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Cecile Cooper newspaper clippings, 1966-1987
1972-06-16 ""Simon Estes: Higher, And Higher"" Page 1
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Simon Estes: HIgher, And Higher By Louis Snyder Christian Science Monitor News Service New York, N.Y. - Simon Estes enjoys his work. "It's wonderful, " he said beaming across the luncheon table " and I'm grateful to my creator for it. I love to travel and to meet and work with people and to keep striving for perfection in my singing . . ." The six-foot tall, athlete slim, 34-year-old black basso was pausing between engagements for a few unaccustomed days of relaxation. In the next three months he would be touching three continents before settling down to do new roles in " Lucia," "L'Africaine," and " The Visit of the Old Lady" with the San Francisco Opera in September, Estes's prospects for seeing the world were not always so clear. Born in Centerville, Ia., he grew up in humble circumstances as one of five children in a hardworking, religion-oriented family. Nothing was easy for anyone, but there was a native devotion to music, a belief that wisdom and understanding equal love, and a reliance on the BIble for answers to many needs as well as many questions. "It's a great book," said Estes, " I'm reading it again. It goes along with me everywhere as part of my luggage. Did you know that if you read three chapters each day and five on Sunday, you will finish it in a year?" In Iowa (after highs school, he moved to Des Moines where his mother still lives) , as he progressed from boy soprano to tenor in church choir and school chorus, Simon was also becoming a three letter man in high-school sports. And he enhanced his musical status by representing his school in a statewide competition, singing " On Top of Old Smokey." Simon Estes In " La Boheme" But by the time he was ready to enter Centerville Junior College, his airy tenor has gone down, down, down and if he had ever seriously considered a musical career, he changed his mind - he would become a doctor. Eight years of study followed at the University of Iowa, mostly self-financed by a variety of pre-and post-class jobs. First the emphasis was premedical, then a switch to theology and social psychology. And on the side along with everything else, he gravitated inevitably to a university choral group of 24 of which he became the first black member and eventually its soloist. The descent to bass-baritone ("late, in my case," he says) proved to have a great influence on his future. Charles Kellis who taught voice at the university, heard him and immediately was deeply impressed. They worked together unceasingly and in 1963 Kellis arranged for his pupil to audition at the Julliard School in New York, where he was accepted at once as a member of the opera theater. " I was fortunate to have found such a teacher," Estes declared. " he has been the only one, and we still work together whenever we're within meeting distance." New in New York, Simon heard his first "Rigoletto" at the old Met, washed dishes and sang at weddings to make ends meet, studied to build his technique, and learned to pace himself through a grueling regimen that was divided between musical studies and keeping himself alive. He also made friends among his fellow students, aall headed for the same goal - success on the operatic stage. After one year at Julliard one friend had gone to Germany, and wrote SImon a glowing account of the opportunities for gaining experience there in smaller opera houses. Although some of his school advisers were against it. Simon decided to take another decisive step forward. A giant step across the Atlantic. As a result things happened unbelievably fast: a fortuitous audition at a major house, the West Berlin Opera, a hurry-up debut there as Ramfis in "Aida" (learned in 13 days for the occasion) and a subsequent guest contract with the company for appearances in Berlin and in Rome were the next events in this amazing saga. " I hardly had time to catch my breath," Estes recalled. " I didn't speak the language when I came to Berlin, but everyone was very helpful and I discovered I could retain words and sounds as I hear them." As a result he is able to add to his large opera. oratorio ,
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Simon Estes: HIgher, And Higher By Louis Snyder Christian Science Monitor News Service New York, N.Y. - Simon Estes enjoys his work. "It's wonderful, " he said beaming across the luncheon table " and I'm grateful to my creator for it. I love to travel and to meet and work with people and to keep striving for perfection in my singing . . ." The six-foot tall, athlete slim, 34-year-old black basso was pausing between engagements for a few unaccustomed days of relaxation. In the next three months he would be touching three continents before settling down to do new roles in " Lucia," "L'Africaine," and " The Visit of the Old Lady" with the San Francisco Opera in September, Estes's prospects for seeing the world were not always so clear. Born in Centerville, Ia., he grew up in humble circumstances as one of five children in a hardworking, religion-oriented family. Nothing was easy for anyone, but there was a native devotion to music, a belief that wisdom and understanding equal love, and a reliance on the BIble for answers to many needs as well as many questions. "It's a great book," said Estes, " I'm reading it again. It goes along with me everywhere as part of my luggage. Did you know that if you read three chapters each day and five on Sunday, you will finish it in a year?" In Iowa (after highs school, he moved to Des Moines where his mother still lives) , as he progressed from boy soprano to tenor in church choir and school chorus, Simon was also becoming a three letter man in high-school sports. And he enhanced his musical status by representing his school in a statewide competition, singing " On Top of Old Smokey." Simon Estes In " La Boheme" But by the time he was ready to enter Centerville Junior College, his airy tenor has gone down, down, down and if he had ever seriously considered a musical career, he changed his mind - he would become a doctor. Eight years of study followed at the University of Iowa, mostly self-financed by a variety of pre-and post-class jobs. First the emphasis was premedical, then a switch to theology and social psychology. And on the side along with everything else, he gravitated inevitably to a university choral group of 24 of which he became the first black member and eventually its soloist. The descent to bass-baritone ("late, in my case," he says) proved to have a great influence on his future. Charles Kellis who taught voice at the university, heard him and immediately was deeply impressed. They worked together unceasingly and in 1963 Kellis arranged for his pupil to audition at the Julliard School in New York, where he was accepted at once as a member of the opera theater. " I was fortunate to have found such a teacher," Estes declared. " he has been the only one, and we still work together whenever we're within meeting distance." New in New York, Simon heard his first "Rigoletto" at the old Met, washed dishes and sang at weddings to make ends meet, studied to build his technique, and learned to pace himself through a grueling regimen that was divided between musical studies and keeping himself alive. He also made friends among his fellow students, aall headed for the same goal - success on the operatic stage. After one year at Julliard one friend had gone to Germany, and wrote SImon a glowing account of the opportunities for gaining experience there in smaller opera houses. Although some of his school advisers were against it. Simon decided to take another decisive step forward. A giant step across the Atlantic. As a result things happened unbelievably fast: a fortuitous audition at a major house, the West Berlin Opera, a hurry-up debut there as Ramfis in "Aida" (learned in 13 days for the occasion) and a subsequent guest contract with the company for appearances in Berlin and in Rome were the next events in this amazing saga. " I hardly had time to catch my breath," Estes recalled. " I didn't speak the language when I came to Berlin, but everyone was very helpful and I discovered I could retain words and sounds as I hear them." As a result he is able to add to his large opera. oratorio ,
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