Interview with Michele McConnell

Following the “Path”

An Interview with Michele McConnell with her take on the “Paths” singers are told to follow.

By Zachary Sebek

Date: 11/8/2017

Selfie taken after the interview with author Zachary Sebek and Singer Michele McConnell

At the very top of her profession, Michele is a crossover artist in many different genres. She recently stepped off the stage after playing the role of Carlotta in Phantom of the Opera on Broadway with 2,270 performances, which is the most ever by a Carlotta. When I asked for an interview she said 100% yes and recommended that we meet at her favorite coffee shop, St Kilda coffee in times square. When I arrived, she ordered two mocha coffees with almond milk and it felt as if I had stepped into her office.

To start the interview, I asked questions regarding her time at Phantom and how it felt to have had such a long run. She spoke about it as if Carlotta was a part of her and she enjoyed every second of her time there. She has worked with many famous Musical Theater singers, including Sierra Boggess, she said that working with new people is always exciting and she was never bored on stage. For her, the role was a enjoyable because she got the opportunity to sing with many different people and make music while entertaining audiences.

Michele enjoys singing many types of musical genres. Many singers do not have the same ideas about singing as she does because they follow one path but at what cost. I was curious to know how Michele felt about singing the same role over and over. Many singers do not enjoy singing the same role every single night, but she has never had that thought in her mind. It was her job to perform and she had fun while doing it. Being on stage and performing was her passion and so she never got bored of her role.

Before her run at Phantom, Michele sang in over 115 different countries, where she sang many different types of music. An issue that can arise from learning a new character is getting away from character you played before. I asked her how she got into character each night for a show but she had no rituals or special traditions. When the lights hit her face she knew it was time to sing! Michele was very confident on stage with channeling her character and many call her the model for all future Carlotta’s. She says that the part of Carlotta was written with comedy so that you could focus on singing and the acting and comedy could just come.

I have seen her perform as Carlotta many times and what surprised me the most is that she is nothing like the character she plays. Carlotta is a huge diva and Michele was the exact opposite. She told me all about how she became the singer she is today. So naturally, I asked her how she made it through all of those shows which lasted over six years. She praised her training  and described it as a “belcanto style where the air is always free.” She credits this for being able to put together a very impactful run at Phantom. In Phantom, Carlotta has a high E and was expected to sing it every night. For most Sopranos this is a nightmare.

Singing in a Broadway musical is tough due to the schedule and the way the shows are performed. Her role is extremely difficult since she has to dance and sing in a 40 pound costume. When asked about the costume, her answer was simple.  She said singing is a sport. She compared herself to a pro athlete, saying there were 100’s of shows that were not the best 100’s of shows that were amazing. She continued the analogy by stating “Like any great quarterback, you throw some great passes and some awful passes, but it is how you recover after a mistake which is how you can be so great.”

Her advice to a singer is that you can never be perfect and since it is a sport you always have to keep in shape, eat well, and work hard each and every night. I asked her if her diet contributed to her ability to do so many shows. She told me that if you eat healthier you will sing healthier and that’s just a fact. She said that even though she cannot eat healthy all the time it’s key for a singer to keep a good diet so they do not cause any intestinal issues, which can ultimately cause breathing issues issues.

I then asked her about movement and how important is it for the stereotypical opera singer who stands still. Her opinion was quite interesting. She stated, “2017 is a year full of visual arts and though 30 years ago you could, as the singers call it, park and bark, but it is not like this anymore.” Michele was astonished to hear I had no movement class and said it was “crucial” to a singer. Her take was that opera singers in our time need to know how to move because it helps the technique. Many opera singers are so stiff that they squeeze the sound out of there body which is awful. Her opinion that learning how to move was the most essential part for opera singers to take a class even if it was not a part of their curriculum is super important.

In Musical Theatre however, many singers end their run with a show after a year or two and go on vocal rest. Many say that the vocal training they receive is bad based on the fact that they can only handle a certain amount of shows before they need a rest. She responded that her training is what made her last so long and she praised her alma mater Butler University. Her advice to young singers of any kind is to get classical training but to not feel pressured to only sing classically. Michele’s training helped her sing healthy and she does not have to put her career on hold for singing issues.

Since Michele is operatically trained I continued to ask how beneficial a crossover career is, especially for opera singers? She said it is crucial because without being able to switch then you can never have a substantial career. I said that most young singers are pressured into following one path only and she immediately said, “I applaud the singers who follow their path whether it’s opera or musical theatre etc., but when you are not making an income from of your voice then do not complain.” “Taking on new music or genres is important to get more work as a singer.”

But many young singers, especially after getting operatically trained, believe they can only sing one art form and cannot learn others. She thought it was crazy and told me that a singer should be able to sing in any style or else they are locked off. But she advised me listen and listen to find what fits right. Her idea is that by listening to different styles and sounds you can blend your sound to fit.  She also mentioned that, “The key is to find what’s right and to gain experience from anything you do and or learn to sing.”

After our extensive interview, I asked her how she made her career into what it was today. She said she just sang and enjoyed every second of singing. She would take whatever came her way and she experienced new things, which led her to other opportunities to travel the world. She said, “In 2017 you have to have room to play. Play because that’s where you’re going to have the biggest breakthrough.” Then in reference to forming a crossing over career she said, “The biggest thing I want all young singers to know is, don’t knock it until you try it.”