Northwest Boychoir

Visit the Northwest Boychoir website at NorthwestChoirs.org

I was a soprano in the Northwest Boychoir from 1976-1980 under directors George Fiore and Steve Stevens. It is still the most formative musical experience I have ever had. It was intense, disciplined and grueling. I cannot even imagine what music would be to me if I had not had that training. If any boys in the Seattle area have a passion for singing I strongly recommend you check out the Northwest Boychoirs.

With the NWBC I started out in their training choir with the single minded goal of making their top touring choir. For those in the training choir it was our biggest dream. The day I made it into the touring choir was one of the proudest of my life. In the last year I was with them they started a “Choirboy of the Year” award and I won it the first year. I was very proud of that. Actually, I still am.

The NWBC opened doors for me to sing with Seattle Opera. I got to sing in the selected boys’ chorus with Seattle Opera at the Opera House in Carmen, Boris Gudunov and Tosca. Archie Drake, longtime bass with Seattle Opera, would always take us under his wing. And at one point the Seattle Symphony conductor’s son was in our choir as well.

One of my favorite moments was when Seattle Opera came to a NWBC rehearsal to audition boys for their production of Amahl and the Night Visitors. The choir director, Steve Stevens, called out several boys from the rehearsal to go audition in the other room with Seattle Opera. I watched them all go, very sad because he had not picked me. Then he said, “Ok, if any one else feels they want to audition they can go try.” I still remember being embarrassed as I stood up to give it a try, and getting “the look” – the look of “Oh man, you’re not serious are you?”.

Well the good part of the story is I got the role for Amahl that year. I split performances with another boy soprano named Brice York. The day the Seattle Times did their reviews on the show was the day Brice performed, so I didn’t get a write up. But I got to work with Archie Drake and Shirley Harman (Seattle area icons in Opera) and that was AWESOME.

I always remember that too. What if I hadn’t walked up and given it a try? I’m thankful Steve Stevens opened it up for anyone to try. I would have never entered the audition if he hadn’t opened it up. My voice started to change at the end of the Amahl run – it was my last heyday of being a boy soprano. The last time I would ever have that full control of my voice that had been so keenly honed with NWBC. The voice change was a slow and tramautic experience – a deep loss that every boychoir singer goes through.

My Mom still plays the recording of my Amahl performance. We went to see a production of Amahl together last year and I prepped her beforehand saying “You know, we have great memories of me doing the show, but times change and this boy will probably humble my performance.” After seeing the show I feel really good about my work back then. For almost 30 years I’ve felt I could have done better. And now I know that I really kicked butt back then. 🙂

With NWBC I also got the chance to tour with them in Europe and sing A Capella sacred music at Westminster Chapel, Notre Dame Cathedral, the Cathedral of Chartres and the Llangollen Music Festival in Wales. I’m on their first pop album they recorded and think that I hold the distinction of being the only boy in the choir that didn’t get a solo bit on the album. Kind of funny.

You get teased mercilessly when you’re a boy soprano. Especially when I would return to school and still had some makeup left on from a Seattle Opera performance. Kids are mean. If you want to see me go from Happy to a Raging Monster in two seconds, try making fun of a boy soprano when both of us are in the room. Me and my home boys stick together.

I remember being in college at a party and running into one my boychoir mates Stephen Shelver. He was the top dog when I was in the choir – the one that would get all the full solos when we sang with the Seattle Symphony, et al. He was so glad to see me and we talked for hours about the boychoir experience. It is so unique. I have never talked to him since then, over twenty years ago, and wonder if he still feels that strongly about what it taught us. I know I do.

ATTENTION RICH PEOPLE: If you have a ton of money and don’t know what to do with it, please consider giving some to the Northwest Boychoir. They are a top notch group.

🙂

ABOUT THE NORTHWEST BOYS CHOIR
Pacific Northwest’s Premier Choir for Young Singers

The Northwest Boychoir’s musical sophistication and rich tonal quality have established its reputation as one of the nation’s premier boychoirs. Its 45 members, ages 10 to 14, come from all corners of the Greater Seattle area representing 26 diverse public and private schools. Northwest Boychoir members are skilled musicians with a passion for the musical arts, and a unique ability to perform great choral literature and contemporary works at the highest professional levels.

In its 33 years, the Northwest Boychoir has trained thousands of young singers, and more significantly, shaped the lives of its members by instilling important lessons in personal commitment, and the value of teamwork and diligence. Led by Joseph Crnko, now in his 23rd year as music director, Northwest Boychoir members are skilled musicians who read music fluently and perform professionally with confidence.

Officially designated the “Singing Ambassadors” of Washington State by Governor Christine Gregoire, the Northwest Boychoir has performed around the world and throughout the United States. International tours have taken the Boychoir to France, Italy, Japan, Hong Kong, Australia, New Zealand, Canada and Mexico. National tours have led the boys throughout the US, with performances in St. John the Divine in New York, the National Cathedral in Washington, D.C., and the Baseball Hall of Fame in Cooperstown, N.Y. In July 2007, the Northwest Boychoir will undertake a concert tour of the West Coast of the United States.

The Northwest Boychoir is an essential part of the cultural fabric of the Puget Sound community. The Seattle Symphony leads a long list of professional arts groups that rely on the talents of the Boychoir. In June 2007, the Boychoir will join the Seattle Symphony to present Mahler’s Symphony No. 3. Then in July 2007, the Boychoir again will take the stage with the Seattle Symphony to present the renowned choral masterpiece Carmina Burana.

A highly successful 2006 performance season was highlighted by the Boychoir’s participation in Music of Remembrance’s highly-praised production of Hans Krasa’s children’s opera Brundibár. In addition, the Boychoir celebrated Mozart’s 250th year with a March 2006 performance of Mozart’s Missa Brevis at the annual convention of the American Choral Director’s Association in Portland, Oregon.

When soundtrack composers need the unique boychoir sound, they often turn to the Northwest Boychoir whose professional talents are featured on films such as the acclaimed Millions. The choir is featured prominently on the soundtrack for Sea World Florida’s spectacular show, Blue Horizons. Among its accomplishments is the Choir’s selection by renowned Sound Designer Nick Phoenix to be recorded for his Quantum Leap Symphonic Choirs sample library. The voices of the Northwest Boychoir are now used by film composers and sound designers worldwide.

The Northwest Boychoir has produced four holiday recordings, the most recent ‘Tis the Season. In addition to its own recordings, the Boychoir is featured with members of the Seattle Symphony on the new 2006 recording of Brundibár (Naxos) and on international opera star Carl Tanner’s 2006 holiday recording, Hear the Angels Sing (Sony Classical).