2006 is almost over, and one place I will definitely NOT be on NYE is Times Square. Even if it weren’t supposed to be raining, I would hate to be in that crowd! Something a bit more sedate and contemplative for me this year… And, hopefully, festive, too, as I’ll spend the afternoon cheering Jay Cutler and the Broncos to a wild card spot in the playoffs (hopefully!)!!
Last year, I did a year-end recap of the concert, listing the first line of the first post of each month. When I did the exercise again this year, it didn’t quite seem to capture the magnitude of what this year has been for me.
When I think of where I was last year at this time, it feels like a lifetime ago. Living in a beautiful house in Seattle, married and starting to face the end of my marriage, uncertain about my professional future. Now, I’m in New York City, in a tiny apartment, single and dating but not “looking” (which is a really weird combination), still uncertain - but much less so now that I have a team behind me - about my career path, and about to start a job at the Big House. How can any meme capture that monstrous and substantial shift?
I’ve gone back over my writing from last year and the first part of this year, up to the hiatus, and I can sense the burgeoning change in my life as it comes through in my words. There was a patina, a layer of gloss over everything, both here on the concert and in the rest of my life. I’ve shed that now, I think, mostly, and my whole life feels more honest as a result. I’m not sure how much of that process you readers were really aware of, but thanks for being there nonetheless.
New York still doesn’t quite feel like home. In the cab on the way home from the airport, as the skyline appeared, I thought about how I’d just spent 8 days on a gig – hotel room, new instant (and some, hopefully, lasting) friendships, music-making at a very high level, shopping – then 8 days with my parents – sleeping in my sister’s room, making vegetarian versions of dishes I’ve eaten at home for years, the warmth and familiarity of my family but in a place that was never home for me, shopping – and now I’m back “home.” Except it kind of feels like I’m here for a long-term gig. Maybe I am; I have no idea what will make me stay or leave NYC. A job? A relationship? Maybe it will happen in 2007, but probably not. I’m just doing my best to stay open to the possibilities, while staying true to this new, honest way of living my life. I’m not pretending to have all the answers anymore!
Happy New Year, everybody. May 2007 find us all living our lives with honesty and love, without fear and surrounded by music!
Saturday, December 30, 2006
Friday, December 29, 2006
Blogroll Update
Here are a few more blogs I’ve added to my Bloglines feeder over the past few months, and a couple I’ve been reading for a while now but have somehow neglected to get on the blogroll. As always, the full blogroll can be found here; I’ve updated the sidebar blogroll, as well.
Campbell Vertesi - Young (newlywed) bass expounds on the state of opera.
eighth blackbird - The new music darlings are blogging!
Foodie NYC - local food blogging
Jessica Duchen - London-based music writer and novelist
MetBlog - the New Met
Musical Perceptions
Opera Chic - Opera Chic goes to La Scala and you don’t
SoHo the Dog - My new favorite music geek
Sequenza21 - Reports on contempory classical music
Campbell Vertesi - Young (newlywed) bass expounds on the state of opera.
eighth blackbird - The new music darlings are blogging!
Foodie NYC - local food blogging
Jessica Duchen - London-based music writer and novelist
MetBlog - the New Met
Musical Perceptions
Opera Chic - Opera Chic goes to La Scala and you don’t
SoHo the Dog - My new favorite music geek
Sequenza21 - Reports on contempory classical music
iTunes knows what’s up
Entertainment Weekly might have ignored classical music in their year-end review, but iTunes didn’t! I was impressed to see that the New Music Tuesday email from iTunes included “year’s best” lists for classical and jazz in addition to the usual suspects (twelve categories all told). The Staff Favorite lists in the iTunes Store also showed a wide range of genres, featuring Dvorak’s Serenades and Mozart Symphonies mixed in with Justin Timberlake and Neko Case (love!). I think it’s safe to say that a lot of young people prefer to mix it up a bit when it comes to their listening choices; I don’t know many people who only listen to one type of music. How boring would that be? As for me, I got an iTunes gift care for Christmas (didn’t we all?!), and I plan to buy Romeo et Juliette (Slatkin, Domingo, Swenson), Cold War Kids, and Stevie Wonder (still a toss up between Innervisions and Songs in the Key of Life). I don’t know the numbers, but I’m guessing that most iTuners are on the younger side of the music-buyers’ spectrum, so this is yet another indicator of classical music’s continuing life. If we kids are still buying it, well, then, it must be doing alright!
Sunday, December 24, 2006
Sonny says...
... Merry Christmas!
The snow storm in Colorado was beautiful - since we watched it from the warmth and safety of home! The front yard turned into Narnia, and the lake behind my parents' church is a picture postcard of winter beauty. There is still plenty of snow, most of it still lovely and pristine, and it just started snowing again! A fresh blanket for Christmas Eve.
I have a few presents to wrap and a last few batches of cookies to bake. Between services tonight, we'll have eggnog and listen to Amahl. Then to bed so Santa can come!
Hope you are surrounded by love tonight and always.
Thursday, December 21, 2006
PBO notes
Before I get to anything else, here’s the answer to the “what’s up, Bach” question from last week. (Sorry for the pun; expect more, since I’m with my dad for a week…) I can’t find my source, so now I’m wondering if I made this up, but somewhere I read that the last third of the soprano-baritone duet in the E-flat Magnificat (Virga Jesse floruit) was completed by a student of Bach’s, from J.S.’s sketches. (Meaning, he wrote a sort of “outline” for the music and the student filled it in.) Stephen Stubbs seemed to know about it, too, so maybe I’m not totally off base. But regardless, the last two pages seem to be written in a different musical “language,” so much so that I had a hard time learning the notes!
I’ve gotten to the point with Bach where I can look at a melisma (long run of notes) and say, “Ok, this is that kind of Bach run; got it.” I know Bach’s language, and don’t have to think too much as I’m learning a new piece. Just like verbal language, musical languages have characteristics and qualities that are unique to individual composers. Mozart, Britten, Reich, Weill. These composers all have languages that are their own, easily recognizable and, once you’ve mastered them, easily read.
But this?! I was lost. I had to learn the final melisma note by note, analyzing the harmonic structure, playing around with the phrasing, trying anything to get the notes to stick. So strange! As Stephen put it, when he heard it for the first time, “Hmm, I’m not sure Bach would have done that.”
Can anyone verify that there’s some truth to this? I know that the E-flat Magnificat was written first (Bach later took out the more specific Nativity movements to make it less seasonal and transposed it down to D Major to create the version most often performed today); why would someone else have finished a movement at that point in Bach’s life? Of course, I know modern composers who have asked students/collaborators to finish compositions, so maybe this is more common practice than we think. Ideas?
Other Messiah blurbs:
In “The Trumpet Shall Sound,” there is a phrase that gets passed back and forth between the trumpet and the violins. I noticed at the dress rehearsal that the violins copied BB’s ornaments, and I thought they’d rehearsed and marked in what he was going to play. But then in the first performance, he played something different – and so did they! He mixed it up every night, and they were all right there with him, literally “playing” along. It was a moment I looked forward to every night: Stump the Violins, if you will!
I had one of those moments every singer dreads: I got lost! It was during the first full Messiah performance, and, of course, during “If God be for us,” the aria I know the least. I started to sing the end to the second melisma when I was in the middle of the first. I had about four measures of complete floundering! Ack!! I made eye contact with Stephen, as if to say “Help!” but what could he do? We had to keep going… I had to laugh, though, when I got to the end of the phrase and looked ahead to see what was next. The text? “Who is he that condemneth?” Ha! I sang that line a bit tongue in cheek, and I could have sworn I heard a small chuckle in the audience, too!
Ah, the joys of live performance…
I’ve gotten to the point with Bach where I can look at a melisma (long run of notes) and say, “Ok, this is that kind of Bach run; got it.” I know Bach’s language, and don’t have to think too much as I’m learning a new piece. Just like verbal language, musical languages have characteristics and qualities that are unique to individual composers. Mozart, Britten, Reich, Weill. These composers all have languages that are their own, easily recognizable and, once you’ve mastered them, easily read.
But this?! I was lost. I had to learn the final melisma note by note, analyzing the harmonic structure, playing around with the phrasing, trying anything to get the notes to stick. So strange! As Stephen put it, when he heard it for the first time, “Hmm, I’m not sure Bach would have done that.”
Can anyone verify that there’s some truth to this? I know that the E-flat Magnificat was written first (Bach later took out the more specific Nativity movements to make it less seasonal and transposed it down to D Major to create the version most often performed today); why would someone else have finished a movement at that point in Bach’s life? Of course, I know modern composers who have asked students/collaborators to finish compositions, so maybe this is more common practice than we think. Ideas?
Other Messiah blurbs:
In “The Trumpet Shall Sound,” there is a phrase that gets passed back and forth between the trumpet and the violins. I noticed at the dress rehearsal that the violins copied BB’s ornaments, and I thought they’d rehearsed and marked in what he was going to play. But then in the first performance, he played something different – and so did they! He mixed it up every night, and they were all right there with him, literally “playing” along. It was a moment I looked forward to every night: Stump the Violins, if you will!
I had one of those moments every singer dreads: I got lost! It was during the first full Messiah performance, and, of course, during “If God be for us,” the aria I know the least. I started to sing the end to the second melisma when I was in the middle of the first. I had about four measures of complete floundering! Ack!! I made eye contact with Stephen, as if to say “Help!” but what could he do? We had to keep going… I had to laugh, though, when I got to the end of the phrase and looked ahead to see what was next. The text? “Who is he that condemneth?” Ha! I sang that line a bit tongue in cheek, and I could have sworn I heard a small chuckle in the audience, too!
Ah, the joys of live performance…
Holiday Geekery
SoHo the Dog wins this week's music geekery prize!
He has analyzed the Presbyterian hymnal, noting the starting pitches of Christmans hymns versus non-Christmas hymns. (Follow the link for the discovery.) I think he must either be finished with his Christmas shopping or procrastinating!
He gets really math-y about it, too, but manages to come up with a hypothesis that is spiritually very sweet. I could even see my Dad using it as a sermon illustration... if he were preaching to music geeks!
He has analyzed the Presbyterian hymnal, noting the starting pitches of Christmans hymns versus non-Christmas hymns. (Follow the link for the discovery.) I think he must either be finished with his Christmas shopping or procrastinating!
He gets really math-y about it, too, but manages to come up with a hypothesis that is spiritually very sweet. I could even see my Dad using it as a sermon illustration... if he were preaching to music geeks!
Wednesday, December 20, 2006
Ouch
All the talk at our final performance Monday night was of the horrible review we got in the local paper. Ouch!!
There was much laughing and assuring each other that what the reviewer said was untrue. I have it on good authority that I don’t generally have pitch problems, so I’m taking MP’s tack and assuming it was the strangeness of the Baroque pitch and period instruments that gave the reviewer that impression. The recitatives (talky parts) before “Glory to God” were accompanied by harp, which was cool, but I definitely had to concentrate a bit more to hear my pitch center. It’s not insignificant, the change in the aural atmosphere from strings to harp or piano to strings. So while I recognize that I might have had a moment of pitch uncenteredness in the early rehearsals, that hardly qualifies as having trouble staying on pitch.
As for “too operatic” an approach, I have no idea what he means. Vocally? Dramatically? We couldn’t figure it out. But we all had a blast at Monday’s touch-up rehearsal and warm-up, deliberately playing up the things he said were bad! DW, the countertenor, made me laugh loudly and inappropriately with his “blank face!” And there were plenty of fake yawns in the rehearsal; hopefully no real ones in the performance…
I was upset about the review for about an hour, and despite the fun and games during the rehearsal, I needed some reassurance from my colleagues that I was, indeed, on pitch. It’s hard not to let a negative review get under your skin! But, art is subjective. This was one man’s opinion based on one evening’s work. If we believe the good reviews, to some extent we have to believe the bad ones, too.
My friend BMB summed it up well. When she adjudicates young singers, she indicates that her opinions are just that, based on one hearing. If her comments are in line with what other people have been saying to the singer, they should maybe take them into consideration. But if they seem to be out in left field, she tells them to feel free to ignore them! So, following this logic, I’ll choose to ignore the review.
But I’ll also choose to sing on pitch.
There was much laughing and assuring each other that what the reviewer said was untrue. I have it on good authority that I don’t generally have pitch problems, so I’m taking MP’s tack and assuming it was the strangeness of the Baroque pitch and period instruments that gave the reviewer that impression. The recitatives (talky parts) before “Glory to God” were accompanied by harp, which was cool, but I definitely had to concentrate a bit more to hear my pitch center. It’s not insignificant, the change in the aural atmosphere from strings to harp or piano to strings. So while I recognize that I might have had a moment of pitch uncenteredness in the early rehearsals, that hardly qualifies as having trouble staying on pitch.
As for “too operatic” an approach, I have no idea what he means. Vocally? Dramatically? We couldn’t figure it out. But we all had a blast at Monday’s touch-up rehearsal and warm-up, deliberately playing up the things he said were bad! DW, the countertenor, made me laugh loudly and inappropriately with his “blank face!” And there were plenty of fake yawns in the rehearsal; hopefully no real ones in the performance…
I was upset about the review for about an hour, and despite the fun and games during the rehearsal, I needed some reassurance from my colleagues that I was, indeed, on pitch. It’s hard not to let a negative review get under your skin! But, art is subjective. This was one man’s opinion based on one evening’s work. If we believe the good reviews, to some extent we have to believe the bad ones, too.
My friend BMB summed it up well. When she adjudicates young singers, she indicates that her opinions are just that, based on one hearing. If her comments are in line with what other people have been saying to the singer, they should maybe take them into consideration. But if they seem to be out in left field, she tells them to feel free to ignore them! So, following this logic, I’ll choose to ignore the review.
But I’ll also choose to sing on pitch.
Snow!!
I’m in Boulder, safe and sound and snuggly warm. It is snowing hard outside, with eight inches already on the ground and no sign of stopping. Sonny, my parent’s boxer-mix, was very “helpful” when Dad shoveled the driveway – he’d attack the fully-loaded shovel from behind, knocking all the snow out! Thanks, dog.
It’ll be my turn to shovel in a few hours. So until then, I’m trying to catch up on Messiah thoughts. I promise I’ll get to the cool Bach trivia! And my folks have a camera cable, so I’ll post some pics.
Happy Winter!!
It’ll be my turn to shovel in a few hours. So until then, I’m trying to catch up on Messiah thoughts. I promise I’ll get to the cool Bach trivia! And my folks have a camera cable, so I’ll post some pics.
Happy Winter!!
Sunday, December 17, 2006
Compliments
I have a wonderful concert gown that I bought for last year’s concerts with Seattle Baroque. I bought it with CT the DT at a bridal shop in Wallingford, so it was my first gown that didn’t come from Nordstrom Rack or (C)Ross Dress for Less! (Two of my best gowns were less than $30, both at Ross!! Shhhhh…) This gown is beautiful cinnamon color, and is actually a skirt and a separate bustier. I instantly fell in love with the silhouette of the skirt; called a “souffle” skirt, it is gathered and tucked in mysterious ways and looks like an holiday confection. Since I’m on the thin side, I like a gown that gives me a bit more presence on stage, and this fits the bill. I wear it with a velvet bolero-type jacket (to cover my shoulders for sacred music) and a long black ribbon tied in a bow at the waist. (Hmm, I think I have a picture from last year's concerts at Benaroya around somewhere; I’ll dig it out and post it.)
The real story of this gown, though, is that I didn’t have time to wait for them to order my size, so I bought the floor sample – which was a size 10!
My skilled mother-in-law took out an entire panel of the bustier and a few inches out of the waist of the skirt, and it fit like a dream! It’s probably a bit big for “everyday” wear (whatever that is), but for singing, it’s perfect. I have plenty of room to expand my abdomen and ribcage, but have no fear of the strapless bustier falling down! Thanks, MR, if you’re still reading. I think of you every time I put it on.
When I wear this gown, I have to be prepared to get as many compliments, if not more, about it as I do about my singing! On Friday night, I even had a seamstress come up to me, so I got to tell the story of the alterations. She was very impressed!
Last night, I got two other compliments that stood out from the standard “"great job/thank you/beautiful dress" crowd. One a bit bizarre, but sweetly delivered: “You are just the most delicious thing! I told my friend, ‘She could puke on stage, and it would be worth watching!’” Um, thanks? hehehe
The second was quite possibly the best compliment I’ve ever received. A tall gentleman who looked not a little like James Cromwell said, “I want you to know that I loved both your singing and your voice. I think you’ll understand what I mean.”
Yes, I do, sir, and thank you for the reminder. We all have a voice; it’s what we do with it that sets us apart. (And again, as with my previous post, I’m not just talking about singing…)
The real story of this gown, though, is that I didn’t have time to wait for them to order my size, so I bought the floor sample – which was a size 10!
My skilled mother-in-law took out an entire panel of the bustier and a few inches out of the waist of the skirt, and it fit like a dream! It’s probably a bit big for “everyday” wear (whatever that is), but for singing, it’s perfect. I have plenty of room to expand my abdomen and ribcage, but have no fear of the strapless bustier falling down! Thanks, MR, if you’re still reading. I think of you every time I put it on. When I wear this gown, I have to be prepared to get as many compliments, if not more, about it as I do about my singing! On Friday night, I even had a seamstress come up to me, so I got to tell the story of the alterations. She was very impressed!
Last night, I got two other compliments that stood out from the standard “"great job/thank you/beautiful dress" crowd. One a bit bizarre, but sweetly delivered: “You are just the most delicious thing! I told my friend, ‘She could puke on stage, and it would be worth watching!’” Um, thanks? hehehe
The second was quite possibly the best compliment I’ve ever received. A tall gentleman who looked not a little like James Cromwell said, “I want you to know that I loved both your singing and your voice. I think you’ll understand what I mean.”
Yes, I do, sir, and thank you for the reminder. We all have a voice; it’s what we do with it that sets us apart. (And again, as with my previous post, I’m not just talking about singing…)
“Unconditional Gentleness”
A beautiful post from Donna Racik (an assistant conductor) over on the MetBlog. Bringing any opera to life is a challenge, but most especially (is that redundant?) a new one. Her point about the work the librarians have to do is a good one, and one easily missed, even by the performers. At the end of rehearsal, we get to go home, but the librarians, crew, management, and music staff all have hours more work ahead of them.
But I love the idea that, even when everyone is stressed to the max, the permeating attitude is one of “unconditional gentleness.” It’s not really that hard. It’s simply a matter of keeping your eyes open and recognizing the work that others have to do. If we are gentle with each other, the work goes much more easily for all involved.
Sounds like something that should be applied to more areas of our lives…
But I love the idea that, even when everyone is stressed to the max, the permeating attitude is one of “unconditional gentleness.” It’s not really that hard. It’s simply a matter of keeping your eyes open and recognizing the work that others have to do. If we are gentle with each other, the work goes much more easily for all involved.
Sounds like something that should be applied to more areas of our lives…
Friday, December 15, 2006
So close!
So, my fight with my hair was nearly non-existant tonight, thanks to my remembering a tip from AS. Her french twist always looks perfect, and she revealed her secret to me (to all of us in the ladies chorus dressing room, actually!) this summer. Twist from the top down, rather than from the bottom up. Unbelievably easy! So, this together with my hair's natural waves (no more straight hair here; I've given up that part of the fight) makes for an easy, elegant up-do. Done!
But the kink tonight? I forgot my jewelry! Or, rather, I forgot the jewelry for one of my gowns. (Yes, I broght two. I'm doing four concerts in four days; you don't think I'd wear the same gown for all of them do you?!) Hopefully I can borrow a necklace from a generous chorus woman...
There's always something!
But the kink tonight? I forgot my jewelry! Or, rather, I forgot the jewelry for one of my gowns. (Yes, I broght two. I'm doing four concerts in four days; you don't think I'd wear the same gown for all of them do you?!) Hopefully I can borrow a necklace from a generous chorus woman...
There's always something!
Audition Season Recap
**I wrote this last night, but was unable to post due to the wind storm. It's dry and fairly calm here today; I think Washington got the worst of it. I'll check in with Seattle folks later today and see that they're all accounted for.**
Some thoughts from my first full audition season in New York:
It was nice to have a representative from the office at every audition (except the few that I traveled to). They would come into the room with me and sit near the auditors, at the ready to answer any questions. They also provided materials, a bio and headshot, and take care to follow up. The office always has a pretty good idea of what roles the company is looking to cast, so they can speak in specifics rather than generalities. Now the waiting game begins. I don’t really have any idea what kind of timeline I’m dealing with for these sorts of casting auditions. I try not to pester the office with emails and calls (and visits, since they are just five blocks up the street!), but I do wonder every day: Has anybody made an offer?
By far the most popular requests from my aria list were Nannetta and Baby Doe. Except for the two auditions when I started with “Regnava” (NYCO and the last minute audition) these two were always my starters. How did I decide, on any given day, what to start with? Different ways on different days. I’d occasionally feel like my “float” wasn’t working, so I’d start with Baby Doe. Some days, I felt that I was dressed more like one or the other, or that I had more of the attitude of one more than the other. What’s ironic about all of these reasonings is that, on most days, I ended up singing both arias anyway! Even though the arias are, to my way of thinking, very similar, when I started with Nannetta they’d most often ask for Baby Doe, and vice versa. The characters are very different, one very girlish and one very womanly, so that was fun to contrast. But I did wonder what the panel’s logic was in asking for the second aria. (Assuming there is logic…)
I had great pianist karma. I worked with JD most of the time, and with CK for almost all of the times JD couldn’t be there. CK and I found an easy rapport very quickly, and I’ll gladly call him for anything. For my last audition of the year, I ended up with somebody new, with very little rehearsal, and it ended up being great. I’ll use him again, too, whenever I can. It’s nice to have such a solid “bullpen” of pianists from which to pull!
I felt very good about all of my auditions. The one audition I walked out of feeling just kind of ok about – it was fine, it was ok, but I wasn’t jazzed about it so I didn’t expect the auditors to be – I ended up getting an offer! I think I mentioned it a while ago; I’m not available, but it’s always great to know that they were interested. Hopefully they’ll ask again! But it just goes to show that you can never predict how you will be received. Just go do your best, and the rest is out of your hands.
In one audition, I was asked how tall I was. When I replied (5’7”), he said, “Oh, you look much taller.” I was also asked a few times, in warm-up rooms and such, if I was a mezzo. When I said no, one person said, “But you’re so tall!” Ah, physical stereotypes! Hopefully no one would pass me over for a role based solely on the fact that I’m tall(er), but I guess if they have a 5’8” tenor in mind, they might want a shorter soprano. Every time I meet a tall tenor, I think, “there’s hope for me yet!”
One company was casting a Gilbert & Sullivan operetta, so I got to do some dry reading, which was great. I did straight theater for years in school, so it was wonderfully familiar to get a sheet of text I’d never seen before, read it over once, then do my best to deliver it as if I’d been studying it for weeks! That’s part of an audition process opera singers don’t often have to deal with, but I love it.
Several times, as I was leaving the audition, or between arias, an auditor would mention that he had seen Cendrillon or the Golijov St. Mark Passion earlier this year. Fun! Since there is only so much you can show in an audition setting, knowing that the folks behind the table have seen you “in action” is reassuring. If they saw Cendrillon, they know I can be funny and silly; if they saw the Golijov, they have a sense of my concert work. And, since work begets work, I have to think that these connections are just as important as any audition. Every performance an audition; every audition a performance.
Which takes us up to today: At the dress rehearsal was a conductor with whom I worked earlier this year. As he was leaving, he mentioned that he was conducting a Messiah next year, and that he would be in touch. Today’s rehearsal was not just a rehearsal! It was an audition.
Some thoughts from my first full audition season in New York:
It was nice to have a representative from the office at every audition (except the few that I traveled to). They would come into the room with me and sit near the auditors, at the ready to answer any questions. They also provided materials, a bio and headshot, and take care to follow up. The office always has a pretty good idea of what roles the company is looking to cast, so they can speak in specifics rather than generalities. Now the waiting game begins. I don’t really have any idea what kind of timeline I’m dealing with for these sorts of casting auditions. I try not to pester the office with emails and calls (and visits, since they are just five blocks up the street!), but I do wonder every day: Has anybody made an offer?
By far the most popular requests from my aria list were Nannetta and Baby Doe. Except for the two auditions when I started with “Regnava” (NYCO and the last minute audition) these two were always my starters. How did I decide, on any given day, what to start with? Different ways on different days. I’d occasionally feel like my “float” wasn’t working, so I’d start with Baby Doe. Some days, I felt that I was dressed more like one or the other, or that I had more of the attitude of one more than the other. What’s ironic about all of these reasonings is that, on most days, I ended up singing both arias anyway! Even though the arias are, to my way of thinking, very similar, when I started with Nannetta they’d most often ask for Baby Doe, and vice versa. The characters are very different, one very girlish and one very womanly, so that was fun to contrast. But I did wonder what the panel’s logic was in asking for the second aria. (Assuming there is logic…)
I had great pianist karma. I worked with JD most of the time, and with CK for almost all of the times JD couldn’t be there. CK and I found an easy rapport very quickly, and I’ll gladly call him for anything. For my last audition of the year, I ended up with somebody new, with very little rehearsal, and it ended up being great. I’ll use him again, too, whenever I can. It’s nice to have such a solid “bullpen” of pianists from which to pull!
I felt very good about all of my auditions. The one audition I walked out of feeling just kind of ok about – it was fine, it was ok, but I wasn’t jazzed about it so I didn’t expect the auditors to be – I ended up getting an offer! I think I mentioned it a while ago; I’m not available, but it’s always great to know that they were interested. Hopefully they’ll ask again! But it just goes to show that you can never predict how you will be received. Just go do your best, and the rest is out of your hands.
In one audition, I was asked how tall I was. When I replied (5’7”), he said, “Oh, you look much taller.” I was also asked a few times, in warm-up rooms and such, if I was a mezzo. When I said no, one person said, “But you’re so tall!” Ah, physical stereotypes! Hopefully no one would pass me over for a role based solely on the fact that I’m tall(er), but I guess if they have a 5’8” tenor in mind, they might want a shorter soprano. Every time I meet a tall tenor, I think, “there’s hope for me yet!”
One company was casting a Gilbert & Sullivan operetta, so I got to do some dry reading, which was great. I did straight theater for years in school, so it was wonderfully familiar to get a sheet of text I’d never seen before, read it over once, then do my best to deliver it as if I’d been studying it for weeks! That’s part of an audition process opera singers don’t often have to deal with, but I love it.
Several times, as I was leaving the audition, or between arias, an auditor would mention that he had seen Cendrillon or the Golijov St. Mark Passion earlier this year. Fun! Since there is only so much you can show in an audition setting, knowing that the folks behind the table have seen you “in action” is reassuring. If they saw Cendrillon, they know I can be funny and silly; if they saw the Golijov, they have a sense of my concert work. And, since work begets work, I have to think that these connections are just as important as any audition. Every performance an audition; every audition a performance.
Which takes us up to today: At the dress rehearsal was a conductor with whom I worked earlier this year. As he was leaving, he mentioned that he was conducting a Messiah next year, and that he would be in touch. Today’s rehearsal was not just a rehearsal! It was an audition.
Thursday, December 14, 2006
Random, December 13
The end of the year means it’s time for all sorts of lists, and The Concert has found itself on one of them! Over at Musical Perceptions, Scott Spiegelberg, a music professor at DePauw, has compiled the top 51 (don’t ask) music blogs, based on the technorati ranking. Thanks to all of you who link to The Concert, I came in at #20! Not bad. The company is great, of course, and there are at least a dozen that I’m not familiar with. Our little blogosphere is growing up! I seem to recall a conversation with Charles two summers ago, in which we talked about the growth of music blogging, what it was going to mean for music criticism, who would get involved, etc.. It’s fun to see so much of that coming to fruition. As Lampie said in The Brave Little Toaster, “We are pioneers!” (Again, don’t ask…)
Need some new recipes for your holiday parties? Check out the musical egg recipes over at Soho the Dog. Be sure to read all the comments, too; music dorks are really funny! Who knew? (I count myself among them, so I can jest. The music dorks, I mean, not necessarily the funny ones.) Given my current roommate, I think the Eggs Reich are my favorite. Although the Eggs Rorem is pretty darned hysterical…
I’m not going to comment on the La Scala-Alagna scandal. As a performer myself, I try to refrain from giving my opinions about other performers’ performances (got that?), either on or off the stage. But for an interesting conversation on the topic, specifically on the relationship between star singers and general managers, head over to Parterre. And again, read the comments for some very thoughtful and thought-provoking ideas.
I feel a little loopy tonight, in case you hadn’t noticed. I only had 15 minutes of rehearsal today, and spent the rest of the day relaxing. Maybe I’m not used to it… I had coffee with a friend (one of those friends you meet by chance, see once every two years or so, but always have a great time with and wish you saw more; you know the kind?), talked with ER, took a nap, walked through the misty Portland rain to a yoga class near the hotel, and got yummy take out from the vegan restaurant in the yoga studio. Maybe it’s the exercise and healthy food, going to my head…
Dress rehearsal tomorrow, so I promise to actually do some writing about my musical endeavors. For now I’ll just say that it is good to sing this music, good to work with such wonderful musicians, good to work. Life is good!
Need some new recipes for your holiday parties? Check out the musical egg recipes over at Soho the Dog. Be sure to read all the comments, too; music dorks are really funny! Who knew? (I count myself among them, so I can jest. The music dorks, I mean, not necessarily the funny ones.) Given my current roommate, I think the Eggs Reich are my favorite. Although the Eggs Rorem is pretty darned hysterical…
I’m not going to comment on the La Scala-Alagna scandal. As a performer myself, I try to refrain from giving my opinions about other performers’ performances (got that?), either on or off the stage. But for an interesting conversation on the topic, specifically on the relationship between star singers and general managers, head over to Parterre. And again, read the comments for some very thoughtful and thought-provoking ideas.
I feel a little loopy tonight, in case you hadn’t noticed. I only had 15 minutes of rehearsal today, and spent the rest of the day relaxing. Maybe I’m not used to it… I had coffee with a friend (one of those friends you meet by chance, see once every two years or so, but always have a great time with and wish you saw more; you know the kind?), talked with ER, took a nap, walked through the misty Portland rain to a yoga class near the hotel, and got yummy take out from the vegan restaurant in the yoga studio. Maybe it’s the exercise and healthy food, going to my head…
Dress rehearsal tomorrow, so I promise to actually do some writing about my musical endeavors. For now I’ll just say that it is good to sing this music, good to work with such wonderful musicians, good to work. Life is good!
Wednesday, December 13, 2006
The Wainwrights at Carnegie
If I were in NYC tonight, I would do my utmost to be here: Christmas Cabaret with the Wainwright Family!
If you're free and can find a ticket, go in my stead!
If you're free and can find a ticket, go in my stead!
Tuesday, December 12, 2006
fixed!
Yea!!! My iPod is back from the dead!
And I have a fully stocked kitchen. Well, stocked enough for a week of breakfasts and snacks. I have a microwave, which is nice, so I got some popcorn. I brought a couple of Netflix movies along, so I can have a quiet movie night at "home." Some tea, protein bars, my favorite Irish cheddar, alll my breakfast goodies, and it's almost like my home kitchen. But bigger...
I've also managed to already to some shopping damage! Anthropology has so many lovely, lovely things right now. I bought a green cowel neck sweater and a perfect plum-colored dress. I've been having great luck with clothes recently, finding pieces that will last a long time, stay "in style," and are versatile and fun. Classics with a twist, that's what I like! But from now on, all the shopping will be Christmas presents. For other people!
Time to warm up.
And I have a fully stocked kitchen. Well, stocked enough for a week of breakfasts and snacks. I have a microwave, which is nice, so I got some popcorn. I brought a couple of Netflix movies along, so I can have a quiet movie night at "home." Some tea, protein bars, my favorite Irish cheddar, alll my breakfast goodies, and it's almost like my home kitchen. But bigger...
I've also managed to already to some shopping damage! Anthropology has so many lovely, lovely things right now. I bought a green cowel neck sweater and a perfect plum-colored dress. I've been having great luck with clothes recently, finding pieces that will last a long time, stay "in style," and are versatile and fun. Classics with a twist, that's what I like! But from now on, all the shopping will be Christmas presents. For other people!
Time to warm up.
Back on the Left Coast
Just a quick note to say that I made it to Portland. I’m trying to stay up until 10:30 or so, but I am exhausted! This weekend was long and crazy, with a day trip to Boston, auditions in NYC on either side of said trip, packing (which I hate, we all know this…), and getting the apartment into sublettor shape. (DS, a colleague from Tanglewood, will be staying in my little nest while in town for auditions.) And then on the trip today, my iPod froze up and I can’t revive it. Very, very uncool.
Hmm. I was going to post a picture of my little Christmas set-up here in my hotel room, but I realized I left the cable for my camera at home. Maybe I’ll get one with my phone in the daylight.
Sleep now, breakfast with CT the DT tomorrow morning, then rehearsal at 2:00! I’m so excited, ready to get back to work. Singing with an orchestra again! Fun! The extra/forgotten aria from the Messiah is in good shape, and I’m really looking forward to singing the Magnificat trio (“Suscepit Israel”). I’ll write tomorrow about the strangeness of the soprano-baritone duet; bonus points to any music-geeky reader who can guess what I’m going to say!
Hmm. I was going to post a picture of my little Christmas set-up here in my hotel room, but I realized I left the cable for my camera at home. Maybe I’ll get one with my phone in the daylight.
Sleep now, breakfast with CT the DT tomorrow morning, then rehearsal at 2:00! I’m so excited, ready to get back to work. Singing with an orchestra again! Fun! The extra/forgotten aria from the Messiah is in good shape, and I’m really looking forward to singing the Magnificat trio (“Suscepit Israel”). I’ll write tomorrow about the strangeness of the soprano-baritone duet; bonus points to any music-geeky reader who can guess what I’m going to say!
Friday, December 08, 2006
On the road in December
There are several other things I’m excited about for my upcoming trip to Portland and Boulder. I’ll be seeing a whole slough of people in Portland: cousins and their families, school colleagues, and CT the DT, who I haven’t seen since leaving Seattle in May. She’s coming down on the train and staying at the same hotel as I am, taking them up on their “Bookworm Package,” which includes a room, breakfast, and a $50 gift certificate to Powell’s Books! How fun, and just in time for Christmas!
I found out that my room at the hotel has a full kitchen! I’ll be so happy to have my usual breakfasts (coffee, granola, yogurt, fruit) and have some space for putting together snacks and small meals. Not only does something like this make me feel more at home, but I’ll save a lot of money.
In other efforts to make the hotel feel like “home for the holidays,” I’m planning to buy some small Christmas greenery and a string of lights! And, after talking with my mom last night, I’ve decided to put a few pieces of our family nativity set in my bag, bringing along a true bit of my home Christmas with me on the road. In 2004, she gave me the beautiful Italian nativity set that was always my “job” to set up at Christmas time. I had asked for one like it, but I was beyond touched when I opened the box to find that she had sent me hers. She and I were both a bit sad when we realized that, after 37 years of “service,” it was likely going to stay in storage this year. I have no room to set it up here, and besides, I’m only here for 8 days of December! So last night when I got the idea to pack the Holy Family and a shepherd and an angel or two and take them along on my journey, I knew we’d both be happy! Depending on how often I’m on the road at this time of year, they could become a fixture on my December packing list…
Another fun on-the-road thing: while I’m in Boulder, I’m going to get to throw a dinner party! I’ve been missing entertaining recently, and holiday parties in particular, so when Mom said she was going to have some folks over for dinner while I was there, I asked if I could “host.” She gladly said yes! We’ll collaborate, of course, but I’m looking forward to planning a menu, setting the table, buying and preparing the food, making sure everyone has what they need (“More wine?”), and having a wonderful time.
Tomorrow, a day trip to Boston. Sunday, brunch with a friend, an audition, dinner with JD. Somewhere in there, pack for two weeks on the road. Leave for Portland on Monday! It’s a whirlwind, I tell you, this life…
I found out that my room at the hotel has a full kitchen! I’ll be so happy to have my usual breakfasts (coffee, granola, yogurt, fruit) and have some space for putting together snacks and small meals. Not only does something like this make me feel more at home, but I’ll save a lot of money.
In other efforts to make the hotel feel like “home for the holidays,” I’m planning to buy some small Christmas greenery and a string of lights! And, after talking with my mom last night, I’ve decided to put a few pieces of our family nativity set in my bag, bringing along a true bit of my home Christmas with me on the road. In 2004, she gave me the beautiful Italian nativity set that was always my “job” to set up at Christmas time. I had asked for one like it, but I was beyond touched when I opened the box to find that she had sent me hers. She and I were both a bit sad when we realized that, after 37 years of “service,” it was likely going to stay in storage this year. I have no room to set it up here, and besides, I’m only here for 8 days of December! So last night when I got the idea to pack the Holy Family and a shepherd and an angel or two and take them along on my journey, I knew we’d both be happy! Depending on how often I’m on the road at this time of year, they could become a fixture on my December packing list…
Another fun on-the-road thing: while I’m in Boulder, I’m going to get to throw a dinner party! I’ve been missing entertaining recently, and holiday parties in particular, so when Mom said she was going to have some folks over for dinner while I was there, I asked if I could “host.” She gladly said yes! We’ll collaborate, of course, but I’m looking forward to planning a menu, setting the table, buying and preparing the food, making sure everyone has what they need (“More wine?”), and having a wonderful time.
Tomorrow, a day trip to Boston. Sunday, brunch with a friend, an audition, dinner with JD. Somewhere in there, pack for two weeks on the road. Leave for Portland on Monday! It’s a whirlwind, I tell you, this life…
Last minute
Nothing like getting a call from my manager asking if I can do a last minute audition this afternoon! Especially when it turns out that they are looking for a Lucia!!
Wish me luck.
And after the audition? A massage... finally!
Wish me luck.
And after the audition? A massage... finally!
New words for the bio
Two new words: Grammy-nominated. (Or does the hyphen technically make it one word?)
Osvaldo Golijov’s Ainadamar was nominated in two categories – Best Opera Recording and Best Classical Contemporary Composition. The producer of the album, Sid McLauchlan, is also nominated for Producer of the Year, Classical.
I’m not considered a “principal soloist,” so I wouldn’t receive a Grammy if it wins. But my bio will now read “…can be heard on the Grammy-nominated recording of Ainadamar, released in May 2006.” Or, maybe, come February 11, “… Grammy-award-winning…”
I’d better call Mr. Mouret or Ms. Herrera and start talking about my gown…
Osvaldo Golijov’s Ainadamar was nominated in two categories – Best Opera Recording and Best Classical Contemporary Composition. The producer of the album, Sid McLauchlan, is also nominated for Producer of the Year, Classical.
I’m not considered a “principal soloist,” so I wouldn’t receive a Grammy if it wins. But my bio will now read “…can be heard on the Grammy-nominated recording of Ainadamar, released in May 2006.” Or, maybe, come February 11, “… Grammy-award-winning…”
I’d better call Mr. Mouret or Ms. Herrera and start talking about my gown…
On Sale!!!
Tickets for “The Met at the Movies” go on sale today! They’ve been adding theaters over the past few weeks, which bodes well, I’d say. All of the performances are worth checking out (opera! live! at the movie theater!!), but if you want to see my little self on that big stage, Il Trittico is being broadcast on April 28th.
Here are some links:
Find a theater and buy tickets - search by Zip Code, top right corner of the screen
Info about Il Trittico
I’ll do my best to resist the urge to mug at the camera and wave at you all.
Here are some links:
Find a theater and buy tickets - search by Zip Code, top right corner of the screen
Info about Il Trittico
I’ll do my best to resist the urge to mug at the camera and wave at you all.
Tuesday, December 05, 2006
Candy
After this evening’s audition, JD and I went to the musician’s candy store: Patelson’s Music House! A beautifully stocked sheet music shop, it is the first stop for any NYC-based musician’s search. After years of buying most of my music online, it’s nice to spend some time browsing though actual books! The tactile experience was a lovely way to follow up an audition.
I bought two scores I’ve recently been encouraged to “get to know:” Gounod’s Romeo et Juliette and Rossini’s Barber of Seville. I’ve avoided both roles for different reasons for a while now – Juliette has always been too heavy; Rosina is considered a mezzo role – but those reasons have finally become moot. My voice has grown into Juliette, and Rosina is often cast with a soprano, depending on the musical preferences of the company. And, if they’re going to cast a soprano, a voice like mine is well-suited. So, two new toys! An early Christmas present to myself…
This week’s auditions: Fort Worth, Virginia, Opera Boston (in Boston), and Nashville. And that’s the end of my audition season!!! Woohoo!!
I bought two scores I’ve recently been encouraged to “get to know:” Gounod’s Romeo et Juliette and Rossini’s Barber of Seville. I’ve avoided both roles for different reasons for a while now – Juliette has always been too heavy; Rosina is considered a mezzo role – but those reasons have finally become moot. My voice has grown into Juliette, and Rosina is often cast with a soprano, depending on the musical preferences of the company. And, if they’re going to cast a soprano, a voice like mine is well-suited. So, two new toys! An early Christmas present to myself…
This week’s auditions: Fort Worth, Virginia, Opera Boston (in Boston), and Nashville. And that’s the end of my audition season!!! Woohoo!!
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