Boston
Singers' Resource News Bulletin June 4, 2002
It is our pleasure to present award winning BSR
soprano Sara Michale Smith in this issue. Ms. Smith will be performing
the role of "Florence" in Longwood Opera's upcoming production
of Albert Herring by Benjamin Britten. Alongside her in the title role
is BSR member Craig Hanson, as well as members Krista River as "Nancy"
and Marion Leeds Carroll as "Mrs. Herring." For more information
on Sara Michale Smith and Longwood Opera's production of Albert Herring,
read on!
SARA
MICHALE SMITH is a summa cum laude graduate of Wheaton College, where
she majored both in music and mathematics. She is now a systems analyst
and web programmer at Wheaton College. As a voice student, she received
both the Edna D. Parks Prize in music theory and the Garabedian Prize
in music. She has done solo work at several area churches, including Bethany
Congregational Church in Foxboro and the First Church of Christ Scientist
in Attleboro. Presently, she is a cantor for St. Mary's Church in Norton.
In March 2002 she was awarded First Prize at the song festival sponsored
by the Rhode Island chapter of the National Association of Teachers of
Singing. Since graduating from Wheaton, she has sung with the Chaminade
Opera Group and Longwood Opera. Her opera roles include a gypsy in Carmen,
the First Lady in Mozart's The Magic Flute, and, currently, Florence Pike
in Benjamin Britten's Albert Herring with Longwood Opera. She is also
Co-President of the Chaminade Music Club located in Attleboro, Massachusetts.
BSR: 1st Prize in Rhode Island NATS, congratulations! What did you sing?
Who do you study with?
Sara: Thanks! I sang "Rejoice Greatly" (which was received best
by the judges), "Ach, ich fuhls", and "Fleur jetee"
Faure). Currently I study with Joanne Mouradjian, who teaches at Wheaton
and also at Rhode Island College. She was a student of my first voice
teacher at Wheaton, Ellalou Dimmock, who taught at Wheaton for 32 years
(she also taught at BU). Ellalou was an excellent teacher, a good friend
and was one of the most amazing people I have ever met -- she really lived
life to the fullest. Unfortunately, she passed away in 1995. While Joanne
has a much different personality than Ellalou, she is a great teacher
(and an excellent singer), is very supportive and encouraging, and has
worked hard with me to figure out where I am vocally and what I need to
do to get where I want to be.
BSR: Tell us about where you grew up. Are you a native of New England?
Did you always sing?
Sara: I was born in Boston and have lived in southeastern Massachusetts
ever since. My parents met while studying at the New England Conservatory.
My Dad studied piano and is currently a church organist, while my mom
studied voice. My father accompanied my mother for various musical performances
(including her masters recital).
My mother was my first voice teacher. She used to teach voice lessons
at home and in Boston. My brother, sister, & I used to make fun of
all of her students and try to mimic all of the vocal exercises. But,
you know, it's amazing how many melodies I learned just by hearing her
students sing them over and over again.
So it's probably not surprising that, yes, I have always sung. However,
growing up, it took me a long time for me to feel comfortable with my
voice. I can remember being in the eighth and ninth grade and having other
kids tell me I sounded like an opera singer and I hated that (because
they weren't really giving me a compliment; sounding like an opera singer
was even more "uncool" than being called a "nerd")
I don't think I started to become comfortable with my voice until I went
to college, and met other students who were also classical singers.
BSR: How did you get involved with Longwood?
I first heard about Longwood last year when my voice teacher passed on
an e-mail about Longwood's annual auditions.
BSR: Albert Herring is a real challenge. Any tips on preparing for this
opera? When I did AH in college, the woman who played Florence actually
wrote subtext into her score for all her
rest counting - one syllable per rest. It was hysterical, and it worked!
Sara: I agree that AH is a real challenge. Other than the usual "practice,
practice, practice" I'm not sure I have any tips on preparation.
More so than other operas I've studied, it seems important to learn not
only your own part but pieces of other folks' parts as well. It is especially
important in some of the "conversation" pieces -- like the hiccups
scene where one person's part leads immediately into the next, so if you
don't know what's being sung before your part begins, there is no flow
to the music. And, oppositely, in the famous Threnody, you have to be
so secure on your part and get used to *not* listening to the person next
to you because they might be singing a D while you're singing an E.
I like the idea of subtext for Florence's part -- my voice teacher at
Wheaton (Ellalou Dimmock) was a big fan of using subtext. I've found it
helpful in a couple of Copland pieces I've worked on. But, in Longwood's
production, Florence is doing a lot of stuff onstage during the rests,
so the subtext might just make me forget what I'm supposed to be doing.
Also, the role of Florence is a challenge for me for several reasons --the
vocal range is lower than what I usually sing, the music is challenging,
and the character of Florence is so unlike me (she's older, is not a very
nice person, and always has the dirt on everyone).
The cast and directors of Longwood Opera's AH is great group of people
to work with -- very supportive and fun. They have done this opera before,
and I think they try to do at least one 20th century opera every year.
BSR: How are these final week rehearsals going?
I think everything is coming along well. It feels
good to be doing full dress rehearsals -- the costumes do a lot to help
us all feel in character. I'm happy to be on vacation this week so I have
some time to relax and do some last minute pondering of my music.
By the way, I was still having some difficulty with Florence's first aria
and finally went and wrote some subtext so I wouldn't have to remember
how long the rests are (if people only knew what Florence was *really*
thinking when she sings her first number ....)
BSR: Tell us about your experience at the BSR auditions. What did you
sing? Did you find them helpful?
Sara: I sang "Ach, ich fuhls" at the BSR auditions. In retrospect
I don't think that was necessarily the best piece for me -- I'm not sure
it best showcases my voice. But I recently switched from mezzo to soprano
and so it was the aria I knew best at the time.
The audition itself was helpful in that it gave me some much needed audition
experience -- I've sung in lots of churches and in lots of concerts, but
it has only really been in the last year that I've had to audition for
anything, have headshots taken, and do a formal music resume. I'm looking
forward to next year's auditions and already have a few ideas in mind
of pieces to sing.
BSR: What does the Chaminade Music Club do?
The Chaminade Music Club of Attleboro, named after French pianist and
composer Cecile Chaminade, was founded in 1912. The Club was founded to
give women musicians an opportunity to perform (classical) music for each
other. In the beginning women used to go to each other's homes to perform.
Eventually the Club began holding its meetings at the Florence Hayward
Sweet Clubhouse in Attleboro.
Now, of course, the Chaminade Music Club has both female and male members.
Typically we have 8 meetings per year. 6 of these are concerts open to
the public and given by our members. Each member is given a 15-20 minute
slot per year where they can perform whatever music they wish. Sometimes
members team up to do small
ensemble pieces -- vocal duets or trios, piano with violin or voice, a
women's vocal ensemble with 8-10 people -- and we also have guest performers.
One meeting per year we have our annual Music Awards auditions for high
school students. Students (vocal, piano, or instrumental) perform two
pieces for a panel of judges. Usually we award $1,000 per year and hope
that the winners of these awards will use the prize money to further their
musical studies. Our final meeting each year is when we elect officers,
set dues for the following year, etc.
Originally, the Chaminade Music Club and the Chaminade Opera Group were
one and the same club. Several years ago, however, the two groups split
up but, usually every year the Chaminade Opera Group makes a donation
to the Music Club to be used towards the Music Awards program.
BSR: How does one become a member of Chaminade Music Club?
Sara: To become a member of the Chaminade Music Club, we have application
forms for performing and associate (non-performing) members. Usually performing
members are sponsored by a current member of the club. If the applicant
for performing membership is not known to anyone currently in the Music
Club, we will have them "audition" by performing a few pieces
in an upcoming concert. There are annual dues for all members (currently
$20) that help cover costs for mailings, the annual member booklet, rental
of performance space, piano tunings, etc
BSR: What is next for you after Albert Herring? Any more performances?
Sara: I'm not sure what's next after Albert. I may do a recital at Wheaton
next year. I would really like to perform in a musical (I have never had
the opportunity) and am in the midst of the audition for one. I also have
a friend at Wheaton who has been doing research on an American early 20th
century composer named Ruth Lynda Deyo who wrote an opera about Egypt.
I think it would be great if she could find a way to produce this opera
since it has never been performed before. I had the opportunity a couple
of years ago to sing some pieces from the opera and it was an interesting
experience.
Don't miss Sara Michale Smith is playing the role of "Florence,"
BSR member Craig Hanson in the title role, Krista River as "Nancy"
and Marion Leeds Carroll as "Mrs. Herring" in Longwood Opera
Company's upcoming production of Albert Herring. Details below:
Albert Herring:
Friday, June 7th 8pm at Christ Episcopal Church in Needham
Sunday, June 9th 2:30pm at Christ Episcopal Church in Needham
Friday, June 14th 8pm at Grace Church in Salem, MA
Sunday, June 16th 2:30pm at First Baptist Church in Cambridge
781-455-0960 encore@longwoodopera.org
Tickets $7-$17.
Featuring cast members Craig Hanson*, Martha Warren, Sara Michale Smith*,
Anne Dreyer, Krista River*, Antony Zwerdling, John Whittelsey, Ben Cole,
Korland Simmons, and Marion Leeds Carroll*
Director: Scott Brumit
Music Director: Jeffrey Brody
Assistant Music Director: Wayne Ward
Costume Coordinator: Donna Lynch
* denotes BSR member
For more information about Sara Michale Smith, please contact her at:
ssmith@wheatonma.edu (508) 286-3413
For more information about Albert Herring and Longwood Opera, please visit
their website at: http://home.earthlink.net/~brumit/