Ice Breakers
Favorite Questions I ask other Opera Singers, Nos. 11-20
As a freelancer, I really enjoy asking new colleagues certain questions about themselves during the forming stage of collaboration. It is a fun, albeit slightly nosy way of learning about other people’s relationship to music. Here are a few examples, and how I myself would answer, whenever the question is returned to me.
I have not until now left comments open for my posts, partly because at this point only a handful of friends know that I even have a Substack blog, but if that ever changes, I would genuinely would love to hear others’ answers to these questions (or at least a detailed analysis of my answer to No. 20).
A link for questions 1-10…
What class do you wish had been offered during your conservatory training?
Me: A music theory class that analyzes vocal music to apply to the interpretation of musical line and dramatization of character. If I were in a more cynical mood, I would probably answer something like “Somatic Studies in Sex Appeal for Sopranos.”
Worst side hustle?
Me: Cleaning conservatory practice rooms.
What composer’s music are you afraid to admit that you do not like?
Me: Puccini. Though I would argue that it has more to do with disliking how Puccini is performed, rather than his music.
Alexander Technique or Feldenkrais Method?
Me: Feldenkrais, if only because it is more self-directed, whereas with Alexander Technique I had felt dependent on a practitioner1.
Any stories you wish would be set to music?
Me: Many, many, many that I have already written about several times on Substack, but one of my favorites so far is the idea of Gerald Barry setting Fellini’s film Prova d’orchestra as a piece of musical theater.
Any insight or words of wisdom to help you get through moments when you consider giving up?
Me: The awareness that most of the time, the core of what I am challenged by is related to human behavior and not music. I am careful not to use this as a silver lining to stay in a situation that is toxic or dead end, but am certain that I would be confronted with similar narratives, were I ever to decide to go into another field.
Are there other fields within classical music you might have chosen if not singing?
Me: Dramaturgy.
Construct the ideal singer.
Me: Sylvia McNair’s beauty of tone, Dawn Upshaw’s musical sensitivity, Laura Bohn’s dramatic physicalization, and Maria Callas’s intensity.
Who was the greatest tenor of all time?
Me: I am kidding, I NEVER ask this question, I am only using it as an opportunity to express my love and admiration of Jeff Buckley ❤️.
Recurring dreams about music?
Me: So far, the only recurring dream I have about music is one that I understand many other musicians also experience. It is going on stage and discovering that you have to perform a piece that you have never studied before.
I reserve my right to be wrong about this.