What the Fach?! Three of this week's trash takes from the opera world

 (Yes, that came from Americans.)

Apparently the opera world just wants to have terrible takes this week?! 

I accept that there will be things that my colleagues say I don't agree with--but what I can't accept is things that are potentially dangerous or inconsiderate of others.

Here are three trash takes that have been circulating the internet "discourse" this week (and I almost refuse to dignify by calling it that):

1. "If you lead with your Fach to introduce yourself as an artist, you probably have bad technique."

*deep breath*

OKAY.

For those of you who don't know, Fach is a classification system that denotes your vocal specialization or the vocal specialization of the piece.  So you could be a soprano, which is the highest of the female voice types, but you could be a coloratura soprano (like myself), a lyric soprano, a dramatic soprano, etc. These are all vastly different kinds of voices. 

Of course, there are dynamic singers with diverse rep who can sing whatever they want, and understanding that rigid vocal classifications and human beings aren't necessarily congruent, but *generally speaking* Fach is not only a way for us to market ourselves, but to prevent ourselves from pursing rep that could damage our voices and bodies. Sure, coloratura is a skill that can be learned, but someone who sings the Queen of the Night from The Magic Flute is probably not going to be able to sing Elektra. It does happen in rare cases, but, for the most part, this is physically impossible, because often Wagnerian and Dramatic Sopranos have thicker vocal cords.

This is better broken down by earth angel and literal ray of sunshine, Robin Hahn!

These kinds of comments come from folks with a very large followings are potentially putting younger singers or people who don't know any better at risk of hurting themselves--and thinking because they can't command a certain aria that their technique is faulty. 

A reminder that it's okay to follow people whom you disagree with, but also a reminder than you don't have to, especially when they are saying things that are potentially harmful to others.

2. "Opera isn't church, I should be able to eat, drink, and unwrap candy wrappers during a performance."

*deep breath*

OKAY.

There are many facets to this that I want to address. The first of all being, if you want to eat and drink as much as your want and unwrap all of your Snickers bars like a damn raccoon, watch an opera livestream on your couch. Be as discourteous as humanly possible in the comfort of your own living room.

Opera houses tend to be historical buildings, ones that don't need people spilling their Cokes or wine everywhere. They're also meant to amplify sound, meaning your little candy wrapper is going to sound like an army of raccoons tearing open the whole junk yard to everyone but you. Secondly,  there are many opera houses that are still requiring both masking and vaccination records, and masking inside the opera house theatre. Since folks who seem to think they should be able to do whatever they want whenever they want (in classic American fashion) might not consider this, I will lay it out: Covid is still happening. Covid still exists. Many, many of us cannot go back fully to our lives because we are compromised. We don't go to the movies, we don't go out to eat, and public transit is a literal nightmare scenario for us. There are also people with auditory processing issues, so the crinkle of your stupid mint wrapper is literally physically uncomfortable. But these people don't consider that, because why would they, when they already feel that they should be entitled enough to treat a shared space other people paid (a lot of money) to be there like their personal living room?

Look, I'm just saying that as both a patron and a performer, if you unwrap your stupid candy next to me or if I am on stage and I hear it, you will unlock and energy that is nothing short of demonic.

(*I also recognize there are people with medical issues who have to have access to snacks and water because of their own needs, and I am not talking about those people.)

3. "Language doesn't matter/isn't important."/"Why is the singing  not in the language the audience speaks."

*SIGH*

OKAY.

Actually, in Ye Olde Days, often operas were performed in the language of whatever their audience was when the contemporarily premiered. This actually made sense because of literacy deficiencies, unfamiliarity with foreign languages (I'd like to reminds all Americans that English is a foreign language), as well as lack of  technology with the ability to create supertitles. However, now that we are farther and farther away from when these pieces were contemporarily performed, they are now historical works of art. There are many opera houses that perform works in English (because I know this is what these people are really trying to say) or who specifically perform operettas. If I am seeing Die Fledermaus, I want to see Die Fledermaus at least sung in German, because the specificity of  the language and the music of 1874 Austria (which is based on folk melodies) are intrinsically related. (Although it did not have its first London performance in German until until 1895, again calling back to what I had previously mentioned.) The language of opera and the music are intrinsically related, it's why different countries and languages have completely different specializations. Bel canto, German lieder, and chanson are completely different, and the music is informed by the language, and vice versa. 

I just couldn't imagine going into something that is supposed to be a cultural experience of a culture that isn't my own and expecting it to cater to me (*mumble, mumble, gestures broadly, -Americans-).

OF COURSE, I would love to see non-Western European art elevated to the same level. It's why operas like Voodoo, Omar, and Tales from the Briar Patch are so important. It's why the works of Hall Johnson are so important. Again, language is an intrinsic part of that music as well.

All three of these bad takes, shockingly entitled and obtuse as they may be, come from people who are very well educated, people with advanced degrees and certificates in music, and are far more lettered than I. It is legitimately astounding to me that people who obviously have such significant exposure, in fact, vastly more exposure and education, could come to conclusions that are tone deaf, ignorant, and entitled. They are also grandstanding these views to their very large online platforms who see them as an authority figure because they speak with such conviction. The lack of consideration for others is enough to leave you gobsmacked.

And, look, I am not an opera elitist. I am not a snob. In fact, I often grapple, and deeply struggle, with, the fact that I, Huckleberry, me have been blessed with one of the most rare voice types in the world, in probably the most elite, pretentious, and exclusionary art forms. I just recognize that it's not all about me, not everything revolves around me, and that I have to be cognizant of others when I move through this world. And if in any way, shape, or form I could make someone else's life a modicum less awful, I'd do it, no problem.

Just don't be a jerk! :)

...although, like, seriously, I can see why people can't stand Americans.