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Grant Park Music Festival 2008 - Conversation with the soloists Part 3
Sunday, 17 August 2008

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Lattimore, Stokes, Blackwell
Ms. Blackwell advises young vocalists to have command of languages and to concentrate all energies on personal development.

“When I came to New York City,” she tells me over the phone from her NYC abode, “I was introduced to the right people. I started in a Broadway show.” Although demanding, she performed 8 shows a week, which helped her to develop stage presence, confidence and vocal stamina. “Lots of singers don’t get that until later—performing experience to build confidence.” Therefore, she emphasized “take jobs that are going to help build career and self as an artist and performer. At the same time, don’t ruin your voice. Know your limitations! What can you do, cannot do? Not back to back singing. Think first about the safety of your voice and your capabilities.”

Safety means more than wearing a scarf in the winter or not smoking. It also means knowing your physical limitations. “I stressed out my voice with gospel,” Stokes says. Originally singing in church, he later decided against the style as a profession. Although his family was initially unsupportive of him going from chemistry to opera, he knew that it was his calling. “Chemistry was more typical—I went to work for the check. But opera is for the love and passion. I’m going where my heart takes me.”

And so he continued on that musical path, but of course, it wasn’t easy. His advice? “You need to sing for everyone. You never know who is going to hear you. Opera starts at a level where you have unknowns. You have to work your way up and understand that when working up, you will be singing with people who have PhDs in vocal performance.” This insight is invaluable. Some vocalists entering into the field may be intimidated by the variety of skill-levels of competing vocalists. Stokes was wise enough to acknowledge the variety and realize that there isn’t just one way of getting to or winning the audition.

“Some [fellow auditioning colleagues] with advanced degrees wouldn't sing for everyone as if they were too good, but [I wanted to tell them] you're not too good to start at that level. And I made the same amount [of money] or more than these other people [with degrees in music].” To Stokes, a head-trip is a detriment filled with limitations. Humility, even with advanced schooling, seems key to success.

Ms. Blackwell also emphasized perseverance and performing for any and everyone. “You never know who is listening or out there.” She placed as a semi-finalist for the Metropolitan Opera (The Met). “They saw talent and knew that I was willing to work hard.” Undeterred, she was accepted into an apprenticeship programs from Houston to Chicago. By the time she came back to New York, she was ready to win that Met audition. Her time away helped her mature both musically and professionally before she won. “If knew that if I were passionate enough and I really pursued my love of music, the money would come. It’s not about the money first, but about being the best artist.”

Ms. Lattimore echoed those sentiments. The Music Conservatory at Roosevelt University Chicago College of Performing Arts faculty member received her Bachelors from Eastman and her Masters from the University of Illinois at Urbana-Champaign. The following year she took off to audition. “I received two huge offers. One to perform Serena in Porgy and Bess on a three-year tour and the other was the Young Artist Program with the Houston Grand Opera. I could’ve been making a lot of money with Porgy and Bess, but I chose the $15,000 for a year [with Houston Grand] with the summer off.” She knew that her time spent in the apprentice program would later prepare her for larger roles and boost her impending career. “I always tell young people to look for long term career. Travel and touring is hard on the voice.” She opted for career-building over immediate monetary gain. Houston Grand has nurtured such careers as Denyce Graves and bass-baritone Eric Owens.

As fate would have it, she made her Paris debut with the production of Porgy and Bess at the Bastille Opera three years later. Ms. Lattimore knew that her time had been well-spent and that she was ready for the rigors of touring by the time the opportunity presented itself again. With Houston Grand, she gained performance and stage experience, and allowed her vocals to mature before the damage that often accompanies touring. “I always wanted a versatile career. Orchestra, other classical, not just opera. Hearing oratorios in church. Recitals, solos, etc. Variety under the classical umbrella. I love the dramatics of opera. It’s like a soap opera on television—full of drama. There is nothing like it. But I also love the one on one in a recital setting.” It is notable that Ms. Lattimore’s next appearance is again as Serena in Porgy and Bess with Chicago Lyric Opera.

This 4-part series concludes Sunday, August 24.
 
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