(I'm tired, and I should likely not be typing: please indulge me if you're reading this, and know that I'm a little more sensitive than I might be with more rest.)
It's a little before midnight on an autumn Sunday night. My day started when the alarm went off at 5am. A road trip to and from Philadelphia was on the schedule for today, with 8 hours of auditions sandwiched in the middle. It was a long day, don't get me wrong. I was very happy at the end of it to pull into my own driveway, & walk into a house with my hubby and pets and bathrobe and cup of tea.
But it was a good day. Art was made, and some of it was really fantastic! I was pleasantly surprised by repertoire - both spoken and sung - performances, and personalities. There were bold choices being made; they didn't always pan out, but when they did it was amazing.
But I'm feeling discouraged, at the very time in our highly individualized casting process where I should be getting excited. After all, we're about halfway through our auditions, and while there are still a million scenarios that could play out for our summer season there are several that are starting to rise to the top...the "what-if" game is never more fun to play than right now!
I'm struggling, every time I get on social media, with the grumpier, louder voices who seem to dominate the conversation: on one hand the singers are upset about audition fees, and suggest solutions that show very little understanding of the financial workings of our program and I'd guess many others. On the other, discussions from admins about the obvious shortcomings of the current crop of singers: intonation issues, singing rep that's two sizes to big & doing so poorly. It's a lot of negativity being tossed around. And it resembles, in some fledgling way, the struggles at the big house that we've all been talking about, and at a number of smaller houses across the country
I realize that it's a huge privilege to do what I do, to sit on the silent side of the table. It's not come without sacrifices. I've been through the audition season on the other side of the table, and I know it's a struggle. I paid for auditions that I didn't get with beer money that I very much wanted to drink, especially after getting the PFO, believe me. I also in the past have had my salary frozen to allow my company to keep their artistic programs viable. But here's the thing: it's an investment. Everyone - regardless of which side of the table - who gets into the business is doing so for the love of it, and not to get rich off the backs of others. We all pay for the privilege.
My inner Pollyanna hatehatehates these clashes. I realize that behind each side are folks who want to be understood, to have someone acknowledge the struggles that they are facing. And the struggles are very real. But no one is feeling as if they're being heard.
I'd submit that there aren't two sides to this debate: there's only one. And if we've learned nothing from the current state of classical music and opera, I'd hope that it would at least be apparent that we are stronger when we collaborate.
Going to bed. Sunnier outlook promised for the morning.
6 Discoveries from Near and Far: Volume XVI
9 hours ago