Spotlight on Caren Levine
Part of the Life of the Opera Pianist series
General Information
Education
The Lindemann Young Artist Program at The Metropolitan Opera
MM, The Juilliard School
BM, Peabody Conservatory of Music
Current opera house and position(s)
The Metropolitan Opera, Assistant Conductor/Prompter
Vero Beach Opera, Music Director
Other or former affiliations
Florida Grand Opera, guest vocal coach and conductor
Miami Music Festival, former head of music staff
Cleveland Institute of Music, former visiting instructor
Connect
www.carenlevine.com
11 Questions
Many people do not know the many roles and responsibilities a répétiteur has in the opera house. How do you explain your job to non-musicians, or even other musicians?
As as prompter, I am the voice of respect towards a composer’s score as well as the voice of the conductor’s vision of an operatic score. In a staging rehearsal, I sit to the right of the conductor, offering verbal and physical cues to help the singers respect the score and maintain their connection with the conductor’s intentions. The prompt box is located center stage, around 10 feet in front of the conductor’s podium at the lip of the stage. The prompter is the first set of eyes a performer sees on stage, which is why it is most important for a prompter to create of Gibraltar rock of support and trust with each artist on stage.
What do you find to be one of the most challenging aspects of your job?
Live theater presents many challenges because you never know when an artist might need your help in the middle of a performance. I build trust and understanding of each member of a cast during staging rehearsals, but in a live performance, anything can happen. I always memorize my scores when I prompt an opera so I am certain my eyes are always on the stage, ready in a moment’s notice to help an artist through their performance.
Do you have a favorite part of the preparation (rehearsal or learning an opera) process?
If so, what is it and why?
My most favorite part of preparation are staging rehearsals. I love the process of putting an opera on its feet, seeing an artist dig deep into their role they will sing on stage, feeling an energy in a rehearsal room where the entire cast is growing together like a family. My specialty is contemporary opera, and I get the honor of working with living composers who premiere their operas at The Metropolitan Opera. There is nothing more exciting than working with a composer, conductor, stage director and cast creating a premiere of an opera.
What is your favorite opera?
One of my most favorite operas is Benjamin Britten’s Turn of the Screw. The intimacy of a chamber orchestra, the darkness and multi-layered libretto truly resounds for me. It was also the very first opera I conducted, and one that will always hold a special place in my heart.
What is your favorite opera score to play and why?
My most favorite opera score to play is Il Barbiere di Siviglia. I love playing recitatives, I have fond memories of this opera, and I do enjoy a good comic opera since most contemporary operas are not in the comedy genre.
What are some adjectives that describe the skills one needs to be a good répétiteur?
I do believe a good répétiteur needs to have a very quick mind, sharp focus, incredibly strong work ethic, a love for languages, ability to ‘read a room’ and not be a hindrance in the rehearsal process, and most importantly a love for singers and the human voice.
As a répétiteur, we are expected to prepare music quickly (sometimes having to sightread or transpose or play music from the orchestra full score), manage multiple opera productions at the same time, play rehearsals for last minute cast changes, conduct last minute rehearsals or performances and sometimes even sing roles in these rehearsals or performances. Do you have any advice on how to deal with the excitement of the job
My advice is to learn Yoga and meditation. It is important to keep balance in your life, especially for those who work in a theater. Many days, you enter the theater early in the morning and do not leave until late at night. The physical and mental strength needed to not only survive but thrive in that environment is mind-boggling.
We also wear many hats as a répétiteur. We are often asked to assist conductors by taking notes, provide backstage conducting for performances, prompt the singers, conduct staging rehearsals, accompany chorus rehearsals, manage sound effects or major musical cues for performances, perform a keyboard instrument (or two) in the orchestra pit and give notes to singers about language and diction. Do you have a favorite aspect of the career? Have you branched out in other directions related to our field?
I have made the leap into conducting, a decision I made in my early 40’s. I started in a very safe, supportive environment at the Miami Music Festival, where I served as Head of Music Staff. I now am Music Director at Vero Beach Opera, where I have the opportunity conduct at a company that affords me to work with some of my dearest colleagues.
What was your first experience as a répétiteur?
One of my first experiences as a répétiteur was at the Berkshire Opera Company working with Joel Revzen and Stephanie Blythe on Handel’s Semele. I loved playing recitatives, the freedom of improvising at the harpsichord was exhilarating, and the joy I felt putting an opera together with such a loving and supportive conductor truly started me on this journey.
How do you manage playing an opera (or opera aria) for the nth time?
I always find something new or interesting when revisiting a score, whether it be a curious instrumentation in the orchestra, a new way to shape a phrase, or a singer who interprets the role in a different fashion compared to previous colleagues.
Curtain call of Matt Aucoin’s Eurydice with Yannick Nezet-Seguin
Do you have any advice for pianists interested in a career at an opera house?
Navigating a career in an opera theater can seem daunting and overwhelming. My greatest advice is nobody needs to know everything on day one. It is a long career, and very Darwinistic: Survival of the fittest reigns supreme. Surround yourself with supportive, loving friends and family. Build your entourage of colleagues who encourage and respect you. Without that, this is an impossible career.
WATCH AND LISTEN…
Behind the Scenes of Akhnaten by Philip Glass at The Metropolitan Opera. See Caren in action ca 5:30
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