Get Lucky

From Issue 90 — Get Lucky

I was driving my truck south on I-95, from New York City to Florida. My rescue dog was snuggled on my lap, sound asleep, as the scenery flashed by. I was disappointed and a bit concerned, but at least we were going to have an adventure. It was Sunday
afternoon March 15, 2020.

That morning I had gotten the phone call. My singing gig in Texas was cancelled. But I had reservations to camp in Florida, and I figured that New York City might not be a great place to hang out, so I grabbed my dog and added him to the trip. We had no idea what was beginning. No one did.

I camped with my dog at a state park next to the ocean. When that shut down, I found an airbnb near an inlet on the Florida panhandle. We hunkered down for a few weeks. The beaches were all closed. Still, I swam in the bay every morning.

We returned to Manhattan in April. Everything had shut down. Life was pretty scary. But I kept seeking out the water. Walks along the
Hudson. Driving down from Inwood to swim outside at Coney Island. The water kept me moving, alive, feeling my body, bringing the joy that it has always brought.

What I wasn’t doing was singing. 

That time was so difficult for everyone. As an opera singer, I was out of work. Who was I without my job? What was truly important to me? Who did I want to be if I couldn’t perform? I had come out as transgender a few years earlier, and had socially transitioned. I didn’t want to take testosterone because I was singing as a mezzo-soprano and my career had just begun to blossom. 

Taking testosterone could ruin everything. I would have to re-train. What if it didn’t work and my new voice wasn’t suited for opera singing? I loved performing just as much as being in the water. I figured that when I retired I’d take testosterone, grow a beard and smoke cigars, free from worrying about my vocal folds.

After months without music, with my career paused, I decided. I went to my doctor. “I’d like to start T.” I had my first shot at the end of August 2020.

I took the hormones slowly. I started singing again. I had weekly voice lessons over zoom. I practiced. I sang. I started playing my flute and learned guitar. I sang some more. My life, although mostly confined to my apartment, was once more full of music. 

When my voice dropped down the octave, the hard work began. I could sing some folk songs, but I couldn’t match pitch or read music the way I used to. I kept training. I kept practicing. And I kept jumping in the ocean every weekend.

Slowly and steadily the voice settled. I learned to sing some Italian songs. I figured out how to get my voice to do what I wanted it to do. I sang my first opera aria. I learned my first opera role. Then my second. Then my third.

The joy I found swimming in open water started creeping into my daily life. Things had changed. The world had changed. And suddenly I was re-entering the world as a baritone, and as Lucas.

It’s now March 2023: two years since my voice dropped down the octave and three years since that drive to Florida with my dog. I’m singing and I’m thriving. And I have a second dog. 

Today I’m back in my truck, with views of Lake Michigan out the window. I’m driving along the shoreline in Chicago to my next gig. It’s a bit too cold to swim but the sight of the water stretching out into the distance fills my heart with that familiar joy and peace. I’m back where I belong, in my truck, near the water, and ready to sing. 

Lucas Bouk is an opera singer based in New York City. He performs his first title role as a baritone in Mozart’s DON GIOVANNI this month. www.lucasbouk.com

Check This Out

You are either aware of your influences, or you are controlled by them. Musical Conversations with the Past.

Very often these days, when I start to think about a new piece, I am confronted with a flood of questions: Will this piece be like the last, or will I push myself to discover some new way to express things this time? Do I just start to write and see where things lead, or should I force myself to do some pre-planning (which I hate to do)? Am I writing abstract music, or will the piece be “about” something? It is finding an answer to this last question that preoccupies me the most lately. For example, if I decide to write for a singer, the structure and character of the piece are going to be shaped in dialog with the meaning and expression of the text. But songs with texts are obviously about the subject of the text. There are other, less obvious ways in which a piece of music might be “about something”.

Behind the Horn

The morning starts with a decision…which suit and tie will I wear for the day. When looking at my clothing rack, one will find a plethora of concert black in the form of black suits and shirts, tails, and a tuxedo, but hiding amongst all the concert clothes are elegant suits in blues, greys, and even one in purple Prince of Wales, which are the workhorses of my wardrobe. This clothing rack represents the duality of my life, which operates in the worlds of music and business. As a musician, I have been fortunate to perform all over the world as a French hornist in orchestras and Broadway pits, but have spent most of the last five years giving solo performances with new commissions written for me. However, my days are spent in the business world of Manhattan’s Upper East Side wearing suits, not in performance halls in concert black.

The Gambler

No this isn't a Cliff Notes version of Dostoyevsky's masterpiece. But the man did get it right. We're all gamblers at the slot machine of life. For some it's a career or business, maybe it's your family and children, personally it maybe that New Year's resolution. The list goes on and on and for us hustlers and artists it out there, we're gambling on ourselves to the point where we can't leave the slot machine. We've put it all on red at the roulette wheel of life and we're waiting for 7 to show up on the craps table. Hardest Part of the Game, Staying in the Game.

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