RoRo

I remember my first audition for Maestro Conlon back in spring 2010, where I originally auditioned for the part of Monsieur Triquet in Onegin. I was asked to sing a total of FOUR arias (Triquet’s, Tanzmeister’s, Beppe’s and Mime’s opening in Siegfried), while standing on a very raked stage where the Ring cycle was being rehearsed in Los Angeles. Of course, I was extremely nervous singing for such a huge figure in the music business, but his accommodating and embracing presence made it easy for me to make one of the most important and RELAXING auditions of my life.

Like all established and experienced great conductors in the business, Maestro Conlon is very exact in his vision of the opera he works in, both musically and artistically. In addition, he understands the individuality of each singer and his/her aesthetic, ability and capability, which makes it easy for us, singers, to apply and convey the consummation of our own interpretation and Maestro’s, producing the best possible performance any audience can hope for and deserves.

In addition to the musical side of my Ravinia experience, the artistic and administrative can hardly be ignored. This company has, from the beginning, been very accommodating and generous.

I will never get tired of getting involved with the Ravinia Festival. Nothing beats Midwest Hospitality; well, MAYbe Southern hospitality, but it’s pretty close.

Watch out for possibly another blog regarding the rehearsal process of both Magic Flute and Idomeneo, as well as another one leading up to the performances.

Ciao for now.

(PS. My successful audition for Maestro Conlon in early 2010 also sprung an LA Opera debut as Goro in Madama Butterfly, and later as Spoletta in Tosca this coming 2012-2013 season.)

RORO

First of all, I am a big fan of the 80s, and Tom Jones. My showstopping songs are Delilah, I Who Have Nothing, Green Green Grass of Home, all by Tom Jones. I also sing current mainstream songs. My signature songs are Lady Gaga’s Bad Romance, Adele’s Rolling In The Deep, Cee Lo Green’s Forget You (aka F*** You), and Queen’s Bohemian Rhapsody. The 80s songs that I get into when I feel like it, totally warmed up (either through normal singing or booze – haha), are Air Supply, Bryan Adams, James Ingram, Jeffrey Osbourne, Billy Vera.

Now for those wondering if I ever tried out for American Idol (or something similiar), well, I almost did. In 2004, I got into the finals of the Ryan Opera Center Finals (that time was formerly called Lyric Opera Center for American Artists). I told myself that if I didn’t get into the program, I will go to Las Vegas from Los Angeles (where I live prior), and audition for American Idol (since this was the first year they extended the age limit to 29), and I WAS 29 at that time. Fortunately enough, I got into the Ryan Opera Center, and kept my promise to myself and didn’t audition. It was the best decision I’ve ever made, as Lyric Opera of Chicago has honed me to who I am as a performer today. (Thank you, Gianna Rolandi and David Cangelosi.)

Now sometimes you hear about these karaoke contests in bars and clubs. Now I believe EVERYONE is eligible to compete. Sometimes I bump into people and they say I can’t compete because I’m an opera singer. Then I tell them that NOT ALL OPERA SINGERS KNOW HOW TO SING KARAOKE, let alone non-classical music. Some of them don’t even know how to interpret musical theater songs (old-school or new-school). Even though I was a pop singer before switching to opera as a career, I still meet AWESOME great singers who don’t sing for a living: chefs, nurses, retail, etc. Some people are just born with GREAT TECHNIQUE without lessons. Of course I don’t believe in singers saying “I didn’t have training.” Technically, they should say, “I didn’t have FORMAL training.” As humans we are able to mimic, some better than others. If you’re a good mimic and good retention, in theory (in my opinion), listening to a recording and repeatedly imitating how they sing IS some kind of training.

If you have any questions at all or want me to further discuss anything operatic or non-operatic, shoot me an email.

Thanks for taking the time to read my blog.

AUF WIEDERSEH’N!

I don’t want to treat my blog as a diary, so I’ll try my best not to be autobiographical. It was a somewhat filled 2010-2011 season. Really, the only two operas I did were Madama Butterfly (Fall 2010) and Ariadne auf Naxos (Spring 2011), all with Houston Grand Opera. Not only was it an honor, but also a GREAT privilege to work with such a caring company. In addition, I have made so many friends outside of the opera house: the diverse people of Houston, from all “works” of life. When not singing with the company, I have had the pleasure of getting involved with the karaoke scene in Houston, and was fortunate to get to know Tye Blue (karaoke host at F-Bar, and former host of JRs), as well as Olivia and Josh (karaoke hosts of Guava Lamp). One thing people need to know about karaoke is it’s not always about singing well and singing in tune: it’s about people getting up on stage, throwing their cares away, and just enjoying singing with their hearts and souls. I get to know people by seeing how they express their singing, and not its technicality. As an artist, I even get to learn from them, and sometimes those qualities to help with my characterization on stage. For me, you learn good artistry not exclusively from great actors, but real people. And it doesn’t hurt when their inebriated, as their inhibitions go down, and you get to see their real selves on stage.

This summer, I will be singing Spoletta in Tosca opposite Patricia Racette (Tosca), Bryn Terfel (Scarpia) and Salvatore Licitra (Cavaradossi) with Ravinia Festival, conducted by James Conlon. I have worked with Pat a few times – The Letter/Santa Fe Opera, Madama Butterfly/Lyric Opera of Chicago, Dialogues des Carmelites/Lyric Opera of Chicago, and can NOT wait to see and work with her again. While working in 2009-2010 season at the Met, I had the great experience of seeing BOTH Pat and Bryn in Tosca, and am VERY excited to be part of this Ravinia Festival offering.

Once rehearsal starts for Tosca (last week of July), I will do my best to blog about it. Come back soon.

And stay tuned for Rodell’s upcoming performances!

Hope to see you there.

Dates:
April  29, 2011
May 1 (mat), 4, 7 and 10, 2011

Venue:
Houston Grand Opera

Role:
Tanzmeister

Dates:
October 22, 24 (mat) and 30, 2010
November 2 and 5, 2010

Venue:
Houston Grand Opera

Role:
Goro

Now it’s time for me to get back in the saddle. After the concert this weekend (see ENGAGEMENTS), I finish working on “The Letter,” which will be premiering this July at Santa Fe Opera. (I miss my loved ones back in Chicago: Steven, Sal and JB.)

I’ll do my best to document my Santa Fe experience. Ciao for now.