Puccini: “No, pazzo son” from Manon Lescaut, sung by Beniamino Gigli

Written by Theo Hoffman

Baritone

September 16, 2016

On “Going There”

I spent three hours of my day today listening to my fellow young artists here in LA sing arias for each other, with feedback from our fearless leader Josh Winograde, whose job is the hiring of singers. These sessions are a chance for us to get up, sing something that may be a total work in progress, and work through our challenges. One thing that Josh says time and time again is to “give us what we want.” I think this is so poignant, and a topic of much debate among modern musicians.

American singers in particular are trained so acutely to be polished and correct. Years and years are spent in diction and ear training classes so that we can speed-learn whatever is put in front of us. Some of us even have the privilege of receiving years of acting training so that we can not only follow direction, but add our own impulses to our performances. It’s both the blessing and the curse of having the most functional musical education system in the world. We come out of conservatory with every tool we need, but in the end, most of us do not go to the interpretative depths that we could. If we are given all these tools, we should be able to deliver some of the best interpretations around, right? In theory, yes, but in reality, this is far from the case.

Let this be a PSA to all musicians who seek to stand up in front of people and sing them a song: Do not apologize. When you’re about to perform, think about what you would want to see, and then do that thing. The real question is “why would you not go there?”

Someone who exemplified this so much is Beniamino Gigli. He lived from 1890 to 1957, and was arguably the most famous tenor of his generation. He lived a complex life, riddled with scandal. Most great artists do. Think about it. What great artists do we know of who lead simple, by-the-book lives? He created some of the most intense, heart-wrenching interpretations of his repertoire ever recorded. Below is his performance of “No, pazzo son” from Manon Lescaut. He actually interpolates things that aren’t even in the score, but guess what? No one is complaining.

This rant is all to say that we as artists should never settle. We should always seek to reach new depths in what we perform. We generally sing pieces that are well-trodden paths, but we should always seek to add our own unique interpretation. Some may call this gilding the lily, but I just call it being the best musician one can be. Go there. You’ll be glad you did, and so will your audience.

Theo Hoffman

A remarkable young talent, baritone Theo Hoffman is an alumnus of all three NYFOS Emerging Artist residencies and has since performed with NYFOS Next and on our Mainstage series. Theo joins LA Opera’s Domingo-Colburn-Stein Young Artist Program in the 2016/17 season, and returns to NYFOS in our tour performances of Schubert Beatles with Moab Music Festival and Lyric Opera Kansas City.

.


You May Also Like…

0 Comments

Submit a Comment

Your email address will not be published. Required fields are marked *