From July   ”After they stopped laughing, he continued, “Well, we’re inclined to hire you, but ... uh ... we’re a little concerned that you might be too good for the chorus!” “No problem there ... give me a lead!” They all laughed, a bit embarrassedly and he good-naturedly asked, “But ... what have you done?” “Aaaah, there is that,” said I. “But,’” he continued, “We have decided we are going to offer you the job.”

 THE VAGARIES OF AUDITIONS AND AUDITIONING (CONTINUED)

August  2008

“When do you go into rehearsal,” I asked.

 “Next Monday,” was the reply.

 “Oops,” sez I … “I can’t do that.”

“If you have a problem, we might be able to work around it.” said management.

“I have just given my word that I would be singing as the Leading Man (singer) at Tamiment. PA.” which was a well known resort in the Poconos, where they put together a new show every week, with all original material. “Once Upon a Mattress” starring an unknown, Carol Burnett, started there.

 “But, you can get out of that … this is Broadway!”

“Yeah, don’t think I don’t know that … but they have been looking for a lead for months, and I can’t let them down.”

To say they were dumbfounded at my giving up a chorus job in a Broadway Show to do “Review” work would be an understatement. I’m certain they thought I was crazy, but I couldn’t go back on my word. I suspect they grudgingly respected my decision … although it meant they had to go back to the drawing board.

I also knew that Tamiment would have understood, had I opted for “Tenderloin,” but it was the principle of not letting them down, that made my decision for me.

Several weeks later, I went off to Tamiment and jumped into to a hard daily routine of learning at least four pieces a week; the shows opening and closing songs, a solo number for me and at least one duet, trio or a “black out,” or comedy sketch. There was no music, as Xerox hadn’t been invented yet, so we had to learn everything by rote. I would, however, write down my own lyrics, at first, but after the first two or three weeks, we all just started learning faster.

About week six, my agent Bruce Savan called to tell me the New York City Opera wanted to hear me again. I had sung for them eight months previously and Julius Rudel had merely said, “Thank you.” Four months after that, they had called and asked me to look at the role of Mr. Easter, In “Street Scene.” I had charged into New York, from Brooklyn, gotten the score and had immediately taken it to my coach to learn it. I had no piano. I learned it four sessions, at a cost of $200. (Unemployment from Music Man was $55 a week, so that learning was 420 shy of a months income!)

Three weeks later, I called and was asked to bring the score back, no explanation.  Later, it became obvious they had used me as a backup to get their first choice to sign. Soooo … When they had called for this audition … I had told my agent, “They heard me before and then cut me loose with the Street Scene event. Tell them I’m not interested.”

A short while later I began thinking that I hadn’t seen my girlfriend in six weeks, so a trip to New York might be in order. Fortunately, Bruce hadn’t called and my audition was set for Monday at noon o’clock.

I went to New York and my girl and I had a lovely dinner with a half a bottle of wine apiece and … I got home at three in the morning (hell, City Op wasn’t’ going to hire me anyway!) I arose at nine, arrived at Carroll Hollister’s studio at eleven, for a run-through and arrived a few minutes before noon … to an empty, dark stage!

I went up to the office and told Cathy Parsons I had to be on a bus back to Tamiment by 1:40 and Julius met us on stage a few minutes later, throwing on the lights and sitting down in the audience.

“What will you sing,” he asked. Since I had had a rather late night and only six hours sleep, I offered Escamillo’s, “Toreador.” because it only went up to high F’s.

The first verse and chorus went just fine. Julius stopped me from singing the second verse and said, “Sing the Largo!” (the Figaro aria) Aaaaugh!

While the aria was my “show piece” and had sung for him at my first audition … it taxed the full extent of my range, even when well rested.

The nice thing about singing every day is that the voice is solid and usually there when you need it.  So, I “girded my loins” and let fly … The high notes where there and strong. As I got to the high G’s in the middle, with the A in the cadenza, my agent arrived with impeccable timing and Julius waved me off … saving me from having to finished it …with the long high G at the end.

Julius started talking to Bruce, saying, “OK, we’ll give him a standard contract …”

I walked outside and Carroll, who had played for virtually every great opera singer in the business, said, “I have never seen anyone get into City Opera with less at five or six auditions.” I replied, “But he didn’t even give me a nod, when I sang even better the first time.” Carroll gave me that look, of one bestowing upon the not-too-bright son, the benefit of a father’s wisdom and experience … “He didn’t need you then.” … “Oh …” Why hadn’t Carroll said that to me the first time. Nobody ever told me nuthin’!

The punch line … had I taken the “Tenderloin” contract for chorus, I wouldn’t have been able to take the New York City Opera contract … because I would have had to sign a “six month, no out” contract. …

And, the best part … after a particularly well-received debut, with the company as Schaunard, in “La Bohčme,” I was able to sing my first-ever leading role as Giuseppe Palmieri, in the N Y City Opera production of “The Gondoliers.” I had avoided ever singing in chorus again … because, ironically, I had simply made a decision based upon principle.




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