Thomas Forde
Bass-baritone
Park Ridge, Ill.
Please tell our readers about your career highlights so far.
Dallas Opera debut, January-March 2008, [as] resident bass-baritone performing roles such as Angelotti in Tosca and The Fifth Jew in Salome. I also debut [May 2008] with Fort Worth Opera as The Mandarin in Turandot while covering Timur and Raimondo. Other apprentice programs include Central City Opera, Tulsa Opera, Des Moines Metro Opera, and Utah Festival Opera.
Who is your mentor, or the most influential person in your life as a singer?
Darren K. Woods.
What is your dream role, and why?
I would love to perform Figaro in Le nozze di Figaro as much as humanly possible. This role feels like a vocal massage to me. There is potential to play him in many different ways, and in experimenting with the role, I have found many wonderful moments with the character.
How do you handle the inevitable rejection that is part of a singer’s life?
It’s a funny thing, rejection. It’s always disappointing to get a rejection in any aspect of life, but especially in singing. The voice . . . is a very personal thing, and I’ve had to learn to separate myself from my voice sometimes. I’ve learned everything comes in due time, and when one opportunity doesn’t work out, there is mostly likely a great opportunity around the corner.
What is your favorite article you’ve read in Classical Singer, and why?
Anything from Cindy Sadler’s “Ask Erda” section. She is a phenomenal person to work with on stage (I was at Des Moines with her in a production of The Rake’s Progress). She really knows how to nurture a young singer while providing the facts.
Who is your favorite singer and why?
I very much enjoy Alexander Kipnis. He is a throwback to a time of singing (especially for basses and bass-baritones) [when] nothing was manipulated or “put-on.” He sang very naturally, and his tone floated out of his mouth every time he opened it. It wasn’t a particularly “bassy” sound, but the emotions he expressed were always apparent without any added vocal manipulation. I think every bass should listen to him sing “Il lacerato spirito” before singing it again. It changed my approach drastically.
What is your favorite techno tool you use as a singer?
I could not live without my iPod mini. It travels with me everywhere, and is a great tool. I also use Garageband on my Apple laptop to record myself doing all of the recitatives from any given show. This way, I memorize listening to myself, and not any other interpretation. Once I’ve memorized, I love to go back and listen to what other people do, and get encouraged that way.
Anything else you’d like to say during your moment in Center Stage?
Just remember, when you should grab something, grab it; when you should let go, let go.
