So, today’s Singer Crush Sunday is short and sweet because of the electrifying excitement from the success of our diva this week (check out Kara Smoot, here).
We had to, just had to, feature two greats: the soprano Montserrat Caballé and mezzo-soprano Marylin Horne singing the Barcarolle from Les contes d‘Hoffman, “Belle nuit ô nuit d’amour” by Jacques Offenbach. In this concert edition, circa 1990 (thankfully, the over-sparkled singer fashion of the time has changed since), the divinas both come out hand in hand swinging and smiling ready to sing. The delight and pure joy is of course, timeless, and as you can hear is contagious to the audience.
Believe me when we say that though there maybe reports of “diva tendencies” backstage, this is generally how we react to other singers onstage, and off!
With one look: “it’s time to PLAY!”
Goodnight, fellow Divas and Divini. Until next week! 🙂
One of the most important facts about opera is the essence of what it means in Italian, to “work”, and to do the daily work. As opera singers, we often hear questions like where do you “work”? Or what do you “do”. Or the ever favorite, what is your real “job”? These questions are a challenge for any singer to answer and is usually followed by our blank stare and the reservation not to say, well, “you are looking at it.” Even in our own minds we are far more legitimate than our last performance, because we are constantly working on what is coming up next. The truth is that we are always doing “work”, whether walking around humming scales, rehearsing lines in our heads, or gathering at the theater to run through shows. Our preparation is the equivalent of a behind-the-scenes-think-tank of an internet start-up. That’s why if you hire an opera singer temporarily you will have the most efficiency and best output in any given task, so they can get to their real work of more singing. However, it is key to know that as hard as we work, we do play even harder. (more…)