Northwest Boychoir

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Visit the Northwest Boychoir website at NorthwestChoirs.org

I was a soprano in the Northwest Boychoir from 1976-1980 under directors George Fiore and Steve Stevens. It is still the most formative musical experience I have ever had. It was intense, disciplined and grueling. I cannot even imagine what music would be to me if I had not had that training. If any boys in the Seattle area have a passion for singing I strongly recommend you check out the Northwest Boychoirs.

With the NWBC I started out in their training choir with the single minded goal of making their top touring choir. For those in the training choir it was our biggest dream. The day I made it into the touring choir was one of the proudest of my life. In the last year I was with them they started a “Choirboy of the Year” award and I won it the first year. I was very proud of that. Actually, I still am.

The NWBC opened doors for me to sing with Seattle Opera. I got to sing in the selected boys’ chorus with Seattle Opera at the Opera House in Carmen, Boris Gudunov and Tosca. Archie Drake, longtime bass with Seattle Opera, would always take us under his wing. And at one point the Seattle Symphony conductor’s son was in our choir as well.

One of my favorite moments was when Seattle Opera came to a NWBC rehearsal to audition boys for their production of Amahl and the Night Visitors. The choir director, Steve Stevens, called out several boys from the rehearsal to go audition in the other room with Seattle Opera. I watched them all go, very sad because he had not picked me. Then he said, “Ok, if any one else feels they want to audition they can go try.” I still remember being embarrassed as I stood up to give it a try, and getting “the look” – the look of “Oh man, you’re not serious are you?”.

Well the good part of the story is I got the role for Amahl that year. I split performances with another boy soprano named Brice York. The day the Seattle Times did their reviews on the show was the day Brice performed, so I didn’t get a write up. But I got to work with Archie Drake and Shirley Harman (Seattle area icons in Opera) and that was AWESOME.

I always remember that too. What if I hadn’t walked up and given it a try? I’m thankful Steve Stevens opened it up for anyone to try. I would have never entered the audition if he hadn’t opened it up. My voice started to change at the end of the Amahl run – it was my last heyday of being a boy soprano. The last time I would ever have that full control of my voice that had been so keenly honed with NWBC. The voice change was a slow and tramautic experience – a deep loss that every boychoir singer goes through.

My Mom still plays the recording of my Amahl performance. We went to see a production of Amahl together last year and I prepped her beforehand saying “You know, we have great memories of me doing the show, but times change and this boy will probably humble my performance.” After seeing the show I feel really good about my work back then. For almost 30 years I’ve felt I could have done better. And now I know that I really kicked butt back then. 🙂

With NWBC I also got the chance to tour with them in Europe and sing A Capella sacred music at Westminster Chapel, Notre Dame Cathedral, the Cathedral of Chartres and the Llangollen Music Festival in Wales. I’m on their first pop album they recorded and think that I hold the distinction of being the only boy in the choir that didn’t get a solo bit on the album. Kind of funny.

You get teased mercilessly when you’re a boy soprano. Especially when I would return to school and still had some makeup left on from a Seattle Opera performance. Kids are mean. If you want to see me go from Happy to a Raging Monster in two seconds, try making fun of a boy soprano when both of us are in the room. Me and my home boys stick together.

I remember being in college at a party and running into one my boychoir mates Stephen Shelver. He was the top dog when I was in the choir – the one that would get all the full solos when we sang with the Seattle Symphony, et al. He was so glad to see me and we talked for hours about the boychoir experience. It is so unique. I have never talked to him since then, over twenty years ago, and wonder if he still feels that strongly about what it taught us. I know I do.

ATTENTION RICH PEOPLE: If you have a ton of money and don’t know what to do with it, please consider giving some to the Northwest Boychoir. They are a top notch group.

🙂

ABOUT THE NORTHWEST BOYS CHOIR
Pacific Northwest’s Premier Choir for Young Singers

The Northwest Boychoir’s musical sophistication and rich tonal quality have established its reputation as one of the nation’s premier boychoirs. Its 45 members, ages 10 to 14, come from all corners of the Greater Seattle area representing 26 diverse public and private schools. Northwest Boychoir members are skilled musicians with a passion for the musical arts, and a unique ability to perform great choral literature and contemporary works at the highest professional levels.

In its 33 years, the Northwest Boychoir has trained thousands of young singers, and more significantly, shaped the lives of its members by instilling important lessons in personal commitment, and the value of teamwork and diligence. Led by Joseph Crnko, now in his 23rd year as music director, Northwest Boychoir members are skilled musicians who read music fluently and perform professionally with confidence.

Officially designated the “Singing Ambassadors” of Washington State by Governor Christine Gregoire, the Northwest Boychoir has performed around the world and throughout the United States. International tours have taken the Boychoir to France, Italy, Japan, Hong Kong, Australia, New Zealand, Canada and Mexico. National tours have led the boys throughout the US, with performances in St. John the Divine in New York, the National Cathedral in Washington, D.C., and the Baseball Hall of Fame in Cooperstown, N.Y. In July 2007, the Northwest Boychoir will undertake a concert tour of the West Coast of the United States.

The Northwest Boychoir is an essential part of the cultural fabric of the Puget Sound community. The Seattle Symphony leads a long list of professional arts groups that rely on the talents of the Boychoir. In June 2007, the Boychoir will join the Seattle Symphony to present Mahler’s Symphony No. 3. Then in July 2007, the Boychoir again will take the stage with the Seattle Symphony to present the renowned choral masterpiece Carmina Burana.

A highly successful 2006 performance season was highlighted by the Boychoir’s participation in Music of Remembrance’s highly-praised production of Hans Krasa’s children’s opera Brundibár. In addition, the Boychoir celebrated Mozart’s 250th year with a March 2006 performance of Mozart’s Missa Brevis at the annual convention of the American Choral Director’s Association in Portland, Oregon.

When soundtrack composers need the unique boychoir sound, they often turn to the Northwest Boychoir whose professional talents are featured on films such as the acclaimed Millions. The choir is featured prominently on the soundtrack for Sea World Florida’s spectacular show, Blue Horizons. Among its accomplishments is the Choir’s selection by renowned Sound Designer Nick Phoenix to be recorded for his Quantum Leap Symphonic Choirs sample library. The voices of the Northwest Boychoir are now used by film composers and sound designers worldwide.

The Northwest Boychoir has produced four holiday recordings, the most recent ‘Tis the Season. In addition to its own recordings, the Boychoir is featured with members of the Seattle Symphony on the new 2006 recording of Brundibár (Naxos) and on international opera star Carl Tanner’s 2006 holiday recording, Hear the Angels Sing (Sony Classical).

Brigadoon 2007 – Lyric Light Opera of the Northwest

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Brigadoon opens again July 7-9 and 14-16 at the Kirkland Performance Center, Kirkland, WA.
Previously Brigadoon had opened July 13, 2007 for a three week run at McIntyre Hall, Mount Vernon, WA. Click the Brigadoon poster for full size image. July 13-15, 20-22, 27-29 2007 (Fri-Sat-Sun). Conrad Askland will be conducting a fine orchestra for this show – hope you can make it.

FEATURED LEADS:
Troy Wageman (5th Avenue Theater)
Megan Chenovick (Skagit Opera)
Tim Glynn (5th Avenue Theater)
Jeanette D’Armand (5th Avenue Theater)
Kevin Pitman (Village Theater)

Getting the Callback – Theater Auditions

“I GOT A CALLBACK WITH 5th AVENUE!”. Actually she told me the news very calmly. I was the one who was so excited for her.

Up here in the Seattle theater scene and Skagit County in Washington – 5th Avenue theater in Seattle is the first major break. It’s that first line you can put on your resume that says “Yes, other people think I’m good too.” It’s validation and the richest of mana for aspiring thespians.

You start with your local school and college shows and venture into community theater. Then you get your first supporting role in community theater – and THAT’S exciting because they cast you for talent and potential, not because you’re paying to be in a class.

Then you get your first lead role in community theater – you’re excited and you give it your all. But it’s all done with the expectation of where you can go next. Sure, you’re doing community theater now – but is it good enough to go pro?

In the Seattle and Skagit areas in Washington the next step is groups like Village Theater. They are the in-between stop between community theater and 5th Avenue. Community theater strives to be as good as Village Theater, and Village Theater strives to be as good as 5th Avenue (that’s my theory anyway).

So you’ve moved up the ranks and got some gigs from Village Theater, everyone knows you have 5th Avenue on your radar. If you’ve moved up as far as a lead role with Village, you can’t HELP but want to break on through to the Fifth.

Back to my friend. She is a well known talent up here in Skagit County – EVERYONE knows her. I have never heard a single criticism of her acting – she is creme de la creme. And here’s what I like about her best: I’ve seen her in several community theater shows and she always gives her best. Deep analyzation and development of a three dimensional character. She knows her motivations at every single moment AND she knows how to lay back and let others shine when it’s not her moment.

When I first saw her perform a couple years ago I thought: “Why is she still doing community theater? She should be pro.” And that’s where we come to the actual point of this post.

I see people in community theater who have aspirations of moving up, but they give lame performances. Their attitude of “this is only community theater, I’m better than this” is so glaring, I cannot fathom how they expect to move on. A better attitude I think would be to say “I’m going to use community theater to develop my chops, until I am so good it is inconceivable that I could only do this.”

You need to be such a big fish in your pond, that the laws of physics command you out. And I don’t think it helps to be a big fish by having an attitude about your current pond.

Several months ago I had someone say to me, “Well, I won’t take a role unless it’s a lead role. It’s a waste of my time.” This was a person who is doing community theater, but has aspirations of moving up to the 5th. What made me sad was, they’re not ready. They have talent, I like them, they are cool – but they need some more development time. I watched them give a half-assed presentation of a role because it wasn’t big enough for them. It made me sad. That same experience could have been transformed into developing their chops.

My next point. Sometimes, actually many times, people have said to me things like “Thanks for lowering your bar to be part of community theater” or “It must be frustrating working with amateurs.” NOT TRUE. Those comments don’t even make sense to me; those comments are non-sequitur. Now I will admit that I have been slowly understanding the slower pace of community theater rehearsals (Yes, that can be a little frustrating sometimes) – but as long as everyone is giving their best, I have no complaints. (But people that have worked with me know I have MANY pointed and sharp criticisms in store for those that do not give their best.)

If you step from professional jobs into community theater without being kind to those around you, it is the kiss of death. In the trajectory of a career in the arts you will have the super cool jobs, the “resume jobs” and you will also have the not-so-impressive jobs. That doesn’t mean they have to be any less rich or any less in gaining experience.

I owe community theater a lot. It’s a training ground for all of us. Most of the things I have learned in community theater are not the lessons I had anticipated. They are lessons about relationships, being cool when the pressure hits and getting a feel for how hard you can push the envelope.

“Nice post Conrad, but my director doesn’t know what he/she is doing.” Know what? Not your call. ALL directors drive you crazy. They have the artistic vision, and often it’s going to be different than your own. That’s the hard part.

My friend understands this. And I really hope that at her callbacks she wows them and gets a role. And you know what, if she doesn’t; she’ll get one eventually. WHY? Because she uses every single opportunity to develop her craft. While others approach the craft in a pedestrian fashion, she is creating art. Good for her, bad for them.

If the term “it’s just community theater” is in your vocabulary – I would encourage you to rethink that. Your current role in theater is part of your journey. If you think it’s beneath you, then you shouldn’t be there. Whether it’s “beneath you” or not all depends on what you want to take from it.

Address to Emerging Artists – Is Rap Valid Music?

http://www.zoominfo.com/search/PersonDetail.aspx?PersonID=2835876

I fell upon this link and am in awe of your bio. I love that you are passionate about us here at Rapdogs.com. As someone who loves music from the smallest seed of its creation…I find that sometimes those with such experience as yourself do not consider “us” (emcees, turntabilists, beat miners) as real musicians.

I think what i want to say is…reading this bio made me realize that a passionate and genuis voice like yours is a blessing to have behind us. That ..the fact that you run this for us and recognize our importance in music history is just really nifty.

no suck up intended…just being real.

meg

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Sweet! (Meg is our leading “femcee” commentator and article writer for RapDogs and very involved in the Northeast Canadian music scene).

RapDogs.com is actually my offering and begging for forgiveness of two errors in judgement I have made in my life. The first was back in 1984. I was 18. My best friend Jerome and I were in Denny’s after a night of clubbing. He told me that rap was the next major audio art form and was here to stay. At the time Sir Mixalot was cutting edge and rap was just starting to emerge in the dance clubs in Renton, WA. Being so smart and knowing everything, I told Jerome that “people won’t even know what rap is in two years. It’s a fad.” Kind of funny to think of that in retrospect. Since that time I’ve produced and mastered hundreds (probably over a thousand) of hip hop tracks and artist demos.

To me, hip hop is currently the leading edge genre for freedom of speech in the audio arts Most artists I have recorded take it VERY seriously – it is their high art. They do not approach it with a pedestrain attitude – their conviction is inspiring to me. As hip hop has matured, many artists are questioning and revisioning how hip hop can be used for a message that challenges and uplifts us. I like seeing that emerge.

Second mistake. It was 1987. I was 21. There I am playing a grand piano in a tux (all classical) and a lady comes up to say, “Can you play any Patsy Cline?” I was SO offended. I stopped playing, looked at her and said, “M’am, I play REAL MUSIC.” At the time I was totally serious. Country was not even considered music in my book. It was something people listened to because they were uncultured idiots that just didn’t know any better. Liking country music told me all I needed to know about someone. Well, after that I ended up playing on the Southern California country music circuit, grew to love country. Eventually even played on TV at the Grand ‘Ol Opry and was with Freddy Fender when he got his star on the Hollywood Walk of Fame (crossover artist: Country, Latino and Pop).

I’ve grown to love Country music – especially early country from the 1930’s to 1960’s. It’s a horrible thought to think I could have lived my life without knowing so many of the classic lyrics of country music.

So why do I write about hip hop and country in the same post? They have a very strong connection. Both styles are all about the story. The music is there to bolster what the lyrics have to say. Turning a clever phrase, finding a new way to express situations and thoughts that are universal – Country and Hip Hop share that lineage.

Those were two main paradigm shifts for me and my views of music. Now I feel that if someone doesn’t like a particular style of music, it might very well be that they just don’t understand it. Read that sentence again.

There is no shortage of people that are eager to tell us what is “real” art and what is not. Although their intention is to show how cultured they are, to me it is a sign they haven’t been around the block much.

So my message to emerging artists: Don’t make any calls on what is valid art and what is not. Do not make light of the styles that are not your own. Do your thing, push the envelope and don’t follow others down the path you’re “supposed” to take. Make your own way. Say what is on your heart, because it is YOURS to say.

I think you’ll find that if people have done a closed set of musical styles for most of their life, or make their living withing a closed genre – those are the ones that will be more likely to make derogatory comments on art styles outside their sphere of influence.

There’s no time for fellow artists to make calls on the validity of artist expression. There’s far too much work left to do…..