I forgot to mention another case of discipline and dedication I encountered this past week. If you read the PI review, you might have noted that our music director, a lovely gentleman I’ve known for about two years now, played harpsichord and conducted with his right arm in a sling. The details weren’t known by the reviewer, and had they been known by the audience, he surely would have gotten the greatest ovation.
Wednesday (maybe it was Thursday) morning, when he went out to get the paper, Fred slipped on his icy front steps. He fell, breaking three toes and his collarbone and fracturing his eye socket in three places! He wore a patch over his right eye for two days, and the right side of his face was absolutely purple. But, he came to rehearsal that evening anyway, playing one-handed continuo and conducting as vigorously as he was able. We were all amazed! Then I learned that he did it all without any painkillers, because they made him too “cloudy” to conduct properly! Amazing. The show must, truly, go on. Fortunately, he had already scheduled six months off after the opera! If anyone deserves it, Fred does.
The other thing I have to share is rather embarrassing. It’s one thing to post a link to a review, it’s another to copy a flattering review into a post. Brazen! But I feel that I should, since, along with the strangers who I now know are reading, my friends and family stop by for news. This review didn’t make the online edition of the Seattle Times, so I copy the highlights here for your perusal…
“Guild steps to success with rich talent pool”
John Sutherland, special to the Seattle Times
[…] Even with the Purcell added, the entrire performance barely broke an hour and a half, a good thing for the short attentions spans of our age. [Come on, give us some credit!] The Purcell had other benefits: It brought some marvelous singers out of the blend of the chorus and into the spotlight as soloists, particularly alto Teresa Clark and the very impressive Bruce [really Brian] Cummings.
The extremely strong cast featured Amanda Jane Kelly as Venus and Glenn Guhr as Adonis, who both exchelled vocally and dramatically.
But no one shone brighter than Anne-Carolyn Bird, who played the trouser role of Cupid with such sprightly energy, she practically floated on stage. Not only is her mellifluous voice enough to lead the children out of Hamlin town, her vocal ornamentation is extremely tasteful, and her stage presence nothing short of magnetic.
Bird had excellent help from her “Little Cupids,” [yea!!] . . . These dancing roles were among the most impressive and elaborate children’s roles I’ve seen on stage, and it is to their credit, and the credit of choreographer Anna Mansbridge, that the parts were so dramatically effective. [. . .]
Like I said, embarrassing. Mamma and Granddaddy, that’s for you! I’m so glad my LC’s got a mention, too; they deserved it. The reviewer also looks forward to the EMG’s next opera, as do I.