For this dedicated singer, the show doesn't have to go on

0 Comments | Oakland Tribune, May 1, 2005 | by Candace Murphy, STAFF WRITER

OSHKOSH, Wis., is known for many things. It's known for being the home of Oshkosh B'Gosh, famed for its overalls and founded in 1903. It's known for its Winnebago Indian tribe, namesake of a legion of motor homes designed specially to shuttle retirees across the face of this great nation.

And of course, it's known for its music.

That's no typo. Oshkosh has some of the best singing around. At least, that's what Lisa Scarborough says. Scarborough, a mezzo soprano who is the rehearsal understudy for this week's San Francisco Symphony performances (Wednesday through Saturday) of Joseph Haydn's Mass in B-Flat Major, "Harmoniemesse," grew up in Oshkosh and attributes her musical prowess to her home city.

It must be some city. Although being a rehearsal soloist may not sound entirely glamorous, Scarborough, who received a bachelor's degree in music

from Indiana University, has a ton of experience.

Before moving to Pleasanton, where she works in the downtown's quaint Rose Hotel, Scarborough lived in New York City with her husband and was the soloist and choir member at St. Patrick's Cathedral. Since moving to Pleasanton last year, Scarborough has performed with the Pleasanton Chamber Players as well as with a solo octet in Mendelssohn's "Ave Maria" at the San Francisco Symphony Choral Christmas Concert.

Q: So. What do they put in the water in Oshkosh?

A: I don't know! There's a huge German population there? My parents were always singing? They sang in a choir and a barbershop quartet? I don't know. Oshkosh is just a city where there's a lot of singing.

Q: How did you get started singing?

A: I started singing really early, in church. I did study with various people along the way, but in high school, we had a fabulous music program. We were always entering state competitions. We performed a musical every year. That was great training. I'm still in touch with our music director.

Q: At one point you taught voice at Mercer University in Atlanta, and then you went on to London to attend the Cordon Bleu School of Cuisine. Then when you were in New York City, you owned a bakery with your husband. Is there some sort of synergy between music and food?

A: I'm not sure about that.

Q: There's no "If music be the food of love, play on" Shakespearean type of thing?

A: For some reason, my husband and I shared those interests of food and music. But for him, in terms of music, it's a love of jazz. I'm on the classical side.

Q: You say how great Oshkosh was for a high school student growing up to learn music and to gain experience singing on the stage. These days a lot of high school students are going the "American Idol" route to stardom. What do you think about that?

A: I think it's great to give people that experience. It's certainly more lucrative financially than what I was talking about. We got little medals. Not quite the same thing.

Q: Do you watch "American Idol" now for any sort of inspiration?

A: I did watch it in the beginning. I saw the first few with that blond guy. What was his name? Aiken. Corey Aiken.

Q: Clay Aiken?

A: Yes, Clay Aiken. I thought he had a very nice voice. He seems to be making quite a nice career for himself. Someone likes him, that's for sure.

Q: Isn't it frustrating to be an understudy? Unless something goes drastically wrong for the soloist, you'll have learned all this music for nothing.

A: No, I won't get to perform. And it's a lot of work. But it's still a great opportunity. I'm in front of my peers. There are a lot of very good singers and I'm honored to be chosen to do it.

Q: Have you ever had to take over as the soloist after being an understudy?

A: In Atlanta I did have to take over once. The alto soloist took ill and the performance was that afternoon. I went from the church where I was singing to get my dress, to a rehearsal with Robert Shaw, the director of the Atlanta Symphony. I went through the music and performed that afternoon. That was scary. But it did go very well, and I did quite a bit of solo work with the Atlanta Symphony after that. That's sometimes what happens. It did bring me a lot of opportunity.

Q: So should the San Francisco Symphony soloist be watching her back?

A: Oh, no. I don't think so.

You can e-mail Candace Murphy at cmurphy@angnewspapers.com or call (925) 416-4814.