Spotlight on John Churchwell
Part of the Life of the Opera Pianist series
General Information
Education
BM in Piano Performance (New England Conservatory)
BA in French (Tufts University)
MM and DMA in Accompanying and Coaching (University of Minnesota)
Current opera house and position(s)
San Francisco Opera, Head of Music Staff
Music Academy of the West, Director of Music for the Vocal Institute
Other or former affiliations
Assistant Conductor, Metropolitan Opera; Seattle Opera, Minnesota Opera, Wolf Trap Opera, Berkshire Opera
Contact or Connect
jchurchwell@sfopera.com
11 Questions
Many people do not know the many roles and responsibilities a répétiteur has in the opera house. How do you explain your job to non-musicians, or even other musicians?
Specific to my role as Head of Music, I describe my job as a project manager. Every opera we present has a musical team I've put together. I need to consider the personalities, each person's strengths and weaknesses, and the demands of the piece as it pertains to the conductor, the artists on stage, and the musical team that's going to support them. In each season we have multiple projects rehearsing and performing simultaneously. It's my goal to make each project feel like they are my number 1 priority. I want to give them my attention from start to finish. I've made a personal commitment to make sure the artists do not feel they have been left to fend for themselves once the show is open. I want them to know we are listening, caring, and insisting on what needs to be done. This kind of quality control is essential. My goal to to make sure every performance is better than the last.
What do you find to be one of the most challenging aspects of your job?
Balancing my own musical convictions against the singers' and conductors' vision of the piece. The goal is to create a new version of the piece that plays to the strengths of the artists in front of you - it's challenging, but it's also what keeps my life always new and engaging. It's the beautiful struggle of coaching - knowing that you have this vast experience and information to share, but always remembering that ultimately you are not the one on stage. You have to empower your singers. You have to build them up and give them the tools to make good decisions. But them you have give them the freedom and the permission to make them.
Do you have a favorite part of the preparation (rehearsal or learning an opera) process? If so, what is it and why?
My favorite part is in the discovery of a new piece. Whether it's new to the world or simply new to my fingers, playing through a score with fresh eyes and ears is exciting. I try never to listen to recordings until after I've played the piece into my fingers. The process of making my own decisions about tempi and articulation helps me understand how other people arrive at different choices.
What is your favorite opera?
What is your favorite opera score to play and why?
I think I have the same answer to both of these questions. Usually they become one of my favorite operas through the process of learning to play them, doing a full rehearsal period, etc. My list is probably too long, but they each have special memories of productions I've done that have etched a special spot in my life... The Rake's Progress, Simon Boccanegra, La Rondine, Don Giovanni, Tosca, 3 or 4 more Puccini operas....
What are some adjectives that describe the skills one needs to be a good répétiteur?
Self-confident, patient, calm under pressure, brave, rhythmic, resilient
As a répétiteur, we are expected to prepare music quickly (sometimes having to sightread or transpose or play music from the orchestra full score), manage multiple opera productions at the same time, play rehearsals for last minute cast changes, conduct last minute rehearsals or performances and sometimes even sing roles in these rehearsals or performances. Do you have any advice on how to deal with the excitement of the job?
If you have prepared well, there is no part of the job that you cannot accomplish or at least make better. Except maybe transposition. I'd sooner feign illness than transpose at sight. And I may have done that once or twice 😳 Also, having a bar nearby that makes a good old fashioned is essential for staying calm.
We also wear many hats as a répétiteur. We are often asked to assist conductors by taking notes, provide backstage conducting for performances, prompt the singers, conduct staging rehearsals, accompany chorus rehearsals, manage sound effects or major musical cues for performances, perform a keyboard instrument (or two) in the orchestra pit and give notes to singers about language and diction. Do you have a favorite aspect of the career? Have you branched out in other directions related to our field?
I think my favorite part is that we get to do it all. I have not done much prompting, but I'm grateful for the experience I had. My job now has quite a bit of admin duties, but that helps me understand our art from from all sides and all perspectives. The people who succeed in our business have amazing versatility.
What was your first experience as a répétiteur? And your most recent experience as a répétiteur?
My first professional job as répétiteur was Turandot at Minnesota Opera. Jim Robinson directed and George Manahan conducted. My most recent production was Fidelio at San Francisco Opera. Matthew Ozawa directed and Eun Sun Kim conducted.
How do you manage playing an opera (or opera aria) for the nth time?
Unless it's the nth time with the same cast and same conductor, I don't have a problem. I'm endlessly "surprised" by the choices some people make. So I have to stay on my toes.
Do you have any advice for pianists interested in a career at an opera house?
Study language. Travel abroad. Study language abroad. The further into the career you get, the less your schedule will allow you to take time to simply go live, eat, drink, and learn in a new language.
Any additional memories, thoughts or comments?
I have recently finished up a week in NYC that was spent with my very dearest friends - friends I met at different times in my life, but all through opera. The community that you build through this wonderful career is not something you think about when you are starting out, but as I look back on my career thus far this community is the source of so much joy and contentment. They inspire me and they challenge me. I'm so grateful for what this career has given me.
Recital from 1998
Starts at 56:10
Bio from Music Academy of the West
San Francisco Opera streams virtual performance for fans amid COVID-19 pandemic from ABC7News.
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