Decision
Just so you're not left wondering, here's the end of the Opera New Jersey story.
Utah Festival called Friday morning. Their offer was to cover (understudy) Dancaire in Carmen and to cover Lancelot in Camelot. I accepted. The fact that this gig pays and comes highly recommended by my friend Kari was the deciding factor.
I called Opera New Jersey and told the thank you very much, but I accepted another offer. He asked me what, so I told him. He replied, "Wait a minute. I thought part of the conversation we were having was about how you didn't want to do the character stuff anymore." I said that though we had indeed discussed that, but that UFOC's offer was better financially. He said, "Well, I can't begrudge anyone a decision based on money in these times, but I just hope you don't find yourself not getting hired for bigger things in three or four years." Ouch. "Well, best of luck, and I hope you sing for us again in the future." Sure, and I'll turn you down unless you offer me a paying festival artist position. I'm done singing for free.
His comment about the direction of my career really stung -- no singer wants to hear that their career path isn't good enough, and especially one who has issues with negative criticism! I agree that Dancaire and Lancelot aren't the same caliber of roles as Enrico. But I know I'll be happier in Utah, and certainly valued more.
The other thing I considered is this: if my voice is getting bigger, surely people will notice, and someone will hire me for bigger roles. I have good relations with several small companies now, so it's not like if I don't take ONJ's offer, I won't EVER sing bigger stuff; it may not happen soon, but I'm confident that if it's meant to happen, it will happen. And should that not happen, if I make a career singing Mozart and "crossover" stuff, is there anything wrong with that?
Utah Festival called Friday morning. Their offer was to cover (understudy) Dancaire in Carmen and to cover Lancelot in Camelot. I accepted. The fact that this gig pays and comes highly recommended by my friend Kari was the deciding factor.
I called Opera New Jersey and told the thank you very much, but I accepted another offer. He asked me what, so I told him. He replied, "Wait a minute. I thought part of the conversation we were having was about how you didn't want to do the character stuff anymore." I said that though we had indeed discussed that, but that UFOC's offer was better financially. He said, "Well, I can't begrudge anyone a decision based on money in these times, but I just hope you don't find yourself not getting hired for bigger things in three or four years." Ouch. "Well, best of luck, and I hope you sing for us again in the future." Sure, and I'll turn you down unless you offer me a paying festival artist position. I'm done singing for free.
His comment about the direction of my career really stung -- no singer wants to hear that their career path isn't good enough, and especially one who has issues with negative criticism! I agree that Dancaire and Lancelot aren't the same caliber of roles as Enrico. But I know I'll be happier in Utah, and certainly valued more.
The other thing I considered is this: if my voice is getting bigger, surely people will notice, and someone will hire me for bigger roles. I have good relations with several small companies now, so it's not like if I don't take ONJ's offer, I won't EVER sing bigger stuff; it may not happen soon, but I'm confident that if it's meant to happen, it will happen. And should that not happen, if I make a career singing Mozart and "crossover" stuff, is there anything wrong with that?