Boston
Singers' Resource News Bulletin, November 12, 2002
It it my pleasure to introduce Stephen Marc Beaudoin - singer, composer,
lyricist, director, classical music critic and producer of Project ARIA
(AIDS response by Independent Artists.) His production, "Six characters
in search of an opera" premiers in three weeks at venues throughout
Boston. It features several BSR members and a diverse musical experience.
Stephen is here to tell us about this incredible collaborative journey
and also gives us information on how we can help.
Tenor
Stephen Marc Beaudoin is an accomplished singer, stage/music director,
producer and writer. His appearances as tenor soloist have included Respighi’s
"Lauda per la Nativita del Signore" in Jordan Hall, for which
the Boston Globe’s Richard Dyer noted Beaudoin’s "plaintive,
attractive timbre," as well as tenor soloist in the Stravinsky Mass,
Schnittke Requiem, and the premiere of Malcolm Peyton’s "Apostroph,"
among others. Beaudoin has appeared in professional equity musical theatre
productions at Kansas City’s American Heartland Theatre, and also
stage and/or music directed works by Lee Blessing, Cole Porter and Stephen
Sondheim. Stephen has sung under conductors Benjamin Zander, Simon Carrington,
Tamara Brooks, Eph Ehly, John Moriarty and Donald Teeters and worked with
stage directors Marc Astafan, Michael Vodde, Bill Gustafson and Linda
Ade-Brand.
Beaudoin’s singing engagements - both solo and chamber - have taken
him to Boston’s Jordan Hall, Old South Meeting House, and King’s
Chapel, where he is currently a member of the professional choir under
the direction of Heinrich Christensen. Beaudoin has performed in opera,
musical theatre and straight theatre, and his roles include Nanki-Poo
in "The Mikado" and Marco in "The Gondoliers," Sam
in "Street Scene," Johnny in "Girl Crazy" and Simon
in "Corpus Christi." Beaudoin’s repertoire ranges from
Bingen to Barber and beyond, and he holds a particular affinity for 20th
and 21st century song repertoire. He has also sung world premieres of
works by David Leisner, Shawn Crouch and Martin Near. With Mr. Near, Beaudoin
is currently collaborating on Project ARIA: AIDS Response by Independent
Artists, where he acts as Artistic Director. Project ARIA is producing,
in collaboration with American Composers Forum Boston, Fenway Community
Health and Roxbury Community College a world premiere opera, "Six
Characters in Search of an Opera," responding to the AIDS pandemic
this November and December, and it will play to three venues in Boston
and Roxbury (see BSR calendar for more info).
Stephen Marc Beaudoin is also classical music writer for both Bay Windows
and South End News newspapers, where he writes both music critisicm and
feature stories. Beaudoin’s commitment to new music is perhaps best
exemplified by his position as Chapter Assistant for the American Composers
Forum Boston, where he works with member projects and services, manages
the chapter office, and produces ACF Boston’s newsletter and new
music calendar.
Upcoming engagements for Beaudoin include the world premiere of Martin
Near’s "Six Characters in Search of an Opera" presented
by Project ARIA November 29th-December 2nd; a program of holiday music
with mezzo Carrie Cheron and guitarist David Wade at 12 noon, December
5th at the Boston Athenaeum; and various concerts and gigs as part of
the Beaudoin/Cheron/Wade trio in Spring of 2003.
BSR: How did "Project Aria" come about? What is your mission?
SMB: When it comes to starting an organization or project or generally
being impresarioic (I just made up that word and rather like it), I think
it starts with two things: vision and passion. I’m sure you can relate
to this, having put your vision and passion to impressive use in your
forming the BSR! I have a passion for singing, for doing community work
and outreach relating to HIV and AIDS, for helping to birth new musics
(among other passions). I have a vision: for combining those passions
by producing an operatic response to the AIDS pandemic, and by including
as many persons and communities as possible.
I first applied for a "Community Partners" grant from American
Composers Forum Boston for this project, which combines the talents of
a small cast of singer-actors with patients and health care professionals
from Fenway Community Health (Fenway Community Health provides healthcare
to the LGBT community and also persons living with HIV/AIDS). I won the
grant, held auditions, and found 5 very talented singers with fantastic
voices, dynamic personalities, good musical and theatrical skills and
open minds.
Our mission is to produce a musical/theatrical response to the AIDS pandemic
and to tour this piece - alongside new poetry written by local poets -
to varied communities in Boston. We want to expose young, diverse audiences
to opera by entering their communities. We want to help educate and inform
people about HIV and AIDS. More than anything, it’s just important
that this is even being done: the last real "significant" pieces
on AIDS in the classical music repertoire were the AIDS Quilt Songbook
and Corigliano’s Symphony no.1, and those were about 10 years ago.
It’s not fashionable to create art about AIDS any more: it’s
not the "hot topic." But it should be.
BSR: And, what is the general state of HIV/AIDS Education and Prevention
these days? Has it improved?
SMB: HIV prevention and education measures have certainly improved since
the early years of AIDS (especially from when it was first referred to
as "GRID:" Gay Related Immuno-Deficiency.) Most people (middle
class and upwards) in the US are moderately well educated on the disease;
HIV infections have decreased dramatically since the mid-80’s. What
is most disturbing is the recent upswing in HIV infection rates for African-Americans,
Latinos, women and - again - gay men. Particularly in my generation: folks
seem to have the knowledge, but choose to ignore it. AIDS in "other
parts of the world," especially parts of Africa, India and Asia,
is a whole other story. Prevelance rates (which means the percent of people
in a population who are infected with HIV) climb as high as 35% in certain
parts of the world. Compare this to the US, where our prevelance rates
are below 1 %
BSR: How is "Six characters in search of an opera" related to
your mission for Project ARIA?
SMB: The title, of course, is inspired in part by Luigi Pirandello’s
play, "Six characters in search of an author," (part of my inspiration).
The piece unfolds as six singers searching for how to write this opera
about AIDS: our process, our experiences, our problems and joys. We hope
audience members can recognize themselves in one of the six diverse characters
onstage.
BSR: Interesting that you state the "text is by the cast." How
did that work?
SMB: Ha ha, well, that was an interesting process. Last spring we (the
cast) spent some time doing theatrical improvisations based on themes
we wanted to explore in the piece; kept journals about our experiences
in those rehearsals as well as noting our ever-changing relationship with
and knowledge of HIV/AIDS. We discussed, played, and generally were open
to exploring a myriad of ways of putting this together. Some ideas worked,
some didn’t. We also interacted with two HIV positive persons from
Fenway Community Health, which proved to be a highly emotionally charged
experience. From this process, I culled the libretto, using memories of
our improvs, discussions, and sections from the cast’s journals.
Susan Larson, my new voice teacher has much the same collaborative attitude
about teaching and learning: that no one person "holds the answers;"
we’re all inherently learning and teaching at the same time. At our
first lesson she said: "So, you show me you and I’ll show you
me and we’ll work on this together." What a great attitude!
BSR: So, are all the characters in the opera, "opera singers?"
SMB: No, they are are modeled after the cast. Some members sing rock,
pop, gospel and more. But we’ve all been classically trained at some
point (some more than others). It’s a good mix.
BSR: Tell us more about the staff, directors, and cast Members involved
with this project.
SMB: The cast simply "rocks," and includes - in addition to
myself - Mala Bhattacharya*, Melissa Garvey, Christina Devaughn*, Andreea
Pauta and Brian Church. They are all very diverse, both personally and
musically. Jeremy Johnson is stage directing: this is his debut directing
an opera. Martin Near is the brave composer and music director. He is
composer and counter-tenor in the area - has worked a lot with singers.
We met at NEC. Everyone involved is in their 20’s: imagine that!
I can’t tell you how thrilled I am to be creating this work with
talented colleagues my own age.
BSR: Another multi-talented BSR member, I see - tell us about your singing,
directing, and composing backgrounds?
SMB: Well I’m really a former composer and actually had some pieces
played by the Kansas City Symphony when I was in high school. I’m
originally from Independence, Missouri, a suburb of Kansas City where
I attended an arts high school. Then came to Boston to study Classical
Voice Performance at NEC in 1998. I’ll relay two anecdotes here:
*I began singing at the age of eleven. I was cast in a musical called
"The Inside Pitch." We toured church basements. My father was
in the audience at one church when I sang the big closing ballad: "When
I was a young child my father said to me: ‘Always be your best -
just be the best you can be.’" My father lost it: really bawling
in the back row. Taught me very early on the raw emotional power of music.
*Singing "Phantom of the Opera" in the 8th grade choir, a girl
directly in front of me turns around and says: "Your voice is SO
LOUD! Can’t you be quieter??" I was so devastated! I didn’t
sing the rest of the rehearsal and have since been inordinately self-conscious
about sticking out vocally in choral groups. Taught me early on how one
wrong word from a colleague can really break your spirit - sometimes irrevocably.
BSR: I really love your music reviews you sent. Fabulous writing. One
should be so lucky to have you as a reviewer. How did you become a music
writer for Bay Windows? What skills do you need to be a good music writer,
music critic?
SMB: Thank you, Lynn, that’s very kind of you to say. I became a
classical music writer the old fashioned way: I asked for the job. The
arts editor at Bay Windows told me to check out a concert and write it
up. I did (the Radius Ensemble, a great chamber group). He liked it and
hired me.Writing music criticism is TOUGH. Tougher than I thought it would
be, for many reasons. Having an eye and an ear is a good start, but coordinating
them is something else entirely. I’m very fortunate to have a mentoring
relationship with a classical music writer in Boston, and that person
is helping immensely: knocking some bad habits out early in the game;
helping me streamline my thoughts and words, etc.
My only advice would probably go to readers: remember that critics are
humans, too!
BSR: I am so glad to read about the American Composers Forum - Boston
Chapter expanding. Promoting new music and new composers is SO important
and BSR is very dedicated to helping this cause. How is your new job with
the American Composers Forum - Boston Chapter going?
SMB: As I’ve already mentioned, I truly do love working with composers
and other musicians on bringing new music to life - it is beautiful, scary,
exciting and so much more. I was hired as the Chapter Assistant for American
Composers Forum Boston back in August, and working there has truly been
spectacular! ACF Boston is THE hub for new music, and includes sponsors
commissioning new projects, salon-style events for members and guests,
a bi-monthly newsletter, a twice-yearly new music calendar and so much
more. I’d like to find a way to connect the many wonderful BSR singers
who support new music with ACF Boston composer members - perhaps a little
show (from the singers) and tell (from the composers)? Lynn, I see you’re
singing works of ACFB member Robert J. Bradshaw soon! Fantastic!
BSR: Yes, for voice, harp and flute on November 24 at the Peabody Essex
Museum in Salem, MA. It is "beautiful, exciting, and SCARY"
just as you said. Rob is a brilliant writer and a lovely person inside
and out. It is such an honor.
BSR: Any other projects planned for after the new year?
SMB: I’ve just formed a new trio: the "et al trio," which
includes myself (tenor), mezzo-soprano Carrie Cheron and guitarist David
Wade. We’ll be performing around town this winter and spring (Dec
5th, noon, Boston Athanaeum; February 18th, noon, King’s Chapel),
investigating some repertoire for voice and voices with guitar, doing
some new music, and perhaps a commission or two.
I’m also very fascinated with Franz Schubert’s life and music,
and I’d like to create a one-man show on this... include information
about his affairs with all the male poets, sing the heartbreaking music
reflecting the equally heartbreaking life, and protraying Schubert as
a sort of early queer visionary. I think it has potential. And more than
a few people have told me I resemble him somewhat (if he’d had a
crew cut).
BSR: Your one-man Schubert show sounds great! Such a nice change from
the traditional song-cycle recital. Keep us posted!
SMB: Thanks, I will.
BSR: And best wishes for the birth and growth of Project ARIA. Besides,
attending your performance, what else can we do to address this important
cause?
SMB: Well singers and artists in general, being notoriously short on fiscal
resources, can always donate time and energy in various ways to help:
Fenway Community Health (www.fenwayhealth.org)
AIDS Action Committee Boston (www.aac.org)
AND The Boston Living Center (www.bostonlivingcenter.org)
are ALWAYS in need of volunteers, especially in light of dramatic budget
cuts to these groups (they faced funding cuts worse than we have in the
arts.)
I, personally, need some volunteers to run box office and help with PR
for Project ARIA: I’ll take anyone! Please contact me at projectaria@hotmail.com
if you’re willing to volunteer for a night or two.
BSR: Thanks, we’ll get the word out.
* PROJECT ARIA: AIDS Response by Independent Artists, Stephen Marc Beaudoin,
Artistic Director in association with Roxbury Community College, presents
a world premiere opera "Six Characters in Search of an Opera; "
music by Martin Near, text by the cast of Project ARIA. Jeremy Johnson,
Stage Director. Martin Near, Music Director
Also featured are works of Boston-area poets responding to and reflecting
on the AIDS pandemic.
Friday, November 29 at 8 p.m. and Saturday, November 30 at 8 p.m. - Roxbury
Community College 1234 Columbus Avenue, Roxbury ( near T orange line "Roxbury
Crossing" stop)
Sunday, December 1 at 3 p.m. and 7 p.m. - Arlington Street Church 351
Boylston Street, Back Bay, Boston (near T green line "Arlington"
stop)
Monday, December 2 at 8 p.m. - Boston Center for the Arts 539 Tremont
Street, South End, Boston ... as part of Michael Dowling’s annual
Medicine Wheel (near T orange line "Back Bay/South End" stop)
$10 general, $5 students and seniors. Tickets sold at door or you may
reserve tickets by calling Erin Meister, Publicity Director, at 617-548-0459
Project ARIA sponsored by a Community Partners grant from American Composers
Forum Boston, as well as Fenway Community Health and Roxbury Community
College.
For more information about Stephen Marc Beaudoin or Project ARIA, please email stephenbeaudoin@hotmail.com