The Health and Wellness Issue Vol 2. Issue 3

FROM RIPLEY TO RIPPED DALAND JONES

OVERCAME BODY IMAGE ISSUES. SO CAN YOU.

IT AIN'T OVER DOES BODY SIZE IN OPERA REALLY MATTER? JUN- JUL 2021

a Courtney's Stars of Tomorrow publication

VOL. 02

ISSUE NO. 03

JUNE- JULY 2021 EDITOR IN CHIEF Courtney Carey CONTRIBUTING ART DIRECTOR Emily Zier COPYEDITOR Justin Cohen CONTRIBUTING WRITERS Liz Colavita Daland Jones Duncan Rock PHOTOGRAPHY Unsplash, Shutterstock, Courtney Carey All festival photos are used with express permission.

Photographers are attributed unless information was unavailable at the time of publication.

2

JUN- JUL 2021

wholereviewmag.com

CONTENTS

FEATURE STORY

40 | From Ripley to Ripped Daland Jones was known as the skinny kid with the big voice. But after years of hearing the same line about his size, he unleashed the mighty Ripley tiger- determined to drown out the body shamers with a worldclass voice while building a world championship body to match.

By Courtney Carey

wholereviewmag.com

JUN- JUL 2021

3

16 |

SUMMER FESTIVAL GUIDE Enjoy the wonderful live opera experience at the Ravinia Festival, Cincinnati Opera, and Savannah Voice Festival as they resume in person performances. Their updated performance schedule as well as safety protocols are here.

OVERTURE

8

16

in Flight

Guide

Freedom on the Move: Songs

from Sparks and Wiry Cries The National Endowment for the Arts has approved a $30,000 Grants for Arts Projects award for Freedom on the Move: Songs in Flight, a project envisioned and led

by Sparks & Wiry Cries for the commission of two world premieres and a subsequent performance tour in 2023.

4

JUN- JUL 2021

2021 Summer Festival

This is the second and final part of our 2021 Summer Festival Guide, highlighting American classical music festivals.

• 18 Ravinia Festival • 24 Cincinnati Opera • 32 Savannah Voice Festival

wholereviewmag.com

Cover Credits Photographer: Lorenzo Wallace Stylist: Eboni Johnson

Streaming reinvented for classical music Feel the Spirit concerts are available now for streaming in the Idagio Global Concert Hall.

FEEL THE SPIRIT JUSTIN AUSTIN & BRITTANY ROBINSON IV. DIDN'T MY LORD DELIVER DANIEL?

Listen in the way that’s right for you FEEL THE SPIRIT

IDAGIO Free or IDAGIO Premium+ 9.99€ per month

LUCIA BRADORD & EDWIN COTTON

IX. WADE IN THE WATER

idag.io/FeeltheSpirit_ConcertI

IDAGIO

idag.io/FeeltheSpirit_ConcertII

wholereviewmag.com

JUN- JUL 2021

5

AMPLIFIED 40 | From Ripley to Ripped Daland Jones was known as the skinny kid with the big voice. But after years of hearing the same line about his size, he unleashed the mighty Ripley tiger- determined to drown out the body shamers with a world- class voice while building a world championship body to match. By Courtney Carey 52 | It Ain't Over What place in today’s culture, in today’s opera, does this phrase have? What is the state of body inclusivity in opera in 2021? Concisely, does size matter?

By Liz Colavita

52

HEALTH & WELLNESS 58 | Bodyweight & Vocal Production Is there a link between bodyweight and vocal production? By Duncan Rock Top: llustration by Kate Curis from CartoonStock. Bottom: A Lab Studios

64| The Two Hot Shots The Two Hot Shots: A COVID Vaccine Story Adapted from Rossini’s “Otello” 66| Profiles in Fitness Singer revelations about weight, body image, and achieving fitness and wellness goals.

• Andrea Jones Sojola • Duncan Rock • Luyanda Ngema • Sidney Outlaw • Allanda Small

By Daland Jones

FOOD 78| Kitchen Pantry Staples 80 | Royal Golden Salad • recipe

6

JUN- JUL 2021

64

83 | Classic Roasted Chicken • recipe 83 | Homemade Chicken Stock• recipe 84 | Brown Rice • recipe 85 | Stuffed Tomatoes • recipe 87 | Roasted Purple Cabbage • recipe

wholereviewmag.com

87 | Balsamic Vinegar Glaze• recipe ENCORE • STAR PICK 88 | Encountering Bach David Chin's new documentary on the life and music of J.S. Bach is the great adventure we all need.

EDITOR'S LETTER When the idea for creating The Whole Review surfaced, I immediately contacted Daland Jones and asked if he would contribute to the Health section of the magazine. I knew that the magazine needed input from someone who had a fitness background, and someone who could also speak about health and fitness from a singer's perspective. I also knew from the very beginning that this issue was coming. How could I not address the subject of body image in opera? What I did not know, however, was that Daland had endured issues with body image.

As we put this issue together, I was astounded by the number of colleagues who shared stories with me, similar to Daland's. I auditioned as a singer for about eight years before I began putting my energies into other things. In that time, I can honestly say that I never faced any comments about my body. I am fortunate to come away unscathed in that regard, but I knew there was an industry-wide problem surrounding body shaming. My question has always been, "what do we do about it?" Collectively we can change the misguided perceptions, but there has to be a collective willingness to do so. Where does that process begin? I think it begins with having an honest conversation about the toxic nature of our commentary and coverage of singers. Talking helps, believe it or not.

During our research and preparation phase, I had countless conversations with friends and colleagues about the issues singers face in the studio, rehearsal hall, and on stage. There are so many who suffer through body shaming in silence, and to know that is heartbreaking. I remember a critic wrote a very unflattering review of a dear colleague who had just given birth to her beautiful son. The critic chose to comment on her size and not her singing.

I was shocked by this dereliction of duty to report

on the merits of the performance. In that piece, the critic wrote that audiences want to see believable characters on stage. Apparently, for him, size matters, and that is okay. But, let's not tear people down in the process of offering our opinions, I say.

One day I sat down and took a poll to find out whether body size matters to audiences. You'll see the results on page 52. I was not surprised in the least with the results. I must add that I don't pretend we have addressed the issue fully. That would be virtually impossible to do. I do hope, however, that we have at least brought the issue back to the surface and can find a path forward. Body shaming is a problem, but we can fix it! We collectively have to want to do so, though. Let this issue be the start of a lengthy, healthy conversation.

On a different topic, I must acknowledge that The Whole Review will celebrate its first anniversary on July 27, 2021. I can't believe it has been a year already. Exciting things are on the horizon for The Whole Review, and I look forward to sharing them with you soon.

Finally, as the country reopens and we all resume full performance schedules, I look forward to once again experiencing and enjoying live performances. I send you all my best wishes for a great summer season.

Have a fun, safe, and happy summer.

Until the next issue, -Courtney Carey, Editor In Chief

wholereviewmag.com

JUN- JUL 2021

7

overture  sparks and wiry cries

ON THE from Sparks and Wiry Cries

N

ew York, NY—The National Endowment for the Arts has approved a $30,000 Grants for Arts Projects award for Freedom on the Move: Songs in Flight, a project envisioned and led by Sparks & Wiry Cries

for the commission of two world premieres and a subsequent performance tour in 2023. This ambitious musical project is a direct response to Cornell University's Freedom on the Move database, housing digitized, searchable fugitive slave adver-

Photo: Erika Switzer & Martha Guth; Karjaka Studios 8

JUN- JUL 2021

wholereviewmag.com

tisements, resulting in a co-commission by Sparks & Wiry Cries and the Philadelphia Chamber Music Society. The grant, written

by Sparks co-founders Martha Guth (Ithaca College) and Erika Switzer (Bard College) with managing editor Lucy Fitz Gibbon (Cornell University and Bard College) was awarded through Cornell University and will be administered by Sparks & Wiry Cries. The first commission is a song cycle by composer Shawn Okpebholo featuring four prominent classical musicians—soprano Karen Slack, countertenor Reginald Mobley, baritone Will Liverman, and pianist Howard Watkins—interlaced with material curated and performed by

sparks and wiry cries



overture

SONGS IN FLIGHT

COMING JANUARY 2023

wholereviewmag.com

JUN- JUL 2021

9

overture  sparks and wiry cries

"Taken collectively, the ads constitute a detailed, concise, and rare source of information about the experiences of enslaved people.” -Freedom on the Move

the singer and multi-instrumentalist Rhiannon Giddens. Okpebholo’s cycle sets texts curated by Dr. Tsitsi Ella Jaji (Duke University) whose own work along with poet Crystal Simone Smith (Duke University) will contextualize and respond to selected primary source materials from the Freedom on the Move database. This interdisciplinary song cycle will be accompanied by a choral work by Joel Thompson, drawing on the Spiritual tradition as well as the FOTM database.

After a New York City premiere in early 2023, the project will travel to Philadelphia, Durham, and the Finger Lakes region of New York, in performances co-presented by the Philadelphia Chamber Music Society, Lincoln University, Duke University, Cornell University, Ithaca College, and the Harriet Tubman Home, Inc., in partnership with Sparks & Wiry Cries. Due to the breaking of family bonds and the illegality of literacy amongst enslaved people, there remains a paucity of written records to track individual lives during the period of slavery.

The Freedom on the Move database notes that it compiles “thousands of stories of resistance that have never been accessible in one place. Created to control the movement of enslaved people, the ads ultimately preserved the details of individual

10 JUN- JUL 2021

lives—their personality, appearance, and life story.

Taken collectively, the ads constitute a detailed, concise, and rare source of information about the experiences of enslaved people.”

Cornell Department of History’s Ed Baptist is the lead faculty member for FOTM, which is housed in the new Cornell Center for the Social Sciences. Songs in Flight seeks to bring awareness to the creative possibilities made possible through FOTM, building a living monument to this history by highlighting stories of strength rather than stories of oppression. This project is among the more than 1,100 projects across America totaling nearly $27 million that were selected during this second round of Grants for Arts Projects fiscal year 2021 funding.

“As the country and the arts sector begin to imagine returning to a post-pandemic world, the National Endowment for the Arts is proud to announce funding that will help arts organizations such as Cornell’s Music Department reengage fully with partners and audiences,” said NEA Acting Chairman Ann Eilers. “Although the arts have sustained many during the pandemic, the chance to gather with one another and share arts experiences is its own necessity and pleasure.” 

wholereviewmag.com

sparks and wiry cries

A widely sought-after and award-winning composer, Shawn E. Okpebholo has been described

by Augusta Read Thomas as "...a beautiful artist ...who has enormous grace in his music, and fantasy and color." Okpebholo comfortably composes in various styles and genres, intentional in creating music that is diverse, dynamic, and genuine. His artistry has resulted in many prizes and honors, including The American Academy of Arts and Letters Walter Hinrichsen Award in Music, First Place Winner of the 2020 American Prize in Composition (professional/wind band division) and Second Place Winner in the 2017 American Prize in

Composition (professional/orchestral division), First Prize Winner in the Flute New Music Consortium Composition Competition, Sound of Late Composition Contest, Accent06 International Composition Competition, and the Inaugural Awardee of the Leslie Adams-Robert Owens Composition Award.

Okpebholo maintains a dynamic career as a composer, including performances on five continents, over forty states, almost every major U.S. city, at some of the nation's most prestigious performance spaces, including Carnegie Hall, The Kennedy Center, and the National Cathedral.

Hailed for possessing a voice of extraordinary beauty, a seamless legato and great dramatic depth, American soprano Karen Slack has appeared with the Metropolitan Opera, Lyric Opera of Chicago, Washington National Opera and San Francisco Opera. In recent seasons she has appeared as Alice Ford in Falstaff, Leonora in Il trovatore and Tosca with Arizona Opera, as Aïda at Austin Opera, Emelda Griffith in Champion with New Orleans Opera, Donna Anna in Don Giovanni with Nashville Opera, Violetta in La Traviata with Sac-

ramento Opera and Sister Rose in Dead Man Walking with both Minnesota Opera and Vancouver Opera and her Scottish Opera debut as Anna in Puccini’s Le villi. Additionally, Ms. Slack portrayed a featured role as the Opera Diva in Tyler Perry’s movie and soundtrack “For Colored Girls.” Ms. Slack is an Artistic Advisor for Portland Opera, Co-Director for the 2020-21 Opera Program at the Banff Centre for the Performing Arts, and Co-Chair of the Women's Opera Network with Opera America.

wholereviewmag.com



overture

SHAWN OKPEBHOLO- Photo credit: Gregory Schreck

KAREN SLACK- Photo credit: Kia Caldwell

JUN- JUL 2021

11

overture  sparks and wiry cries

REGINALD MOBLEY- Photo credit: Liz Linder

WILL LIVERMAN- Photo Credit: Lawrence Brownlee

12 JUN- JUL 2021

Particularly noted for his “shimmering voice, a voice which also allows lucid and pure levels” (BachTrack), countertenor Reginald Mobley is highly sought after for baroque, classical and modern repertoire.

Reginald leads a very prolific career in the United States, where he resides. In March 2020, he became the first ever programming consultant for the Handel and Haydn Society following several years of leading H+H in his community engaging Every Voice concerts. He is a regular guest with Cantata Collective, Musica Angelica, Agave Baroque, Charlotte Bach Akademie, Seraphic Fire, Quodlibet, Pacific

Music Works, Bach Collegium San Diego, San Francisco Early Music Society, Philharmonia Baroque Orchestra.... Recent engagements have included concerts and recordings with organisations such as Opera Lafayette, Miller Theatre (Columbia University), Blue Heron in Boston, Chatham baroque in Pittsburgh, Washington Bach Consort.

Most of the recordings are available online. He has been invited to sing Messiah with the Chicago Symphony Orchestra in December 2021. Reginald is expecting to be touring Australia in April 2022 together with Bach Akademie Australia.

Called “a voice for this historic moment” (The Washington Post), baritone Will Liverman continues to bring his compelling performances to audiences nationwide.

He will star in the Metropolitan Opera’s re-opening production of Terence Blanchard’s Fire Shut Up In My Bones in fall 2021, in addition to reprising his roles in Akhnaten (Horemhab) and The Magic Flute (Papageno) during the Met’s 21-22 season.

In February 2021, Cedille Records released Liverman’s Dreams of a New Day: Songs by Black Composers with pianist Paul Sanchez

– a collection of works by Damien Sneed, Henry Burleigh, H. Leslie Adams, Robert Owens, Margaret Bonds, and Thomas Kerr, plus a world premiere recording by Shawn E. Okpebholo and Liverman’s own arrangement of Richard Fariña’s Birmingham Sunday.

The album debuted at No. 1 on the Billboard Traditional Classical chart and The New Yorker praised its “clarity, sensitivity, and barely contained heartbreak” while NPR claimed “velvet-voiced baritone Will Liverman is out to make the classical music canon more inclusive.”

wholereviewmag.com

sparks and wiry cries

American pianist Howard Watkins is a frequent associate of some of the world’s leading musicians on the concert stage; he’s also an assistant conductor at the Metropolitan Opera. His appearances throughout the Americas, Europe, Asia, Russia, and Israel have included collaborations with Joyce DiDonato, Diana Damrau, Kathleen Battle, Grace Bumbry, Mariusz Kwiecień, Anna Netrebko, and Matthew Polenzani as well as violinists Xiang Gao and Sarah Chang at such venues as the Metropolitan Museum of Art, Spivey Hall, the Kennedy Center, the Pierpont Morgan Library, the United States Supreme Court, Alice Tully Hall with the

Chamber Music Society of Lincoln Center, the three stages of Carnegie Hall, and the Bolshoi Theater in Moscow. He has accompanied the classes of legendary artists Renata Scotto, Frederica von Stade, Régine Crespin, Birgit Nilsson, Sherrill Milnes, and George Shirley. Watkins has served on the faculties of the Tanglewood Music Center, the Aspen Music Festival, the Mannes School of Music, the North Carolina School of the Arts, the International Vocal Arts Institute (Israel, Japan, and China), IIVA in Italy, the Brancaleoni Music Festival in Italy, the Tokyo International Vocal Arts Academy (TIVAA), and VOICExperience.

The acclaimed musician Rhiannon Giddens uses her art to excavate the past and reveal bold truths about our present. A MacArthur “Genius Grant” recipient, Giddens co-founded the Grammy Award-winning Carolina Chocolate Drops, and she has been nominated for six additional Grammys for her work as a soloist and collaborator. Giddens’s lifelong mission is to lift up people whose contributions to American musical history have previously been erased, and to work toward a more accurate understanding of the country’s musical origins. Pitchfork has said of her

work, “few artists are so fearless and so ravenous in their exploration,” and Smithsonian Magazine calls her “an electrifying artist who brings alive the memories of forgotten predecessors, white and black.” Among her many diverse career highlights, Giddens has performed for the Obamas at the White House, served as a Carnegie Hall Perspectives curator, and received an inaugural Legacy of Americana Award from Nashville’s National Museum of African American History in partnership with the Americana Music Association.

wholereviewmag.com



overture

HOWARD WATKINS- Photo courtesy, Sparks and Wiry Cries

RHIANNON GIDDENS- Photo credit: Ebru Yildiz

JUN- JUL 2021

13

overture  sparks and wiry cries

DR. TSITSI ELLA JAJI- Photo credit: Joel Elliot

Jaji is an associate professor of English at Duke University with expertise in African and African American literary and cultural studies, with special interests in music, poetry, and black feminisms. She previously taught at University of Pennsylvania and has received fellowships from the National Endowment for the Humanities/Schomburg Center, Mellon Foundation, Radcliffe Institute for Advanced Studies, and National Humanities Center.

Her book, Africa in Stereo: Music, Modernism and Pan-African Solidarity (Oxford), won the African Literature Association’s First

Book Prize, as well as honorable mentions from the American Comparative Literature Association and Society for Ethnomusicology.

The book traces how exchanges between African American, Ghanaian, Senegalese and South African artists shaped cultural and political liberation projects. She is now at work on two new projects: Cassava Westerns is a study of how global Black writers and artists reimagine the American frontier myth to serve new, local purposes.

The second, Classic Black is a study of poetry set to music by black concert music composers.

Crystal Simone Smith is the author of two poetry chapbooks, Routes Home, Finishing Line Press (2013) and Running Music, Longleaf Press (2014). She is also the author of Wildflowers: Haiku, Senryu, and Haibun (2016). Her work has appeared in numerous journals including: Callaloo, Nimrod, Barrow Street, Obsidian II: Literature in the African Diaspora, African American Review, and Mobius: The Journal of

Social Change. She is an alumna of the Callaloo Creative Writing Workshop and the Yale Summer Writers Conference. She holds an MFA from Queens University of Charlotte and lives in Durham, NC with her husband and two sons where she teaches English Composition and Creative Writing. She is the Managing Editor of Backbone Press.

CRYSTAL SIMONE SMITH- Photo Credit: James G. Northrup

14 JUN- JUL 2021

wholereviewmag.com

sparks and wiry cries

Emmy award-winning composer, Joel Thompson is a composer, pianist, conductor, and educator from Atlanta.

His largest work, Seven Last Words of the Unarmed for TTBB chorus, strings and piano, was premiered in November 2015 by the University of Michigan Men’s Glee Club under the direction of Dr. Eugene Rogers.

Recently, Thompson was a composition fellow at the Aspen Music Festival and School where he worked with composers Stephen Hartke and Christopher Theofanidis. Thompson taught at Holy In-

nocents’ Episcopal School in Atlanta 2015-2017, and also served as Director of Choral Studies and Assistant Professor of Music at Andrew College 2013-2015. Thompson is a proud Emory alum, graduating with a B.A. in Music in 2010, and an M.M. in Choral Conducting in 2013.

His teachers include Eric Nelson, William Ransom, Laura Gordy, Richard Prior, John Anthony Lennon, Kevin Puts, Robert Aldridge, and Scott Stewart. Thompson is currently pursuing his D.M.A. in composition at the Yale School of Music.

Sparks & Wiry Cries began in 2009 as a podcast and online magazine with a vision to contextualize art song in the sharing of recordings, interviews, and articles by prominent artists and scholars.

In 2012, the Casement Fund, Ltd. encouraged co-founders Martha Guth and Erika Switzer to expand their vision and curate an art song recital series based in New York

City. In 2015, Sparks received its 501(c)(3) nonprofit status and grew to include the songSLAM competition and a commissioning program. Since 2018, the songSLAM FESTIVAL and Art Song Magazine are actively engaging in current conversations through insightful publishing, programming, and commissioning.

wholereviewmag.com



overture

JOEL THOMPSON- Photo credit: Rachel Summer Cheong

JUN- JUL 2021

15

2021

SUMMER FESTIVAL GUIDE Ravinia Festival p. 18 Cincinnati Opera p. 24 Savannah Voice Festival p. 32 This is the second and final part of our 2021 Summer Festival Guide, highlighting American classical music festivals. Enjoy the music and enjoy the travel. Stay safe!

16 JUN- JUL 2021

wholereviewmag.com

wholereviewmag.com

JUN- JUL 2021

17

overture  summer festival guide

RAVINIA FESTIVAL

18 JUN- JUL 2021

wholereviewmag.com

summer festival guide



overture

Ravinia Festival Festival Dates (July 1–September 26)

Ravinia Festival, located just north of Chicago, is North America’s oldest and most programmatically diverse music festival, presenting an array of events outdoors every summer, including the annual residency of the Chicago Symphony Orchestra. Ravinia has attracted headline-making artists for over a century—from its first concerts in 1905 with the CSO and New York Symphony Orchestra to a period as the “summer opera capital of the world” from 1919 to 1931, and such singular events since as presenting Benny Goodman and his then-groundbreaking integrated band; what became some of the final concerts of George Gershwin, Janis Joplin, Marvin Hamlisch, and Aretha Franklin; and Princess Magogo, the first Zulu opera.

Originally created as an amusement park to attract people to the train between Chicago and Wisconsin, Ravinia remains a verdant destination along that same train line and a multigenerational tradition for families and visitors. Guests are invited to bring their own picnics to the expansive Lawn or enjoy casual or fine dining at restaurants onsite before performances on the grand stage of the Pavilion or in the intimate Martin Theatre or Bennett Gordon Hall.

Ravinia: Physical Distance Pavillion

Ravinia: South Lawn

wholereviewmag.com

JUN- JUL 2021

19

overture  summer festival guide

The Ravinia Festival, under the direction of its new President and CEO Jeffrey P. Haydon, is presenting a full concert season this summer, celebrating the reopening of the park for the first time since the pandemic began more than a year ago. This summer season will include more than 70 events from July 1 through September 26, including the 85th annual residency of the Chicago Symphony Orchestra, with Marin Alsop stepping into the role of Chief Conductor and Curator for the very first time.

In addition to returning favorites such as Train and The Beach Boys, each for two nights, plus Ben Folds, Gladys Knight, Willie Nelson & Family, violinists Joshua Bell and Midori, and the annual Tchaikovsky Spec-

tacular concert, this summer’s schedule will feature 47 festival premieres and 30 artist debuts, including star singers Cynthia Erivo and Julia Bullock with the CSO, plus Brian McKnight, Yacht Rock Revue, King Crimson, The Zappa Band, Ana Bárbara, and Las Cafeteras.

Tickets for 2021 performances will go on sale in two phases, in order to provide flexibility for updating seating protocols and programming in the second half of the season. Tickets for the general public will go on sale on Ravinia’s website, Ravinia.org, on June 16 for concerts between July 1 and August 15, and on July 21 for concerts after August 15.

RAVINIA SAFETY PROTOCOLS With expert guidance from Northwestern Medicine and local public health authorities, Ravinia has developed protocols for attendance that will be kept up-to-date to ensure we are following best practices for health and well-being. No-

20 JUN- JUL 2021

table changes at Ravinia this year include shorter concerts without intermission, reduced audience capacity, and shortened park hours prior to concerts. All public performances will take place outdoors, either on the stage of the open-air

wholereviewmag.com

Pavilion or on the North Lawn at the newly inaugurated Carousel stage. Ravinia will follow current protocols from the CDC and local authorities; concertgoers should visit the festival’s website for the latest guidelines.

summer festival guide  overture

Across the six-week residency of CSO, guest vocalists will perform a wide range of repertoire, from classic to contemporary song.

Grammy, Emmy, and Tony winner Cynthia Erivo headlines Ravinia’s annual Gala Benefit concert (July 18) with “Legendary Women’s Voices,” highlighting music made famous by some of the greatest female singers of all time—including Aretha Franklin, who she recently portrayed on National Geographic’s Genius series. The Musical America Artist of the Year whose “superpower lies in reaching across centuries, feeling into the love, yearning, and loss at the core of the human experience” (KQED), soprano Julia Bullock joins an evening featuring Mahler’s Fourth Symphony (July 22), singing of “the heavenly life” in the closing

Marin Alsop

A KALEIDOSCOPE OF VOICES WITH THE CHICAGO SYMPHONY ORCHESTRA

movement of the ode to youthful innocence. Both make their CSO and Ravinia debuts under the baton of Marin Alsop. An evening of “Broadway Today” (July 27) including songs from Waitress, Company, Wicked, Dear Evan Hansen, and more brings stars Betsy Wolfe and Matt Doyle to the stage with leading pops conductor and arranger Steven Reineke, and selections from West Side Story, Candide, and On the Town feature on “Unboxing Bernstein: A Live Revue” (August 7), led by dynamic young conductor Teddy Abrams. Joshua Bell and Larisa Martínez share an evening of “Voice and the Violin” (August 12) including arias from Mendelssohn, Hérold, and Mozart during the final week.

Cynthia Erivo- Photo Credit: Terrell Mullin

Julia-Bullock-Photo credit:Allison-MichaelOrenstein

wholereviewmag.com

JUN- JUL 2021

21

overture  summer festival guide

Intimate Vocal Features Writ Large

Ravinia’s extensive annual chamber music series continues on the grand outdoor stage of the Pavilion all summer. In “Och & Oy! A Considered Cabaret,” Alan Cumming (Cabaret, The Good Wife) and Ari Cumming and Shapiro, Photo courtesy Ravinia Festival Shapiro (NPR’s All Things Considered, Pink Martini) join forces for an evening of tunes and tall tales (July 20). Grammy winners Apollo’s Fire and Jeannette Sorrell return with a program of Venetian treats (August 3), including fiery concertos by Vivaldi and gorgeous songs by Monteverdi with soprano Erica Schuller and tenor Brian Giebler. A Ravinia favorite since her first performances in 1995 at the Steans Music Institute, Michelle DeYoung returns with her “rich, billowy mezzo … and expressive nuance that proves how deeply she cares about words and music” (Chicago Tribune) and a program that pairs spoken poetry

by Rossetti, Neruda, and Angelou with songs by Haydn, Mahler, and Korngold (August 5).

Apollo's Fire- Photo Credit: RogerMastroianni

22 JUN- JUL 2021

wholereviewmag.com

summer festival guide

Michelle DeYoung, Photo courtesy: Ravinia Festival

Davóne Tines- Photo Credit: Bowie Verschuuren

wholereviewmag.com



overture

“Charismatic, full-voiced bass-baritone” (New York Times) Davóne Tines arrives with his identity uniquely poured into a “Mass” of his own experience (August 31), weaving Western European, African American, and 21st century traditions together through original movements by Caroline Shaw leading into settings by Bach and contemporary visions of familiar spirituals. And Chicago-based NEXUS Chamber Music and composer Augusta Read Thomas have teamed up on three timeless Emily Dickinson texts about renewal in Upon Wings of Words, a new work for soprano and string quartet that will receive its world premiere with Kristina Bachrach (September 9) on an evening also featuring works

by Amy Beach and Alma Mahler.

JUN- JUL 2021

23

overture  summer festival guide

CINCINNATI OPERA

24 JUN- JUL 2021

wholereviewmag.com

summer festival guide



overture

Cincinnati Opera Festival Dates (July 11–July 31)

Fifty years after Cincinnati Opera presented its final open-air season at its first performance home, the Cincinnati Zoo, the company returns to the outdoors for its reimagined 2021 Summer Festival, Summer at Summit. The season will take place July 11-31 at Summit Park, located in the heart of Blue Ash, Ohio, and will feature internationally renowned artists, the Cincinnati Opera Chorus, and the Cincinnati Symphony Orchestra.

Summit Park - Great Lawn, and Observation Tower

The onset of the COVID-19 pandemic forced the cancellation of Cincinnati Opera’s 100th anniversary season in summer 2020. In September, the company announced plans to return to live performance in summer 2021 at its traditional venues, Music Hall and the School for Creative and Performing Arts.

However, the Centers for Disease Control and Prevention (CDC) continues to recommend social distancing as a best practice to stem the virus’s spread, and Ohio’s state mandates continue to limit capacity at indoor performance venues.

In the interest of audience, artist, and staff safety, the company has opted to transition to an all-outdoor season for its 2021 Summer Festival.

Observation Tower

wholereviewmag.com

JUN- JUL 2021

25

overture  summer festival guide

Summit Park was selected as the ideal performance site given its ability to host large-scale stage productions and its capacity to accommodate a significant, socially distanced audience. Additionally, Summit Park offers a central location and an abundance of public amenities, such as parking and nearby restaurants. During Cincinnati Opera performances, audience members will be able to sit together in socially distanced “pods” designated on Summit Park’s Great Lawn, and performances will be presented from an expansive stage constructed at the base of the park’s signature Observation Tower.

Cincinnati Opera’s Summer at Summit includes three beloved operas previously announced as part of the company’s 2021 season—Carmen, Tosca, and The Barber of Seville. Each opera will be presented without intermission in a reduced, ninety-minute version that will be partially staged with costumes, theatrical hair and makeup, and lighting. Opera in the Park, Cincinnati Opera’s season-opening celebration concert, also moves to Summit Park and will kick off the 2021 Summer Festival.

26 JUN- JUL 2021

“Music Hall will always be our home, but we are fortunate to have found a gorgeous new venue in Summit Park for our return to the live stage,” said Evans Mirageas, The Harry T. Wilks Artistic Director of Cincinnati Opera. “Audience members can be assured that our Summer at Summit will have all of the hallmarks they’ve come to love about Cincinnati Opera—glorious singing, inspiring storytelling, and the chance to be swept away by the magic of live performance.”

“The promise of experiencing live singing again in the company of an enthusiastic, in-person audience is the dream that has carried us through this last year,” said Christopher Milligan, The Harry Fath General Director & CEO of Cincinnati Opera. “We’re grateful to the City of Blue Ash for their partnership as we’ve worked together to envision a one-of-a-kind opera-going experience for our community.”

“The City of Blue Ash is excited for this unique partnership with Cincinnati Opera,” said Blue Ash Mayor Marc Sirkin. “Summit Park is an outstanding outdoor venue that will grant attendees enough room to remain safely socially distanced.

wholereviewmag.com

summer festival guide



overture

CINCINNATI OPERA SAFETY PROTOCOLS For additional information, including an extensive list of answers to frequently asked questions, visit cincinnatiopera.org.

The safety of our audiences, artists, and staff is our top priority.

As you can imagine, our health and safety guidelines are constantly evolving. We will continue to follow all local, state, and federal mandates, as well as CDC guidelines, to ensure everyone a safe and enjoyable opera experience.

The following safety measures are currently planned for summer productions: - All audience seating will be outdoors to ensure maximum air quality and ventilation.

- Ticketing capacity is limited to allow social distancing.

- Seating pods are separated by six feet on all sides from the nearest other pod.

- Guests will be asked to complete a brief health screening in advance of each performance or upon arrival at Summit Park.

- In light of current CDC guidelines, face masks are welcome but not

required at Summer at Summit performances for fully vaccinated guests.

- Face coverings continue to be strongly recommended at all times for guests who are not vaccinated, including children under 12.

- Food and alcohol are prohibited on the Great Lawn. Guests may bring soft drinks, water, or other non-alcoholic beverages provided they are in clear plastic bottles and that the safety seal has not been broken.

- The length of each show has been shortened and intermissions eliminated to reduce the amount of time people are gathered and to prevent close congregating that traditionally occurs during performance breaks.

- We are working to limit unnecessary contact points by reducing the use of paper and allowing guests to scan their own tickets.

- Artists and stage personnel will undergo additional safety precautions.

wholereviewmag.com

JUN- JUL 2021

27

overture  summer festival guide

Opera in the Park Sunday, July 11, 2021 | 7:30 p.m.

Summit Park Cincinnati Opera celebrates the opening of Summer at Summit with Opera in the Park, a free, family-friendly outdoor concert. Opera

CARMEN

Saturday, July 17, 2021 | 8:30 p.m.

Thursday, July 22, 2021 | 8:30 p.m.

in the Park will showcase favorite selections from opera and musical theater performed by stars from the 2021 Summer Festival, the Cincinnati Opera Chorus, and the Cincinnati Symphony Orchestra.

Monday, July 26, 2021 | 8:30 p.m.

Friday, July 30, 2021 | 8:30 p.m.

The festival continues with the most popular opera of all time, Georges Bizet’s Carmen. Opera’s quintessential femme fatale, Carmen shows us she’s that and so much more—a fearless, flirtatious force of nature who refuses to answer to anyone but herself. Her confidence attracts the attention of Don José, whose passion turns to obsession, then spirals into madness. When José threatens Carmen with death should she refuse him, she chooses freedom over all. Featuring some of opera’s best-known melodies, from the sultry “Habanera” to the rousing “Toreador Song,” Carmen is an ageless ode to one woman’s fierce independence.

Mezzo-soprano J’Nai Bridges, a “rising star” (Los Angeles Times) known for her “plush-voiced mezzo-soprano” (The New York Times), makes her Cincinnati Opera debut as Carmen. Cincinnati Opera favorite tenor Stephen Costello, “a prodigiously gifted singer” (Associated Press), appears as Don José. Soprano Janai Brugger, who appeared most recently with Cincinnati Opera as Clara in The Gershwins’ Porgy and Bess (2019) and Susanna in The Marriage of Figaro (2019), brings her “opulent soprano voice” (Los Angeles Times) to the role of Micaëla.

Bass-baritone Christian Pursell offers “power, precision, and congeniality” (Houston Chronicle) as the swaggering bullfighter Escamillo.

Conductor Ramón Tebar, current music director of the Orquestra de Valencia (Spain) and artistic director of Opera Naples, leads the Cincinnati Symphony Orchestra, and stage direction is by Omer Ben Seadia, recently hailed for her “imaginatively staged” (Cincinnati Business Courier) production of Cincinnati Opera’s Ariadne auf Naxos (2019).

28 JUN- JUL 2021

wholereviewmag.com

summer festival guide

J'Nai Bridges- Photo Credit: Dario Acosta

Stephen Costello- Photo Credit: Merri Cyr

Christian Pursell- Photo courtesy: Cinncinati Opera

Janai Brugger- Photo credit: Dario Acosta

wholereviewmag.com

JUN- JUL 2021



overture

29

overture  summer festival guide

Ana Maria Martinez- Photo Credit: Tom

Russell Thomas- Photo Credit: Fay Fox

Specht

TOSCA Friday, July 23, 2021 | 8:30 p.m.

Tuesday, July 27, 2021 | 8:30 p.m.

Saturday, July 31, 2021 | 8:30 p.m.

Cincinnati Opera will then present Giacomo Puccini’s glorious Tosca. In the city of Rome during a time of political turmoil, the tempestuous opera diva Floria Tosca is madly in love with the painter Mario Cavaradossi.

When Tosca’s lover becomes entangled in a crime and is condemned to death, the lecherous police chief Scarpia insists only one thing can save him: Tosca herself. Tosca is a passionate melodrama suffused with political intrigue—a roller-coaster ride of love, power, and tragedy told through unforgettable music.

Grammy Award-winning soprano Ana María Martínez makes her Cincinnati Opera debut as Tosca, bringing a voice of “chocolate-rich vibrancy in the low and middle range and … thrilling brilliance at the top” (Opera News). Tenor Russell Thomas, hailed for his “heroically shining tone of exceptional clarity and precision” (Opera, U.K.), returns to Cincinnati Opera as Cavaradossi after last appearing with the company in 2016 (Florestan, Fidelio). In his company debut, the “superb” and “virile-voiced” (The New York Times) baritone Quinn Kelsey sings the role of Baron Scarpia. Conducting the Cincinnati Symphony Orchestra is New Jersey Symphony Orchestra Music Director Xian Zhang. Stage director is Jose Maria Condemi, director of opera and musical theater at the San Francisco Conservatory of Music.

30 JUN- JUL 2021

wholereviewmag.com

Quinn Kelsey Photo by Dario Acosta

summer festival guide



overture

The Barber of Seville Saturday, July 24, 2021 | 8:30 p.m.

Thursday, July 29, 2021 | 8:30 p.m.

Rihab Chaieb

Aaron Blake

Chris Kenney

Morris Robinson

Cinncinati Opera season illustrations by David de la Heras

Reginald Smith, Jr.

Based on the play of the same name by Pierre-Augustin Caron de Beaumarchais, The Barber of Seville introduces us to Figaro, the titular barber bursting with bravado. He’s enlisted by the lovelorn Count Almaviva to win the heart of the clever and comely Rosina. With whimsy, wit, and plenty of woo, The Barber of Seville reminds us that, as Beaumarchais once said, “Where love is concerned, too much is not even enough.”

Mezzo-soprano Rihab Chaieb brings “sheer dramatic charm and vocal clarity” (San Francisco Chronicle) to the role of Rosina, after last appearing with the company as Cherubino in The Marriage of Figaro (2019).

Appearing as Almaviva is Cincinnati Opera favorite tenor Aaron Blake, whose voice was hailed by The New York Times as “endearing and sweet-sounding … with

youthful fervor and stamina.” Making his company debut as Figaro is baritone Chris Kenney, a recent alum of the Lyric Opera of Chicago’s prestigious Ryan Opera Center Ensemble. Singing the role of Doctor Bartolo is baritone Reginald Smith Jr., who last appeared with Cincinnati Opera as Jake in The Gershwins’ Porgy and Bess (2019) and in the company’s recent digital Winter Festival production of Opera…from a Sistah’s Point of View. Bass and Cincinnati Opera Artistic Advisor Morris Robinson, whose recent engagements with Cincinnati Opera include a star turn as Porgy in The Gershwins’ Porgy and Bess (2019), is Don Basilio.

Acclaimed conductor Renato Balsadonna leads the Cincinnati Symphony Orchestra, and stage director is Joshua R. Horowitz, making his company debut.

wholereviewmag.com

JUN- JUL 2021

31

overture  summer festival guide

SAVANNAH VOICE FESTIVAL

Davenport House Museum and Gardens, Photo Courtesy: Jamie Credle 32 JUN- JUL 2021

wholereviewmag.com

summer festival guide



overture

Savannah Voice Festival Festival Dates (August 8- August 22)

Savannah VOICE Festival (SVF) has announced they will return live for the highly-anticipated ninth annual Festival, as the organization had to host the previous year’s show virtually due to COVID-19.

The ninth annual festival will be staged Aug. 8 – 22, 2021, offering a variety of genres of music from opera, musical theatre, and popular song. Having made a name for itself in Savannah and beyond, the VOICE Festival will return to local venues including Asbury Memorial Church, Charles H. Morris Center, Davenport House Museum Garden, Demere Center for Living, Jewish Educational Alliance, and Telfair Academy.

Savannah VOICE Festival Live will feature festival favorites including Aria, Broadway, Master classes and this year’s opera season of a new work, Ching’s A Royal Feast, and a special abridged version of Puccini’s La Bohème, along with some innovative new events ranging from opera to rock. Some festival events will be free with other events offering tickets, which will go on sale to VOICE Members first on June 21 and then to the public on July 1.

Savannah Voice Festival Roméo & Juliette

wholereviewmag.com

JUN- JUL 2021

33

overture  summer festival guide

After more than a year of singing to phones and computers, Savannah VOICE Festival is excited that the Hostess City will once again become the real-life backdrop to the artists in a season of memorable music. Artists that have become familiar on the screen and emerging talent will present a live season from Aug. 8-22, 2021. Maria Zouves, who co-founded the festival with her husband, world-renowned operatic baritone Sherrill Milnes, is looking forward to returning live to Savannah for the organization’s ninth season.

“Last year was very tough for everybody, even though we were able to engage with artists and audiences

around the world through our virtual Festival and events,” Zouves said. “The upside of our virtual efforts is that 22 countries got a taste of our low country fare, but now it’s time to come back home. We are so excited and thankful to our community for hanging in there with us… this August we will be returning in person to what will feel like a reunion, appropriately themed as ‘Savannah VOICE Festival Live’.” For a full lineup of all Savannah VOICE Festival concerts, performances, master classes and other events, to become a VOICE member, or to purchase tickets please call 855.766.7372, email info@savannahvoicefestival.org or visit www.savannahvoicefestival.org

I Pagliacci 2019 34 JUN- JUL 2021

wholereviewmag.com

summer festival guide



overture

SAVANNAH VOICE FESTIVAL SAFETY PROTOCOLS The live shows will have COVID-19 safety precautions in place and a lower seating capacity to ensure physical distancing. SVF has mandated that all staff, artists and faculty must be fully vaccinated

against COVID-19 to protect audiences and participants. SVF has strictly adhered to all CDC and local protocols and will continue to act in accordance with these as guidance and COVID-19 prevention

policies evolve. Virtual programming will remain so that audiences around the world can continue to enjoy the VOICE productions.

of Puccini’s love story - La Boheme.

Stage director Fabrizio Melano and Maestro Andrew Bisantz breathe

new life into this timeless masterpiece.

La Bohème

Possibly the most famous opera of all time, the Savannah VOICE Festival presents an abridged version

wholereviewmag.com

JUN- JUL 2021

35

overture  summer festival guide

A Royal Feast SVF is delighted to present the world premiere workshop of Michael Ching’s “A Royal Feast.” Savannah VOICE Festival joins with

the Esther F. Garrison School for the Arts to present this imaginative story of Cinderella after her wedding to Prince Charming. This

sequel to Rossini’s La Cenerentola is a magical event with a special message for the whole family.

Originally slated for the 2020 Season, composer/librettist Michael Ching and director Chad Sonka have worked with middle school

students to create an imaginative story of Cinderella after her wedding to Prince Charming. In lieu of working in-person with the stu-

dents to create this piece, Ching and Sonka worked with students via Zoom to collaborate on melodies and lyrics that will inspire.

36 JUN- JUL 2021

wholereviewmag.com

summer festival guide



overture

Week One Overview – August 8 - 14 KICKOFF The Savannah VOICE Festival returns to a LIVE festival for 2021! Meet the artists in this wonderful concert of your favorite opera, musical theatre and song selections!

MASTER CLASS The VOICE Faculty presents a master class with the study grant artists of the Milnes VOICE Studio. This program is sponsored in part by the Georgia Council for the Arts.

ARIA Against the backdrop of the beautiful collection of the Telfair Academy, classical voices fill the rotunda with opera’s greatest hits and some rarely heard gems.

Liz Lang, soprano & Howard Watkins, piano ATC 2019 Sherrill Milnes American Opera Award Winner Liz Lang - a fan favorite of the 2020 Stay-at-Home Season VIII - performs a recital with pianist Howard Watkins.

MASTER CLASS II The VOICE Faculty presents a master class with the study grant artists of the Milnes VOICE Studio. This program is sponsored in part by the Georgia Council for the Arts.

SONG - August 12 Inspired by the great writers and poetry, the Festival shares great song literature that includes world premieres of new works with emerging composers and young writers with Deep Center Savannah.

BROADWAY Just in time for the re-opening of Broadway theatres, Festival Artists share the Broadway tunes to launch you back to the great white way!

COFFEE Wake up with a fresh cup of coffee, some breakfast pastries and live music in the bird and flower filled garden of the Davenport House Museum. Artists share a collection of music that will jumpstart your weekend .

FEAST

The world premiere workshop of Michael Ching’s “A Royal Feast.” Savannah VOICE Festival joins with the Esther F. Garrison School for the Arts to present this imaginative story of Cinderella after her wedding to Prince Charming. This sequel to Rossini’s La Cenerentola is a magical event with a special message for the whole family.

wholereviewmag.com

JUN- JUL 2021

37

overture  summer festival guide

Week Two Overview – August 15-22 INSPIRATION Led by Timothy L. Hall, this Festival favorite showcases the virtuosity and uplifting messages of sacred and spiritual music.

MASTER CLASS III Artistic Director of the VOICE Programs and legendary operatic baritone Sherrill Milnes presents a master class with the study grant artists of the Milnes VOICE Studio. This program is sponsored in part by the Georgia Council for the Arts.

FEMME It’s a man’s world...or is it? Enjoy familiar opera arias, songs and scenes with a new twist. Plus music by female composers.

FLASHBACK How did we get here and where are we going next? Join the stars of the Stay-at-Home Season on screen as they relive the performances you loved in a new live format that includes some greatest moments of our best streams.

LIVE A year of online streaming bursts past the computer screens to the Morris Theater as we celebrate Savannah VOICE Festival LIVE! With artists you know and love along with the new faces of season nine, don’t miss the passion and legacy of great singing, hosted by Sherrill Milnes himself!

ROCK Who said opera singers can’t rock it?! Festival Artists are joined by the Elite Party Band for a night of your favorite radio hits.

COFFEE Wake up with a fresh cup of coffee, some breakfast pastries and live music in the bird and flower filled garden of the Davenport House Museum. Artists share a collection of music that will jumpstart your weekend.

BOHÈME Possibly the most famous opera of all time, the Savannah VOICE Festival presents an abridged version of Puccini’s love story. Stage director Fabrizio Melano and Maestro Andrew Bisantz breathe new life into this timeless masterpiece.

FINALE All good things must come to an end! Celebrate the Savannah VOICE Festival Season Nine in this beautiful program as we look back on our LIVE Season and look forward to the tenth anniversary.

38 JUN- JUL 2021

wholereviewmag.com

summer festival guide



overture

Sherrill Milnes, Artistic Director

Maria Zouves, Executive Director

Savannah VOICE Festival is a 501(c) 3 tax exempt nonprofit arts organization in the state of Georgia. The Festival brings classical vocal excellence to the Savannah area through a two-week celebration of concerts, events, and educational presentations during the month of August and throughout the year. Focusing on arts awareness and audience development in the

performing arts, it offers music from opera, musical theatre, and popular song. The Savannah VOICE Festival is supported in part by the Georgia Council for the Arts through the appropriations from the Georgia General Assembly. GCA is a Partner Agency of the National Endowment for the Arts. Donations are tax-deductible www.savannahvoicefestival.org

FESTIVAL DATES, TIMES AND ARTISTS ARE SUBJECT TO CHANGE WITHOUT NOTICE

wholereviewmag.com

JUN- JUL 2021

39

FEATURE STORY

FROM RIPLEY TO RIPPED Daland Jones was known as the skinny kid with the big voice. But after years of hearing the same line about his size, he unleashed the mighty Ripley tiger- determined to drown out the body shamers with a world-class voice while building a world championship body to match.

BY COURTNEY CAREY PHOTOGRAPHY

BY LORENZO WALLACE

40 JUN- JUL 2021

wholereviewmag.com

wholereviewmag.com

JUN- JUL 2021

41

amplified



from ripley to ripped

Body image in the opera industry is a perpetually hot topic. Conversations with singers about weight are no longer taboo or off-limits.

Everyone has an opinion, often proffered in the most demeaning and damaging way.

T

he images of Daland Jones on the front cover, inside cover, and the title page of this issue may be triggering.

One may look at the front cover and assume that the publication is yet another that’s surfaced to satiate the adrenaline-filled fitness junkies who gobble up muscle magazines. The word fitness is so tainted that its mere mention concerning an opera singer raises red flags and defensiveness.

Body image in the opera industry is a perpetually hot topic. Conversations with singers about weight are no longer taboo or off-limits. Everyone has an opinion,

42 JUN- JUL 2021

wholereviewmag.com

often proffered in the most demeaning and damaging way. We’ve all heard the story of the fat lady who sings. We’ve all seen her caricature posted as fodder — or a drawing card, depending on which side of the opera fence you are. On one side of the fence, there is the staunch idealist for whom the voice supersedes all else. If the woman (or man) singing happens to be fat, well, “So what? If he or she can sing well, that’s all that matters.” On the other side, there are those operagoers who find it impossible to accept a 300-lb. consumptive Violetta.

It is imperative to recognize, though, that there is another body type that falls along the distorted body image spectrum.

It is the type rarely spoken of: the tall, gangly skinny kid, possessing a unique

from ripley to ripped

and special voice, who wants to sing opera. How many such singers do we talk about? He exists. She exists. They exist. Their stories are there, hiding behind disillusioned eyes and underneath oversized costumes. That skinny singer walks into the audition room (as all other singers do) and faces a panel of critical adjudicators who are poised to advance or deny his or her career. For the girl, it’s okay to be skinny. The skinnier the better, right?

But that poor guy suffers. You’ve seen him. He walks onto the stage with eyes that are a little too big for his face, his dress shirt a little too large for his neck, and his suit baggy around his frame.



amplified

Surely you have seen him. He has faced rejection and finds gaining a foothold in the operatic profession equally as difficult as do the paunchy tenor and pudgy soprano. Fat, gangly, skinny, pudgy, paunchy. Imagine being on the receiving end of even one of these adjectives. It’s a horrifying thought. But there are countless numbers of singers who endure the barrage of “constructive” criticism year after year. Many of them, however, find a way to persevere and rise above the fray. They go on to make successful careers and lead happy and healthy lives. One such singer is Daland Jones.

wholereviewmag.com

JUN- JUL 2021

43

amplified



from ripley to ripped

Daland was one of those kids who roll out of bed one day and do something particularly amazing — with no previous training. Around age five, he started singing, much to his family’s surprise. What has not been surprising is that he hasn’t stopped, ever since belting out his first notes. Where did that interest in music and singing come from? Actually, it seems he had no choice. His grandmother was a gifted singer. His Uncle William made it to the great white way and appeared in a production of Jerome Kern’s Show Boat. So the writing was on the wall, and Jones’s fate was sealed. He was “going to be just like [his] Uncle Bill.” And like his uncle, he knew that he was destined to be a singer.

There was something inside, a fire that just kept growing. His first solo was a sure sign that he had

44 JUN- JUL 2021

been bitten by the music bug — and a clear sign that this burgeoning divo was primed for the spotlight. His first solo was a made-up nursery song, which he presented one Easter at church in his hometown of Ripley, Mississippi. “I was dressed in my little black suit, and I was ready to sing.

I told my great-grandmother that I didn’t know the second part of the song, and that I was only going to sing the chorus. I asked her to relate this to Professor Spight, the pianist, so that he would know how to play it for me. When he veered off and started playing the part of the song I didn’t know, I stopped, looked at him, and said, ‘I no know that part,’ and the church went wild." Once a divo, always a divo. Instinctively, he knew what he could do and couldn’t do. He did it his way.

wholereviewmag.com



amplified

Lorenzo Wallace

from ripley to ripped

wholereviewmag.com

JUN- JUL 2021

45

amplified



from ripley to ripped

46 JUN- JUL 2021

wholereviewmag.com



amplified

Lorenzo Wallace

from ripley to ripped

wholereviewmag.com

JUN- JUL 2021

47

amplified



from ripley to ripped

Ripley, Mississippi, is a quaint town, just under a two-hour drive from Memphis, TN. There were three schools in town, all of which he attended: Ripley Elementary, Ripley Middle, and Ripley High School. While there weren’t many extracurricular activities for youngsters in those days, he was able to take up trombone and trumpet. An earlier failure to pass a music skills exam prevented him from taking music classes. But he was determined. He cajoled his grandfather into buying him sheet music and music books so that by the time he reached high school, he had learned Bellini’s “Dolente

“My song of choice was the national anthem. If there was an event that required singing, Jones was singing, and singing the national anthem.” immagine di Fille mia.” One day, he performed the song for his high school choir teacher, Ms. Stubbs, and she was blown away by what she heard — so much so that she went to her colleagues to see who among them could help nurture Jones’s talent. Ms. Stubbs enlisted Dr. Taylor, a colleague and choral director from Northeast Community College, who consistently encouraged and pushed Jones, thrusting him into the spotlight. They got him small gigs in and around town. Says Jones, “My song of choice was the national anthem. If there was an event that required singing, Jones

48 JUN- JUL 2021

was singing, and singing the national anthem.”

One such occasion was the high school’s homecoming game after the 9/11 terror attacks. Ms. Stubbs, in charge of the music for the occasion, asked Jones to sing the anthem because “she didn’t want any runs or riffs in the performance. She wanted it to be sung straightforward.” No one else knew Jones was going to sing. This performance was to be Jones’s big debut in the town of Ripley.

wholereviewmag.com



amplified

Lorenzo Wallace

from ripley to ripped

wholereviewmag.com

JUN- JUL 2021

49

amplified



from ripley to ripped

Surrounded by his friends, it was hard for him to keep the upcoming performance a secret, but he managed to do so. When the big moment came, he looked over to them and said, “I’ll be right back.”

He went to the box and got ready to sing. He sang the anthem, and everyone was blown away. After the performance his stunned friends asked, “How did you do that? How did all that voice come from such a skinny kid?”

That was a seminal moment, one which Jones did not easily brush off. As a matter of fact, he was so body conscious that he often wore three pairs of shorts under his jeans and two sweaters at a time

so he could fill out his clothes. However, on the vocal front, he continued to rack up performances and earned the attention of Bobby Martin, then the president of The Peoples Bank. Martin became one of Jones’s most influential sponsors. After a stint at the University of Southern Mississippi, where he studied with Maryann Kyle, he ventured off to the San Francisco Conservatory of Music.

There he became a student of César Ulloa and completed his Bachelor of Music degree. Jones was on the rise. That intervening summer he'd also earned a coveted spot at the Aspen Music Festival. While there, the “skinny kid” comment

50 JUN- JUL 2021

resurfaced. This time, however, it came from an adult who likely should have known better than to weigh in on someone’s size, who blurted out, “You’re a little skinny, and might not look great in your costumes.” This was yet another pivotal moment. After finishing at San Francisco Conservatory and Aspen, he decided to head to the Big Apple, where a lingering interest took center stage. By the time Jones got to New York City, he was already working out, having started at age 13. But he was as determined as ever to fill out. As he puts it, “I hated my chicken legs.” So while in New York he changed his diet, started gaining mass, and began to feel better about his body and body image. In 2019, he competed and won 3rd place in the World Physique Championship competition. Not bad for a skinny kid with a big voice. He has sung a range of roles in operas including Carmen, La Traviata, Susannah, and Die Zauberflöte. He continues to sing but has recently begun to focus more on teaching voice, helping his students navigate their own issues with voice, body image, and body shaming.

Wounds heal, but scars linger. While the “skinny” kid comments Daland Jones endured over the years may have been unpleasant, they never diminished his spirit or robbed him of his desire to sing. In the face of it all, he took a lemon and made lemonade. Perhaps, if those kids and the coach at Aspen hadn’t raised the issue, Jones might have taken a different course altogether. Who knows, maybe he wouldn’t have become interested in fitness, or learned the psychological harm such comments about body image can cause —or begun to inspire a younger generation to study and analyze themselves, learning to create healthy, positive body images. The skinny kid from Ripley, Mississippi with the chicken legs took to the spotlight at age five, and no matter how he’s looked, skinny or buff, he remains in that spotlight, shining brightly.

wholereviewmag.com

from ripley to ripped



amplified

Lorenzo Wallace

DALAND JONES

wholereviewmag.com

JUN- JUL 2021

51

amplified



it ain't over

IT AIN'T OVER

An Opera Singer; Illustration by Kate Curis from CartoonStock.com

By Liz Colavita

52 JUN- JUL 2021

wholereviewmag.com

it ain't over

... until the fat lady sings, as the outdated saying goes. What place in today’s culture, in today’s opera, does this phrase have? What is the state of body inclusivity in opera in 2021? Concisely, does size matter?

A recent, informal poll posed by The Whole Review’s Editor-in-Chief Courtney Carey fielded this last question to opera audience members. To patrons of the opera, the answer was a near-unanimous “no,” with 92% expressing that size does not matter. Thomas Bagwell, vocal coach and conductor at the Royal Danish Opera, intuits this exactly. “I also completely reject the idea that most operagoers prefer seeing fashion models in leading roles, rather than great singers. I hope I'm not wrong.”

One respondent to the poll very much refuted the sometimes pervasive notion among directors that “audiences must see believable characters.” Her counterargument puts it quite succinctly: “If you are a human being and you experience the human condition, then you are a believable character.”

Despite a resounding “no” from audiences, the water begins to muddy when talking about “realistic” and “idealistic” representation, revealing the nuances of such a discussion. In chatting with Gordon Ostrowski, Assistant Dean and Opera Producer Emeritus at the Manhattan School of Music, he highlighted the changes in society’s idealistic beauty standards across time. The very thin ideal we see today is a recent phenomenon.

When considering classic operas, one would be remiss to ignore the fact that contemporaneous beauty standards favored voluptuous women. That is to say, if directors are trying to be more realistic — more believable — when producing older works, then size still matters. And baritone Armando Piña Lopez notes there are widespread preconceptions about these classic characters that make change more difficult. These misconceived expectations could relate to body size, race, gender, or a mix of characteristics. To borrow an example from Shakespearean theatre, society has conditioned most of us to think of Juliet as fair-skinned and slim, and changing this template of Romeo and Juliet’s leading lady would be a challenge.

Along with considerations about being realistic, Ostrowski sees the matter of body inclusivity as more pertinent to younger artists.

The underlying logic, at least according to some, is that they are

wholereviewmag.com

P

O



L

amplified

L

When you go to an opera- Does the size of the person singing really matter to you?

YES 8%

NO 92%

Facebook Poll

Photos courtesy, Armando Lopez

JUN- JUL 2021

53

amplified



it ain't over

less established in their careers, and aspects beyond their voice play a bigger role than they would for a veteran performer. Ostrowski dedicates significant time to educational outreach and supporting young artists. He sees a minefield of competing interests, and his outreach is a nuanced balancing act he must consider very carefully.

Pragmatically, to be a fit artist often correlates to more performance stamina — and a wider number of costumes artists could fit into as understudies. On tenor Zach Finkelstein’s blog The Middleclass Artist, he details the pipeline for young artists and the “holistic guidance” provided by conductors, voice teachers, coaches, and administrators. In many cases, this guidance can escalate into toxic territory rather quickly. Moreover, experts are increasingly challenging the conception of weight and health as being congruous.

If there is an upside, flexibility further along in your career could potentially follow from vocal prowess.

Yet, powerhouse tenor Limmie Pulliam can attest to the brittleness of that flexibility, sometimes afforded to more established artists, as well as to the callousness within all levels of the industry.

After more than a decade away from the world of professional opera, Pulliam returned as an “unmanaged singer submitting requests for auditions to regional companies and also to anyone within the industry with whom I had previous professional connections.” His first rejection came from Knoxville Opera, essentially saying Pulliam would need to lose at least 50 pounds before being considered for a live audition.

Lopez knows such “guidance” continues after one has received the role, in his case the role of Don Giovanni in the eponymous Mozart opera, Don Giovanni. Lopez calls it “the most important lover role in opera,” and it includes a shirtless cameo. For these reasons, and at the suggestion of the producer, Lopez chose to trim down for the role. He adds, “The truth is I have not had a big problem with my size to fit into roles,” and framed it as a fairly mutual goal, not

Within opera, there are limitless ways for artists to actively re-examine the aesthetics of social progress if we choose to do so.”

(Above) Photo credit: Peter Serko; (Cen54 JUN- JUL 2021

wholereviewmag.com

ter) Courtesy, Limmie Pulliam

it ain't over

requirement, set by himself and production.

To be sure, body inclusivity and body positivity are topics difficult to untangle across all areas of our culture, particularly gender and race. A 2017 New York Times article, writing about the harm of weight bias, asserts that calling out obesity is “the last socially acceptable form of prejudice, and persons with obesity are considered acceptable targets of stigma.” The piece goes on to say that societal-level reforms are too far off. Rebecca Puhl, researcher at the University of Connecticut Rudd Center for Food Policy & Obesity, recommends “making a concerted effort at self-acceptance and engaging in ‘positive self-talk’ that challenges stereotypes to help people with weight issues recognize that what really matters to selfworth is ‘character, intelligence, ambition, effort and contributions to society.’”

It is a practice Pulliam seems to have mastered.

“I persevere because I know the gift that I’ve been given is quite unique and that I have something to say artistically that no one else can.” In addition to his vocal gift, he possesses the ability to lighten the burden of other people’s bias. “Too often, artists are made to feel inferior because of their size … that eats away at you, and it shows in how [you carry your]self. One way I took control is that I began addressing the issue of size before administrators or music directors brought it up.

I’ve often found that this puts them in the awkward position of having to respond, as opposed to their broaching the subject as if they were saying something revelatory.”

Attitudes are changing, albeit slowly. Pulliam emphasizes that administrators and other industry gatekeepers have felt they could make comments about an artist’s size, without impunity — until recently. However, I wonder if there are there other solutions for changing traditional gatekeepers’ perspectives, rather than putting responsibility on the artist. Diversity in gatekeepers, creative



amplified

storytelling, and relentless commitment to higher standards from all stakeholders could accelerate systemic change.

A

•••

lison Moritz, a stage director whose work is described as disarmingly human, expresses a similar hope and vision. “While we may have inherited body-shaming, ableism, ageism, racism, and bias of all sorts from our larger cultural context, that doesn’t mean we have to continue to perpetuate these dehumanizing practices. In fact, I think [makers of] opera have a unique opportunity for progress within body politics because our art form is so inherently tied to empathy, imagination, and examining the complexities of the human experience. Within opera, there are limitless ways for artists to actively re-examine the aesthetics of social progress if we choose to do so.”

Moritz and Ostrowski both speak excitedly on the explosion of contemporary opera composition and production. A new generation, perhaps a new era, is emerging, defined by an abundance of roles with no preconceived templates, a growing number of individuals who value artistry and humanity, and a preference for creativity in storytelling over perfectionism.

Turning the complexities of culture, context, and intersectionality into a surprisingly simple, profound observation, Moritz notes, “Appearance alone is never going to be the thing that makes a performer’s work magical.”

Echoing this sentiment, Bagwell directs some rapid-fire questions to anyone in the industry who is overly concerned with size. “What are more important things to focus on? For starters, can the singer tell the story and give you a sense of [the] character through the sound? Do they have a sound that makes me want to listen? Can they go out and move an audience to tears or whip them

wholereviewmag.com

JUN- JUL 2021

55

amplified



it ain't over

“Opera is inherently stylized because music creates an elastic sense of time ...There’s so much room for interpretation — any character from the operatic canon could be presented in a thousand different ways, as long as those artistic decisions are motivated by the text and music.”- Alison Moritz

56 JUN- JUL 2021

into a frenzy?”

Ostrowski introduces mezzo-soprano Stephanie Blythe’s portrayal of Madame de la Haltière in Massenet's Cendrillon as an example of how voice, artistry, and storytelling can come together for a magical performance. Her powerful, confident voice, paired with exaggerated, distorted costumes to bring Madame de la Haltière’s character to life.

It is this type of collaboration Moritz aims to foster in her work, noting that the industry is really a collection of individuals working toward similar goals. Breaking down this concept of industry, those within it can be more mindful of with whom they are collaborating, rather than grappling with the daunting task of changing an entire industry.

Moritz continues, “Opera is inherently stylized because music creates an elastic sense of time ...There’s so much room for interpretation — any character from the operatic canon could be presented in a thousand different ways, as long as those artistic decisions are motivated by the text and music.” These interpretations are influenced by everyone involved in the production, from directors and costume teams to vocal, hair, and makeup artists.

Elaborating, Moritz expresses gratitude for these artists and technicians who are “on the front lines of the most acute issues surrounding body politics.” She recognizes the teamwork it takes to create a beautiful performance. To reduce a composition to the performer’s body size is a disservice to the entire production. “We’re not just talking about better treatment of artists; we’re also talking about more interesting and engaging art.”

In a space where some are concerned about relevance, there seems to be significant overlap among those who worry about a disappearing audience, and still others who hold on to typecasting.

Fostering inclusivity would be a solution to both obstacles. Moreover, the foundational piece to fostering inclusivity would be to stop underestimating audiences. Our outspoken poll respondent is outraged that it is persistently presumed what audiences can and cannot handle. Tenor Pulliam harmonizes: “Our audiences are not cookie-cutter, so why should those who appear on stage have to be?”.

We are in a cultural upheaval, and anything less than revolutionary in opera will not suffice.

In short, it ain’t over.

wholereviewmag.com

Amelia Rose Jewelry 707.595.0811 • www.ameliarosejewelry.com Wholesale Inquiries West Coast Showroom Agency Showroom @ The Cooper Building • 860 S. Los Angeles St. #214 • Los Angeles, CA 90014 Phone: 213-624-3629 • agencystacy@gmail.com East Coast Showroom Susan & Company, LLC • 16 West 36th Street • New York, NY 10018 Phone: 212-502-0960 • susan@susan-company.com

wholereviewmag.com

JUN- JUL 2021

57

HEALTH & WELLNESS Bodyweight and Vocal Production - is there a connection?

I

BY DUNCAN ROCK n my dual roles as nutritionist at the London Voice Care Centre and operatic baritone, one question constantly arises – is there a link between bodyweight and vocal production?

The truth is the answer is disappointingly dull. Like with every other physiological process, being within a healthy bodyweight range is likely optimal for both the task in question and overall general health.

For most people this answer is sufficient to satisfy curiosity and move on. However, in the world of classical music we have a cultural attachment to the opera icon. Most stereotypically this is represented by the Pavarotti-esque overweight Italian tenor or the larger Wagnerian soprano donning Viking horns – but the attachment seems to go far deeper than a superficial archetypal connection, at least for many in the industry. This cultural attachment leads many to assume an association between bodyweight (specifically overweight) and good vocal production. This link is often disguised with euphemistic language - singers need to be stockier, meatier, more ‘substantial’ - but what people are really talking about is being overweight. I want to discuss whether there any evidence to support this notion.

I realize this can be a sensitive issue for some, so from the offset I want to outline the purpose of this article. I have absolutely no interest in telling anyone that they should look a certain way or try and fit into a culturally defined idea of an ‘acceptable’ body type.

58 JUN- JUL 2021

When I talk about overweight/obesity I am doing so from scientific and medical principals, not through the lens of transient cultural ideas. The principles of body positivity are of fundamental importance in this context.

Here I am assessing and sharing the research that has been done on the effect of bodyweight on the human voice as objectively as I can. I will try my best to clearly distinguish between what is my opinion and what is known through the research.

THE POWER OF ANECDOTE I understand it is tempting to immediately turn to thoughts of ‘But…Pavarotti was the greatest tenor and he was overweight’ or ‘didn’t Maria Callas lose her voice after she lost weight?’. But recognize that these are simply anecdotal factoids. We are hard wired to find human stories compelling, fascinating and instantly relatable. However, they can be so powerful as to distort our perception of the truth of an issue.

There are magnificent singers, past and present, who are overweight. There are also magnificent singers, past and present, who are not overweight. We could try to ‘count up’ brilliant overweight singers vs brilliant healthy weight singers and see which side has more - but to play into this level of thinking gets us nowhere. On this issue, we need something a little more valuable. I’m looking here at things like research, consistency, predictive ability, and evidence of mechanistic action.

wholereviewmag.com

bodyweight & vocal production  health & wellness

DO WE NEED MORE MEAT ON OUR BONES? In 2014 there was an uproar of operatic proportions when a young singer performing in the UK was crudely and clumsily criticized for her physical appearance by certain members of the English opera reviewers club.

Although widely regarded as one of the most promising talents of her generation the comments all focused unnecessarily on her perceived inappropriateness for the role due to her weight. The reviewing was generally considered lazy & crass and prompted the type of social media backlash that has now become routinely predictable. For our purposes, however, this backlash provided a fascinating insight into the prevailing nature of the assumed positive correlation between bodyweight and voice - and just how little evidence there is to support it.

‘We just need a little more meat on our bones’: was the largely publicized response from one high-profile singer, admirably defending the slated young singer in question.

A little more meat on our bones? What does that even mean? What is meat in this context? You mean muscle tissue? Or fat? Perhaps both? How much meat?

Where on the body? Why do we need the extra meat that others seem not to? How exactly does this meat contribute to vocal production?

I have heard versions of this we need more meat on our bones sentiment at all levels of the profession from music school to the Met - throughout my career.

When I have pressed the issue what response do I usually get? ‘Well….it helps with support.’

Does it really? Let’s investigate…

OVERWEIGHT/OBESITY AND GENERAL VOCAL HEALTH There is some interesting research on the effect of overweight and obesity on general vocal health that can serve as a useful base. In one Brazilian study (1) obese subjects (defined as having a BMI of >35) were submitted to laryngoscopic examination, audio perceptive analysis, and vocal acoustics determination.

The obese study group was compared with a nonobese control group consisting of subjects matched by sex, age (±1 year), and smoking habits. The study revealed obese individuals exhibited: hoarseness, murmuring, vocal instability, altered jitter and shimmer, and reduced maximum phonation times as well the presence of voice strangulation at the end of emission.

From this study it could be reasonably concluded that the voices of obese individuals display differences from those of non-obese people and demonstrate significant changes in vocal characteristics that would be categorized as sub-optimal or disadvantageous.

These results are consistent with a later study (2) that compared various measures of vocal quality between underweight, normal weight and obese normophonic

(vocally healthy) women. The study found that body weight and body fat volume appear to influence select objective measures of voice quality, vocal aerodynamics, and phonatory range performance. Finding that both overweight and underweight conditions impaired optimal vocal functioning.

A more recent study (3) investigated the difference in various metrics of voice quality and maximum phonation time between non-obese and very obese subjects. Their results showed significant differences between the two groups, with the very obese group revealed as being vocally disadvantaged.

wholereviewmag.com

JUN- JUL 2021

59

health & wellness



bodyweight & vocal production

POSSIBLE MECHANISMS Various mechanisms have been hypothesized as to the observed negative relationship between under/ overweight and vocal production.

In terms of overweight, interference of excessive body weight - predominantly abdominal adipose tissue - on abdominal breath support has been suggested as a mechanism by Sapienza & Ruddy (4) and Sataloff (5). This contrasts with the previously mentioned and prevalent idea in the opera world that adipose tissue around that belly assists the support mechanism, a claim for which I could find no evidence to support.

Sapienza further proposed that obesity can affect resonance due to a significantly reduced pharyngeal lumen, in some cases. This goes against the prevailing and, as far I can tell from the research, unsubstantiated myth that fatty deposits around the larynx produce a more ‘pleasing’ sound.

On the other end of the spectrum, being underweight may affect vocal production through decreased muscle tone, poor blood circulation and general reduced physical condition. (4, 5) COMORBIDITIES Comorbidities that regularly accompany obesity may also have an impact on vocal production and health, especially in the long term.

Obesity can have a significant negative effect on the immune system. (6) Combine this with the high stress and travel that often accompanies a singing career, and you have a recipe for ill health.

Diabetes - commonly, but not always, linked with obesity - has also been shown to have a potential impact on vocal functioning. A review of five studies (7) on the topic pointed to a higher prevalence (12.5%) of voice problems among individuals with diabetes mellitus as compared to the general population, and higher gastro-esophageal reflux disorder related symptoms.

On that note, overweight/obesity has been shown to exacerbate symptoms of gastro-esophageal reflux

60 JUN- JUL 2021

disorder (GERD) with some significance - however not in all cases. The distribution of body fat may be of more significance than overall BMI. One study (8) suggesting that the presence of high levels of central adiposity (fat around the midsection) may be most responsible for exacerbating symptoms.

PROPPING UP THE MYTH In my opinion, the myth that overweight/obesity is beneficial for vocal production is propped up by an obvious anti-exercise and anti-fitness bias prevalent in the opera world. One glaringly obvious preconception I have noticed is that when a singer who is ‘in shape’ experiences vocal issues some are very quick to blame the ‘in shapeness’ of that singer as the root cause of the problem. ’See!? They didn’t have enough meat on their bones. It’s proof!’ But, of course, many singers experience vocal issues in their career regardless of weight. Indeed I would argue that on a long enough time line every singer experiences some sort of vocal problem, of varying significance, at some point in their career. You rarely or never hear people wondering if the vocal problems of an obese singer are at least somewhat caused by being overweight. Why not? As you have now seen there is far more compelling evidence that this be the case. I don’t mean this as a criticism of any singer, but consider how many brilliant careers could have been extended or saved had the reality of this possibility been taken seriously.

Anecdotally I have noticed it is often those who outwardly announce that they advocate for body positivity who are the first to criticize a soprano for being ‘too skinny’, a mezzo ‘too petite’, a tenor ‘too scrawny’, or a baritone ‘too muscular’. Perhaps it might be prudent to remind some that the valuable principles of body positivity flow in all directions - not just towards oneself. Criticizing slimmer singers as being ‘unable to support a big sound’ is fundamentally ignorant and painfully narrow-minded.

As Dr. Reena Gupta – Founder of the Center for Vocal Health (Los Angeles) – puts it: “Slim performers can

wholereviewmag.com

bodyweight & vocal production

develop as good a support as a heavy singer and have greater endurance as well. A certain bodyweight is necessary for good health, and this weight varies from person to person. Maintaining a healthy weight, not being over or underweight, will set you on the path to vocal health.”

The prejudice against fitness and health in (opera) singers is a clear example of motivated reasoning that doesn’t stand up to the most basic scrutiny or to the realities of human physiology. I believe it has its roots in a superciliousness that still leaves an unattractive residue around opera culture and an erroneous belief that the roles of the artist and the athlete are somehow diametrically opposed.

SO, WHY ARE OPERA SINGERS FAT? Well, they’re not. This notion is largely based on an ingrained stereotype and proliferated by stale ideas of what is needed for the art form that are based on

little more than anecdote. One objective look at any opera theatre in the world will tell you that the bodies of your average opera chorus look exactly the same as the bodies in line at your local supermarket.

There is some evidence that it is possible a cer-



health & wellness

tain body type is ‘built’ for opera. This is one associated with a large chest, rib cage, neck, mouth and head. This body type is also one that is predisposed to weight gain. So, a false association between body fat and singing was established when the actual association was between singing and body size or build.

Further to this, it is possible that the act of singing opera ‘expands’ the body over time – particularly the rib cage. This may give a singer the superficial appearance of being ‘fatter’ than they actually are. It has recently been brought to my attention that this may also relate to a gradual thickening of the midsection through years of supporting healthy singing. This may add a level of superficial ‘blockiness’ to the torso that may appear to the untrained eye as fat tissue. Anecdotally I have noticed this is my own body as I have aged. At 36 I have the lowest body fat levels that I have had in my adult life - but my waist measurement is the highest it has ever been.

I have found some vague references to singing causing the release of certain hormones that effect appetite. But all I could find is a small amount of evidence that lung exertions trigger the release of the hormone leptin. Leptin decreases appetite – so it should really have the opposite effect, weight loss not weight gain.

But this issue could be an interesting area for future study.

The lifestyle of a singer may also have an impact on overall health and propensity to be overweight.

An opera career is often accompanied by after show parties, dinners, catered events and large amounts of travel – all of which can contribute to poor dietary habits, sleep disruption and excess alcohol consumption. Late performances can also have a significant impact on dietary habits, leading to late night eating and drinking – and who wants to eat a salad at 12.30am after a performance?

The above may all account for the possibility that (perhaps) the average weight of opera singers may be higher than in the general population. But this is a spurious correlation, not a causal one.

wholereviewmag.com

JUN- JUL 2021

61

health & wellness



bodyweight & vocal production

THE BIGGER PICTURE So, there you have it. There is at this point no evidence that I could find that overweight/obesity has any positive effect on the vocal mechanism. Of course, this is an open conversation with more nuance to be obtained, discussion to be had and research to be done. But, in my opinion based on current evidence, any perceived positive association between the two is likely some other factor in disguise.

I must finish where I started - I am not telling any singer what to do with their body. If you are a singer having a brilliant career with zero interest in any of this I wish you the best in your journey and career.

Your weight doesn’t in any way relate to your value as an artist or human being. Might a healthy bodyweight lead us to have more longevity and greater overall health? The research suggests yes; you are free to do what you wish with that information.

WHY DOES THIS MATTER? Firstly, the issue has come up in every seminar, workshop or lecture Q&A I have ever given, so clearly there is interest in this topic. I also strongly believe that people have a fundamental right to know the truth about the relationship between behaviors and health outcomes. This is the only basis under which informed choices can be made. Although potentially of a sensitive nature to some, this is not and cannot be considered forbidden knowledge.

Secondly, I don’t only work as a nutritionist for singers and voice actors. I work mainly with non-performers on general health and cannot help but to view this issue in the larger context of the obesity epidemic. (9) As someone who has made a commitment to working in the field of health, I feel obligated to push back against the asserting of unfounded theories that might do anything to contribute to this epidemic that on a population level causes tremendous ill-health, financial cost, suffering and loss of life. What I care about is getting to the truth regarding

62 JUN- JUL 2021

the impact of bodyweight on individual & population health. Unfortunately, I also work in an industry that has a dysfunctional, often dishonest, and unhelpful relationship with it.

Let’s let die this archaic notion that singing and overweight go hand in hand. They don’t. And we’re not doing any favors to the art form or the general health of our performers by allowing the myth to continue.

Obviously, history tells us that being overweight doesn’t mean someone can’t be a great singer - but there is no evidence to say it will help them be one.  1 - da Cunha MG, Passerotti GH, Weber R, Zilberstein B, Cecconello I. Voice feature characteristic in morbid obese population. Obes Surg. 2011 Mar;21(3):340-4.

2 - Barsties, Ben et al. Do body mass index and fat volume influence vocal quality, phonatory range, and aerodynamics in females?.

CoDAS. 2013, v. 25, n. 4, pp. 310-318.

3 - Souza LBR, Santos MMD. Body mass index and acoustic voice parameters: is there a relationship? Braz J Otorhinolaryngol. 2018 Jul-Aug;84(4):410-415.

4 - Sapienza C, Ruddy BH. Voice disorders: a textbook. San Diego, CA: Plural Publishing; 2009.

5 - Sataloff RT. Professional voice: the science and art of clinical care. 3rd ed. San Diego, CA: Plural Publishing; 2005.

6 - de Frel DL, Atsma DE, Pijl H, et al. The Impact of Obesity and Lifestyle on the Immune System and Susceptibility to Infections Such as COVID-19. Front Nutr. 2020;7:597600. Published 2020 Nov 19. doi:10.3389/fnut.2020.597600 7 - Ravi, R., & Gunjawate, D. R. (2019). Effect of diabetes mellitus on voice: a systematic review. Practical Diabetes, 36(5), 177-180.

8 - Chang P, Friedenberg F. Obesity and GERD. Gastroenterol Clin North Am. 2014;43(1):161-173.

9 - Apovian CM. The Obesity Epidemic--Understanding the Disease and the Treatment. N Engl J Med. 2016 Jan 14;374(2):177-9

wholereviewmag.com

bodyweight & vocal production



health & wellness

DUNCAN ROCK - (MMus, Masters in Human Nutrition) - has an active international career as an operatic baritone. He has performed roles at The Metropolitan Opera, The Royal Opera, Teatro Real, Glyndebourne, English National Opera and many others. Concurrently he is a Nutritionist and member of the Royal Society for Public Health. He owns and operates his own bespoke nutrition consultation – www.duncanrocknutrition.com – and works specifically on nutrition for singers and voice actors at the Voice Care Centre, London.

wholereviewmag.com

JUN- JUL 2021

63

health & wellness



covid-19 vaccine advocacy

The Two Hot Shots The Two Hot Shots: A COVID Vaccine Story Adapted from Rossini’s “Otello” from

N

ow through July 4, 2021, A Lab Studios presents the world premiere of its new digital short “The Two Hot Shots,” a famous duet from Rossini’s “Otello” injected with a modern twist. Created to generate support for the COVID-19 vaccines, this production leverages the power of performance to connect on both an individual and community level, while keeping Rossini’s original work intact. The global release of "The Two Hot Shots" was presented to highlight National Hospital Week, National Nurses Week and Florence Nightingale’s birthday. Starring Orson Van Gay II, Nathan Granner and Jamie Chamberlin.

Normally this scene from Rossini’s 1816 opera Otello is about Otello and Rodrigo arguing over the love of Desdemona, but in this scene, the two men are seated in a hospital room, waiting to get their vaccine admin-

64 JUN- JUL 2021

istered. They bicker about their own macho ways, but when it comes time to get the vaccine shot, both at first, chicken out. All’s well that ends well, however, when the two finally take their medicine … and sing really great high notes.

This operatic performance is inspired by well known skepticism preventing individuals and communities from getting vaccinated during the pandemic. Subtitles in the opera have been crafted to humanize peoples’ vaccine concerns while building vaccine trust throughout the video. Ultimately, to generate support for COVID-19 vaccines, leveraging the power of performance to connect on both an individual and community level to increase immunity. For more information, visit: https://alabstudios.com.

wholereviewmag.com

BYRON RISDON LLC INTERIOR DESIGN

Full scale Interior Design services specializing in high end residential projects. www.byronrisdon.com info@byronrisdon.com 202-798-1135 @byronrisdon

BYRON RISDON PRINCIPAL DESIGNER

Byron Risdon LLC wholereviewmag.com

JUN- JUL 2021

65

PROFILES SINGER

IN FITNESS & WELLNESS

by Daland Jones

The classical singer community is a small, unique enclave. Each of us in the singer tribe has a story, rife with the ups and downs of this profession that we love and sometimes love to hate. We singers often shy away from discussions about health and wellness because, for many, the subject conjures up memories of some offensive, offthe-cuff comment someone made or some other event that we would rather forget ever happened. But these stories of perseverance and determination, defeat and triumph are the common thread that links us together.

I wanted to hear from my fellow singers- to learn about the journeys in fitness and wellness

66 JUN- JUL 2021

that may very well inspire others to undertake such a journey. Andrea Jones Sojola, Duncan Rock, Luyanda Ngema, Sidney Outlaw, and Allanda Small spoke candidly with me about their fitness and wellness priorities and objectives.

Before you read their inspiring stories, there are a few things that I want to clear up- the terms fitness and wellness.

Fitness and wellness are not synonymous words. Fitness refers exclusively to one’s physical health, while wellness is a broader term relating to the overall spectrum of health-related elements in one’s life. Wellness encompasses the spiritual, emotional, intellectual, physical, social, environmen-

wholereviewmag.com

tal, and financial dimensions of our lives.

In some cases a person spoke specifically of fitness, while others spoke more broadly, using the term

profiles  health & wellness

S FLIP THE SCRIPT

TAKE YOUR HEALTH AND WELLNESS INTO YOUR OWN HANDS AND WRITE YOUR OWN STORY

wholereviewmag.com

wellness when discussing their journey. Here are their remarkable stories, told in their own words. 

JUN- JUL 2021

67

health & wellness



profiles

LEARN THE ART OF

ACCEPTANCE After the birth of her daughter, Andrea Jones Sojola blamed her weight gain on her pregancy. She ditched the blame game, accepted her weight gain, took the reigns, and set her fitness goals. She hasn't looked back since.

ANDREA JONES SOJOLA soprano What was the motivating factor that led you to take charge of your health and wellness?

"I hadn't been at my optimal health since before I was pregnant. My daughter was seven at the time, and up until then, I blamed my body falling apart and my weight gain on her! My friends told me that idea was ridiculous.

They're so judge-y! Well, I was in a

68 JUN- JUL 2021

costume fitting for an Off-Broadway production of Carmen Jones, during which my knees hurt so badly that I could barely stand. Of course, in a costume fitting, you can't sit down, and you have to be still. Also, that same week, the director wanted me to be on my knees in a scene. He commented on him being old but still able to get on his knees, (he demonstrated

wholereviewmag.com

for me) and that he had every confidence that I could do the same.

That moment made me realize that my weight and my immobility aged me. In my head, I was still the young, goofy, energetic ingenue.

I was delusional! That was three years ago, and I haven't looked back."

profiles

POSITIVE RESULTS

Duncan Rock realized over the years that true health comes from the inside, and the best way to positively affect this is through proper nutrition.

"In 2010 – at the age of 25 - I suffered incredible ill health which ended up in a 3-month hospital stay. Until that point, I considered myself fit or sporty.

But the reality was that my relationship with health was largely superficial - I wanted to look big, fit and strong. After facing the reality of my own mortality at such a young age I was moti-

vated to go deeper – leading me down that path I am currently following. I gave up the ‘broscience’ ideals that had guided my health-related behaviour until that point and sought to truly understand what would likely lead me to long lasting health.

My diet switched from masses of protein and little attention to other nutrients, to a balanced

wholereviewmag.com



health & wellness

DUNCAN ROCK baritone & nutritionist diet that focused more on micronutrients. My exercise routine evolved from a standard gym routine intended to grow isolated superficial muscles to one that considers all aspects of physical movement including cardiovascular health, agility, flexibility and total body strength."

JUN- JUL 2021

69

health & wellness



profiles

LUYANDA NGEMA soprano

THE ART OF PERSISTENCE Luyanda Ngema, like many has struggled to maintain a fitness regimen, throwing her off the tracks more than once.

But, through persistence, she has gotten her groove back and is on the path to achieving her goals.

"I got into fitness to become mentally, vocally, and physically fit. I have always had a weight problem, but for the past five years the extra weight made living difficult and singing stressful. Long phrases were difficult to sing, and my core was weak, so sustaining the high notes was hard. Walking was difficult, with heavy breathing and sweating every second.

My pant size grew, and I became angry and depressed when I went shopping. Shopping in France for plus-size clothing is painful! I was in denial and thought things were okay. I could never look nice, as my makeup would melt off from sweating. It was a vicious cycle and, to a degree, still is. In 2017 I

70 JUN- JUL 2021

tried to eat healthier with a lowcarb, high protein diet. I lost a few kilos and started to work on core strengthening. I hit my first Top F6 in a vocalise. I had never done that before. At the time, I was 130kg. In 2018 I tried again to lose weight, but I was too inconsistent. But, in July 2019 I went hard. I decided to chat with myself to get to the root cause of my weight fluctuation and inconsistency in the gym. Finally, the answer came to me. Every time I tried to lose weight in the past, it was for someone else. So, I decided to do this for music. Why? When I sang that top F with my teacher, I was so happy and exhilarated. I decided to do this for music. I’ve lost 23kg, and I’m hoping to lose more.

wholereviewmag.com

My breathing is better, and my core is stronger. My confidence has boosted, and my dresses are too big for me now, so I need to shop for new dresses. Which opera diva doesn’t love that? Some days are easy, and some days are difficult.

Frankly, some days are impossible.

I am human and try my best every day, and that is what counts. My singing is better, and that is what keeps me motivated. The stronger my core and the stronger my lungs, the better my singing. Looking in the mirror and feeling myself is a bonus. I don’t care to be skinny. I care to be healthy! Vocally, Mentally and physically fit to perform the best and be my best."

profiles  health & wellness

SIDNEY OUTLAW baritone

THE CROSS FIT LIFE A form of high intensity interval training, CrossFit is a strength and conditioning workout that is made up of functional movement performed at a high intensity level.

"I have struggled with my weight my whole life. However, it wasn't until graduate school that I started to pay attention and decided to make some changes. I was told in young artist programs that I was a great singer but, in addition to the color of my skin, which I have no control over, I would never go as far as I should in my career because I was too heavy for what opera companies deemed "marketable". While the idea of my

physical appearance having more influence on the advancement of my career than my artistry and my hard work was nonsensical to me, I took the advice and started to come up with a plan to lose weight. Of course, my skin color was something folks were going to have to get over. But what I did have control over was my health, fitness, and nutrition. Now, I look for CrossFit boxes or a boxing gym to work out whenever I am on the

wholereviewmag.com

road. I actually met two of my best friends I met at CrossFit in 2011!

Nowadays, fitness is just a part of my routine. I get up early enough to make sure I get that time in on my own or with my boxing coach.

My fitness routine ultimately sets the tone for my day- mentally and physically. So, I've created a pattern in the gym that positively affects what I do in the practice room or on stage!"

JUN- JUL 2021

71

health & wellness



profiles

ALLANDA

CONSISTENCY IS KEY

SMALL

Allanda Small learned that the age old adage, "consistency is key", is indeed the key to success.

"I've been on a fitness journey for almost two years after a warning from my doctor. After an annual physical examination, my doctor told me that due to my weight, I was at risk of having some medical issues such as high blood pressure and high cholesterol.

The doctor could tell that I did ex-

72 JUN- JUL 2021

ercise, but I likely lacked consistency and needed to change my eating habits. After much debating, I took a chance, had a personal training consultation, and the rest is history. I've lost over 50 lbs. I'm stronger and healthier. I love to train, and I enjoy eating nutritious food. I love that I'm taking care of myself. I'm

wholereviewmag.com

much more confident and self-assured, which has transformed how I feel while I'm singing, and I have also noticed a change in the quality of my vocal sound. My fitness journey has been the best investment that I could have ever made."

wholereviewmag.com

JUN- JUL 2021

73

health & wellness



profiles

What did you do to achieve your goals?

AJS: I decided to follow the teachings of Alfredo Bowman, otherwise known as Dr. Sebi. He has a plant based nutritional guide and a way of life called The African Bio Mineral Balance. Some refer to it as eating alkaline or electric. Basically, I don't consume any animal products or bi-products. I abstain from acidic, GMO and most hybrid foods. I eat fruits that have seeds and I don't use the microwave. I'm sure anyone who has read this far thinks I only eat air!

AS: I got started in late 2018, but I really made a huge change when I joined a personal training gym. I got a personal trainer and have been working out 3 times a week with my trainer since August 2019. I work out on my own too, so about 5-6 days a week. And I changed my eating habits/nutrition. I stay hydrated and follow a low carb diet, most of the time.

LN: I am on a low carb, low fat diet.

I do intermittent fasting as well. I am still a beginner so it’s not perfect.

I do lots of cardio as well as strength training exercises with weights. I haven’t found the perfect way just yet, but I try. I also do HIIT with my gym coach once a week to help me build muscles as well.

How did you feel? What were the physical, mental, and emotional effects of your wellness journey?

AJS: When I first started, I had this strange mentality that I had to be eating all the time. I told myself I was hungry or starving. That was a pre-Sebi habit that tried to sabotage me in my new way of eating. Then one day, I realized I wasn't starving by any means. I would get full faster because the food I was eating didn't have empty calories. It was nourishing and fulfilling. Many times, people I coach will tell me they have to eat more when they eat alkaline or they're always hungry. I know firsthand that the mind plays tricks. People think of alkaline or veganism as deprivation methods, but it's the opposite! I'm feeling prosperous. You have to change how you view your relationship with food, especially those of us who are BIPOC because there are deep-rooted cultural references that come with every meal.

After being in the lifestyle, you experience somewhat of a euphoria. I figured out why it's called an "electric" way of eating. It's because your energy is through the roof! I remember in our old place, we had two floors.

I used to send my daughter upstairs to get things for me because I didn't want to move. It took too much energy, and my knees would hurt. After eating this way for some time, I started flying up staircases- especially at that subway station!

74 JUN- JUL 2021

wholereviewmag.com

AJS

SO The biggest difference I noticed, which happened almost immediately, was that my swelling went down. When women get pregnant, they swell, and then it goes away afterward. My body had failed me.

My swelling never went away....until I went alkaline. The doctor told me I had arthritis around the time of Carmen Jones. Well, I don't have it anymore. I no longer experience pain. I don't like to make my weight loss the highlight of the benefit of alkalinity because some people want a quick fix to shed pounds.

profiles



health & wellness

AS: I feel great. I feel stronger and more confident. I now know that fitness and nutrition is a permanent lifestyle. Completely changing my mindset and seeing how far I've come by staying consistent gives me a more positive perspective on life.

What keeps you motivated?

SO: I want to come into my prime singing fabulously. I want to be lke Leontyne Price, "superb" in every way. I don't want to have to sing roles that are older just because my body is older and I'm moving slower. I don't want to be in my 40s and 50s worrying about my health.

AS

LN That said, I had significant weight loss- as in-they had to take in my costume by the end of the run of Carmen Jones! I had to get a new personal wardrobe as well.

DR: There was a certain amount of humility attached to making such a significant change, mainly connected to the recognition that I had previously been so mistaken in some beliefs. However, the journey has not just benefited my physical health – it has helped me grow and develop as an artist, a man and now a father.

What were your short-term and long-term wellness/fitness goals?

AS: Short-term goals: To lose 15-20 lbs this summer! Beginning in June, I'm participating in the first-ever fitness challenge that my gym is hosting. The top prize is $3,000 for the person with the biggest transformation. Only 75 out of 200+ members can participate, and I made sure to get in as fast I could. We will have a further customized personal training plan for this. I'll be utilizing Prestige Labs supplements in addition to trainer-designed workouts on our non-gym days.

Long-term goals: To continue to train, become stronger, more fit and get to a maintenance weight between 160-165 lbs. and have loose skin removal surgery after proper consultation with a licensed and experienced plastic surgeon.

DR: I am a keen Brazilian Jiu Jitsu player. The sport has a personal significance for me due to my Brazilian heritage on my mother’s side. BJJ has taught me valuable lessons about the importance of consistent effort and practice, as well as the reality that one cannot ‘muscle through’ any challenge. In the short term I would like to begin formally competing in the sport – my long-term goal is to gain my black belt.

Did the changes to your body affect your singing/vocal technique?

LN: Yes, and frustratingly so. When the body loses or gains, it affects the voice. I have been trying to lose weight slowly because a 2-4kg loss in the body is different, and the body does notice this. When I lose a lot of weight quickly, I find it difficult to support the voice properly.

So this is a little frustrating but, I am adapting well. My singing teacher and I are discovering what I can handle well and what I can’t. I know when to push at the gym and when not to push.

My vocal technique is improving, and I’m able to sing for longer intervals without feeling tired. All in all, becoming physically stronger has helped me indeed a lot.

wholereviewmag.com

JUN- JUL 2021

75

health & wellness



profiles

SO

AS

SO: It’s helped my voice and breath and I’m fortunate to have a my CrossFit coach and voice teacher to stay in close communication. Whatever time I put into my training I put the same amount of time into my body work and vocalizing.

AS: Yes, but only positively. I think it's been a positive physical-mental effect. While I felt my technique was pretty solid before my physical changes, I think my breath support has greatly improved. I've worked with my trainer on better breathing techniques during strenuous exercises, which has also helped my singing. My stage presence has improved because I feel confident. I'm not thinking about how my body appears on stage like I used to.

DR: I find my high level of cardiovascular fitness allows me to recover quickly from more vigorous stage movement. In both my singing and Jiu Jitsu practice I am constantly grappling with issues of coordination (not my strong suit) – I have all the muscles there, I simply need to coordinate the right ones at the right time. Sometimes it works, sometimes it doesn’t. I think this is my cross to bear and will likely be a lifelong struggle. However, pulling the focus of my exercise routine away from isolation exercises to more whole-body movements has helped improve this natural weakness tremendously.

76 JUN- JUL 2021

wholereviewmag.com

DJ DALAND JONES: It is never too late to address your health and wellness. Take the steps you need to feel better and sing better. Above all, do it for yourself!

covid-19 vaccines

wholereviewmag.com



health & wellness

JUN- JUL 2021

77

kitchen section pantry staples name Put your STANDFIRST kitchen pantry COPY, staples nonsul to ta good diemeuse nonsultin to create vesulu delicious, Idea morum sero ute et healthful ine rei publicae meals. horum tus, coerfen

by Courtney

by AUTHOR Carey

I

have not weighed in on my health and wellness in this issue because frankly I think everyone else’s stories are so much more interesting than my own. What I can say, however, is that my eating habits have suffered during the pandemic. Since jumping on the scale in January, I have been determined to lose some quarantine pound. I decided that the first step in the process was to prepare myself to eat well. Preparing to eat well can feel like psychological warfare. The mind has to accept the fact that the body is no longer going to receive the same foods it once did. While I was not eating a lot of junk food, I was consuming high levels of carbohydrates without the benefit of a consistent fitness regimen to offset the higher carbohydrate intake.

One day I went to the refrigerator and took a look. I noticed that I had several herbs in the vegetable bin.

I looked in the freezer and saw a few quarts of chicken stock. Then it occurred to me that I had kitchen pantry staples that I could make several meals from.

I always have a few cans of beans in the cupboard, and a whole chicken in the freezer. After this realiza-

78 JUN- JUL 2021

tion, I started digging around in my recipe box to find old my cards on “stretching a buck.” When I was in graduate school, I often went to the supermarket with the full intention of taking the little money I had and purchasing a handful of staple food items that I could make into several meals. These recipes are some of my unearthed discoveries.

My recipe testers and I have prepared these dishes several times over the past few weeks. Recipe testing and quality control are important parts of the job.

Aside from that, however, I wanted to know if I could still stretch a dollar, and prepare healthier meals along the way. The unequivocal answer is, “Yes.” Preparing these few items proved to be a tremendous help, particularly during snack hours. Rather than eating large meals twice a day, I have smaller meals and snacks in between. While mine may not be wholly the right approach to good nutrition yet, I can advocate for a spoon full of Royal Golden Salad at 2 pm over a bowl of tortilla chips and salsa.

wholereviewmag.com

S

rehemnit, num sentem ipio noste ficusqui crestiu itum mo condi st ompra nos hos, cureheb untestia st in ne cone consum nos aucio, C. Decrudeo cribus confinveres, nonsus publique tu im am dit conic veris. Ribuntiliu quem, effrei fue popoerem pec tura re, Ti. Arbis vic forum senterv ideortatia mendaci enteatum moluderti, quidet foresul ibutessa L. An vis est omnit?

P. Hae conde pris. Furedes tratque conequit pere qua verfeceres aperfeculiu ipte nono. Aperessil tabem, eempon dum plius int. Aperessil tabem, eo, consideo nostracciem rendam empon dum plius int. Aperessil tabem, eo, consideo nostracciem rendam abeffret ad iam audam tilium hactus det.

Cuper utemqua ad catatuit is Catabefacem vivigit?

Torum temunic ommove, num prit, Catervi verevivigit, quam se ductorbi pes, consciae tum pulis in sulius atqui sed re ca; inte, cus condium orae ta, contre, auconumenti porumendum in te, us hocternius, Catabes tissena, nox me tudam. nit, num sentem ipio noste ficusqui crestiu itum

mo condi st ompra nos hos, cureheb untestia st in ne cone consum nos aucio, C. Decrudeo cribus confinveres, nonsus publique tu im am dit conic veris. Ribuntiliu quem, effrei fue popoerem pec tura re, Ti. Arbis vic forum senterv ideortatia mendaci enteatum moluderti, quidet foresul ibutessa L. An vis est omnit?

P. Hae conde pris. Furedes tratque conequit pere qua verfeceres aperfeculiu ipte nono. Aperessil tabem, eo, consideo nostracciem rendam abeffret ad iam audam tilium hactus det; nortes auc fata rempon dum plius int.

Cuper utemqua ad catatuit is Catabefacem vivigit?

Torum temunic ommove, num prit, Catervi verevivigit, quam se ductorbi. ommove, num prit, Catervi verevivigit, quam se ductorbi.

C. Decrudeo cribus confinveres, nonsus publique tu im am dit conic veris. Ribuntiliu quem, effrei fue popoerem pec tura re, Ti. Arbis vic forum senterv ideortatia mendaci enteatum moluderti, quidet foresul ibutessa L. An vis est omnit? P. Hae conde pris. Furedes tratque conequit pere qua verfeceres aperfeculiu ipte nono. Aperessil tabem, eempon dum plius

wholereviewmag.com

int. Aperessil tabem, eo, consideo nostracciem rendam empon dum plius int. Aperessil tabem, eo, consideo nostracciem rendam abeffret ad iam audam tilium hactus det.

C. Decrudeo cribus confinveres, nonsus publique tu im am dit conic veris. Ribuntiliu quem, effrei fue popoerem pec tura re, Ti. Arbis vic forum senterv ideortatia mendaci enteatum moluderti, quidet foresul ibutessa L. An vis est omnit? P. Hae conde pris. Furedes tratque conequit pere qua verfeceres aperfeculiu ipte nono. Aperessil tabem, eempon dum plius int. Aperessil tabem, eo, consideo nostracciem rendam empon dum plius int. Aperessil tabem, eo, consideo nostracciem rendam abeffret ad iam audam tilium hacres aperfeculiu ipte nono. Aperessil tabem, eempon dum plius int. Aperessil tabem, eo, consideo nostracciem rendam empon dum. plius int. Aperessil tabem, eo, consideo nostracciem rendam abeffret ad iam audam tilium hacres aperfeculiu ipte nono. Aperessil tabem, eempon dum plius int. Aperessil tabem, eo, consideo nostracciem rendam empon du. 

JUN- JUL 2021

79

recipe



food

ROYAL GOLDEN SALAD INGREDIENTS For the salad: • 1 15.5 oz cans of garbanzo (a.k.a. chickpeas) beans • 1 pint golden cherry tomatoes • 1 golden bell pepper • 3 golden beets • 1/4 cup of freshly chopped dill • 1/4 cup of freshly chopped mint • 1/4 cup chopped green onion • 1 4 oz. package of herb chèvre (goat cheese) • 1 1/2 teaspoon sugar (or monkfruit sweetner) 1 tablespoon tap water 1 tablespoon extra virgin olive oil For the dressing: • 1/2 cup apple cider vinegar • 1/2 cup extra virgin olive oil • 1/2 teaspoon freshly cracked black pepper • 3/4 teaspoon kosher salt INSTRUCTIONS Preheat oven to 350 degrees F STEP 1 Cut the leafy top off of each beet.

Peel the beets using a vegetable peeler and rinse the beets thoroughly. Pat the beets dry and slice them into ¼ inch slices using a sharp knife. Place the beats onto a piece of aluminum foil and sprinkle the sugar on top. Pour the tap water and olive oil all over the beets. Toss them and fold the foil over the beets forming a pouch.

Place the pouch onto a quarter sheet pan and roast for 25 minutes,

80 JUN- JUL 2021

or until the beets are fork-tender.

Allow the beets to cool completely before use in the salad.

Prep all of the herbs and vegetables; wash, dry, chop, and set aside.

STEP 2 Add chickpeas to a fine mesh sifter, rinse, drain, and dry. Note: I scoop the peas up in small quantities and dry them on a clean, heavy-duty paper towel. You will find that their skins will come off after rubbing the chickpeas under the towel. Collect the skins and discard them. Removing the

wholereviewmag.com

skins is optional. Add the chickpeas to a large mixing bowl, then add the beets, dill, onion, mint, tomatoes, and peppers. Mix well until all ingredients are incorporated and set aside. Add vinegar, salt, pepper, and oil to a medium measuring cup. Whisk this mixture vigorously for a minute, or until the dressing has emulsified (thickened). Pour the dressing over the salad, mixing well. Refrigerate for at least 3 hours and enjoy. Add the goat cheese just prior to serving by slowly folding the cheese into the mixture. 

NEVER STOP LISTENING Courtney's Stars of Tomorrow

free music streaming is available on Soundcloud 24/7

wholereviewmag.com

JUN- JUL 2021

81

recipe



food

82 JUN- JUL 2021

wholereviewmag.com

recipe



food

CLASSIC ROASTED CHICKEN INGREDIENTS • 1 chicken (3-4 lbs) • 3 tablespoons unsalted butter (softened) • 1/3 cup diced yellow onion • 1/4 cup minced garlic • 1 lemon (quartered) • 1 tablespoon +1/2 teaspoon kosher salt •1 1/4 teaspoon black pepper •1/2 teaspoon ground cardamom INSTRUCTIONS Preheat oven 425 degrees F Mix butter, 1 tablespoon salt, 1 teaspoon pepper, and cardamom together. Set the mixture aside.

Clean the chicken (rinse the cavity, remove the gizzards, and any pin feathers) and pat dry.

Spread 1/4 of the butter mixture inside the cavity, then add all of the onion, garlic, and lemon quarters. Next, using your fingers to gently separate the skin from the breast, spread 2/4 of the butter mixture under the skin.

Cover the outside of the chicken with the remainder of the butter.

Sprinkle the exterior with 1/2 teaspoon of kosher salt and 1/4 teaspoon black pepper.

Truss the chicken and roast in a cast-iron skillet for 1 hr 25 minutes (or until the juices between the leg and the thigh run clear when pricked with a knife.

HOMEMADE CHICKEN STOCK Yields 6 cups INGREDIENTS • 1 chicken carcass (the roast chicken above) • 1 yellow onion • 1 bulb of garlic • 1 bunch of flat leaf parsley • 1 bunch of dill • 2 carrots (peeled and chopped) •3 tablespoons extra virgin olive oil • 1 tablespoon fennel seeds • 1 tablespoon celery seeds • 1 tablespoon kosher salt • 1 teaspoon black pepper • 7 quarts of water

wholereviewmag.com

INSTRUCTIONS Add 1 tablespoon of olive oil to a large stockpot set over medium-high heat. Add the chicken carcass to the pot and let it cook for 5 minutes. Meanwhile, peel and quarter the onion, peel the garlic and peel and chop the carrot into large chunks. Add the aromatics to the pot (onion, garlic, carrots, celery seeds, and fennel seeds. Cook them with the chicken for an additional 5 minutes, stirring occasionally. Add the parsley and dill.

Fill the pot with water. Add the salt, pepper, and the remaining olive oil and cook over medium-high heat for 75 minutes. Cool the mixture and strain using a mesh strainer.

Divide the stock amongst quart containers.

JUN- JUL 2021

83

recipe



food

BROWN RICE Yields 2 cups

INGREDIENTS • 1 cup long grain brown rice • 2 1/4 cups homemade chicken stock • 1/4 cup diced yellow onion • 1 tablespoon minced garlic • 1 teaspoon whole fennel seeds • 1 teaspoon kosher salt • 1/4 teaspoon black pepper • 1 tablespoon extra virgin olive oil • 1 tablespoon unsalted butter

84 JUN- JUL 2021

INSTRUCTIONS Thoroughly rinse and drain rice using a fine-mesh strainer. Heat the olive oil and butter in a medium-sized saucepot set over medium-high heat. Add the fennel seeds, garlic, and onion to the pot.

Cook until the onions and garlic are fragrant but not browned. Add the rice to the saucepot and stir until the rice is coated in oil and but-

wholereviewmag.com

ter. Cook uncovered until the rice is starting to turn a nutty brown color. Add the chicken stock. Cover the pot and bring the rice to a boil. Once boiling reduce the heat to simmer and cook for 40 minutes.

After 40 minutes, remove from the heat, and allow the rice to sit undisturbed for 10 minutes. Fluff the rice with a fork and serve.

recipe



food

STUFFED TOMATOES INGREDIENTS • 4 beefsteak tomatoes • 1 chicken breast cubed • 3/4 cup cooked brown rice • 1/2 cup baby mozarella • 1/4 cup chopped red onion • 1/4 cup chopped basil • 1/4 cup chopped green onion • 1 teaspoon minced garlic • 1 tablespoon drained capers • 3 tablespoons white balsamic vinegar • 3 tablespoons dijon mustard • 2 tablespoons mayonnaise • 1 teaspoon kosher salt • 1/2 teaspoon black pepper INSTRUCTIONS Using a small paring knife, core each tomato by cutting a small circle out of the center. Use a teaspoon measuring spoon to scrape out the insides of the tomato.

Sprinkle the insides of the tomato using 1/2 teaspoon of salt ( 1/2 teaspoon should cover 4 medium tomatoes) and turn them upside down onto a plate. Note: the salt will draw the excess water out of the tomatoes.

Add the diced chicken breast, mozzarella, and the cooked completely cooled rice to a medium mixing bowl and set aside. Chop all of the vegetables and herbs and set them aside. Mix the mayonnaise, mustard, remaining salt, and pepper in a small mixing bowl. Add the basil, green onion, capers, garlic, and vinegar to the mustard mixture. Pour the sauce over the chicken, cheese, and rice. Fill the tomato cavity with the filling using a tablespoon.

wholereviewmag.com

JUN- JUL 2021

85

recipe



food

86 JUN- JUL 2021

wholereviewmag.com

recipe



food

ROASTED PURPLE CABBAGE Servings: 6-8 wedges

INGREDIENTS • 1 medium purple cabbage (cut into wedges) • 3 tablespoons extra virgin olive oil • 1 teaspoon caraway seeds • 1/2 teaspoon celery seeds • 1 teaspoon kosher salt • 1/2 teaspoon black pepper • 1/2 teaspoon crushed red pepper flakes Preheat oven to 350 degrees F Mix all of the seeds, salt, and peppers in a small mixing bowl and set the mixture aside. Remove the exterior leaves from the purple cabbage. Cut the cabbage into thick wedges and place them onto a sheet pan. Note: leave the core in the center as this will help to hold the cabbage wedges together. Drizzle olive oil onto the top and bottom of the cabbage. Season each of the wedges liberally with the spice mixture. Cook for 15 minutes on one side. Flip them over and cook them for an additional 10 minutes on the other side. Drizzle the balsamic glaze over each wedge.

Serve hot and enjoy.

wholereviewmag.com

BALSAMIC VINEGAR GLAZE INGREDIENTS • 2 cups balsamic vinegar • 1/2 cup brown sugar • 1/4 granulated sugar • 1/8 tspn kosher salt INSTRUCTIONS Place a small saucepot over medium heat. Add the vinegar, sugar, and salt. Mix the ingredients to incorporate. Bring the mixture to a boil. Stir occasionally, and cook until the glaze has reduced by half (about 30 minutes). The mixture will thicken as it cools. Once cooled, store in an airtight container and leave at room temperature.

JUN- JUL 2021

87



star pick

STAR PICK

encore

ENCOUNTERING BACH

a documentary film David Chin's new documentary on the life and music of J.S. Bach is the great adventure we all need (available now on Bach Malaysia's YouTube channel)

by Courtney Carey

88 JUN- JUL 2021

wholereviewmag.com

J

ohann Sebastian Bach (1685-1750) is one of the most well-known names in music history. His name is synonymous with invention and skill. Even if you do not imme-

diately recognize the name, you certainly know his music. The Well-Tempered Klavier, the B Minor Mass, and the Brandenburg Concertos are regularly featured in movies and television commercials by American Express, MetLife, Allstate, and Geico to name a few. His compositions were strokes of genius, the likes of which some argue were not to be experienced again until a precocious young boy from Salzburg, Austria (Wolfgang Amadeus Mozart) arrived on the scene some six years after Bach's death.

Bach’s musical output is vast, having written over 1,000 compositions during his life. For that reason, discussions of Bach can be overwhelming. Where does one start? What does one cover?

David Chin’s documentary Encountering Bach provides some answers.

On the surface, Encountering Bach is a documentary film about the life and music of Johann Sebastian Bach. But, about five minutes into the film, it is clear that it is so much more. Encountering Bach is a great adventure, a field trip for the ages. The 130 minute documentary spans 23 sections, which have been generously timestamped in the video’s description box, chronicling Bach’s life from his childhood in Eisenach to his years at the famous St. Thomas School and beyond. Not only does Chin’s

biographical film include interviews with 15 prominent scholars and musicians but, it also features musical performance footage of musicians from Malaysia, Singapore, Hong Kong, Germany, Switzerland, and the United States. Two elements make Encountering Bach a standout- excellent cinematography and enthusiasm for the subject.

Documentaries of this type usually have one major problem in common, that is, they are slowpaced. There is, however, in this instance videographer Moses

David's Top 5 moments 1. St. Thomas Church in Leipzig (the place where Bach composed most of his cantatas) 2. A visit to the preserved tombs of Prince Leopold—Bach’s favorite prince 3. Bach-Archiv Leipzig 4. The visit to the 800-year-old St. Thomas School



encore

Photo credit: Moses Lim

star pick

Lim whose usage of gimbals, jibs, and sliders gives the film forward movement. The transitions are cleanly implemented like a beautifully executed melisma- there are no bumps.

Perhaps more striking than the cinematography is the sheer enthusiasm shared by the host and co-hosts, and interviewees. One is usually left with the impression that people participating in such films are fact regurgitators whose interest in the subject has long been wiped away.

In Encountering Bach, however, there is enthusiasm and joy that is delightful to watch. Based on the film's 94k views in the five months since its release, it seems that enthusiasm is a contagion, spreading all across the internet. Go encounter Bach. You'll be glad you did. Encountering Bach is available on Bach Malaysia's YouTube channel.

5. Interview with countertenorDavid Erler

wholereviewmag.com

JUN- JUL 2021

89

Making everyday life a stage

Now Accepting Submissions The Whole Review is happy to accept unsolicited manuscripts. Writers should familiarize themselves with the magazine before sending their submission, and include with it a cover letter giving their thesis, an explanation of why it’s an important thesis to argue in this magazine, reference to any similar articles the magazine has published recently, and a short biography.

Submit inquiries and manuscripts to:contact@wholereviewmag. com.

CONNECT WITH US wholereviewmag cstarsoftomorrow cstarsoftomorrow wholereviewmag cstarsoftomorro Courtney’s Stars of Tomorrow Courtney’s Stars of Tomorrow

www.cstarsoftomorrow.com www. wholereviewmag.com

© Courtney’s Stars of Tomorrow 2021. All Rights Reserved. No part of this magazine may be reproduced without written permission of the publisher. All information contained in this magazine is, as far as we are aware, correct at the time of going to press. Courtney’s Stars of Tomorrow cannot accept responsibility for errors or inaccuracies in such information. If you submit unsolicited material to us, you automatically grant Courtney’s Stars of Tomorrow a license to publish your submission in whole or in part in all editions of the magazine. All material is sent at your own risk. Although every care is taken, neither Courtney’s Stars of Tomorrow, nor its employees, agents or subcontractors shall be held liable for loss or damage. Courtney’s Stars of Tomorrow endeavors to respect the intellectual property of the owners of copyrighted material reproduced herein. If you identify yourself as the copyright holder of material we have wrongfully attributed, please contact the office.

90 JUN- JUL 2021

wholereviewmag.com

"Every bite is harmonious"!TM www.symphonychips.com

wholereviewmag.com

JUN- JUL 2021

91

For a limited time read 6 issues for freeThen only $7.95 digital/ $15.95 print

SUBSCRIBE www.wholereviewmag.com