Curtain Call
Author: Bill Roberts
If you’ve ever been a performer onstage,
you realize just how demanding it is for a fellow
entertainer to get up there, heavily made-up,
perhaps in a hot wig, a cumbersome costume,
open his mouth wide and sing with gusto.
To do this flawlessly, not missing a cue, a note,
a glance at his leading lady, and pull it all off
to near perfection deserves a heart-felt Bravo!
and standing ovation, well-deserved accolades
that you yourself probably never once received.
It’s okay, you say. I understand. And you do.
You were not trained for opera – if only you had
the gift of a fine tenor or baritone, how sweet
it would have been to be Alfredo in Traviata or
the Duke of Nantua or Siegfried for Wagner.
So when you witness an inspired performance
by one so highly trained and yet so deftly
restrained in a difficult role, stand on your feet
and applaud till your hands hurt, allowing tears
to stream freely down your cheeks.
Yell Bravo! to the brave fellow so overcome
with emotion from his role that he reels as he bows,
pats his heart, throws kisses to one and all of us,
suggesting perhaps that he sang only for us
and never before to such an adoring audience.
(Published in the inaugural issue, Winter 2004, of Lalitamba)
Note: Here I’ve revealed my love of opera. Have gotten to speak to and know several operatic practitioners and learned how much talent and training it takes to become a singer. They make it look easy, up there in front of critical audiences - singing beautifully, moving gracefully, acting believably, all in time with extremely difficult-to-master music. Can I hear enough opera? Never. Oh, to have been gifted with a voice. Well, I was given a voice, just not the one I wanted. And so, alas, it goes.
