On being a cover
On December 23, 2009, Rachele Gilmore, jumped in at the Met with only four hours' notice to sing the role of the mechanical doll Olympia in Jacques Offenbach’s opera Les Contes d'Hoffmann (The Tales of Hoffmann). Stepping in for an ill Kathleen Kim with less than four hours' notice, Gilmore interpolated a high A-flat into the famous aria "Les oiseaux dans la charmille", often called the "Doll Song".
At the time, this was conjectured to be the highest note ever sung on the Metropolitan Opera stage.
Often referred to as the hardest job in opera, the role of the cover (or understudy) requires a level of vocal athleticism, fortitude under stress, and mental dexterity that is rarely acknowledged by the public. It is an inherently high-stakes position where a singer must be prepared to reproduce a masterpiece at breakneck speed, often with little or no compensation for the months of preparation involved.
THE "SHADOW" PERFORMER
The lifeblood of a major opera house is its ability to ensure the show goes on. In an industry that deals with great works in gilded theatres, the question is always: what happens if the star can't go on?
The cover is the answer. This isn't just about knowing the notes; it’s about a total command over the instrument under extreme pressure. You are expected to maintain the same extremes of register and the same level of commitment as the principal, but often while sitting in the wings or staying within a strict six-mile "radius" of the theatre.
THE "GOLDEN HANDCUFFS" DILEMMA
There is a debate that has raged for years about the "understeering" of a career. On one hand, covering at a house like the Met or Covent Garden provides a sense of grandiosity and the chance to work with world-class creative teams. It can be a "star-making" moment. If the cover goes on an wows everyone on an opening night, the evening that all the reviewers are in the theatre, and the glowing reports start leaking out all over social media minutes after the final curtain.
On the other hand, it can become a "relic" of a career if a singer is not careful. I’ve seen many artists get caught in the "Golden Handcuffs," where the security of a cover contract prevents them from taking on big leading roles elsewhere. It is a short-sighted move to undervalue your own freelance potential by becoming a permanent shadow.
THREE RULES FOR MASTERING THE COVER
If you want to move from the wings to the center stage, you have to approach the job with the same intensity as a Renaissance man like Bruce Dickinson approaches singing in Iron Maiden whilst flying airlines and combing home fencing titles.
1. THE BLOCKING BIBLE: You must understand the essential differences between your own movement and the theatrical experience of the principal. Don't just watch; create a Blocking Bible. Meticulously note every staccato movement and sweeping gesture indicated by the director.
2. KINESTHETIC MEMORY: Since you won't get the same stage time, you must use your imagination to visualize the worlds available in that space. Walk the stage after hours. Build that presence — the moment where the experience has the same effect on your body and mind as the real-life performance of the role will.
3. VOCAL READINESS: A cover cannot afford to be lazy with their practice. You must keep the voice in a state of genuine vocal readiness. This means practicing diligently, keeping it in tip-top shape, especially around the role and any difficult passages therein. So that if the call comes, you can feel that you are more than ready, you are totally on top of things.
THE ULTIMATE TEST
When a cover finally steps onto the High Altar of Art, it is a make-or-break, seat-of-the-pants moment that has to be experienced live. We saw it with Rachele Gilmore and her outrageous high A-flat. The audience loves risk, and there is nothing more high risk than a cover, jumping in, excelling.
I do hope that as we move into the 21st Century, our houses continue to value these freelance artists who hold our productions together. Because when a cover saves the night, they re-invigorate our absolute devotion to this glorious music with spontaneity, courage and the joy of opportunity.