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Bridging the Gap Between Opera and Musical Theatre The Crossover Opera Singer: Bridging the Gap Between Opera and Musical Theatre D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Keyona Willis-Lynam, M.M Graduate Program in Music The Ohio State University 2015 D.M.A. Document Committee: J. Robin Rice, Advisor Joe Duchi Kristine Kearney Copyright by Keyona Willis-Lynam 2015 Abstract For decades, a divide has existed between opera and musical theatre, with the lesser value being placed upon the latter. Singers, from the start of their training, are told to choose a genre if one wants to achieve any type of singing success. This type of division creates a chasm of isolation and misunderstanding between the musical styles. From academia, to the stage, to the concert goer, one’s allegiance to opera versus musical theatre has been built upon a firm foundation of contrast, without acknowledging that both genres have ties to one another. As a result, most teaching of singing is done from the perspective of the classical singing style, with little to no mention of how to efficiently and healthily sing in a musical theatre style. In today’s social and economic climate, opera houses across the United States and abroad are seeing a decline in ticket sales; some have been able to restructure to survive, while others are shutting down. Companies are seeking a variety of ways to stay connected to the community; one avenue that has produced an area of contention is the addition of musical theatre productions to the season’s billing. Opera purists see this as a disintegration of a centuries-old tradition, while others see this not as a destruction, but a continuation, an expansion of the genre. In opera’s quest to stay relevant, it is becoming more difficult to ignore the benefits musical theatre can have for opera, and as a result, ii there needs to be a means of educating singers how to healthily sing in a musical theatre style. This document is intended for the opera singer who wants to integrate musical theatre literature into his or her repertoire and for the opera community hesitant to embrace the genre. Chapter one will explore the evolution of American opera into musical theatre and how the genres function today. Chapter two discusses a means to look beyond genres and ways to reinvigorate opera as an art form. Chapter three addresses the tools and pedagogical needs for the opera singer to cross over into musical theatre. Chapter four fuses the concepts of opera and musical theatre to gain a better understanding of how the two can influence one another. The intent of this paper is not to lessen opera but to enhance and build upon it with the addition of musical theatre concepts. From the stage to the classroom, a movement needs to take place to seek out the benefits of each style. In today’s society, singers need to know how to navigate different styles, within reason, and know how to do so healthily. Not educating singers on how to sing functionally in alternate styles, in addition to their predominant classical style, is a detriment to one’s career. In starting a dialogue to bridge the gap between opera and musical theatre, it is hoped this document can help strip away the divide and instead, bring them together. iii Dedication This document is dedicated to my husband for being a constant support and encouraging me to follow my passions and to my parents for showing me that a dream is worth chasing. iv Acknowledgments Robin Rice, D.M.A, Advisor — Joseph Duchi, M.M. — Kristine Kearney, M.F.A. — Ted McDaniel, Ph.D. — A. Scott Parry, M.S.. v Vita 2004................................................................B.M. Vocal Performance, Otterbein College 2004................................................................Powell Kuman Scholarship for Achievement ........................................................................in Arts, Otterbein College 2004................................................................Joined Actor’s Equity Association 2008, 2009......................................................Graduate Administrative Assistant, Minority Affairs, The Ohio State University 2009................................................................The Wilson Award Scholarship, The Ohio ........................................................................University 2009................................................................First Place, The Women in Music ........................................................................Competition 2009-2013 ......................................................Graduate Teaching Associate, School of ........................................................................Music, The Ohio State University 2010................................................................M.M. Vocal Performance, The Ohio State ........................................................................University 2010 to Present ...............................................Adjunct Voice Instructor, Otterbein University 2012................................................................Martha Speaks Award, The Ohio State ........................................................................University 2012................................................................Graduate Teaching Award, The Ohio State ........................................................................University vi Fields of Study Major Field: Music Studies in Applied Voice: Robin Rice, D.M.A. (2008-2014) Studies in Vocal Pedagogy: Scott McCoy, D.M.A., Karen Peeler, D.M.A. (2008-2012) Studies in Laryngology: L. Arick Forrest, M.D. (2011-2012) Surgical and Clinical Observations: L. Arick Forrest, M.D., Brad DeSilva, M.D., Kerrie Obert, M.A., CCC-SLP, Michelle Toth, M.A., CCC-SLP (2011) Studies in Opera Techniques: A. Scott Parry, M.S., Peter Kozma, M.M. (2008-2013) Studies in Contemporary Commercial Music: Somatic Voicework The LoVetri Method, Jeanie LoVetri (2015) vii Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iv Acknowledgments............................................................................................................... v Vita ..................................................................................................................................... vi Chapter 1: The Evolution of American Opera and Musical Theatre ................................. 1 Chapter 2: Opera and Musical Theatre, Can They Coexist? ............................................ 19 Chapter 3: Tools of Musical Theatre for the Opera Singer .............................................. 37 Chapter 4: Bridging the Gap ............................................................................................. 68 References ......................................................................................................................... 84 Appendix A: Differences Between Musical Theatre and Opera ...................................... 89 Appendix B: Song Literature for the Crossover Singer .................................................... 91 viii Chapter 1: The Evolution of American Opera and Musical Theatre Opera has thrived for centuries by intertwining music, text, scenery, and drama to bring a story to life. Audiences are captivated by the visceral experience and are swept up in the musical narrative. In looking at the beginning stages of opera, it began by being performed in aristocratic circles in one’s home. As it gained popularity and expanded to a wider audience within the upper echelon,1 opera eventually made its way to becoming more accessible to the everyday man. The draw of opera was, and still is, the relationship of the human experience heightened by the musical drama. Opera provides a mirror for audiences to see a glimpse of a social climate and life not too distant from their own. Stemmed from pastoral poetry and the madrigal, opera was based upon the discussions held by the Florentine Camerata.2 From their perspective, the ancient Greeks were able to produce “powerful effects with their music because it consisted of a single melody, whether sung by a soloist with or without accompaniment, or by a chorus. By conveying the message of the text through the natural expressiveness of the voice, the 1 Nathan Hurwitz, A History of the American Musical Theatre (New York: Routledge, 2014), 8. 2 In the early 1570’s Count Bardi hosted an informal academy in his home in Florence where “scholars discussed literature, science, and the arts, and musicians performed new music. Bardi’s protégé, the singer-composer Giulio Caccini, later referred to this gathering as the Camerata (circle) of Bardi.” Donald Jay Grout and Claude V. Palisca, A History of Western Music (New York: W.W. Norton and Company, 2001) 263-64. 1 rises and falls in pitch, and the changing rhythms and tempo, this single melody line succeeded in moving the listener better than more complex texture did.”3 These concepts led the Camerata to believe the ancient tragedies were sung throughout. Wanting to regain the heightened purity of drama through text, opera was created. In its earliest form, opera was a means to enhance and enliven the text. This can be seen in works created by composers Jacopo Peri and Giulio Caccini.4 As time progressed,
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