Music: What can I do with this degree?

Hmm, so you've spent quite some time in school practicing scales, going to rehearsal, preparing for juries and performances. The bell rings, class is out, and you've graduated. Finally, no more class, tests, or homework! But wait, somehow the rent, car note, groceries, and unexpected expenses still keep knocking at the the front door. Who's going to answer it? You are--with poise and style, knowing that your music degree has paved an INCREDIBLE path for your future success.

Keep practicing those arias and scales, have a lesson when you can, and audition your little butt off, but on your way to the top of the music mountain consider all these areas that can enrich your success.

Music Therapy
Generally, in music therapy some certification is required. Most professionals have advance degrees in music, psychology, or social work.
--Hospitals
--Special Education Facilities
--Mental health centers
--Nursing homes
--Correctional facilities
--Private practice
--Outpatient clinics

Recording Industry
The recording industry is a vast and wide net where many performers catch better entry into their fields. This field includes professionals who obtain degrees in music performance or music business.
--Publishing and Editing
--Producing
--Recording/Engineering
--Talent Acquisition
--Promotions/Media Relations
--Marketing and Sales
--Product Management
--Post Production

Performance
Traditionally this path is for the musician who wishes to make performance his/her sole occupation. This highly competitive but rewarding field is based heavily on networks, auditions, and talent. In the United States, graduate degrees and consistent professional experience is preferred.
--Armed Forces
--Symphony Orchestras
--Small Ensembles
--Concert Soloist
--Clubs/Restaurants
--Radio, Television, and Motion Picture
--Opera chorus/solo
--Voice over
--Musical Theater

Communications
A field growing in demand for musically experienced individuals is communications. Businesses seek artistic professionals able to handle many aspects of performance or art related projects. Generally this is contract work for professionals with at least undergraduate degrees in music. 
--Music Director
--Touring
--Live Performance

Law 
Other great opportunities for the music professional are found in the law field. This is a great field for learning the legal responsibilities of music business/performance. Music professionals in this arena work in tandem with law professionals on varying music related issues. Law degrees are generally not obtained. 
--Music copyright and Licensing
--Clearance Administration
--Entertainment Law

Journalism
Musicians with a flare for writing are always welcomed in the journalism field. Our expertise on musical form, performance practice, history, and theory are all strengths that make writing for local, city, or national news unmatchable. Strong writing skills/portfolio required.
--Music journalism
--Music critic
--Columnist

The Alchemy of Talent: Adrienne Walker, Soprano

It's good to stay connected with friends. You might need a couch to crash or a lift to the airport for that next audition. But colleagues also need one another in other important ways. Since we singers love to chat, another conversation was created with friend and colleague, soprano Adrienne Walker. Having teetered gracefully amid both sides of the musical theater and operatic worlds, Adrienne offers insight into the differences, likeness, and demands of each artform.

Welcome back to Chicago! It has to be exciting to be back. What have you been up to since leaving The Chicago College of Performing Arts?

Yes, I am happy to be back. Chicago is such a great city and, aside from the crazy weather, I love this place. But of course, Atlanta is my home. I’ve been keeping busy and have done a handful of shows.

Awesome. Which?

Let’s see, Porgy and Bess, The Mommies, Hair, and soon Dreamgirls, which will bring me back to Chicago again later this year. 

You have been busy. What were you doing to keep projects on the horizon?

Auditioning. I auditioned in Atlanta as much as I could. There are fewer opportunities there, but it’s always great to be near my family before hitting the road again. While performing Hair I was still auditioning in Chicago. This gave me opportunities for future work.

Is the scene different in Atlanta?

Yes. Less opportunity, in turn, means fewer gigs and chances to earn money. There are always productions, but unfortunately they don’t always pay. I choose to earn, even if only a little…haa haa!

Totally understandable. After all, this is our job. So it’s been a good return?

Incredibly. Hair was an amazing production and I made great new friends; I’m back in a city I know and love; I’ve made some money and I’ve auditioned for another show. All pluses.

It looks like you have been getting sound work in the musical theater arena. Has that been an adjustment since you are classically trained?

Are you kidding? Yes! Definitely an adjustment, but I absolutely love it and the chance to expand my skill and experiences.

What have rehearsals been like?

With opera gigs, you learn ALL your music before meeting the maestro, the répéteur, or an orchestra. No one “plays notes” for you. It’s similar with musical theater, but producers and directors are more apt to teach a cast their parts while preparing for a show. You still have to be a great musician. They aren’t teaching intervals and chords.

Are rehearsals similar in any ways?

Music rehearsals are typically 3-4 days. Then you begin blocking. So despite the genre, the demands on a performer are pretty much the same. One must learn and memorize music quickly and begin to work off book within days.

And what about vocally, is the technique wildly different?

As far as style, I'm still learning what is acceptable in musical theater. Above the staff is a whole different beast for me. But to my aid, I did grow up in a church where belting is ALL we ever did. Then again, I’ve never been trained to do that properly either, haa haa. So that’s a challenge I’m working through.

Have you recognized any significant differences between the genres?

Dance. Dance! DANCE!

Haa, haa. So are you a good dancer?

Lord has witnessed my attempts! I’m working on it. I am a singer. I move well but by no means do I dance. I pulled a muscle during Hair, probably while flinging my neck during the title song. After 2 muscle relaxers, a mild dose of anti-inflammatory, and a prescription-strength pain reliever I was back on my feet.

Goodness! And three shimmies from the morgue.

Haa haa.

So, the ability to move well on stage is important it seems?

Yes. Actually, I’ve danced in every production, even Porgy and Bess though that was still the least demanding. You’ve got to have some nimble feet—and a strong neck—in musical theater.   

Am I right to say there is a different acting technique in opera and musical theater?

Chicago is full of small storefront theater, home to many musical productions I’ve seen.  Since these spaces are more intimate, performers can be more subtle and be more “real” (or life like). It’s not so difficult to see or even hear these performers as an audience member and they aren’t so far away.

  

…And opera?

It’s grander and houses are bigger, there can never be anything subtle with opera. The characters and music are often bigger-than-life and singers sometimes have to be become less “real life” and exaggerate so that the 4000^th seat three stories high can receive the same effect. With opera, acting must match the caliber of the spectacle and is sometimes less in sync with every day behavior.

Anything else you’ve recognized as a notable difference?

Lots more, but another real adjustment was getting used to a microphone! I’d never used a mic in a production until my first gig in musical theater. In opera, we don’t use mics. So every little cough, throat clearing, or breath I was sure the audience would hear…they don’t though. Good sound engineers are invaluable.

Interesting word you used to describe opera “spectacle,” but one could say spectacle is something both genres share, no?

Certainly. With both there is always a since of narrative and we see the relationships between the characters and drama, setting and circumstance, development and plot. But there is more emphasis in musical theater on the story being told and actions of the characters; opera is more concentrated on the caliber of a voice, its tone and capability. 

Well said, I agree with you.

Keep in mind opera is basically archaic when compared to musical theater. Musical theater became fashionable in the early 1900s, stemming from vaudeville and street theater. Opera had already been in existence for centuries! Because of this, standards are different and so are the expectations, practices, and customs.    

Oh là à brains and beauty, a wise and knowledgeable performer you are!

Haa haa, I’m blushing.

Have you recognized any differences in general performance style?

The fourth wall is broken a lot in musical theater but in opera it’s often more understated when singers reference the audience, if they even acknowledge their presence at all. I’ve experienced that with musical theater, the audience are participators; whereas in opera, audience members are more like spectators.

  

Interesting. I’ve never thought of it that way. So I have to ask, has either art form taught you more about your artistic strengths and goals?

Each gives me something so totally unique. For example, with musical theater I have more freedom of singing technique and am able to achieve certain nuance and colors with more ease. I’m able to create funnier characters and be a bit more of a ham too. But, its also shown me that I have to become more comfortable as a dancer and actor.

  

…and with opera?

I’m always challenged, in a good ways. Opera helps me isolate my voice and points to areas of my technique that can be better. I enjoy that this art form helps me understand the mechanics of my voice.

What are you working towards now, your goals? Musically, technically…anything?

Since my last few productions I’ve been really exploring how to reach the audience… really reaching them. That’s my goal. No matter if I’m spinning high Cs or giving a monologue, it’s about creating something unique, real, and relatable for everyone sitting on the other side. Otherwise I might as well retire now. So, I’m working on merging Adrienne the singer with Adrienne the actress.

They’re probably are a lot closer than you think, no?

I’d say they are in the same state but different counties right now.

Haa haa, with visitation every other weekend and holidays?

LOL! Exactly. But you know, it’s just about finding experiences that help you believe in what you have, that it’s enough, that what you have matters and experiences that help what you have continue to grow.

Totally. Ok, let’s wrap up here and just for fun tell me, what roles in either genre would you really like to do?

Is it weird that I don’t have any dream roles? I have an honest and open love for simply learning music, auditioning, and seeing where that takes me.

No, that’s no strange at all.

…But I would love to play Aida, Elton John’s version. I would also love to be a part of the Lion King. That show has a special place in my heart. I think Deena in Dreamgirls would be simply amazing too. Ok, maybe these are dream roles…haa haa.

Anything in opera?

Mimi! I’m simply in love with everything Puccini; so maybe one day. I think I’m also going to make one heck of a Countess someday too!

I agree. You’re charming, full of adventure, tremendously talented and headed in the absolute right direction. Good things to come, you’re going to surprise yourself!

Thank you, I hope so…can we eat now!?

Characterization

Movies are an expert source of creative inspiration, especially dramas and contemporary biographies. Watching film is one method of keeping the acting chops alive and buoyant, and watching an amazing actor/actress is simply icing on an already dense and decadent cake.

The extent to which some performers tread to find the characters they represent is a lesson in patience and diligence. It's a mystery, that fine line between being aware as a performer and being completely absorbed as one's character, giving an often fictional being a pulse, desire, and purpose. This duality is intriguing and not always the easiest task to make believable.

In a quest to heighten these ideas on the operatic stage, a few basic conclusions derived from movies and films I've seen or revisited in recent months....

Iron Lady--

Exploit your character's strengths and be mindful of their weaknesses. After all, they are "human." Characters are real beings with real feelings that exist in worlds that are, often, very unlike our own.


The Help--

What is the driving force of your character? It's not enough to simply discover a motivation; that's too short-lived. As performers, we must define the very reason why our character is alive and wants the things they do. Ask, why?




Dancer in the Dark--

Have conviction! There are many types of people in the world and doubly as many for the stage. Just as we are all unique, our characters must also be unique creatures containing independent thoughts and actions.




Latter Days--

Inner development must manifest outwardly. How a character evolves is crucial. Rarely are the characters we become the same people at the start of the movie/opera as in the end. How does this change manifest?





Hunger--

Be ugly, determined and visceral. The feelings our characters have are never wrong. There is no right and wrong when characterizing. Every emotion has its place and each feeling has an infinite spectrum of intensity and meaning.




Hotel Rwanda--

Rely on the talents of your team. No production is presented alone and good artists understand they are only part of huge whole. Rely and trust the talent of your colleagues to better understand your character's circumstance.




Whore's Son--

Our characters must inhabit their own emotions. The way we personally feel must never interfere with the way our characters feel; we are not our characters and they are not us. As singers/actors we work hard to represent who we believe these people to be. Therefore, they must always be independent of ourselves.



Ali--

Celebrate your character no matter who they are. The ultimate aim of characterization is not only to bring a fictional being into life and to give them purpose; but, it is important to present their point-of-view and help them to be understood for better or worse.

Fear and Imagination

I recently saw the 3rd installment of Paranormal Activity, written by Christopher Lanoon and directed by Henry Joost and Ariel Schulman. One question, did the movie have me loading the shot gun, cleaning the crucifixes, and buying holy water after my friend left last night? ...Yep!

Everyone knows that I am somewhat of a horror/thriller buff and enjoy a good scare. Call me odd. The PA films are known for their gritty, real-life, as-the-action-happens style. No CGI, no big Hollywood sets; in fact, the set of each movie takes place in a house never leaving its different rooms. We simply experience the hair raising events that unfold for this family, which might I add, are pretty darn frightening. It's not a series for the faint of heart. Even I, a thriller lovin' fiend, found myself clutching the pearls and tossing and turning at night. So, all this got me to thinking....what is fear, really?

Fear takes shape in many forms. It's sometimes heavy, haunting, and horrific, taking our breath away like in the movies I described. Other times, it's just the opposite, abrupt and sudden catching us off guard or by surprise. Fear sometimes sits right beside us and sometimes it's intangible, existing in another universe all together. Sometimes we can only see it; sometimes it's only felt; sometimes it's both! Fear is complex inspiring both the good and bad in us all. But, if I had to bottom line it I'd say, ultimately, fear is proof of the exponential power of our minds and the breadth our imaginations. It's far more harrowing to imagine what's lurking under the bed than to actually see it. Fear is indestructibly bound to imagination, and since imagination can never be fully quantified, both coexist allowing the mind to travel in the most extreme and unbridled directions.

This is pure fuel for the performing artist!

Bling: Opera and Hip Hop

I'm a bit of a hip hop junkie if you didn't already know. There's nothing better than a great beat, crazy rhymes, and a great artist on the mic. And the more I delve into hip hop, the more I witness connections between rappers and classical artists. I wrote about this topic once before, but now sometime later I recognize stronger parallels between worlds that, otherwise, seem just as related as a jungle and desert.

Hip hop stars have to know "text" like a crazy person! To be at the top of their game, it's not enough to simply use words. Hip hop stars have to master them. They have to be able to command the use of words in fresh and creative ways. We opera people pretty much stick to what's printed on the page, but the hip hop gurus are creating new ways words are used. Either way, both performers have to know what they're talking about.

Improvisation. This key word of Baroque and Bel Canto literature rests at the center of the Hip-hopster's mojo. Prolonging syllables, toying with word emphasis, and manipulating beats and creating new rhythms on the spot is something both the skilled rapper and classical singer share in close common. Improv is a method of embellishment and technical autonomy for both artists.

Lastly, Bling! Both arenas are categorized by decadence, of imagination and the pocket book. Diamonds, pearls, champagne, couture, and delicious decadence. Callas wore Channel everyday; Lil Wayne has exclusive rights to Nikes made only for him; 50 Cent has Stanley Korshak upholstered car interior; and Yves St Laurent designed the entire opening night wardrobe of 3 Metropolitan opera stars.

No matter how it's sliced, opera and hip hop share amazing attributes. Whether it's in the music, in the dressing room, or on the stage, both are worlds of supreme creativity, technique, and extravagance.

Creative Arts Expo

Chicago's Cultural Center is not only a beautiful place, but a place to learn about the business of art! Thanks to this year's Creative Chicago Expo more than 8000 singers, dancers, photographers, and writers came together and learned deeper levels of the arts as a business. The best part of it all, it was totally FREE!

Arranged in a series of 1-hour seminars spread over two days, artists were able to dabble in everything from marketing, project planning, city spending, networking, and a whole host of useful tools to help make what we do a whole lot easier! With more than 60 on site vendors, retailers, and arts organizations, this year's expo was probably fairly successful. It was packed and definitely the place to be with a few extra business cards on hand. More expo info here.

Jennifer Rapp Peterson, a representative of Indiemade, gave a great presentation on creating a strong web presence. She's made all the material from the workshop available online. However, the gamut of her resources is also worth browsing. Check it out.

In case you weren't able to make it to this year's expo, not to worry. Many of the topics and workshops can be found online. Maybe this is just a starting place?

Eye See You

The power of the eyes is unmistakeable. Whether a person is happy, tormented, or full of joy, the eyes really are a window to the soul and an indication of what's happening on the inside, mentally and emotionally. On a recent venture to ol' Lyric Opera, a cast of singers presenting a new production of Rinaldo was a show not only of musical beauty but one containing an emotional integrity worth mention, made especially evident through the use of eyes from the entire cast!

Not until this production did I witness the power of "the eyes" first hand. Granted, I had good seats, still no where near the stage, but with every aria I was compelled at the emotion behind each singer's eyes. Cheryl Studer is a particular name springing to mind when considering the effective use of eyes as a unit of technique. The cast performed at a level beyond the black and white of the page; their characters were real, alive, and feeling.

This is great a enigma for the performer: how to make the character come to life without standing in the way of this process or confusing personal circumstance with that of the characters we create? Bottom line, eyes help audiences understand the character, their thoughts, and all the things that the voice is not be able to completely express.