Overture Magazine - 2014-2015 January-February 2015 | Page 11

up to six hours a day. When the actual show opens, you’re often under contract to do several performances. You do one, you have a couple of days off. People who have large roles that tax them quite a bit need the time to recover. I didn’t realize that opera performances were spaced out like that. In repertory, there will be four or five shows going on at the same time. Every night there will be something. But if you look at the schedule, you’ll see there are two and three days in between a particular opera. You’ll be singing in Mahler’s Third with the BSO. You sing the poem in the fourth movement, so you won’t have any trouble singing a few nights in a row? Yes, the fourth and a bit of the fifth. It’s a bit of an easy gig for me. I also did the piece in Reykjavik and Caracas. I understand the symphony isn’t done very often. The big difficulty is it pulls from a lot of resources. You have an extended orchestra, soloists, and, on top of it, you need a children’s choir. It’s an undertaking. You’re a newcomer to Baltimore right? This will be my first time spending any time there. I’ve heard nothing but wonderful things about the orchestra and the mus