Post Santa Fe, I had a whirlwind of time in NYC which included many auditions (St. Louis, Sugar Creek, Opera on the James, Utah, the MET, NYCO, Virginia, Prototype Music Festival, Cincinnati, Intermountain, American Lyric Theater, Opera Company Philadelphia, Aix au Provence), two competitions (I ended up getting a Sullivan Career Grant (!), and subbed at a number of churches thanks to friends (Jonathan Blalock!) and a lucky Craigslist ad where I got to sub as a cantor at a wonderful church in Brooklyn (I love cantoring as I find it quite intimate of a worship experience).
I also did a world premiere of Mohammad Fairouz's Sumeida's Song which was featured as a part of the inaugural Prototype Music Festival. Similar to my stunt at ENO, this time I played an Egyptian who ends up killing (his cousin)... this time with a knife. Hey you gotta switch it up sometimes.
The work is about an hour long and really packs in the drama.
Even when reading the synopsis, I found myself really swooped up by the story's tailspin, if not utterly tragic ending.
Mohammad has a wonderful compositional sensibility (to both the audience and musicians/singers at hand) that allows the music to close project the drama with beautiful expressive vocal lines (sometimes doubled in the orchestra, both audience and singer thank you!!!) and interesting and jaunting orchestrations. The piece had an amazing staff across the board and it was quite exciting to be a part of the festival. We were also reviewed to lovely words and PICTURE in the New York Times. Thanks me screaming at my "aunt" Rachel. Ah, Rachel, how I loveth thee. (I met Rachel working AT the MET a few years back. So lovely to work with her here. A true gem).
#AmazingTime, #SingingInNYC, #WhenEverWillIGetMyPictureInTheNYTAgain?!, #AmazingProducersCanMakeItHappen!
Just after I got back from Santa Fe I had a great working (making new friends) experience at Catalyst Advisors thanks to the great Angela Baade at Gainor. Early on they spotted/utilized my strengths to help contribute in their time of need and at the same offered such encouragement and support to my singing endeavors (which included allowances to travel for in and out of town auditions, working from home and part time status when working on a show in town). They respected and valued my place there and that motivated me to make the best contributions to their business. They came to see Sumeida and I must say I was really moved by their support!
(current) Opera Omaha (Armored Guard/Magic Flute)
* Performances February 22nd, 24th
I'm currently in the lovely state of Nebraska singing with Opera Omaha.
Now aside from being an A-list weather destination( in February (!?!), Omaha has been lovely.
How could it not be when you're staying in a mansion...
Kudos and many thanks to Roger Weitz for bringing me to Omaha.
I met and worked with Roger during Chicago Opera Theater's 2005 and 2006 seasons as a young artist. He was astute and quite lovely to work with. Always encouraging and most importantly acknowledging. At the time in one's preparation toward a career, there is nothing more humbling and supportive than an administrator who talks with its artists and engages them in something as simple as conversation.
Mozart’s masterpiece and the latest creation of famed Omaha artist, Jun Kaneko, is sure to be a sell out! Presently the most performed opera worldwide, The Magic Flute is a lighthearted tale of love and adventure, perfect for the entire family. Kaneko’s talent in opera design is recognized coast-to-coast: Opera Omaha shares this production with San Francisco Opera and Washington National Opera at the Kennedy Center.
Couldn't have said it better myself.
Just had the first day of rehearsal today, and the magic of rehearsing and collaborating came back anew. Didn't hurt that Garnett Bruce is stage director, who doesn't look a day older since I last worked with him in Carmen (circa Santa Fe 2006; Anne Sophie von Otter was singing Carmen... #Dreamy).
The essece of running into/working with people you have already known has started and is in full effect. In this production I've had some past dealings with at least 8 folks (administrative, cast, staff). Despite the traveling and away-from-home-ness, this is the one thing that is a balm while being away.
Here is some exciting news for upcoming productions:
New York City Opera (Don Miguel cover/La Perichole)
Cincinnati Opera (Major Domo)
* Performances June 2013
Virginia Opera (Tanzmeister, Ariadne auf Naxos)
* Performances February 2014
Komische Oper Berlin (Zimmerman’s Die Soldaten,Junge Offizier) in the Summer of 2014
* Performances June 15th, 20th, 25th; July 1st, 7th
Much thanks to ADA who set up these auditions. I am lucky to have started working with this hard working agency in January 2012. This kind of opportunity acts as a catalyst in the development of a career and I am fortunate to have one in such a difficult hiring/working climate.
With their help (and the help of all of those that have contributed in leading me down this path) I can now say I'm a working professional singer. This comes with its own challenges (right now financial and consistency of work seem to be of utmost importance) but in the moment, the beauty of traveling, singing and smiling as I wake up serves me well. I promise to approach it all with an open heart ...
Love to all, E
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