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Governor's Arts Awards

2026-02-03T16:05:00-06:00

Last night, I was awarded the "Arts Legacy Award" at 2026 Kansas Governor's Arts Awards. I was truly honored to receive this mention. A Legacy Award…I guess that means I've been around for awhile. It was great to chat with Governor Laura Kelly after the dinner and ceremony and share our concern and hope in the arts.

A few nights ago, I was on a retreat with fellow musicians from the Catholic Diocese of Wichita, Kansas. Of course, I am the Director of Sacred Music for the Diocese. We were asked, "When did music become impactful to you…when was the first time music moved you."

This question made me pause. When I think back, I can't remember a moment when music wasn't impacting and moving me.
It's with me when I rise.
It's with me when I go to work.
…walk on stage.
…teach a lesson.
…lead a rehearsal.
…conduct a choir and/or orchestra.
…when I worship my my Lord, the Creator of all beauty.
…when I sleep (many nights waking me from my sleep).
It has caused me to study this great art form in college in Illinois, took me to Kansas, to the east coast, and back to Kansas.
It's what has taken me around and around and around and around the world…gaining countless frequent flyer miles.
Singing, music, and the arts are a huge part of who I am.

I often remind my students that the human voice is the ONLY internal instrument. All other instruments are external in their production. In order to sing, you have to produce it from inside your body and then set it free. No other instrument has words and the colors of the human voice. The internal voice seeking it’s way to the external in order to be eternal.
And, if that’s my legacy to Kansas and to the arts, so be it. I can live with that. Thank you.

Washington National Opera/Kennedy Center

2026-01-10T16:21:06-06:00

I first stepped foot in the KENNEDY CENTER in 1972 as an 8th grader as a member of the Junior High School Band of America (same weekend the Watergate break-in happened next door). I sang my first performances with the Washington Opera (the predecessor to the Washington National Opera) on stage at the KENNEDY CENTER in 1987. Since then, I have had some of the most memorable nights of my career with the WNO…hundreds of performances in around 30 different productions. There were nights of triumph, nights of joy, nights of despair, nights of sadness...there was also September 12, 2001...a night where none of us knew whether we would perform at this incredibly sad time...but, we did...and we helped heal the audience...and ourselves. The WNO was the first major company to hire me and was one of the pillars of my 40 years (and counting) opera career. The Ring performances of 2016 were a highlight not only for me, but for an entire company and community. The WNO and the KENNEDY CENTER were the center of the opera world for those three weeks in May. I can’t imagine the production and the energy being matched on another stage or with a different company. I have been involved with at least 13 different Ring productions around the world…all were specatcular…this one was special. Other performances followed for me on that stage…but it was hard to match that energy. Performances of any kind of staged artistic endeavor always are best on the stage where they were originally intended. Things just fit together better that way. That the marriage of the KENNEDY CENTER and the WNO has ended truly is disturbing and disheartening. I have so many memories of performing at the Center…but, my memories are even stronger of the artists and company members who have meant so much to me for so long. My memories are of the many friendships that were nourished on and offstage and with those in the audience who became so cherished in our lives. The WNO leaving the KC is the end of an era…but it is not the end of true art. I know the staff. I know the great talent within the walls. I have twice served as the Artist in Residence for the company's young artist program and I know the great talent on the horizon. The Gesamtkunstwerk will continue but in a different locale. And may it continue to inspire, entertain, and enrich all those who seek beauty and excellence.

Die Walküre in Miami

2024-07-20T14:45:12-05:00

Tonight, we perform the third act of Wagner's "Die Walküre" at the Miami Music Festival. This is my fifth visit to the festival…each trip has been very different. Tonight, I not only sing Wotan but am also directing the performance. This has been intimidating but I have enjoyed every second of it…well, with the exception of having a major allergy attack this week that brought on laryngitis. Things have greatly improved and I should be able to make it through the performance…but, we'll see. Strong video visualizations are being used in this presentation and the orchestra, mostly young musicians, sound fantastic as do all the ladies I'm on stage with. They have all been open to this endeavor…one that has most of them signing Wagner for the first time. Our conductor, Aaron Breid, is an outstanding young conductor. I'm sure we will all hear much more from him!!!

I've never directed and played a role in a production at the same time. Your eyes and ears have to be in 20 places at the same time…not to mention, you have to keep your own mind on your own performance. It's been a great challenge…and, I'd like to do it again. But, this time, I want to stay healthy through it all.

Bach and Blue

2024-06-22T14:47:41-05:00

This week, I returned to Decatur, Illinois for a Residency at the Five City Baroque Festival. Now, some of you are probably surprised that I'm taking on Baroque music at this time of my career. I have never sung Bach as a soloist but will sing the role of Jesus in the "St. John's Passion" tonight. It has been a great week of taking on something new, teaching, and just being back in Decatur. Decatur is also the home of my undergraduate alma mater, Millikin Univeristy (home of the Big Blue). This is also where my wife and I met and were married so many years ago.

It is always great to visit areas from your past. However, sometimes seeing the changes is difficult as well. A favorite restaurant may be missing or somebody put up a stop sign where it just shouldn't be. But, for the most part, things are very much the same. And, to me, that's a very good thing.

I'll be headed up to Eureka, Illinois tomorrow for a very special event. Five of us, all former students of Jack and Linda Schepper, will gather to put on a memorial recital in honor of our teachers who both passed away over the past few years. They had such a profound and lasting impact on so many people in Central Illinois. Jack and Linda were HIGHLY influential in me coming to Decatur as a college student as Millikin was their alma mater as well. I'm really looking forward to the performance tomorrow where I will sing some old favorites (no opera) and be reunited with old friends.

Millikin is a special place. I had a bit of a falling out with the University a few years back but am hoping amends can be made. It has educated so many musicians who are performing all over the world. A small school with incredible facilities, it is a leading liberal arts college that has done much good. May it always be so.

The first time I came to Decatur was in 1972. I was part of the Junior High School Band of America and Decatur was "home base". I was a tuba player. We rehearsed here and then headed out on tour before returning for our final concert. The location of that concert was the Masonic Temple which is basically next door to where the Bach concert takes places this evening. It is amazing how things come full circle…and, I'm glad that music has so often been the center of it.

Five years later, I returned to Millikin as a Music Major (Tuba). I gave up the tuba (for the most part and after years of playing) during the first week or so and took on vocal studies. Once I heard the Millikin Choir, I knew I just had to sing. I was also soon, thereafter, cast in my first opera (The Marriage of Figaro). I was so green. I had never seen an opera. Actually, I didn't see an opera until I was in two or three. I remember, during my first month at Millikin my teacher, Jocelyn Reiter, gave me the fairly simple Italian piece, "Caro mio ben" to learn. She also wanted me to visit The University of Illinois (about 40 miles away) to hear a tenor who was coming to give a recital. She was hoping her young student would become more and more inspired to sing. So, I went to the concert. When I got to the Great Hall at The Krannert Center, I was amazed at the beauty and size of the auditorium. But, when I picked up my program and opened it, I was shocked that the first thing on the recital was "Caro min ben". I thought, what kind of a putz is this who is singing one of my earliest learned songs. Well, let me assure you, Luciano Pavarotti gave a tremendous recital that day. Fortunately, I was able to go on and sing with the great Maestro many times. But, this kid from a small farm town got a great education that day.

Oh, and lest you think that all of those years playing the tuba went for nought….my son took up playing the tuba and now has a master's degree in tuba performance. Jack and Linda Schepper's influenced lives in so many ways. Again, the circle remains unbroken.

Appearance on Podcast

2023-09-28T14:10:48-05:00

Recently, I had a great time being interviewed for "The Daniel Hendrick Experience" podcast with Mr. Hendrick, himself, asking all the questions. In the interview, we talked about vocal technic, performing, the business, faith, and so much else. Take a look and a listen…and enjoy!

https://www.youtube.com/watch?v=a9QgL2Ngvg8

"Opera News" and the Guild..We must save opera!

2023-08-26T11:41:26-05:00

In the 70s, long before I’d ever seen an opera (let alone, appeared in one), I lived in a small farming community in Central Illinois. Our high school had approximately 225 enrolled. Despite that small number, we, at one time, had about 90 kids in the band and 90 kids in the mixed choir. There were 3 other choirs from time to time as well as a jazz band. The band, choir, and individual students received countless awards. School musicals were attended (and sold out) by people traveling long distances to enjoy these great performances. The gymatorium overflowed. It truly was a quality music program. And the students were involved with multiple other activities. These were the days when one could be active in athletics as well as the arts. To me, they have always worked hand in hand…being a singer is very athletic and I have trained myself along those lines all these years. There was incredible support for the arts and all else in my hometown. The pride was obvious.

Little by little, starting in the latter part of that decade, school boards and other administrators began chipping away at the arts. Funding was diminished. Roadblocks were put into place. The lack of support came from many angles. A few years back, I visited my old high school to find broken music trophies and plaques (what was left of them) thrown into boxes, ready for the garbage dump. The music library was all being thrown out. Instruments were heaped on the ground damaged or destroyed. It looked like the entire music area had been vandalized. But, it was not vandalized by miscreants. It was vandalized by apathy, lack of imagination, and a lack of culture. The spirit of dedication to the artistic spirit had been silenced and destroyed. There no longer is a real music program in the school. This was a program that developed numerous musicians and others who could carry music on with them through the rest of their lives. No more.
I had no interest in opera as a youth. But, I enjoyed classical music. Even as an undergraduate in college, I knew I wanted to teach music (in fact, I majored in Music Education). During my senior year, I was “recruited” to attend Wichita State University (full disclosure…where I am now the Director of Opera and a Professor of Voice). One of the first things I saw, when I arrived on campus, was a copy of “OPERA NEWS”. On its cover was our most noted Wichita State music alum, Samuel Ramey. I had rarely seen the magazine before that but knew, after that viewing, that it had to be an important publication. From then on, I would read the magazine nearly cover to cover and learned so much from combing through the pages. I learned history. I learned style. I learned of the artists that had sustained the art form for centuries and about the composers and directors who kept opera alive. I gained as much reading that magazine over the years as I did from a Donald Grout textbook.

The magazine focused, primarily, on American opera companies and singers. Even though I’ve sung extensively in Europe, I learned that I didn’t have to relocate to Europe. American opera companies and American opera were alive and thriving…and American singers were leading the way. I have always been a proud American opera singer…and have been thrilled to be mentioned in the magazine so many times and had a feature article about me in the magazine several years back. (I still wish they had printed a better picture…but, I digress). Opera was thriving on those pages and in the auditoriums as well.

Once we had real opera companies…people who worked together as a unit on and off the stage. Young singers gained from watching veterans in big and small roles. Resident directors and musicians were family alongside of technical and other backstage personnel. Support staff were cherished and vital to the well being of a company. Generations of people from the same family would work for the company. The company members would work together, dine together, raise families together, and give their best on stage to these theaters that were loyal and part of what made artists the best they could be. These were special venues that were cherished by all who would walk through the stage door each and every day. Alas…

Sadly, OPERA NEWS and the Metropolitan Opera Guild are to be no more. You can blame this on many things. Some blame the lack of funding to the NEA. As one who has served on two different NEA grant writing committees, I can attest that money does help in some ways…but, in this country, more money to the NEA is not the answer unless it is dedicated only to EDUCATION. We are paying for the lack of attention to the arts, our soul’s voice, for way too long. This is not fixable in the short term…but is a long range challenge that must be taken on. We have become uglier without the arts. We have become more confrontational without the arts. We have silenced people who haven’t even begun to speak to the music in their heart.

Some will say, “Well, OPERA NEWS is just being absorbed into the British OPERA magazine. This is part of the problem. We are farming out our culture. We need an AMERICAN Opera magazine that focuses on our artists, our history, and our culture. Otherwise, the homogenization (boring) productions will continue to take over the arts. We will have more tedious, lifeless, drab, dreary, and dismal productions. We will continue to see audiences dwindle as they have in New York and Chicago. We will not have the finest voices supported or even known about. We will continue to have an art form that has become less about singing (and the artists who create those sounds) than about something that doesn’t even resemble the art form. How many more “trench coat” opera productions can we handle? How much more rolling all over the stage and pushing the envelope creating something that the people don’t really want to see? People go to the theater and opera to be intrigued…but, most important, they go to be entertained. With all the ugliness in the world, they don’t want ugly preached at them night after night…and after spending so much money.

At one time, opera was seen and heard on television through talk shows and full presentations…often. American singers were household names. Opera, even if it wasn’t a favored cup of tea for many, was still a faction that people respected and knew something about. Newspapers and other publications had fine arts sections with dedicated critics. Alas, it’s now hard to find arts journalists in most US newspapers. We have surrendered live opera for movie theater opera (it’s not the same). We have lost so much alliance to local opera companies. We have students who only have a chance to view opera via their computers rather than see the glory that is the art form in person. We have a generation of singers who can’t name 5 tenors, sopranos, mezzos, or basses who graced the stage as recently as 25 years ago. How shocking it was for me to interview a prospective GRADUATE OPERA PERFORMANCE student a few years back who had never even heard of Samuel Ramey (the most recorded bass in history)…and his picture was sitting just over my shoulder in my studio (not to mention, he coached young singers just three doors down the hall).

ARTISTS need to be involved in this discussion. Alas, they have, for the most part, been shut out of the discussion. Without the artists, you have no art. It’s time to stop pretending we are serious about opera and opera companies…and get real. We’ve been pretending to care about the arts for nearly 50 years. It’s time to see if we really care…or if we are going to just sacrifice the beauty that is within us all. Will what we have left of the arts be thrown into boxes, ready for the trash heap, as at my high school? Will we put into place people who genuinely care about what the composer and librettist had to say…and can recreate those ideas effectively? Will we foster healthy and long lasting quality singing that can last decades in a human’s throat? Will we support young conductors who take time to learn music style and repertoire on smaller scales before being thrown into the machine? Will we have directors that are truly more interested in telling the story rather than expressing their own ego? Yes, there are quality musicians, directors, and others in the arts…but we are silencing and losing them. The agenda driven approach to presenting opera is failing (or has failed). When will the opera BOARDS and AUDIENCES speak up and say, “Enough”? Let’s give a voice back to the artists…new artists, yes. But also artists who have walked the walk and sang the song…and helped to make it possible for the art form to survive.
Let’s care about the “Gesamtkunstwerk” of life….let’s care about our souls. St. Cecilia, pray for us!

Summer Sizzle

2023-08-05T11:32:36-05:00

As has been the case in much of the country, it has been unbelievably hot in Wichita this summer. I took some time off (greatly needed rest) this year but have still been out and about when possible with the temperature wildly over 100 degrees so much of the time.

Summer is a time of preparation. I have always wanted to schedule time to recharge the batteries, learn new repertoire, polish old favorites, and, primarily, have much desired time with the family. All of this has happened, happily, this summer and I'm ready to get on with the next season.

The best thing that has happened this summer is having TWO granddaughters born. The first came on our anniversary in May (about 7 weeks early). We zipped down to Fort Worth to see her for the first time and are greatly looking forward to being back with our son, daughter-in-law, and baby Cora when she is baptized later this month.

The second baby (our third granddaughter), Holly, arrived just over 3 weeks ago here in Wichita. What a joy to spend time with her and to already see her growing.

This school year is going to be full of activity. I may be busier than ever. The work at the university and at the cathedral is fulfilling but overwhelming at times. But, I've been blessed with good health and great colleagues. And the singing continues as well. Thank goodness that my voice has held up so well for all these many years. I can't believe I've been singing as a professional for over 37 years. I never dreamed this would happen.

But, on it goes…and I'm excited about every day.

A new design (but the same old singer)

2023-03-21T14:45:13-05:00

Welcome to my newly redesigned webpage. It had been over 10 years with the old software and so it was time to freshen up the joint. I'm going to do a better job of updating all my musings concerning my singing career, teaching, directing, and just being general things in life. You never know what might roll off my fingers.

Tonight we opened "Acis And Galatea" at Wichita State University where I am the Director of Opera. I had never directed a Handel Opera…nor have I sung in one. Come to think of it, I've never even sat all the way through a Handel opera. I have thoroughly enjoyed seeing this production at WSU come together. It's a fresh look at the opera. It's been a lot of fun watching the students bring this to life.

Next week brings Holy Week at the Cathedral here in Wichita where I am the Director of Sacred Music. These liturgies during Holy Week always have a huge impact on me. I'm excited for all that is ahead…and to celebrating, once again, our Risen and Wonderful Saving Lord on Easter.

I'll be leaving for NYC in less than two weeks for a new production of "Die Zauberflöte". It looks like a very interesting production is on tap with sung lines in German and dialogue in English. That gets a bit confusing at times…but, I know this production is going to become an audience favorite.

So, life has never slowed down even though my postings surely did. Enjoy some of my old postings (I didn't include everything I've written over the past decade…just some favorites). Check back often to see what else is escaping from my mind and onto the "page". Thanks for coming along on the journey.

The Metropolitan Opera---Home again!

2022-12-22T14:56:00-06:00

This is a long one, folks. I made my debut at the Metropolitan Opera on April 17, 1989. It was one of the first opera companies with which I sang. I never dreamed I’d be an opera singer…let alone one who sang at The Metropolitan Opera (and in hundreds of performances here at the big house). It just wasn’t on the radar of a very small town boy from Illinois. But, tonight, I sing a performance at The Met in my FIFTH DIFFERENT DECADE. What? How is that possible? It’s kind of a rare thing to have happen…only three of the 368 singers on the Met’s roster this season can say the same. I truly am humbled, honored, grateful, and shocked. When I walked into the lobby the other day and saw my picture on the “Wall of Fame”, I was truly moved. It used to be a picture of me as Wozzeck…now, they use my real mug…maybe they should go back to using the picture of me as the tortured whacko.

A few years before my debut, I visited New York, for the first time, with Nancy (we were dating at the time) and her parents. We attended "Manon Lescaut" on a beautiful evening, March 31, 1981, during my senior year of college. (The day before, President Reagan had been shot.) I was mesmerized by the chandeliers as they floated to the ceiling before the massive gold curtain opened, the gargantuan size of the auditorium, the sound, the voices, and everything that occurred that night. I even got chills drinking out of the Ezio Pinza drinking fountain. I have mentioned before, in a Facebook Post, that I leaned over and gave Nancy a kiss during the evening and proclaimed, “Now I’ve kissed you at the Met”. We had a lot of those “first kisses”. It has been wonderful to have her by my side during this long ride.

But, I said something else that night…I said, “Wouldn’t it be incredible just to stand on that stage just once and sing just one note”. Uhm…that was a LOT of notes ago. Not all of them were great notes…but there sure have been a lot of them.

I can remember that debut performance so well. It was in “Billy Budd”. The John Dexter production is still one of the finest productions to ever grace The Met stage. I had no rehearsals on the stage and had to jump onto that ship and take a cruise. And what a tricky set it was. I was holding on for dear life but surrounded by outstanding colleagues.

I had a car accident just a few weeks before in the city. A taxi cab ran a red light and nailed me. I then rolled into a fire hydrant (thankfully, not drenching the city). My car was totaled but drivable. I made it back to Connecticut, where we lived at the time, in one piece and was happy that my Met debut hadn’t been put on hold because of the crash. But the car was a mess.
My parents came out to see my debut and to visit NYC for the first time. On the day of my debut, I drove our 2nd car into the city. It was a Renault 18i which was already very old. In that car, the heat was either on full furnace blast or the air conditioning was refrigerating you at ice inducing chill…depending on which way you taped down a lever. And, it had to be taped down…otherwise, you left yourself to be roasted in the winter or chilled numb in the summer. So, I drove that car in as Nancy and I arranged for a limo to drive my folks in a few hours later. I didn’t want them trying to drive my crumpled Buick. It was also an honor to facilitate them “riding in class” as they came to the Met for the first time. Nancy rode with them and said that they beamed all the way to Manhattan…holding hands. I was proud that I was making this debut in front of my two wonderful parents who were so very responsible for me becoming a musician.

It was a scary night. I sang my first high F# ever in a performance that evening…and even had a high G in a scene that is, thankfully, mostly covered by the chorus. But I was so happy with the results. A successful debut had occurred and more contracts were presented. I didn’t know that, nearly 34 years later, that I’d still be darkening these doors---and feeling a sense of awe each time I walk through the stage door entrance.
The roles got bigger, more challenging, and more fulfilling as well. Less than 4 years later, I jumped in to sing the Villains in "Les Contes d’Hoffmann" in that extraordinary Otto Schenk production. There were four performances in the run. I was only 33 at the time…WHAT A THRILL! There was a very cute thing that happened in one of those performances. My son, Andrew, who was only just over 2 years old, was held in Nancy’s arms in the wings watching the show. In the first act, my character has to destroy the doll, Olympia. A prop doll is obviously used when I pull off the head, the arm, and the leg. Andy looked at Nancy and said “Why Daddy no like Dolly”?

Andy spent a lot of nights on the carpet of the dressing room gathering space playing Jenga with other singers, makeup personnel, and dressers. The Met family was a huge part of his early years…it wasn’t all about singing.
At the same time I was being four different bad guys in those "Hoffmans", I was also singing in "Die Meistersinger" as well. Those were exhausting weeks. However, I’d live through them again and again if the Lord allowed.

From 1993-2009, I was the only singer of the role of Gunther in "Götterdämmerung" at The Met. There were many performances in the Ring singing Donner and Gunther while covering the great Jim Morris as Wotan. He came over to me on so many occasions during performances of "Das Rheingold" when we were both onstage at the same time singing our roles and quietly say, “Alan, I’m feeling a bit tired…you’d better be ready to go on tomorrow night in "Die Walküre". And then, of course, he’d sing gloriously the next night…which was a good thing because I could hardly sleep on those nights following his “warnings”. In all those years of covering Jim, I only had to go on for him once in a Ring in San Francisco and once as the Villains in Paris. We were sharing those runs. I learned so much from him.

I’ve sung 20 different roles in the big house and covered another 10. Each one was slowly and solidly learned with the help of Met coaches for the most part. So much of my German repertoire was learned under Walter Taussig, drilling me over and over and over. Diction was practiced and perfected (well, I like to think so) with the incredible Nico Castel and Irene Spiegelman. I learned following the greatest Maestros. I gained solid technic not just from my great mentors George Gibson and Richard Cross, but also from watching the greatest singers in the world walk the boards. Countless nights I just stood in the wings and watched colleagues on stage or a conductor on the monitor. Watching Carlos Kleiber conduct "Der Rosenkavalier" on a small 8”x 8” monitor was one of the greatest music experiences of my career.

I grew up in this opera house…as a singer and as an artist. I was very young to take on so much. I had to learn from doing. Watching the greats was a great learning experience….how they breathe, how they move, how they adapt. I learned how to listen, how to control movement, how to prepare a role, and so much more. Working at the Met and at the Kennedy Center with the Washington Opera WAS my young artist program. We didn’t have all the programs that now exist. We learned by doing…the best way to learn anything.
After the Rings in 1990 and 1993, I sang my first Balstrode in "Peter Grimes" on this stage in 1994. I’ve gone on to sing this role so many times and even won the Canadian version of the Tony Award with this role at the Canadian Opera Company in 2013. In 1994, I had only just learned the role as I was to sing it the next month, for the first time, in Vancouver with Ben Heppner and Patricia Racette. However, the great Thomas Stewart became ill before the dress rehearsal and couldn’t sing the run. The Met started calling all over the place trying to find Balstrodes. I was in Frankfurt at the time singing Leporello in "Don Giovanni". I quickly put the polishing touches onto my study and showed up for 2-3 days of rehearsal with just the director and the conductor, James Conlon. A young Renée Fleming was the Ellen Orford. Again, we had no rehearsals together, on or off the stage. On my first performance of the opera, I stood there on that incredible set and in front of that nearly 4,000 seat house, and, when our scene came, she quietly came over, in character, and whispered a supportive “Hi, Alan”…and off we went. We had only sung together once before, 6 years earlier, in Toledo, OH.

"Elektra", "Tannhäuser", "Boris Godunov", "Samson et Dalila", "Die Zauberflöte,”countless "Rigoletto", "Tosca", and "Fidelio", "Hansel and Gretel", and, my cherished "Wozzeck" all followed. I can remember nearly every show in one way or another…and that isn’t because of my singing. I remember them all because of my colleagues…the singers, conductors, directors, orchestra members, chorus members, and everyone else that helps make up the Metropolitan Opera family. Bill Malloy was the head of wardrobe and a dear friend. He retired a few years back…but I remember so many great days and nights just sharing life with him.

I got to know many audience members as well who are just as much a part of the Met as are the singers. I cherished the nights during "Die Meistersinger von Nürnberg" when all of us Meisters would eat wings and pizza backstage while others sang onstage…it’s a long night (It’s a 6 hour opera) and we needed sustenance (although it was always more like a party). How many calls were made from this opera house to Ollie’s for Chinese delivery as well. We had NCAA basketball pools during March Madness (I think I won, once) and talked baseball. And for Bill Malloy and me, Notre Dame football was always at the tip of the tongue (just as much as the text of the evening's performance).

I was onstage the night Charlie Anthony broke the record for most performances at The Met. Charlie was so special. When he found out that my dad had worked at Caterpillar back in Peoria, he asked if I could get him a CAT hat. Dad went to the CAT store, got him one, and mailed it out. Charlie often wore that hat proudly on his trips in and out of the opera house.

I got to sing with so many of the greats including Christa Ludwig, Alfredo Krauss, Luciano Pavarotti, Placido Domingo (many times), Tatiana Troyanos, Hildegard Behrenz, Leo Nucci, Nicolai Ghiaurov, Teresa Stratas, Gwyneth Jones, Sam Ramey, and so many others. It was Placido who had to “stab” me in a performance of "Samson et Dalila" while I was up on a platform. I was to fall backwards where I would be caught by the extra actors. The only problem was that they didn’t catch me one night…and I had a badly bruised, if not broken, rib to show for it. Joan Dornemann was the prompter that night. Her hand was quickly on the phone to summon help if needed and whispered, “Are you ok?” (She thought I had landed on my head). Staying in character (I was supposed to be dead) I grunted a weekly affirmative “Uh-huh”. Breathing wasn’t fun for a few days…but, I was still able to sing the Villains in "Hoffman" two nights later…bursting through that flaming fireplace was something you just didn’t want to miss.

And that night I was injured…By the time I made it back to my dressing room, Bill, Placido, and the General Manager, Joseph Volpe, were already
waiting with a doctor in tow who went through the concussion protocol with me. They were so concerned. They were family.
I was also in the last full performance given by Richard Versalle before he died onstage a few weeks later.

I could write for months about Met experiences, but, for any singer, we have to keep moving onto the next performance…and here I am in the fifth different decade of those performances at The Met. It's been a while since I’ve been back and so many of my old friends have moved on. There are people in this production of "The Magic Flute" who are under half my age. The next singer in age to me is 16 years younger. But you know what, I don’t feel old at all with these people. I used to worry about the traditions fading away…the eras passing…nothing would ever be the same. I thought about that when I came back to NYC a few weeks ago. Would anyone remember me in the house? But, they did…security guards calling me by name…a guy working in the box office calling me by name yesterday…old faces amongst all these “kids”. And how impressed I am with these “youngsters” in the show. It is so very moving.

One of my greatest memories at The Met was getting to know the great Thomas Stewart who I covered multiple times in "Die Zauberflöte". A few years later, we shared a dressing room in Washington during "Parsifal". He was singing Titurel and I was singing one of his greatest roles, Amfortas. I was so intimidated to sing the role in the Sitzprobe with him sitting feet away. What an incredible man. We’d sit and talk in our dressing room…sharing so many stories. His wife, the great soprano Evelyn Lear, sat in a corner while Tom and I talked. Evelyn was reading a new book that her granddaughters had urged her to read…it was a fairly new book about some kid named Harry Potter. These friendships are cherished. When Tom passed away, I was honored to escort Evelyn into the memorial gathering in Washington with the Wagner Society.

It is interesting that I’m now back to sing The Sprecher, the same role that I covered Thomas singing in so many performances. And I’ve got a great cover here this year who will sing two of our nine performances (some are sold out or close to it…that’s a lot of seats). I hope, decades down the line, he’ll look back and be happy that he was connected to previous generations of singers just like I do.

And that is one of the most important things I can bring to the Met during this engagement and during the new production of “Die Zauberflöte” that I’ll return to be a part of in the Spring. I am a link, in this business to other eras. Opera, as I teach my students, is tied, like no other art form, to the past…the traditions, the national identity of composers, artists and politics, creativity, and so much more. I owe a lot to this history and want to be able to pass along these experiences to this new generation who will certainly continue to define their time. I am encouraged by these young singers here at The Met. I also am relieved that I can still hang with them in the vocal department as well. Together, we will sing these performances of a 231 year old opera and know that people are hearing it for the first time and experiencing their first night with this great art form. It is humbling to be a part of it all…I am very grateful to my creator and to all those who have helped create what we do.

One cherished night will always be my favorite in this house. Nobody in the company but Bill Malloy, who is not only a dear friend but a great Catholic, knew about what occurred in late 2009. (Bill’s family, like ours, adopted a beautiful girl from South Korea…another thing we have in common.) That night brought a December performance of “Les Contes d’Hoffmann”, a new production and so totally different than the production of 1993. For a few years, we had, as a family, been away from the Catholic Church. I won’t go into all the reasons we had stepped away…but I do want to share how so much of my life has been shared between faith, family, music, and the Met. I decided, after much discernment and prayer (not to mention, the strong prodding of The Holy Spirit) to return to the Church. Our dear family friend, Father Albert Audette, was coming to the performance on December 23. I had pre-arranged for Father Al to be on my backstage visitor list for that evening. It was joyous to see him, share laugh after laugh, and then get “down to business”. In my dressing room, following a long and difficult performance, I made my confession and returned to the Church. We celebrated the Sacrament of Reconciliation as costumes were put away, sets were moved, fans were greeted, and the opera house was put to sleep for the night…although, during opera season, it never really sleeps. It was an incredible night…and, as my confession ended, it was after midnight and now Christmas Eve. We were nearly the last out of the opera house that night. I think the security guards truly wondered why the leading baritone in the performance left so late that night and with a Priest as well. It was one of the best Christmases ever. My penance was just to just get outside, look at the stars, and be thankful. And, as I looked up in the cool December night air, I truly was. I came home to the Church while at my music home before driving home to Pennsylvania to be with my family at home for Christmas. It doesn’t get much better than that.

I can’t wait for tonight’s performance at The Metropolitan Opera. Wouldn’t it be cool if I could make it to decade #6?

A Very Special Teacher and Friend

2022-10-26T12:17:24-05:00

There is a difference between teaching and Teaching. There is a difference between being a mentor and a Mentor. There is a difference between being a friend and a Friend. Linda Schepper was one of the greatest influences on my life in all three capacities. I have cherished every moment knowing her since I first began studying piano with her as a grade school student. Some of you may remember her husband, who was my band instructor, Jack Schepper, passed away last Fall. Last evening, Linda went to be with him. There are few people who have had a more patient, gentle, and loving spirit...always with a smile...always with such grace. She was an amazing teacher and one of my absolute favorite people. Her talents as a teacher and as a performing pianist were so inspirational to many. She was a pillar of my life. I have so many memories and stories of our days at the piano bench. She also was one of the most influential people to lead me towards Millikin University where both she and Jack were alums. She accompanied me at a solo contest, when I was just trying out my voice to see what came out, back when I was a senior in high school. The judge, after I sang, tried to get me to attend Bradley University where he was the head of the voice department. Linda spoke up immediately and said, "Oh, no!!! He's Going to Millikin!!!" And, indeed I was. Some of my favorite chats with her over the years actually had nothing to do with music. She was so kind and generous to so many...her crocheted garments and blankets are cherished by my family. When my oldest son was born, she made a gorgeous sweater and hat for him...and we were so moved to have his daughter (my granddaughter) wear them 3 decades later. Each of our four children received a beautiful work of art upon their birth. Her love for students when they were actively working with her was apparent...and that guidance and mentoring stayed active and with you long after you "graduated" from the studio. I can still remember the wonderful evening when she and Jack came up to Chicago for one of my performances. I was so honored to have these great mentors in the audience. But, one memory jumps out at me...One Saturday morning, when I was in junior high, I rode my bicycle to my piano lesson which was only about 3 blocks from my house. Along the way, I slipped in loose gravel and fell, badly tearing up my knee. I went ahead and pushed on to my lesson. When she saw me, she quickly took me in, cleaned me up, and showed great compassion and care...and that afternoon, I played on one of her recitals. We do have priorities, you know. I am so grateful for Linda (and for Jack). There will never be another like her. Greatly loved by so many...now and always.

Frankfurt...Recording Time in an old haunt

2018-11-25T21:18:00-06:00

As I write this journal entry, I’m in Frankfurt, Germany for rehearsals, concerts, and a recording of “Der Freischütz”. Back in the 90’s, I spent a LOT of time in this Hessen city when I appeared often at the Oper Frankfurt. Here, I sang in productions of “Aus einem Totenhaus”, “Das Rheingold”, and “Don Giovanni”. I also sang on January 1, 1994, in my debut in Germany, the role of Faust in Robert Schumann’s “Szenen aus Goethes Faust” here in Frankfurt. And, later that year, I toured to Frankfurt with the Metropolitan Opera for a concert at the Alte Oper of Wagner Scenes.

However, I have not been back to the city (except for whizzing through the airport) in over two decades. Facing jet lag head on, I went for a long walk yesterday and repeated that same exercise today. I’m having the strangest sense of deja-vu. So much looks EXACTLY the same as over two decades ago...and so much is so very different. What is really interesting, is how certain feelings or observations seem at home.

When I first came here to sing at the end of 1993, my second son had just been born less than 3 weeks earlier. I had to fly here the day after Christmas. Leaving home was horribly difficult as my wife and young family were staying back in Connecticut (where we lived at the time) while I went to Europe for 2.5 months. Thankfully, they were to join me about six weeks later. But, I think this was the beginning of a very hard “face the music” period time of my life.

I wasn’t sure, at that time, how I’d ever be able to continue in this business with the strong desire to be with my family. I remember, during this time, that I started to set necessary timeline achievement goals. In other words, I put up artificial check points where I would need to reach certain goals or else decide that perhaps it wasn’t best for me to continue as a singer. There were many things I was interested in...singing was only one of them. Family was the most important item on the list.

As time progressed, a lot of successes came my way. Many of them were right here in Frankfurt. The Janacek production was haunting and sticks with me. A poster of that production still hangs on my wall of my studio at Wichita State University. The “Rheingold” was part of the re-creation of Ring Cycles we had done in Brussels a few years earlier...but worked SO much better here in Frankfurt. The “Don Giovanni” production was a major success and gave me a strong European foothold. Frankfurt, for a few years, became a base of opera production and a home away from home...although, it would never match being at home with the family.

Putting those check points into place was a good decision. Oper Frankfurt provided a lot of work during those days. It provided some stability. And, it was a special place as well since it was where my teacher in the States had worked for 20 years when he was a resident member of the opera company during his career. I just felt that this was a good place for me to learn my craft (even though I was already a decade into my singing career). So much of my career had buzzed by so fast. After my professional debut in 1986, I hadn’t had a lot of time to really stop and evaluate what I had going for me, what I’d done, what I was doing, and just where I wanted to go with this business.
I had already been singing at The Met since 1989. I had debuted in Chicago and San Francisco as well. Important engagement were just ahead of me at the Royal Opera House in London.

But where was I going? I didn’t want to be one of those singers that just bopped from house to house, city to city, and from airport to airport. I wanted to be a singer who could have the time to develop a real career of commitment to the dramatic and vocal production. And, I craved and needed balance. Without having what was important to me in balance with a career, I wouldn’t have been able to sing near the performances I was able to do. And, with a career taking over my life, I wouldn’t have been happy as a man. I wouldn’t have been the husband I could be or the father I knew I should be. Balance is important.

My first check point would come in the middle of 1997. I knew, that the time period of three years was an artificial barrier...but, I also knew it was a good amount of time to see whether I wanted to put a check point further into the career or whether, once I reached the middle of 1997, if I wanted to walk away from performing and find a new career. 1995 and 1996 came with some excellent success with a highly regarded debut at the ROH. They offered a great amount of work over the next few years. Some of those productions were successful...one wasn’t. The Bavarian State Opera in Munich offered a lot of work as well...all of that lead to one success there after another. And, The Metropolitan Opera kept offering work with larger and larger roles in the offing.

My repertoire, over those years, started to broaden as well. Roles became increasingly large as I moved more and more into the Heldenbariton repertoire. Wotans were sung in San Francisco. Amfortas debuted in Washington. Jochanaan sang forth in England. The Villains in Hoffmann seemed to pop up everywhere. But was I enjoying all this?

There was a time period in 1996 where I knew I just couldn’t continue. I worried about a lot of things and truly became homesick. I remember singing in Rio de Janeiro (Fidelio) and knowing that my health was being altered by all the stress (not to mention allergies). But, I didn’t need to worry about all that...I had a year before I needed to make decisions based upon the checkpoints not yet being reached. I, at least, had that freedom of thinking. However, each trip out the door brought a battle with “separation anxiety” that was strongly felt. My family was doing great...I just wanted to be with them all the time. My job wouldn’t allow that as I was spending more than half the year living out of a suitcase.

So, mid 1997 came and it was time to evaluate. I looked at the previous years, compared that to what was ahead in the next three years, consulted with my family, and then prayed. I needed guidance as to what my next steps would be. I trusted my agents to find the work (and there was much on the calendar well into the future). I trusted God far more to let me know if I should continue to travel and perform.

God gives answers. No, they aren’t always answers where you feel clobbered over the head. But, He gives guidance and situations that help you to see where you need to go. He has never guided me down the wrong path. He never would...or could. In the Fall of 1997, I felt that the path was clear. It was time to set up a new checkpoint a few years down the road. It was time to take the lessons learned in the previous 11 years of professional singing and apply them. It was time to pay forward any knowledge that I had gained and to help support younger artists in their journeys. I have had NUMEROUS colleagues who went through much the same indecision and worry that I had gone through...and, I knew I could help them out.

I also started to see more opportunities to share my passions. I sought out teaching opportunities in master classes and residencies. I gave more concerts rather than having to go away for such long time periods on opera commitments. My family travelled with me when they could and saw so many incredible things that remain in their memories.

The family grew as well...we were up to three children and a fourth arrived not all that many years later. It was possible to have the balance...it just needed to be worked for...and worked on diligently. Careers, of any kind, don’t just happen. They take shepherding and tending. They require vigilance and patience. They are never completely revealed to you at any one time. You have to set your checkpoints and evaluate often. But crave, covet, and seek balance. One can be the small town farm boy singing on the world’s stages as well as the family man that you were meant to be. One can be the teacher who shares what you’ve learned and experienced with the next generations of singers. One can be truly happy in this business, have roots, and new experiences with each engagement. One can bring their personal self to the audience...all of the lessons learned and all of the notes in his pocket...notes that have been burnished through decades of development.

Frankfurt is the city where I learned to set checkpoints. As I walked today, I saw so many of the street corners where I pondered just what was ahead. Oh, I won’t claim that I’ve figured anything out. But, I know, from returning to this great city, that I have no reason to fear any of the corners on my map. Find the street at the crossroad where you feel God is calling you...then go down it.

I like Being Busy

2018-05-10T08:19:00-05:00

It’s not an exaggeration to say that the past couple of months have been the most busy of my career. Holding down multiple jobs (singer, teacher, director, guest clinician) can sometimes all come together at one time to make an overwhelming experience. However, all has come out well on the other side. Over the last several weeks, I directed “Le Nozze di Figaro” in a very fine production, with outstanding young singing actors, at Wichita State University. In the very same week that we were finishing the rehearsals and opening that run of performances, I was commuting daily back and forth between Wichita and Cleveland where I was singing Kurwenal in “Tristan und Isolde” with the amazing Cleveland Orchestra. They are truly one of the world’s greatest orchestras. What great performances those evenings brought!!!

At the same time I was handling all of those duties, I was learning a new opera (to me). “Der Freischütz” has now brought me to Vienna where we are well into our second week of rehearsals. I am playing the role of the another bad guy, Kaspar. So far, this looks to be a VERY interesting production. But, learning a new opera on top of everything else was taxing on the mind. It’s nice, now, to be able to concentrate only one hat that I’m wearing rather than juggling three at once.

I love being in Vienna. It is such a beautiful and historic city. Culture abounds on nearly every corner. The only drawback is that the pollen is horrendous at this time of year, but, This too shall pass. I have never been one who has needed a lot of time off each year. Keeping busy has never been a problem. However, I do have to admit that I’m looking forward to a little rest and relaxation with my family this summer. After the past few months, it will be most welcome.

Relying on Technic...Always

2018-02-15T22:20:13-06:00

Mike

2017-07-18T23:20:56-05:00

Thoughts at the passing of my brother, Michael, who moved on a week ago, July 11, 2017...

Michael

I’ve had a lot to think about during these last weeks, since just after Easter Sunday, when Mike received his diagnosis of a horrible and aggressive form of cancer. The battle was fierce but short. Mike was always so strong. It was painful to see a man of such strength hit so very hard.

His Strength….Going back to the days of our youth, Mike was incredibly strong. I may have been much taller, but he was still able to pin me with his knees holding my shoulders down…and then threaten to drool on my face. He'd then get up to continue to throw strike after strike when we'd play catch in our backyard. And, to be honest, most times I probably deserved the pinning and drooling. I loved those times.

He taught me how to load caps into a cap gun and how to attach baseball cards to the spokes of my bicycle to make that wonderful sound when the wheels went around. He taught me so many things...important things...and things that weren't.

We had many adventures together as children. It is a wonder that we didn't spend more time in hospitals and doctor's offices. There was the time when I swung too high on the swing set and the entire contraption tipped and fell over on his head. Not wanting to witness his agony, I just went inside...and hoped I wouldn't get in trouble. I knew I’d get clobbered for it later. Perhaps his "revenge" came a few years later when he threw a lawn dart that hit me in the head (luckily, I have a very hard cranium and the "Jart" bounced off). It was an accidental toss……I think.

We were so very different in so many ways...but yet, very much alike as well. For a long time, we shared a bedroom...and for several years, even the same large bed. He'd complain that the hairs on my legs were too prickly. He'd STRONGLY admonish me to stay on my own half of the bed. I think, to this day, that my HALF of the bed was much smaller than HIS HALF. We'd lay awake at night talking about all kinds of things, listening to ball games, or music from Chicago's powerhouse radio station, WLS----890 on your radio dial.

Years later, and when we finally had separate beds, he drove me nuts at night when he'd put on Dolly Parton records or Elton John. Tommy James and the Shondells were another favorite of his. How many times can you listen to "Mony, Mony", “My Baby does the Hanky Panky”, or”Crimson and Clover" ---over and over? How many times can you listen to Elton's "Crocodile Rock”? Jim Croce's "Bad, Bad, Leroy Brown”? Or even Dolly's "I'll always Love You"? But, last year, when I was working at an opera company on the east coast, Dolly came to give a concert on one of my off nights...and I made sure I was able to see her...and the memories of laying in the same bedroom and hearing Dolly singing on the record player were there.

I learned to drive a stick shift on one of Michael's first trucks. He didn't know it, thankfully. He was asleep after working a night shift...my buddy Scott Ireland and I "borrowed" his keys and took it out for a spin. Scott gave me directions on how to push the clutch and shift the gears---or did I shift the clutch and push the gears---they sure did make a lot of noise...but, thankfully, the transmission didn't get left scattered all over the road to Wilbern. Scott and I got the truck back in one piece...none worse for the wear (I hope)...and, even better, without Mike knowing. I just didn't want to get pinned down again or drooled on. I never told Mike that we did this...I knew life was much safer that way.

Mike would come to my concerts when I would sing nearby---I know he never really liked the music--nor did I ever believe that he'd become an opera fan...but he liked when I sang "New York, New York", "My Way" or country songs. He even took a crack at singing some of those songs on a karaoke night at a few favored establishments.

He read a lot and he knew something about a lot of things…just enough to keep it all interesting. And you know, that's a pretty neat thing. He preferred crime shows and Tom Clancy books and movies. And he could discuss and argue the news, politics, and anything else with the best of them. I liked that.

Just like Janet and me, he took piano lessons. He actually played pretty well for many years. The last time he visited us in Pennsylvania a few years back, he could still plunk out songs he'd learned nearly a half century ago--- "The Theme from Love Story" and "Blue Boogie". But, back in the day, after school, I would race home from the bus stop to beat him to the piano so that I could then go out and play earlier. Piano practice had to come before play in our house. Mike was more easy going and methodical--and got the job done. I respected him for that---on this, and on so many things.

Mike and I had a special whistle---only he and I knew and shared it. When we were looking for the other, and only the other, we'd pucker up and blow our special sound. We held onto that. In April, when I saw him after his diagnosis, I mentioned it to him...he knew exactly what I was talking about...but, trying to blow out the sound was a bit tougher that day...too much emotion was being shared instead.

He enjoyed playing clarinet and bass clarinet and being in the band in high school...playing for shows or marching in a parade.

He had an even louder voice than mine. OH, if he only had studied singing.
AFTER he graduated high school, he came back to play in the orchestra for our production of “Bye, Bye, Birdie”—just because Jack Schepper needed him...and Mike was always there when somebody needed him.

I can remember, however, the smile he brought to my face the night we sat at a table and he asked in a sort of strange tone, "Is all Opera in Latin???

Just so you know, I've never sung an opera in Latin in my life.

I remember a wonderful day in August of 1973. Mom and Dad left that day to take Janet to college in Springfield and left Mike and me home alone. We did a little fishing that day, a little swimming...and then, that evening, we decided to go see a movie. Now, you'd think that Mike would want to see a good western or something with a lot of action. What did we go see...at his suggestion? We went to the movie theater in Eureka to see---"The Sound of Music". Mike really enjoyed musicals. It's one of my favorite memories of my one on one times with my brother.

He liked to bowl.

He Loved playing pool and ping pong---we would play for HOURS---every moment that we could when the table was up in the house and Mom wasn't using it for sewing. Several times, we were almost late for school because of Ping Pong. We’d then go right back at it when we'd get home. I'm glad we got to play a game or two in our home a few years back.

How he loved His friends---Mel, Steve, Stan, and all the hunting and fishing buddies.
How he loved being with them and their families at Chetek or elsewhere.

I remember the sad but strong look he had on his face the morning he sat and held my Dad's hand just after he passed away 15 years ago---and seeing how his face would melt into pride when talking about Denise, Jarred or Jenni.

I remember the conversation I had with him on the phone in May when he partially broke down while expressing his thoughts about whether he'd make it to see Baby Krue, his newest grandchild---and he made it---and loves this baby--and how much he loves Peyton, Wyatt, and Waylon. It has been a gift to him to have them so close in these past weeks.

I remember him--
Traveling to take Mom and be with her in Cleveland when she had a heart procedure in 2004---I was fortunate to be in the city at the exact same time and enjoyed our time together just talking as the procedure successfully went on.

And again he escorted Mom to be with us in Pennsylvania when our oldest son got married 3.5 years ago. We were so happy that he could join us. Although my kids didn't get to spend all that much time with Uncle Mike, they always enjoyed those moments.

I remember him---
Loving his high school sweetheart Denise. I can remember double dating with them back in High School. The night of their wedding in September, 1979, was one of the happiest weddings I've ever attended---everyone knew that they just had to be together...it was right.

They grew and gave birth to a family--Two great children in Jarred and Jenni. They faced tough times on many fronts. Mike didn't stop pushing hard to get through them...different jobs, disappointments, strikes, layoffs, but he stayed dedicated--and loyal--to the union and to his company that often frustrated him.

Mike was loyal in all things...to his family, his job, and to, unfortunately, the Packers....and Cubs. I loved going around and around with him over these two flaws. To this day, I'm ALMOST happy the Cubs won the last World Series---just for him.

I remember, as well, when Denise and Mike visited us in Connecticut in 1994...we celebrated Jarred's 10th birthday on the trip. On that day, I took Mike, Denise, Jarred, Jenni, and our oldest son to New York City for the day---to ride the boat around Manhattan and show them where I so often worked. It was an incredibly bright and wonderful day as we visited the Empire State Building as well. Mike enjoyed that...Denise HATED New York traffic and east coast driving...and more than once, I think the car felt Mike's foot go through the floorboard as he sat in the passenger seat---but wishing he was in control of the car.

Mike wouldn't have handled living in a city...he lived just where he belonged all his life...and I'm grateful for that. He was a true Central Illinoisian...he knew ever creek and hollow between Wenona and Morton...knew where the mushrooms were, where the fish bit most abundantly, and where deer hid just awaiting those two weekends in late Fall...those weekends, spent with the hunting crew...they were NOT to be missed.

And, looking back, I've rarely been more happy than when we got to start together on the high school varsity basketball team.

Mike---was one of those guys who could make something happen just out of pure will---of diligence and being hard headed. He was a pretty STUBBORN guy. He wasn't the tallest basketball player by any stretch of the imagination--but, he was disciplined...year after year he was the best free throw shooter. He was also always one of the leading rebounders. He was TOUGH on the floor...just ask the kid from Gridley who is still probably hurting from the "charging call" he drew against Mike. Mike got kicked out of the game for that one...but I'm sure the Gridley guard would tell you, to this day, that Mike got the better end of the deal.

In junior high, he was a very fine discus thrower, advancing to the Regional Finals. In his freshman year of high school, he placed third in the conference golf meet--such a surprise to us all...and he'd never had a lesson. After he did so well, he started taking lessons...and he would have told you that he never played as well as he did before somebody told him how to play. He was that way. He could figure things out. He enjoyed golfing in the area golf leagues, and enjoyed bowling on teams as well.

He built and raced a car and could build things out of wood that were absolutely beautiful. He remodeled his basement into a great "man cave" and helped others on their farms and in their homes. He could shoot deer, turn it into sausage, and save the best pieces for later...he could fish with the best of them. And, he could cook all of his catch...and well. The freezer was always stocked with what he shot or caught...I admired that.

This wretched cancer was fast and aggressive. It wasn't something the doctors or any of us could quite "figure out". Yes, it was cruel...but, during these days, we saw the blessings that Mike gave us all. I saw a very loving family and a great group of lifelong friends lift each other up in support...

Mel, Steve, Stan (your families) and the rest of his great friends, thank you for your visits and expressions of support and care. I remember your days together with Mike from your youth....they were a HUGE part of who he was.

Krystin...thank you for the care you helped provide and the support you continue to give to Jarred, Mike's cherished son, and to your children and Mike's grandchildren.

Jarred, I know how desperately you wanted to get off the USS Carl Vinson to just be with your Dad during these weeks...I praise God for your service to our country...but far more for you service and love to your Dad and to your family.

Jenni, our conversations in person or via text show your admiration and love of your Dad...how he loved you and wanted always what was best for his little girl. The pictures I have of you with Mike at Lambeau Field when he finally got to visit the Frozen Mecca for Football fans are some of my favorites--and you can see, by the look on his face, that they were some of his favorites moments of life as well. I'm so happy that he got to meet little Krue...and I know how much this means to you as well. Thank you, as well, Eric, for all your help to Mike---and to Jenni.

Mom and Janet...my heart breaks for us all as we lost such a devoted son and brother---a rock--a steady force and strong spirit whom we loved so dearly.

And that goes for his entire large, extended family. He enjoyed spending time with his relatives---Aunts, Uncles, cousins, nieces, nephews, sisters and brothers in laws---such a wonderful family---all reaching out to show so much support in these weeks. Thank you for all of that.

And Denise---seeing you lie on the bed last week, just rubbing Mike's arm...being there...loving him...loving your all too short time...he knew just how important your lives were together...your very special bond...he felt and knew your love. That love was established over 40 years ago...was noticed by all who would see the two of you together. I was happy to see your love grow then...and to see it fast and solid to this day. He was greatly blessed because of this....thank you for all that you have always been to Mike...and to us all. As Dolly said, he (and all of us) will always love you.

May our most gracious, loving, and merciful God be with you-and all of us-now and forever. And may Mike, who was so strong, be lifted into God's even stronger, loving arms, to be at peace and rest...now and forever.

Singing in the backyard

2017-02-19T09:21:35-06:00

This weekend, I’m singing two concerts with the Wichita Symphony Orchestra and the Wichita Symphony Orchestra Chorus at Century 2 here in Wichita (of course). On the program is quite a bit of Wagner but also some Puccini, Bizet, Borodin, and Verdi. It’s a huge, meaty, and thrilling concert full of repertoire that tickles the ears and ignites the soul. It is also dog gone difficult to sing.

I am absolutely thrilled with how wonderful the Wichita Symphony, under the baton of Music Director, Maestro Daniel Hege, are playing this great music. What a wonderful full sound. And the chorus has blazed through their great choruses as well (under the direction of Dr. Michael Hanawalt, my colleague at Wichita State University.

So many in the orchestra are colleagues of mine at WSU. It has been great to see them dive into this music--much of it new to them. Several of the pieces we are presenting in Wichita are being programmed for the first time in Wichita. I am greatly enjoying bringing a bit of what I do on the road to the audiences here in Wichita. And, I have to say, it is wonderful to only have to commute around 20 minutes from our house to the concert hall.

This city, the arts in this city, its’ musicians, and its’ incredible talent, mean so much to me. As you know, I received my Masters Degree from WSU. I have, over the last nearly 35 years, stayed in contact with the university during my performing career and always enjoyed every trip back to Kansas for a recital, concert, or master class. But, nearly 3 years ago, we decided to make Wichita our home once again. I don’t know that I fully expected to see such professionalism in my colleagues...such a dedication to their craft. Our faculty is young, vibrant, and incredibly talented. They are helping to enrich the lives of their students, their orchestral members, and the entire South Central Kansas region. This is a QUALITY orchestra of great skill. I am honored to have sung with them last night and look forward to our second concert in just a few hours.

After today’s concert, I’ll have a week of teaching (happy to only wear one hat for the week) before flying to D.C. next week for a concert of Beethoven’s “Leonore”, the early version of what was to become one of my most performed operas, “Fidelio”. I’ll be performing with the Washington Concert Opera, a company I haven’t performed with since 1989. I’m so looking forward to being back in Foggy Bottom--a place that has been near the center of my career for so many years.

The concerts are challenging and fulfilling, the weather has been gorgeous, and the best time of year, college basketball season, is upon us (and going well for the Shockers). Despite all the discord and angst in our lives, it is great to know that so much can be surpassed by the beauty of music, the dedication and discipline of fine artists and colleagues, and the desire to enrich others through our talents. May that long be the goal and standard.

Back in the land where Wolves are Trapped

2016-06-26T15:22:13-05:00

What an honor it is for me to be back at Wolf Trap and to be the Artist in Residence for the 2016 Wolf Trap Opera Company. I have had a LONG affiliation with Wolf Trap (dating back to 1987) and always enjoy my return trips to the beautiful Wolf Trap Park for the Performing Arts in Northern Virginia, just outside Washington, D.C.

This year, the unbelievably dedicated and gifted Senior Director of the program, Kim Witman (who has been affiliated with the company even longer) has assembled a remarkable group of Filene Young Artists and outstanding studio artists as well. This month, I have had the pleasure of teaching/coaching these young singers, watch them rehearse, and even perform with them a bit. A few weeks ago, the young artists gave outstanding performances of Britten’s “The Rape of Lucretia”. The studio artists have been giving concerts as well as performing various opera scenes.

Remaining to be performed is a wonderful treat for the audiences---Florian Leopold Gassman’s “L’Opera Seria” (you won’t see this one at your local opera company very often) and Puccini’s masterpiece “La Boheme”. There is also a concert this coming Friday night with these great singers, the National Symphony Orchestra, and yours truly. It will be a concert of American compositions and patriotic music in the Filene Center. Don’t miss out on these performances.

I have always found the Wolf Trap Opera Program to be one of the finest, if not THE finest, young artist training programs in the country. The singers are given real performance opportunities and have the chance to work with outstanding conductors and directors. They are nourished and nurtured and deliver so much to the audiences at such a critical point in their careers. I am grateful for this company, for Mrs. Katherine Shouse (who founded Wolf Trap so long ago) and all who support this great organization. The company gave me my start and will always hold a very special place in my heart.

Today, the young artists presented an “Aria Jukebox” concert where audience members voted on which aria, out of a choice of 4 or 5, that they wished to hear each singer perform. The results were outstanding. With short notice as to which aria they would sing, each young artist sang superbly and with great communication, artistic style, and well developed voice. These are the voices of the future of opera. These are the voices that will continue to foster our 400+ year old art form. We are in good hands. Don’t miss them and also your chance to be able to say, a few years down the road, that you remember hearing this or that singer when they were just starting out. You’ll be glad that you did.

Ring in D.C.

2016-05-19T12:22:54-05:00

My association with the Washington National Opera has dominated a great percentage of my career. I first came to this company in 1987 after a summer as an apprentice with the nearby Wolf Trap Opera Company. The Kennedy Center has been my operatic home for so very long. I can’t imagine not having this wonderful edifice in Foggy Bottom as my musical base.

My history in the theater, however, goes back even farther--15 years earlier to June 17, 1972. I was a 12 year old tuba player in the Junior High School Band of America. We came to Washington to give a concert at the Lincoln Memorial. This was such a privilege and honor for such a young boy. I remember, however, being too nervous to actually walk up the steps of the Memorial to view the incredible statue of Abraham Lincoln as he sits staring out over the Mall. It was so intimidating for a fellow citizen of Illinois as nobody else seemed excited to make the climb.

After the concert, the leaders of our organization decided to treat us all to a performance at the newly opened Kennedy Center for the Performing Arts. The dedication had only occurred a few months before. I remember we went to see a concert opera (I don’t recall what it was--possibly Rossini?) but I do remember the red motif, the bust of JFK, the long central grand hallway and the Halls of States and Nations with their incredible display of hanging flags. I also remember how fatigued I was from our journey and falling asleep on the shoulder of the complete stranger that I was seated next to. I’m sure he didn’t expect to have this young, pre-adolescent farm town kid from Illinois spoiling his evening at the opera--thankfully, he never complained. I remember him being very nice.

Oh, but one other important aspect to that evening..remember, it was June 17, 1972. At the very same time that I was “enjoying” that concert, a little nefarious activity was going on right next door at a pretty significant office complex called...The Watergate. Sometimes, I feel like my life is like that of Forrest Gump.

I only bring up these events to show how long I have been associated with this company and The Kennedy Center. I have sung over 30 productions in the D.C. area over these decades in hundreds of performances. One project, however, that has occupied so much of my time has been the preparation and presentation of Richard Wagner’s “Ring off the Nibelung”. We started this project in 2003 with “Die Walküre” at Constitution Hall as the Opera House in the Kennedy Center was under renovation. It was an extremely interesting concept by Francesca Zambello that was magical to the artists and the audience. Because of the space, the orchestra, led by the late, GREAT, Heinz Fricke, was behind a scrim and behind the singers. We were thrust well into the audience, surrounded on all four sides by either opera patrons or musicians. It was magnificent and so very intimate. Placido Domingo played my son, Siegmund. Try having him die in your arms and not feel just a bit tinged by emotion. (We worked together, for the first time, with this company back in 1988.) It was decided during that run that Washington should attempt to complete an entire Ring production....exciting times lay ahead.

During that 2003 run, my wife and I were blessed to have our baby girl, Lydia arrive from South Korea. She arrived on a Thursday evening. Our family met her at the airport in Newark but then I had to drive directly back to D.C. for a performance the next night. Talk about a little “Leb Wohl”! I had another week of performances before I could get back home and spend time with my three boys and Lydia. I had a completely different outlook on singing Wotan now that I had a daughter.

In 2006, a new production of “Das Rheingold” premiered. I was not in this initial run as I was already committed to Pizarro in “Fidelio” at The Met. The wonderful Robert Hale was the Wotan for that first installment of the Ring. I did, however, make it back for “Die Walkure” in 2007. Then, our project started to face some headwinds. “Siegfried” was delayed until 2009 (“Der Fliegende Holländer” filled its spot in 2008). And, because of financial difficulties facing the company as well as the country, Götterdämmerung, was presented in concert rather than in a full production. Still, those concerts were outstanding. They were also lead by our current wonderful Maestro, Philip Auguin. What an impression he has made on us all.

The Fall of 2009 was to be when the complete cycles were to be given for the first time. Unfortunately, the continued economic downturn cancelled those runs. When I first heard the news, I was devastated. We had poured so much into presenting these cycles that were not to be.

In 2011, the San Francisco Opera took up the charge and did present complete cycles--including a fully staged Götterdämmerung. How I hated sitting on the east coast knowing they were doing “my” Ring!!! But, not all that long after that, we started hearing rumblings that perhaps complete cycles might actually occur in Washington. The big questions were when, where, and who. Would it be all new artists? Would it be at a time when I was still actively singing? Would I want to reserve so much time yet again and then perhaps not see it all come to fruition?

It was worth the wait. This past February, we all gathered to proceed with our journey. No two cycles are ever the same due to personnel, interpretation, dedication, execution, and so many other things. Many, who have been involved with the project for some time, returned. The rehearsal period was so rewarding and well handled. I don’t recall Ring Cycles ever coming together with less rancor. It has been a joy. I have been involved in something like 12-13 different Ring Cycles around the world. This one is VERY special.

And, three weeks ago, the task that inspired “Vollendet das ewige Werk” was accomplished here at The Kennedy Center with the Washington National Opera. Two Ring Cycles have now been completed and we are half way through #3. What a success it has been despite battles with allergies, injured sopranos (I’ve had four different Brünnhildes in the last four weeks due to cast changes and injuries). The audiences have been amazing in their attention and response. I’ve never heard such disciplined and receptive audiences. The orchestra playing has been beyond anything I’ve ever heard the Kennedy Center Orchestra achieve. The staging is compelling and meaningful. The singing? Gorgeous!!! It has been an honor to be a part of all this. A 13 year journey is almost complete.

And, how do I feel about that? Well, I have to say that saying “Leb wohl” is going to be difficult tomorrow night as I sing my last performance in the project. There will still be one more performance following my last “Siegfried”---“Götterdämmerung” awaits on Sunday. By that time, I’ll be home in Kansas to celebrate my youngest son saying “Leb wohl” to his high school career. I will greatly miss my colleagues, this production, the staff, the orchestra, and everything about being a part of this incredible saga. It has been an amazing journey--a fulfilling and rewarding ride with the valkyries, dwarves, gods, and mortals. And it has been an honor to perform once again at The John F. Kennedy Center for the Performing Arts--my operatic and theatrical home.

I always like to remember the words of John F. Kennedy that are engraved on the exterior west facing wall at the Kennedy Center. May they remembered, and treasured:

I am certain that after the dust of centuries
has passed over our cities,
we, too, will be remembered not for our victories or defeats
in battle or in politics,
but for our contribution to the
human spirit.

Fidelio...yet again

2015-06-06T21:23:38-05:00

Every artist, over the years of their performing career, strings together various roles to complete their repertoire. In the early years of a career, you’re constantly learning new things and trying them out. Even later on, you find that there are seasons when a load of new repertoire comes your way. For example, between 2011 and 2014, after already having sung for a very long time, I found myself having to learn several new roles and taking on new challenges. Yes, it does get harder to learn these things as you get older, especially when you specialize in long Germanic operas as well as some pretty challenging 20th century repertoire. Some roles, like Hans Sachs, are worth the wait. Other roles, even though they are shorter, challenge you on various artistic levels and lead you back to having to use every bit of your academic knowledge to learn and create them correctly.

I can still remember, during one of my first early young artist engagements, talking to the wonderful bass, David Pittsinger, about learning new roles. We were both working as young artists at Wolf Trap in “Il Barbiere di Siviglia” (and both studied with the wonderful Richard Cross). Both of us were facing learning new roles (lots of them). I can remember us both saying that we looked forward to the day when we’d start repeating roles after having them under our belts. And, when that time came, it was a joy. One finds that they perform each role so much better on the 2nd or 3rd or whatever number production they get of an opera. Notice, I didn’t just say, “sings each role” better--I truly mean “performs each role” better. There is a difference. With repetition of roles, you develop the character with more depth. You live inside the character’s clothing far easier. You have more of a foundation to build upon. And, of course, you sing the roles better as well (hopefully).

During my first season with The Washington Opera (1987-1988, before it became The Washington National Opera), I was given 5 small roles to learn (on top of learning two large roles for Wolf Trap, a major covering assignment at The Metropolitan Opera in Alban Berg’s, “Lulu”, and a few other small roles for various companies--11 roles in all). This was a HUGE investment of time and energy and showed that the companies were putting a lot of trust and hope in my future. But, I wasn’t sure if it was a challenge I could completely pull off.

Well, it did, of course, all come together. Most of those operas have long “left the building” of my career. One, however, has remained front and center. That opera is “Fidelio”. In that season at The Washington Opera, I sang the VERY small role of the Second Prisoner. We had a marvelous, young stage director by the name of Laurie Feldman recreating Michael Hampe’s incredible production from the San Francisco Opera. Laurie did an amazing job putting it all together--it’s not easy to recreate another director’s work. (To this day, that production remains the finest I’ve ever seen of “Fidelio”.) But, it was so obvious to see how much talent Laurie brought to the table--and, she’s still gifting us with her talents. Gerard Schwarz conducted and James McCracken sang Florestan--his last performances before his sudden death a few months later.

A few years later, the Met hired me to sing the role of Don Fernando in “Fidelio”. I always enjoyed singing this role although it certainly wasn’t the most challenging thing I’ve ever sung. In 1992, however, I was hired to sing Don Fernando in San Francisco (the same production that we had in Washington) and to also cover (understudy) Don Pizarro. Pizarro is one of the baddest guys in opera. It’s a challenging role vocally due to the heavy orchestration and the way Beethoven decided to set the vocal line. One has to be careful to not get carried away. You have to maintain the legato through some of the most punctuated and non-linear text. I can still remember, quite clearly, the final rehearsals of that production. The scheduled Pizarro, my friend and colleague Ekkehard Wlaschiha, became ill and wasn’t able to sing. It was decided that he would act his role out on stage but that I would do the singing for him from the side of the stage. The only issue is that this causes problems in the final scene of the opera when Pizarro (the role I was covering) and Don Fernando (the role I was scheduled to sing) appear and sing onstage at the same time. I can still remember the schizophrenic feeling I had when I had to jump between the vocal parts for those few minutes. I was asking questions as one character and giving the answer as the other. In fact, to this day, I have to be careful to make sure I sing the correct part in performances since I’ve sung both roles so many times. After that rehearsal, Ekkehard gave me a wonderful bottle of whiskey---I needed it (although, I think I ended up passing off the booze--appreciative as I was, whisky isn’t my thing).

I have so many memories of singing this opera with great casts and wonderful colleagues. Nearly all of the memories are very good ones. The rehearsal process of this opera always brings a lot of nice times on and off the stage for the cast. And, there always seems to be funny stories that come out of it all as well. I can still remember an important performance of this opera at The Met in 2006. It was the Saturday afternoon radio broadcast that was being sent around the world. My good friend, Ben Heppner, was singing Florestan. In Act 2, he, as a prisoner, has just been given some water and bread in the dungeon to sustain him (just before he’s supposed to be killed). I, as Pizarro, enter to do the killing. The dramatic quartet begins with me threatening Florestan and waving the knife. After my first lines, Florestan is then to dramatically call me a murderer and defy my presence. However, Ben knew how dangerous it is to eat on stage (it seems, if we try to do that, we always get something caught in our throats when trying to swallow). So, Ben had lodged that little piece of bread into his cheek and awaited my arrival. He spouted his lines wonderfully--but, he spouted the bread even more fabulously. I didn’t see it coming and got nailed with the soggy goo--all over the front of my costume. I didn’t even realize it at first--but wondered why there was this disgusting wad of glutinous paste all over my jacket. I couldn’t get it off before the final scene. It was actually some time later when Ben and I figured it out--he knew he had spit--he just didn’t know he had baptized me so thoroughly. Stinking tenors!!!! Thankfully, it was only a radio broadcast and not a televised performance. I don’t think the world was ready for globs of partially digested mana all over the attire of Pizarro--bad guy or not.

Over the years, I’ve returned to “Fidelio” so many times. I graduated from the 2nd Prisoner (Washington) to Don Fernando, which I sang at The Met, San Francisco, Chicago, Charleston, and Washington (in a new production nearly 7 years after my 1988 encounter), to being a “full-time” Pizarro at The Met, Amsterdam, Paris, Seville, Salzburg, Tokyo, and with the Berlin Philharmonic. I recorded the role with the Berlin Phil with Simon Rattle conducting. I guess the next thing for me to do is learn the role of Rocco so that I will have sung every bass clef part in the opera.

And now, I find myself in Madrid, Spain for more Pizarros. Tomorrow, June 7, will mark my 100th performance of the opera. I never get tired of this magnificent piece. I never get tired of learning new things in each and every performance. I enjoy the camaraderie of my colleagues on stage, working with the chorus and orchestra, and having fun with them all off stage. I enjoy the funny stories that come out of the rehearsals and performances. Yes, I’ve cherished all of the preceding 99 performances and look forward to number 100 tomorrow (as well as 101-103 in this run and then 104-106 with the San Francisco Symphony Orchestra later this month). This opera has been very good to me...and, I’m very glad that those days of repeating roles finally came.

Nico

2015-06-01T19:24:11-05:00

Many of my colleagues today have posted of our sadness concerning the loss of a phenomenal genius and friend. Nico Castel was, simply, one of the greatest gifts to opera. His talents were obvious on stage. Over 700 performances (in over 100 different roles) at The Met showed us his great creative abilities. His support off of the stage, especially to young singers, was incredible. His scholarship, which will remain in the training of young singers, will last forever. Nico first heard me in a master class that he gave at Wolf Trap in the summer of 1987. He was so complimentary and supportive when I sang Wagner for him. From then, he became a good friend and mentor in so many ways. A few months after that master class, I showed up, for the first time, at the Met's door for coaching on Alban Berg's "Lulu", an opera that is fiendishly difficult and one that I had been given a contract for to cover. This was a tall order for someone who was as green as I (and only 27 years old). He was so patient but yet demanding. He pushed me to get the diction right. He did that on every role I did with him--and there were many. He returned to Wolf Trap, the following summer, and coached our production of "Don Giovanni". Every time I sang the opera after that (and Leporello is one of my most performed roles), I thought of his lessons. And, how proud I was, in the spring of 1989, to have Nico onstage with me during my Met debut in "Billy Budd". Many of you have seen the video of Nico performing the many interpretations of the Haushofmeister in "Ariadne auf Naxos". He used so many accurate and incredible accents. But, imagine sitting at a table in the Met cafeteria, with him and other colleagues, and have him do that routine for you---LIVE. Oh, my!!! He was an absolute GENIUS (he spoke fluently, with many different dialects within, at least 7 languages). But, I have a memory of Nico that I cherish perhaps even more than any of these. In 1988, Nico, his daughter Sasha, and a few others of us from Wolf Trap, went to Baltimore to see the Orioles play (in the old Memorial Stadium). It was absolutely hilarious to hear Nico call for a hot dog or peanuts or whatever else using whichever New York or foreign dialect he wished. The entertainment at the game came far more from our friend in the stands than from the game on the field. I am saddened to hear of this great man's passing. He gave us all so much. I have students at Wichita State University who consult Nico's books for diction advice and help with translations. Thankfully, they will continue to learn from this absolute master, as will I. His work is not finished...it will live on.

Dialogues of the Snowplows

2015-02-22T00:24:37-06:00

So, it was a bizarre night at the opera. Two of the more emotional performances I've ever been part of occurred in this same theater (Opera House) at The Kennedy Center in Washington, D.C. The first one was on 9-12-2001...I don't need to go into much detail as to why that was emotional--being in D.C. during that time period was an experience that I'll never forget. At the end of the night, it was clear that we helped the audience during difficult times--and they helped us as well. Tonight was a different story. "Dialogues of the Carmelites" is always an extremely emotional experience for the cast and audience alike. However, today, a pretty significant storm hit the D.C. area. Now this storm wasn't nearly as bad as what I've been through before or in line with what Boston has been receiving. But, this is D.C. It's basically a Southern city and things are a mess. There is not the snow removal equipment here that there is in northern cities. It was announced earlier today that opening night would go on--and so, it did. But, just before curtain, I looked at one of the monitors that we have backstage that gives a clear view of the audience. It didn't look like anyone was in the house! Very disconcerting. However, our wonderful director (and the Artistic Director for the Washington National Opera), Francesca Zambello, went out to the audience and invited everyone to come down to the orchestra level and move together towards the center since so many were not able to make it into the theater for the performance due to the storm. Out of 1,800 tickets sold for tonight's performance, only 636 people were able to make it (including two of our favorite Supreme Court Justices who never seem to miss an outing at the opera). 25% of the chorus was missing at the beginning of the show and one trombone player as well. The people gathered in the center of the hall and sat enraptured through the next three hours of incredible music drama. The reception at the end of the night, after the last strike of the guillotine, was very moving. This is a powerful piece, one that speaks incredibly to the present situations in the world. It is a piece with overwhelming grace, sincerity, and reality. It is a piece that I am thrilled to have been a part of tonight. And, I'm grateful for every single one of those audience members who came to the performance. For those who couldn't make it, I understand your tickets will be warranted for another performance. Don't miss it!

Soaking the Singers...at least the youngest among us

2014-11-25T13:25:19-06:00

Many of you may be aware that I posted a little item to my Facebook page the other day that’s received quite a bit of attention both here and in Europe. I wrote concerning the expenses that young singers are facing as they attempt to start their careers. I am concerned about the fees charged in order for them to get into the door of certain regional opera companies, universities, competitions, and young artist program. It was not my intention to vilify these institutions. However, what I totally decry is the practice of charging all these students and then never giving them an actual audition. The students simply can’t afford the amount of money that is needed to get their careers off the ground if they intend to do a full run of the audition opportunities. But, to spend the money and not get any feedback, let alone an audition, is just not right. A few universities also are in my radar as the amount they charge in application fees and then screening and audition fees is ridiculous. Quite simply, they are making money on the backs of the young talent. Very fine singers are simply not being heard and are not being allowed to continue their artistic endeavors due simply to the charges they face in order to take some very important early career steps. This is certainly a change from the days when I started my career. I am fully aware that facilities where auditions are held cost money to rent. Pianists, if they are to be used by the singers (many bring their own) are sometimes provided which would necessitate some costs. But singers also have to pay for travel, lodging, and all other kind of expenses to get to the audition location--of course, that is if they get an audition in the first place. The amounts being charged seem over the top in so many cases. More opera companies should hold their auditions together in order to help the young singers. Dates of auditions should be grouped so that singers can get to more auditions in a shorter amount of time. Companies should find ways to make things far more advantageous for the young artists to exhibit their talent. Anything short of that will lead to our art form being diminished in so many ways. Let’s do all we can to aide the advancement of some very fine talent.
On another front, we’ve begun our Thanksgiving break here in Wichita. It has been a great semester to this point and I am so proud of my students at WSU. I also look forward to the concerts that remain this semester and to the exams (it’ll be nice to be on the other side of the desk during the testing). Most of all, I’m thrilled that our entire family will be together, for the first time, in Wichita over the next few days. How great to be “home for the holidays”.
Oh, and the Wichita State SHOCKERS are now ranked #9 in the country. What a team, what a town! I’m a proud alum and faculty member. I’ve enjoyed singing the National Anthem for both a men’s and a women’s game this Fall. May the winning ways continue!!!
I hope you all have a truly thanks filled Thanksgiving. May you be blessed in joyful and wondrous ways.

Jockanaan...A Great Production...and a new job

2014-10-03T18:40:51-05:00

I have played the role of “Jochanaan” so many times (and have written about him on this page, OFTEN). I’m not sure if I have too many more words to say about him. Well, let me just say again that I love singing this role in Richard Strauss’ “Salome”. Having the opportunity to return to Vienna to once again sing the role, in this great production that dates back to the early 70’s, is an honor. This is my third visit to Vienna just for this production. I’ve also sung Wotan (“Das Rheingold”) and The Four Villains (“Les Contes d’Hoffmann”) here. This “Salome” is a production that clearly tells the story with no gimmicks. It has been the setting for so many great casts over the years. When the production premiered, the great Leonie Rysanek was the Salome. In another year, one of my greatest opera heroines (and a wonderful supporter), Birgit Nilsson, also sang the title role in this production. It is simply a joy to step out onto the stage of the Vienna Staatsoper (Staatsoper Wien) to once again help to bring this opera and this production to life. I think the cast assembled for this run is first rate. There have been wonderful things happening in our three days of rehearsal. The cast is full of committed singing actors who are pouring a lot into their roles We are lead by a very talented, young French conductor, Alain Altinoglu. I’m looking forward to our opening, tomorrow night. I wish it was a longer run than just three performances.
Traveling to Vienna was a bit of a struggle with all of the airport problems occurring in Chicago. However, the trip from Wichita wasn’t all that bad, all things considered. Traveling on such long flights can be dangerous for singers. Dry air, bountiful viruses and germs, and jet lagging time travel can weigh upon one’s health. I usually try to book in a bit of extra time to recover before trying to sing. I think, this time, I got the balance about right. However, I have to admit, I was concerned. I’ve never come into a singing engagement so quickly after a long stint of teaching. There were questions in my mind as to what kind of shape my voice would be in. I have to tell you, I feel great!
I have often said, “Teaching makes me a better singer”. I really had to try out that theory with this engagement. Joyfully, I can say that I believe that axiom to be more true than ever. I greatly want to thank my students at Wichita State University who have helped to prepare me more than ever for this singing engagement. Working daily with you and on your vocal issues has helped me to examine my own singing all the more. I truly have to “practice what I preach”. My voice feels very focused and strong as I enter this performance run. Perhaps it is from hearing my own voice in my head saying to the students this or that. Perhaps it is from trying to replicate, to some extent, the many right things that you do each day in my studio. Perhaps it is the realization that I now belong even more to a community of singers--a community with a future that I have a deep responsibility to help foster and nourish. You will continue to have my full dedication as a teacher to your development--just as your development and dedication is helping me in my career--as a teacher and as a singer.
I would be remiss to not thank the singers from Yale University who I have also been in touch with this week. I look forward to seeing all those returning students this December when I return to New Haven for a master class and private coatings. And, for those who have already graduated and are in touch (proudly, I have to say that one Yalie is singing an important role in this production here in Vienna), I look forward to continuing to be of support to you and to following your wonderful budding careers.
Of course, we have now entered Fall. I hope it isn’t redundant for me to say the simple fact that THE ST. LOUIS CARDINALS ARE ONCE AGAIN IN THE PLAYOFFS. Followers of this blog know that their seemingly yearly appearance in the post-season drama brings great joy to my heart. I have enjoyed blogging through the past several post seasons about the success of the Cardinals. They have been “my team” since I was a small town boy in Washburn, Illinois. The 1967 team of Brock, Flood, Maris, Shannon, Maxvill, Javier, Cepeda, McCarver, as well as pitchers Gibson, Carlton, Briles, and Horner, will always live in my memory. They inspired my love for the game and for all sports. May the current team bring joy again to St. Louis this October (just as you have all summer and in so many previous seasons).
Our family has continued to adjust to being back in the Midwest. We are still getting the house in order. But, it’s coming. Thank you to all the Wichitans who have stepped forward to make us feel so welcome and to all my friends and colleagues at Wichita State who have eased my transition into academia. What a great Church family we have at our parish! Our younger two children are enjoying their new schools and being part of sports teams and music organizations. We are enjoying the fact that traffic is light and heat is plentiful. Nancy and I have found a new home. But we also are so thankful to have such a wide group of friends--back in Pennsylvania and elsewhere. You have been so supportive these past several weeks. Wherever we go, we find friends and others who are enriching our lives. I pray that we will always enrich and support yours as well.

Salome in Philly with YNS

2014-05-19T13:42:09-05:00

Last night brought the first of our two “semi-staged concert performances” of “Salome”, a co-production with the Philadelphia Orchestra and Opera Philadelphia. As you know, I’ve sung the role of Jokanaan MANY times--it’s one of my most performed roles. There are a few roles that I’ve taken out of my repertoire because I’ve either “outgrown” them or just became a bit bored with the character. I do not believe I will ever grow tired of singing the great role of John the Baptist. It was just last month when I sang the role in Munich and here it is again. I’ll return to it again this Fall in a run of performances in Munich. My career has also had me singing the role in Chicago, Washington, London, Baden-Baden, and Matsumoto.

With some roles, you get to a point where you can “coast” a bit. You know where the pitfall are but, as time goes on, the dangers become less apparent as you learn to negotiate the hazards. I don’t know that I’ll ever become that confident with this role. I always have to concentrate on vocal technic. I have to make sure that the drama doesn’t get out of balance with the music. Doing that leads to pushing or over-singing. Not getting the balance correct can lead to a bland interpretation as well. It’s always a challenge to get things just right.

This “production” here in Philadelphia originally started as a project with just the orchestra under the leadership of Yannick Nézet-Séguin. A few of my favorite colleagues were also signed up for the engagement. Then, Opera Philadelphia, came on board as well. It was decided to do a “semi-staged” production. Let me tell you, this run is as fully staged and as wonderfully presented as any run of “Salome” I’ve ever seen or been a part of. The direction is stunning. The lighting is magical. The costumes are just right. The set is perfect. Everything comes together just right. What I like most about the set is, for the first time in my career singing this role, I’m in a staged production that allows my character to be seen for most of the opera. Usually, I’m hidden offstage or under the stage and amplified for some of my hardest singing while I’m in my dungeon. The balance never seems quite right. Because of the way the set is built for this run, I can sing unamplified and far more naturally.

But, if I didn’t say more about the great conducting of Yannick and the fabulous playing of the Philadelphia Orchestra, I would not be giving enough credit where credit is due. In short, the musicians are incredible. They bring out the wonderful motifs, the incredible colors, and the great drama that Strauss brought to this true masterpiece. It is truly shocking, at times, to hear the brutality of this score and then have the ugliness covered by some of the most romantic and lush lines ever written. Yannick is truly a master of this score and knows every corner. He is constantly bringing the orchestra and the singers to new heights and better interpretations.

I am honored to live near Philadelphia. I have not been able to spend near as much time in this city over the years as I would like. I’ve only sung a few performances of Beethoven’s 9th Symphony in Philadelphia. I am hoping that this engagement will lead to many returns. Music and Art was well served last evening here in Philadelphia in this presentation of “Salome”. I hope tomorrow night will provide more of the same. Whatever the case, I’ll never grow tired of this monumental work. That could never be the case with such wonderful colleagues, musicians, and conductors joining me on the great musical and dramatic odyssey that is this opera.

Major Announcement…Coming back to Shockerland

2014-01-14T13:39:47-06:00

HERE IT IS!!! To some, this may not be such a “Big Announcement” as you've heard this news already. To others, this is going to be a bit surprising. And, yet, to a few, this will be no surprise at all since you may have “seen it coming” for some time. As I post this, I find myself at one of my favorite places on earth. I am on the campus of Wichita State University where I have just been announced as the Ann and Dr. Dennis Ross Faculty of Distinction in Opera . What an honor!!! Now, please, nobody panic!!! I AM NOT STOPPING MY CAREER AS AN OPERA SINGER—that career is still going strong.
I have long felt a strong pull towards academia and teaching. My career started out in the field of education. I have always hoped to have balanced professions of singing and teaching together. Often, I give master classes and teach privately during my travels-most notably at Yale University over the past 12 years. This sharing of my knowledge and experiences in the opera business, as well as offering what I can to young singers by the way of voice sculpting and technical advice, has been a highlight of my career. I enjoy both of my career paths—singing and educating. The two professions go completely hand in hand. We are all called to serve and teach--no matter what we do--every day of our lives
In early October, I was approached by my graduate school alma mater, Wichita State University, to see if I’d be interested in accepting a position on the voice faculty. After a great amount of discernment, evaluating, and contemplating, it became obvious that this opportunity was too favorable to pass up. There have been other positions over the years that I’ve considered. None, however, fit me more perfectly at this point in my career. WSU is strongly encouraging me to continue performing as well as teach. It’s the best of both worlds. I’m joining a strong faculty who I look forward to working with, including my singing colleague, Samuel Ramey, who is WSU’s “Artist in Residence”. Nancy and I will enjoy being back in Wichita, a city we have loved since the very early days of our marriage. We will be renewing old friendships and establishing new bonds. Our remaining children at home are greatly looking forward to the move to Kansas. We will, of course, miss so many of our dear friends, not to mention, family, on the east coast. But please--come visit us and see all the many things (including beauty) that Kansas has to offer.
Wichita State has had, for a very long time, a great record of educating outstanding musicians. Sam, the most recorded bass in opera history, is, of course, just one of the many WSU graduates who have had an excellent career upon graduation. WSU is also the alma mater of Joyce Didonato, opera's reigning mezzo-soprano--and so many others. Gee, I didn’t do so badly myself. I look forward to having the opportunity to help bring even more great singers from WSU to the fore. I am thrilled to be part of a major university community and to have the chance to help enrich the life of this institution as well as the arts in the city of Wichita and beyond.
As I’ve posted many times, I have a strong commitment and dedication to helping develop strong and healthy vocal technic in our young singers. In fact, there was very recently a discussion on this topic on one my Facebook threads. In many ways, I feel like, with this position, I’m backing up what I’ve said and will be doing what I can to make these goals more attainable for others. I’ve also said, many times, that I am a better singer because of my teaching. Constantly being able to evaluate "what I do and how I do it" has added years to my career. I plan on that continuing to be the case for some time. I've had nearly 30 years as a performing artist—“Not too shabby" (as my high school band director would say). Who knows? Maybe I've got 30 more in me.
And, about that performing career. As I said, my days as a singing actor are not coming to a close. Many projects are already at hand and work is planned well into the future. Ring Cycles await. Heads are still set to roll in “Salome”. Waves are scheduled to be sailed as the “Dutchman”. On top of these roles, however, I’ll be sharing and serving as I can—to a great art form and a great university.
So, as was said in “The Poltergeist”----"I’M BACK!!!”----and I'm so very excited that this is the case. OH, and to initiate my return to campus, I’m to sing the National Anthem at tonight’s basketball game against Bradley University (my Mom’s alma mater). GO SHOCKERS!!!!!!!!!!!!!!!!!!!!

Age appropriate roles...growing through time

2013-10-07T08:43:06-05:00

In any opera career, one always hopes to sing repertoire that is age appropriate. As a young singer, finding repertoire that is fitting for someone just starting out that is not too taxing, that the singer can relate to on an emotional level, and that allows one to identify with the character, can be a difficult prospect. We are constantly warned not to take on repertoire that is too heavy and that can damage the instrument before it’s had a chance to mature. Throwing a young singer into leading Wagner roles would be like throwing a junior high basketball player into the NBA. On the other hand, a singer has to find challenges that helps them to grow and develop as a singer. An artist should never simply coast.

In addition, it is very difficult to find roles that are “age appropriate”. As a young bass-baritone, I was constantly playing characters that were much older than I. It just came with the territory. I occasionally got to sing a role like Colline in “La Boheme” or Angelotti in “Tosca” which were closer to my own age. However, many of the roles required me to sing without the experience of life that might have been beneficial. I had to rely on acting skills and a lot of observation to pull them off.

I’ve noticed, in the past few years, that I’ve reached a wonderful stage in my career where the “appropriate age” has been reached. Wotan, The Flying Dutchman, Amfortas, Hans Sachs, and many other of my roles, are meeting me right where I live. A singer needs maturity, life experience (and vocal development) to be able to pull these roles off well. I pour a lot of myself into my roles in order to make them as human as possible.

I think I’ve thought about this even more as of late when singing Captain Balstrode in “Peter Grimes” here in Toronto. We had an incredible opening night this past Saturday. In my last journal entry, I reflected a bit on all the times I’ve sung this role. The first time I sang it, I was only in my mid-30s. I was, perhaps, a bit young chronologically to sing the role. I jumped into a run of the opera at The Metropolitan Opera for a singer who had become ill--a singer who was an opera hero of mine--and who was nearly twice my age. He was more the age of what one would expect out of a Captain Balstrode. One does not need to be all that old to sing the role and the role doesn’t need to be played as an “elderly” gentleman. However, now that I am a little more “seasoned”, I find how much more I can relate to this “old salt”. I can slip into his shoes a little more easily. They seem to fit very well.

In addition, vocally, the role fits me better than ever. And when that happens, a singer finds that he can invest more of himself dramatically into the role as well. I’ve absolutely felt that on my more recent performances of Wagner and Strauss. I’ll never regret taking on some of these roles early in life. But, I’m very happy (and fortunate) that they are still with me in my more stable days.

Finally, an artist has to realize that there comes a time to say good-bye to a few roles as well. I started doing just that a few years back. As much as I loved some of those roles, it became obvious that I couldn’t pull off the youthful swag and some of the other guys that visited my repertoire. Casting has changed (some of that is good---some of it is very bad). I found, with one of my most performed roles, a role that really is ageless, that I was in casts where most everyone in the cast was 10, 15, and even over 20 years younger than me. I certainly didn’t feel “threatened” by that and knew that I was still bringing a lot to the performance. However, something just didn’t “look right” and I had a lot of other roles that I thought I could bring more to. In order to be fully adhered to Wagner’s “Gesamtkunstwerk” (which I fully buy into), one has to be mindful of just what his experiences, talents, and abilities can bring to the table.

So, once again, I thank my roles for teaching me something. I think I’ve learned a lot from these characters---and, I think I’ve given a lot of myself to them.

Peter Grimes and Balstrode...and beautiful birds

2013-10-03T13:44:00-05:00

I first sang the role of Balstrode, in “Peter Grimes”, in a 1994 production at The Metropolitan Opera. I wasn’t scheduled to sing this run at The Met. However, one of my opera heroes, Thomas Stewart, became ill and the Met scrambled to find anyone who knew the role to jump in. I was in the process of learning the role in order to sing it for the first time, in Vancouver, a few weeks later. With very short notice, I quickly crammed the role into my head and showed up at The Met for 2-3 rehearsals (that’s all!!!). I was then thrown into a wonderful production with a great cast. I hoped I wouldn’t drown--after all, it’s an opera with the sea as a main character. It turned out to be a great experience and a fine success.

A few weeks later, we began our rehearsals for the new production in Vancouver where I had a proper rehearsal period. Since then, I’ve gone on to sing the role in San Francisco and Washington, D.C. as well as at La Scala in Milan, Italy. The role served as my debut with this fabled company. What an experience it was to hear the La Scala Chorus sing “Old Joe has gone Fishing”.

I am THRILLED to be a part of the production that we will open on Saturday night, October 5, here in Toronto at The Canadian Opera Company. Over the last 18 months, this company has become sort of an opera “home” for me. The productions have been interesting and there is a strong collegial atmosphere in our work. This production is haunting, as Grimes should be---powerful, well sung, wonderfully acted, and mesmerizing. It has been directed incredibly well--and the conducting, well, it doesn’t get any better! The audiences are in for a treat. And wow, does the orchestra play well--and the chorus? Excellent! I am honored to be working with this cast in what has truly become one of my favorite operas.

Benjamin Britten, who was born 100 years ago (a huge Britten celebration continues around the world), was (is) one of my favorite composers. NOBODY has set the English language better in opera. I have sung several of his operas--in addition to “Grimes”, I’ve sung “The Rape of Lucretia”, “A Midsummer Night’s Dream”, and, for my Metropolitan Opera debut, “Billy Budd”. Britten sets text in a way that makes it possible to be understood even in large opera houses. He uses the orchestra to create great characters and set moods. He immerses the text and the music in a way that makes my job much easier. And, his characters are so real! I’ve loved playing each Britten character that has come my way.

But there is one thing about productions of “Grimes” that truly thrills me. The cast has to work together so closely and the soloists get to interact with the chorus so heavily. It truly is an ensemble opera. No, my role, although tricky, is not the hardest in my repertoire. But there isn’t a production of this opera that I haven’t been overjoyed to be in. I’ve never turned down singing this role--and I can’t imagine I ever would. It is a joy to come to each rehearsal and a LOT of fun. This is a very disturbing opera in some respects. However, the cast always finds a way to live through it--largely, because we share the experience together and feed off each other so well. This is certainly the case here in Toronto--just as it was in San Francisco, Washington, and Milan. And, concerts of this opera await for me in St. Louis and at Carnegie Hall this Fall with the St. Louis Symphony Orchestra. I’m looking forward to each moment with this incredible score.

It’s almost opening night and nearly time to hit the high seas here in Toronto. I wish all the best to my colleagues, cast, orchestra and chorus. We are doing something very special! Let’s enjoy it!

OH--and I would be remiss if I didn’t mention that, once again, my Cardinals are in the post season playoffs. In fact, as I write this, they’ve taken a nice lead in their first game of the Divisional Series. Let’s go Redbirds!

And, that’s not a bad way to spend a week---with seagulls and cardinals.

Zipping here there and everywhere...Toronto/Cincinnati

2013-05-16T15:44:54-05:00

It’s been quite a week so far. And, it’s only just half over. After singing the performance of “Salome” here in Toronto last Friday, I had a few days off before heading to Cincinnati to rehearse for this weekend’s concert at The May Festival. What a wonderful tradition this annual festival is for the city and region of Southwestern Ohio. I have long wanted to be a part of this great event. As I have a pretty significant background in choral music, taking part in this annual celebration (noted as “The Premiere Choral Festival in the Country”) is a joy.

However, one has to be able to get to rehearsals, etc., on time. My flight on Sunday was cancelled to Cincinnati (due to weather problems in several locales). I was able to book another flight but, instead of flying directly to Cincinnati, had to reroute through Atlanta. This meant that, for the first leg of my trip, I flew 700 miles to only get 30-40 miles closer to my destination. I finally arrived at my hotel at about 12:15 a.m. on Monday.

Rehearsals went well during the week--it should be an exciting and wonderful concert. The chorus sounds magnificent as does the orchestra. It is nice to work with James Conlon on the podium once again. And, what a thrill to work with one of my favorite sopranos (and best friends in the business), Christine Goerke. We last sang together in “Elektra” in Chicago which opened this current opera season. Our concert in Cincinnati is all Wagner and Verdi as we celebrate the bi-centennials of their births.

I needed to fly back to Toronto yesterday in order to be here for tonight’s performance of “Salome”. Again, it was a flight with connections. This time, the plan was to take me through Detroit. All went well up to Michigan but, upon arrival, I found out that my flight to Toronto had been cancelled (this just isn’t my week for smooth travel). There were strong winds in Ontario yesterday which grounded many flights or delayed them. I was told that I could get a flight later in the evening (but it was already announced as greatly delayed). I wasn’t sure if it would actually fly or not. I finally decided to head to the rental car counter and then drove the 4+ hour trip back to Toronto. Let’s just say, it was another long day. Oh, and just as I arrived into the Toronto area, that delayed flight landed at the airport.

Sometimes, we only think about the performances and the preparation for them--but the actual time getting to our venues is sometimes the toughest part of the business. I am so looking forward to getting onstage tonight and losing myself again in the music. Having one’s head cut off in “Salome” is preferable to hanging out and waiting for cancelled flights.

And, in the morning, I head back to the airport for my return to Cincinnati…….and on Sunday, it’s back to Toronto……..(did I mention I’m looking forward to a little time off that comes at the end of next week?

Das Rheingold in Barcelona...singing Wagner

2013-04-19T11:45:55-05:00

I’ll ever figure that one out--it’s just the way it’s been.

The Ring is the first Wagner I ever encountered way back in 1979 as a young student at Millikin University. The power of these stories and the magnificence of the music struck very strong chords in my heart and mind. It would be many years until I took any of the roles on for myself. I first sang Donner in “Das Rheingold” at The Metropolitan Opera. What an experience that was to sing with some of the great Wagnerians and to have my moment amidst the thunder clouds singing “Heda, Hedo”. That production, perhaps the last “traditional” Ring, was recorded and presented on PBS in 1990. Around that time, I was asked to look at the “Rheingold” Wotan for the first time for a new Ring in Brussels, Belgium. The Ring was to be divided amongst three different Wotans. As the “Rheingold” Wotan is not nearly as difficult as the other two, I decided to take on the project---at the tender age of just 31. Perhaps this was a bit soon--maybe not. All I know is that I was musically prepared but perhaps not near as mature as I wanted to be. It all came together just fine--but I knew that I shouldn’t be singing the role too often at that point. I needed more time and seasoning. I didn’t sing the other two Wotans for nearly another 8 years.

I started singing other smallish Wagner roles including MANY times the role of Gunther in “Götterdämmerung”. This helped me to become more and more immersed in the Ring saga. I started becoming not just a singer of this repertoire but a HUGE fan of these music dramas as well. In 1994, my second crack as the “Rheingold” Wotan came in Frankfurt, Germany. It was the same production that I had sung in Brussels and so I was at least familiar with that. What was incredible to me, however, was how different the role felt in my voice. It was FAR easier than just three years earlier. This speaks to exactly what we as singers must learn---be patient and let your body and voice grow into this repertoire. Although other smaller Wagner roles had come into my repertoire, they were only stepping stones to the bigger guys like Amfortas, Kurwenal, The Dutchman, and Hans Sachs (not to mention, the two older Wotans). I was also fortunate to be the understudy MANY times for one of the truly great Wotans of all time, James Morris. And, while singing Donner in performances in New York, Chicago, and Munich, Jim was THE Wotan who I could observe from a VERY close distance. Oh, what I have learned from Jim. I’m very grateful!!!

In 2001, just days after 9-11, I was scheduled for my debut with the Vienna State Opera as Wotan in “Rheingold”. It was not clear as to whether I would be able to fly out of the USA to get to Austria. As the days passed following the horrific events of that Tuesday, flights remained grounded and certainly international flights were not leaving the States. Finally, on the Friday following 9-11, it looked like I could fly the next day and make my way to Europe. It was a scary time for us all, to be sure. When I got to Vienna, another short rehearsal period, although a day or two longer than what I’ve faced in Barcelona, awaited. What I most remember about that engagement, however, was having the curtain rise for my first big scene and seeing the GREAT Vienna Philharmonic in the pit, playing their instruments, and string players looking up to the stage seemingly with the look in their eye of “Let’s see what you got, kid”. Okay, that could all just be in my mind--but it sure seemed very real. It was a very intimidating experience but it all went well and I had a great debut in one of opera’s most important houses.

Those performances in Vienna were the last performances I’ve given of this role until now. There was a lot of emotion involved then with the situation back in the States. And, as I write this, there is much anxiety and stress at home again with the bombing in Boston this past Monday during the marathon and the manhunt underway. But music helps to heal. Music helps to lift. Music is a great gift. I know all too well the looks on an audience’s face during times of national mourning (I sang a performance on “Les Contes d’Hoffmann” on September 12, 2001 at The Kennedy Center which is within view of the Pentagon). I rejoice that we can work through these horrible times and keep going. And, if music helps folks with that, it’s even more of a reason to support beauty and the arts. I’m happy to bring an old friend back to the stage here in Barcelona over the next week or so. He’s been with me on a long journey and through some tough times on many levels. I just hope that the next time I sing this role, there isn’t so much anxiety and angst to sing through. On second thought, the Wotan of “Das Rheingold” sings, in his aria near the end of the opera, about living through troubles and angst. Once again, life imitates art. Bring on an abundance of both.

Hans Sachs...Unfinished businesss...until now

2013-04-04T23:32:56-05:00

I have had the opera of "Die Meistersinger von Nürnberg" in my repertoire for nearly 24 years. Of course, there are about a zillion roles in this piece. My first performances in this opera was as the Night Watchman in 1989 in Seattle. The Watchman is a very short role that is often given to young bass-baritones as they move into the Wagner repertoire. I remember a few things about that production but primarily I remember that a young Ben Heppner was singing his first Walthers in that run. I also remember that, since the Night Watchman only appears in Act 2, that I was back to my apartment and in bed before the rest of the cast had finished the long, two hour, Act 3.

My next run in with the opera came as Kothner at The Metropolitan Opera in 1993. Kothner is a nice step up from the Night Watchman. What was truly great about this role was having the chance to be a part of the camaraderie that this opera always brings to a cast. The show has a HUGE ensemble and the Meisters spend so much time together on and off stage. Oh, the great memories I have of chicken wings and pizza backstage and listening to Charlie Anthony's funny musical ad libs that are firmly recorded in my score for posterity. Also, singing Kothner gave me a lot of time to observe those wonderful bass-baritones who sang one of the longest, if not the most difficult role in opera, Hans Sachs. Let's just say that I knew that the role wasn't going to be on my calendar any time soon.

Then came 2002. I had been asked to learn the role of Sachs in order to present concert performances in Turin (Torino), Italy. These were to be with the RAI Orchestra under the direction of Maestro Jeffrey Tate. I spent a lot of time preparing the role, coaching with a coach at the Vienna State Opera, sweating over the length of the role, the amount of notes, and the unbelievable amount of text. I felt fairly well prepared to do the performances---looking back, I may not have been nearly as prepared as I should have been.

In March of 2002, I went with my young family to my son's first track meet. Andrew was in 5th grade, skinny as a rail, but attempting to do some middle-distance running. It was a frigid and windy day and I hated to see him freezing in his skimpy track uniform as he ran his laps. You could see the panic on his face as the wind slapped him in the homestretch. He finished the race pretty much just in time for me to say good-bye to my family and head to the airport. Leaving, this time, was full of concern as I was headed not only to the new role in Turin, but first, to Munich to sing a few performances of "Parsifal" in Munich. Most important, I was saying good-bye to my now pregnant (for the 4th time) wife and our three young sons. But, as is the case with this business, off I went to the next adventure.

The performances went well in Munich. I had wonderful colleagues and that opera, as I've written before here, carries such an emotional impact. The performances were given over Easter which is always a moving time for me. In addition, I knew that my Dad, back in Illinois, was not fairing well (in fact, he passed away about 5 weeks later). Then came early April (just like now) and I headed down to Turin. And then came the phone call home.

Just a few hours after I got to Italy on April 4, I called home to check-in and let them know I had arrived safely. My son, the runner, sounded a bit odd on the phone and very soon handed the phone off to my wife. It was then that she told me that she had miscarried and we had lost the baby. Even as I write that sentence, 11 years later, I have to stop and gather my bearings. The next day was miserable, as you can imagine. I wandered around Turin in a zombie like state, stopping in churches to pray, shed tears, and just try and catch my breath. I felt gutted--and felt tremendous guilt for not being home with my wife and family during these days as well.

Things didn't get much better (in fact, they got worse) the day after that as my wife was then reporting having numbness on one side of her face. As we talked more and more during the day, the situation was becoming worse and worse. Something was seriously wrong. Finally, I knew that I needed to leave Turin and get home. I had my agent advise the Orchestra that I was headed home, hoped to see how the situation developed, and then get back to Italy sometime during the rehearsal process.

When I got home, I could not believe what I saw. My wife had come down with Bells Palsy and had a nearly paralyzed right side of her face. Her mouth drooped as if she had a severe stroke. From her eye down to her chin, there were signs of how this had stricken her. And, of course, she was still dealing with the miscarriage as well. She had been in touch with her doctor who had basically said to just see how things were through the weekend and then get back to him. Before leaving Italy, I had already told her to call my doctor as her doctor's response was just not sufficient. Thankfully, that's what she did.

The miscarriage required a surgery and the Bells Palsey required electric "shock treatment" as well as medication. Fortunately, because the Palsy was caught early and because of the treatment, she has totally healed from the effects. It took about a month to 6 weeks for all that to work itself out--I don't think my wife enjoyed getting the electric stimulations--but, it helped so much.

But how does this all relate to Hans Sachs. Well, because I had left town so early, the RAI Orchestra thought it best to replace me as Sachs. I understood completely, but, of course, regretted the loss of income and having had to spend so much time preparing a work that I wasn't going to get to perform. This was unfinished business.

Now, we jump forward a bit. In 2010, I sang one of my most often repeated roles, Jochanaan in "Salome" at The Bavarian State Opera in Munich. After that performance, I was met by Mr. Ian Holländer backstage. He is the former head of the Vienna State Opera and now a noted advisor for opera companies around the world. He asked me if I had considered Hans Sachs in "Meistersinger" as he thought I was ready to take it on. I didn't go into my history with the role and the unfinished business. I only knew I wanted another chance. He put my name forward to the Nomuri Spring Festival to sing the role in April of 2013 in Tokyo. A few months later, everything was confirmed, I signed the contract and the dates were set.

Hans Sachs, as I've said before, is a mammoth role. It is unbelievably long. After you've already sung a great deal during the night through the first two acts (enough already for most complete operas), you take a second intermission and are then faced with Act 3. Act 3 is nearly 2 hours long and contains some of the most difficult music for any Helden-Bariton. Not only is it a lot of music but it is over heavy orchestration, high in your range, loaded with tons of German text, and just an endurance test beyond most others for a singer. I've heard it said that the leading tenor role in the opera, Walther, has 900 measures to sing in the piece. It's a long role. Sachs, however, has something like 1,800 measures. Let's just say that you don't learn it overnight. You don't master it very quickly either---I'm not sure it can be totally done. The best you can hope, for the most part, is that it doesn't master you.

I had so many other new roles to learn as well between January 2010 and early 2013. I knew I needed to get cracking again on Sachs (it wasn't coming back into my mind very quickly even after mostly learning it back in 2002). It seemed I had a mental block going on, great fear of the role, trepidation over ever taking it on again, and, as I realize now, much angst over the previous round of unfinished business. We singers often associate our roles with locations (where we learned and sang a role), events (what was happening in and around our lives), and other external facets that are never really out of our minds. I think I had a fear of this role that was magnified by the circumstances of when I didn't sing in 2002 and the difficulty of the role itself. Let's just say that, even in February, I wasn't sure I could get through it. Vocally, when practicing the role, I felt like I was a mess. And, this too was a lesson learned---it's hard to sing a role that is written a particular way when you are in the middle of another run of performances with a different role that has taken your voice in a bit of another direction. More on that some other time….

However, less than 2 weeks ago, I flew to Tokyo to begin rehearsals. I came in a bit early to give my body (and voice) a few days to get over the horrendous jet lag that comes from such a long flight. It's about a 14 hour flight to Tokyo from New York and we are 13 time zones away from my home in eastern standard time. I began rehearsing on March 26 (a few days earlier than expected). I decided to wander over to an orchestra rehearsal just to hear what tempi the Maestro was choosing and to get some of the orchestral colors in my ear. Perhaps I'd sing a note or two. However, I ended up singing a lot. And, the next day I sang some more with the orchestra. Then, most of the rest of the cast joined me for a piano rehearsal on day three. Again, this was all nearly full out singing. Then came more orchestra rehearsals on day 4, 5, and 6 (Easter Sunday). I didn't think there was any way I could keep up this pace on such difficult music. But, each time I'd get up in front of the orchestra, I just couldn't stop myself from singing. The music was also reaching deeply into my body and bringing out technical security that I don't know that I've ever felt before. Days 7 and 8 brought us into the theater for complete run throughs and I was shocked again that my voice remained strong. I planned on taking it easy for the final run through (with a partial audience) but, once again, just couldn't stop singing. Yes, I was tired after that run through--but I'm so glad I did go ahead and sing. Mr. Holländer was there, who I mentioned several paragraphs before this, and who had put me forward for this role. He greatly warmed my heart with his words and compliments. I didn't think one could sing Sachs 8 days in a row and live to tell about it. But, it seems, this role is indeed just right for me.

I have been fortunate, during these days, to also have the distraction of the Wichita State University Shockers. Those of you who are friends with me on Facebook know how much time I have spent posting about their incredible run to The Final Four in the NCAA College basketball tournament. This is a SHOCK to us all. To me, it's been much more than that. Basketball has always been one of my great loves and I've continued to follow the Shockers all these years since we moved from Wichita in 1985. My young wife and I used to attend many, if not all, the home games during a season. The Shockers have been a HUGE part of my life. It was great to watch them win the championship of the N.I.T. tournament in Madison Square Garden two years ago when I was in New York rehearsing "Wozzeck". Seeing them play so well and make it this far this year has meant more to me than just a team winning games. It has meant having a distraction to take my mind off of the stress of performing the hardest role I think I've ever sung. Thankfully, due to the wonders of the internet and Slingbox, I haven't had to miss a second of their games even if it means getting up early to watch the games from here in Japan (fortunately, the games haven't been that early).

Back to business….So many people have told me, over the years, that Sachs is perfect for me. I'm flattered beyond belief that one would think this. He is, perhaps, one of the most human of the major characters in opera--especially in Wagner music dramas. Although this opera is called "Wagner's Comedy", I've never really got the humor--until now. The music is gorgeous, powerful, moving, and fulfilling in every aspect. OH, and did I mention it's incredibly difficult, too? But rehearsals and recommendations are one thing. Singing a performance is another.

About two hours ago, we finished the first performance of our two concerts of this monumental opera here in Tokyo. What an emotional and powerful experience singing, performing and hearing this opera is. Yes, some things went better in rehearsal than in tonight's performance. Some things were better tonight than they have ever been. I always remind the students who I work with that perfection does not belong to this earth. With singing, you give all that you have, grounded in your training and experience, and let the performance just happen. For me, just being able to finally sing this role is a great blessing and achievement. I am already looking forward to Sunday and the second performance. Hans Sachs, in the opera, sings about a "new song being born"--a new "Meisterlied". A new Meistersinger is born as well in the opera. To me, tonight I gave birth to not just a new role--but to a new friend, born through tough labor pains, but, he's here to stay and is now part of my "family".

And, now, I see how things have come full circle. The role of Hans Sachs, left unfinished for me in 2002, is now complete and under my belt (at least concerning the musical aspect--these are unstaged concerts). I have indeed sung the role and am grateful to even have the opportunity to help present this glorious music. While singing in rehearsal the other day, I thought how blessed I was to even get to sing the gorgeous "Flieder Monolog" in Act 2--how blessed I am in so many ways. Earlier, I mentioned track and field. Andrew, our wispy son of 2002, went on to play rugby and has just been hired for his first post-college job. He ended up majoring in Exercise Science, has built his body into a wonderfully effective machine, and is now helping train others to reach their best possible physical potential. He also just came back to the Church (with his lovely fiancé, Melissa, at his side), which we all left for awhile beginning in 2002 (The rest of the family returned a few years ago). My youngest child, our little girl, Lydia (who we adopted less than 2 years after the miscarriage), has her very first track meet this weekend. And, shockingly, I just realized a few minutes ago, that my first Hans Sachs was sung on April 4, 2013---exactly 11 years to the day from when we found out about the miscarriage and when one of the darkest periods of my life commenced. But, through trials we proceed. We face what is ahead of us through faith, perseverance, and hope. Several other events, which I won't go into now, occurred following that day of April 4, 2002 that caused us anxiety, stress, grief, and temporarily clouded spirits. But God has been faithful…as He always is. And, although there is one more performance in the run this coming Sunday, I can say, with the first performance now behind us, that the unfinished business is no more.

Kurwenal in Toronto

2013-01-29T16:34:01-06:00

Tonight is the opening night of “Tristan und Isolde” at the Canadian Opera Company in Toronto. I’m very excited to open this run of a very interesting and quite extraordinary production. I blogged about my feelings concerning this particular opera way back on July 27, 2011. That entry can be found in the archives of this journal. The opera can have such an incredible impact on the audience. Feelings about the piece can vary greatly from listener to listener. But much depends on how the opera is presented and how well the director, conductor, singers, orchestra, and production staff pull it off. Of course, this could be said of many operas, but, I think, in a music drama like “T&I”, it’s even more so the case. I have sung this opera often in the past 13 years. My first crack at Kurwenal was in Chicago in 2000. Since the, I have gone on to sing the role in Amsterdam, Barcelona, Los Angeles, Munich, and Bilbao. Every production has been incredibly different. But it was the “production” in L.A. that has the most to do with what we are doing here in Toronto.

Back in late 2004, the Los Angeles Philharmonic, along with the genius director, Peter Sellars and the videographer, Bill Viola, began “The Tristan Project”. I was so happy to be a part of the cast when this debuted at the Walt Disney Concert Hall. In that series of concerts, we performed over three nights (one act each night) this opera accompanied by other relatable music to the Tristan saga. Incorporated into these concerts was unbelievably striking video shot by Mr. Viola. Singers were stationed around the auditorium in various places. Augmented brass players were high in balconies as was the chorus. Audience members sat riveted as they were sounded by sound and viewed the incredible visual images. We had minimal costumes and the lighting was kept low to enhance the video. I don’t know that I’ve ever been part of a “production” that was more focused and illuminating to the inner attitudes of one’s mind.

Over the years, the project moved into opera houses. While keeping the videos themselves, more developed costumes were added. As there was more space for the singers with the orchestra now in the pit rather than onstage, more acting could be applied amongst small areas of light. I wasn’t involved in these performances in Paris (although I watched the production from the side of the stage when I was performing in another work), Tokyo, or New York. The various locales used numerous other singers who all gave what they could to this unique presentation. However, I’m thrilled to now be back with the project and am moved to see how it has grown and developed over the years. Some productions of various operas travel from locale to locale but don’t always hold together the intent of the director or even resemble, other than via the sets, the original intent. This one does--and more so.

There is far more character development here in Toronto than I remember from the earlier presentations. The lighting, although in some ways constraining, allows us to focus even more on each character. I am having to perform, in act 3, in a manner that is totally different than I ever have before. In stillness, there can be wonderful drama and I’ve enjoyed finding this out even more in this rehearsal period. Everything comes together to create an extraordinary experience. The audience at the final dress rehearsal was greatly moved by what they witnessed---you can’t just say what they “saw” or what they “heard”---it’s both. Perhaps it would be better to say “what they sensed”. It’s that kind of experience.

And what an ensemble we have here in Toronto! I am pleased to be working again with Peter Sellars. It is a joy to work with Maestro Debus. The orchestra is fantastic. The hall is simply one of the best anywhere---visually and acoustically gorgeous. After being here last spring for the double bill, I have come to appreciate the great production team as well. And the singers---how great to work with so many friends who are singing so wonderfully. This is a very warm treat in a very chilly time of year here in Toronto. I’m so pleased to be a part of this ongoing production. This production breathes and develops. It’ll be exciting to see how it continues to grow.

Newtown

2012-12-15T10:15:38-06:00

It's the day after and the heartbreak of what occurred yesterday at Sandy Hook School in Newtown, CT hurts even more. 20 kindergarten students were murdered and 6 adult staff members as well. We have had multiple shootings in the past 15 years in the United States--at schools, malls, movie theaters, and other locations. We are a country that has become far too used to these things, but, thankfully, never accepting of them. It is just before Christmas and I'm sure the youngsters were very much looking forward to the holiday. Presents were purchased and perhaps even wrapped by their parents. Now, they are preparing to have funerals for their babies.

For about 9 years, our family lived in Danbury, Connecticut which is the first town over the state line between New York and Connecticut on Interstate 84. Newtown is the next town east. I know the area well and we still have friends in Northern Fairfield County. One of our sons was born in the same hospital where the wounded were taken yesterday. Unfortunately, only one of those wounded survived. Perhaps, because of a very loose personal relationship with the area, this shooting hits home a bit more.

I am all for the national discussion of gun control. I am not for continued discussion with no action. I am not for a total ban on all firearms but I see little reason why access to military style automatic weapons and ammunition need to be had in the general populace.

I came from a rural farming area in Central Illinois. Hunting is a huge part of many people's lives. My family has had hunters amongst its ranks for generations. I have no problem with the sport of hunting and providing food for your family. I do have a problem with anyone who would ever want to hunt with an automatic rifle or handgun. And I don't know of any hunters who would want to hunt with these firearms either.

However, if we are going to have the discussion of gun control, as I said, let's have action as well. AND, if we are going to discuss The 2nd Amendment of the Constitution, let's also talk about the issues that have brought so many of these horrible incidents to the fore. Let's talk about mental health and the access to care. Let's talk about a culture that has become increasingly violent just as Hollywood has become more violent as well. Let's talk about violence laced music blaring from our speakers. Let's talk about a nation that does not respect life, in all its form from conception to natural death. Let's talk about pure trash television and reality shows that are way out of control. Let's talk about an image setting industry that causes many people to feel as if "they just don't stack up". Let's talk about a society that has thrown away so many of its youth and wizened elderly as well. Let's talk about a country with so little respect for anyone in need. Let's talk about a lack of love, about a callousness, about rudeness, about selfish attitudes, and about hate. Our country abounds with all of this as well. The use of guns are the end product of an individual so loaded with either mental derangement or the epitome of having lost all respect for anyone other than himself. When we are willing to talk about ALL these things and are willing to act, then perhaps we will see a reduction of this kind of terrorism. Until then, it's just talk and not very enlightened chat at that. We say we want to ban weaponry but we don’t seem interested in taking care of the things that bring about the actions in the first place. Let’s do both.

The shootings are only the end result of a society that has gone so far astray. Yesterday we saw the actions of a young man who was described as having mental and/or social issues. But yet, there were massively destructive weapons within his grasp. How could the two issues, lack of clarity and destruction, become so intertwined? In order to figure out the answer, we have to look into all the issues--not just half of the argument.

Elektra in Chicago...Orest has been waiting

2012-10-08T14:35:31-05:00

All opening nights are interesting experiences. As performers, we are always excited to get the show in front of an audience and to have the jitters and nerves diminished by just getting onto the stage. This new production of “Elektra” at Lyric Opera of Chicago, however, was so well rehearsed. This gave us a few degrees more of confidence and perhaps one or two less butterflies in the stomach before we had the curtain rise. And what happened after that curtain went up on Saturday night was a WONDERFUL experience. I think, perhaps to many of us, there were more nerves in place simply because the performance was being being “broadcast” live on the internet to people all over the world. More on that later…

“Elektra” is such a difficult opera in so many ways. It is powerful on many levels. I know I have some very long and difficult roles in my repertoire but I can’t imagine any role being harder to sing than the title role. What an incredible performance of this role of roles by our soprano, Christine Goerke! I don’t usually single out colleagues in my blog but I’m making a special exception this time. She amazed me. I have sung this opera so many times and with so many wonderful sopranos. Christine ranks right at the top. My role of Orest is certainly not anywhere near my most difficult of roles. It’s relatively short and not even the most demanding on a vocal level. However, it is a role that I greatly enjoy singing and every second of my role, onstage, is with the title character---listening, urging, reacting, ENJOYING!. Christine made it easy on opening night. She offers so much as a singer and actress. It was an honor to perform with her.

As I said, having the opera broadcast made the evening a bit more intimidating. The increase in the number of performances being “live-streamed” has really brought a huge change to this business over my tenure on the stage. When I began as a professional singer, it was only every now and then that one of your performances would be broadcast. Now, it seems like every run of performances has at least one if not multiple performances being sent over the airwaves. We are going to sing the same way whether the microphones are there or not. However, knowing the mics are there makes things a bit more edgy. In my scene in “Elektra”, much of it is very close to the edge of the stage and dead center. The microphones are literally only feet from your singing. You realize that there is less room for the ambiance of the hall to kick in. You know that every little inhalation of breath might be heard. You are more careful to not shuffle your feet, clear your throat, or make any of the other 1,846 noises a singer tends to make during a performance to just to help them relax. Having said all that, from what I’ve heard of the broadcast recording, I think the “live-stream” came off pretty well. For those of you who heard it, I hope you enjoyed your evening as much as we did.

The opening night of the season is a very special and festive occasion. A grand ball was held afterwards which meant for a late evening for the singers after a performance. Eating late is never a good idea for anyone--especially singers. It takes a few days to recover from such events. But, we’ll have it all together again by Wednesday night and I look forward to once again entering the house of Atreus to render revenge.

A double header in Toronto...And Easter

2012-04-17T11:36:11-05:00

It’s been nearly 6 weeks since I’ve updated my blog but, rest assured, my broken foot and I are doing fine. I’m now in Toronto rehearsing the double bill of “A Florentine Tragedy” and “Gianni Schicchi” which is set to open later this month at COC (Canadian Opera Company). To say that these last few weeks have been a challenge would be an understatement.

Way back in February, I wrote about a bone breaking in my foot during a performance of “Rusalka” at Covent Garden in London. I was able, by the grace of God and with the help of my colleagues, to finish that run without missing a performance. I’m not sure if the audience realized I was performing with the injury--so much was handled just fine with me crawling and slithering through the role. However, wearing a cast on one’s foot is not the most fun way to get through an operatic performance.

I flew home in mid-March for about 10 days and saw my own doctor in Pennsylvania. I was then outfitted for an air-boot which has been SO helpful during these last 3 weeks. I can now walk around and even rehearse (something I wouldn’t have been able to do had I remained in the cast). The time at home was, of course, not long enough. I made it up to Toronto 2 weeks ago and have been actively rehearsing ever since. This is a VERY challenging assignment as I rehearse and perform two lead roles at the same time. There isn’t a lot of down time or many chances to get your wits refreshed. It is all coming together. We had a run of “Schicchi” last night which went well. “Tragedy” has plenty of more time to come together as well. Once again, I’m enjoying my colleagues and hope to get to know the city of Toronto more in the coming weeks.

This time of year is one of my favorites as we celebrate Spring and new birth. Most important, as I write this, it is Holy Saturday and we anxiously await tomorrow’s great Easter celebration. I’ve written before, in past years, how important these days are to me. Due to the rehearsal schedule, I was unable to get to Holy Thursday Mass but did attend Good Friday services yesterday at the PACKED St. Michael’s Cathedral here in Toronto. People were standing 4-5 deep in the back of the church. How I wish I was able to get to Easter Vigil Mass tonight, hear the “Exultet”, welcome the new members of our Church, and celebrate light coming back into the world. But, even though I will be in Canada and rehearsing two shows that take place in Florence, Italy, my heart and mind will be overflowing with awe, love, and praise for our Risen Lord whose triumph in Jerusalem 2,000 years ago changed history and eternity. HAPPY EASTER!!!

Breaking a "flipper" in London

2012-02-29T14:38:12-06:00

Well, it’s been an interesting start to the run of “Rusalka” at The Royal Opera House-Covent Garden in London. What a magnificent evening of music we had on the opening night this past Monday. When you have committed singing actors, a marvelous orchestra, and a TREMENDOUS young and exciting conductor in the pit, great things are going to happen. And they did. There are some who will not like this production (and they made themselves quite well known on Monday night) but it was great to hear how receptive they were to the musicians involved. The critics have showered praise as well on the musical achievement. We are pleased. HOWEVER........

As you may know, I play the role of Vodnik, the Water Goblin (and Rusalka’s father). In the picture above (left) you see me in full costume and make-up with the wonderful Finnish soprano, Camilla Nylund. (I’m sorry that you can’t see my feet---which you couldn’t see anyway because I wear large swimming flippers in the show). We did the production together in Salzburg in 2008 and it is great to work together again. The position I’m in is pretty much my position for the whole show--I slither around a lot and spend 95% of the evening on the floor. However, for the remaining performances, it’s going to be more like 100%. In the last act on Monday (Act 3), I broke a bone in my foot (the 5th metatarsal) during a bit of stage business. Let’s just say, uhm....it hurt a lot. Fortunately, the orchestra was very loud at that point--the pop that I heard and felt wasn’t heard past the lip of the stage. I was able to complete the scene without anyone being the wiser (including my cast members) and really hobbled through the curtain calls (sorry about that). Yesterday I went to the hospital and had an x-ray which showed the break--I was very surprised as I didn’t think it was “more” than tendonitis although the pain was pretty severe at times. I now have this lovely fashion accessory that you see in the picture on the right and a pair of very handsome crutches to help me get around--although, it’s a very slow mode of travel. It’s going to be very interesting to see how I can pull off these next 5 shows at the ROH. I have, however, TREMENDOUS colleagues and a great Maestro in the pit to help it all come together. I’ll be leaning on them just as I know I’m always there for them to call upon. There are “no people like show people”. We are a family out here on the road even though we are constantly meeting our new “relatives”. For each of them, I am very grateful and I look forward to sharing this journey together--the hills, the valley, the streams, the lakes, the strong steps, and the tiny shuffle.

We’ll find a way to get through these shows--I’m a bit more concerned about the trip home in a few weeks. That may be more of an adventure--heavy bags, crutches, cast, oh joy!!! I’ll then get some days off before heading up to Toronto with hopefully a much lighter cast on my leg. That should come off sometime after my arrival in Toronto and I’ll be all set for the next run of shows (what a double bill that will be).

Oh, and this is February 29th--Leap year Day. I can only re-post this---go get ‘em ladies!!!
From last week’s “Evening Standard”---the one day in almost 1,461 when you are "allowed" to get down on bended knee. That Feburary 29 is the "acceptable" day for a woman to pop the question is said to be the work of Queen Margaret of Scotland, who decreed, in the 13th Century-that a woman could ask any single man. If he declines, she can claim a dress in compensation."

Charlie Anthony

2012-02-15T21:15:00-06:00

On, January 28, 2010, I blogged about one of the truly great men of opera on the occasion of his retirement from singing. His career is noted for his 2,928 performances at The Metropolitan Opera over 56 seasons. Today, I am so saddened to hear of his passing, just over two years later.

Words are tougher to come by at a time like this. Let’s just say that there will never be another artist like him.

Many companies, when you’re there long enough, truly feel like a family. Charlie was the head of our Met family---a true mentor, teacher, and living example of how to live your life in this business. We are all greatly saddened to hear that he is no longer with us--for we are poorer for losing him--but how much richer we are all for having known him.

God bless you, Charlie! “May the Angels lead you into Paradise”.

Kennedy Center up until now...much awaits

2011-09-08T21:40:42-05:00

9.8.11
A couple of weeks ago, I blogged extensively about my early days in the D.C. area. As I mentioned, one of the reasons I agreed to come to the Wolf Trap Opera Company was because I was offered a considerable amount of work with The Washington Opera (before it became known as The Washington National Opera by an act of Congress). In many ways, this has become my “home” company, where the foundation was firmed for a singing career, where much support was received, and where many roles were sung for the first time. I have so enjoyed being active in the musical life of this great city. Over these past 24 years and with this production of “Tosca” which we open on Saturday evening (tonight is the final dress rehearsal), I have appeared in 30 productions in the D.C. area (most of them with the Washington National Opera). In addition to the fully staged opera productions (and concert operas), there have been other concerts as well. I thought it might be fun, for this blog entry, to list these productions with a brief blip here or there of a particular memory as it pops into mind. I have become wonderfully associated with this company and with the area. I have many to whom I’m indebted. I truly am thankful that so many took a “chance” on me. Thank you, Frank Rizzo, for getting it started. I miss Ed Purrington’s strong counsel and support since his retirement. His presence with this company was so wonderfully felt by us all. And how I miss Martin Feinstein who passed away a few years back---what great leadership he brought to this company. The company changed greatly in the 90s as it brought more international recognition and prominence thanks to Placido Domingo taking charge. His wonderful staff and all at the WNO have become great friends. Now, the company is undergoing even greater changes as it is under the guidance of the Kennedy Center itself. I know that much awaits this treasured organization. Exciting days are ahead. I’m so happy to have been a part of it.

So, here are those memories from 24 years of singing in the Washington, D.C. area.

1987-1988

Wolf Trap Opera
Wolf Trap Opera performances were blogged about in previous posts. Check ‘em out.
Il Barbiere di Siviglia
A Midsummer Night’s Dream
Showcase Concert

Washington Opera
Romeo and Juliette---my first opera performances in a major house.
Madame Butterfly---I jumped into this run four days before opening night and sang all the performances. It was a beautiful production with the enchanting Yoko Watnabe as Cio Cio San.
Ruddigore---I have not, to this day, been in a more “fun” production. What a great ensemble and what an incredibly exciting concept. Bring it back!!!
Fidelio---my first opera sung in German. I’ve now sung this opera more than any other (3 different roles). This run was directed by my friend Laurie Feldman (she did a GREAT job) and featured James McCracken in his last performances before his untimely death shortly thereafter.
Cendrillon---The story of Cinderella as told by Massenet. Frederica Von Stade was the star and mesmerized us all. The Prince was sung wonderfully by Susanne Mentzer who was 6 months pregnant at the time. Tracy Dahl was the enchanting Fairy Godmother.

Washington Concert Opera
Werther---Jerry Hadley in the title role (how he is missed) and the wonderful Diana Montague as Charlotte.

1988-1989

Wolf Trap Opera
Don Giovanni
The Love for Three Oranges
Showcase Concert

Washington Opera
Tosca---I sang the role of Angelotti. Placido Domingo was Cavaradossi--incredible performances. Justino Diaz sang Scarpia. It was mentioned, at the time, that Diaz was once Angelotti for The Washington Opera and that, perhaps at some point, I’d return as Scarpia. In around 48 hours, it looks like that’s going to happen.
La Traviata---Nelly Miricioiu in one of her most noted roles---spectacular.

Washington Concert Opera
Ariadne auf Naxos---I learned the wordy role of the Music Teacher at short notice. Whew! Thank heavens they let me use a score.

1989-1990

Kennedy Center Presents
Amahl and the Night Visitors---special performances staged by The Kennedy Center by the composer of the opera, Gian Carlo Menotti. These were magical performances in the Eisenhower Theater that featured great sets, falling snow, live sheep, and a monkey. What a great experience to be involved with this Christmas classic.

Washington Opera
Werther

1990-1991

Washington National Opera
Manon---Nelly Miricioiu returns in the title role. I had complete laryngitis for the second performance and had no understudy. It was one of the most difficult performances of my career.
Rigoletto---Louis Quilico in some of his last performances in the title role. A young mezzo by the name of Denyce Graves sang the role of Maddelena.

1999-2000

Washington National Opera
Boris Godunov--After an absence of eight years, I finally return to D.C. The concept for the character Rangoni was particularly sinister (and fun). Sam Ramey sang the title role. It was great to perform with a fellow Wichita State Shocker (even though we were never on stage at the same time). I also understudied, during this run, the role of Kurwenal in “Tristan und Isolde”. Learning the role for the first time under the protection of being a cover served me well as I’ve now gone on to sing the role so many times in various places (and it comes back next month in Bilbao, Spain).

2000-2001

Washington National Opera
Parsifal---my first performances as Amfortas. Placido sang the title role. Matti Salminen was Gurnemanz. I shared a dressing room with the incredible Thomas Stewart who sang the role of Titurel (my father in the opera). Tom was a great Amfortas in the preceding decades. He was so encouraging. Having to sing the role for the first time in his presence was intimidating but Tom eased my anxiety. It was great getting to know him and his dear wife Evelyn Lear. Both have been so supportive...how sad it was to lose Tom so soon. Evelyn was reading the first “Harry Potter” book at the time...the first time I’d ever heard of this character.

2001-2002

Washington National Opera
Les Contes d’Hoffmann---So many memories from this time period but not all that many due to the opera itself. We opened the production at The Kennedy Center on September 8. A wonderful gala was held following the performance to welcome the season with many national and foreign dignitaries in attendance. It was a great night of celebration. However, any spirit of joy was shattered permanently just three days later. We sang the second performance on September 12, 2011 to an audience that was as stunned as we were--I have never heard an audience so quiet before a performance. A special tribute to all those who who were lost was held before the curtain went up. Somehow, during the evening, we started to feel the audience’s strong support for our work and for our attempts to entertain them during a very difficult time. One could see the Pentagon from The Kennedy Center--the events of this time period are seared in my memory and in the memory of us all.

2002-2003

Washington National Opera
Fidelio---Another production of this opera for the WNO (I sang a different role than nearly 14 years earlier). The performances were held at Constitution Hall as the Opera House at The Kennedy Center was undergoing renovation. I sang the last performance with my right hand stuffed in my coat pocket. The night before, I had my thumb cut severely at a restaurant and spent a few hours in the George Washington Hospital Emergency Room. I don’t think the audience expected a thing.

2003-2004

Washington National Opera
Die Walküre---I have now sung Wotan many times but these performances (again at Constitution Hall) were some of my favorites. The orchestra was behind the set---we were so close to the audience and they surrounded us on three sides. Somehow, the opera felt intimate. I LOVED THIS RUN. Also, during this time, our beautiful daughter arrived. What a special time to be a daddy both on and off the stage.

2004-2005

Washington National Opera
Samson et Dalila---We finally returned to The Kennedy Center. Placido Domingo was in the pit for some of the performances. Olga Borodina sang Dalila.

2005-2006

Wolf Trap
Recital---It was great to return to The Barns at Wolf Trap for a full recital accompanied by Kim Witman who now expertly leads the company.

Washington National Opera
50th Anniversary Concert---I sang Leporello’s “Catalogue Aria” as part of the celebration. I used the D.C. phone book as my prop. So many wonderful artists took part in this gala including Anna Netrebko, Juan Diego Florez, Kristen Chenoweth, and Placido Domingo. We were invited to The White House the next day for a luncheon but I had to decline the invitation as I had an opening night of Fidelio at The Metropolitan Opera that night. How I would have loved to have been there.

2006-2007

National Symphony Orchestra
Salome---Concert performances with Deborah Voigt and the orchestra under the baton of Leonard Slatkin.

Washington National Opera
Die Walküre---Francesca Zambello’s second installment of “The American Ring” is staged and I returned for Wotan. I truly loved being a part of this new concept---a modern staging that I think really works. Linda Watson played my strong willed warrior daughter. Great theater.

2007-2008

Washington National Opera
Der Fliegende Holländer---These were my first performances of the Dutchman, a role I look forward to singing again this winter in Munich. I had to wear a top hat and a VERY heavy coat that made me look like a huge black bear. What a great learning experience as we sang under Maestro Fricke. He did so much to develop a strong and wonderful orchestra here at the WNO.

2008-2009

Washington National Opera
Peter Grimes---Productions of this great opera are always wonderful ensemble experiences. This run was one of my favorites. I think many in the audience were surprised by how much they came to enjoy this masterpiece. Chris Ventris was a strong Grimes and Patricia Racette (Tosca in our current production) was Ellen. A wonderful time was shared by the cast in this run. The result, for the audience, was powerful.
Siegfried---The Ring continues with part 3---awesome stuff. I appeared as Wotan disguised as Der Wanderer. In this concept, he basically looks like a homeless Vietnam veteran. Again, great theater!

2009-2010

Washington National Opera
Götterdämmerung---I have sung the role of Gunther so many times during my career but bringing it to the Opera House at The Kennedy Center was a highlight. The “American Ring” was put on hold and so these performances were given in a concert setting. The cast interacted wonderfully without the use of costumes, sets, or props. The theater and music making experience didn’t suffer one bit.

2011-2012

Wolf Trap Opera
40th Anniversary Concert---a career highlight already mentioned in a previous posting.

Washington National Opera
Tosca---What memories will this run bring? Once again, Placido and I are involved. He will conduct several of the performances of the run and I’ve been “promoted” to Scarpia, a dream role. I can’t tell you how honored I feel to be singing this role in this house. I still get a tingle every time I walk into The Kennedy Center and am grateful for each note, each colleague, and each person who has shared in this journey on either side of the footlights.

It’s been quite a ride!!! Here’s to much more music making on the Potomac.

Wolf Trap Anniversary Concert

2011-08-25T10:00:23-05:00

Last night was one of those evenings (and performances) that singers and all musicians long for. A quite varied and exciting concert was given to celebrate the 40th anniversary of the Wolf Trap Opera Company. I have blogged already about what this company means to me and how much I was looking forward to the occasion. However, I truly have to say, that the event far exceeded my expectations. The audience was so appreciative and was involved from the first number through the end of the evening. It was a festive and joyous occasion. We were singing for fun, for the love of our art form, in thankfulness for the opportunity, and in remembrance of a time that has so greatly touched us all. We were also joined by the newest group of young Wolf Trap artists who show such incredible talent and wonderful promise.

The weather was spectacular---perhaps the nicest weather I’ve ever experienced in The Filene Center. The massive but so inviting theater cradled us all in the Virginia night. The crickets did their part by adding extra percussive moments while the evening’s breezes were enjoyed. I will not begin listing the individual names of the artists who, number after number, brought the house down. The bravos for each and every singer were well deserved and greatly appreciated. I have sung with many of the artists numerous times and enjoyed renewing the incredible friendships we’ve long held. I also enjoyed the chance to hear live, for the first time, several other singers. It was just a very special evening that will long live in my memory.

The pictures above were taken during our rehearsal hours yesterday as I strolled around the theater enjoying memories and the atmosphere. The previous day had us rehearsing in the wonderful Center for Education at Wolf Trap--what a great facility (and it’s even air conditioned--such a change from my days of rehearsing in unbelievable heat during my Wolf Trap young artist days). Nothing will ever top the experience of rehearsing the finale fugue from “Falstaff” (Tutti nel mondo) and feeling the earth move under our feet---LITERALLY---as the 5.8 earthquake hit Virginia on Tuesday. That was a shocker (and perhaps a prelude to this weekend’s scheduled visit from Hurricane “Irene”) but yet a bonding moment for singers who already are held together by a rich heritage and great experiences with a phenomenal opera company. There is no place like it!!!

And now, it’s back to Baron Scarpia and “Tosca” rehearsals. Oh, how I enjoy my job!

Wolf Trap...Part 2

2011-08-19T12:00:18-05:00

Ah, yes--the summer of 1987 when The Wolf Trap Opera Company set me on course for a career in opera. My wife and I packed a large portion of our meager belongings into two cars (including our wonderful mutt, Molly) and headed from Connecticut towards Washington. We knew that, since our next year was going to be spent almost completely in the D.C. region, we might just as well move to the area. About half way between Philadelphia and Baltimore, we pulled off at a rest stop and came face to face, for the first time, with the massive outbreak of the 17 year cicadas which decided to pop out of the ground just in time for our arrival south of the Mason-Dixon Line. The last time they had ventured out of the soil was when I had been a mere 5th grader back in Washburn, Illinois and long before folks in Northern Virginia had built so many roads and parking lots on top of their heads. They couldn’t have been too happy about this when they emerged to enjoy long evenings of chirping, mating, and basically driving everyone nuts. These enormous bugs were EVERYWHERE. I think Nancy was ready to immediately turn the car around and head back north. What a racket these creatures made. However, I coaxed her to get back into the car she was driving and follow me down to Washington. We were to be staying with a host family in Northwest D.C. for the summer (all of the young artists stayed in host homes) and happily pulled into this gorgeous area of the city on a very warm afternoon. The adults of the host family were not around that day but we were met by their two young sons who couldn’t have reached their teenage years as of yet. They showed us around a bit but then seemed more interested in exhibiting their great excitement over the cicada outbreak. They just glowed in admiration for the bugs and then began trying to feed Molly these insects. We were a bit more than a little grossed out. I was going to be spending a lot of time in rehearsals and the thought of leaving Nancy with these two insect aficionados was a bit too much to contemplate. I knew that if I didn’t make a change quick, Nancy might have just moved back to Connecticut within an hour.

Peter Russell, the then head of The Wolf Trap Opera Company, quickly went to work and, with the help of his assistant, found us new housing by nightfall. We settled into Reston, VA for the summer and prepared for a great adventure despite bugs surrounding us and the heat of the summer of 1987 being nearly overwhelming at times (It was one of the hottest summers on record for Washington, D.C.).

Very early on in the summer, we had movement and acting classes to attend as well as our rehearsals (which filled most of the day). As the summer went on and the heat got worse, many of the other young artists started to fade away from the morning classes. I tried to keep up with the lessons as I wanted all the experience I could get and felt there was a lot to learn from these sessions. I still call upon some of the skills I learned on those days. The first production I was in, “The Barber of Seville”, had me singing the role of Dr. Bartolo which was quite a challenge. I had never sung a role that large in a foreign language (Italian). But the coaching and direction greatly helped me and it all turned out pretty well (someday, when I’m quite a bit older, I’d like another crack at it).

The next opera for me to rehearse was Benjamin Britten’s, “A Midsummer Night’s Dream”, which was an incredible experience. I played the part of Bottom which is an amazingly fun role. I was a real ham when wearing my donkey head---and how great to even be able to blink the ass’s eyes by pulling gently on a near invisible string that I kept attached to my finger. The performances in the outdoor Filene Center were so special (and brought my first review and picture in the NY Times). But what I remember most about that show, other than working with a cast of wonderful young singers, was the magic that was created by nature. As the lights faded at the end of Act 2, the theater was in complete darkness (All of the performers on stage had, as required by Mr. Shakespeare’s play, fallen asleep.) You could hear the sound of crickets (and cicadas) echoing through the night. Wow!!! I’ll never forget being in the forest on stage and being surrounded by one even more beautiful off of it.

Probably the most incredible experience of the summer, however, took place in a rehearsal. Each summer, the Wolf Trap Opera Company presented a concert of opera highlights in the very large Filene Center (seating capacity nearly 4,000 inside the semi-enclosed theater and room for another 3,000 on the lawn where people picnic and enjoy entertainment under the stars). Many duets, trios, and other ensembles were presented as well as a few arias. We rehearsed in the rustic Barn of Wolf Trap (where “Barber” was also presented) although the space was tight for a full orchestra and numerous singers. I was to sing, on the concert, “Abendlich strahlt der Sonne Auge” from Wagner’s Das Rheingold (which had been one of my audition arias) and then a duet from Verdi’s, Luisa Miller, with my friend David Pittsinger. We both studied with the wonderful teacher, Richard Cross, and were glad to have this chance to sing together on stage (We were both in “Barber” as well) as Richard was coming to the concert that was to be presented on a very hot Sunday afternoon, two days later. (My parents also travelled from Illinois for the concert as did Nancy’s parents from New Jersey.) However, it was the Friday rehearsal that brought us notoriety. In the Barn at Wolf Trap, there was a large sliding glass door that opened onto a little patio. The conductor, William Huckabee, was seated just in front of that door as he conducted--we were standing behind the orchestra for our “Sitzprobe” (a rehearsal in opera where the singers only have to sing--no acting). The duet was going wonderfully and built to an incredible climax---dramatic, high, and LOUD). When we hit the zenith of the piece at full volume, the sliding glass door absolutely SHATTERED. OH, the noise and the spectacle this created. Everyone in the room was stunned. A “Memorex Moment” had been achieved and was witnessed by the 70-80 people in the room. We didn’t know whether to laugh, continue singing, or just call an end to the afternoon. The look on Maestro Huckabee’s face was one of shock as the window could have crashed on his head (fortunately, it stayed in a rather beautiful mosaic condition within the confines of the metal frame). I think my biggest fear was that I was afraid Wolf Trap was going to make us pay for the window---thankfully, that didn’t happen. We became “famous” as the incident was written up in “The Washington Post” and became the stuff of legends. This may be my biggest claim to fame.

David joined me for other great experiences that summer as well. I recall one day when he joined Nancy and me on a trip into to D.C. to visit Tower Records. On that trip, I purchased my first recording of the wonderful George London as well as my first recording of “The Flying Dutchman”. I’ve always admired the great Maestro’s voice and, of course, “Dutchman” has become very important to me (can’t wait to sing the title role again this winter in Munich). David has been active as of late singing the role of Emille de Becque in South Pacific on Broadway and on tour. He is having a 1st class career. Hopefully, however, on that very warm weekend in August 1987, our teacher was proud of what David and I were able to “accomplish” (or should that be, “destruct”) at a much earlier time in our journeys.

That summer was HOT. Rehearsals were held in un-air conditioned spaces and one had to be able to adjust to all of the elements that surrounded you during your performances. But, despite bugs and incredible heat, the summer opened my eyes to what it was like to be a featured artist in a professional company. It was a “feeling” I liked and wanted to continue to build upon. Nancy and I enjoyed being in the area, attending MANY concerts at Wolf Trap, getting to know D.C., working with great colleagues, receiving outstanding support and teaching, and settling down in a town (Reston) where we would buy our first dwelling. We found that we could indeed have stability in this crazy business and that perhaps I might just be able to make a go of this singing thing.

Of course, this was only the first summer at Wolf Trap. Much more was ahead in the coming months as I took on 5 roles at The Washington Opera (more will be written about that experience in the coming weeks as I recall my time with the company leading up to next month’s opening night of “Tosca”--rehearsals are going very well). The following summer of 1988, however, also brought great experiences at WT with me singing one of my most favored roles, Leporello in “Don Giovanni”. This was my first professional go around with the role--a role that is, surprisingly to many, one of my most performed roles. How I loved singing the “Catalogue Aria” in that production. It also brought another Showcase Concert where I sang, for the first time, parts of “Les Contes d’Hoffmann” which, of course, surprises no one that it is one of my most performed operas. It also brought performances of “The Love for Three Oranges” in a production by Maurice Sendak. I have been honored to return to Wolf Trap for a recital in 2006 with Kim Pensinger Witman who is now the wonderful head of The Wolf Trap Opera Company. In my first years at Wolf Trap, she was one of the coaches for the singers---she’s come a VERY long way (We are all fortunate to have her leading this company). She also invited me back to Wolf Trap in the summer of 1999 to speak to the young singers about the “business” of singing. I probably only provided enough information to screw the artists up for life---but I was honored to be asked (and we stayed on during that trip to see a great concert by Peter, Paul, and Mary in The Filene Center).

Wolf Trap gave me the chance to sing. It gave me the chance to express myself abundantly as a singing-actor (perhaps my real calling card). And it gave me a chance to grow up considerably as a man with a dear young wife (and a dog that never did latch on to cicadas as a delicacy--although there are many folks who “fry up” the bugs for a snack). I am so grateful for the experience. I am SO happy that this coming Wednesday night, August, 24, I will return to Wolf Trap to sing in a concert called “Opera’s Greatest Hits”. And I’m thrilled that my return to The Filene Center stage will have me singing once again “Abendlich strahlt der Sonne Auge” and Leporello’s “Catalogue Aria”. So much has come full circle. I’ll be singing with great singers---fellow Wolf Trap Alumni and wonderful young artists who are finishing up the first or second year of their own Wolf Trap experience (I’m very proud that one of the young singers, Eric Barry, is a graduate of Yale who I’ve worked with over the last 3 years from time to time during my yearly visits to the campus). Wonderful friends who we’ve cherished over the years since we first met in that summer of 1987 will also be in attendance. They are great sponsors of Wolf Trap and have been such a wonderful support for both Nancy and me. In fact, when we adopted our youngest child, Keith and Barbara Severin wrote a letter of recommendation for us during the application process. And how great it will be to have Terrence (Terry) Jones in charge as well. Terry was the head of the Kirkland Fine Arts Center at Millikin University (our alma mater) when Nancy and I were undergraduate students in Decatur, Illinois. He has been, since 1996, the President and CEO of the Wolf Trap Foundation. Terry, you’ve done well. It’s incredible seeing what a grand job you have done at Wolf Trap after knowing you had to put up with my very first performances in opera as a college student so long ago!

All of these moments of those summers came together as simple patches that have helped to make up a very special quilt. Much more could be written and more will be penned. But for now, I’m just very happy to be back in Washington and am so looking forward to Wednesday night. There won’t be many cicadas with their vivid red eyes. There won’t be any windows ready to be shattered. There will be, however, some incredible moments of music and much emotion shared from singers who are all grateful for a company that fostered our careers and “put us on the map”. Thanks to you---Peter, Frank, Kim, Terry, Keith, Barbara, Richard, David, all of the maestri, singers, teachers, directors, audience members, friends, Romans, and countrymen---and of course, Nancy for tolerating the bugs and heat. God bless you all, just as you have greatly blessed me!

Wolf Trap...Part 1

2011-08-17T19:18:53-05:00

Every singer can trace their career back to where “it all got started”. I have many moments, early on in my singing, that played a huge part in my development. However, it was 25 years ago this summer when my career as a professional opera singer really began. I’d have to say, it wasn’t the first job (as an apprentice at Central City Opera) that really jump started my career. It was the work that came the following year, in 1987, that put me on the operatic career path once and for all. For the first time I was working completely without the restraint (and safety) of being a student and it seemed that finally, there was “no turning back”. What brought all this about? It was an audition for the Wolf Trap Opera Company--and I’m so happy to be able to blog, today, about what this wonderful company means to me.

Perhaps my memories are flowing with a bit more fluidity today since I’m sitting just a few miles from the country’s National Fine Arts Park (The Wolf Trap Foundation for the Performing Arts). This city and my career are very tightly entwined and Wolf Trap brought us together. “Tosca”, which I’m currently rehearsing for the Washington National Opera, marks my 30th production (I’ve lost rack of the number of performances) in the Washington area of staged or concert operas. And this is how it began...

It is always hard to get a career rolling. You have spent years in college, music schools, conservatories, doing strange jobs on top of more traditional church jobs, or even teaching. I did all of these. I even was, believe it or not, a “Kelly Girl”. Of course, this was after a run of shows I once did in Wichita where I dressed in drag and played a proper English cook...but that’s another story.

When it became obvious that my days of university study were coming to an end (I already had my bachelor’s and master’s degree), I was happy to hear that my voice was falling into line and becoming at least somewhat marketable. A singing career was never my ultimate goal as a musician. I had always planned on being a teacher. However, with the first few auditions I did, I was strongly encouraged to keep at it by being awarded the earlier mentioned apprenticeship or by winning a competition (that is huge encouragement for a young singer). Word got out, after that apprenticeship at The Central City Opera in Colorado (summer of 1986), that perhaps some folks should keep their eye out for me. When it came time to send out the applications for auditions for the next summer’s apprenticeships or young artist work, there were a few places I had in mind where I’d like to work but I wasn’t sure if I would be granted an audition with those companies. Fortunately, with the good words that had been put out about me, I was able to land a few plum auditions including an audition for the Merola Program (through the San Francisco Opera) and for this place in Vienna,Virginia (a D.C. suburb) that I knew so little about, The Wolf Trap Opera Company.

The Merola audition came first and went very well. I was invited to be a part of that program in the summer of 1987 and tour with them during the following several months in an opera that I really wasn’t thrilled about singing. I saw this as a tough assignment for a young singer just trying to get his vocal act together. I also wasn’t thrilled about riding a bus for the next year and visiting a different city every few nights even if my wife might have been able to come along. Still, I held onto this job possibility but was hoping for something else.

The audition for Wolf Trap was held at The Metropolitan Opera House in List Hall in December of 1986. This is also the hall where the weekly Met Opera Quizzes take place during the weekly radio broadcasts. It’s a bit of a strange hall in that it is built with the seats in a very steep rake. (It’s also a hall that has become very important to me in the last 25 years as we often have “note” sessions there after our main stage rehearsals.). The people you are singing for are actually sitting above you to some extent. Walking down the stairs to get to the singing stage is an adventure all singers fear. You just hope you don’t fall on your face---either while descending into the hall or while you’re singing.

Hearing my audition were Peter Russell and Frank Rizzo from Wolf Trap. Their knowledge of opera, singers, repertoire, and every aspect of this incredible art form is nearly unsurpassed. Of course, I was very nervous but also honored just to get a chance to audition for this great company that has produced SO many fine singers over the years. I started out the audition singing an aria that had already become one of my staples, “Abendlich strahlt der Sonne Auge” from Das Rheingold. Okay, I was young and perhaps shouldn’t have been singing Wagner so early in my career. But, it was obvious that this was the direction my voice was headed so why not show them what path I was on. Somehow, in the middle of the aria, I could tell that I had the attention of their ears. The feeling of intimidation quickly diminished and I could feel that something was really “clicking” in this audition. When I finished, they asked for a second aria. It’s fairly customary to get to sing two arias in an audition even though you know you might get interrupted during the second aria as time is short (and you might be bombing). However, they let me sing the entire second aria (I think it was “Quand la flamme de l’amour” from Bizet’s La jolie fille de Perth). When I finished this aria, Peter and Frank conversed a bit (actually, quite a bit) and asked for a third aria. Wow--I was thrilled. I’m not sure what I sang next (perhaps one of Olin Blitch’s arias from Susannah). It also went well and I knew we were on a roll. Finally, at the end of the aria, I was pleased and thought, “Gee, that was a pretty good audition for my first time singing inside the halls of The Met.” (I think I’d only stepped foot in the Met once before and that was many years earlier as an audience member with my girlfriend--who is now my wife--another long story.) BUT, they asked for yet another aria. They did mention that perhaps I’d like to first go and get a drink of water. I took them up on this bit of a break and then came back to sing my fourth aria of the afternoon. I have to tell you, it was a lot easier getting back up and down the steep steps at this point in the experience.

I don’t remember what the fourth aria was or even how it went. I just know that I really felt good about that audition. Just a few days after this audition, I heard from Peter that they absolutely wanted me to join the company for the next summer’s season. They offered me lead roles in both Il Barbiere di Siviglia and Britten’s A Midsummer Night’s Dream. This was all just great news and I was thrilled. However, there was the decision to be made concerning the fact that the job in San Francisco would lead to almost a full year’s employment where the work at Wolf Trap would only be for a couple of months in the summer. Peter sensed my indecision. Well, that’s when Peter and Frank really got to work and began working on my complete connection with the city of Washington that lasts to this day. Frank was also affiliated with the Washington Opera (before it became known as the Washington National Opera) and put together a package of productions for me in the 1987-1988 season (which would fall on the heels of the Wolf Trap work). These would all be operas that would play in the Kennedy Center and give me great exposure to “real” professional work and with some of the finest artists of the time. My employment would be so steady, and, for the first time, my wife and I would be supported financially by my music career rather than needing to be supplemented so much by her work as a medical or dental assistant. This was a dream that was beginning to come true.

We decided, without not needing to think too long and hard, that the Wolf Trap/Washington National Opera contracts were far more advantageous to me as a young singer and us as a young couple (even though we’d already been married nearly 5 years) and so we happily accepted these offers. I might add, Wolf Trap did ask me to come back for a second audition but I think this was more of a formality since one of the main conductors with the company was not at my first audition. This audition, also, was at The Met but in one of the large rehearsal rooms three stories underground. A representative from The Met sat in on that audition as well and I’m sure it was no coincidence that I received my first contract to work at The Met just a few months later.

There is so much more to tell but it’s already 12:35 a.m. here in Washington. So...tune in very soon for Part 2.

Tristan und Isolde...where it began

2011-07-27T11:22:35-05:00

On June 10,1865, at the National Theater in Munich, Richard Wagner’s “Tristan und Isolde” premiered. Tonight, we bring back to the same theater this incredible opera in a production by Peter Konwitschny and conducted by Kent Nagano. This is an opera that I have sung many times but not since 2004. I’m very much looking forward to revisiting this incredible music drama with a stellar cast in this gorgeous Bavarian theater (Bavarian State Opera). Wagner had several of his operas premiered in this house but perhaps none had the struggle to be brought under the lights as did this story of these two great lovers.

The opera was rehearsed for a few years in various places (including over 70 days in Vienna). The opera was beginning to deserve its reputation as “unperformable” until Ludwig II of Bavaria agreed to sponsor the premiere. Hans von Bülow was chosen to be the conductor even though Wagner was having an affair with the maestro’s wife, Cosima. Cosima, the daughter of Franz Liszt, later became Wagner’s second wife. The opera was to be premiered in May of 1865 but that debut was postponed when the soprano, Malvina Schnorr von Carolsfeld had become hoarse. The premiere was not an immediate critical success but remarkable to all who heard it because of, amongst other items, the use of dissonance that had been unheard of until this time.

Some of the initial reactions are telling. I love this critique by Eduard Hanslick of the prelude: "...reminds one of the old Italian painting of a martyr whose intestines are slowly unwound from his body on a reel."

Or this observation by Mark Twain after hearing the opera in Bayreuth: "I know of some, and have heard of many, who could not sleep after it, but cried the night away. I feel strongly out of place here. Sometimes I feel like the one sane person in the community of the mad."

And how about Clara Schumann’s words: "...The most repugnant thing I have ever seen or heard in all my life."

Obviously, the work was later far better received. Even from the early days, the music drama developed an enraptured devoted following. Giuseppe Verdi remarked before his death that he “stood in wonder and terror before Wagner’s “Tristan”.” And Richard Strauss, who had initially dismissed Wagner’s music in “Tristan, saying that it “would kill a cat and would turn rocks into scrambled eggs from fear of its hideous discords”, came around. In 1892, Strauss wrote to Cosima and said, “I have conducted my first “Tristan”. It was the most wonderful day of my life.” He later wrote that “Tristan und Isolde” marked the end of all romanticism. The work has since been championed by many Maestros. The title roles are held in the highest regard and respected by all who attempt singing them. New productions of “Tristan und Isolde” are some of the most highly anticipated and mystical evenings in all “operadom”.

It is also well known that the first Tristan, Malvina’s husband, Ludwig, died just over a month after the premiere, having sung the role a mere 4 times (Originally, he wasn’t even to be the first Tristan but replaced Mr. Alois Ander who proved incapable of learning the role). Of course, there has been a great deal of speculation that the stress and work on the role of Tristan lead to his death. It is also thought that the opera, “Tristan und Isolde”, lead to the deaths of conductors--Felix Mottl in 1911 and Joseph Keilberth in 1968. Both conductors died after collapsing while conducting the 2nd act of the opera. Malvina lived for 38 years following Ludwig’s death but never sang again after falling into deep depression. For many years after the premiere run, the only performers of the two title characters were another husband and wife team, Heinrich and Therese Vogl.

Opera always has a great amount of legends, myths, and true operatic sized stories circulating around each and ever production. Some are true, some greatly exaggerated, and some are verifiable. The above legends can be fairly easily traced (I’m even being lazy today and am quoting some Wikipedia info--hey, it’s a performance day). But let’s just say that it is intimidating performing this work while knowing the difficulty (and feeling it in your entire body). It’s also scary jumping into a production (that is new to you and most of your colleagues) on just 6 days of rehearsal (far short of the over 2 years of preparation for the original premiere). I’m hoping that we all come out of this far less scathed than Herr and Frau von Carolsfeld (pictured above). And I’m also thankful that I sing the role of Kurwenal. Sometimes it’s great “just” being the baritone.

Baden-Baden...John comes "home"

2011-06-11T14:44:00-05:00

We opened the new production of “Salome” last night here in Baden-Baden. Lately, I’ve seen this town referred to as Baden x2 which works for me as well. We had a successful opening night but I’m looking for the next two performances to be far better. There are nights when the energy seems a little off. I think, perhaps, that we felt a bit “over-rehearsed” on this one. The show has been in great shape for a few weeks and we needed an audience. Last night, we finally had it. Mind you, the show went well--it was just an evening when the slightest mishap could make things seem bizarre.

And things started off with me being a bit off. My character, Jochanaan (John the Baptist), sings a great portion of his role under the stage (amplified). In order to do this, there has to be good sound and video monitors which allow me to see and hear the orchestra and conductor. Last night, when the opera started, the video monitor was not working. Essentially, this meant that I was singing blind. When you are singing at that volume from under the stage, the sound is echoing so much that there is no way you can hear the orchestra clearly either. I can only hope that things were together. Fortunately, after not too long, a technician came and fixed the monitor but it was certainly distracting to have all of this going on when you’re trying to perform a difficult role.

Of course, this is very unnerving and can get one off to a rocky start. I don’t know that the audience had any idea that there was a problem---I know the director was surprised afterwards when I told him of the mishap. Obviously, that means things couldn’t have been too noticeable. However, it sure did throw the energy off and make one doubt his performance a bit. You just keep doing the best you can and hope for the best.

After I sing from under the stage for awhile, I come up on top from the dungeon (cistern) to have a wonderful scene with Salome. In this scene, I sing some of my favorite music and have a wonderful aria. That went very well last night and I was pleased. However, after cursing Salome, I then have to go back to the dungeon and deal with all the sound and video issues down there. All of that worked fine in the last half of the opera and we ended on a high note. But oh, was this a weird night.

And these nights happen. I so often tell students that they need to relax and enjoy their singing much more. We as singers are always looking for perfection and are constantly grading ourselves. This ability to evaluate your performance needs to be honest. It can’t be overly positive and it can’t be too critical. It just has to be what it is on any particular evening. I also always remind others that perfection does not belong on this earth. We may make that our goal but we’re not going to achieve it. We just have to do our best. I hate when my best is hindered by strange happenings--but it is what it is when it is.

We have two more performances here in Baden and I think they’ll be great. These performances are being recorded for a future release on DVD. I have no idea when that will happen. I am glad that last night’s performance won’t be the one on film. Let’s hope for the best in the week ahead.

Oh, and Baden literally mean “bath”. As John, I was certainly in the bath last night as I sweat out a tough show.

Wozzeck at The Met

2011-04-11T18:44:55-05:00

It is so hard to believe that this run of “Wozzeck” has reached its last performance. It was just 50 days ago that I found out I was jumping into this production at The Metropolitan Opera after having been off the role for over 5 years. These past few weeks have been an incredible ride and a real test as to how quickly I could get such a difficult role back in my brain, rehearsed, and then on stage in front of an audience. I have to tell you, I’ve enjoyed every minute of it. There are few roles that allow a singer to dig deeper into their own minds. There are few roles that require so much physically and vocally (thank heavens it’s a rather short opera). There are few roles that are (at least, to me) more fulfilling. I am so grateful to have been a part of this wonderful cast and incredible production. The orchestra has been magnificent and Maestro Levine has been beyond inspiring. We’ve had quite a run but I now look forward to wrapping this up and returning to a bit of “normalcy”. I’ll get a few weeks off before heading to Germany for “Salome” (once again).

These past few weeks, on top of the performances, have brought other time commitments related to the career. I’ve had 3-4 interviews to do with various press outlets. It’s always fun talking about the work that you’re doing. However, one has to do these things at a slow pace in order to not break the rhythm of your show preparation. The hosts and interviewers have been so positive and uplifting as well. A good interviewer can help you sort out your own thoughts as well and help you organize just what you want to say. I’ve been fortunate, in the press sessions I’ve had these past few weeks, to have had people on the other side of the table (or on the phone line) that have done just that. Today, following the broadcast, the CBC (Canadian Broadcast Company) will play an interview that we taped just before Wednesday night’s performance. I was concerned about doing an interview before an evening of “Wozzeck” but it went very well. Much credit has to go with the fine folks in Vancouver who asked just the right questions. Thanks!!!

I also enjoyed doing an interview for a blogsite “operatattler.com” that will be published soon. We had more time for that one last Monday and got some good thoughts onto “paper”.

Last Saturday, during the weekly Metropolitan Opera Broadcast (“Le Comte Ory”), an interview I had recorded with Margaret Juntwait a few days earlier was played as well. What a nice interview that was. Margaret and I just started talking in the studio at The Met following the final dress of “Wozzeck” and then, lo and behold, it was recorded as naturally as two friends sitting and shooting the breeze (which is pretty much exactly what happened).

So thanks to the interviewers in my life the last few weeks. You made these experiences, for a guy that isn’t always comfortable being interviewed, MOST enjoyable. (Did anyone ever tell you people I’m actually kind of shy---I know, hard to believe!!!) .

This afternoon, following the show, I’ll quickly greet friends backstage before racing out of the theater as quickly as possible (I hope that my visitors don’t feel rushed--truly, that’s not my intent). I need to get back to Bucks County (about 2 hours from NYC) as quickly as possible because tonight brings the semi-annual “D.D.D.”---”Daughter, Daddy, Dance” at her school. This should be so much fun as I try to dance with my beautiful seven year old. I’ve been looking forward to this night for a long time (we even picked up a nice wrist corsage for her). I’m truly excited about having a date with this beautiful young lady. From what I hear, there will be over 250 in attendance. I just hope I don’t embarrass myself on the dance floor. I think, perhaps, it’s a good thing my daughter doesn’t know the story of “Wozzeck”. If she did, she might not want to head out to a party with me.

This next week is perhaps (no, definitely is) my favorite week of the year. Once again, after what has seemed like an extraordinarily quick Lent, Holy Week is upon us. I cherish each day of this week when we remember and celebrate Palm Sunday, Holy Thursday, Good Friday, Holy Saturday, and then, of course, EASTER. Each day, to me, is like re-walking steps---watching and remembering the steps that Jesus Christ took (and of course, His great sacrifice) and examining the path that we have found ourselves on in our own journeys. It is a week that helps to once again re-examine and re-affirm our faith. I am grateful for this week of reflection, growth, sacrifice, and commitment. I will try to blog a bit later in the week. I truly hope it is a week that brings contemplation and strength to all who read these words as well.

We will be looking at a couple of colleges this week for our second oldest son. I can’t believe those days have already arrived. What a journey this will be for him and for us all. We are excited for the possibilities and opportunities. Sometimes, however, I just wish they hadn’t come so soon.

Parsifal in Barcelona...it's not just for tuba players

2011-02-20T10:10:10-06:00

In the “Stone Age” of my existence, nearly 40 years ago, I was a budding musician who never dreamed of being an opera singer. My musical training had been solely as a pianist and as a tuba player (the tuba, of course, being the King of Instruments---there are some who think of it more as the jester of bands--but what do they know?). I had wonderful teachers who trained me well and encouraged me so much in my early musical endeavors. Before I turned 13, I was a member of the Junior High School Band of America and toured with the band on a trip to Washington, D.C. This was a pretty major deal for a young boy from rural Illinois. It was very much an eye opening experience into the world outside of the comforts of corn fields and Little League baseball diamonds. I remember on that tour visiting the Kennedy Center for the Performing Arts to see a concert. Oh, how beautiful I thought that hall was. Never did I dream that in just a little over 15 years, I’d be appearing in performances in that very center (as well as in over 125 performances since then). An interesting side note---that very weekend, in June 1972, a little burglary was carried out next door to the Kennedy Center at a complex called “Watergate”. I swear, I had nothing to do with it--but I digress.

The tuba occupied a great deal of my time in the 1970s. I was a member of the Central Illinois Youth Symphony and attended several music festivals in the state as well while playing that big horn. Alternating playing the tuba with being active in sports kept me busy, to say the least. In the summer of 1974, I attended The Western Illinois University Summer Band Camp and was placed in the “Purple Band”, the most advanced band at the camp. I learned so much and enjoyed the repertoire that we played during that week. One piece, however, stands out in my memory. That selection was called “Procession of the Knights of the Holy Grail”. In that piece, I remember I had this wonderful quasi-obligato tuba solo. It was a majestic and stunning composition that contrasted so greatly with much of the other repertoire we played for the concert at the end of the week. It truly caught my attention.

My parents came on the final day of the music camp in order to hear the concert and to bring me home (I was only 14 at the time and still nearly two years away from terrorizing my fellow Illinois drivers). I can still, to this day, generally remember my Dad’s comments in the car on the way home. He talked of how that piece, “Procession of the Knights of the Holy Grail”, really “got to him”. He said he could just picture the knights walking in the days of Arthur or in some other mythological journey. I was always happy to know that music I played had a special impact on him or anyone else. I tucked that memory away and didn’t think much about it until....some time later.

As things developed in my music career, I became a Wagnerian baritone (otherwise known in German as a “Heldenbariton”---a “heroic baritone”---how convenient). My repertoire covers the epic works of Wagner and Strauss. I first started working on the opera “Parsifal” when I was asked to understudy (cover) the role of Amfortas for The Metropolitan Opera 1991-1992 season. In 2000, I sang it for the first time at the Kennedy Center in Washington and have also sung the opera in Munich in 2002. Those performances of the opera in Munich were the last time I sang the role of Amfortas in “Parsifal” until now. We open a new and interesting production here in Barcelona, Spain tonight.

Now, as Paul Harvey would have said, “The Rest of the Story”. I had no way of knowing back in 1974 when playing “Procession of the Knights” on the tuba that the music was really the powerful music of Richard Wagner adapted for concert band. It is the same incredible music played by the orchestra and sung by the Knights as they begin the “Grail Scene” in the opera “Parsifal”. I had no way of knowing that I would someday be singing the role of the anguished Amfortas, the head of the Knights of the Grail in this opera and, in Barcelona, which is only about an hour’s train ride away from Montserrat (the setting of this opera). I didn’t know how this story would touch me so much, just as it did my Dad way back in the 70s. And I didn’t know that the last performances of “Parsifal” that I sang before now, would be the last opera I would sing before my Dad passed away less than a month later in April of 2002. Less than three months after his passing, I was in Barcelona to sing “Tristan und Isolde” and went with friends to Montserrat ---what an incredible spiritual and artistic experience to visit this Benedictine Monastery tucked into a stunning rock formation. This music drama that is “Parsifal” is overwhelming--from it’s incredible score to it’s message of redemption, to the impact on all who hear it. Sometimes, it is very difficult to listen to the chorus scenes that are truly angelic. The over 5 hour experience spent with this masterpiece is nearly beyond description---I am so moved during each performance and I am thankful there are no more notes to sing after the last chord fades and the maestro rests his baton.

But shortly before those final chords, I sing a very moving portion of the opera that is a prayer--a prayer to Titurel, my father in the opera who has just passed away, to intercede for me to God for peace and rest. It is a touching and near paralyzing scene at times--perhaps even more heartfelt, for me here in Barcelona, as so many things come together in my journey on stage and in life.

And I will think, during this run, of each of these experiences that goes into making up any human but particularly a performing artist. We carry things around in us that come out at different times during our performances over the years. I will hold onto each bit of spiritual fulfillment, each bit of emotion, each incredible beat of music, and every memory of how a piece that featured the tuba touched my Dad--and touches so many others in its operatic form. This will all then be released through the notes and text of a Heldenbariton who is simply attempting to tell a story on stage and to once again continue the tradition of performance that Wagner lit in my heart nearly 40 years ago. Oh, I am blessed.

Here’s a link to our show here in Barcelona where you can see a few pictures and a short publicity video. It’s more of a tease than anything else but it will at least give you an idea of what it’s like.

Gran Teatre de Liceu - Barcelona: Detall Obra

One other thought---my youngest son was chosen this year to play in The Archdiocese of Philadelphia Junior High School Honor Band. They had their second rehearsal this weekend. What thrills await him as he discovers new music and sounds. Oh--and his instrument? Of course, the tuba.

Fidelio in Amsterdam...Beethoven finally gets it right

2010-12-03T13:47:19-06:00

Last night was my 87th performance of “Fidelio” (95 will be under my belt by the end of this run in Amsterdam). I’ve played three different roles in this opera over the years. My first outing was as the Second Prisoner in a wonderful production in Washington, D.C. back in 1988. James McCracken sang his last operatic performances during that run as Florestan. I went on to sing Don Fernando many times in various places but have been singing, primarily, the bad guy role of Don Pizzaro these past many years. As the prisoners are always freed by Don Fernando at the end of the opera and Pizzaro is lead away to jail (or, depending on the production, execution), perhaps I should have kept to playing one of the smaller roles. There are many baritones who don’t relish the chance to play Pizzaro. I’ve made him a specialty and always enjoy my evenings as the evil Governor. Last night was no exception to this rule and we had a very fine opening night. How can you not be swept away by Beethoven’s incredible music. Of course, he struggled himself with getting it “just right” as is evidence by the various versions he produced. But I think we’ve got a pretty good version with just the right amount of dialogue here in Amsterdam. I’m very happy to return to this wonderful production by Robert Carsen that we first premiered back in 2003. It’s great to revisit a classic. With a strong cast and chorus and an excellent condcutor, Marc Albrecht, leading the Nederlands Kamerorkest, we had a excellent evening of music and drama. Here is a clip from the production from nearly 8 years ago when it was new.

Great performances can be hard to find...but this was close...Sanctus, Sanctus, Sanctus

2010-10-07T14:48:10-05:00

Any performer, especially opera singers, get excited about performances that really come together on all levels. For a singing actor, that means getting the drama and the music to meld into a performance where each aspect is nourishing the other so that the total presentation becomes a very satisfying creation. Herr Wagner called this Gesamtkunstwerk and I’ve long been an advocate of trying to see this happen in my performances. However, any singer will tell you that it is rare where things do come together so well. Last night’s performance of “Salome” here in Vienna at the Staatsoper was one of those occasions. It may seem strange to know that there are some evenings where you can just feel it in your core that the performance will be “one of those special nights” (Gee, wouldn’t it be nice to have that feeling beforehand more often?). I felt it all during the day yesterday and in my dressing room before the show. Happily, it wasn’t just a feeling--it was real. We had NO orchestra rehearsal, NO time on stage rehearsing (except for 5 minutes or so before I got into make-up in order to check out just where everything was--let’s just say that a lot of improvisation occurred last night), and little time together as a cast--just 4 days of running scenes. What came together last night both musically and dramatically was very special. I will remember the engrossing feeling of performing last night here in Vienna for a long time--and I will cherish the audience response as well. It is because of nights like this that I continue in this art form. It is the hope and goal of having more nights like this that keeps me coming back for more. Does this mean that the night couldn’t be improved upon and that there weren’t things we could do better? Of course not. Singers are never totally happy with a performance--I’m not sure they ever will or should be. But we always have to remember---Perfection is not found on this earth.

It doesn’t hurt that I was singing one of my favorite roles, Jockanaan (John the Baptist). I never tire of singing the role of the great Prophet and rendering the wonderful aria that he sings to Salome in the middle of the opera. In this moment, he evangelizes to her and begs of her to seek Christ, kneel before the Lord, and confess her sins. The music is extraordinarily beautiful. Strauss wrote very well for baritones (happily, not so great for tenors). I truly felt that the soprano, Catherine Naglestad, and I were able to forget about the audience during our scene and experienced real theater (well, as real as it can get when you’re singing along with the incredible Vienna Philharmonic). It also was exciting to know that the performance was being broadcast on a large screen (pictured above) in the square next to the Staatsoper. I hope the folks (or is it Volks) outside on this cool October evening could feel the heat being created inside the historic and gorgeous theater.

Perhaps it was partially because I was on a high over this experience but sleep wasn’t easy to be had last night. In addition, I knew I had wanted to get up this morning to go to Mass at the St. Augustiner Kirche. The music was to be from Gounod’s great St. Cecilia Mass. (I might add that St. Cecilia is my wife’s patron Saint and the Patron Saint of Music.) When I first got out of bed, I thought that maybe I’d just go to Mass at the nearby church (Karlskirche) instead as it was a shorter walk and the weather also didn’t look so nice (it’s raining here in Wien). However, the music from the Gounod Mass is some of favorite music and I truly felt lead to get into Central Vienna. I’m so glad I took the longer stroll.

I truly didn’t expect to see the crowd at St. Augustine that was there. It was PACKED--and then some. People were standing everywhere (and this is a pretty large church) as all the seats were taken. Once again, it was so obvious how powerful the expression of something precious, meaningful, and Holy can be if all the elements come together and work as one unit. The choir was extraordinary as was the orchestra (The timpani strikes are still resounding in my chest). To have this incredible music presented in the context of the Holy liturgy nearly blew me away. Of course, the Mass was longer than normal with the size of the crowd and the longer musical selections---but the nearly two hours flew by (even as I had to stand through most of the Liturgy). Receiving the Eucharist is always blessed and special--but today, I nearly floated to the Feast as the sounds of Gounod lifted me so thoroughly.

I first heard the “Sanctus” from this Mass back in my early teens. My parents had a recording of the Mormon Tabernacle Choir singing it along with other famous choruses. I played it over and over and over--and I believe we even sang it one time as a choir when I was a sophomore in High School. I’ve not sung it since but have enjoyed hearing the “Sanctus” on recordings since then--never live for some reason (or at least that I can recall). It was possibly hearing this incredible music that lead me to a closer relationship with Christ---surely, this is the music of angels and indicative of how things will be sung in heaven. It was possibly this music that lead me towards the Catholic Church as well. It is indeed powerful stuff (even if it does traditionally have a major solo for tenor). I’m attaching two links to recordings of Gounod’s “Sanctus” from his St. Cecilia Mass. One is with the great Jessye Norman from the Cathedral of Notre Dame in Paris and the other is from a far more modest location in New Jersey with the wonderful young tenor, Michael Fabiano.

Enjoy.

Sanctus, Sanctus, Sanctus,
Dominus Deus Sabaoth.
Pleni sunt caeli et terra gloria tua.
Hosanna in excelsis.
Benedictus qui venit in nomine Domini.
Hosanna in excelsis.

Holy, Holy, Holy Lord,
God of power and might,
Heaven and Earth are full of Your glory.
Hosanna in the highest.
Blessed is He who comes in the name of the Lord.
Hosanna in the Highest.

Text from the Ordinary of The Mass--seemingly based on Isaiah 6:3, Matthew 21:9, and Revelation 4:8

Salome in Japan

2010-08-05T11:49:34-05:00

We opened “Salome” on Sunday and tonight present performance #2 of the four show run. As many of you know, this is the same production that we had in Chicago in 2006. Three of the lead singers return from the cast (including myself). Also back are Deborah Voigt (our incredible and wonderful Salome) and an old friend, Kim Begley (King Herod).

I first sang this opera back in 1995 on a concert tour in England. The first run of any opera is a growing experience and one tries to find the best way to settle into a difficult role. I next performed the role at the Vienna State Opera in 2001 and have now gone on to sing it in Chicago, Washington, D.C., Munich, and Geneva. I have it on the schedule for October again in Vienna and then in Baden-Baden in June of 2011 (there may be a DVD made of that production). Every performance is different to be sure but I have to say, no matter how much I like or dislike the production, I LOVE THIS OPERA. Of course, when you have a cast that is so great to work with (both on and off the stage), you end up with quite a working experience---musically and dramatically. That I have sung this opera with Deb before also greatly helps in presenting a show that is so powerful. Our big scene together is truly physical, gripping, and exciting---we can feel it and have the bruises, cuts, scrapes, and a variety of sore muscles and joints to show for it. But you know, to me, this is the kind of theater that I’ve always wanted to do--to work with artists who are so committed to presenting the story (in addition to singing well) that you become caught up in the presentation to the point that you can really forget about the audience (not that we totally ever let that happen). Our moments on stage become a personal argument or a needful plea for action. This happens abundantly in this wonderful production by one of my favorite directors, Francesca Zambello, (recreated here in Matsumoto, Japan by my friend Christian Räth) and I’m very grateful for it. Because of productions like this, I can honestly say that this opera has become one of my favorites and I don’t seem to ever tire of singing the role of Jockanaan (John the Baptist). Much of my text, so clearly taken from the Gospel and utilized by Oscar Wilde and Richard Strauss, never fails to move me in rehearsal and performance. It is a pleasure to sing this role.

In addition to working with folks I’ve worked with before (and how great to have a long time colleagues Jane Henschel along as Herodias and Dennis Petersen as the First Jew), it’s great to meet new colleagues to work with and in which to develop relationships. They are too many to list here--but let’s just say that with all the young talent on stage here in Japan, the opera world is going to be thriving for some time.

The sets are very modern but the costuming is quite traditional in some regards (over the top in others). The staging is also traditional which allows us to actually have more liberties as singing actors. The pictures above are actually from our time in Chicago in 2006 but since Debbie and I did the production there, I figured I’d just use the pictures from that time again here (same costumes and make-up for the most part). The picture of us together is from the production poster which is all over Matsumoto at this time.

The Saito Kinen Orchestra (also the name of this festival founded by Seiji Ozawa) is a fairly “new” orchestra (they’ve already been around nearly 30 years) that sees players come from other orchestras for the festival and other concerts throughout the year. What a band!!! There are players in the orchestra from the Berlin Philharmonic, The Cleveland Orchestra, Metropolitan Opera Orchestra, and many others. Omer Meir Wellber is conducting this production. He is a very young (28!!!) Israeli conductor with incredible talent and potential. Originally, Maestro Ozawa was to conduct this run but, due to his recent battle with cancer (and he’s now cancer free), had to withdraw.

I have been shocked, on this trip, to find this mountainous area of Japan to be so hot. We are very close to where the 1998 Winter Olympics were held. In fact, we are in the same Prefecture as is Nagano. However, it is has ben hot, Hot, HOT!!! I was out a bit ago and it was over 100 degrees according to the thermometer at the train station (perhaps a bit cooler than that at the hotel). Many days have been over 90 and the mountains seem to trap the heat in the valley. The stage has been very warm but not as hot as sitting through Mass on Sunday mornings (no air conditioning in the Church). Wow, do we often live too pampered of a life.

It was great to be able to call back to Central Illinois (where I grew up) very early Monday morning. It was nearly 3:30 a.m. in Matsumoto, but only 1:30 p.m. on Sunday afternoon there, when I called to wish my Aunt a very Happy 85th Birthday. A surprise party was being held and I’m just happy I was able to take part from afar.

Also, this past weekend, my wife took our oldest son back to college for his second year. It seems like just a few weeks ago when I brought him home for the summer after the concerts in St. Louis in early May. Even stranger, wasn’t he just born in Minneapolis a few months ago?

Being so far away from home brings a lot of challenges. However, when you are doing “good art” (as we like to say), it makes things enjoyable and far more palatable---even if my head is what ends up on the pallet in the end.

St. Louis Wagner Concert with La Brewer

2010-05-02T14:50:13-05:00

I have often sung excerpts from Wagner operas or even complete Wagner operas in concert settings. Saturday, May 1, was one of those evenings--and it was one of those evenings that, when it’s all over, you say, “Gee, I’m glad God wanted me to be a singer”. This music is so powerful and beautiful and to have a concert like this helps to bring just why you spend all of the hours in preparation and the days, weeks, and months on the road into focus.

The concert was with the St. Louis Symphony Orchestra under the baton of Maestro David Robertson. I was joined by the incredible soprano, Christine Brewer. The performance included music from “Lohengrin”, “Die Meistersinger”, “Tristan und Isolde”, and “Die Walkure”. I sang on the “Walkure” portion of the program. It was wonderful music making and a great evening of collaboration between all involved. The orchestra is simply one of the finest. This was the first time I’ve worked with Maestro Robertson--wow, am I impressed!!!--such sensitivity and grace.

What can I say about Christine that hasn’t already been said so many times. She is simply amazing. This incredibly rich sound with unbelievable musical distinction just pours out of her throat. What’s more, she is a cherished friend. We have had a wonderful time putting this together. Every time we get a chance to work together just warms my heart. I hope it happens much more often in the future.

What also made this evening special was having so many friends in attendance--people I haven’t seen in so many years. I appreciate each person taking the time to come to St. Louis and support me and this concert. Your friendship and guidance over the years has meant so much. You helped make this a truly extraordinary night for a road weary singer. Here’s hoping it won’t be 7 months, 4 years, 30 years, or even longer until I see you all again.

This concert was broadcast over the internet as well. I’m glad that friends and family heard this event from so many different locales. Thanks to all of you as well who have written and said you heard it.

Yes, evenings like this give you encouragement and confirmation once again that music does make a difference in people’s lives. It is a great gift that we have been blessed with. With evenings like this on the docket, I think I’ll continue to sing for awhile. I think that’s what the Lord has planned. And wow, we get to do it all over again this afternoon. Praise God!!!

Oh--two of the pictures are from inside the GORGEOUS Powell Hall where the concert took place. The other is from the Cathedral Basilica here in St. Louis--one of the most gorgeous Cathedrals I’ve ever seen (and I’ve seen a lot of them). The mosaics are incredible. I believe I read that the Cathedral has the largest collection of mosaics in the world. I can believe that. It’s another expression of great beauty through art.

Goodbye Philip! You will be greatly missed...a singer's singer

2010-03-06T14:50:43-06:00

I was deeply saddened to hear of the passing of my friend and colleague, Philip Langridge this evening. I had only this week found out about him not being well.

Philip was truly one of the finest colleagues I’ve ever had in this business--and one of the most talented. We worked together often at The Met and also in London, Munich, and Milan. I am honored to still have hanging on my wall the copy of the La Scala poster of “Peter Grimes” from 2000 when I made my debut. Philip played the title role and I was Balstrode. How wonderful to get to perform this opera with him and sing that wonderful Act 1 duet together. I also remember that the production was great to be in but a disaster to rehearse (as often is the case in Italy). We commiserated one night over some wonderful Chinese food and Chinese beer---and yes, that’s a strange thought---two English speaking guys eating Chinese food in Milan, Italy.

Philip was a great singer and a wonderful actor--a singer’s singer. More important, he was a wise man of class and elegance. We enjoyed discussing our faith when we’d be together as well as how much fun it was to mow the lawn on tractor lawn mowers.

I last saw Philip in December in NY when he was there to once again play the Witch in “Hansel and Gretel”---we were in the show together in 2007-2008 (I’m so glad I can watch the video and see Philip’s hilarious portrayal whenever I wish). I was there for “Hoffmann” and, as always, so happy to run into him. He was with his lovely wife, Ann Murray (another outstanding singer). They were a lovely couple. Their son is an accomplished director which means Philip’s legacy will last for a long time in this business--and we are all the better for it.

May you rest in peace, my friend. Know how you were loved by so many--and respected beyond words.

Charlie Retires

2010-01-29T14:51:37-06:00

Tonight, at The Metropolitan Opera, a very special era will come to a close. For the past 57 years, we have celebrated the Charlie Anthony era. Charlie (actually, Charles Anthony Caruso) debuted at The Metropolitan Opera 57 years ago and will sing his last performance at The Met this evening as The Emperor in “Turandot”. All who work at The Met have been greatly blessed by this great tenor and friend. I encourage you to check out this link to a wonderful article about Charlie in the online edition of the NY Times:

http://cityroom.blogs.nytimes.com/2010/01/27/tenor-post/

There is also a video that you can watch of Charlie from a recent backstage interview that he did following the HD Broadcast of “Turnadot”.

Charlie is one of a kind---a real treasure. The history of The Met is so intertwined with his career. He will be greatly missed--but I hope he won’t be a stranger. I wrote a response to the NY Times item and add it here:

I have been so honored to work with so many of the greats in the opera business–Charlie Anthony is right up there at the top of the list. What a treat it is to spend time with Charlie on stage, in the rehearsal rooms, and backstage in the dressing room area. He just simply warms your heart and makes every performance special (and better).
I remember when he sang Borsa in “Rigoletto” and broke the record for most performances at The Met. I was singing Monterone and I couldn’t get over how lucky I was to be on the same stage as him that night. Every instance with Charlie is like getting a history lesson of singing and life at The Metropolitan Opera. And, despite all his history in this wonderful business, he has remained incredibly approachable and just the sweetest guy anyone would ever want to meet.
Charlie is cherished by each artist, stage hand, wardrobe department member, and every body else who has been graced with his incredible smile and spirit. He is truly a Met treasure.
God bless you Charlie!!! Enjoy your Caterpillar Tractor hat and don’t forget to “stop by for tea”.
Alan Held

That final line (“stop by for tea”) is in reference to a line that Charlie always entertained us with during “Die Meistersinger”. Those who have been part of that opera with Charlie will know what I’m talking about.
As I write this, I’m in Munich, Germany for “Salome”---more on that, later. Today is Charlie’s Day.

Added on March 6---these links will take you to a wonderful recording of Philip singing “Comfort Ye/Every Valley” from Messiah and then something a bit sillier from 2008. It gives me great comfort today to hear this sung so wonderfully by such an incredible man and singer.

Happy #125 Birthday, Dear Metropolitan Opera!

2008-01-23T15:52:07-06:00

Today is the 125th anniversary of the first performance at the original Metropolitan Opera House (Faust). A very big Happy Birthday to one of my favorite opera companies. In my 20 years of being associated with the company, there has never been a day where I haven’t felt honored just walking through the stage door. I remember seeing my first opera at The Met (Manon Lescaut in 1981) with my girlfriend (later my wife) and her parents. This was of course at the new house which opened in Lincoln Center in 1966. I was mesmerized by the theater, the chandeliers, the production, the musicians, and the entire experience. I remember thinking that night that it would be an incredible dream to one day be able just sing on that stage once. Now, after nearly 200 performances of my own on that stage, I am still in awe of the place.

I remember the 100th anniversary very well. I had just finished my master’s degree and was performing in my first production of “Don Giovanni” at my alma mater. I watched the afternoon gala from The Met on PBS before my show and then the end of the evening gala after my performance. It was an amazing day of opera from New York and a pretty incredible day of opera in Wichita, Kansas as well. That production of “Don Giovanni” remains one of the finest theatrical productions of the opera I’ve ever been involved with and it was the first run of an opera that I’ve gone on to sing just about more than any other. It was also that production which really lit my fire and caused me to really pursue singing much more seriously. I had of course already been doing quite a bit of singing, but this show solidified my desire to be a professional opera singer. To think that this happened 25 years ago astounds me. And to think it has now been 25 years to the day since the Met celebrated 100 years, well, I just can’t believe how time flies. I am grateful for music in my life and I’m grateful for The Met. And it is not only the incredible experience of The Met that I’m grateful for---it’s also my many wonderful friends and colleagues who I’ve worked with for years that I cherish---singers, orchestra and chorus members, wardrobe and make-up staff, stagehands, administrators, secretaries--you name it. They are all part of my music family and I wish us all Happy 125th Birthday. One more thing--thank you to all the many incredible singers who graced the stage before my time on the boards. You helped make this company what it is today.