprano arias and find something that isn’t often heard in auditions, because the book I’m familiar with? Well, so is everyone else. It’s hard to be memorable when you’re singing two arias that have already been sung to death.
To borrow a phrase from my trumpet days, I know I’ve already got the chops. I have joined many community choirs in which I’ve become a soloist, and the one time I’ve been offered a college opera role (I didn’t attend the college, I was in the community chorus as an employee), I turned it down because I’d never done opera before and I thought it was unwise not to start in the chorus and see if I liked it. This was ten years ago, so I remember it was some sort of Gilbert & Sullivan… either HMS Pinafore or Pirates of Penzance, but I’ve slept since then. Ten years ago, I was not confident enough to be in an opera because I was thinking about filling big shoes and not concentrating on the fact that my own are pretty bad ass.
I try not to feel stupid about it. The opera ended up traveling and I could have gotten my name out there. But again, it was lack of confidence. I didn’t find it until I moved to Houston about seven years ago, and walked into a church in my neighborhood and saw a familiar face. Joseph Painter helped me with the parts of my voice that needed to change, but it was more than that. He gave me more soprano attitude than I’ve ever had in my life… not diva status or anything like it. Just the ability to look at a piece of music and never, ever be intimidated. He heard the top of my range and said, “with some work, I think you could add a few notes on top of that.” Then, I was already at a C sharp, and I thought I was tapped out.
Unfortunately, I didn’t stay with him long enough to find out if he was right, but in some ways, I should have. Time doesn’t move backwards, ever, but if I’m really lucky, I’ll find the right teacher here. I know for a fact that I wouldn’t want to go back to Epiphany, and not because I don’t like it anymore. It’s just not my place, and neither is Houston, for that matter… even though Houston Grand Opera is in the top five opera programs in the nation, and probably in the top 10 of the world.
Washington National Opera Company (@dcopera on Twitter) has been improving by leaps and bounds, though, because they realized what it took to be world class and are implementing those changes. They even hired someone who used to be at HGO.
The bottom line is that I’m positive that when I am feeling well and healthy, I can crush any audition I want. I have too much training and I’ve been singing too long not to feel this way. And if there’s a bottom line below that, it is having no confidence in my abilities assures me I won’t progress at all. Not wanting to put myself out there already caused me to run away once. I will never make that mistake again.
As long as my body cooperates.
Stories That Are All True 