Throughout the course of their training, many opera singers find that rigorous emphasis on acting and interpretive skill too often takes a back seat to vocal technique and musicality. In his book, Acting for Singers, David F. Ostwald energetically ventures into the less-navigated (and less clearly understood) waters of the singing performer’s universe.
Ostwald’s résumé, as both a stage director and teacher, is impressive. He draws from more than 35 years of hands-on experience with singers—10 of which he spent as head of the opera program at SUNY. His teaching skills brought him to many other artistic hubs, such as the Juilliard School, Queens College, and University of California at Berkeley, as well as summer programs at Aspen, Wolftrap, and the Bay Area Summer Opera Theater.
As a stage director, he has worked at many of the world’s most prominent venues, in both opera and theater. Ostwald has seen as many careers take off as he has seen fizzle, and has regularly seen singers of immense talent and dedication, who, whether from poor guidance or lack of adequate resources, were encumbered by that uniquely conspicuous Achilles heel—a lack of expressive understanding. By that same token, a sophisticated grasp of character, motive, and dramatic intent can greatly enhance even a mediocre voice or modest technique.
To be sure, this is a book that can be equally effective for actors as for singers. Ostwald distills many of the sound and time-tested acting principles that have their origins in the work of luminaries such as Konstantin Stanislavski and Stanford Meisner. In a nutshell, Ostwald is aiming at greater “believability” and “truth,” the twin aspirations of most theater and movie actors working today. These same objectives have infiltrated a new generation of operatic singers, creating, in turn, a revised standard package of core abilities that can set a singer apart at auditions and on stage.
One of the obvious benefits of this volume is that its organizational structure makes it both user-friendly for the individual as well as ideal for teacher or classroom use. The book is divided into three main parts composed of several chapters, each chapter ending with a brief summary, followed by exercises you can do alone or with a partner. Part I explores the very basics of entering the character’s world, adopting natural behaviors, and strengthening concentration. It also gives pointers on how to transform the act of singing from an additional hurdle to a boon and includes tips for developing improvisational skills.
Part II deals with interpretation of the character, musical, and thematic levels. Some of the techniques might seem familiar to those who have ever taken an acting class, but Ostwald takes extra pains towards applying them specifically to the problems encountered by operatic, or what he terms “music-theater,” artists. He analyzes and breaks down excerpted acts and musical texts from the operatic canon to demonstrate a workable method for the performer. He indulges in no abstract philosophizing here, nor do you get the frustrating feeling that you are getting too far away from the actual process of singing or approaching a libretto. Ostwald is obviously a teacher who believes in practical and doable actions. On one level he has written a manual that can lead the student or professional towards increased improvement and a more comprehensive artistic awareness.
Part III is dedicated to the subject of preparation before performances, rehearsals, and auditions. Here Ostwald does a great job of clearing up many of the age-old mysteries that arise during what, for many singers, is a treacherous and anxiety-ridden task. Some of the advice and recommended exercises are standard and time-tested by the singing, acting, and improvisation communities, though presented with more in-depth coherence than usual. Few books cover as much territory in one volume, to say nothing of one section, and Ostwald clearly exhibits a gift for distilling and organizing only the most useful information. Newer singers will get a lot out of this section, and even veteran performers are still likely to come across a unique pearl of wisdom or the answer to an unforeseen problem.
Overall, this is a book that will be useful on the shelves of every type of singing performer at every skill level and career point. Whether you read it cover to cover or skip through it as a spot-reference tool, Acting for Singers will leave you with a good measure of clarity, palpable direction, and, perhaps most importantly, a renewed sense of confidence and assurance in the idea that anything can be improved.
