At Maestro Caraher’s suggestion, to get a “singer’s-eye view” I spoke with some singers who have performed roles with Indianapolis Opera. Gran Wilson, Sarah Coburn, and Timothy Noble all praised the friendly atmosphere and strong work ethic of the company.
Wilson, a frequent leading tenor at IO, had this to say about the company: “I have sung for money for 24 years … I have never been treated better or with more respect than in Indianapolis.” He went on to describe the rehearsal process as “…engendered with Hoosier work ethic, and driven by common regard for collaboration. The singers usually know each other, or know of each other’s work, and are encouraged to bring their own personal creativity and energy to the task at hand, putting on a show for real people who care more about the opera than any particular performer.
“This is the American school of opera production at its best, void of claque, intrigue, silliness.”
Sarah Coburn made her IO debut last year.
“To be honest, my time at IO was the happiest working experience I have had yet,” said Coburn. “The environment is supportive, friendly, lighthearted and free of pretense. I was singing my first Gilda in Rigoletto there, and I am so glad that I was in that environment while trying out a new role.”
Wilson delivers similar words of praise.
“Our production of Stravinsky’s The Rake’s Progress was in some ways the best work I ever achieved,” he said. “It was my first, and I could not have reached that personal level the first time out in such a demanding role anywhere else.”
[On a personal note, I still have a picture in my study of Kara Schmid, as Mother Goose, ripping off Gran Wilson’s shirt while I, among the chorus of prostitutes and other lowlifes, look on, cheering.]
I also asked the singers to give me their impressions of working with Maestro Caraher, and all three spoke of him with great respect and affection. Baritone Timothy Noble has sung frequently for the company, most recently in the title role of Rigoletto and as Sharpless in Madama Butterfly.
“Maestro Caraher, as a conductor, is a terrific musician with a great set of ears,” said Noble. “He allows his artists room to grow into a production, while getting what he wants. He commands respect with his gentlemanly manner and fine musical skills. He certainly gets the most from his artists and musicians, and that is really all one can ask of a maestro. The other aspect that I find so wonderful about Jim Caraher is his willingness to take chances with young artists. Not many companies will do this, as much is on the line, but Jim has a real sense about young artists, and my hat is off to him for this.”
When asked to describe Maestro Caraher, Coburn says: “Talented, kind, patient, accommodating, confident, leads a singer without controlling; I could go on…”
Wilson’s comments echo this: “As with any organization, the company eventually reflects the vision and visage of the person at the top. I can recall no opera company so apparent in this reflection as the Indianapolis Opera and its music director, Jim Caraher. When I first met Jim, we were very young and just beginning to apply our training to the actual making of music on the operatic stage. Jim’s musicianship was immediately obvious, and his calm demeanor rarely ruffled. Working with him was from the beginning a delight.
“We all crossed our fingers, hoping such an even-tempered, considerate, soft-spoken man would be able to find his niche in a business known, celebrated, and often parodied for larger-than-life personalities who were not always the most gracious or easy to endure.”
Wilson went on to describe Caraher’s drive for excellence.
“Incredibly, he knows every word of every score I have sung with him.”
The three singers I spoke with were also enthusiastic about returning to perform with Indianapolis Opera, and remembered fondly the good times they had while performing great music. Together, they paint a picture of an organization that, led by Caraher and Executive Director John Pickett, knows what its mission is and remembers that producing excellent art can, and should, also be fun.
