An Interview

The other day I was interviewed by a Northwestern student in Creative Writing. It is always nice to be able to talk about yourself to someone who wants to hear what you have to say. It also gave me the opportunity to organize my thoughts and to "tell my story" again. She came across Michael's Museum and then my web site by searching "important people in Evanston." I am impressed.

I received this e-mail from the student:

THANK YOU so much for interviewing with me! I loved getting to hear your story and your insights. Some of the things you said about the art of non-fiction left a huge impression on me...I keep thinking about that idea of writing as a means of documentation and remembrance just as much as it is a means of storytelling. 

I am hoping to go to Michael's Museum over the weekend! Do you have a favorite item or collection there that I should look out for?

I'm beginning to work on my assignment and will send you the finished project as soon as it is done! I'm also starting to work on creating a personal blog...the advice to try and write every day, and acquire an audience, makes a lot of sense to me. Thanks for the inspiration and motivation to try it out!

J

OPERA Part II

The following is a transcript of the interview that took place at The Lyric Opera of Chicago and was broadcast on WBEX Public Radio on October 18, 2010. See the previous post for more information. Also you can click on the link to hear the interview (for as long as it remains on WBEZ's site.)

Eight Forty-Eight Monday through Thursday at 9am and 8pm; Friday at 9am EIGHT FORTY-EIGHT 10/18/2010 Supernumeraries: Opera's Extras You may not be able to sing. In fact you may not know an aria from an arpeggio! But that doesn’t mean that you can’t tread the boards at the Lyric Opera of Chicago. They need extras. In the opera world these special scene fillers are called supernumeraries, or “supers” for short. For WBEZ, Anne Cadigan spent the day at the Lyric Opera learning more about them.  By day, Ken Giambrone works in advertising. But at night, the characteristics that make him successful at his day job, could get him fired. GIAMBRONE: Rule number 1 is we’re supposed to make absolutely no sound on stage at all. Nothing. There’s a saying among us, if the audience notices you, you’re doing something wrong. Night after night during opera season, men and women from all over the Chicago area finish up their day jobs, hurry over to North Wacker Drive, and spend their evenings on the stage of The Lyric. They are supernumeraries or extras on stage-the servants, prison guards, maids, policemen, townspeople, things like that. GIAMBRONE: We just sort of fill out the scenery. We’re kind of like live action scenery in a way. Ambi – REHEARSAL AND ORCHESTRAL INSTRUCTION  It’s a rehearsal day at the Lyric and Macbeth and Carmen are practicing simultaneously. Macbeth uses 14 children as supers, and there are 30 adult supers in Carmen. Many of them have been doing it year after year. Evanston resident Michael Horvich calls supering at the Lyric his “second career.” HORVICH: I taught for 30 years and right before I retired, I came to a backstage tour that the opera guild gives. The person that was leading the small group of about 20 people around the opera house was a super and talked about “supering.” And I said to myself  ‘oh my god’ can you imagine being on stage at the Lyric Opera of Chicago? So I retired and came to a casting. I’ve been in the opera as a supernumerary for 10 years now and I’ve been in about 20 operas. Ambient – “Ermine? Yes Maestro? From the top, please.” WALTERS: We do eight operas a year and almost every single opera has supers in it. Bill Walters is the "Super Captain."  He’s in charge of hiring, rehearsing and wrangling the 200 plus supers that will appear on stage at The Lyric over the course of a season. Occasionally, however, there are parts that he just can’t fill. WALTERS: We did Porgy and Bess a couple of years ago and, it was of course a special cast of course because it’s all African-American. And we needed, I think, 30 for the show. And, so we always have kids, I mean kids come in all the time, so we had enough kids to do it. And I noticed during rehearsal that their parents would be sitting there, bringing them, watching the rehearsal and one by one I went up to them, and I was like, 'You know, are you going to be here every night, driving your child?' Because we were still looking for adults. And they’re like, 'Well yeah,' and I said, 'Would you like to be in the opera?' Diane Gallagher of Muenster, Indiana, once found herself in a similar position. Her eldest child was a super in The Magic Flute  The Lyric needed someone who could dance and her son pointed at her. She has a ballet background  It wasn’t long before she was making her debut. She was a Dancing Lion. GALLAGHER: (laughing) So that was an experience in itself! Being able to see out of the costume and do the dance steps. So I will always remember my first time here! Diane is now an experienced super. She and her husband and 3 of their 4 children now regularly make the 45-minute trip in from Indiana to play all kinds of walk-on roles. It’s taught her children to love opera. GALLAGHER: Well, I think it’s a great, educational experience in the fine arts. And they just…they truly enjoy it. You know, they love being on stage. They’re learning about different operas, and different performers throughout the world. It’s just wonderful. Ken Giambrone says that being so close to the action is quite the experience. He should know – he’s been in 15 operas. GIAMBRONE: It’s pretty loud! (laughs) It’s pretty loud. I remember when I was in the Pearl Fishers...Nicole Cabell, I was lucky I got to be in a scene with her, part of the story where she takes off her necklace and gives it to me. It was unbelievable to me that she was standing right there and I was standing in front of 3,500 people. She stands right there and is like inches from my face and she sings to me. To ME. It was pretty thrilling. For Michael Horvich, the man who got turned on to supering by that tour guide, “being on stage at the Lyric Opera of Chicago” is every bit as amazing as he imagined it would be when he first heard the word supernumerary ten years ago. HORVICH: When I’m on stage my spirit soars. It fills the whole opera house. To be in the middle of all of that gorgeous music. It’s a dream come true, really.

OPERA

Very exciting having been interviewed by WBEZ Public Radio about being a Supernumerary (acting extra) at The Lyric Opera of Chicago. I began my supering career in the 1998/99 season, over ten years ago, and have been in 21 operas last count. The interview took place at the opera house during rehearsals for Carmen.

Musical theater has always been a love of mine. Opera is a recent love of approximately the last ten years. My approach to music is that “Life is meant to be sung” and opera certainly fits that bill.

Several years ago I retired after 30 years as an educator. What better way to use my new found free time then to be involved with the Opera, both on stage (as a supernumerary) and behind the scenes (light walking, rehearsing, or watching a scene from the side.) 

Being a supernumerary has enabled me to pursue a career in music and acting at this time in my life without the intense training and early commitment that actors and singers must make to be successful in theater and opera.

The people at the Lyric are wonderful to work with. I feel that I am an important part of the company. As a supernumerary, I am entitled to attend all of the season’s dress rehearsals and the end of season party. 

While supernumerary roles may be small compared to the role of the chorus or principals of an opera, I am part of the big magic created by the Lyric Opera of Chicago at each performance for the approximately 3,600 people in the audience.

Click here to listen to the Radio Interview.

COSTUMES - PICTURE ONE

Act I - Gypsy Street Person

Act II - Waiter at the Tavern of Lillas Pastia

Act III - Micaela's Guide to the Gypsy Hideout

COSTUMES - PICTURE TWO

ACT IV - The Aguacil, Govenor of Seville