 |
 |
 |
|||||||||||||||||||
 |
|||||||||||||||||||||
 |
 |
 |
|||||||||||||||||||
  |
from an interview for Wholenote magazine What exactly is the point and practicality of a website and the considerable expense of it? I consider this web site a wonderful investment in
my career because, not only can I fill it with live performances through
the video and audio clips which show the complete scope of my work,
but my music and artistry can reach fans and music lovers all over the
world. Now I don't have to fly anywhere, and still know that my artistry
- and even live performances - can reach a young student in Japan, or
my friends in the Philippines, or, say, producer Brian Law in Christchurch,
New Zealand (who may be looking for a mezzo and has forgotten just how
terrific my Dream of Gerontius really is!) Directors, conductors,
artistic administrators, and others can see the real deal - me, Linda
Maguire, "on site" - as a working professional, in costume, in rapport
with an audience and a live house, relating to a stage and its lighting
and sets as well as to other characters. They can see much more clearly
my polished craft, a true, finished product, and my professionalism.
You can never achieve those things in an audition (which is why, I feel,
so many casting disasters happen on a regular basis within the industry). |
 |
|||||||||||||||||||
 |
|||||||||||||||||||||
|
|
What are the differences in the hiring system now? Well, I have one agent in New York, another in Chicago,
and a full time assistant in Toronto. It is necessary in this day and
age to have multiple support systems if you want a truly satisfying
career. However, it becomes extremely costly, both financially and for
wear-and-tear, to fly out for auditions, certainly to New York where
airfares, accommodations, and other such living expenses come into play.
And often enough, when you go to an audition in, say, New York, I've
found that, unless you have the 'manager of the millennium' or luck
out with a magical time slot catching your auditioners particularly
clear-headed, you could be singing like Maria Callas herself [a singer
Linda Maguire is often compared with] but these 'impresarios' have been
so saturated with countless 'perfect auditions' that they can't seem
to differentiate between them. This is one of my observations of the
system. |
||||||||||||||||||||
|
But aren't auditions just an inevitable fact of the industry? That's the rumour, I'm afraid! ... But my work is so
varied in scope, and I've been professionally successful in so many
styles and categories of music, that it is simply impossible to show
auditioners 'who I really am as a consummate professional' in an 8 or
10 minute time slot, especially if the pressure is on them with 25 singers
outside in the hall waiting to be heard. My repertoire doesn't fall
into a neat category or 'fach'. For instance, although I am a mezzo-soprano
and make a fine income with my lower register, 90% of my professional
operatic work is in the zwischen-fach repertoire - that is, actual soprano
roles which are occasionally taken by mezzos. The Vitellia I did recently
with Dallas Opera is a prime example of that. I mean, most sopranos
have trouble with Vitellia - it's a role quite difficult to cast (which
I find somewhat difficult to fathom, as it sits quite easily in my voice).
However, in an 8-minute time slot, auditioners just don't have time
or head space to gather and process the fact that I am a mezzo who sings
such soprano operatic roles - it's an unusual thing, and confusing for
them. I'm speaking mostly with opera auditions. If I can't be put into
a neat and convenient little category ... well, they just don't have
the time, the imagination, or the inclination in normal audition circumstances
to 'get it', especially when I'm in with scores of other singers, the
majority of whom obediently fit in their 'five perfect opera roles'.
This web site lets them gather in this information at their leisure,
and if my specialties still aren't clear - well, it's not that the full
product wasn't presented at my end. |
 |
||||||||||||||||||||
|
Again, I ask, aren't auditions just simply the only solution to the issue of casting operas? That's the status quo opinion at the moment. But,
as an artist, I've always had a problem with auditions, in that I feel
on some judgment table in a very anti-theatrical environment. But, mainly,
I feel that I am having to "prove something" which you simply can't
"prove" - that which should just be allowed to flow from the most beautiful
and greatest source - the soul. And no one earthly person or persons
can or should be able to determine your worth. But that's what an audition
is. It's a difficult thing to describe clearly. I have never felt pressure
from an audience in this way. Auditions are a highly unnatural thing
for me as a performer and artist. Performing for an audience is another
thing altogether. Many of these impresarios will argue that they can't
really hear the voice from a tape or a video. I'm sorry, but at some
point, a truly qualified impresario can just look at a singer work and
tell if something really special is going on or not. A picture says
a thousand words. They could also click onto an array of impressive
reviews on my web site. I've listed many of them - I've been lucky,
practically all of my reviews have been positive ones. Artistic directors
and impresarios can scroll until they find the reviewers whose opinion
they respect, and see what they say about my work. They will soon also
be able to read a message board from fans, many of whom adore my work.
These are the persons who buy the tickets and fill their houses. After
all that, if they still aren't sure, I would prefer to provide them
with tickets to one of my upcoming shows (let them do the flying!) or
they can invite me to audition and sing for something specific that
they might have me in mind for. Otherwise, you are taking trip after
expensive trip to do some unspecified cattle call. It's quite discouraging,
demoralizing at times, and a terrible waste of artists' funds. |
||||||||||||||||||||
|
|
How would the web site replace or enhance the audition process? With such a variety of audio and video clips on this
site (I plan to have over 50 eventually), I would expect directors to
click away - pick and choose - cut my pieces off at any point (which
would be most offensive at an audition - auditioners have to listen
through an aria at an audition - no offense taken on a web site!!!)
I want them to see the complete kaleidoscope of my talents at their
leisure ... 14 measures of Strauss here, 25 measures of Mozart there
- they can skip right to the end of a piece and check out the final
high notes. On web performances, I will have been able to warm up adequately,
appropriately and individually for the style and demands of each composer,
opera, oratorio and be equally prepared with my Mozart, my Wagner, my
Rossini and my Gershwin, my Chabrier, my Pendereski, my Schoenberg.
You'll get romantic, baroque and classic, cabaret and pop all to high
standard. You simply cannot switch that quickly in an audition situation.
But you can store these professional experiences and realities on the
web site and prove so much more than you could even begin to show in
a remote and impersonal 5-minute audition. These producers can bounce
around to their heart's content, and save company funds at the same
time, while I am keeping productive elsewhere becoming all that much
better as a singer when they do decide to hire me! |
||||||||||||||||||||
|
|
What about their questions of quality of voice and how your particular vocal quality will work in their particular house? Well, very few impresarios audition in their own house
anyway. Most of the audition spaces I've had to deal with have been
painfully inadequate. So who's compromising first here? I look forward
to technology improving enough - just as recordings have improved. You
know, if an artist is talented, intelligent, well-trained and musical,
they will know how to make anything in any house work. The advantage
is that these are live and untouched performances (except for the CDs).
This web site simply lays out quite clearly that I have flexible and
versatile qualities - that I have a strong following and fan base -
that not only could I do the job they require, but fill their houses
while doing it. Certain things are undeniable and that's what this site
lays out. It takes a certain panic, uncertainty, and subjectivity out
of the hiring process. Artistic administrators can be even more certain
through this extensive over-sampling available at their fingertips. |
|
|||||||||||||||||||
|
Will you miss auditions? If this web site helps get rid of the cattle call audition
process, I don't think any singer will miss it. Effectiveness by the
companies in this area using the Web also bleeds over into making this
life affordable for the everyday artist. For example, just ONE of my
audition trips could easily pay the web site hosting fee for 2 years!!
We're talking 1000 megabytes of space here for two years! That one audition
cost could pay for countless coaching, voice lessons, and so on - not
to mention food, clothing and shelter, to be totally realistic. Just
think how wonderful the product of artists could be if less money were
spent on the extreme high costs of auditions? This industry, I feel,
is 200 years behind the times regarding modern day productivity, and
is a little unfair to artists in that respect. I'd like this web site
to at least pare the process down to my being invited to a particular
house for a particular role and, ideally, at that company's expense.
That's my ideal. |
|
||||||||||||||||||||
|
|
Wow. What's up for the future? Well, I'm extremely busy this spring. As I said, I
have three people working towards bringing in engagements, public and
political engagements, and raising my public profile and awareness of
my professional and humanitarian work. You can check out my itinerary
and these contacts on the web site! I must point out that I rely on
the support, love, prayers and unfailing encouragement from so many
of my close friends, fans and mentors. Otherwise, I could have easily
quit the business by now - the politics within the industry are discouraging
- it's demoralizing for the greatest of artists. But, I must tell you
- I've been working towards a fascinating endeavor which was inspired,
a bit, by the great Canadian Glenn Gould himself! |
||||||||||||||||||||
 |
What do you mean? Well, Glenn gave up the performance stage to begin
his own unique creations in the recording studio. Now, I'm not about
to give up live engagements or large stage theatrical events as he did,
but I have been formulating and bringing to a life website service called
www.operahouse2000.com. This will give music and song lovers from all
over the globe live on-line concerts as well as their own personalized
performances of their favorite arias and songs done to their own unique
specifications (with high quality copies for their archives). For people
who love the intimacy of live music and theatre, this is how they take
it to the next level. For instance, if a music lover's favorite aria
is "O mio babbino caro", I'm providing a service which, initially
for $200.00 Canadian, I will, after talking with them online and following
their exact specifications regarding the opera's character or the preferred
nature of an aria or song (and they can be as specific or non-specific
as they wish), videotape a personalized introduction, sing it for them
online (if they prefer), and then send a polished high-quality videocassette
copy to them for their records or to their chosen recipient. This is
THEIR specialized professional performance, done especially for them,
with my personal artistic stamp on the piece, just how they like it! You see, an aria can be sung in so very many different
ways - tempi, dynamic, and especially interpretively. The character
can be older or younger, more tender, hopeful, sexy, angry, pious, confused,
and so on, at many or any given point. I've found that many of today's
performers have become quite "generic", remote and even anti-spiritual
in their approach to singing. This swings the pendulum towards where
it belongs - to the audience member - and to where it will go in the
next millennium. I mean, people are shopping and banking on-line, and
having much of their social life over the computer. Let's face it, going
to the theatre can be a hassle, getting dressed up, ever-worsening traffic,
parking, eating at expensive restaurants, and sitting in row WW - while
trying to imagine what their ideal performance would be, waiting for
their favorite arias to be sung. This is when many would rather cook
a cozy meal at home, TAKE OFF the make-up and the stuffy clothes, and
have an even truer connection with their favorite composers or works,
personalized to their specifications, sung to them, for them - then
receive a live recording of their favorite piece, uniquely their own.
Some may feel they are unqualified to make artistic decisions and such
for a singer or character, but trust me - many are more qualified in
this regard than many of the directors I've worked with. I greatly look
forward to the artistic growth I will be making through this endeavour. |
 |
|||||||||||||||||||
 |
You mention that you take great joy in "giving back" to Canadian society? Well, as I mentioned earlier, I have a full time assistant
here in Toronto - a woman named Margo Hunt. Margo is a musician herself,
and worked at the American consulate for 35 years. In short, Margo handles
all of my charitable work here in Canada, and she has done a beautiful
job of it. You see, singing is not about the money for me, although
I need to live and survive. Some jobs pay extremely well - like the
recent Dallas Opera - and set me up for several months. I then have
the luxury of donating some of my energies to charitable causes, such
as The recent LOFT Community Services Christmas concert, for which raised
$70,000 in one evening to help Toronto's homeless. I also sang recently
for the AIDS Walk at Nathan Phillips Square, feeling happy and proud
to charge-up the participants for the walk with pieces like, "You'll
never walk alone" and "I'll be seeing you" It's tremendously
fulfilling - really it is. I also sing this fall for the Salvation Army's
Annual Charity concert at Roy Thompson Hall. Have you heard the Savation
Army Canadian Staff Band lately? They're terrific - I mean, move over
Hannaford Band! I sang with them this past fall at the Glenn Gould graveside
ceremony at Mt. Pleasant Cemetery. It was so moving - they've really
got heart and purpose and it shows in their artistry, and all volunteers.
You can read more about all these charitable functions by clicking on
the link at the website [Biography page]. That's another function of
this site for me - every little bit of awareness for these most important
humanitarian organizations helps them. |
||||||||||||||||||||
|
I understand you do a considerable amount of diplomatic work as well. Yes, and this seems to have happened by accident really
- I say "accident" casually, but I deeply believe in a greater
design for all individuals - it's being unafraid to follow the path
whole-heartedly and without question or doubt. It's difficult to do
at times. However, I've always done and been invited to many different
public functions as a singer and performer - fundraisers for various
arts groups, for example. A few years ago, I was invited to sing at
The Bamboo Organ Festival in Manilla, Philippines. The Canadian government
generously paid my way and escorted me around while I was there. I made
many dear friends, and everything came from that so naturally. I really
do love people - the simpler and more down to earth the better. Anyway,
I was invited back several years later, and in the meantime had developed
a professional association with groups like the American Trial Lawyers
Association. They wanted a classical singer at one of their events,
and I ended up singing there 4 years straight! From there, I began some
of my interests in human rights (meaning artists rights), which led
most recently to an appointment on the board of directors for the Rutherford
Institute (www.rutherford.org), a leading human rights group based outside
of Washington, D.C., that has a very strong cultural arm which they
felt I could provide some assistance with. I also sang for the July
4th celebration at the American Embassy this past year, at the Washington,
D.C., Canadian Embassy concert hall (yes, a REAL concert hall - and
a very nice hall too). I've sung for and met the ambassadors and envoys
of many countries at various other political events. What's my entree
to this world? My music - my song - it speaks to every heart and in
every language - it's universal and the greatest tool for healing and
peace - I think the diplomatic core with whom I've dealt realize this.
I'm more than happy to share my gifts in such an arena. Some singers
feel it beneath them, and don't take these events seriously, but I tell
you such attitudes are a huge mistake for a singer. |
|
||||||||||||||||||||
 |
Do you have students? I love to teach - it takes so much energy, but I love it. I find that when I teach, I find myself learning to sing all over again. As Luciano [Pavarotti] says, "Everything I ever needed to know about singing, I learned in my first voice lesson". My goodness, that is so very true. I prefer, though, that I give two-hour consultations, and some vocal pointers, but find out exactly where the young singer is, where he or she is going, and help them to make their 1-year, 2-year, 5- and 10-year plans. I believe that is how I can contribute the most. It's just unfair to work with a person so sporatically, when I'm out of town so much. Perhaps that will change at some point. But I don't know if I have the patience to work with the voice week in and week out! The voice develops slowly, and I know I'm a demanding person of other artists. I don't think too many people could handle that. With consultations, I see them once and then they can take my advice and do whatever with it over the next year or so. Well, I've got to get back to these websites if I'm
going to be launching operahouse2000 by April. I also have a few more
video and audio cliips to be loaded, if I'm going to have my target
of 50! ________ Send Linda Maguire your questions by e-mail,
and they will be answered in this section. |
||||||||||||||||||||
|
|
||||||||||||||||||||
 |
|||||||||||||||||||||
|
|
||||||||||||||||||||
 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|