Boston
Singers' Resource News Bulletin, September
15, 2005
Founder
and producer of one of the only opera companies in Central Massachusetts,
Worcester Opera Works and creator of a new opportunity for singers
called Aria Sing, this soprano home schools five children as
well! How does she do it? Read more about Elaine Crane's incredible
energy, positive spirit and gift for 'singing in the moment' below.
Soprano, Elaine Crane http://www.elainecrane.com/, has been hailed by critics as “brilliant”, “…a charming actress”, “…a beautiful voice and a very fine comic actor.” She has performed with Longwood Opera, Salisbury Lyric Opera Company, Savoyard Light Opera Company, New England Light Opera, Lowell Opera, Booth Theatre, Wachusett Theatre, Sterling Theatre, Worcester County Light Opera Company, Sudbury Savoyards, Valley Light Opera, Commonwealth Opera, New England Theatre Company and New Life Fine Arts. As a recitalist and oratorio singer, Elaine has been a featured soprano soloist with such groups as the Worcester Chorus, Salisbury Singers and Great Waters Music Festival. Elaine is a cum laude graduate of the Boston Conservatory, where she studied opera and vocal performance. She is the founder and artistic director of “Worcester Opera Works”, an organization dedicated to opera performance and education, with whom she currently performs the title role in the opera "Little Red Riding Hood". She is a member of the New England Gilbert and Sullivan Society (NEGASS), and the Christian Performing Artists' Fellowship.
Lynn Shane: Please tell us more about Worcester Opera Works.
How and when did you start it?
Elaine Crane: I started Worcester Opera Works two years ago.
It was my brainchild, and I asked two other singers (with whom I had
sung in the now-defunct Salisbury Lyric Opera Company in Worcester)
to join me in starting up. Initially our name was “Opera- to Go!”
but then we discovered the first Opera to Go (in the Boston area) and
after the first year we changed our name in deference to the other group.
We have a two-fold mission, encompassing both opera performance and
education. We began by getting together a production- Seymour Barab’s
Little Red Riding Hood. We made the scenery, had the sets professionally
painted, made or had someone make our costumes, and started rehearsing.
We researched royalties to make sure we could afford to perform it!
We had a music major from a nearby college work with us- it provided
good experience for her, and we agreed to be paid for performances but
not for rehearsals (singers and pianist alike.) Our first performance
at a school covered our costume expense, the second performance covered
the cost of building the sets, and a benefit concert we held during
the summer paid for the set painting and gave us a little “kitty”
from which we draw for things like printing, paper, etc.
During our first year, we wrote for and won several grants, to perform
at schools and for communities through the Mass Cultural Council. We
still write some grants, but have also discovered that schools each
have their own parent/teacher organization that raises money to bring
companies like ours into their schools, so more often we deal directly
with schools.
As for the performance itself, we have had overwhelmingly positive feedback.
We give teachers feedback forms after each performance, and these have
been invaluable to us. The kids, and the teachers, love our opera- and
we are so glad about that! They become excited about opera and about
singing, which is exactly our reason for going to the schools in the
first place- to build up the next generation of opera audience.
We also have some long term goals that have more to do with performance.
We would like to begin performing concert opera and eventually move
to mainstage opera, even if we have to start small. Now that Salisbury
Lyric Opera is no longer in existence, there are absolutely no opera
performance opportunities in Central Massachusetts. This is a shame,
because there are some talented singers out here!
LS: Are there any other companies that do opera in the Worcester
area? Is there an audience for it?
EC: The only other company in Worcester is called “Opera
Worcester”, and they bring in a touring company from New York twice
a year, for one full performance of a grand opera. I have heard that
the quality of these operas is excellent. However, obviously, this does
not provide opportunities for local singers! I have recently become
acquainted with some people in Opera Worcester (they are very supportive
of what our group is accomplishing in opera education) and they have
reinstated their use of live singers at their opera preview lectures,
so this is one step towards creatively working together.
There is an audience for opera in Worcester, but it takes much time
and effort to “beat the hedges” for this audience. As in anything,
time and word of mouth is what develops an audience, and we are just
beginning our life as an opera group. When Salisbury Lyric was in Worcester,
they had wonderful audiences at their Mechanics Hall and Tuckerman Hall
performances. Those people must still be out there somewhere!
LS: With busy performance schedule, you also home school five
children - how do you do it?! When do you practice?
EC: Good question. I struggle with finding practice time- constantly!!!
I usually do best if I am rehearsing a show- then I get to practice
at every rehearsal! I also pop tapes in and sing while I’m doing
household work (like cooking) and use my driving time as well, to work
on memorization. Many times I will drag my tired body over to the piano
at 10:00 p.m. after a very long day, but once I make myself get started,
I usually find the energy to get something good done and enjoy myself.
My kids have been listening to me sing at night forever, so they are
used to it. But, again, it really is a huge struggle to find practice
time. I always say that home is my “office”, and when I am
there then I am doing my “office work” (taking care of home
and family) and therefore it is difficult for me to take time out to
practice when I know there is laundry to be done, or someone needs help
on their math work. I guess that’s why I do better when I’m
in a show- then I leave my “office” and am free to sing.
Having said all that, I really do believe that my family is a gift from
God, and that it is my first calling. If my family was miserable and
I was singing at the Met, that would just not be right. My relationship
with my husband and children will outlast my voice, and truly they are
the most important part of life. The fact that I have a beautiful family
and get to sing is really a tremendous blessing.
LS: Why did you decide to home school? Are you still glad you
did?
EC: We decided to homeschool before our first child reached school
age, for several reasons. We didn’t like the non-academic things
that were being taught in the schools, as they clashed with our religious
convictions. Also, I truly love being with my kids, and I couldn’t
bear the thought of sending them away for most of the day when they
were coming into such a wonderful age and time of life. Homeschooling
also fits in well into a performer’s life, because even if my evening
rehearsal schedule gets busy, I spend each day with my children and
they feel loved and cared for, even if I am away nights.
After 10 years, yes, I’m still glad we made the choice. It’s
not the easy choice (sometimes I have those “yellow bus” days
of temptation!) and it takes a tremendous amount of time and energy,
but I have received so many blessings from it I can’t even begin
to list them all. And… I’m getting really good at algebra
J
LS: Do you continue home school all through the summer or take
a break like other schools?
EC: We take a break for the summer (we all need it!)
LS: How old are your children? Do they sing or play instruments?
EC: My children are ages 14, 13, 11, 9 and 7. They all play piano.
In addition, one plays drums, two play violin, one viola and one cello.
They all sing- some in front of others, some just in group settings.
Of course, there are always lyrics from musicals and G&S operettas
that just seem to go with lots of events in life, so those are always
flying around our conversations!
LS: I have an awful time teaching my 6 year old son anything,
lately. It is frustrating because he is ready to sing and play piano
a little, but won't take any lessons from me. Do you ever run into this
problem?
EC: I teach piano to all of my children. It is difficult, yes,
especially since I teach them everything else! But in my house, the
rule is that you can quit when you’re 18. One challenge is making
sure I schedule them in just as I do my other piano students- the same
time each week. It can be easy to just skip their lesson if something
else comes up or you need to run out- and then before you know it, a
month has passed. This is a real potential problem of teaching your
own kids! I do bring them to outside teachers for strings lessons.
LS: Any advice for the rest of us trying to balance singing,
teaching, and parenting?
EC: Parenting is worth whatever you have to give up- the payback
is tenfold. Singing is also worth what you may have to give up (sleep,
money for lessons, free time…) There is a season for everything-
children grow up, and then your time will again be your own. But it
is also OK to use some of your time now, to use your gifts and to build
a future for yourself. I guess balance is the key. Also, your goals
may need to change- maybe you’ll be content to sing locally, and
not focus on getting yourself to New York or Europe. As for me, I am
just happy to be singing- it doesn’t really matter where! (Of course,
there is always a question of quality, even in community groups, and
I strive to perform with the highest quality groups.)
LS: Many of the BSR subscribers are singing students in the area.
They, like we all did, have dreams of what life will be like after college.
How has your life changed from original plans as an undergrad at Boston
Conservatory? Any advice for students on the performance career track?
EC: As an undergrad, I loved singing and was so happy just to
be learning and singing all the time. I loved my time at the Boston
Conservatory, and every day I use what I learned there. I had hopes
and ambitions, but not huge ones- it was more like starting off on a
journey, and I would await what came next. I have always been content
to just be singing, using what God has given me and doing the best I
can with what I’ve got.
When I was busy having children, I joined a wonderful community chorus
(which was like going to the “gym” for my voice) and got some
solo work there, which kept me working and improving. I spent time doing
opera chorus work, and I learned a great deal about stage craft and
singing by watching great singers practice their art. I studied and
still study weekly with a voice teacher. I have worked very hard to
hone my skills over the years, and now I am working hard to provide
myself and other singers in Central Massachusetts with more quality
performing opportunities. Scotty Brumit is one of my heroes- he has
provided more opportunity for more singers than anyone I know, and he
still is singing wonderfully!
I think there is real merit in contentment. Some singers are so driven
that they focus on the next step and can’t seem to enjoy the moment.
We sing because we love it and because it would break our hearts to
stop. So, we find a way. Classical Singer magazine has always been full
of great advice on how to be happy singing at any stage of life or career,
whether at the Met or in your hometown, with your kids in the audience.
I have found so much guidance and inspiration there, and would recommend
that publication for any singer at any stage of their career.
LS: What is up next for you and Opera Works?
EC: My next upcoming performance is coming quickly- September
10-18! It is the musical "Ruth" based on the Biblical book
of the same name, by Concord composer David MacAdam. I will be portraying
Naomi, the mother in law of Ruth. It's an interesting part, because
at the beginning Naomi is a young bride, and then she goes through an
amazing amount of change and heart break, (first losing her husband
and then her sons) and at the end of the show is an old woman, but one
whose hope is restored. It is a challenging role, but very fulfilling.
And it's so interesting to work with a living composer! The performances
will be at the Chevalier Theatre in Medford [details below].
I am also going to start up a monthly "aria sing" out here
in the Worcester area. Singers will pitch in for the accompanist, and
have a chance to try out new arias, run through old ones, try something
out before an audition, whatever... all with a great accompanist.
LS: What a great idea!
EC: Yes, we've got a wonderful accompanist, Olga Rogach, who is just a singer's dream, and it's always a treat to work with her! "Aria-sing" will also give us all a place to meet, network, share ideas, and hear new repertoire. I've met some wonderful singers during the various summer concert series' I've performed in and thought, what a shame that we only meet up once a year! Anyone interested in taking part in a Worcester "aria sing" can email me directly at events@worcesteroperaworks.com
As far as Opera works goes, our next step for education is to get a performance together for high schools (I am writing something right now.) We would also like to put together our first full opera in concert version. this will give all of us a chance to get a new role into our voice and onto our resume. I have so many ideas, it’s just finding the time to implement them that is proving so difficult for me right now. That can be frustrating!
LS: Yes, I'm sure many of us empathize with that frustration
completely. Thank you so much for you time and advice, Elaine. We wish
you much continued success in your upcoming performances as well as
your Opera works projects!
RUTH, the musical
Saturday, September 10 & 17 at 2:00P & 7:30P
Sunday, September 11 & 18 at 3:00P
Thursday & Friday, September 15 & 16 at 7:30P
The Chevalie Theater in Medford, Massachusetts.
Seating is on a first-come, first-serve basis. Doors open to the theater
approximately 30 minutes prior to the performance.
Adult $20, Students (with valid school ID) & Seniors (65 & older)
$18 Children (12 and under) $15
http://www.newlifefinearts.org/
for more info. or to purchase tickets.
The Chevalier Theater is handicap accessible.
LITTLE RED RIDING HOOD
Produced by Worcester Opera Works
http://www.worcesteroperaworks.com/
Opera for children. Available for schools, community groups, and theatres.
ARIA SING
For singers and accompanists. Sing, network, share ideas, and hear new
repertoire.
If interested in participating, contact events@worcesteroperaworks.com
ELAINE CRANE, SOPRANO
http://www.elainecrane.com/