GETTING AN AGENT AND/OR MANAGER ... continued ...

My first New York Manager ...

January, 2009

Happy New Year! I spent mine at home, in front of the fire, talking to friends thither and yon, rather than being a target, out on the roads, dodging those who think it is their responsibility to get drunk on  New Year.

After being hired by Julius Rudel, for the NYCO season, which was to start in about six weeks,
I returned to Tamiment to start rehearsing for Saturday’s all new show. My contract came a few days later and I had been given, three “comprimarios” roles (virtually any singing role in opera, not a lead). I was given Schaunard, in La Bohème, Morales--More-or-less—in Carmen and
Count Ceprano, in Rigoletto. I made another trip into New York, bought a portable record player and all three opera sets and began learning the three roles … while learning and performing a wholly original show each week,

I arrived in New York, having taught myself the roles and was delighted to find that my debut
was to be, in the La Bohème. I had only sung in two operas, previously; chorus in La Traviata, at the Greek Theater, which got me into AGMA, and the lead in Venus in Africa, a one act opera by George Antheil, during my one year at the University of  Denver.  While I knew my part, I had never sung in a production on stage, in anything other than English … so this was different.

After about three days, of my wandering about the stage, wondering why I couldn’t quite get a handle on the concept of opera, the wonderful director, Carlton Gault, took me aside and asked, “Uh ,,, Richard … uh .. would you like to come over to my place, tomorrow morning and talk through your role.” Obviously, he was a tad nervous. “Oh PLEASE,” said I. It was Saturday morning and Carlton told me the whole story of Bohème but, while also taking me through the score, explaining who I was, what I was doing there … and how to stay in my relative space, involved in my scene … while the tenor and soprano were busy hollerin’ at each other, on the other side of the stage. Carlton had told me he was born, in Marseille and he really new the history and flavor of the period, on which I will expand a bit further, in my forthcoming book, “It Ain’t Just About the Voice …” He focused me, opening me to the best that opera has to offer; great drama/comedy set to arguably, the worlds best music. Puccini was the ultimate theater composer … there ain’t a wasted note. I left his place … in a whole new place.

At the afternoon rehearsal, I owned Schaunard!

Since there was never money, for a stage dress rehearsal, for existing productions, at NYCO, my debut was my first time on the stage. I walked each of my three acts before the curtain and had the best time of my life for the rest of the evening.  

There were seven Dailies, in New York at the time … and I got a paragraph in five of them. Chet Ludgin, the Marcello in the Bohème suggested that I get a manager and gave me Ludwig Lustig, his manager. I called him and he said, “Oh, you’re the new baritone at City Opera.” He came to a performance and signed me the next day.

Claramae Turner had her finger in the pot and suggested that Dorothy Raedler see my Schaunard. A few days later, I was told the Julius wanted to hear me sing Giuseppe’s aria, from Gondliers, a patter song … in three days! I’d never done a patter song. With rehearsing seven days a week, I still had to find the time to learn it well enough while singing it with the score … and tapping my foot to keep time. When I finished, my rather mechanical rendition, Julius said, “Uh … all right, Dick, let me here something in English.” I knew he meant something operatic, in English, but I didn’t know anything operatic, in English.” I only knew four arias. So, having spent the previous summer doing song and dance and review work, I suggested I sing, “I Met Girl,” from Bell Are Ringing, a bright up-tune with a high ending. I had given my chart to Dean Ryan, the accompanist, knowing Dean could read ANYTHING! He spent his summers in the pit at Kansas City Starlight Theater, as assistant conductor. Julius said, “Well, I would prefer something else …” and I gave him the rush, “Come on, Julius, you’ll love it … It’s a lot of fun.” He finally gave the nod and Dean started pounding out the vamp … I started moving, on the balls of my feet and let out the exuberant cry, “Yahoooooo …” launching into the song. We tore up the stage … At the end, Julius just turned and walked up the aisle, but I thought I detected a glimmer of a smile. I followed him up to the office and asked, “Well, did you see what you wanted, do I get the role.” And … he grinned and nodded.

So, from my debut in September, I sang my first leading role in a NYCO production, five months later, with none other than the great tenor, John Alexander. The press felt we complimented each other well and Claramae, who was also in the production was very happy with her protégé … She had set up my audition, she had steered Dorothy to me and I got my chance. In the first twelve years of my career … Claramae was the only person, in show biz, who ever followed through on a promise. I learned a lot from her integrity and grace. From the Metropolitan to the City Opera, she was great singer and a great lady, in all respects. She set it up … and I did my job..

On the Agent/Management agenda … my career is not typical. I have known leading singers who spent years, trying to get management of any kind, before an agent “took a chance” with them. I took a singer, Howard Keel had sent to me, with whom he had done “Camelot,” ten years before. He name was Margaret (Peggy) Craig. Her marriage had gone sour so she parked her two kids with her mother and came to me … with a shaky G/A flat, spending a lot of time, sleeping in my daughters bed and eating with the family. In a matter of six months, she was singing the “Regnava …” from Lucia, with all of the ringing, high D’s, in the cabaletta!

I took her to an agent friend of mine, James Sardos, who was auditioning some other singers, at Townhall. She tore the roof off the place and Jim’s comments were a luke-warm, “Yeah, she’s all right, but she has no experience.” End of discussion. True, Peggy only knew two arias and was working on, “Caro nome …” but she sang them better than most sopranos worldwide!

A few weeks later, I called Boston Opera’s, Sarah Cauldwell, and told her I had a soprano for her. Sarah protested that she was “ … too busy, maybe later …” And, that was that … until a week later, when she called and asked, “Can that soprano come up here and audition, tomorrow?” I said, “Yes … if you pay her plane ticket and her expenses.” Reluctantly, she agreed Peggy flew up the next day with my bass/baritone, Michael Burt. Michael sang and was hired and then, a nervous Peggy got up to sing only her second operatic audition of her life … and singing, only one of the most difficult aria/cabeletta’s in the repertoire. She tossed it off and began to walk off the stage. Sarah stopped her with, “Oh Dear, would you sing the ‘Caro nome?’ Peggy hadn’t ever sung it for anyone, prior to this and had a moment of panic, saying, “I haven’t sung it for awhile … do you mind if I look at the score.” She later told me she was so nervous, she made a couple of mistakes.

When Peggy finished, she again started to walk off the stage, when Sarah stopped her with, “O K … you’re going to sing twelve performances of Gilda, with Opera New England, in English. Then you will be covering Beverly Sills for four performances, with Boston Opera, in Italian.” … this, for a girl who had yet to sing her first performance with her new operatic voice! She felt she needed a new name, so I suggested, “Leigh.” and  Peggy decided upon a family name for her surname and became, Leigh Munro.

Lest I forget … a week after Leigh opened in Connecticut, I drove Jim Sardos up to see her, bought him dinner and tix for the opera. He signed Leigh a few days later. Sarah loved her work, and put her in every production and a few years later … Leigh made the front page of the Boston Herald and the Boston Globe, and the wire services, becoming a star overnight, by stepping for Anna Moffo … But … that’s another story.

Agent/Managers stories abound … this is but one of them …


DECEMBER 08 - GETTING AN AGENT AND/OR MANAGER (Part 3)

NOVEMBER 08 -
GETTING AN AGENT AND/OR MANAGER (Part 2)

OCTOBER 08 - GETTING AN AGENT AND/OR MANAGER (Part 1)

SEPTEMBER 08 - HEAVY BREATHING ADVISED FOR JOCKS

AUGUST 08 -  THE VAGARIES OF AUDITIONS AND AUDITIONING (Part 3)

JULY 08 -
THE VAGARIES OF AUDITIONS AND AUDITIONING (Part 2)

JUNE 08 -
THE VAGARIES OF AUDITIONS AND AUDITIONING (Part 1)

MAY 08 - ABSENCE OF TENSION

APRIL 08 -
THE FLAT TONGUE TECHNIQUE AND HOW DO YOU MAKE A VOWEL

MARCH 08  - THE VOICE COACHING THAT  MADE MY CAREER

FEBRUARY 08 - WHAT ARE YOU SINGING?

JANUARY 08 -
VIBRATO/WOBBLE

DECEMBER 07 - BREATHING REVISITED

NOVEMBER  07 - HOW TO KILL A COLD IN FIVE DAYS

OCTOBER 07 - A BIT MORE SUPPORT

SEPTEMBER 07 - MORE SUPPORT

AUGUST 07 - INTRO & BREATHING/SUPPORT