Our Michael meets Placido Domingo

It seemed all illusory until 22-year-old Michael Zephyrine from the little village of Ste Madeleine, San Fernando got his chance to meet the world renowned tenor Placido Domingo at the Metropolitan Opera House in Manhattan, New York. Even prior to his joining The Lydian Singers under the stewardship of Pat Bishop, while in fifth form at Presentation College, San Fernando, Michael had started his collection of recordings of famous opera singers. He would use the money obtained from various “gigs” to purchase them. Singing in the church choir and learning the notes on the piano at home had paid off. Michael would become a competent singer with a baritone pitch, pianist, and reader of music. It was an overwhelming moment, meeting one of his heroes, but Michael braved it. He still remembers Placido’s words: “The best listeners make the best singers.” Placido shed advice on the importance of absorbing as much music as possible while a student. On finding out that Michael was Trinidadian, Placido said he had been meaning to visit the Caribbean. All of this became a realisation when the holder of eight national titles in music gained entry to the music school of his choice. After he was sure that music was what he wanted to pursue and law had to take a back seat, Michael sent three copies of his demo tape to schools abroad. “As soon as the tour of Miami with The Lydian Singers was over, I went straight to New York to audition for the schools,” Michael told People. The results were remarkable. Michael was accepted to each of the schools he had applied — Juilliard School of Music, the Manhattan School of Music and the Mannes School of Music, three of the top music institutions in the world today.

The experience was “nerve-wrecking,” he said. “Imagine standing in a long line in the corridor waiting your turn to go on stage before a panel of judges.” As if to intimidate entrants, he said auditions were very audible from where he stood “so you knew what you were up against.” Nevertheless, Michael aced them and stood out in the process. He was the only student from the Caribbean to be accepted at the three schools at the same time. The choice was difficult, but Michael opted for the Mahattan School of Music where he is now pursuing a Bachelor of Arts degree in performance and classical voice. He begins his third year in September and is currently in Trinidad to secure funds for his tuition. On the Lydian’s return from concert in NY later this week, Michael will launch his recital “Voyage” — a travelogue of song at Naparima Bowl on June 28. His school professor, renowned tenor Neil Rosenshein, has given him voice tips for while in Trinidad. Michael has his own medicine. He said: “Don’t be fooled by classical singers who tell you remain silent for two days before a performance. The key is to eat right and rest. I do vocal exercises every day (scales) and I do a lot of walking or jogging coming up to specific performances.” You’d understand why he must pay special attention to his voice as he’s known in school as “the composer’s singer.” “I work with student composers and premiere several of their song cycles,” he informed.

With his knowledge of arranging for Skiffle Bunch and Lydian steel orchestras and composing for various choirs, all Michael had to do was apply his voice. Also impressive is the fact that he can sing in seven different languages — Russian, French, Spanish, Italian, German, Portuguese and English. Life on campus “is nothing short of amazing. It’s getting up next to a soprano and violinist among others. You have to be obsessed with music to survive. With that environment you have to come out a top-class musician.” He’s teaching them, his colleagues, a little thing or two about TT’s culture. “They are learning Trinidadian terms. They’ve learned ‘limin’, now I’m teaching them to say ‘wham now!’ I’ve taken them to Brooklyn to get a roti.” His recent school performance was playing the title role in the opera, Julius Caesar by Handel. “It’s a baroque opera that requires the voice to be agile. Playing that role was challenging,” said Michael, the only undergraduate student among the performers. “I was able to meet distinguished artistes at the end of the show. I received invitations to do performances of early music (baroque music) and it’s a challenge that I’m willing to accept.” He’s able to connect the theory of “principles of good singing” when he observes Rosenshein in action. “Neil’s an amazing teacher and an outstanding performer. When I saw him sing at Carnegie Hall in the opera ‘Anthony and Cleopatra’ I was totally blown away. It was a humbling experience. It allowed me to see what he teaches, he practises,” said Michael.

His tutors have told him he’s a strong coloratura singer, but he prefers not to label his voice, “since you’re now learning to explore the capacities of your voice.” What makes a good singer, he explained: “One who is able to communicate with the audience through the song and get the composer’s intention through to the audience. I have to be honest with the audience. I don’t go for the vocal fireworks.” His career pursuits have made him “more mature, more settled and more focused. It’s given me perspective of what my art requires of me.” Michael didn’t feel that he was leaving off the artform, calypso (since he won the National Schools Calypso competition three times in a row), but was glad to get the chance of opening up an avenue for classical music in Trinidad and Tobago. He said: “I don’t think we reach our potential in classical music. It’s greatly lacking. If I can go abroad and pace myself with the best the world can offer then I’m showing others that this is doable.”