So 2015 has been a great year so far…

To recap:

In March I covered Rodolfo from Pucini’s La Boheme with Windy City Opera:

Boheme Act I (L to R: Sam Dewese as Marcello, Sam Weiser as Colline, Noah Gartner as Schaunard, Myself as Rodolfo)

In April, I played Don Basilio and Don Curzio in Mozart’s Le nozze di Figaro with New Moon Opera Company:

Nozze Quintet

(L to R: Myself as Don Curzio, Stuart Thompson as Conte Almaviva, Josh Poucher as Figaro, Giovanna Jacques as Marcellina, Peter Morgan as Don Bartolo)

In May, I played Morales and El Remendado in the /kor/ production of Bizet’s Carmen:

kor carmen 1

(L to R: Myself as Joakim Noah playing Morales and Remendado, David Govertsen as Dave McGillycutty playing Escamillo)

In June, I played Conte Almaviva in the Main Street Opera production of Gioachino Rossini’s “Il Barbiere di Siviglia”:


(L to R: Myself as Conte Almaviva, Emily Becker as Rosina, Michael Orlinsky as Figaro)

In July/August I played Rodrigo in New World Production/Opera On Tap Chicago/Main Street Opera’s production of Jacinto Guerrero’s “El huesped del Sevillano”:


(L to R: Erin Moll as Constancica, Myself as Rodrigo)

Just last week, I had my first performance with the Floating Opera Company production of Mozart’s “Cosi fan tutte”:

cosi floco

(L to R: Myself as Mario (Ferrando), Chungers Kim as Bowser (Don Alfonso), Josh Poucher as Luigi (Guglielmo)

We will be taking this production of Cosi on tour through the Midwest beginning November, and continuing throughout the Spring of 2016. Also up in 2016, I’ll be covering Don Ottavio for Floating Opera Company’s production of Mozart’s Don Giovanni, and playing Ernesto in Windy City Opera’s production of Donizetti’s Don Pasquale.


Opera On Tap Chicago has been going strong for a year now! Yes, we just passed our 12th Monthly show last week. We look forward to bringing you another 12, then another 12, then another 12…


I promise to update this blog more frequently….

And…I’m back

Well hello to the world again. I’m back!

It’s been a long journey since my last posting. Since then I’ve:

  • Performed my first Rossini role (Prince Ramiro in La Cenerentola)
  • Sung an opera in Danish (Maskarade by Carl Neilsen with Vox3 Collective)
  • Reprised my role Chang Jun-rui (from Romance of the Western Chamber with East Chicago Arts Initiative) (Here’s a trailer for the show)
  • Covered the tenor solo for Mozart’s Requiem with Vox3 Collective
  • Performed for Bastille Day in San Francisco with Accordian player Ron Borelli and Soprano extraordinaire Eileen Meredith, who is now the Executive Director of Island City Opera in my hometown of Alameda, CA
  • Re-acquainted myself with Bach, singing with the Chicago Bach Ensemble in their latest concert, which was also the premier concert of the ensemble’s new conductor, Maestro Ruben Dubrovsky
  • Covered Ferrando (Mozart’s Cosi fan tutte) and helped out my buddy Dan Grambow achieve his dream of starting his own opera company, Floating Opera Project (I did supertitles for him. Yes, it’s an important job!)
  • In March, I will be covering Rodolfo from Giacomo Puccini’s La Boheme with Windy City Opera
  • In April, I will be reprising the role of Dons Basilio and Don Curzio in New Moon Opera Company‘s production of Mozart’s Le nozze di Figaro
  • And finally, in what is my proudest accomplishment in the past 14 months or so- I recently restarted Opera On Tap’s Chicago chapter!

What’s next? Hmmmm, not sure yet. I’ll continue to be a Co-Managing Divo of Opera On Tap Chicago at least for the next year. I took a few years off of performing opera in Chicago, but I plan on being very busy this 2015 year.

I also plan on keeping this blog active again!

The Healing Power of Music

Today BART had an equipment malfunction which caused delays in the morning commute. Therefore, my usually not crowded 945 train was sardine packed like an early morning commute and I had to stand in the aisle. When we got to my stop, the 6’4″ guy in front of me made no attempt to move to the left, opposite the door, nor did at least two people who were standing DIRECTLY IN FRONT OF THE DOOR have the decency and courtesy to exit the train to allow us to get out.

I was waiting patiently for a lane to open up, when from behind I hear an annoyed voice say, “Excuse me!” So I said in my breath-supported, projected, and resonant singing voice: “COMING OUT! PLEASE GET OUT OF THE WAY!” (It probably had a tiny hint of annoyance/frustration/exasperation in it as well). The 6’4″ guy still made no attempt to move, so I weaved left to go around him. As I was weaving back to the right and trying to figure out which side I would pass those two who were still blocking the door, SOMEONE STUCK OUT THEIR FOOT TO TRY AND TRIP ME! I turned around and immediately saw this rather tall couple staring me down, the woman with a particularly nasty smirk on her face as if saying, “Yeah, that serves you right. You deserved that.” So I immediately turned to the guy she was with and said, “F You,” to which they both responded in kind with their own, “F You.” I exited that train, and in one of my most proudest decisions I’ve ever made, went back to the door and told the woman, “F You b*tch for trying to trip me.”

Now, I actually had no idea who was trying to trip me, but with that smirk I just assumed it was her. But what I really wanted to do was run back in there and shove both of them back into the opposite wall. However, I quickly burned that thought because: 1) all it shows is that I can’t control my temper; 2) I could possibly hurt someone else in the train; 3) I could get arrested for assault; 4) I could get beaten up by a BART mob; 5) it’s just really stupid to actually do something like that. 

I walked the 15 minutes to my temp job steaming mad, muttering swear words to myself despite the hilarious podcast (DVDASA – definitely NSFW) I was listening to. I got to my job about 20 minutes early, and I have to pass through the lobby of another company, EVB in order to get to my job on the 3rd floor of the same building. It just so happens that I struck up a conversation with the receptionist at EVB, Mary-Lynn, the first day I worked here back in October. Not only is Mary-Lynn from Chicago, but she also loves opera! So whenever she comes to drop off mail to my job we’ll always talk a little opera. And as a fan, she knows her stuff. She used to have subscriptions to the Chicago Lyric Opera for 20 years and when she moved here she bought a subscription to SF Opera. 

My first day on the job, I was studying my Cenerentola score, and she casually joked, “Starving artist eh? What’s your instrument?” When I told her opera, she started talking to me about going to see The Flying Dutchman and Barber of Seville at the SF Opera. (She’s not a huge fan of Rossini, but will go anyway because she loves the production and spectacle that is large-scale, high budget opera houses). Well today as I walked in, still pissed off, I said, “Good morning,” to her, and usually she’ll say, “Good morning,” back to to me. But this day, I noticed her saying something else, so I took off my headphones and went to her desk, as I still had 20 minutes before I started. We started talking about Barber of Seville, and I brought up the name of one of the double cast Almavivas – a tenor named Alek Shrader. Alek had gone through the Merola and Adler programs at the SF Opera, as well as being the subject of the documentary, “The Audition” which is all about the Metropolitan Opera National Council Auditions. We then talked about the other tenor, Javier Camarena (I corrected her pronunciation – the francophone in her wanted to call him Zha-vi-ay instead of Ha-vi-air) and then we talked about one of the Rosinas, Isabel Leonard, whom I saw perform in Chicago in a production of “Don Giovanni” by the Chicago Opera Theater.

Well, I looked at the time and saw that I needed to go up to my job, but then also realized that my mood and spirits had definitely brightened. I was no longer mad at the previous incident at the BART station, and was now looking forward to enjoying this Friday and the subsequent caroling gig with The Yuletide Carolers Northern California at the Hyatt Regency at Embarcedero Center. Once again, just thinking and talking about music helped me get over whatever negativity was currently existing in my state of mind.

And that’s why I love what I do…


Singing under the direction of Maestro Donald Runnicles, July 2007

Singing under the direction of Maestro Donald Runnicles, July 2007

[Picture: Singing Carmina Burana is like zen meditation for me. I’ll sing it anytime – and for free!]

Upcoming Possibilities: 3 Year Plan


Me in front of the Brandenburg Gate, Berlin, DE, circa June 2006

As I recall the origins of my 3 Year Plan, I can’t forget about my upcoming plans, which consist of……

I actually don’t have anything set in stone as of yet. It’s a 3 year plan remember? =)

One thing which is really weighing on my mind is that I want to get back out there and explore the world. Since getting a passport and going to the Philippines in 2000, I’m 3 for 7 in visiting contintents: Asia (Philippines), South America (Brazil), and Europe (Germany, Czech Rebublic, France, England, Bulgaria, Turkey). I’ve also been to Mexico and Cuba, not to mention 24 + 1 District of the US states.

Music is the enabler of most of these trips. Yeah, I could go visit these countries on just to be a tourist, and I have done that (the Philippines) but for people like me -people with lots of ideas, but basically just daydreamers – music is what lit the fire under me to actually go through with the plans.

I’d toyed with the idea of maybe studying abroad during high school. Never happened. Then I thought I’d try and backpack Europe. Never Happened. Every time I had a thought about going abroad, I never acted on it. I’m not saying that I never went anywhere though. I used my flight benefits with FedEx and either flew at Interline, aka airline industry worker, rates which were an average of 70% off the standard fare (although it was standby/space available) or else I would jumpseat for free on the actual FedEx planes themselves (ever see the movie “Cast Away“? Tom Hanks is jumpseating on a plane). Using these discounts I was able to fly to Hawaii (numerous times), Atlanta and Washington D.C., not to mention the numerous $25 flights to LA and San Diego.

It’s been over 7 years since I’ve gone anywhere international, and even though my passport expired in 2010,  I’ve yet to renew it. However, I still yearn to go back and see different cities/countries and even some of the ones I’ve already visited.

An audition trip to Europe is something that’s been brewing up inside my brain ever since I took my epic 48-day trip in 2006:

  • NY/NJ
  • London, UK
  • Sofiya, Bulgaria
  • Istanbul, Turkey
  • Berlin/Freiberg/Trossingen, Germany
  • NIce/Paris/Aix-en-Provence/Rouen/Marseille, France

Germany has something like 80+ state run opera houses, where they’ll hire out singers for the year in contracted agreement known as a Fest Contract. You’re thinking, state run operas houses? When can I start? Ah! Not so fast. First and foremost: FLUENT GERMAN. Not only speaking but I need to be able to read and write too. Why? Because I need to send out my own cover letters to agents and houses, and they need to be in German. Then, I need to be able to carry on thoughtful, clear conversations in German too (my friend, Benji von Reiche, though born of German parents and fluent in Deutsch, was still questioned by the house agents who were dubious of his fluency because he lived in the U.S.) So yeah, I need to start there. And then it gets fun. Finding a place of residence to set up base camp. Getting my passport/visas. Sending those aforementioned cover letters out. Buying plane/rail tickets. Putting together the resume package.

This takes work, and very meticulous and well thought out planning, which, if I indeed am going to take this route, I need to get a move on already!

I’ll of course keep you posted in the Euro Audition Trip developments. Until then, please enjoy these pics from that 2006 trip!

I found my street in Berlin!

I found my street in Berlin!

I play 'trade hats' with Cesar from Mexico

I play ‘trade hats’ with Cesar from Mexico

Upon landing in Berlin, the first I did was head straight to the main drag

Upon landing in Berlin, the first I did was head straight to the main drag

World Cup Fun

World Cup Fun

Cooling off in Chateau Gombert, Marseille

Cooling off in Chateau Gombert, Marseille

In addition to singing in France, I also played bass for a Filipino Folkdance Troupe Rondalla

In addition to singing in France, I also played bass for a Filipino Folkdance Troupe Rondalla

The Likha musicians in full regalia before one of many dance festival parades

The Likha musicians in full regalia before one of many dance festival parades

Origins: 3 Year Plan Part 4

The Formal Education

I started what would be a 6 year ride as a music major in August 2003.

After leaving school officially with my first bachelor’s (but sticking around to sing in the choirs) I had a full time job with the now out of business vitamin chain Great Earth Vitamins, now known as Earth Wise Vitamins (I’ll have you know that I am a Certified Dietary Supplement Specialist, Master Level). I was still working almost 40 hours a week when I decided to go back to school full time for my music degree. This was my general schedule:

  • M: 810am-1250pm Class, 130pm-930pm Work
  • T: 935am-155pm Class
  • W: 810am-1250pm Class, 130pm-930pm Work
  • Th: 935am-155pm Class
  • F: 810am-9pm Class, 1245-930pm Work
  • Sat: 1245-930pm Work
  • Sun: 11am-4pm Work

So I was basically getting ~40 hours/week at work in addition to 12+ units. And boy, was I tired! I remember getting home around 10pm on a Tuesday night and realizing that I still had reading and homework to do for my classes. And I hadn’t even eaten dinner yet. Some nights I would just get home and sit in my empty, dark living room and stare at the TV, which I hadn’t even turned on. I was simply too exhausted to want to even make myself dinner, let alone even get up off the couch. I don’t think my body ever adjusted to this first semester. I did figure out an efficient routine though – Home by 10pm, homework/reading, shower, asleep by midnight-1am, up at 730, changed by 740, out of the house by 745, get to school/look for parking around 755, in my seat by 808 – all for my 810 class. I can’t say that I was on time all the time, and I admit that I missed more than my allotted share of 810am Ear training classes, but I slowly adjusted and by the 2nd semester I was getting into the flow of things. I also think cutting back my work hours to less than 30 also helped.

I realized when I started school again, that my musical background gave me a head start compared with that of the average 1st year undergrad student. First off, I was about 10 years older than your normal 18 year old. Also, my years arranging a cappella enabled me to test out of Ear Training 1. And, having passed out of Class Piano 1, I took Class Piano II for fun as a minor. This should have been a good thing, but I think in hindsight it was mostly bad. Bad as in I put barely any effort into my schoolwork that first year. About the only things I cared about were my performing ensembles, Chamber Singers and University Chorus.

This apathy also carried on to grad school in Chicago. I could care less about ‘Heroic Beethoven‘ (Sorry Ludwig!) well at least when it came to performing at that specific moment in my life. Looking back, my mindset was more in line with getting an Artist Diploma or its equivalent. However, my technique was not quite up to par. There’s really no in between stage, so I was forced to have to take academic classes. It’s not that I didn’t learn anything in my academic classes. I learned a great deal, and had some really great teachers. But my heart just wasn’t into it. I did everything last minute, and I was even put on academic probation in my 3rd semester. I think what saved my grade in that Heroic Beethoven class was the fact that I participated in the discussions and also that, while my papers may have been late, I still turned in quality work. Well, as quality as last minute papers can be!

I was having a good time, sailing along as a music education student, seeing the world, meeting new friends, until one day, a teacher planted a tiny seed in my mind: Why don’t you sing opera?

I’m still trying to figure out which pic shows my bigger brush with fame:

CCPA students with Joyce DiDonato

CCPA students with Joyce DiDonato


Me, the Legaspi twins and *NSYNC

Me, the Legaspi twins and *NSYNC

Origins: 3 Year Plan Part 3

My choral beginnings

I joined the SFSU University Chorus in Fall 1999 and immediately realized that I had made the right decision. I had a lot of fun singing that semester, the guys in my tenor section were super cool, and I got to be the Tenor Section Leader, which sounds a lot cooler and responsible than it actually was. That year singing allowed me to gauge my own music level, and, seeing as how I ended up missing out on a trip to China in Spring 2000, I made up my mind over the summer that I was going to come back and audition for the SFSU Chamber Singers.

Here was my dilemma: I was basically finished with my BA in Asian American Studies. At the current rate that I was taking classes, I could have finished in Spring 2000 (I did walk the SFSU Fil-Grad), but since I didn’t want to pay more money as an extended education status, I decided to add a music minor to my degree. This allowed me to stay on at SFSU paying in tuition undergrad fees, which at the time was like $900-1000/semester for a load of 6.1 Units or more. 

I came back in Fall 2000 and auditioned for the group, and Dr. Habermann, knowing that I had a semi full-time job at FedEx, accepted me into the group. Immediately, I knew I had to step up my game. I was put next to MIchael Miller, a tenor who had one of the prettiest voices I’d ever heard. As a chamber choir conductor, Dr. Habermann was very liberal with his allowance of the singers using our vibratos (since most of the singers in the choir were there for Vocal Degrees). Therefore, in an unconscious attempt to blend with Michael, I tried to emulate both his tone and his vibrato, not knowing his voice was almost 10 years older than mine. Everything was working out: I was in the top classical choir in the school, singing beautiful music, I was making money at my job and had even started seeing someone – which would be both a blessing and curse on me as a singer. That next year was a whirlwind, and in the midst of it, I started doing one of the worst things a singer can do to their voice – I started smoking cigarettes, Marlboro Menthol Lites to be exact. 

This habit started out rather innocently, but I guess that’s how they all start, eh? I started hanging around folks who smoked about a year earlier. We would be hanging out at a party and they would light up. The first few times I would politely turned down their offer, but after more and more hanging out and partying, I started saying yes. I would have maybe one or two ONLY when I was hanging out and partying. And then I started hanging out more and more, and partying more and more. Then I told myself, “Only when you drink,” and so I thought I was limiting myself. But no. I couldn’t wait to have a sip of beer just so I can bum a cigarette. Then I started seeing a girl who herself just started smoking. So I would hang out with her and we would go outside, talk and share some cigarettes. Then I started buying my own to share with her. And then, the moment I knew I was addicted – I would get up in the morning and my first thought would be, “I gotta smoke!” And so, by the end of 2000 I was addicted to cigarettes. 

Of course this had a big affect on my voice. At the time I joined the Chamber Singers I was a Tenor 1, and when we came back in the Spring of 2001, I was put at the end of the tenor section, right next to the Baritones. In fact, I would often be a “guest” baritone, singing with them when they had rather high runs and lines. Now, if you don’t know this, Tenors are generally considered the highest singing male voice (not counting CounterTenors and Male Sopranos) and we make our living singing high notes. So a demotion from high to low is not a good thing for a Tenor’s ego. I quit smoking in August 2003 and it wasn’t until a year and half after I stopped smoking that I was able to get back into the Tenor 1 section. 

Smoking aside, I learned a lot of things about ensemble and musicality from singing with the Chamber Singers. I also got to use my passport a whole lot, as every other year we did an international tour (2002 Cuba, 2004 Germany/Prague, 2006 France). Around 2003, after a domestic tour northward which culminated in Eugene, Oregon, my good friend Steve H. convinced me that I needed to be a music major. More specifically, a Music Education Major with a Vocal/Choral Emphasis.

The more and more I thought about this, the more and more it sounded good to me. And at the same time, I missed the deadline for application to the SFSU Masters Degree in Asian American Studies, so that was no longer an option. Steve told me to talk to his advisor, Dr. Wendell Hanna. [Note: About a year earlier I went into the Music Ed office to talk about being a music major, and there encountered one of the most bitter, tired and annoyed professors I’d ever met. It’s funny too because this professor is all over the California Music Educator’s Association Journals (she shall remain unnamed, but know that she was Dr. Hanna’s predecessor).] After dinner with Steve, and despite the last year’s experience with the Music Ed department, I decided to make an appointment to meet with Dr. Hanna. To my pleasant surprise, Dr. Hanna greeted me with open arms and was genuinely excited that I wanted to teach music. After an hour long advising session, I was convinced that this would be my next step.

But first thing’s first: QUIT SMOKING

Yup, I was still smoking after all this time. Even after my GF and I broke up, even after singing in the choir and getting a stern lecture from Dr. Habermann, even after my parents shaking their fingers at me and saying, “I’m telling you so!” I was still smoking. But now I was smoking Lites because, you know, Menthols are “bad for your voice”! (Yeah, I still laugh at this one) So once I made the decision to audition for the music school, I knew that I needed to quit. I mean, what’s the use of getting voice lessons if you were undermining all the teaching by killing your vocal cords (and body) with tobacco? And so I did what any normal person would do, knowing that they were about to make a major life change by quitting a bad habit – I smoked like a chimney, culminating in an epic 1 week session with the little brothers and cousin in Hawaii, where I’m pretty sure I smoked at least 1+ pack (pack = 20) of Marlboro Special Blends a day. [Although I was addicted, I usually spaced mine out daily, no more than 5/day]. Once I returned to the Mainland from Hawaii, I quit, COLD TURKEY, and coached my songs with an uncle of mine, Ka’ala Carmack, who himself, among other things such as ukelele player/teacher, pianist, choir director, was once an aspiring classical singer who graduated from Indiana University in Bloomington, IN.

Whoops, I forgot to tell you – As a music education major at SFSU, my voice lessons were not going to be in Jazz Voice (like I wanted) but in Classical Voice (like I didn’t want). I didn’t like opera, and though I faked the vibrato well enough, had no aspirations to be a solo singer, which is what I thought taking Classical Voice Lessons was all about. Obviously now I know Classical Voice lessons are not just about opera, but at the time I was dreading them.

I need to end this post soon, so yeah, like you probably guessed, I did indeed get into the SFSU Music Education program (as an FYI for you singers, I auditioned with “Vittoria, vittoria” and “Where ‘ere you walk”). Thus, my formal music education officially began.

Me in front of the Che Guevara Hotel in La Habana, Cuba

Me in front of the Che Guevara Hotel in La Habana, Cuba

(I know some of you rolled your eyes in disbelief when I told you I went to Cuba, so here’s the proof. Nyah nyah.)