Small World

These last few days have been quite busy. I sang for Claudia Catania, saw the Vanguard Jazz Orchestra at the Village Vanguard, saw Die Fledermaus at the Met (quite a lavish production), and just got back from a production of Pippin (also quite lavish). I also had the opportunity to meet with three great composers of new opera and vocal music: George Lam, Daniel Felsenfeld, and Philip Wharton. Meeting with all these people was such an enjoyment and I got so much information from each of them.

Each of the composers we met was very personable and open. I have always had trouble in situations where I am talking to an "elder" over what to call them, what to say, how to act, etc. But although it was very professional the dialogue was also very informal and I realized that I can talk to them as equals, just as I would talk to any other person.

I got great ideas about how to go about writing for voice from each of the composers I talked with, and also many more professional goals to accomplish. George Lam and I had a great conversation about finding the right story and always asking the question "why opera?" or "why musical theater?," meaning why am I choosing to set this to music, what makes it worthwhile? Both Daniel and Philip recommended working with a playwright on a libretto instead of writing it myself (as did George), since it usually turns out better in the end and the collaboration aspect is a fun and rewarding experience. The biggest thing I got is just to experiment and practice writing for the voice, and work with singers when composing songs.

I also learned that the composing world, and by extension the music world, is actually very small, even in such a large place as New York City. I had set up an interview with George on my own, whose name I got from Chiayu. We got there and he asked us who we had been meeting with and he knew Caroline Worra from working with her in American Opera Projects. Then it turns out that George worked with Daniel Felsenfeld in that same program, so they knew each other well. Daniel told us that for a while when he was younger his best friends were John Corigliano, Mark Adamo, and Danny Elfman. Philip also knows John Corigliano, David Del Tredici, and Samuel Adler from studying with them at Juilliard. It further outlined the importance of networking and getting to know people in the business.

It has been such a great trip with amazing experiences with awesome people, and I will treasure this the rest of my life. I have learned so much from each event that I feel much more prepared and inspired to pursue this career in the arts. I have been pointed in the right direction by all the meetings, masterclasses, and shows we have seen. Working with these amazing people who are such great musicians has shown me the importance of your relationships with other people. I have gotten to know everyone on the trip so well now, and I call each of them my friends. They are wonderful people and I hope to always keep in touch with them.

And a huge thank you to Mitra and Dr. Rieck for organizing the trip, keeping us safe, and challenging our thinking. You guys have been the best advisors one could hope to have.

I will miss New York, but I am ready to go back home to my family, my girlfriend Katie, and my cat, Pipsqueak. It's almost time for Cabaret rehearsals to start and there is ever more work to be done.

See you later, NYC,
- Jordan