Just over two weeks ago, I attended the OPERA America National Opera Center’s official ribbon cutting ceremony as a guest of honoree Sherrill Milnes. With it, the new center became available to the public and all those interested in opera.
The opening itself was attended by those involved in the creation the new National Opera Center. The architects, sound proofers, artists, founders, and of course the staff of OPERA America were all there. Several prominent American opera singers were there as well. Soprano Martina Arroyo, President and Artistic Director of the Martina Arroyo Foundation and creator of the wonderful Prelude to Performance program, spoke eloquently in the center’s video about the making of an opera center and all that it means to singers and teachers. Conductor Julius Rudel, now in his late 90s, was in attendance to celebrate the Julius Rudel Archive as was Marilyn Horne amongst others. Baritone Thomas Hampson was also in the audience and on the spot agreed during Marc Scorca’s introduction to do a master class at OPERA America. He was also very sweet about my recent engagement.
The well spoken, well dressed and oh so charming president and CEO of OPERA America Marc Scorca was master of ceremonies. Marc joined OPERA America in 1990 as president and CEO. Since that time, the OPERA America membership has grown from 120 opera companies to nearly 2,500 organizations and individuals. An impressive feat for Mr. Scorca and an encouraging sign for opera’s future.The center has the support not only of established opera singers, but the city as well. Kate D. Levin, the Commissioner of New York City Department of Cultural Affairs, spoke about the city’s partnership with OPERA America, opera in general and the importance of supporting the arts. Frayda B. Lindemann, the new Board Chairman of OPERA America spoke beautifully as well.
The ceremony concluded with the performance of three new songs from the OPERA America songbook. This is a book of newly commissioned works from 47 different composers, and available for sale. With that guests were allowed to explore the space and could attend a myriad of workshops and demonstrations.
We, of course, went right to the Sherrill Milnes Honors Gallery for photos. The gallery has a place to rest and view items on display. A large built in flat screen showed interviews with Risë Stevens (born in NYC no less) and other American opera singers of note. There were other such spaces like this throughout the center. All was indicative of the thought and planning and care that went into producing the space. The communal areas allow groups of people to meet others they might not have, were they just renting a room to rehearse or audition and leave. These inviting areas encourage singers and all those in the opera world to bump into one another and share information, their love of opera and perhaps even collaborate. The Center is sparkling brand new and very well laid out. It has an airy sense of space and community, yet also nooks where you can feel alone and be alone with your work. The library particularly is lovely. I could just imagine it full of singers researching roles, translating operas and learning music.
During our explorations, we came across the Charles Mackay Learning Center. Complete with a digital “chalk board” with piano keys projected onto it, the “piano” can be played by tapping the white board; or you could simply write on it. The advanced technology is amazing! We also sat in on part of a class that addressed the Alexander Technique. It was interesting to see Alexander Technique applied to how one stands and how that affects your sound as an opera singer, and also how you feel, which in turn further affects your sound. We watched people sing part of a piece, then be adjusted slightly, then sing the same piece again and so on. The little tweaks in posture, neck more up, balance slightly forward had a great impact on the sound. This workshop provided insight into all the minor things that affect singing AND the prospective diverse offerings the center will have.
Later in the afternoon, we attended the Audition Feedback session. The acoustics in the state of the art Audition Recital Hall are stunningly fabulous. Each singer performed a prepared piece and then the panelists, Sherrill Milnes, Maria Zouves and celebrated artist’s manager Ken Benson often asked for a second piece. Sherrill focused on the technical aspects—“you’re coming under the e flat”, or taking note of the singer slowing down through a part of the piece when they should be speeding up. Maria focused on the theatrical and intangibles—how people presented themselves to the panel and acted during the performance. Ken was a mix of the two, focusing on technique and the subleties. Listening to the panelists was fascinating. I could hear something a bit off in one of the performances, but to see Sherrill identify the precise note and exactly what was off with the execution was amazing. Maria, too, picked up on an intangible I was picking up but could not define. One particular singer, although good, was not grabbing as much as they might. Maria took note of not enough expression in the performance and suggested perhaps the singer try musical theater pieces as an exercise in immersing oneself in and connecting with a role. The auditions were interesting to me personally as it helped me to identify musically things I was hearing, and also helped me put my finger on gut responses to singers and what I was reacting to. Very insightful and thought provoking.What struck me most about the whole experience was the youthful and vibrant energy of the space, which was in stark contrast to the more subdued, often even jaded vibe I sometimes get at the Met or Lincoln Center in general. As I ducked into the rain after the opening of the National Opera Center, I couldn’t help but smile to myself. The future of opera was looking bright.
–Elizabeth Frayer
National Opera Center General Information:
-Audition recital hall
-Green room
-10 vocal studios (ranging from $19/hr to $120/hr)
-education center
-Recording studio and media center
-Score , recording, video and reference library
-Conference and meeting rooms
-Artist lounge and canteen
-Business center
-OPERA America offices
For more information on the OPERA America and the National Opera Center go to:
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