Boston
Singers' Resource News Bulletin, September
27, 2006
Stephen
Steiner, former Director of Productions with the Boston Lyric Opera,
has heard hundreds of talented singers in the Boston area. He shares
some of his unique experiences with the company as well as his perspectives
on singers, accompanists, auditions and the business of opera.
Stephen
Steiner’s relationship with the Boston Lyric Opera began in the
late 1980s. Working with them first as a pianist, he became the Chorus
Master of the company in 1991 and continued in that role until the fall
of 1999 with the production that year of AIDA. At the same time, beginning
in 1995, he took on the role of Artistic Administrator and, in 2000,
assumed the duties of Director of Production and, soon after, in the
area of Education.
During Steiner’s tenure, the company has grown significantly and
has presented many strong productions, helping to establish or advance
numerous regional careers. A small measure of his and the BLO’s
success can be taken by comparing his first season as Chorus Master
to the current one. In 1991, the BLO was offering three performances
of each of its productions in the old Emerson Majestic, which held less
than the current capacity of 1186 seats. Now the company offers twice
as many performances in the 1600-seat Shubert Theater.
--------------------------------------------------
BSR: You started with BLO as a pianist. How does one become an
opera coach/accompanist? Are there paths of study you would recommend
for this type of career?
SS: I had a teacher years ago who gave me the best advice: “Start
with the vocal anthologies and learn to play every aria at the drop
of any hat. Then add the remainder of the repertoire.” After this
comes a knowledge of languages. A first-class coach/accompanist must
be on top of how the singers are doing musically as well as with their
words, assisting in maintaining the highest standards in performance.
Additionally, any coach/accompanist must also be the ears for the conductor.
BSR: Did you miss doing this work after you became an Administrator
and then Director?
SS: Not really, since I’ve actually kept it up over the
years on a somewhat limited basis, working a few times each year in
class and privately with the singers of the BU Opera Institute; teaching
diction for a few seasons at The Boston Conservatory; and giving master
classes at the New England Conservatory and the Houston Opera Studio.
It still continues to give me so much pleasure to spend some time with
talented, ambitious young singers who are so anxious to work hard and
improve on their talents.
BSR: What did your position as Director of Productions entail?
SS: The business of producing opera is a very complex machine,
requiring many widely varied talents and skills from a number of individuals.
It was this complexity which was the most challenging and absolutely
the most fun for me. My work was often part of a group effort, such
as choosing the BLO repertoire and the talent for it. I also needed
to collaborate with technical help and other support staff, and deal
with the unions, and I was responsible for auditioning the rehearsal
accompanists and coaches, along with the Music Director.
BSR: What do you look for in singing auditions?
SS: I am still attracted first to a fantastic voice which is
supported by excellent musicianship, strong communicative gifts, and
wonderful acting ability. I believe that the reason people get as excited
as they do about opera is because a beautifully produced sound has such
tremendous power.
BSR: Do you like to see some staging in an audition situation?
SS: I would say some, but within good taste. I think the most
important thing is for singers to make sure they always look good no
matter how much or how little staging takes place. Any staging should
not be distracting; it shouldn’t invade the auditioner’s space
by approaching the audition table or making lots of eye contact. You
may make a stronger impression, but it might not always be the best
one. Additionally, never rely on staging as a substitute for complete
vocal and musical preparation.
BSR: You also judge some singing competitions. Are there different
criteria for competitions than for company auditions?
SS: Not especially, since both are searching for the best voice
and most talented all-around artist. However, time constraints are often
not as restricted in competitions, especially in the case of final rounds
which are often public performances. In those cases, longer selections
are more appropriate.
BSR: What are some mistakes that singers make when auditioning
or competing?
SS: Not putting their best foot forward all the time. Trying
to second-guess the auditioner by singing what they think an auditioner
wants to hear instead of what they do best. Also, singing when they
are sick – this is a BIG one. Singers should remember that an audition
is ten minutes in which they can make a wonderful first impression.
It’s an initial job interview; an opportunity to show what you
CAN do and not what you CAN’T do.
BSR: What about accompanying materials, especially for a singer
you don't know: Things like a headshot and resume, CD, website, letters
of referral?
SS: Definitely the headshot and resume but I’ve never been
a big one for CDs or tapes. It’s really difficult to get a fair
impression of a singer from a recording. Also, in this age of “perfect”
recordings, a demo recording, if not of a high quality, may hurt your
chances before you’ve even been given the chance to audition. Remember
that when listening to a recording, every little flaw is more noticeable
than when they are within the context of a live audition. Another thing:
if a singer chooses to do a bit of dubbing on a demo recording, they
should make sure that the splicing isn’t painfully obvious.
And as far as referrals are concerned, I’ve always favored receiving
contact information and phone numbers of people who are familiar with
your work. That way, if there are any questions about a singer’s
experience or talent, a reference can be contacted for more in-depth
information.
BSR: Despite the departure from Boston of opera legend Sarah
Caldwell and the closing of her Opera Company of Boston, opera has thrived
in this city and Boston Lyric Opera has been in the forefront of this
growth. What explains the success of BLO?
SS: Nothing more and nothing less than lots of hard work by the
talented and passionate group of individuals who are involved with the
company; from the staff, artists, chorus, crew and orchestra, to the
board and many dedicated supporters.
BSR: While past seasons of BLO have included less well-known
operas such as Stephen Paulus’ The Postman Always Rings Twice
and Phillip Glass’ Akhnaten, it looks as though BLO has
planned a much more familiar season for 2006-2007. (Butterfly, Un
ballo in maschera and Le nozze di Figaro). And we’ve heard
that 'Aida on the Common' has been cancelled. Is getting audiences
and patrons to support works such as this a problem that is unique to
New England or do you see it happening throughout the US? How can we
change it?
SS: Bringing productions like Akhnaten to the stage as
well as being there on those nights where 140,000 people experienced
‘Carmen on the Common’, are some of my most exciting
and proudest moments of my career. But, yes, it [trouble with building
an audience for opera] is definitely a national trend. Ultimately the
arts are part of the entertainment industry and we cannot ignore the
fact that the customer often speaks to us as to what product they choose
to spend their money on. All arts organizations need to stay vigilant
in the areas of audience development and education, with a mentality
that doesn’t preach the fact that art is good for you. Rather,
they must find ways to meaningfully connect with the broader public.
BSR: How would you advise administrators who are trying to build
their own performing companies? Must everything be based on financial
considerations?
SS: In the arts business as with most businesses, dreams that
have yet to be realized can always be realized with more money! But
the challenge really is to make the best artistic product you can for
the financial realities of your organization. A lot can, and has always
been, possible with less money and more creativity and dedication.
--------------------------------------------------
Mr. Steiner steps down from his 18 year career with the Boston Lyric
Opera this past spring. His influence on opera in Boston has been a
lucky merger between the city’s need for strong, knowledgeable
leadership and Steiner's willingness to accept each new challenge and
to grow with it. He says of his career, “It absolutely just happened.
I never really planned any of my career moves, instead I followed forks
in the road and opportunities that presented themselves.”
Though he hasn’t yet announced what his next professional affiliation
will be, he seems certain that his ‘next things’ will come
to him. “I will definitely be staying in the (Boston) area,"
he explains, "but I’m not quite certain what will be next.
After spending a lot of late nights and weekends at work in the theater,
my first goal is to take a little breather and enjoy a quiet summer.
After that, I’ll just wait to see where next I’ll land.”
How lucky we are that you landed in Boston, Stephen Steiner. We wish
you much success in your new pursuits and we look forward to your continued
musical leadership in New England.
--------------------------------------------------
Stephen Steiner’s article “Relationship Between Singers
and Conductors”, was reprinted in November, 2005, with permission
from Opera America's Bulletin for Singers, and is available on the BSR
Articles and Interviews web page:
Relationship
Between Singers and Conductors