Sydney Opera House by Pedro Szekely
Michael Franzone by Luke DeLalio
When I visualize opera I think of grand stages, powerful voices and dramatic plays as well as sophistication, worldliness and beauty. I have never been a singer so I truly admire opera because it is an art that requires relentless dedication and effort. Plus it is astounding to hear some of the notes that these singers can hit! So how exactly does one pursue a dream of singing opera? Well, I had the chance to find out!
Michael Franzone, 28, has been chasing his dream of singing opera on the world’s major stages ever since his first high school performance. He studied at the University of Delaware and Hofstra University majoring in Music Performance and currently lives in Chandler, Arizona. When he isn’t performing he likes to keep in shape, play video games, working to pay the bills and of course, singing opera.
Q: What made you want to become an opera singer?
A: When I was in high school I played the part of Billy Bigelow in Carousel. Up to that point I had never really performed much on stage but I was taking voice lessons from the time I was in fourth grade. Both nights of the shows I received standing ovations after my solo piece and at the end. The rush from the applause – the feeling and emotions that ran through me – I was hooked and knew I wanted to perform for the rest of my life. Soon after I started doing operas in college and it was a perfect fit.
Q: Are there different types of opera singers and if so, what type are you?
A: Definitely! There are two major styles or schools of Italian singing – Bel Canto and Verismo. This is based on the style of the music and the composer. There is also the German school that is dominated by German composers and operas. It would be difficult to explain what that all means with just one question and without writing a three page paper on each style! I am as of right now a mix of Bel Canto and Verismo. I like to be able to sing any and as many roles I can without saying I can’t. For most singers “can’t” is a terrible word that only comes into play when the limits of our voice or talent tell us otherwise.
Q: What challenges are involved with this career?
A: Many. Like an actor you constantly need to prove yourself. And nowadays it’s almost not enough to have a good voice! You must be able to act and in some cases be appealing to the eye. We work out in the gym almost as much as we train. I’m not just going against the US candidates either; I’m facing the best the world has to offer. Money and time are big challenges too. Voice lesson, coaches, accompanists, music, etc. all can become very expensive without any income from singing coming back. Most of us struggle like most other artists until we are in the right place at the right time with the right people. Even then it can be who you know more than what you know.
Q: How does the audition process work?
A: Depending on the house or the competition, usually we submit an application with our resume and possibly a CD or DVD with recent performances or arias. Then if they like what they see or hear then it’s a live audition in front of anywhere from two to seven judges. Often times this can go on for several rounds until a winner is chosen or you are accepted into the program. Lots of time, lots of stress, and lots of preparation just for 5-7 minutes of giving it everything you have.
Q: How long does it take to put together a performance?
A: Months. There are usually months of planning, staging, and lighting, learning the music, the language, the meaning behind it. Putting your own meaning and life into it. Becoming who you are on stage. Getting the orchestra together, practicing with the orchestra. Working with the conductor, the producer, the stage manager, the director and the staff. There are usually as many people that work behind the scenes of a show as on stage – many times there are more. With hours upon hours and days upon days making sure every detail is covered.
Q: What’s the most memorable moment you’ve had with singing?
A: There are so many. But I think taking the stage in my first professional gig after college and hitting each high note with such ease and grace and being reviewed well by The New York Times. I am so proud of myself and my ability to give people an experience, it drives me to do better.
Q: If someone wanted to become an opera singer, where would you recommend starting?
A: Voice lessons. Find a good teacher – usually university level. Prepare for failure but be able to handle criticism well. You will not win every competition or be accepted everywhere. Practice every day for three to four hours. Watch the masters, learn from them. I try to practice everyday. Luckily I was blessed with a strong and good voice so as long as I keep up with it I am OK. To be the best however – practicing every day is a necessity. You need to give yourself completely to your art.
Q: Do you believe that someone needs professional training to be a good opera singer or could someone learn in a non-academic or non-professional setting?
A: You need professional training without a doubt. You do not need to go to college or get a degree to be good. There are many people pursuing performance degrees who will never see a stage after college. They just simply do not have the talent or chops or voice to sing in the big theaters around the world.
Q: Did you have to take any language classes to be good at opera singing (like with pronunciation for example)?
A: Without a doubt. We take phonetics classes and work those into how we sing. Diction classes, language classes to be sure you know the meaning behind each word. We sit with dictionaries to translate every word and understand both a literal and poetic translation. It’s the only way we can engage the audience.
Q: What are your favorite opera performances or singers?
A: Luciano Pavarotti. Placido Domingo. Those two names are the epitome of modern opera singing. My favorite operas are Don Carlo, Tosca and L’Elisir D’Amore.
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