Вот автобиография, написанная собственноручно Дженнифер Лармор. Очень интересный и, скорее всего, очень полезный текст!

Making Career Moves by Jennifer

In the early eighty's as I was beginning my career, I was living in Northern Virginia. In spite of many recommendations to the contrary, I never felt it was a requirement to live in New York City, particularly in light of the fact that I wasn't singing anywhere in New York on a regular basis. In the "old days" if you wanted an operatic career, New York was the only option. Now, companies span the continent, and with the advent of modern, relatively inexpensive flight, access to any major airport will suffice to take you anywhere else in a minimum of time. (Depending on conditions, I can get to NYC from Chicago in less time than it takes a colleague who lives in the Hamptons and is stuck in traffic on the Long Island Expressway).

My European career began almost as a "fluke"-- even before I had found management for myself. I had accompanied my husband -- Bass-Baritone William Powers--to New York City for an audition in October of 1985. Bill's management, Courtney Artists, had arranged for him to be heard in a "multiple audition"-- that's when several companies will sit in on the same hearing. These occasions are wonderful in that you are getting multiple use/possibility out of the same expenditure. Bill asked his agent if, at the end of the audition period, I might be heard as well. His agent said, "If there's a cancellation and any time exists, why not?" That is precisely what happened…somebody cancelled and a few moments remained at the end of the agency's time block. I was both thrilled and terrified when Mrs. Courtney said, "Go out there , Jennie -it's your five minutes!"

The outcome of that audition has become part of the Jennifer Larmore story. Ultimately, the two provincial American companies rejected me flat out, as I was pronounced, not only, " too young, but lacking in experience." The third company-Nice, France-offered me seven leading roles over the next three seasons. Strange how lives often turn on a single event. Weather or not I realized it at the time, this was my big break that lead to the possibilities of further artistic development and a big-time career. Does luck play a part? You bet! What is luck? That's when "opportunity and preparation collide"!

We can now laugh at those 2 provincial companies who turned me down, but in fairness, they obviously had their reasons for their decision. At the very least, it points out that no two people hear the same thing in the same way, and presents a wonderful argument for persisting no matter how often you think you are rejected.

My husband has always told me that it is simply a matter of numbers, and that a good singer can expect to land ten percent of the auditions he sings for. Therefore, in order to get three or four decent roles a year, one has to sing thirty or forty auditions and not be discouraged by the thirty-seven refusals. This is something of an exaggeration, but at least it helps to keep things in perspective. I wish to suggest to young singers that they don't lose focus or belief in themselves or their talent. They are going to hear criticism from zillions of "experts". When it gets right down to it, you've got to believe in yourself with an unfailing conviction.

Without a doubt the best decision ever thrust upon me by fate was to go to Europe. That is where the art form was born. Europe is where a young singer can learn the languages that are imperative to be successful. We always joke by saying, "Europeans don't play baseball and Americans don't sing opera". There's a great deal of truth in this joke…if you aspire to have an operatic career, you must go to where they "play" opera on a regular basis, or you will never become anything but a periphery player.

The path that took me to France for those first productions in Nice, brought me to the attention of many other opera companies and forced me to learn several new roles every season. In my first five years abroad, I learned and performed forty operas! This was an invaluable experience, because without being required to learn these roles for scheduled performances, I would never have had the fortitude to just learn all that repertoire… one just doesn't go to a studio every day and learn forty roles! Without a "carrot", there's no point to the chase!

In my nine years of constant work in European houses, I learned what was good and healthy for me to sing, but more importantly, I learned what I should not sing. I honed my languages and stagecraft. While we have some of the most wonderful opera companies in America, they are hardly ever willing to give a young unknown a chance to do a leading role. In Europe, where there are ten times more opera companies--each with a complete ten- month season, there is just that much more opportunity for a young artist to gain his or her experience. Looking back, I am so glad that I had this European exposure; without it, I would not be where I am today.
In the beginning, when you're doing auditions and basically feeling
insecure, the last thing you need or want is for someone to throw
discouragement in your face. I sang several competitions as a young singer, and although many judges and other people involved with these competitions told me they thought I was the best singer that evening, I still didn't win.

In addition, I was given some of the most amazing reasons by the judges. One told me that I was going to have a great career anyway, so I really didn't need the prize! Another told me that he was afraid to give me a prize because I was too pretty, and people would have thought I won because of my appearance. Again, right before I walked on to sing in a prestigious East Coast competition, one of the judges told me that I had no business being there because I was too young. It shook my confidence, but I still won third prize. I was told by a well-known opera director that I would never be able to make a career because I had a fast vibrato!

…the struggles of a young singer
In the beginning, when you're doing auditions and basically feeling insecure, the last thing you need or want is for someone to throw discouragement in your face. I sang several competitions as a young singer, and although many judges and other people involved with these competitions told me they thought I was the best singer that evening, I still didn't win.

In addition, I was given some of the most amazing reasons by the judges. One told me that I was going to have a great career anyway, so I really didn't need the prize! Another told me that he was afraid to give me a prize because I was too pretty, and people would have thought I won because of my appearance. Again, right before I walked on to sing in a prestigious East Coast competition, one of the judges told me that I had no business being there because I was too young. It shook my confidence, but I still won third prize. I was told by a well-known opera director that I would never be able to make a career because I had a fast vibrato!

…being married to a singer
When people find out that I am married to another singer and have been for 18 years, they invariably exclaim, "Considering your incredibly intense schedule, when do the two of you see each other, and how do you make your marriage work?" The answer is just that: I am married to another singer, someone who understands just how dedicated you must be and the incredible demands such a career places on an artist. There is no question that sacrifices have to be made by both of us, and ground rules laid down. For example, we try never to be separated for more than four weeks at a time. We make efforts to join each other even if it means flying across the ocean to catch the other one's performance. And we put no restrictions on telephone calls, speaking often four and five times a day even internationally. We strive to be incredibly "adult" in shoving petty jealousies and confinements aside. We take great pride in each other's successes, most often more so than in our own.

We strive always to see the big picture ahead of daily needs and wants. We see ourselves as being in it for the long run, and attempt to live our lives in a way that fulfills that dream. We have our failings, just like anyone else, but the bottom line is that we love each other, respect each other's needs, and are the best of friends. One's success is the other's.

Rather than looking on the down side of the business, we consider ourselves incredibly fortunate.

Источник:
http://www.jenniferlarmore.com/Jennifer_La...nifer%20picture

Отредактировано Alfredo Germont (2006-06-18 12:42:11)