Dead Man Walking: Walking With Joseph De Rocher and Sister Helen

One of the great things about opera is that the same work can be produced in many places at the same time. There happens to be a production of Dead Man Walking being produced by Opera Parallèle just a couple weeks before our production in Dayton. One of the events leading up to the production in San Francisco featured the author of the book that the movie and opera was based on, Sister Helen Prejean. It would be another great way to get into the piece and learn about the people involved in it. I left for the evening thinking I'd be going to temple, with a room of a hundred or so die-hard new opera people. I was eager to hear Frederica von Stade, Kristen Clayton, Nicolle Folland, and Cathy Cook sing with Jake Heggie at the piano, and get the chance to hear some of Sister Helen's story in-person. I figured it would be a low-key opera preview event with a crowd of mostly familiar people. The reality was somewhat different. I arrived at the location, in San Francisco's Pacific Heights neighborhood - surrounded by multi-million dollar mansions - to a security detail that was nearly as intense as what I go through when I check into a flight at SFO. Suddenly I was hit with the reality that I was about to participate in an event that is truly politically charged, where there's the possibility of things going very wrong if certain people gained access.  

I got my clearance sticker, proceeded through the metal detectors – twice, and found my way to the main sanctuary where there were about a thousand people already seated. Not a low-key event at all. Good! People are interested. People are involved... The program begins, Flicka sings with Jake, we are off to a beautiful start. We hear from a former prison warden, an attorney, and Sister Helen about how the death penalty affects us all, costs the system and tax dollars, and is ultimately not an effective punishment. I heard stories of inmates, families of inmates and victims, and the personal viewpoints of these three people who have had so much experience with "the system". It was a startling dose of reality. The average citizen doesn’t get to see what happens to convicts throughout the process, or watch the eventual execution of someone on Death Row. The lives involved in that journey are totally amorphous to us: we generally assume that bad people just go away, and should probably die. Why, though? What does it accomplish? The stories I heard that night had me considering things I never thought about before....

Now I'm involved in telling the story of a disadvantaged man whose life went down a bad path, a crime fueled by drugs that he was dosed with, and whose fate was sealed by the law ending his life. Looking at the gray areas isn't easy: it takes objectivity and effort to listen. It's so easy to say: "bad people should die", but when we say that, what are we actually saying? Stories are always bigger than the surface layer. I never asked myself these questions before. Walking with Joseph is teaching me to look deeper. There's a story behind every person, no matter what they've "done". I’m grateful to Sister Helen for helping me look a little deeper, and to discover things we are taught to ignore.  

It was wonderful to be introduced to her by Jake Heggie after the event was over, and to spend a little time talking about the work and the role. How often do we, as opera singers, get to talk to the source of a story? Almost never! What made that even more special to me was that this author is really working and fighting for change – not just telling a story for its own sake. I’m honored to be a part of that work in my small way, bringing the story and life of Joseph to light. Hopefully I can help people consider things they haven’t thought about before. What’s beautiful about the opera is that it doesn’t tell you what to think – but it definitely makes you think.


More soon...

Dead Man Walking: The Journey Begins

A few weeks ago I was asked to perform the role of Joseph De Rocher, the convict on Death Row, in Dayton Opera’s production of Jake Heggie’s opera Dead Man Walking. It would be a fast-paced study period, having only a month to get the role learned and memorized before going into staging rehearsals. Memories of the movie with Susan Sarandon and Sean Penn immediately came to mind, but I never saw the opera. I’ve always been a fan of Jake Heggie’s work, and was interested in taking on a role like this, but was there enough time for me to prepare?  As soon as I got the call to consider the role, I asked my team about their willingness and availability to help me prepare. I was reassured with extra support from my teacher, the composer, the stage director, and members of the company - since coming in at the eleventh hour is scary even for a modest role in a standard repertoire opera. Through the magic of YouTube, I got to listen to the entire opera a few times, and sang along with several of Joseph’s lines to see how it fit vocally. That part was fine and I agreed to be in the production – now to LEARN it…

As soon as the score arrived (Priority Mail!) I sat down and highlighted Joseph’s lines. That process seemed to go on forever… What had I gotten myself in to, with just one month to learn this huge part? If there was going to be any hope of having it learned in time I needed a battle plan: divide the role into six parts, and take five days to learn (and mostly memorize) each one. Work in sequence, and build on to what you learned the previous five days. There would be a little wiggle room, but I’d do my best to stay on target. It seemed to work, and I’m ahead of schedule.

I had a few deep conversations with our stage director, Gary Briggle, on the opera, the characters/relationships in it, and specifics of the role. We talked about the look and feel of Joseph, and the story of his past that lead him the death penalty. I was worried about a character like Joseph taking a toll on me, personally, and on the people closest to me. Studying characters isn’t new to me, and I know how involved I get in them, but I’ve never played a man on Death Row for rape and murder… Putting it all away can sometimes be difficult: between the music constantly playing in my mind, thoughts of Joseph’s world, his relationships, crimes, remorse, fear, lies… It’s hard to turn all that off. A journey to get into the space and mind of a man whose life went down such a dark path is not something I want to wander into blindly. Luckily, there are truly incredible people around to keep me grounded, and remind me that I’m also here, now.

One of the striking parts about the process has been changing the way I look for the role. Something as simple as modifying workouts and growing out a beard has been huge in building this character for performance. I’m used to being Zachary Gordin outside of rehearsals until tech week – when costumes and makeup are put on me, and the full transformation is more instant. It’s different when the process goes on for several weeks. I’m meeting Joseph through a kind of immersion, seeing the world in a slightly different way, and considering things and people in a way I don’t usually. It’s comforting to know that I’ll be able to shed him once the production is over, but it’s important to acknowledge that seeing the world through different eyes – even the eyes of a Death Row inmate - isn’t a bad thing.

SOUNDBOX: Inaugural Performance with MTT and the San Francisco Symphony

I’m thrilled to be one of the guest soloists for the inaugural performance of Soundbox. It’s an exciting new venture, bringing world class musicians from the San Francisco Symphony and Symphony Chorus together in an unconventional performance space, while creating a totally immersive experience for the senses. 

The acoustical environment will be altered for each piece of music by the wizards at Meyer Sound Laboratories, so the audience will be able to hear each piece in the acoustical environment it was meant for. There will be changing lights and projected art on huge screen panels, as well as an interesting menu of bites and cocktails, in a rehearsal hall that’s been transformed into a swanky night club. 

I’m most excited that this is my first time singing with Michael Tilson Thomas, and working with SF Symphony. He’s such a generous and collaborative Maestro, and an immensely gifted artist. I’m honored to be part of this project, and have loved watching it take shape. Here are some details...

What is SoundBox?

"In the small entry room, you move past a curtain, through an unknown door. There’s a teasing view—some kind of installation fills a sunken space. It's like you scored a backstage pass. Time to explore.

Turn the corner, find the bar: there’s craft cocktails and small bites. Video projections flash on the walls. All eyes go to the stage, ready for the show to start.

And then the music. Live music—it’s just so good. Pounding beats, otherworldly chants come from all corners of the space. Close your eyes: it sounds like you're in a cathedral, and then an underground club. Unique and stimulating and totally different."  - from sfsoundbox.com

Here are some photos from the SoundBox Facebook page:  

I promise you, it's even more stunning in person... 

The lights, the seating, the feel, the sounds - truly inspiring.

As curator of this exciting new series, Michael Tilson Thomas writes:

“This first concert will have music that goes all the way back to the Middle  Ages, to some of the most luscious and impressionistic periods of music, to some completely off-the-wall works by Meredith Monk and John Cage. Some of music will take the volume level of the room to its absolute limit, and some will be on the threshold of audibility."  - from hoodline.com

I'll be doing a follow-up post, after the performance. In the meantime, here's a pre-rehearsal dressing room selfie, from Davies Symphony Hall. :-)

More soon! 

ZG

Five Ways to STAND OUT in the Crowd!

It’s a funny topic for me to talk about… I actually laughed out loud when I got the assignment to write this article. Though, in all fairness, looking back on my life it seems I’ve always stood out: the chubby kid who could cuss like a sailor - with a piercing soprano singing voice, the bookish church organist at age 12, the countertenor divo, and now the muscle-bound baritone… I guess in some ways that makes me qualified to talk about ways to STAND OUT. As audition season is upon us, we have another chance to reflect and plan ahead. Working from the outside to inside, here are some ideas to help you get in touch with your inner (and outer) STAR!

#1 - DRESS THE PART!

The first line of information you send to most people you meet, whether in an audition, casual meeting, or “blind date”, is visual. Working from the outer-most layer, in, what does your appearance say about you? Are you well-groomed, polished, comfortable and confident – the classic diva/divo in the best possible sense? Are you more casual in your wardrobe, using softer fabrics with more flow than shape? Or perhaps you just throw on whatever is mostly clean and don’t give it much thought? However you do it, the way you present yourself to the world speaks volumes. It’s an opportunity to say something – to answer some questions about who you are, and how you operate, before you’re even asked. A person can just as easily come off like they don’t care, and that they aren’t interested in what anyone thinks of them, just by how they look. That’s all fine, too, if that’s really what you want to say. Just be aware that people ARE watching, and they will respond – subliminally and otherwise. Picture the person you want to be seen as, and dress the part. Anyone can do this. You don’t have to be made of money to look like you’ve given some thought to your personal “packaging”. There are tons of blogs and magazines for those who need some inspiration, and professional makeup advice is readily available – just head over to Nordstrom, Macy’s, Sephora, etc. explain your project (whether it’s an audition, performance, cocktail party, etc.) and get some help. Figure out what makes sense for your look  - as an extension of “who” you are – and make the outside match the inside!

#2 - HAVE A STELLAR IMAGE ON SOCIAL MEDIA!

This ties-in with “dressing the part”. Your social media presence is another key element in the way other people interface with you. It gives your friends, fans, followers, and potential employers glimpses of who you are, and what you stand for. What does your online presence say about you? I can’t stress this enough: you have to be the guardian of your personal brand.  What does that mean? Here’s an example… If your facebook page is full of photos of you partying with your friends in lots of bars, people are going to assume you’re a raging alcoholic. Nobody is sympathetic to the fact that the only time you post photos is when you’re out drinking with your friends, because that’s when you feel cute, and how that only happens once every 6 months… All they see is a drunken fiesta. Over, and over… Period. Your online presence speaks volumes about you. People share their interests, political views, triumphs, pains, and more… Where is the line between appropriate sharing, and a potentially negative over-share? Think about your audience, here. Not everyone that sees your social media presence is interested in hearing you wax on about how hard your life is, how drunk you get every weekend, or how much of your Dad’s money you spent at Gucci… The truth is, whatever you put out there says something about how thoughtful or thoughtless you are. How do you want to be perceived? Here’s a trick: think of a person you truly respect and admire. Now think of inviting that person to scroll through your social media pages. What would you want to hide from them? What do you wish to have said differently (or not said in the first place) on your page? Make a list, do a big clean-up where you delete all the unfavorable stuff on your public profiles, and ALWAYS think before you post!

#3 - BE TRULY ACCOMPLISHED!

If you want to STAND OUT you have to do more than look the part, and have a great website/online presence. You have to back those assets up with ability, depth, and knowledge. That way, once you’ve broken through the first level of approval (the surface level) and actually get to talk in an audition, or when you meet someone for the first time, you actually have something to talk about. As a singer, you need to know so much more than notes and words. You have to know social history, music theory, technique, language, physiology, stagecraft, what’s going on in the orchestra, acting, how to tell a story – and that’s just the basic stuff... What happens beyond that is the magic. The more studied, educated, prepared, experienced, and truly accomplished you are, the more you have to offer the world around you. The more accomplished you feel, the more secure and calm you are in general. It truly trickles into every aspect of your life, and the people around you can sense it too. Be useful. BE TRULY ACCOMPLISHED!

#4 - BE GENUINE IN YOUR DEALINGS!

So there you are: dressing the part, your website and other online profiles are clean, slick, and streamlined, you’re honing your craft on a constant basis, and really walking the walk of accomplishment.  Great! There’s more… Another asset setting you apart from the masses is your authenticity - and whether that stems from a place of positivity or negativity.  People will come to respect you for your confidence, honesty, reliability, and complete presence when you can offer yourself freely and without malice. The reverse is also very true – it’s easy to fall into the pit of dishing out harsh criticism, undermining your colleague’s reputations behind the scenes, and being the “go-to” for gossip. It might serve you with a quick fix, like breaking the ice with new cast mates in a production by ripping on the stage director or another colleague… but in the end, you’ve only served to undermine your own integrity in the view of others. I’m not saying that we should all posture ourselves toward an impossible sainthood (because, uh, that’s real?…), but to keep in mind that everything we say or do is interpreted by those around us.  That simple fact should motivate us toward thoughtfulness and clarity. You’ll sleep better at night, too!

#5 - ONLY SHINE!

I mean that in every way. In your career, do what you do best. Singers, in your auditions and as you select roles to pursue and perform, only present what you do best.  Save the hard work and wrestling matches for the practice room and your teacher’s studio. An audition is never a good time to try new tricks, new repertoire, or something that is “difficult and therefore impressive”. Incidentally, “difficult and therefore impressive” only works out if it’s easy for you and you do it perfectly. If you can’t, put it away and do something else. Again, ONLY SHINE. If you do what you know you do well, there’s a different kind of confidence you bring to the experience. It’s in the way you breathe, the way you move, the way you communicate. It’s the kind of confidence we can see, feel, and that makes us comfortable entrusting you with a role (or trusting you in general). Having worked on, and truly earned this level of confidence will allow you to shine even brighter. It’s a worthy and a noble goal. I challenge you, as I challenge myself, to do it: ONLY SHINE!

With love,

Zachary Gordin

On Habits, Breakthroughs, Practice, and Consciousness...

Pep talk time...

I see this happen all the time in the studio: we see a problem, identify a plan to fix it, consciously try something different, a breakthrough happens, and a moment of clarity is experienced. Victory! For the singer working to improve their technical abilities, it's a truly joyful experience - a window into a realm of greater possibilities... What follows the breakthrough is the really important stuff! It can either turn that breakthrough into something useful, or send it into a pit of self doubt.

What if we take a step back, and see the breakthrough as just the seed of a new habit or skill? We can frame the breakthrough not as a destination, but as a trail marker on the journey through your process. That seed takes conscious care, implementation, and practice to cultivate it into something useful and durable. Doing the work "behind the scenes", when nobody is watching, is vital to building consciousness and confidence with your new tools. You can observe and control what you do very clearly in your own laboratory/studio/workshop, and bring your findings into practice at your next lesson, rehearsal, performance, etc.

An unpracticed breakthrough can build into its own struggle, and has the added dimension of shame attached to it - since the person not practicing the breakthrough is at fault for their own lack of progress. That shame element makes the breakthrough itself seem more and more distant and unattainable the longer it is unpracticed.

Change is possible, though! It doesn't have to be overwhelming. Achieving your goals requires building and nurturing of good habits. This is done over time, in small and manageable ways.

Let me break it down for you...

Relying on a useless habit/Unconsciousness = No progress.

Identifying a useful solution, and consciously implementing it = Breakthrough.

Conscious work/practice/cultivation = Building a new, useful habit.

This concept fits in so many other areas: fitness, communication, productivity, relationships, and so on... It seems so obvious, yet it's saddening to see how little this positive consciousness is used. Most of us truly ARE creatures of habit. Why not build and nurture good habits? Sure it'll take some work, but that's where the magic happens.

Here's to cultivating new habits, and being empowered toward your goals!

ZG

Leave Beyoncé alone...

I want to elaborate on a facebook post I made this morning:

"Dear everybody, 

LEAVE BEYONCE ALONE! It's funny to me that some people are so flustered about a "RECORDING ARTIST" using a RECORDING for a performance... If you wanted a fully LIVE sung performance, you'd ask for a singer who does THAT for a living - fully LIVE singing. Not a singer who primarily does recordings, and mega-arena concerts with the help of a backing track (of her own voice) that the artist may or may not be singing along with. Apples and oranges, people. Feel free to discuss..."

Which leads me to the point... Why are so many of us upset by this? 

The pop music industry: American Idol, mega-concert tours, recordings, merch... It's based on recorded material and edited image - not live vocal performance. I'm a little torn, to be honest, as I chime-in to point out a subtle hypocrisy... On one hand, I'm an acoustic singer - always 100% live and never 100% perfect - I live for singing to be human and touch my listeners in real-time. On the other hand, I like other kinds of music and other kinds of musicians. Here's where it gets tricky: when people don't understand what they're seeing/hearing and react in a negative way. 

I think it's ridiculous that anyone would pay hundreds (or even thousands) of dollars to go see a pop star in an arena, somehow thinking all they are going to be hearing is the real-time voice of the artist they worship, a live band, get a lights/dance/multimedia extravaganza, AND NOT KNOW WHAT THEY'RE ACTUALLY SEEING. Ahem..., but you didn't buy an album of a live singer with a live band. You bought something that was produced and processed in a studio through computers. I say again, you're not buying a live singing experience - you're buying an incredible super-processed work of technological art. To be clear, I have immense respect for these artists, who work non-stop on their shows, their publicity, their careers, etc. They entertain the masses, and are important benchmarks of our modern culture. 

So, the fact remains, there's a difference between a singer that primarily performs LIVE (unamplified is yet another tier of this kind of singer), and a singer that primarily RECORDS. That doesn't mean the artist can't sing live, but doesn't spend the majority of their life cultivating the technique and the distinctive psychology to support the act of live vocal performance. Different products: apples, and oranges.

When you see a recording artist lip-sync, please don't act all stunned or self-righteous. If what you really want is a live singing experience, ask for it, and get it!

End of rant. 

Be good to each other. 
Z 

Happy New Year!!

SENDING LOVE AND GOOD WISHES - ALL AROUND!!!

Ten Healthy Changes Every Singer Should Make NOW!

Me and Shawnette Sulker, soprano - candid snapshot after a performance of Dido and Aeneas.

Yeah, I’m talking to YOU… I wanted to chime-in with ten easy ways we can positively affect our bodies and voices. Here you go!

1. HYDRATE! Cultivate a drinking habit…

No, sorry, vodka doesn’t count… Our bodies require WATER to transport nutrients, keep our cells happy, eliminate toxins, regenerate, and keep our vocal tissues flexible and supple. I’m constantly shocked to find how poor some people’s water intake can be... Muscle soreness, headaches, tight chords, lethargy and so many other problems can have links to dehydration. The old rule of “eight glasses a day” simply isn’t enough for most people. I tend to go through 4 or more liters of water per day. Drinking more water also helps curb junk food cravings, and keeps you from passing out on hot days or during strenuous workouts. Carry a bottle with you as often as possible, empty it into your mouth often, and keep it refilled.

2. DO CARDIO! Happy heart = happy voice…

Cardio is short for cardiovascular exercise – which is essentially: getting your heart rate up with moderate exertion, requiring you to cycle more air into/out of your body, making your heart work at a higher rate. The benefits of adding some cardio to your life definitely trump the list of reasons to sit on a couch and watch American Idol outtakes, and it’s not just about burning fat… Other benefits include: reducing stress, improving sleep patterns, increasing bone density, strengthening your immune system, slowing the aging process, reducing the risk of heart disease, and MANY MORE! 20 to 40 minutes of moderate intensity cardio exercise, done 3-5 times a week is a great way to start.

3. RESISTANCE TRAINING! Strong is the new skinny…

Starting a resistance training program (yes, that means weights!), or adding resistance training to your existing fitness routine is a great way to increase stamina, gain strength, keep/get your body toned, and generally improve your mood and outlook on life. Ladies, you simply WILL NOT look like one of the Jersey Shore boys by adding moderate resistance training to your life. I promise! Guys, I’m sure there isn’t a stage director in the world that would fault you for cultivating a stronger physique. I’m pretty tired of hearing voice teachers talking about how lifting weights damages your ability to sing beautifully… and usually these are people who have never seen a dumbbell in real life. Learn to breathe in the context of the lifting process – just the same as you would on a phrase. I’ll dig into this topic on another article, but suffice it to say that the benefits of resistance training are greater than the risks.

4. STOP YELLING! Save it for the paying customers, baby doll…

I think most of us are guilty of using our instruments in damaging ways. Going to loud restaurants, nightclubs, parties, amplified concerts, shouting across the gym, and the list goes on… While there’s something magical about going on that first date at a trendy restaurant where you have to shout to have a conversation - only to wake up the next day with gravel in your throat – we should really try to preserve the instrument we strive so hard to cultivate and invest our time, money and energy into. I’m not saying stay in and live a silent life, but when you go out for a night on the town try to stay conscious of how and where you spend your vocal capital. Your voice will thank you. 

5. MEDITATE! Sit still, breathe, and be…

I’m not saying we all need to assume a contortionist’s pose, drink a shot of wheat grass, and be hell-bent on achieving enlightenment… but setting aside some time each day (or each week) to clear your mind and organize your focus is always a good idea. In addition to the act of adding calm and quiet to your life, I suggest you choose topics to focus on in your meditation. Whether it’s a mantra like “I will open my self up to my breath”, or drawing an “Angel Card” with a word like “Gratitude”, setting a focus for your meditation time is a great way to commit to the ritual. It also serves to clear your mind and heart of all the extra junk that tends to get in the way of our progress, purpose, and confidence.

6. READ LABELS! You are what you eat…

As singers we ARE instruments. No matter how you rationalize the things you eat, there is a direct correlation between how you feed your body and how useful it can be. Cultivating the habit of reading the labels on whatever food you buy (yes, actually read it before you put it into your grocery cart!) is a great way to look out for your health. Educate yourself on what is healthy and what is harmful. If something is made primarily of sugar, hydrogenated oils, or there are a ton of words that only a chemist can pronounce, you should leave it on the shelf. The simple act of consciousness around what your food is MADE OF will have dramatic positive effects on your health and your life.   

7. TAKE A PILL! Vitamin and mineral supplements for increased health…

I am pretty sure that none of us get ALL the nutrition our bodies need solely from the food we eat. Even if you’re paying close attention to fulfilling your daily nutritional requirements, eating several times a day, and planning meals that are nutritionally dense, you’re pretty much assured to miss the mark without some additional supplementation. This is especially true if you’re following steps 2 and 3, above. By adding something as simple as a specialized multi-vitamin, the effects on your immune system, mood, and overall wellness will surprise you. Read up, talk to your doctor or nutritionist, and start popping pills!

8. LESS SUGAR! MORE PROTEIN! Out with the fluff…

As singers we are often in our higher mind, discussing interpretation, nuance, drama, and where to get the strongest drinks for the fewest dollars… But remember, we are just animals made of muscle. This muscle tissue helps us get around on stage, supports our superhuman breath, and helps to keep your understudy in check! By monitoring your protein intake, and aiming for 1 gram of protein per pound of body weight (adjust this number to reflect a good lean body weight if you are on a quest to loose more than 50 pounds), you will be helping your body repair from stress, workouts, and you’ll be building precious muscle tissue. Sugary snacks and drinks provide lots of calories, but none of the sustaining nutrition you need to sing Lucia’s mad scene, or any Handel role…  Pack food to bring with you on your day’s journey, especially when you aren’t sure you have access to healthy options. Things like tuna packets, a baked chicken breast (keep it cold!), protein bars with reduced sugar, and even vegetarian/vegan protein items if you follow one of those diets, are incredibly useful to have on hand. You’ll start to crave less junk, have more energy, and get more done with fewer diva fits. Your family, colleagues, and stage directors will thank you.  

9. MAKE LISTS! Write it down and get it done…

Grocery lists: plan it before you make an unhealthy impulse purchase in the candy aisle. If you stick to planning ahead and only buy what’s on the list, you’ll be less inclined to put junk food in your mouth.

Career administration lists: auditions, contacts, repertoire to buy/download/learn, competitions, etc. learn to incorporate these lists into a CALENDAR. Yes, I said it… You’ll forget deadlines unless you set up the ritual of using a calendar. That means putting stuff IN the calendar - even reminders - and checking it DAILY! It’s my morning ritual, along with answering emails.

One helpful hint I got from an incredible person: “don’t WAIT to take care of something you can do right NOW!” See how you can incorporate that concept into your daily life and business routine. Great things will happen…

10. FOCUS! Nobody is going to do it for you…

It’s your career, and your life. Show up for yourself, and see that your needs are met so you can be a happy and healthy colleague. Success is found in accomplishment – so concentrate your efforts and GET IT DONE!!

Here’s to your success!! ZG

SINGERS and MANAGEMENT: What you need to know...

I've lately found myself listening to all sides of the management/artist relationship conversation, and one phrase keeps coming up. I feel compelled to share some thoughts about this phrase from my perspective:  an artist who is managed by a capable team, business savvy, has been involved in administration and leadership on the regional opera level, and has served as an artists representative for other singers.

Singer: "I have an agent, but they don't do anything for me..."

I hear this complaint on a pretty regular basis. I'm sympathetic to the position of a singer who may have spent many years in Conservatory or University, training and spending hundreds of thousands of dollars for the privilege. I understand all the blood, sweat, and tears that goes into molding and polishing a great artistic package. I understand the complications of the singer's ego... What I don't understand is why so many singers feel that management is like a magical pill you take to give you an instant high-profile career. I blame (among other things) schools that hire voice teachers, who students are taught to idolize and utterly depend on, that never had the experience of a modern-day career and all the work and responsibility it brings. The fact is, the industry has had a huge shift, and what was normal 15 or 20 years ago is just not the way business is done. This just won't do.


The reality is that as a singer, you are CEO of your company. You make all the final decisions for your financial well-being, artistic development, branding, engagements you accept (should you be so lucky to have offers), network you build, etc. It is not the job of management to hand you a crown on a silver platter - as romantic (or appropriate) as that sounds... If you want something you have to learn about it, enlist the help of others, and make it happen! As a professional singer, you really are running a business.

The singer is responsible for supplementing the Manager's contacts and relationships with new ones. If you want to work, you have to make sure that people know who you are - in addition to having something special that is worth showcasing. Sitting at home and waiting for the phone to ring, or an email to come in, is a nowhere road! So much of the entertainment industry, and opera in particular, is rooted in personal relationships. Artists can be tricky folks to deal with, so artistic administrators, general directors, conductors, etc. are interested in how you interact with your colleagues, how you present to donors/patrons, how you engage your personal network/fan base to help publicize performances, etc... Being a high-profile singer is not about wearing Gucci and Chanel, big diamonds, big sunglasses, photo shoots, interviews, etc... (I know - I shouldn't talk...). It's a much more gritty - get your hands dirty - job these days. It's a result of the audience expecting connection to artists (one reason I think tabloids are so successful...), and of companies needing to be innovative and engaging JUST to survive financially.

I'm always surprised when an administrator for an orchestra or opera company I'm singing with will approach me and thank me for all the work I do on social media (facebook, twitter, blogging, etc...) to help bring an audience. I firmly believe that it is MY job to tell the people what is going on in their community, and to let my friends, colleagues, and fans know what I am doing, and that I want them to be a part of that experience. It is the artist's job to have interface with his/her community, just as much as it is to bring 150% to every rehearsal and performance. The more noise you make, and the more you create contact with your fan base, management, artistic organizations, etc., the more people will think of you when it is time to cast an opera or concert.

To bring it all home: building a successful career is much more likely if you work hard - as if you were self-managing - but stay in a constant conversation with your management, your contacts, your fans, and your whole network. THEN, you have to save some room for study, vocal work, and always presenting your craft in the best possible way. Not a job for the over-entitled, or the faint of heart... That's why so many great voices fall off the map. It's not just about singing anymore! So, tweet, blog, share, post, and ENGAGE your public and the people who are going to hire you!!

Taking the reigns on your career is the surest way to a successful journey.

Wishing you love and luck!!!
ZG

Leap Day Update!!

It's been too long... again!

Working backwards... I was just in Sacramento Opera's final production of the season (I'm 3 for 3 productions in the company's bounce-back year!), singing Count Monterone in Verdi's RIGOLETTO. What a great cast, lead by David Small (Rigoletto), Katrina Thurman (Gilda), Scott Ramsay (the Duke), and directed by the incomparable Chuck Hudson. It's always a great thing to spend time in such close quarters with your colleagues, doing great work with great artists, telling stories, learning about each other's lives, sharing many laughs, feeling supported after getting a drink thrown on you by a random drunk guy at the hotel bar... The sad part happens when it's all over, and we go back to our respective homes, or to the next gig. This opera community is a small world, so I'm sure we'll cross paths again soon, but it's still a bit sad to part ways. Just another occupational hazard...

Here are a couple shots from the production

While in Sacramento, I was asked to give a workshop on vocal technique to the Sacramento Gay Men's Chorus. It was a thrill to impart some new insights to the group, and to get to work with them as a conductor for a while. Making music in a choral setting - with many voices blending into one mass of sound - is something I haven't been part of for a long time. I'm excited that I'll have more opportunities to work with this fine group in the future!

Before that... I had the most EPIC concert experience! CARMINA BURANA with the combined forces of the Oakland East Bay Symphony, Oakland Youth Orchestra, Oakland Symphony Chorus, and Oakland Youth Chorus. Soloists were yours truly, Carrie Hennessey (Soprano), and Brian Thorsett (Tenor). Michael Morgan, Bryan Nies, and Lynne Morrow shared the helm for this grand celebration - the merging of the two symphonies and chorus as "East Bay Performing Arts". Here's a photo, which couldn't contain everyone on stage...

And another, with Maestro Bryan Nies, and Soprano Carrie Hennessey at the reception.

On to the next!! Lots of things are in the works... and it's turning into an exciting year ahead! BIG THANKS to my wonderful team at Cadenza Artists for all the love, energy, and support they put into my career!! Stay tuned for more news...

Z

PAGLIACCI at Sacramento Opera. An Opera Company Re-born!

It's day two of being home from a glorious production of Pagliacci, announcing the revival of Sacramento Opera. Being part of such a strong cast was a real treat, but we all had the added energy and resolve of making a real impact with our work. This Pagliacci was the first staged production by this wonderful company since it had to suspend operations last year - another casualty of the depressed economy. The end result was a performance (overseen by Rod Gideons, shaped by stage director David Bartholomew and conductor Michael Morgan with the Sacramento Philharmonic) which was a truly vital, human, and engaging experience.

All this, with the curve-ball of losing our Canio (Roy Cornelius Smith, who is a consummate artist and a generous colleague) to a dream job doing the same role at Royal Danish Opera - while only a couple days into rehearsals. We wished Roy farewell, and had the good fortune of Eduardo Villa stepping in for him, and just enough time (9 days) to re-build the incredible bond that the cast had with Roy. Everyone: cast, chorus, crew, really pulled together like a tightly knit tribe. A clear indicator that our "tribe" has a deeper purpose. Seeing this happen around me, and being such an integral part of it was truly awe-inspiring. 

Among the rest of the cast was the singular Shana Blake Hill, as Nedda. It was such a joy to hear her sing, to act with her, watch her process, and to bond as cast mates and as dear friends. Side note: I have been so lucky to have such great leading lady counterparts, and have kept in touch and made true friends of all of them!    It was really comforting and invigorating to be in the company of colleagues that truly cared for their craft, and gave of themselves so completely to the work. Igor Vieira, our Tonio, was another shining example of that. His character gestures were so completely integrated (even in rehearsal!) that he would need to spend time stretching and doing physical therapy so the contortions wouldn't actually injure him. Then there was Daniel Ebbers, who was so definitive (and imparted great vocal beauty) in his Beppe that I really can't imagine anyone else doing that role. 

The audience was another triumph: people from many different ages and backgrounds, and many first time opera goers. This form of expression really does cross all boundaries, and can speak to everyone. 

So I, at once humbled and energized, now turn my thoughts to the next phase... Auditions and meetings in NYC, as part of the annual "audition season" AKA: singer's meat market... or slaughter house - depending on who you ask. Many exciting projects are in the works, which I'll let you all know about very soon!

Tre stelle: Eduardo Villa (Canio), Shana Blake Hill (Nedda), Zachary Gordin (Silvio). 

WORKING OUT! Fitness and the singer.

Thinking on the topics of physical fitness and opera singing, I find a lot of overlap between the two worlds. Singers need to have great stamina and must stay well in order to navigate the difficulties of a stage career. Mental focus is important in both athletics and singing: mentally preparing for a great workout or football game is as important as focusing before a performance or an audition. I'm finding that in order to do anything well, it takes a great deal of physical AND mental presence. 

The singers I talk to that have incorporated a serious fitness regime into their lives always remark on how it changes and focuses them. The physical changes are obvious, but it's the internal, mental shift that I'm really finding fascinating. The singers that can show up for themselves, by dedicating part of their time to their minds/bodies outside of singing, tend to have more drive, focus, and creative juice than those who don't. The mind/body connection is real, and singers are athletes at their physical and animal core. We work with our bodies to create something. That's a real incentive to keep the body healthy and happy. 

Mid-set, at Gold's Gym, Oakland, CA.

Determination, and focus are elements that drive our creative processes. These are the same elements I tap into when I'm trying to accomplish a set with the weights, or trying to find the best way to convey a phrase of Verdi. 

What are your thoughts? Who has a personal story to share? I'd love to hear it!

iCadenza Future of Music Festival, Los Angeles, August 17-20, 2011.

I'm THRILLED to be performing with such a great roster of artists, at iCadenza's Future of Music Festival. I invite all of my Los Angeles area friends to come out and support this new and exciting event!

Featured on Friday, August 19th, will be a concert with me and the wonderful mezzo-soprano Cathleen Candia, joined by pianist Armen Guzelimian. Also featured on that concert will be pianists Rufus Choi and Max Levinson. 

On Saturday, August 20, from 3-5 PM, I will be presenting a master class at the Colburn School with collaborative pianist Catherine Miller Popovic and a team of exceptionally gifted singers from all over the West Coast. In this public master class, each singer will be performing an aria, and then working on their craft in front of an audience. These master classes are always full of energy, discovery, and great artistic moments - a treat for both opera student and fan. This event is free to audience members, and open to the public! Stay tuned for more details.

Tickets to the festival concerts will go on sale August 4th. More information: http://www.icadenza.com/festival-2011/

Photos from Dido and Aeneas - West Bay Opera!

Photos by Otak Jump.
with Cathleen Candia as Dido, and Shawnette Sulker as Belinda.

I love this opera, and this role. I hope it's one I get to do often. Thanks to my outstanding colleagues at West Bay Opera for making this opera happen in such a memorable way.

Latest news, Opening Night at West Bay Opera, Taminophile interview, and more...

I have a lot of links to share with you!

Here's one that looks ahead.

Oakland East Bay Symphony 2011-2012 Season announcement in the San Jose Mercury:

http://www.mercurynews.com/entertainment/ci_17984391

Opening night at West Bay Opera was a miracle. Not only did the cast, chorus, orchestra, crew, and everyone else really pull it together (this production wasn't going to happen...), we actually put on a good show, despite some coordination issues with some of the substitute players in the pit. Thrown into the mix was my physical condition. What I thought was a bad case of allergies, turned out to be a throat infection. I stayed away from my cast mates, and warned everyone what might be going on. It was just plain scary to sing a performance with basically no voice. Add to that the staging, acting, choreography, heavy monster's head on a spear, etc... and you're begging for a disaster. The disaster never came. We all got through with some kind of dignity, and my stellar technique (thank you Olivia Stapp, Carol Vaness, Sheri Greenawald, et al...) made possible a mediocre performance which could have been a hot mess. We got a couple less than kind reviews on SFCV and Opera Tattler, which have been receiving an interesting little backlash from the community. The Sunday performance was saved, courtesy Dr. Scheibel and Nurse Marbley (congrats on the graduation!!). Endless thanks! Antibiotics work wonders, and I was operating at 90% after one day of treatment. 

Here's a review: 

http://www.almanacnews.com/story.php?story_id=11193

I hope more critics come to the final weekend (this weekend - get your tickets!) and write about it. Watching Cathleen do these two roles in rapid succession is worth AT LEAST the price of the ticket. I have wonderful colleagues in this production. Very proud.

OK... More pics from this production soon!! 

Next on the agenda...

Taminophile is an online opera magazine, which approached me to do an interview. I had some great questions to answer. If you have several minutes, give it a look. Here it is: http://www.taminophile.com/2011/05/singer-profile-zachary-gordin-baritone.html

Barihunks has also sent around a couple recent postings involving me. 

One for Dido: http://barihunks.blogspot.com/2011/05/hey-dido-stop-your-damn-lamenting.html

One for the interview: http://barihunks.blogspot.com/2011/05/zachary-gordin-featured-on-taminophile.html

As always, feel free to re-post, re-blog, email to your friends, etc. Thanks!

More soon!

ZG

STREET SCENE: Kurt Weill in Concert with Oakland East Bay Symphony!

I'm going to be performing the role of Mr. Jones in this concert version of Street Scene. He doesn't say much, but I love working with my city's symphony whenever I can. Please come out to support OEBS, and look ahead to January 27, 2012, when I'll be performing with OEBS in the (seemingly endless) role of baritone soloist in Carl Orff's epic work CARMINA BURANA. More info and tickets at www.oebs.org

Dido and Aeneas hits West Bay Opera!

Photo: Cathleen Candia as Dido and Zachary Gordin as Aeneas

I'm gearing up for a great double-bill! The baroque masterpiece Dido and Aeneas (FINALLY as Aeneas, after having sung both Dido and the Sorceress back in my countertenor days...), and La vida breve, which is a sadly neglected opera, full of passion and incredible music. Conducted by Jose Luis Moscovich, and stage direction by Ragnar Conde, with an incredible cast.

I'm really excited to be doing another production among friends. West Bay Opera (Palo Alto, CA) is a company that is very dear to me, and one that deserves an outpouring of support from the community for its outstanding productions. I performed Germont in my first production of La traviata with them last season, and was shocked by the magic that this company makes happen, on a modest budget, and with the help of a small army of volunteers. Truly world-class opera, presented in a wonderful small theater, and accessible to all. 

I'm starting the rehearsal process tomorrow, and look forward to meeting new cast mates, and seeing old friends. I'll keep you all posted, here, with updates on how it all shapes up.

Please help get the word out, and get your tickets ASAP.  Go to West Bay Opera and click on the "Tickets" button. 

Thanks! Drop me a line if you are coming, and I hope to see you there! 

ZG