I thought of myself as an imperfect writer who needed to perfect himself, perfect his language and style, and all of a sudden that was a suffocating project that I had to break with
What we respond to in any work of art is the artist’s struggle against his or her limitations.
It’s by remaining faithful to the contingencies and peculiarities of your own experience and the vagaries of your own nature that you stand the greatest chance of conveying something universal
You keep excavating yourself. You want/don't want this self-knowledge.
Tough fucking task.
-provide a wholistic, unemotional view of my industry position
-clearly state my goals, plans, potential, and beliefs
-identify and name weaknesses that may be holding me back
-continue career development and growth along desired lines
-source assistance from a team of trusted professionals and confidants
-gain insight into market trends; reveal paths forward
how I see things as they relate to my specific situation
& Casting Trends
The rise in ubiquity of "Young Artist" programs, coupled with the budget difficulties faced by every major opera company has led to a shrinking in available roles for me. Most roles not filled by "stars" are cast for cheap from "young artists" - especially crucial developmental roles as I move into the appropriate repertoire for my age and voice - even covers of major roles at major companies will not be given beyond their YAPs. Loyalty to training program alumni is also an obstacle.
As repertoire and casting is becoming, rightfully, more diverse the percentage chances I have of being hired decrease. Commitments to racial percentage casting and development of specific works for race-based communities limit my personal ability to be considered for many roles in standard and new repertoire.
Also, in a misplaced effort to draw audiences, opera companies increasingly are not doing actual operas (Lyric Opera of Chicago, Glimmerglass, etc)
Life expenses are increasing while hiring potential decreases. Without the chance to learn and grow 'on the job' the requirement for reinvestment of earned money into developmental resources (coaching, lessons) becomes greater. General decrease of pay within the sector and increase of costs (medical, housing, food, etc.)
Constant payment and reinvestment cycle does not allow for sufficient money savings.
ways to move forward from challenges
& Casting Trends
-become a "star" whatever that means
overcome program alumni loyalty, gain trust to sing new to me repertoire
-the only other solution would be to make a career of covering and singing small/mid roles at the Met - which is the only house that has the infrastructure to pay people for these positions
-increase castability in the standard, most-performed operatic canon to increase percentage chances of being cast
-continue to develop and demonstrate an undeniable quality of skill
for me this includes proving myself somewhat 'against type' since I became initially recognized for performances of newer operas (covering Eurydice at Met) and niche community targets (Fellow Travelers)
-obtain external support for career expenses: donors, foundations, grants?
-continue to sacrifice my personal life goals (home, family, etc) as I strive for a tenable career position
-develop out of industry skills for survival jobs
GET THE REPS IN
ROLES I NEED NOW AND OFTEN FOR DEVELOPMENT (BY LANGUAGE)
Don Pasquale: Malatesta
La favorita: Alphonse
Roberto Devereux: Nottingham
Giulio Cesare: Cesare, Achilla
Manon Lescaut: Lescaut
Ritorno d'Ulisse: Ulisse
Barber of Seville: Figaro
Don Carlo(s): Rodrigo
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1. La Boheme - Puccini
2. Tosca - Puccini
3. Carmen - Bizet
4. Marriage of Figaro - Mozart
5. Barber of Seville - Rossini
6. Rigoletto - Verdi
7. La Traviata - Traviata
8. Magic Flute - Mozart
9. Butterfly - Puccini
10. Don Giovanni - Mozart
21. Aida - Verdi
22. Sour Angelica - Puccini
23. Ariadne auf Naxos - Strauss
24. Romeo and Juliet - Gounod
25. Amahl and the Night Visitors
26. Daughter of the Regiment - Donizetti
27. As One - Kaminsky
28. Cavalleria Rusticana - Mascagni
29. Flying Dutchman - Wagner
30. Falstaff - Verdi
Hansel and Gretel: Peter/Father
I Pagliacci: Tonio
Cavalleria Rusticana: Alfio
'TOP 30' ROLES NOW
* = likely to go to a Young Artists at all except very largest houses
Carmen: Escamillo, Morales*
Elixir of Love: Belcore
Lucia Di Lammermoor: Enrico
Romeo et Juliette: Mercutio*
I pagliacci: Silvio*
Cosi fan tutte: Guglielmo
Don Giovanni: Giovanni
Nozze di Figaro: Count Almaviva
Magic Flute: Papageno*
La Boheme: Marcello, Schaunard*
Madama Butterfly: Sharpless, Yamadori*
Gianni Schicchi: Marco
Barber of Seville: Figaro
Ariadne auf Naxos: Harlekin*
Eugene Onegin: Onegin
OperaBase TOP 30 Most Performed Operas in the US 2018-2022
11. Turandot - Puccini
12. Cosi fan tutte - Mozart
13. Hansel and Gretel - humperdink
14. Lucia di Lammermoor - Donizetti
15. Elixir of Love - Donizetti
16. Pagliacci - Leoncavallo
17. Eugene Onegin - Tchaikovsky
18. Cenerentola - Rossini
19. Cinderella - Massenet
20. Gianni Schicchi - Puccini
How You Can Help
Join my team.
Brainstorm with me who to get in touch with to reach my goals.
Recommend me to your colleagues and friends.
Connect me with people you trust.
Help me set up coaching and work sessions and auditions.
Advice & Continued Interest
I need your help and continued interest.
Help me brainstorm repertoire.
Communicate with me about what you need to hear from me to continue believing in me.
Give me opportunities.
Connection to Funds
Do you know of a donor or family foundation who might respond well to an request for support?
Do you have recommendations for private funding I could access for career growth? Concert series? Teaching/masterclass opportunity?
a few things I believe about myself
my voice and stage skills are of world class quality and will continue to improve because I care deeply about it
I deserve to make a living doing this as a career while also achieving personal and financial goals
my mentality is focused on making an excellent product for the audience and not for playing the inter-industry games - this is invariably recognized by audiences and reviewers
the potential I hold is great. my voice will grow to succeed best in Verdi and other Italian repertoire
I should not be ashamed to ask for help from the people who say they care about me. everyone everywhere uses their network as a benefit
I am actively working in therapy to divorce my own self-worth from career achievement but I am uncommonly emotionally attached to the idea of success in opera