Hello all,
After returning from Chicago, I can truthfully say it was a magnificent and triumphant trip. My wife and I loved the city of Chicago, the Chicagoans, and of course, the people at the Lyric Opera of Chicago.
We flew into Chicago Friday morning and touched down at 7am Chicago time (this meant a 6am flight EST). We were exhausted after taking this early flight and made sure to get some rest for my pending audition. We were able to get some breakfast and head off to the Art Institute of Chicago. It was quite impressive. The collection of artwork rivals anything I have seen in any gallery around the world. After seeing the museum, we got some rest and then had some dinner...Deep dish Chicago style pizza is amazing. I can see why it is so popular; we definitely don't have anything like this on the East Coast. After dinner, we strolled around a part of the city of the North Side called, 'The Loop' and walked thru some gorgeous parks and saw Lakeshore Drive before turning in for the evening.
Saturday was a day of rest mostly until my audition at the Lyric. We had some breakfast, walked on Lakeshore Drive and while my wife went off to shop, I prepared for my audition. I can honestly say that this audition was a blast. The panel (Gianna Rolandi and Dan Novak) made me feel like they had been waiting all day to hear me and that we had been friends for many years. I really appreciated this because quite often (and understandably so) audition panels can appear disinterested because of the gross number of people they are hearing. At this audition, I really felt they were glued to my singing.
For the audition, I opened with, 'Ah! mes amis' and that went really well. I applied what I learned from the people in Paris: used the whole stage, tried to be as outwardly expressive as possible (even when it feels like it is too much), and above all, tried to entertain the panel. After this first aria, they proceeded to ask for, 'Ah! je vais l'aimer' from Beatrice and Benedict. I must admit I was completely shocked they would ask for 2 French pieces (and also happy they would ask for a 2nd aria). I had expected them to hear something different than French, but happy regardless since French is a language best suited to my voice. This aria went well as well and after finishing this aria, the pianist stopped me and made a few suggestions for next time.
His suggestions were quite informative. Often as singers, we try and find the most authoritative scores from which to work and make the most educated artistice decisions. I chose to use the Barenreiter edition for Beatrice and Benedict, however what I did not take into account was the difficulty in this edition. Although this edition is noted for being a critical edition, the piano reduction contains practically every note in the orchestra and makes it nearly impossible to play (something I had not considered). He suggested next time I use the Kalmus edition for this opera as it is paired down much more simply for the pianist. Suggestion noted and now I will certainly go through my audition notebook and try and weed out the editions that are too notey.
After my audition, we headed off to dinner at 'Dick's Last Resort' on the water. I certainly recommend this place as they had great food and drinks. I had some ribs that melted right off the bone. Finally, we walked to see the Sear's Tower and then finally turned in an early evening since yet again we had an early morning flight.
In all, I was really pleased with this trip and I know this is the direction I want to head in future auditions. Hopefully, I will be called back for the finals in September, but if nothing else, this trip was a blast.
Sunday, July 12, 2009
Tuesday, June 30, 2009
Decisions...
After much debate, I have decided to open my audition with the Chicago Lyric by singing, 'Ah! mes amis...' from 'la fille du régiment' by Donizetti. Each auditionee is only guaranteed 1 aria and if they are anything like the people from Paris Opera, they may decide to cut you off rather quickly if you aren't 'wow-ing' them. This aria (for those that don't know it) is full of vocal fireworks and the second half of the aria is known for its 9 high C's (that pretty much shatter glass). One thing I learned in Europe is that there is nothing more deadly than being boring and only thru taking risks. I am a firm believer of the ideology, 'no risk, no reward', after being told that although my technique as a singer is nearly flawless, I also lack anything distinguishable about me as a performer on stage. This aria is not particularly tough for me to sing, and as a matter of fact, it feels so comfortable that I can often feel myself 'phoning it on' on the facial expressions and my body language. Where I am energized and excited on the inside, it shows as though I am bored on the outside. So, I am going to go on that stage (however big it is) and I am going to make myself and my personality fit that big stage. I will smile so wide that the audition panel will be able to see every tooth in my mouth. My plan is to at least not bore the panel...
Speaking of taking risks...I was told many years ago by a voice teacher (Gran Wilson) upon embarking on his international career that he had spent every penny in his bank account, maxed out every credit card, and had his landlord banging down his door to collect the rent check. It was only then that he got his first big 'break', and started to really have success. His moral was that it was at this point of desperation that he was truly able to let go in these auditions and just sing from his heart, where before, maybe he was a bit on the reserved side.
I can understand the whole not having any money in the bank and also the feeling of pushing those credit cards further than I should. At the same time, though I worry about the lack of incoming money, I am further resolved by my own talent and abilities. I can't understand at times why I have so much faith in myself, but for whatever reason, it's there. There is some part of me that believes that whatever the task...I am up for it...and as far as opera singing goes: I may not win the battle of a certain audition, but I know I will win the war of attrition with having a successful career.
Speaking of taking risks...I was told many years ago by a voice teacher (Gran Wilson) upon embarking on his international career that he had spent every penny in his bank account, maxed out every credit card, and had his landlord banging down his door to collect the rent check. It was only then that he got his first big 'break', and started to really have success. His moral was that it was at this point of desperation that he was truly able to let go in these auditions and just sing from his heart, where before, maybe he was a bit on the reserved side.
I can understand the whole not having any money in the bank and also the feeling of pushing those credit cards further than I should. At the same time, though I worry about the lack of incoming money, I am further resolved by my own talent and abilities. I can't understand at times why I have so much faith in myself, but for whatever reason, it's there. There is some part of me that believes that whatever the task...I am up for it...and as far as opera singing goes: I may not win the battle of a certain audition, but I know I will win the war of attrition with having a successful career.
Wednesday, June 10, 2009
Auditions, Performances, and Glamour
Within the past few days I was told I won an audition for the Atlantic Coast Opera Festival and that they are interested in hiring me to cover Rodolfo in their production of La Boheme for this July in Philadelphia. I am excited and honored by this opportunity, but it presents some interesting problems. First, I will soon be starting some part-time employment in the Philadelphia region to earn extra money for my next trip to Europe this fall (I leave September 3rd and am there until almost November).
As part of this next trip, I will be visiting the U.K., Switzerland, and spending a great deal of time in France for yet another round of auditions. While this trip will likely turn up some new job opportunities for me long term in the future, it also means in the short term, I am stuck laying out the cash for this trip and most of the traveling expenses. Not a cheap endeavor. Luckily, my wife will be doing research in Paris for the whole fall and I will be able to use her apartment as a home base.
The next problem this Festival in Philadelphia presents is that I just found out today the Chicago Lyric has invited me to audition for their Young Artist program on July 11th in Chicago. Many amazing singers have come out of this program and to even be extended an invitation is truly an honor. As it stands, I plan on offering selections from: The Turn of the Screw (Britten), La fille du regiment (Donizetti), Beatrice et Benedict (Berlioz), the Magic Flute (Mozart), and L'elisir d'amore (Donizetti).
I am hoping to sing much better for them than the last time I sang. Last time, I was woefully inexperienced, much younger, and should not have even attempted to sing for them. Alas, it was a great learning to see how far I really needed to go. I can truthfully state, that I feel I am ready for anything they could possibly ask me to do.
I believe that regardless of whatever happens on the stage, I can now adjust to make anything work. I also feel that performing for me is no longer about 'singing' and being a 'singer', but about intent, intention, and artistry. I believe this is what separates greatness from everyone else. This separation is my defining goal for every practice session I have and also each performance. I think the only way for me to truly sell the audience on my performance is by treating each character I sing as a part of me and striving towards reaching my own feelings and intentions for each thing I sing. In this honesty of my own feelings, there and only there can I be truthful, and thus convincing to the audience as an actor and artist.
Speaking of acting, I had a photo shoot today with my great photographer, Alessandro Valente. He shot close to 500 shots of me in varied locations and these will be used for my new headshots. We are also planning a city scene shot at dusk with traffic passing behind me in slow motion as a sort of alternative head shot. He is a brilliant photographer and I look forward to seeing the proofs. I will put up several of these shots on this website, once he tweeks them a bit to bring out my more positive aspects as a person photographed. I thank the heavens every day for photographers being able to touch up images, because it is not every day that it is possible to not have some small thing wrong (even if it is just some dark spots under the eyes or something). I highly recommend him to anyone in the Baltimore/DC area, as I have never been disappointed.
Chris
As part of this next trip, I will be visiting the U.K., Switzerland, and spending a great deal of time in France for yet another round of auditions. While this trip will likely turn up some new job opportunities for me long term in the future, it also means in the short term, I am stuck laying out the cash for this trip and most of the traveling expenses. Not a cheap endeavor. Luckily, my wife will be doing research in Paris for the whole fall and I will be able to use her apartment as a home base.
The next problem this Festival in Philadelphia presents is that I just found out today the Chicago Lyric has invited me to audition for their Young Artist program on July 11th in Chicago. Many amazing singers have come out of this program and to even be extended an invitation is truly an honor. As it stands, I plan on offering selections from: The Turn of the Screw (Britten), La fille du regiment (Donizetti), Beatrice et Benedict (Berlioz), the Magic Flute (Mozart), and L'elisir d'amore (Donizetti).
I am hoping to sing much better for them than the last time I sang. Last time, I was woefully inexperienced, much younger, and should not have even attempted to sing for them. Alas, it was a great learning to see how far I really needed to go. I can truthfully state, that I feel I am ready for anything they could possibly ask me to do.
I believe that regardless of whatever happens on the stage, I can now adjust to make anything work. I also feel that performing for me is no longer about 'singing' and being a 'singer', but about intent, intention, and artistry. I believe this is what separates greatness from everyone else. This separation is my defining goal for every practice session I have and also each performance. I think the only way for me to truly sell the audience on my performance is by treating each character I sing as a part of me and striving towards reaching my own feelings and intentions for each thing I sing. In this honesty of my own feelings, there and only there can I be truthful, and thus convincing to the audience as an actor and artist.
Speaking of acting, I had a photo shoot today with my great photographer, Alessandro Valente. He shot close to 500 shots of me in varied locations and these will be used for my new headshots. We are also planning a city scene shot at dusk with traffic passing behind me in slow motion as a sort of alternative head shot. He is a brilliant photographer and I look forward to seeing the proofs. I will put up several of these shots on this website, once he tweeks them a bit to bring out my more positive aspects as a person photographed. I thank the heavens every day for photographers being able to touch up images, because it is not every day that it is possible to not have some small thing wrong (even if it is just some dark spots under the eyes or something). I highly recommend him to anyone in the Baltimore/DC area, as I have never been disappointed.
Chris
Friday, June 5, 2009
Welcome to christophermanna.com!
Hello to everyone and welcome to the blog part of my website! From here I will announce any new news or interesting things going on in my life as an opera singer. The site is still under construction, so please check back with frequency! I look forward to hearing from everyone!
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