Storytelling

Posted by Brent McMunn

I’ve realized lately that I really like my job. The depth of talent of both graduate and undergraduate singers seems even greater this year, and I’m happy that we have two masterpieces to dig into, with lots of principal roles and our Lucretia cover cast getting a complete run with orchestra. Then, in case anyone’s worried about an excess of darkness, there’s that hour of operetta to look forward to on the scenes program. Wait, we’ve also pretty much landed on an intriguing high-profile season for ’09-’10. Stay tuned…

Still speaking of job satisfaction, in the last few weeks there have been repeated “this is what a music school should be like” days. Stimulated by separate events such as the John Duykers and Tom Allen masterclasses, and the particular challenges of Lucretia, a number of intense, spontaneous discussions have come up about complex issues such as what is really involved in bringing together thought and music, freedom and discipline, speech and musical line, and more. That’s the interesting stuff. Any insights or frustrations out there to be shared as comments?

On to some current ideas brought about by the piece at hand, Lucretia. First, about singing in English, and a heightened English it is: I recently went to a friend’s 70th birthday party where there were essentially 4 generations of talented, working actors present. While everyone was smart as a whip, I noticed that the older the actor, the better they were at telling stories. They find the right moment, shape the story with rhythm, energetically speak to the whole room, and expertly act out voices. Later that evening, watching TV, I found myself especially irritated at the close-mic'd mumbling of some of the actors.

Now I don’t believe in taking a regressive “in the old days…” stand about our language. I’m just pointing out that we’re much less immersed in the dramatic use of English than previously. So for singers who otherwise have plenty of flair, fulfilling the English of this piece, written in 1940’s England, turns out to take more detail work, and even courage, than an opera in Italian. It takes bold experimentation, some technical diction guidance (looking forward to Jennifer Ringo’s magic), the ability to self monitor every vowel and consonant chosen, and of course, most importantly, meaningful intention. After all, a rrrolled 'R' can be either effective or affected. Then the music makes such sense - and what music! But that’s for another day.

I have a feeling that by mid November we’re going to have some very skillful storytelling at parties around here.

Brent McMunn is the Conductor/Music Director of USC Thornton Opera