Doctor, it hurts when I sing!

Okay, not really – not at the moment, anyway – but I got you to click on this blog post!

Performing artists often face unique work-related health challenges. On Saturday, March 24th, MedChi will present Help for the Injured Musician, Dancer, & Actor: A Multidisciplinary Approach to Healthy Performance. I recently interviewed Dr. Alan Sweatman  – who just happens to be a singer when he isn’t practicing medicine – about this event. Click below to listen:

Med Chi interview with Dr. Alan Sweatman re: Performing Arts Medicine Conference

 

 

 

I get paid to play dress-up. Oh, yeah, and sing.

When I was a kid,”dress-up” was undoubtedly my favorite playtime activity. I had a huge stash of my mom’s old costume jewelry & purchased more of the stuff (plus various used bridesmaid’s dresses) at garage sales, so my friends & I could spend hours pretending to be royalty or characters from our favorite TV shows. My love for all things wearable has never waned; I am still a notorious clotheshorse.

One of the best things about being a performer – especially an opera singer – is that it gives me the opportunity to wear fabulous costumes. Okay, not everything I’ve been asked to wear onstage has been flattering; sometimes the show, or at least the production, demands that I wear things I’d never put on of my own volition, such as a muumuu or a gown so voluminous that it makes me look like a small settee. No such issues in Lyric Opera Baltimore’s current “La Travaiata”: this is a straight-up, traditional production, set in the 19th century, in which the opera premiered. Bring on the corsets!

Last night, I noticed that the cinder block hallways outside the Lyric’s dressing rooms were made considerably brighter by the racks of costumes lining them. Frills, ballgown skirts, jewel tones, metallic lace – my inner eight-year-old leaped with joy. I was meeting with Kristina Lambdin, LOB’s Costume Supervisor, for a pre-rehearsal costume fitting. Kristina & I worked together at Baltimore Opera for years, so it’s great that we’ve both landed at the new company. Right when I walked into the women’s chorus dressing room, she handed me a “butt cage”, a bustle-like protuberance to be worn under my Act One gown. Ah, the things we do for art & period fashion.

As it turns out, the cage looks great once covered by the costume. My dress for Violetta’s party is yellow – think marigold – & gorgeous; lots of ruffles, chiffon, & one heck of a tight corset built right into the bodice. These costumes weren’t sewn by LOB; they’re rentals, & the designer had them made with hooks & eyes up the backs of the bodices. Normally, gowns like this lace up as a corset would, giving a bit of leeway in fitting singers whose rib cages might be different sizes. No such luck here, & Kristina managed to hook me into the dress – at least I think she closed all of the hooks! – but it will have to be taken out a bit if I’m to move & sing in it. I jokingly apologized & said I wasn’t lying about my measurements when asked for them a while back, & she merely laughed & said the alterations wouldn’t be that major. With trepidation, I slipped into my “gypsy” dress for Flora’s party, which is red & black, very lacy, & makes me feel like a Spanish doll. Muy Carmencita & it fits better than the other gown. A few tweaks at the hemline & this one will be ready to go.

Even the prettiest costumes & wigs can present problems onstage. A few years ago, my friend Phyllis & I had a great bit of staging in “Tales of Hoffmann” at BOC. We were placed on a loveseat, downstage, near center, & were supposed to be gossiping about the other guests at Spalanzani’s party. Our costumes were lovely ballgowns & came with elaborate hair ornaments – feathers, curlicues, & such – that we began referring to as our “antlers.” One night, as we leaned toward each other, out antlers became so entwined that we didn’t think we’d be able to unhook from one another, at least not without drawing attention to ourselves. To make matters worse, Phyllis’ wig started coming off! Eventually, we had no choice but to separate our headgear in a most obvious fashion, singing all the while. We had a moment offstage after that, during which Phyllis had just enough time to re-pin her wig.

I haven’t seen our wigs for this show, but I have seen our headgear – small floral pieces for the first scene & snoods for the second. I don’t think I’ll end up conjoined to anyone in this show – at least, I hope I don’t!

I have a tambourine…

& I’m not afraid to use it. Well, maybe a little bit.

It is commonly said that opera singers can’t act, & sometimes with good reason, but we are expected to give it our best shot. These days, no matter how good the voices onstage are, audiences have come to expect a bit of theater with their music, & in my opinion, that’s a good thing. Even a musically solid production can be ruined, or at least diminished, by static, awkward, or otherwise ill-conceived direction.

At this point, we’ve had two staging rehearsals for Lyric Opera Baltimore’s “La Traviata”. In Violetta’s party scene, I’m a 19th-century “Mean Girl”, along with my friends Karen & Erin. After gossiping about all of the other guests, we end up downstage center & are pretty snobbish in our initial reactions to poor, nervous Alfredo when he agrees to sing a drinking song to please his hostess. All three of us ladies sang in the Baltimore Opera Chorus and are quite used to ending up at the front of the stage, for one simple reason: we’re short. Not that that’s the only factor a director considers in placing singers, of course, but we do all need to be able to see the maestro. We staged this scene with a few of the principals on Sunday night (10/23) & added Violetta & Alfredo the following evening. After a few run-throughs, the director, Crystal Manich, decided things looked good, & we moved on to Flora’s party scene, wherein the chorus men are costumed as matadors & the women as gypsies.

This is where the tambourine comes in. I love doing crazy stuff onstage – several years ago, in “The Siege of Corinth”, I did a fight scene in which I bested a male opponent, all while standing on an amphitheater-type set & wearing a long gown. Still, the small, round object I’ve been charged with carrying, banging on, & rattling in this production (presumably at the moments indicated in the score) has me a bit spooked. Why? Well, tambourines are… loud, even when partially muted, as ours have been. If I drop this thing during a performance, I will be mortified. That said, I’m honored to be one of the eight ladies who get to follow several principals into the party, so I’m determined to do my job & do it well. We ladies have a bit of choreography in this scene, too – more stylized movement than actual dancing, but we are opera singers, after all, & were hired for our voices, not our footwork. So far, the choreographer, Kyle Lang, is being most patient with us & we’re having a great time.

We’re staging at the Lyric Opera House, in a rehearsal room just off the principal dressing room hallway, which is a new development. Those of us who performed with Baltimore Opera remember (fondly or otherwise) going to staging rehearsals & costume fittings at the MSOC, or Monument Street Opera Center, a decrepit former warehouse located directly across the street from the jail. The place was allegedly mold-ridden & certainly nothing to look at from the street or on the inside, yet I miss it. I sang with the old company for seven years (2002-2009) & some of my fondest memories are of the MSOC & of the great music we made there. Still, the Lyric was, & is, our real home & I feel amazingly happy the moment I set foot in that building. Since we’re not done staging & the set is still being assembled, I haven’t trod the Lyric’s boards recently, nor have I seen the much-discussed technical upgrades that have been made (no more sandbags!) but I will report back as soon as I do.

 

 

“Your voice is not an instrument, it is a…

weapon!”

So says James Harp, Artistic Director & Chorus Master at Lyric Opera Baltimore. Of course, the human voice is also capricious, delicate, & vulnerable to colds, allergies, & all manner of other irritants. Mine is the main reason I get paychecks, so I try to take good care of it.

Those of us who make a living with our voices tend to get a bit neurotic when our instruments – okay, weapons – aren’t functioning correctly. For singers & actors, not being in good voice can cost you an audition or result in your not performing well at a gig (& possibly not being hired again by that company.) The stakes aren’t quite so high if you’re on the radio – you’re not going to lose your job for coming to work sounding like you have a clothespin on your nose – but it’s hard to do your best show in that condition.

As such, those of us who rely on our vocal cords to pay the rent have any number of stay-well & get-well strategies. Some won’t eat dairy or chocolate before a performance; some won’t go near alcohol in the days leading up to a gig, if at all; others eschew those “vices” entirely. (A fate worse than death in my opinion, but as I have plenty of eccentric dietary habits, I try not to judge.) I’ve known singers who wouldn’t go anywhere without a scarf or a shawl wrapped around their necks, even in the summertime, & have been chastised by more than one colleague because I run outdoors during the winter. Again, I try to be respectful & take all well-intentioned advice into consideration, but really, some people take protecting their voices a bit too far.

Even for those who scorn most “alternative” therapies, neti pots are de rigueur. For the uninitiated, a neti pot is a small vessel, usually plastic or ceramic, into which warm water & a pre-measured amount of salt are poured. The user then pours half of the solution into one nostril & out the other & repeats the process on the other side. Much nose-blowing ensues, after which, at least in theory, one’s sinuses are clear & breathing is made easier. I’m a huge fan of the neti pot & use mine daily, except on trips to South Beach, during which the Atlantic Ocean performs basically the same function.

Despite my occasional issues with seasonal allergies & sinus infections, I’ve avoided reflux, nodes, & the more serious vocal afflictions that some of my colleagues have suffered, but several years ago, during a production of “La Traviata” at the late, great Baltimore Opera Company, I had the misfortune to swallow a salmon bone. It didn’t lodge, but left quite a scratch, & I was in excruciating pain – my throat would spasm on a regular basis. Lots of fun when I was on the air or attempting to sing Verdi. After a few days of this misery – I am a doctor-phobe! – I dragged myself to GBMC, where I was scheduled to see an otolaryngoligst & be “scoped”. Yes, to have a tiny camera at the end of a long, skinny tube stuck up my nose & down my throat so that the doctor could get a good look at my cords & see just what was going on. Was I nervous? No, I was in full-on panic mode, so I persuaded my husband to go with me.

Given that Dr. Kaplan, whom I was going to see, is very well-regarded in his field & has worked on a good number of the singers in Baltimore, my jitters were hardly justified, but hello – he was going to have that thing *thisclose* to my source of income. The, um, pathway down which the scope will be going gets numbed before the procedure, & let’s just say that part of the process isn’t fun & the liquid used tastes awful. After that, the camera work was a snap by comparison, although I’d rather not go through it again any time soon. Dr. Kaplan was very funny & kind; he was sympathetic to my plight & let my husband see what was going on with my cords (an ugly scratch, but otherwise, healthy tissue.) Finally, I was persuaded to have a look at the monitor. There it was, the part of my anatomy that produces my livelihood. Not as gross to behold as I’d expected, but I’d rather have been watching a movie, thanks. Dr. Kaplan advised me to avoid spicy food, tomatoes, caffeine, & alcohol for two weeks, to which my reply was that he had just told me to stop eating. I was sent home with a 7-day course of steroids, which my body does not take kindly to, & spent the rest of the production feeling as if the Baltimore Ravens – all of them! – were standing on my chest.

Needless to say, these days, I am very careful when eating fish, especially salmon. Oh, & is that a draft in here? Where’s my scarf?