Boston Singers' Resource News Bulliten August - 2005

THE BOSTON - NYC CONNECTION by Ed Justen.
Contributing BSR members, Emily Browder, Christina Devaughn, Naomi Gurt Lind, Janice Edwards, Stephanie Mann, Pam Schwepp, and Patrice Tiedemann offer stories and advice about commuting to New York regularly for singing. A list of NYC resources and member biographies follows the article.


MAKING THE COMMUTE

Christina DeVaughn remembers a particularly harrowing trip to New York. The Boston-based vocalist had a 10 a.m. audition in the city, so she took the only bus that would get her there early—a bus departing Boston at 3 a.m. "That bus took the longest route you could possibly imagine," DeVaughn says. "We made lots of stops along the way and traveled on dark, scary, non-populated routes. It took us seven hours to get there."

In addition, De Vaughn and her fellow passengers on the bus noticed it would jerk forward or swerve every once in a while. "It turns out the driver was falling asleep at the wheel," DeVaughn says. "He finally agreed to stop at a rest station and get some coffee."

DeVaughn’s bus experience emphasizes what could happen to you if you don’t have a good plan to get into New York. Singers that have done it know that travel, food, warm-up, and lodging arrangements are just as important as musical preparations. Don’t let a nightmare ride from Boston to New York ruin a well-prepared audition.

THE BRIGHT LIGHTS BECKON...

"Boston-area singers travel to New York for many reasons," says Lynn Shane, director of Boston Singers Resource. "Several opera companies hold their auditions in New York from November through January. There are also several contests, workshops and classes. Plus, there is that stigma that New York has more to offer."

One needs only to follow the listings in Classical Singer Magazine or Backstage to find out about NYC auditions. "Singers should research the companies thoroughly, however," Shane cautions "as housing can be an issue for smaller companies that have extended rehearsal periods in NYC and don’t have the budget to provide housing for ‘out-of-towners."

"It should also be made clear if the audition is for a paid, volunteer, or ‘pay-to-sing’ performance opportunity." says Janice Edwards, an international performer who now teaches voice at Plymouth State College. "’Pay-to-sing’ and volunteer programs can be excellent experiences: I did several principal roles with the Regina Opera company (a volunteer company) in the early 80s. You get fully staged performances with orchestra and fairly high production standards."

Some area singers continually wrestle with the idea of moving to NYC to avoid the commute, but most are content to pursue their careers from here.

"Many people will tell you that you do not need to live in NYC to have a career-you just have to have the ability to get there," says Patrice Tiedemann, a member of the voice faculty at Salve Regina University in Newport, Rhode Island and frequent performer with the Cape Cod Opera. "I know many singers who live in the city, working 40 hour a week jobs to make their living expenses plus a church job on the weekend for lesson money, and they still have less time than I do to pursue their singing career."

Whatever your reason for going to New York, here are some tips from experienced Boston area singers to make your trip a good experience.

PLANES, TRAINS, AND AUTOMOBILES...

The first challenge on a trip to New York is getting there. While flying sounds like a good idea, steep fares are prohibitive. In addition, all of the metropolitan New York airports are located in outlying areas adding expensive taxi rides to your costs.

"I take the train from Providence," says Tiedemann, "A round trip with AAA discount costs $90-$130 depending if there are weekend days involved." Amtrak trains pull right into Penn Station, where auditioners catch subway trains to their final destinations for just $1.50. "It’s cheap and faster than any other transport, and the din on the cars can be loud enough to drown out my warm-up humming," she adds.

Others take the train because of its more relaxed environment. "I like the slow pace of trains," says Naomi Gurt-Lind, a Boston and New York resident who made her debut in Merkin Hall last May, "I enjoy the whole train experience. I’ve met nice people on the trains, always get a good nap, study my music, and read." Also, at Penn Station, they have attended storage for nominal fee (for your pillow, garment bag, etc.)

For those who prefer riding pavement instead of rails, bus lines offer frequent schedules on the cheap, but sometimes provide dicey experiences such as the one previously described by DeVaughn. "You also have to deal with the usual issues of public transportation; crying babies, obnoxious couples who need to ‘get a room,’ or the stinky guy who manages to find a seat right next to you," DeVaughn says.

"The cheapest way to get there is to take the Chinatown bus!" Chimes Boston Conservatory graduate Michael Oglia. "The bus goes from Chinatown in Boston to Chinatown in New York City. A round trip ticket can go anywhere from $20 to $50. They have 15 departures daily. It really is the most economical way to to go if you need to go often. However, you should try not to drink anything before you get on the bus because they have no bathroom and sometimes your seatmate might be a cage filled with chickens (not kidding)."

Driving themselves to New York offers auditioners the flexibility of setting their own schedules—but adds other stresses to their day."I have driven once or twice, but that gets hectic and it takes a lot of energy that I should funnel for the actual audition," DeVaughn reflects.

"My first entry into the city wasn’t very easy," says Emily Browder, who plays the role of Eve in Daniel Pinkham’s GARDEN PARTY with the Boston Academy next February. "I had a 2 p.m. lesson scheduled with a new teacher and decided to drive that morning from Boston." Browder took Interstate 95 to the Cross Bronx Expressway which turned into the ‘proverbial parking lot.’ "As the minutes drained by I got sweatier and more scared, realizing not only that I was late, but that I only had a vague notion of the best route into the city." She eventually pulled over and called the teacher for directions, ultimately arriving at her door only two minutes late. "I did not sing my best because I was tired and stressed and had the natural nerves of a first lesson, but it was a good session after all."

Browder capped her experience by driving back to Boston later that afternoon."Traffic was heavy and I didn’t get home until 10:00 pm. My body vibrated like a plucked string, I had a vicious headache, and was nauseous. I vowed I would never drive down and back on the same day again." She later set her own rule about returning to Boston from the city. "I only drive back before 3 p.m. or after 7:30 p.m."

‘EXCUSE ME, SIR, DO YOU MIND IF I WARM UP, HERE?’

A trained singer thinks nothing of the guttural lows and high peaks of a warm-up routine, but making those kinds of sounds on the open street might startle even a jaded New Yorker.

Fortunately, the city has several facilities available for warm-up time."I like the Nola Studios on 54th," says Stephanie Mann, a Boston Conservatory Master’s graduate now appearing as Pitti-Sing in the Savoyard Light Opera’s Production of THE MIKADO. "For eight dollars you can rent a practice room for half an hour." The rooms offer a good piano and space to change clothes. "The only problem is they can’t reserve slots ahead of time so during the heavy audition season, the rooms can be full for most of the day," Mann says.

Other practice facilities in the city include the NYC Liederkranz Foundation, that also rents their facilities for recitals, and the Turtle Bay Music school at 52nd street and 2nd Avenue.

A FRIEND IN NEED...

Most experienced singers recommend spending the night in a hotel either before or after the audition date. Having your own room allows you to relax and refresh before heading out on your endeavors."Be careful if a hotel sounds too good to be true-it probably is," according to Patrice Tiedemann. "Nothing decent is less than $130 a night." She recommends the Best Western Hotels. "The rooms are small but clean, and you are a few blocks from the Nola studios," she says.

The best circumstance is to have a friend or family member you can stay with in the city or surrounding suburbs. "I drive from Manchester, New Hampshire to Stamford, Connecticut where an old college friend lives," says Janice Edwards, "I leave my car at her house and she drives me to the train station, where I take the train into Grand Central Station."

"I travel to NYC about 6 or 7 times a year for auditions, and recently went to see a friend purely for fun. It felt strange not carrying all my music and materials with me!"
laughs Patrice Tiedemann

‘TIME IS A GREAT TEACHER, BUT UNFORTUNATELY
IT KILLS ALL ITS PUPILS.’ - Hector Berlioz

As you strive for a successful audition, lesson or other musical activity in New York, planning enough time is the most important factor. Because New York City is a scant four-hour drive away, your busy schedule might induce you to plan a day trip for an important audition, lesson or musical contact. Experienced Boston area singers advise against falling into that trap: "Go down the day before something is planned," recommends Emily Browder. "Give your self more time and money that you think you will need," suggests Naomi Gurt-Lind.

Stephanie Mann adds other elements to the mix. "Have confidence and give yourself plenty of time," she says. "Also, a good street map is your friend."


ABOUT THE WRITER:

ED JUSTEN (ejusten104@yahoo.com) is a professional writer and freelance musician living on Boston’s North Shore. He holds a B.S. in Communications with a minor in music from Salem State College. Before returning to school Ed was a full-time musician in the United States Army for 11 years, and a musician and tour manager for American Entertainment Productions for 5 years.

Ed majored in Flute-performance at California State University at Long Beach where he studied under Dr. John Barcellona. He currently works as an editor at Opus Communications in Marblehead MA, serves as stage manager for the Hillyer Festival Orchestra, and plays flute for the 215th Army Band of the Massachusetts National Guard.


Recommended Boston-NYC Connections:

WARM-UP/REHEARSAL SPACES
--
Nola Studios
250 W 54 (Broadway and 8th)
11th floor
212-582-1417
$9 1/2 hour $17 hour reservations
--
Liederkranz Foundation
Recital rooms
6 East 87th St.
(87th st. and 5th st.)
212-534-0880
liederkrantzfndtn@earthlink.net
$50/hour. Reservations required
--
Turtle Bay Music School
244 East 52nd St.
(52nd st and 2nd st)
212-753-8811
$20 hr/$10 1/2hour
Availability varies
www.tbms.org
--
Michiko Studios
146 W 46th (betw 6/7)
$9 hour reservations
also can purchase multi visit cards
212-302-4011
--
Shetler Studios
939 8th Ave. Suite 302
(8th betw 55/56)
212-246-6655
www.shetlerstudios.com
vocal studios starting at $14/hour


PIANISTS

David Rebhun 212-666-8152
Daniel Ragone 212/724-4987
Eric Malson 212-864-7010

HOTELS

Best Western Hotels
www.BestWestern.com

The Gershwin Hotel
7 E. 27th St. (Madison and 5th)
212-684-8374
212-545-8000
www.gershwinhotel.com Clean, cheap rates.

The Edison Hotel
228 W. 47th St
(broadway and 8th)
www.edisonhotelnyc.com
212-840-5001
212-840-5000
Clean, cheap rates, breakfast café.

http://www.cindy-sadler.com/resources/resources2.htm
Singer, Cindy Sadler’s list of resources includes NYC information

www.Expedia.com

www/AAA.com

www.Hotwire.com


RESTAURANTS

Good Enough to Eat (83/Amsterdam).

Edgar’s (dessert) (84/Bwy)

Mana (health food) (87/Amsterdam).

Obune (sushi) (76/Bwy)

222 (located at 222 West 79th)

Lenge (69/Columbus)

Breadsoul Cafe (on Columbus, near 63rd.)

AppleJack diner (Broadway and W 57th)

Les Pyrenees (West 50s)

Le Bernardin (West 50s)


TRAVEL AND PARKING

Garage-$7.25/12 hours (West End Ave and 62nd)

The Boston-New York Chinatown bus
617-695-1989
www.sunshineboston.com
RT $20 to $50; no bathroom, no stops;

Amtrak Trains
www.amtrack.com

Greyhound Bus
www.greyhound.com


OTHER TIPS

1. Bring your cell phone
2. Bring extra photos and resumes
3. Bring a book to read
4. Don’t bring a lot of cash-use plastic instead
(be sure to have enough cash to pay audition or accompanist fees)
3. Have your sheet music in a 3 ring binder-no glossy sheet protectors
4. Wear comfortable shoes and change them at the audition
7. Bring a pitch pipe for "combat warmup"
5. Keep positive
9. Bring your own water


ABOUT THE CONTRIBUTING BSR MEMBERS:

EMILY BROWDER (ebrowder@ix.netcom.com) Most recently performed as the Little Boy in GRIFFELKIN with the Boston Modern Orchestra Project at Jordan Hall and at the Tanglewood Festival of Contemporary Music in Seiji Ozawa Hall. She has done a number of shows with the Boston Academy of Music, including Giannetta in L’ELISIR D’AMOUR, Giulia in THE GONDOLIERS, and Miss Stevens in LADY IN THE DARK. She has also performed in the Boston Early Music Festival and at the Harare International Festival for the Arts in Zimbabwe, and as a soloist with the Cantata Singers. An MM graduate from the Longy School of Music, Ms. Browder’s upcoming performances include the role of Eve in Daniel Pinkham’s GARDEN PARTY with the Boston Academy in collaboration with BMOP in their Opera Unlimited Festival in February 2003 and a recital of arias and song (including Hahn and Wolf) at the New School of Music on November 10. Ms. Browder is the music coach for Tunefoolery, a group of musicians living with mental illness. She is also on the voice faculties at the New School of Music and the Dana Hall School of Music in Wellesley.

Soprano, CHRISTINA E. DEVAUGHN, (christina_devaughn@hotmail.com) obtained her Master’s Degree in Opera Performance from the Boston Conservatory. Her operatic roles include Theresa I in FOUR SAINTS IN THREE ACTS and Clori in ‘L EGISTO. She participated as a Studio Artist with the Chautauqua Opera Young Artist Program in 2001 where she performed the role of Annina in LA TRAVIATA. Also, for the past six years, Ms. DeVaughn has performed as a soloist in Langston Hughes’ BLACK NATIVITY, produced by the National Center of African-American Artists. Ms. Devaughn was a featured soloist in the annual "Gospel Night at the Pops" and during "UMass Alumni Night at the Pops" at Boston’s Symphony Hall with the Boston Pops Orchestra. She has worked with The Boston Lyric Opera, The Cambridge Lieder and Opera Company, The New England Conservatory’s Opera Workshop, Longwood Opera, Chorus pro Musica, The Cantata Singers, Donna Roll Presents Opera Fest, and is currently a member of The National Spiritual Ensemble. Ms. DeVaughn was a finalist in the 2001 Metropolitan Opera National Council Auditions, and in 2000 she was awarded Third Place in the Leontyne Price Vocal Arts Competition. Future engagements include two appearances with the Plymouth Philharmonic Orchestra in December 2002, the title role in a concert version of selections from AIDA with the Key West Pops in March 2003, and the Soprano Soloist in Michael Tippett’s A CHILD OF OUR TIME with the Pioneer Valley Symphony in May 2003.

Mezzo-Soprano JANICE EDWARDS (dkmezzo@hotmail.com) has sung with many leading international orchestras and opera companies including Arizona Opera, Karlsbad Symphony Orchestra, Orchestra of the National Theatre of Prague, Dvorák Summer Music Festival, Collegiate Chorale and the Atlanta Symphony Orchestra. Equally at home in opera, oratorio and recital, Ms. Edwards’ repertoire encompasses the principal Wagner and Verdi heroines as well as major oratorios including MESSIAH, Verdi’s REQUIEM, Rossini’s STABAT MATER and various works of Bach including passions, masses and cantatas. In 1993, Ms. Edwards was cast as Fricka in DIE WALKURE in Arizona Opera’s DER RING DES NIBELUNGEN, the first-ever Ring to be presented in the American Southwest. Ms. Edwards has performed numerous recitals in the U.S., Denmark and the Czech Republic, with repertoire ranging from standard to contemporary. Since returning to the U.S. in 1999, Ms. Edwards has appeared with the New Hampshire Music Festival (BEETHOVEN NINTH SYMPHONY), Manchester Choral Society (MESSAIH and Bach MAGNIFICAT), Great Waters Music Festival (ELIJAH) and the Granite State Opera (The Mother in AMAHL AND THE NIGHT VISITORS and PASSION, PERIL, AND PANDEMONIUM: A Wild Night at the Opera). Upcoming engagements include BEETHOVEN’S NINTH SYMPHONY with the Keene Chamber Orchestra and A CELEBRATION OF AMERICAN OPERA with Granite State Opera. Ms. Edwards is one of the voice faculty members at Plymouth State College.

NAOMI GURT LIND (naomi@naomigurtlind.net, ) A resident of Boston and New York, Ms. Gurt Lind has had solo appearances with several prominent Boston ensembles, including the Cantata Singers, Auros, Chorus Pro Musica, Masterworks Chorale, and Fine Arts Chorale. In New York, she has appeared with Festival Chamber Music, Musical Observations, and as a guest artist with Third Street Music. Ms. Lind made her debut in Merkin Hall last May, and has also appeared with the Aspen Music Festival, and in the Aldeburgh October Britten Festival.

Known for her work in new music, several composers have written expressly for her, She has worked with composers such as Milton Babbitt, Yehudi Wyner, Michael Gandolfi, Lori Laitman, and Howard Frazin. She has been coached by such new music luminaries as Paul Zukofsky, Marc Ponthus, and Martin Goldray. Equally at home in the standard repertoire, Naomi Gurt Lind has sung the roles of Despina in COSI FAN TUTTE, Papagena in the MAGIC FLUTE, and Lucy in THE TELEPHONE in addition to oratorio solos in works by Bach, Mozart, Rutter, Vivaldi, and Haydn. This season she appears in Boston Lyric Opera’s production of CARMEN on Boston Common and the New Repertory Theatre’s production of SWEENEY TODD.

STEPHANIE E. MANN (StephanieEMann@aol.com) is a recent graduate of The Boston Conservatory with a Masters of Music in Opera Performance. There, she appeared as St. Settlement in Virgil Thompson’s FOUR SAINTS IN THREE ACTS, Alice in ALICE IN WONDERLAND, Amor in Cavalli’s ‘L EGISTO, and Lucia di Lammermoor in the one-act Opera A FATAL SONG. She spent her undergraduate years at Brandeis University where she appeared as Aldonza in MAN OF LA MANCHA and was featured in GODSPELL, CELBRATION, and RAGS. Most recently she has appeared as Aline in Gilbert and Sullivan’s THE SORCERER with the Sudbury Savoyards, Rosa Bud in THE MYSTERY OF EDWIN DROOD with the North Shore Players,and Sharon in Terrence McNally’s MASTER CLASS with the Boston Theater Bridge. In November she will be appearing as Pitti-Sing in the Savoyard Light Opera’s production of Gilbert and Sullivan’s THE MIKADO.

MICHAEL OGLIA (mikeoglia@hotmail.com) is a graduate of the Boston Conservatory with a M.M. in Musical Theatre (2000). She received her Equity card for playing the part of "Polly "in the THREE PENNY OPERA at the Barnstormers in New Hampshire. She has performed for almost 20 years in over 60 musicals and plays. She is currently working as a Fitness instructor for Gold’s Gym in Tewksbury, Ma and will soon be certified as a Personal Trainer.

PAMELA SCHWEPPE (pschweppe@mindspring.com) of PCSS Communications is a Boston-area freelance writer and consultant specializing in direct-mail and promotional writing for the performing arts, consumer goods, and travel. She is also a singer and former New Yorker.

PATRICE TIEDEMANN, (TriciT@aol.com) is a graduate of the Indiana University Master’s Degree Program in Voice, where she sang several roles including the title role in Agrippina and the First Lady in THE MAGIC FLUTE. She continued her education as an apprentice artist with the Indianapolis Opera, making her professional debut as Emilia in OTELLO, and at Central City Opera, where she performed the role of Cio-Cio San in the apprentice performance of MADAMA BUTTERFLY. She has also sung Gertrude in HANSEL AND GRETEL with the RI Philharmonic, and the title role in THE MERRY WIDOW with Cape Cod Opera. Other performances include solo appearances with the Boston Academy of Music, Masterworks Chorale, Boston Vocal Artists, Handel Society of Dartmouth College, Paul Madore Chorale, Sippican Choral Society, and the New Bedford Symphony. She will be returning to Cape Cod Opera in February of 2003 for performances as Rosalinda in DIE FLEDERMAUS, and to the Paul Madore Chorale for the Mozart REQUIEM in April 2003. Ms. Tiedemann is also a prize winner in several competitions, most notably the Connecticut Opera, Palm Beach Opera, and Florida Grand Opera competitions, and as a Metropolitan Opera National Council Auditions Indiana District Encouragement Award winner and New England Regional semifinalist. She is currently a member of the voice faculty at Salve Regina University in Newport, RI.

 

BSR NEWS BULLETIN
Click here to enjoy reading about BSR members featured in past issuesof the Bulletin:
MEMBER
HIGHLIGHTS

OTHER ARTICLES AND SPECIAL FEATURES:

NEW: 2004 Director's Meeting minutes! A two hour forum with 17 leading NE area directors transcribed for your perusal.

An Interview with Timothy Banker, Co-Producer of "From the Top" weekly radio shcw.

Exposure and Encourgement
Ed Justen interviews invesigates the joys and challenges of keeping kids singing in today's busy world.

The Boston-NYC Connection:
Contributing BSR members offer stories and advice about commuting to New York regularly for singing. A list of NYC resources and member biographies follows the article.

Strength in Numbers;
A feature article on BSR reprinted, with permission, from Classical Singer Magazine.

The Japan Journal:
BSR member, Rich Bissell, shares his month-long experience as an american opera chorus ringer for "Peter Grimes" in Japan, 2002.

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