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    She isn’t a star

    Jennifer Johnson CanoBy Jennifer Johnson CanoJuly 2, 2020No Comments5 Mins Read6 Views
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    “She isn’t a star.”   Even as I type those words, I feel my face get warm and tears filling up behind my eyes. Read related articleBecoming a Digital Opera ProducerMy manager, Shirley Kirshbaum, and I were discussing a recent meeting she had with an arts administrator regarding future possibilities and projects. Shirley and I have…

    “She isn’t a star.”  

    Even as I type those words, I feel my face get warm and tears filling up behind my eyes.

    Read related article Becoming a Digital Opera Producer

    My manager, Shirley Kirshbaum, and I were discussing a recent meeting she had with an arts administrator regarding future possibilities and projects. Shirley and I have a wonderful relationship. We share a mutual trust in each other’s expertise and a compassionate honesty in all things. I could tell she was hesitant to share this short summation of the meeting with me. Shirley made it very clear that she vehemently disagreed with this feedback and that any opportunity for discussion or clarification about this particular feedback was rebuffed.

    I think my response was, “Wow. Ok. That’s that, then.” Part of me was relieved because I had been smacking my head against the wall trying to impress the powers that be. The other part of me, the part I hid from public view, was sent back to the days when I was bullied in junior high. I immediately felt insignificant, raw and that my diligent work and skill set had been nullified. Before I left Shirley’s office, she lovingly assured me that one person, one place, does not a career make and that there were plenty of people and places who respected my work and enjoyed working with me. We hugged and I deeply appreciated her concern for my well-being.

    Read related article Preparing for the New Reality

    I left Shirley’s office and burst into tears. What does “She’s not a star” mean? I started to question everything from my voice, my technique, my looks, my acting abilities, my social media presence…there was no personal stone left unturned. I put myself through the ringer on every possible level. My ego was bruised, my heart was broken and I couldn’t make sense of it all.

    Chris – my husband, best friend, and most valued musical partner – supported me as I leaned on him, cried, and ranted. He patiently listened as I spun circles in my frustration and anger. Then he said something which provided me a flicker of light so I could begin a path out of the dark, awful place where I found myself.

    “You know who you are. You know what you want. Trust yourself.”

    Chris knew that I had spent a lifetime making big choices. These choices were always in complete agreement with OR direct opposition to feedback I had received. When I decided to accept the offer to join the Lindemann Young Artist Development Program, I had plenty of people tell me that they didn’t think I would survive. I not only survived, but that experience was precisely what I needed at that point of my development. When Chris and I programmed our New York debut recital, we were met with questions and doubt regarding our programming selections. Our program, and dedication to it, was one of the most lauded aspects of the experience. This list of choices is long and varied, but I managed to filter through things and make decisions that felt authentic and kept me centered and joyous.

    Here I was, faced with another choice – 1) Do I attempt to continue to decode this piece of feedback and focus my energy in a way which doesn’t feel authentic to who I am? Or 2) Do I discard this feedback and focus my energy in ways which are authentic to my beliefs and principles? In this particular instance, I chose to discard the feedback I received. It was one of the best decisions I ever made. The scar is still there, but it continues to heal and fade with each passing choice I make that is authentic to who I am.

    Fast forward, if you will, to discussions between myself and Tracy Cox regarding a topic I could address for M Institute for the Arts. The criteria I set for myself was to discuss a topic which was both deeply personal, and yet, universal. I also wanted to, not only, address said issue, but (hopefully!) provide a demystifying guide. And thus, The F Word was born.

    A funny thing happened when I hit my thirties. I found myself in a position of being asked for my feedback. Truth be told, I keep looking over my shoulder as I assume someone is speaking to a wise authority figure, standing behind me. This role as an educator and my responsibility as junior-senior member of our global arts community is one I take seriously. I hope The F Word series will provide time and space for artists to trust themselves, find their centers and be their wonderfully, authentic selves. I further hope that the participants in the webinar will have resources at their disposal to examine the feedback they will, ultimately, be asked to provide. The possible result of these combined efforts might be a more vibrant, creative and truthful artform.

    Classical Music Opera Opinion Singer
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    Jennifer Johnson Cano

    Jennifer Johnson Cano is a Mezzo Soprano whose portrayal of Michele in the recent premiere of The Righteous at Santa Fe Opera earned her accolades from The New York Times, which noted how she “voluptuously captured” the pain and strength of her character; Musical America called her a “standout” and The Wall Street Journal described her as “riveting.” Opera Today noted her “substantial, creamy mezzo-soprano” and called Ms. Cano’s arias in The Righteous “flawless combinations of radiant, poised, attractive singing invested with heartfelt delivery.” Opera News has described her as a “matchless interpreter of contemporary opera.” In the summer of 2024, Cano created the role of Michele in the world premiere of Gregory Spears’s The Righteous with Santa Fe Opera. Her 2024–2025 season highlights include roles in Die Walküre and Götterdämmerung in the Dallas Symphony Orchestra’s concert productions of Wagner’s Ring Cycle under Fabio Luisi; Bruckner’s Te Deum with the Orchestre Métropolitain under Yannick Nézet-Séguin; Haydn’s Mass in Time of War at the Chicago Symphony Orchestra conducted by Manfred Honeck; Beethoven’s Mass in C Major with Handel and Haydn Society in Boston; and holiday performances of Bach’s Christmas Oratorio with the Cincinnati Symphony and Handel’s Messiah with the Houston Symphony. She sings the role of Amneris in a concert production of Verdi’s Aida with Arizona Opera and Hermia in Britten’s A Midsummer Night’s Dream with Opera Theatre of St. Louis. Cano undertakes a balance of orchestral, opera and chamber music performances each season. Recent highlights include performances as Mistress Quickly in Falstaff at Houston Grand Opera; Mozart’s Requiem with The Philadelphia Orchestra at Bravo! Vail Music Festival; and Marc Neikrug’s A Song by Mahler with the FLUX Quartet. She has collaborated on numerous projects with The Cleveland Orchestra and Franz Welser-Möst as well as the Los Angeles Philharmonic and Gustavo Dudamel in both the US and Europe. She has performed with the New York Philharmonic in both New York and Vail; Pittsburgh Symphony under Manfred Honeck; Philadelphia Orchestra and Yannick Nézet-Séguin; Chicago Symphony and Riccardo Muti; and Atlanta Symphony under Nathalie Stutzman. Highlights of Cano’s operatic career have included performing the roles of Donna Elvira, Carmen and Offred with Boston Lyric Opera; The Fox in The Cunning Little Vixen with The Cleveland Orchestra; the Mother, Dragonfly, and the Squirrel in L'enfant et les sortilèges with the San Francisco Symphony; performances of El Niño with John Adams and the London Symphony Orchestra; Carmen with New Orleans Opera; and Orphée with Des Moines Metro Opera and Opera Theatre of Saint Louis. She has appeared in more than 100 performances on the stage at The Metropolitan Opera since her debut in the 2009-2010 season. Cano debuted the role of Virginia Woolf in the world premiere of Kevin Puts’s The Hours with The Philadelphia Orchestra about which The Philadelphia Inquirer wrote, “Every word was clear both in content and intention, and her mezzo-soprano tone was deeply alluring.” A native of St. Louis, Cano earned degrees from Rice University and Webster University, where she was honored as a distinguished alumna and commencement speaker in May 2017. Her debut recital recording with pianist Christopher Cano, “Unaffected: Live from the Savannah Voice Festival,” was recorded live and unedited. She sings as a soloist on a live recording of Beethoven's Symphony No. 9 with Manfred Honeck and the Pittsburgh Symphony and in Bernstein's Symphony No. 1 "Jeremiah" with Marin Alsop and the Baltimore Symphony Orchestra. She also recorded Mahler's Das Lied von der Erde with St. Luke's Chamber Ensemble. Ms. Cano joined the Lindemann Young Artist Development Program at The Metropolitan Opera after winning the Metropolitan Opera National Council Auditions. Among her honors are Winner of the Young Concert Artist International Auditions, a Sara Tucker Study Grant, a Richard Tucker Career Grant and a George London Award.

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