By Cris Franco
Every Monday night Esteban Pérez, Mauricio Palma ll, Martín Olvera and Sarah Salazar join the over 50 members of Los Angeles’s very diverse Verdi Chorus, dedicated to presenting opera’s dramatic choral pieces. This broad collection includes singers of all ethnic backgrounds and of greatly varying ages (from 18 to 80!), who come from a variety of professions, and yet have one thing in common: the desire to sing side by side each week and delve into the rich, dramatic world of opera.
The material attracts large voices with a deep regard for the genre. Proud of his Mexican parentage, first tenor Martín Olvera believes that la cultura plays a part in his musical passions, saying, “The canción ranchera derives in great part from opera’s bel canto tradition. Mariachi repertoire is varied and there is much crossover, so legato singing that encompasses all the vocal colors from a full voice to a soft head voice is idiomatic in both the passionate ranchera and operatic traditions.”
Baritone, Mauricio Alfredo Palma II concurred that his Costa Rican roots also contributes to his musicality, “To understand a certain culture you have to appreciate theirmusic. Me being of a particular Spanish American culture, not only do I appreciate all music pertaining to the Latin tradition, I also extend and immerse myself into Italian opera because I want to understand the Italian lifestyle captured through music.”
Anne Marie Ketchum
All the Verdi choristers expressed the same personal connection to their art. And all expressed a resounding appreciation for the person who brought them all together: conductor/founder, Anne Marie Ketchum, whom I had the pleasure of interviewing.
Cris Franco: Anne Marie, for decades now you’ve guided the Verdi Chorus into being one of L.A.’s most distinguished vocal ensembles. What qualities do you look for in a singer?
Anne Marie Ketchum: Because I’m working on complex operatic compositions, I’m looking for musical abilities such as some sight reading and some ear training. And someone that I can work with, that wants to work for the same reasons I want to work for – the art and aesthetic of music, theater and poetry.
CF: Is a good choral singer different from a good soloist?
AMK: Definitely. A chorus member is someone who can vocally blend-in, not stick out, while holding their own singing part. Soloists need personality, to be self-sufficient in their own creativity. Comfortable solo in front of an audience. Because our repertoire is opera, we attract singers with large voices who don’t want to hold back, who might have trouble in other choirs because their instrument is too big. Plus, our singers need a certain theatricality because opera is theater.
CF: What traits should a good choral conductor possess?
AMK: You have to be an excellent musician and a psychologist. Understand how people learn and think so you can communicate the spirit you want to bring out in the music in a way that the chorus understands it. Plus, you have to know how to control large groups. Sometimes it’s a little like herding cats trying to inspire, focus and excite them during your very limited rehearsal time. A conductor also has to demonstrate what you want physically – not just through words. Your facial expressions, your hand gestures – it’s a lot of non-verbal communication.
CF: What’s the greatest challenge about coordinating so many voices?
AMK: The logistics. Can they see me? How are the room’s acoustics? Can they hear each other? Is the AC working? When those things don’t work nobody can concentrate. I know it sounds really simple. But we’re all working really hard but if someone is too hot or can’t see the music because the room isn’t well lit enough – it’s not good.
CF: What is your audition and rehearsal process like?
AMK: I have them sing a simple scale all the way up to the bottom of the scale to get their range. And generally, I’ll give them a couple of suggestions to see if they’re open to direction. I play a melody and they sing it back. Then we do a little sight reading. It’s like a little voice lesson and once they’re in the chorus all their skills will improve and their voice will grow.
CF: Most of the Verdi Chorus’s members are not professional musicians. What do you think a non-professional singer brings to the music?
AMK: A lot. Life is stressful, and we all need to get back to our human center which is what the arts do for us. And often the non-professional singer who’s singing for the joy of it is able to tune into their human center quicker.
CF: I agree. Artists who are creating for the love of the project always bring a liberating spirit to their work. What is your favorite operatic choral selection?
AMK: Whatever I’m working on at the moment. Our upcoming program includes highlights from Mefistofele, Samson and Delilah, Aida and The Tales of Hoffmann— it’s hard to narrow it down.
CF: What advice do you have for those considering a career in classical music?
AMK: My immediate reaction is don’t do it. And my second answer is if you must, do it and go all the way. It’s a very hard life and there’s lots of competition with struggles and unless you become a very top star, the money isn’t all that great. But if it’s something you love, you’ll be happy because it’s a beautiful thing.
To see (and hear) Ms. Ketchum and the Verdi Chorus create a beautiful thing, go to the First United Methodist Church in Santa Monica, CA.
Performance times are Saturday, November 10th at 7:30 pm, and Sunday, November 11th at 2 pm. Tickets are available for purchase at www.verdichorus.org or by calling (800) 838-3006. Priority seating is available for $40, general admission is $30, seniors are $25, and students aged 25 and under with a valid ID are $10.
About Cris Franco: Cris Franco is a four-time Southern California Area Emmy Award-winning TV journalist.
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