{"id":3202,"date":"2019-05-20T18:39:26","date_gmt":"2019-05-20T18:39:26","guid":{"rendered":"https:\/\/www.rochester.edu\/adv\/alumni-news-media\/?p=3202"},"modified":"2021-07-13T14:04:53","modified_gmt":"2021-07-13T14:04:53","slug":"an-operatic-trapeze-artist","status":"publish","type":"post","link":"https:\/\/www.rochester.edu\/adv\/alumni-news-media\/2019\/05\/20\/an-operatic-trapeze-artist\/","title":{"rendered":"An operatic \u2018trapeze artist\u2019"},"content":{"rendered":"

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An operatic \u2018trapeze artist\u2019<\/h1>\n

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Soprano Erin Morley \u201902E steps into the international spotlight.<\/h3>\n

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\"opera

STAR TURNS: Morley\u2019s turns in the international spotlight have included roles as Olympia in the Metropolitan Opera\u2019s production of Les Contes D\u2019Hoffmann (above) and as (below, clockwise from right) Zerbinetta in the Vienna State Opera\u2019s Ariadne auf Naxos, Sophie in the Met\u2019s Der Rosenkavalier, and Cunegonde in the LA Opera\u2019s Candide. (Photo: Marty Sohl\/Metropolitan Opera)<\/p><\/div>\n

\u201cIt\u2019s like going to a circus and watching a trapeze artist,\u201d\u00a0Erin Morley<\/span>\u00a0\u201902E, one of the world\u2019s most sought-after coloratura sopranos, says of the operatic style of singing.<\/p>\n

\u201cA lot of it is about showing off a facility, about singing really high and really fast. It\u2019s something not every voice is built to do, and there are special roles that highlight those strengths.\u201d<\/p>\n

Those roles\u2014often comedic and frothy and frequently the kind that charm audiences and critics\u2014are becoming a key part of Morley\u2019s repertoire as she has stepped into the international spotlight during the past decade.<\/p>\n

Since 2011, a string of critically acclaimed appearances in the great opera houses of Vienna, Munich, and Paris have established Morley as one of the most in-demand performers at some of the opera world\u2019s most influential venues. She has a good relationship with the Metropolitan Opera in Manhattan, where this winter she makes a number of notable appearances\u2014first in her role debut as Pamina in\u00a0The Magic Flute<\/em>, then as the Forest Bird in\u00a0Siegfried<\/em>, and as Constance in\u00a0Dialogues des Carm\u00e9lites<\/em>.<\/p>\n

She was invited to participate in three celebrations in 2018 for the 100th anniversary of the birth of American musical icon Leonard Bernstein. And in September she made her debut\u2014at 34 weeks pregnant\u2014in Debussy\u2019s\u00a0Le Martyre de saint S\u00e9bastien<\/em>\u00a0with the Deutsches Symphonie-Orchester in Berlin.<\/p>\n

Her performances regularly earn high praise. The\u00a0New York Classical Review<\/em>: \u201cErin Morley is in a class of her own among coloratura sopranos, singing even the most dazzlingly difficult material with beauty and musical sense.\u201d Morley recognizes that she wasn\u2019t always offered the coloratura roles.<\/p>\n

Instead she was often cast in roles that required a much heavier singing voice, which meant she had to be judicious about which to accept to avoid damaging her vocal chords.<\/p>\n

In 2011, she gave birth to her first daughter. \u201cThat really did change the trajectory of my career,\u201d Morley says.<\/p>\n

Now the mother of two daughters, ages 7 and 2, Morley was expecting her third child, a boy, in October. The first day of rehearsal for\u00a0The Magic Flute<\/em>\u00a0is four weeks after her due date.<\/p>\n

\u201cYou have to treat it like an Olympic sport,\u201d she says of maintaining her voice, which one critic has described as \u201cbrilliant as a diamond.\u201d That means holing up in the music room of her New Haven, Connecticut, home for up to five hours a day, practicing intensely but more slowly than usual to work through reflux and other body changes that come with pregnancy.<\/p>\n

\u201cMy job right now is to make sure everything I have to perform after this baby is born is ready to go,\u201d she says.<\/p>\n

As someone who\u2019s on the road between six and nine months a year, Morley thinks a lot about work-life balance.<\/p>\n

\u201cI think you can get swallowed up in motherhood, and you can get swallowed up in your career,\u201d she says. \u201cBeing both a mother and a singer at the same time helps to keep me grounded.\u201d<\/p>\n

\"on

(Photo: Ken Howard\/LA Opera (Candide); Ken Howard\/Metropolitan Opera (Der Rosenkavalier); Michael Poehn\/Wiener Staatsoper (Ariadne auf Naxos))<\/p><\/div>\n

After earning her undergraduate degree in vocal performance from the Eastman School of Music, Morley completed two graduate degrees at the Juilliard School before her acceptance into the Metropolitan Opera\u2019s selective Lindemann Young Artist Development Program, where she trained and performed for three years on the Met stage.<\/p>\n

Believing that every singer must always remain a student, she works with multiple mentors\u2014technical voice teachers, a vocal consultant, a speech pathologist, and language coaches\u2014to sustain and improve her technique.<\/p>\n

Gerald Martin Moore is Morley\u2019s vocal consultant both in person and via Skype. Based in New York City, he\u2019s an internationally recognized singing teacher and vocal consultant who also has worked with renowned soprano Ren\u00e9e Fleming \u201983E (MM), and is an expert on coloratura singing.<\/p>\n

\u201cWhat makes her stand out for me is that a lot of singers who specialize in very high coloratura repertoire don\u2019t have such warmth in the \u2018middle voice,\u2019\u201d says Moore, referring to a range between what\u2019s known as the \u201cchest voice\u201d and the \u201chead voice.\u201d<\/p>\n

Case in point: Morley says she\u2019s embracing the lyrical role of Pamina in\u00a0The Magic Flute<\/em>, even though the opera\u2019s Queen of the Night, which Morley has sung in the past, is the coloratura showcase role. \u201cI don\u2019t want to become a one-trick pony,\u201d she says.<\/p>\n

Morley came from a musical family. Her father sang in the Mormon Tabernacle Choir, and her mom gave her violin and piano lessons. She remembers being 12 or 13, listening to a live performance of a young pianist perform with the Utah Symphony near her home in Salt Lake City.<\/p>\n

\u201cI remember feeling just how much power he had in order to make me feel all of those things I was feeling,\u201d she says. \u201cI wanted to be able to do that for people.\u201d<\/p>\n

She had never seen an opera before her first year at Eastman, when she attended a school production of\u00a0Albert Herring<\/em>, a comic chamber opera in three acts by Benjamin Britten.<\/p>\n

\u201cI walked up to Steven Daigle, who ran the opera department, and said, \u2018I really love this. Can I be in the next one?\u2019 \u201d she says. \u201cHe laughed, and oddly enough, he did cast me in the next one.\u201d<\/p>\n

What captivates Morley about opera is that every live performance is unamplified\u2014what she calls a \u201ccelebration of the human voice.\u201d And through roles that explore comedy, drama, and despair, she takes the audience on an emotional journey.<\/p>\n

\u201cI get to hold up a mirror to humanity,\u201d she says, \u201cto offer them a chance to look at their own lives and say, \u2018Am I like this character?\u2019 It feels like a form of therapy for me and for the audience.<\/p>\n

\u201cI hope it is.\u201d[\/vc_column_text][vc_empty_space height=”25px” image_repeat=”no-repeat”][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” css_animation=”” box_shadow_on_row=”no”][vc_column][vc_column_text css=”.vc_custom_1558377051797{border-top-width: 1px !important;padding-top: 10px !important;border-top-color: #999999 !important;border-top-style: solid !important;}”]<\/p>\n

\u2014 By Robin L. Flanigan<\/strong><\/span><\/p>\n

[\/vc_column_text][vc_column_text]This story originally appeared in the fall 2018 issue of Rochester Review<\/a>.<\/em>[\/vc_column_text][vc_empty_space height=”25px” image_repeat=”no-repeat”][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

Since 2011, a string of critically acclaimed appearances in the great opera houses of Vienna, Munich, and Paris have established Morley as one of the most in-demand performers at some of the opera world\u2019s most influential venues<\/p>\n","protected":false},"author":26,"featured_media":3292,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[152,22],"tags":[272,112,212,122,132,652],"class_list":["post-3202","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-profiles","tag-alumni","tag-arts-and-humanities","tag-new-york-city","tag-river-campus","tag-rochester-review","tag-women-who-roc"],"yoast_head":"\nAn operatic \u2018trapeze artist\u2019 - Alumni News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.rochester.edu\/adv\/alumni-news-media\/2019\/05\/20\/an-operatic-trapeze-artist\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"An operatic \u2018trapeze artist\u2019 - 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