Working As A Collaborative Pianist

Working with singers and their arias means I have to also study what they are saying when they sing.
Lots of Italian to Japanese translation.

I am playing a concert in New York later this year where I will be the collaborative artist for two singers, in addition to my solo pieces.  One singer is performing “Casta diva” from Bellini’s Norma, and the bass is singing “Come dal ciel precipita” from Verdi’s Macbeth. I had my first coaching session with Barry Alexander, an opera singer, a few days ago.  He is helping me to better understand what is needed in order to be an effective collaborative artist which made me aware of quite a number of things I had not considered earlier.

First of all, playing for a singer is not like playing chamber music, or being a soloist with an orchestra.  The pianist playing for a singer is the orchestra, and it is important to focus on everything the singer is doing, and even more importantly, when they are doing it.  For any collaborative pianist who is playing for a singer, the most important thing is to try and watch everything the singer is doing, while anticipating their next note.  That is why I think it is important to memorize the score so that you are able to watch them all of the time, and sense what it is they will do next.  

I am very happy to be using the skills I am learning as a musician in order to perform as a collaborative artist, because I think understanding how to work with singers also helps a pianist better understand ensemble, how to focus, and also how to anticipate what is needed to make sure a performance goes smoothly.

I am also noticing that the line of the vocal score for both arias matches what the piano is playing exactly, so I must also make very sure I am paying attention to the singer at all times in order to make sure I am with them at every point.  It is a challenge, certainly, but it is one I’m happy to accept.