{"id":788,"date":"2020-05-01T18:00:00","date_gmt":"2020-05-01T18:00:00","guid":{"rendered":"http:\/\/www.david-todd.co.uk\/?p=788"},"modified":"2020-10-17T11:05:39","modified_gmt":"2020-10-17T11:05:39","slug":"opera-with-a-hot-toddy-1","status":"publish","type":"post","link":"https:\/\/www.david-todd.co.uk\/?p=788","title":{"rendered":"Jared Ice ~ Baritone"},"content":{"rendered":"\n

Jared Ice is an American baritone, who worked for many opera houses in the US before moving to Germany, where he now has an active freelance singing career. He is also the founder and co-host of the popular podcast `Sex, Drugs and Opera\u00b4. <\/em><\/p>\n\n\n\n\n\n

You can find the German version of this interview here<\/a><\/em>.<\/p>\n\n\n\n

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\"Jared<\/figure>\n\n\n\n

Opera should always be serious, just how Hollywood films are serious. But there should always be an aspect of it that should be allowed to be ridiculous.<\/strong><\/p><\/blockquote>\n\n\n\n

 <\/p>\n

D: Ok, we\u2019re going to start with a quick-fire round of questions. Give me a song that would get you on the dance floor.<\/em><\/p>\n

 <\/p>\n

J: Oh man, that\u2019s gonna be anything by The Killers. Mr Brightside. <\/p>\n

 <\/p>\n

D: Your favourite instrument?<\/em><\/p>\n

 <\/p>\n

J: The piano or tuba. For years I played tuba.<\/p>\n

 <\/p>\n

D: Favourite opera?<\/em><\/p>\n

 <\/p>\n

J: Tosca<\/em>. There\u2019s no dead time, it just goes. Act 3 gets a bit slow, but especially Act 2 is just plot, plot, plot. Three characters and it has all the stuff that opera needs: intrigue, drama, love, violence, it\u2019s just packed. <\/p>\n

 <\/p>\n

D: Favourite production of an opera that you\u2019ve seen?<\/em><\/p>\n

 <\/p>\n

J: It was a long time ago, but I saw The Flying Dutchman<\/em> in Seattle, and Greer Grimsley was the bass baritone. It was just a huge ship on the stage, and they\u2019d built it so that the stage came outwards, It was just incredible with the spectacle with the music and Grimsley just being the stud that he is!  <\/p>\n

 <\/em><\/p>\n

D: Do you have a favourite production you were in?<\/em><\/p>\n

 <\/p>\n

J: Honestly it\u2019s not an opera, but when I was in South Carolina, we did a musical called Das Barbecu<\/em>. It was commissioned in Seattle and it\u2019s the story of Wagner\u2019s Ring but told as a country western style musical, so we all wore cowboy hats and I was Siegfried the cowboy. It was meant to be an outreach thing. It was just fun to do and people loved it; a fun show.<\/p>\n

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D: Favourite classical composer?<\/em><\/p>\n

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J: I would say Verdi. I can\u2019t separate myself too much from who the people were, and I respect a lot of things about Verdi\u2019s life, because that gets into the music and once you know it, you can\u2019t unhear it. But the guy could just do<\/em> it, he was able to catch moods in seconds, and when you look at it, it looks simple on the page, but when you hear it, it\u2019s effective. There\u2019s not a lot of fat on Verdi, and there\u2019s a lot of subtlety. <\/p>\n

 <\/p>\n

D: Most importantly, describe your Hot Toddy in three words!<\/em><\/p>\n

 <\/p>\n

J: I\u2019m gonna take another sip. Light! You know, I could drink that during the summer. Smooth. And I don\u2019t wanna say warm, so I\u2019m gonna say cosy! Smooth, light and cosy.<\/p>\n

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I never would have been happy with a \u2018what if\u2019 in my life, and Europe for a lot of musicians is the big \u2018what if\u2019. I wasn\u2019t gonna do that – I couldn\u2019t leave that stone unturned.<\/strong><\/p><\/blockquote>\n\n\n\n\n\n

\"Jared
Jared as Scarpia<\/em> in Puccini’s Tosca<\/em>. Photo by Uwe Hauth <\/figcaption><\/figure><\/div>\n\n\n\n

 <\/p>\n

D: You\u2019ve been living in Germany close to eight years now. Why originally did you move here? <\/em><\/p>\n

 <\/p>\n

J: I had finished my artist diploma and I was singing in the Northeast of the States, and I had nowhere to go. People had always talked about how Germany\u2019s the place to go for opera and I never had any fear of going places.<\/p>\n

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D: Had you travelled much internationally before that?<\/em><\/p>\n

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J: No. I just had an opportunity. I had sung for an agent in New York and she said \u2018Get some European experience. Go out there for two or three years, come back and let\u2019s hit the New York scene.\u2019 And I came, and then I just stayed, even though it was supposed to be temporary. I wanted to come and see it because everyone had talked about it like it was this magical place, but nobody was going there. I need to see things myself, so I went, and I liked it. I never would have been happy with a \u2018what if\u2019 in my life, and Europe for a lot of musicians is the big \u2018what if\u2019. I wasn\u2019t gonna do that – I couldn\u2019t leave that stone unturned. <\/p>\n

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D: So, it was more a general idea of the place than a specific reason?<\/em><\/p>\n

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J: I didn\u2019t have a job; I didn\u2019t have anything lined up. I just had an opening and some cash. I just wanted to do it and see.<\/p>\n

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D: Now you know the German and American opera scenes very well. What could the American scene learn from the German scene?<\/em><\/p>\n

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J: There\u2019s definitely a strength sometimes in doing more smaller level performances. In America, the theatres are nearly all for 3,000 people and either you have these huge productions or there\u2019s a piano in a bar, where you wear your own costumes. There was no middle. Also, in Germany their not afraid to try something. There\u2019s this support from the government so your money\u2019s safe and I think that\u2019s where it comes from. German houses aren\u2019t afraid to do something new with something old or to do a new piece, and America is a lot more about pleasing donors and the public, which might be because that\u2019s where the money comes from. So, if there was a way to make it more authentic than pandering, that would be a strength.<\/p>\n

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D: Do you get the sense that German audiences are more interested in \u2018out-there\u2019 pieces or productions?<\/em><\/p>\n

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J: They\u2019re open to it, to take it in. I think in America these things are happening but the new works in America often have to have some sort of social message attached to them, when in Germany it\u2019s more new works based on a book for example. I think a lot of things in America, artistic and political, come from funding, and if you want a chance of getting your work out there, you have to find a group that\u2019s going to invest in it. I think American thinking is also collective, where people think \u2018what does this belong to\u2019 for example, and German thinking is not so much like that. <\/p>\n

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D: What would you say to a young American singer thinking of moving to Europe?<\/em><\/p>\n

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J: Have a path, have a target, have a goal, but the more open you can be to the different ways a career can happen, then the more likely it\u2019s going to happen, and the more likely you\u2019ll be happy doing it. A lot of singers come over here and think \u2018I need a young artist programme, I need a Fest position in this Fach\u2019 and the more you can think, \u2018maybe chorus, maybe some musical stuff, maybe make my own project\u2019, you\u2019ll find your way, and you\u2019ll always be surprised how something that seems unrelated can lead you back to where you want to be. <\/p>\n

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D: I wanted to touch on Fest1<\/sup> positions versus being completely freelance. Do you think one is better than another, and what\u2019s your experience of them?<\/em><\/p>\n

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J: I\u2019ve worked mainly as a Guest in theatres over the last eight years. I had one experience where I was Fest and there\u2019s pros and cons. With the cancellations over the Coronavirus now, it\u2019s obviously a much better time to be Fest. I lost three shows this month, and that\u2019s quite a lot of money to lose on four days\u2019 notice. There\u2019s the money aspect of things, the health insurance side of things, and a lot of it is just your life and who you are as a person. I\u2019ve always enjoyed guesting because I\u2019m a project kind of guy, but I could imagine if I had a family, I would have to fill my time with being with them, so being Fest might be easier. It\u2019s more a matter of being open to both and seeing how your life fits. <\/p>\n

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D: Do you think there\u2019s an artistic difference between the two?<\/em><\/p>\n

 <\/em><\/p>\n

J: Yes. I find with Festing you\u2019re often overloaded. You\u2019re doing so much that you can\u2019t really dig into anything. You have lots of shows, so you build consistency and strength, and just by doing the shows you\u2019ll find the shades and colours, but it\u2019s often not as meditative as guesting lets you be, where you live with the piece for seven or eight months and have your own time to build the piece. <\/p>\n

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D: Do you find it hard to discipline yourself when you do have time off?<\/em><\/p>\n

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J: I find it easy because I\u2019ve found what works for me, but it\u2019s definitely harder because you have to manage your time and get it ready for day one [of rehearsals]. That\u2019s always a challenge. You have to be honest with your strengths and weaknesses and find what works for you. <\/p>\n

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\"Jared
Jared as Faal in A Bad Man’s Life<\/em>, a burlesque opera by Frank Matthus. Photo by Uwe Hauth<\/figcaption><\/figure><\/div>\n\n\n\n

 <\/p>\n

D: What are the biggest challenges of working as an opera singer in Germany?<\/em><\/p>\n

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J: I think it\u2019s like any job, where if you\u2019re, say, a police officer you don\u2019t realise how much paperwork you\u2019re doing. I think if you can act and sing you\u2019ll have a career; I\u2019ve seen very few people whose careers end because they can\u2019t act or sing well enough. The life of a musician is the hardest part. The realities of being an artist and having your livelihood coming from something that takes so much emotional energy and time only gets harder as you go on in life. You might have a family and kids, or in general there is a higher physical toll \u2013 I\u2019m 32 and I just feel that it\u2019s harder to do a show until 11pm and get up the next day for rehearsal these days. <\/p>\n

 <\/p>\n

It\u2019s not an easy way to make a living. Also, just the life; when I was younger and in a rock band it was really cool to be a musician, and I think a lot of musicians are dreamers \u2013 they want something bigger. But once you get into your 30\u2019s, your friends will get married, get jobs as bankers or consultants, buy houses, cars, or find investing opportunities, and you\u2019re still kind of just singing. I think it gets tough to find your path. If you have a family, you can miss a lot of things, or often you\u2019re just leaving your partner alone to watch Netflix every night. You\u2019re working Saturdays, Sundays and you reach a point where you realise that\u2019s not temporary. You don\u2019t get five days and then a weekend, and that wears on people. Another challenge is knowing when to say no. That\u2019s a hard thing to learn and I\u2019ve felt myself struggling with that. <\/p>\n

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D: So what\u2019s the other side to that, why do you keep doing it?<\/em><\/p>\n

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J: I have tried to give up a few times and I just can\u2019t! I would rather do this and have fewer of those other more materialistic things, and it\u2019s my life. I started doing it when I was five, and I have to do it. So for me it\u2019s not so much of a choice, and it\u2019s rewarding. When it\u2019s hard, it\u2019s hard, and when it\u2019s rewarding, it\u2019s extremely rewarding. And that spectrum is why I do it, because with most jobs the reward is at 20 per cent, and the hard is at negative 20. For us it\u2019s like 100-100.<\/p>\n

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D: I absolutely agree. Personally, I only need to have one of those very rewarding moments maybe every month, and it pays off the rest of the bad stuff. <\/em><\/p>\n

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J: Yeah. And I like to have ownership over what I\u2019ve created. I own what I\u2019ve done as a singer whereas when you work for a company you can become a pixel on a TV screen. I\u2019ve never been able to deal with that very well. <\/p>\n\n\n\n

The Magic Flute<\/em> is downright dirty and ridiculous sometimes…if you look at Mozart\u2019s Cosi Fan Tutte <\/em>or some Donizetti operas, they\u2019re like sitcoms, just missing a laugh track.<\/strong><\/p><\/blockquote>\n\n\n\n

D: Let\u2019s talk about the podcast. Along with tenor Michael Pegher, you run the really popular podcast \u2018Sex, Drugs and Opera\u2019. Why did you start it? <\/em><\/p>\n

 <\/p>\n

J: I started it because I remember way back in Seattle, when I was a young singer of 20 or 21, the director at the opera house, Speight Jenkins, was giving this talk, and he said \u2018one of the most tragic things is that some of the best voices in the world will never be heard, because they give up too early\u2019. Especially if you\u2019re a dramatic voice, you have to wait until you\u2019re 35 to start, for a lot of people. What do you do until you\u2019re 35? I sang my first Scarpia [in Puccini\u2019s Tosca<\/em>] when I was 26 which is way too young, and that was twelve shows with a full orchestra. After that I got asked to do Count Walter in Luisa Miller<\/em> in Germany, which is a big Verdi role. I was then getting asked to do bigger and bigger stuff earlier and earlier. I struggled, as mentioned earlier, with saying no, and my voice was beginning to change in a bad way. I thought, I\u2019ve got to fill my time with something that\u2019s creative and operatic, and I was 29 when I started the podcast. <\/p>\n

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I also didn\u2019t hear people talking about opera in the way I was at that time. Me and my friend group were talking about opera without any sort of posture, where we could just say \u2018that was fucking great\u2019, and that voice wasn\u2019t out there. I felt like it was important that it existed, however small or big it was. <\/p>\n

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D: Would you say it was a reaction to how opera can sometimes be too serious?<\/em><\/p>\n

 <\/p>\n

J: Yeah. Opera should always be serious, just how Hollywood films are serious. But there should always be an aspect of it that should be allowed to be ridiculous. The Magic Flute<\/em> is ridiculous sometimes, and people enjoy it. And there\u2019s commentary in Verdi about political figures, and now it has to be done in such a noble way. You can make a raunchy college film, a Will Ferrell movie, of an opera, you can do it. The Magic Flute<\/em> is downright dirty and ridiculous sometimes!<\/p>\n

 <\/em><\/p>\n

D: Tell us about the mini operas that you compose and produce as part of the podcast. I think they\u2019re really pioneering.<\/em><\/p>\n

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J: Everyone is doing such serious things now, but if you look at Mozart\u2019s Cosi Fan Tutte <\/em>or some Donizetti operas, they\u2019re like sitcoms, just missing a laugh track. I felt that nobody was writing stupid stuff that was orchestral and sung classically, but still silly, topical and relevant. I wanted to do that too, and all those things combined led me to create the mini operas as a platform for my creative impulses, wanting to get the voice out there, but also wanting to fill my time with a creative project where I could have control over how I was using my voice. <\/p>\n

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Our goal is to always have the English to be as close to how we talk, so we don\u2019t use singers\u2019 diction because we want it to be relatable. I think one of the most distancing things about an opera piece for someone who doesn\u2019t listen to it is that immediately the way they\u2019re singing has nothing to do with how we talk, this over-crispness of the language. The words we use also rarely rhyme, unless it\u2019s to make a joke, and they\u2019re supposed to be content for social media. An Instagram post is sixty seconds, so they are all fifty-nine seconds or less because that is the platform we want it to fit on in one take. They\u2019re meant to be operatic memes; you\u2019re supposed to immediately understand what it is. There\u2019s no hierarchy.<\/p>\n\n\n\n

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\"Jared
Jared with co-host of Sex, Drugs and Opera, Michael Pegher <\/figcaption><\/figure>\n\n\n\n

\u00a0<\/p>\n

D: And when you compose the music, is the story important for you?<\/em><\/p>\n

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J: The story is everything! I want to create a mood: is this funny, scary, sarcastic? And then I want the storytelling to happen. I want the operatic voice to be used, but then I want it to have room to function as it needs to. Sometimes the operatic voice needs precision or room, and so I try to give it a lot of room. I guess my style is either precision or dirty freedom, with not a lot in the middle!<\/p>\n

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D: Returning to you as a performer, what do you look for in a conductor?<\/em><\/p>\n

\u00a0<\/p>\n

J: Oh that\u2019s an interesting question! In a conductor, I don\u2019t like so much right and wrong, but more finding what works. The best conductors I\u2019ve worked with will ask for something and when I say \u2018I can do that, but it\u2019s not really working well\u2019, they\u2019ll immediately say \u2018let\u2019s try something else.\u2019 The conductors I like working with the most don\u2019t push their idea; they\u2019re open to collaborate. They\u2019ll push you to do something if they know you can do it, but they\u2019re not going to force you into a box, so if you\u2019re a low voice man and you don\u2019t have a good float, they\u2019re not going to force you to do it. Instead they\u2019ll find something that will communicate to the audience more, because the audience doesn’t know what it should be most of the time. Most of them are just going to get a sense of what\u2019s happening in the story.\u00a0<\/p>\n

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The best conductors\u2019 decisions are either emotionally based or musically based. They might say \u2018your rhythm has to be right here because we really need this to dance. It has to dance here because we need that lightness to it, otherwise it\u2019s not funny.\u2019 It is best when they want a good show that affects people as the outcome and not a museum piece. Not like Guitar Hero \u2013 \u2018how many notes did you get right\u2019, but \u2018did it affect you?\u2019<\/p>\n

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D: What about directors? What do you look for there?<\/em><\/p>\n

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J: A similar answer, I think. I don\u2019t like it when a director comes in and has their thing and you just have to be a pawn and do it, but I also don\u2019t like it when a director says \u2018show me what you have in mind\u2019.\u00a0<\/p>\n

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D: So somewhere in the middle?<\/em><\/p>\n

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J: Yeah, something about a collaboration. I want them to come in and fill my gaps because I have to act and have artistic impulses as an actor, but I can\u2019t see myself, and I often don\u2019t know the history of the piece as well as they do. They need to fill my gaps and recognise my strengths, using what they have to tell the story instead of what they wish they had. So, in Germany, a big part of that is when I speak German, I have an American accent. It just is like that. As a director, you can either get pissed off and wish that I was a German guy, or you can make my character international, which is one word! You can have another character saying \u2018are you back from America already?\u2019 Something like that. Or don\u2019t force the dialect on me. I want someone who is knowledgeable and collaborative.\u00a0<\/p>\n

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D: Finally, what\u2019s the future of opera? In a hundred years is it still going to be like it is today?<\/em><\/p>\n

\u00a0<\/p>\n

J: It\u2019s hard to know. I think music in general is going to become very digital and even interactive. I think the future of movies, music and CGI is that you\u2019ll sit down at a Smart TV and say \u2018I want to see an action horror movie with Bruce Willis at the age he was in 1995, with music like Hans Zimmer,\u2019 and then it\u2019ll write you a movie and music. And that sounds really sci-fi but if you look into the deep fakes and the music that computers are writing at the moment, it\u2019s very possible that that will be the new normal. If that\u2019s the world, what\u2019s opera\u2019s place in that world?\u00a0<\/p>\n

\u00a0<\/p>\n

I think if opera still exists in 100 years people will return to it, because it has something that has made it last for as long as it has. I don\u2019t think opera has to change too much. It has to be flexible, digital and go with trends, but opera either needs to become something else or just open up and let people in. I don\u2019t think the problem with opera has ever been itself, it\u2019s just been excluding people from it. People not knowing what it is and where to go.\u00a0<\/p>\n

\u00a0<\/p>\n

Verdi used to talk about this \u2018Golden Thread\u2019 in opera, and whatever that ineffable thing is, it has to keep doing that. It has to either become something new, which you may not recognise as opera, or it has to learn to be proud of what it is and quit trying to be a Marvel movie and \u2018cool\u2019. These Met broadcasts in movie theatres are a good direction. What we are doing in the podcasts is a good direction. I think people buy into authenticity, and opera being proud and true to what it is, is the only chance it has. That\u2019s what its future is.\u00a0<\/p>\n

\u00a0<\/p>\n

Thanks very much to baritone Jared Ice for his time, and to you for reading! Let me know if you have any suggestions for future interviews, or if there’s a particular topic you’d like to see covered.\u00a0<\/em><\/p>\n

You can check out Jared\u2019s podcast \u2018Sex, Drugs and Opera\u2019 on all good podcasting platforms, and follow this link<\/a> to see his latest mini opera with his co-host Michael Pegher, including a silent role by another familiar face!\u00a0<\/em><\/p>\n

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Notes and Links<\/p>\n

1) \u2018Festing\u2019 means being a full-time salaried opera singer in a theatre. Such positions are usually only available in Germany, Austria and Switzerland. They are in contrast to \u2018Guest\u2019 positions, where the singer will be contracted to sing for one production, which encompasses the rehearsal period and following shows.<\/p>\n

You can learn more about Jared from his personal website<\/a>, and find out how to follow Sex, Drugs and Opera, at this link<\/a>.\u00a0<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"

Jared Ice is an American baritone, who worked for many opera houses in the US before moving to Germany, where he now has an active freelance singing career. 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