I've seen from up close the challenges a conductor or director faces when putting together a cast for an opera or a musical theater show. The last thing he or she should need to worry about is the performers not being prepared for rehearsal. Valuable time gets wasted this way. Conductors care about the interpretation, not about correcting the performer's mistakes. And what if one of the singers is unreliable or disrespectful to their bosses and colleagues?
An example of this I remember from a while ago. It was during my third year of training in Jerusalem, when the lead soprano started making trouble. During the rehearsals for Verdi’s Falstaff first act, she started coming late, and being quite rude to the musical manager.
Only three weeks till the performance, what to do? The musical manager asked if I could jump in, and while being a bit nervous, I couldn’t say no. I took advantage of every spare moment to study the role. I actually had fun doing this, and discovered that I am a fast learner, and liked the idea that I can help a project on a short notice.
But behind all the technicalities of getting the job done, which I find important, of course, there is something else that motivates me. That is being on stage and moving an audience.
I realized I wanted to be a professional singer when I was moved by one, my first teacher. But then, during my studies, and before I even really new how to sing, I managed to do that in a performance. Some audience members came and told me that I made them cry. And I knew how priceless this experience is, and that I had to sing for the rest of my life.
Besides my work as a performer, I'm also a voice teacher in Amsterdam.
What others say
"I realized immediately after the first working session, that she has a unique vocal timbre, with a soulful, and touching quality to her singing. [..] Linor is an attractive woman and has a lovely presence onstage. Her personality is open and steady, stage worthy and appealing."
- Abby Furmansky, renowned voice teacher, Berlin
"Linor is a very serious talent with exceptional skills both as a singer and as a musician. Her intonation is excellent and she always comes not only well prepared but with her own well thought-out ideas about her concept of the music."
- Professor Stanley Sperber, Jerusalem Music Academy
"In a difficult tour of over 60 performances of the Phantom of the Opera, in two-and-a-half months, Linor maintained a high level of energy and professionalism combined with a refreshing sense of humour.
Besides bringing her lovely voice to this role, she arrived perfectly prepared musically, so that we could immediately begin with staging. Linor demonstrated that she takes direction extremely well, and managed within this direction to make this role her own."
- Deborah Sasson, renowned opera singer