Behind the Scenes with Jennifer Bryant

Amici, the young friends of Opera Birmingham, continue the countdown to the opening night of Hamlet and the celebration of Opera Birmingham's 60th Anniversary season with our 60 Days of Opera countdown! (If you've missed the fun, check out the Amici facebook page or find us on twitter by following @AmiciBirmingham or searching the hashtag: #60DaysofOpera.)

Today we bring you a story from Jennifer Bryant, regular Opera Birmingham principal and local music professor, who offers her perspective on what it takes to prepare a role:

Jennifer Bryant, Soprano

In fall of 2012, while living in Tuscaloosa and completing my music degree at the University of Alabama, I auditioned for secondary roles in the upcoming Opera Birmingham season. The company was presenting Madama Butterfly and The Magic Flute in the spring. It was the first time that I had auditioned for an opera company (excluding young artist programs) and I was excited to test the waters and use the skills that I had learned in my degree program. 

Jennifer, Singing at the Birmingham Museum of Art

John Jones, Daniel Siegel, and Kevin Chance were the only people at the audition, which took place in the studio space at the main office. I had performed for Mr. Jones once before when he came to UA to present a master class in Paul Houghtaling opera workshop class. He was very knowledgeable about the casting process and the qualities that casting directors look for in a young artist so I felt prepared knowing his expectations. 

Jennifer as Kate Pinkerton

A short two months later, I was contacted about singing the role of Kate Pinkerton, as well as doubling as a geisha in the chorus, in Madama Butterfly. Many aspiring young sopranos have gotten their start singing this role, even though it is listed as a mezzo soprano role, so I was particularly excited to be offered this opportunity! 

Cast, The Magic Flute

When rehearsals started in January, I was quite nervous even though I had spent a considerable amount of time preparing my whopping seven lines, haha! That first rehearsal with the conductor (Israel Gursky) and répétiteur (Ben Malensek) taught me everything I needed to know about a singing career. Everything that I learned in school was correct, but it was magnified 100 percent in the professional world. For instance:

1. Effective communication skills are necessary: be someone who adapts and can make changes when necessary, but be sure that your goals are still being met and that you maintain your identity as a singer and performer. 
2. Size of voice does matter on the operatic stage: the sounds coming from professional singers are not limited by inhibition or boundaries. They are otherworldly. 
3. Every slight gesture of the face and body needs to be a little bit bigger or it won read to the audience. 
4. In every part of the rehearsal process, make sure to communicate the character and express the text: subtle details in word inflection, color of voice, and facial and body expressions must be present before the first rehearsal. This can change throughout the process but something must be offered from day one. I found that working with conductors and coaches who speak the language in which you are singing is extremely helpful. 
5. Take the opportunity to rest during breaks, but also build relationships with your fellow singers: this makes your onstage relationships stronger.

Jennifer as Second Lady

Jennifer and Soprano Jan Cornelius

After singing the role of Kate, I sang in two choruses and learned three more roles with this wonderful company: Second Lady in The Magic Flute, Suor Genovieffa in Suor Angelica, and I covered the role of Gilda in Rigoletto under the stunningly beautiful, Jan Cornelius.

Jennifer and Baritone Todd Thomas

Jennifer doing a TV spot with Jeh Jeh Pruitt, aspiring opera divo

I am so thankful to be a part of the Opera Birmingham family!

Stay tuned for more stories from the Opera Birmingham family! For those of you playing along at home, our countdown stands at 32 days until the curtain goes up on Hamlet! (Click here for ticket information.)

Behind the Scenes with Shelly Ann Edge McDonald

Amici, the young friends of Opera Birmingham, continue our countdown to the opening night of Hamlet and our celebration of Opera Birmingham's 60th Anniversary season with our 60 Days of Opera countdown. (If you've missed the fun, check out the Amici facebook page or find us on twitter by following @AmiciBirmingham or searching the hashstag: #60DaysofOpera.)

Today we bring you a story from Shelly Ann Edge McDonald, a regular Opera Birmingham Chorus member, who offers a glimpse into the life of a chorister during a production's run:

Shelly Ann Edge McDonald

In 2005 I was studying vocal performance at UAB. The incomparable Mimi Jackson, who was then the Chorus Master for Opera Birmingham, came to the opera workshop at UAB and told us all about the OB Chorus. I could not get the information fast enough! I couldn’t believe that as a little ole’ college student I was eligible to sing in a professional opera.

I was thrilled to be a part of Aida, it was a big production for Opera Birmingham with an amazing cast. It even included an elephant! I learned first hand the hard work that goes into staging an opera.  

Time to get down to work at the piano!

So what does that mean for chorus members? Long before the first chorus-only rehearsal, we receive our music, usually a reduced libretto (text and musical score) with just the chorus parts, and begin working on it on our own. We also receive a synopsis and translation of the opera in order to familiarize ourselves with the storyline. (Since we invariably perform in a foreign language, most of us wouldn’t know what we were singing without it.) Then we learn the text with help from a phonetic translation, adding in the notes, rhythm, tempo, and dynamics to give us a good foundation.

Staging Rehearsals - The Height of Glamour!

Rehearsals begin and we work on putting all those different aspects together with the rest of the chorus. We spend several months perfecting and polishing the music before staging rehearsals begin. In staging rehearsals we get to meet all the other cast members and learn how we will move about the stage. At this point we forget all our music, words, and dynamics -- that is, until we get comfortable with the staging. Then, to the immense relief of the director, maestro, and chorus master, it all comes back together. It is exciting and awe-inspiring to watch and be part of the process! There’s nothing like the feeling of the curtain rising on opening night, and hearing the audience’s applause for the first time.

Putting it Together with the Orchestra

Since performing in my first Opera, I have been in the chorus of five other Opera Birmingham productions. I consider myself very fortunate! Through the long rehearsals and late nights I have had the opportunity to meet some incredibly talented people. I have made lifelong friends and I have learned so much from watching, listening, and talking to the incredible singers who are brought in to play the principals.

A costume with pockets! The best! Turandot 2009

 Cigarette Girls, Getting into Character for Carmen 2012

Enjoying the Cast Party - Bravi tutti!

I am thankful for the time I’ve had in the chorus and hope to sing in many more productions!

Stay tuned for more stories from the Opera Birmingham family! The countdown for Hamlet's opening night is on - just 44 days to go! Get your tickets here.

Behind the Scenes with Betsy Pate

As you know, Amici, the young friends of Opera Birmingham, have been counting down the days to opening night of Hamlet and celebrating Opera Birmingham's 60th anniversary season with our 60 Days of Opera countdown. (If you've missed the fun, check out the Amici facebook page or find us on twitter by following @AmiciBirmingham or searching the hashtag: #60DaysofOpera.) 

Today, we have a great "Behind the Scenes" story from seven-season Opera Birmingham Chorus veteran Betsy Pate: 

 Betsy Pate

My first chorus gig was in 2009’s production of Turandot. That year a bad cold virus hit the cast. No, it was worse than a cold, it was a plague. I won’t go into any detail, but suffice it to say it wasn’t pretty. Most of us who contracted said plague didn’t develop symptoms until the last few days of production week, or, as in my case, until Sunday’s performance. I ended up taking two days off from work to recover.

Opera Birmingham Chorus - Turandot (2009) 

One person who was hit the hardest was one of the leads, Roy Cornelius Smith. Throughout the week leading up to opening night, he got worse and worse. This rookie wasn’t sure if he would make it. I was amazed to see the lengths he went to to keep himself going. During particularly long stretches requiring both the chorus and most of the principals to stay on stage, Roy managed to always cough, sneeze, wipe, etc. only when his back was turned to the audience. I would be willing to guess that very few people out there had any idea how sick he was. My favorite trick of his involved pinning cough drops to the costumes of other cast members so he could rip them off at an opportune moment -- all while remaining in character and hiding it from anyone but those on stage with him.

Betsy Pate - Aida (2010)

Chorus Women's Dressing Room - Faust (2011)

Betsy Pate and Abbott Jones - Suor Angelica (2013)

It was then I realized how dedicated these performers are, regardless of having a leading role or being in the chorus. Even knowing that the threat of cast-wide sickness always hangs over a production, I stuck around for the next show, and the next, and the next. It’s a privilege to sing with these crazy, wonderful folks and I wouldn’t trade it for the world.

We love hearing stories from the Opera Birmingham family. We look forward to bringing you more Behind the Scenes stories as we continue our countdown to Hamlet's opening night. (You can get your tickets here.) Just 49 days to go!