Have you started writing for the Dayton City Paper? The review of Barber is really, really good... Just curious if you've picked up a little journalism on the side!
I'm off to our brush-up rehearsal. Can't wait to see how things have simmered and developed over our (lovely, food-filled) days off!
More soon...
Showing posts with label reviews. Show all posts
Showing posts with label reviews. Show all posts
Thursday, April 03, 2008
Sunday, February 17, 2008
New Day
Up before the sun again, this time to pack up and leave this TH behind. I will miss my little blue room, the coffee ritual that emerged here, the lake and its ice-fishermen, the cozy couch by the fireplace, and my lovely hostess NP.
Two performances of Le Nozze di Figaro, back to back. I made it!! I had an absolute ball, learned so much, and am so grateful. I will miss my cast and our special moments on and off stage... Here is a review from the local paper; thanks to Sid, Patti, and BD for sending it along. You can be sure I will write more about the “uncooperative veil!” What he doesn’t mention is that it happened twice, and that the second instance came about because I took a banana-peel-style slip and the darn thing just flew off! Details to follow…
For now, I’m packing up my car and headed back over to Ann Arbor to record with Nick! It’s so fun to go into a rather daunting job knowing that I will have a friend there to lean on! And to hug! Other folks are involved, too, of course, including some folk singer folks. I feel bad that I haven’t talked about this project much here; hopefully I’ll get a few words down in the next couple of days.
Thanks for all your sweet words and thoughts and wishes. More soon; stay tuned!!
Two performances of Le Nozze di Figaro, back to back. I made it!! I had an absolute ball, learned so much, and am so grateful. I will miss my cast and our special moments on and off stage... Here is a review from the local paper; thanks to Sid, Patti, and BD for sending it along. You can be sure I will write more about the “uncooperative veil!” What he doesn’t mention is that it happened twice, and that the second instance came about because I took a banana-peel-style slip and the darn thing just flew off! Details to follow…
For now, I’m packing up my car and headed back over to Ann Arbor to record with Nick! It’s so fun to go into a rather daunting job knowing that I will have a friend there to lean on! And to hug! Other folks are involved, too, of course, including some folk singer folks. I feel bad that I haven’t talked about this project much here; hopefully I’ll get a few words down in the next couple of days.
Thanks for all your sweet words and thoughts and wishes. More soon; stay tuned!!
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.
Monday, July 31, 2006
Ionarts in Santa Fe
Charles Downey and his family are back in Santa Fe for a week at the opera (as well as family visits; a nice mix of business and pleasure). This summer he will be attending and reviewing all five operas, a true member of the "press corps" that is here for the week. He and I talked last summer about the future of music criticism and music blogging, and, frankly, I think this bodes well.
Read his review of The Tempest here; I'll post the others throughout the week. Mrs. Ionarts and Master Ionarts will be along for a show or two, making it a real family affair. I'm most excited for Master Ionarts to see Cendrillon; I haven't really gotten a child's pespective on our magical fairytale. Will it transport him the way it is transporting adults?
Off to my first Rosenkavalier coaching!
UPDATE 8/2: Reviews of Flute and Carmen are up. (I'm the fifth chorus girl from the right in that chorus shot!)
Also, young Master Ionarts is, as it turns out, too young for a three-hour opera that starts at 8:30. He will instead spend the evening with his grandparents, I believe, which will surely be a great enjoyment for all involved. It won't be long, though, before he's in the house, sitting on a couple of cushions and following every detail.
UPDATE 8/5: The Cendrillon review is up, as are Charles's thoughts on his second viewing of the Tempest. Great pictures of Cendrillon!! What a gorgeous show...
Read his review of The Tempest here; I'll post the others throughout the week. Mrs. Ionarts and Master Ionarts will be along for a show or two, making it a real family affair. I'm most excited for Master Ionarts to see Cendrillon; I haven't really gotten a child's pespective on our magical fairytale. Will it transport him the way it is transporting adults?
Off to my first Rosenkavalier coaching!
UPDATE 8/2: Reviews of Flute and Carmen are up. (I'm the fifth chorus girl from the right in that chorus shot!)
Also, young Master Ionarts is, as it turns out, too young for a three-hour opera that starts at 8:30. He will instead spend the evening with his grandparents, I believe, which will surely be a great enjoyment for all involved. It won't be long, though, before he's in the house, sitting on a couple of cushions and following every detail.
UPDATE 8/5: The Cendrillon review is up, as are Charles's thoughts on his second viewing of the Tempest. Great pictures of Cendrillon!! What a gorgeous show...
Sunday, July 16, 2006
Cendrillon Preview & Reviews
Here is the Cendrillon preview that ran in the local paper before opening night. The online version has a small slideshow, too, with pictures from a dress rehearsal. They will be enough to give you a small idea of the incredible whimsy and fun of the show!
The first review is in, too, and it's a good one. As others surface, I'll add them to this post.
The Santa Fe New Mexican - "hideously winsome!" (This might be my new favorite quote...)
The Los Alamos Monitor
Opera Today - I probably won't include this quote in my press packet... :)
The first review is in, too, and it's a good one. As others surface, I'll add them to this post.
The Santa Fe New Mexican - "hideously winsome!" (This might be my new favorite quote...)
The Los Alamos Monitor
Opera Today - I probably won't include this quote in my press packet... :)
Tuesday, February 21, 2006
Rocked
Thanks to all who notified me of the Times review of last night's performance. Last night was the first night that I was truly happy with my performance, so I guess the timing was good! I figured out the tuning problems and feel very comfortable now. Last night I was able to just think about making music and telling the story, which is how I like it.
Working with Robert Spano is just about as great as it gets, let me tell you. He was so eager to help and make me comfortable. He trusted that I could do it, that I was capable, so he wanted to figure out what the problem was (with the tuning). So I worked on it with his assistant, Laura Jackson, and he added a few ideas here and there, and then we had it. A partnership, as you can see from the picture in the review. We may not be making eye contact, but we are communicating. Bringing that beautiful piece of music to life.
And here is another picture of another reason I love my job:
He told me that I rocked... DUDE!!!
Working with Robert Spano is just about as great as it gets, let me tell you. He was so eager to help and make me comfortable. He trusted that I could do it, that I was capable, so he wanted to figure out what the problem was (with the tuning). So I worked on it with his assistant, Laura Jackson, and he added a few ideas here and there, and then we had it. A partnership, as you can see from the picture in the review. We may not be making eye contact, but we are communicating. Bringing that beautiful piece of music to life.
And here is another picture of another reason I love my job:
He told me that I rocked... DUDE!!!
Friday, February 17, 2006
Review of La Pasion
I thought I would post a quick link to the review of La Pasion in the Atlanta Journal-Constitution.
http://www.accessatlanta.com/blogs/content/shared-blogs/accessatlanta/reviews/entries/2006/02/16/aso_triumph_wit.html
While I have heard the recording of the piece, I really look forward to seeing it in NYC. (twice)
http://www.accessatlanta.com/blogs/content/shared-blogs/accessatlanta/reviews/entries/2006/02/16/aso_triumph_wit.html
While I have heard the recording of the piece, I really look forward to seeing it in NYC. (twice)
Monday, July 11, 2005
Working Hard
So the Highlights "bulletpoint" post didn’t get written, but I got my tome on voice lessons out of the way. Now on to all the other things going on in the past few days!
Turandot has had three performances, with a pretty good review and a not so good review in the regional papers. Reviews from international opera magazines will take a little longer to appear, so the jury is still out on the overall impression. I do know that the administration at the opera is pleased, the director feels that his first opera is a success, and all the performers felt that we finally hit our stride with Saturday’s performance (the third). Yes, you can argue that we should have been there for opening night, but what can you do when you’re trying to get five operas opened in five weeks?! At a party a couple of weeks ago, a patron told me that she enjoys coming to see each opera several times thoughout the summer, to watch the evolution of the production. So obviously it is understood, in some circles, that the operas with longer runs may take some time to fully develop. Regardless, I think it is a beautiful production with skillful singing all around and some touching dramatic moments. Kevin Langan as Timur is especially moving as he mourns the death of his faithful servant, Liu (exquisitely sung in July by Serena Farnocchia, who easily gets the largest ovation of the night).
What else… I had my first real experience with vocal fatigue last week. In the week before Turandot opened, I had several days with 6 hours of rehearsal plus a 4 hour dress rehearsal that evening (“evening” rehearsals here begin at 9pm and finish around 12:30am). We were then called back for more rehearsals at noon the next day, or sometimes earlier (if we are called back to work fewer than 12 hours after we were released the previous night, union rules stipulate that we get overtime pay). A week of this pattern left me (and many others) physically tired and vocally shot. I’d never before experienced pain in my throat that wasn’t caused by illness; it is a very unsettling feeling! I was able to “mark” in some rehearsals (sing more softly, or sing things down an octave), but the only thing that really made the pain go away was being quiet. Any spare hour I had was spent relaxing, drinking lots of water, and trying not to talk – quite a feat for a “social butterfly” like me! I’m feeling much better now, and was able to sing in full voice for Saturday’s Turandot.
Peter Grimes is progressing nicely. It is an even more involved opera for the chorus, but our director, Paul Curran, is well suited to the task. He has directed the opera once before and has a clear vision and efficient rehearsal style. I think we’ve all been impressed with how quickly things have come together, Paul included! He is quick to let us know when we’re doing well, but also isn’t afraid to let us hear it when we “fall short” of his expectations! Rehearsals have generally been fun, which doesn’t have to be the case in a complicated opera like this, and we’re all looking forward to adding the rest of the elements (set, orchestra, etc.). The principals are all very strong, and I think there is potential for a real hit. The only negative thing about this production of Peter Grimes? There are only five performances.
Finally, we got our assignments for the Apprentice Scene Programs last week, and I am very happy with mine. I’ve been assigned the sextet (actually, it almost all of Act II Scene ii) from Lucia di Lammermoor, a great opera by Donizetti with one of the greatest coloratura heroines in all opera. I’ve been thinking about this role for about three years, hoping that someday my voice would “grow up” enough that I could sing it. As I started to move into coloratura land this year, the hope grew, but I’ve been floundering so much recently with what I should be singing, that I started to doubt. Then I went through the vocal roller coaster of the first few weeks here. I almost felt like I was back to square one! Then they assigned me this wonderful scene. All of a sudden I had answers. Yes, I am on the right track. Yes, my voice is growing into what I thought it would be: a solid lyric coloratura with enough warmth to sing Susanna and enough silver to sing Baby Doe. Yes, I will sing Lucia!
Turandot has had three performances, with a pretty good review and a not so good review in the regional papers. Reviews from international opera magazines will take a little longer to appear, so the jury is still out on the overall impression. I do know that the administration at the opera is pleased, the director feels that his first opera is a success, and all the performers felt that we finally hit our stride with Saturday’s performance (the third). Yes, you can argue that we should have been there for opening night, but what can you do when you’re trying to get five operas opened in five weeks?! At a party a couple of weeks ago, a patron told me that she enjoys coming to see each opera several times thoughout the summer, to watch the evolution of the production. So obviously it is understood, in some circles, that the operas with longer runs may take some time to fully develop. Regardless, I think it is a beautiful production with skillful singing all around and some touching dramatic moments. Kevin Langan as Timur is especially moving as he mourns the death of his faithful servant, Liu (exquisitely sung in July by Serena Farnocchia, who easily gets the largest ovation of the night).
What else… I had my first real experience with vocal fatigue last week. In the week before Turandot opened, I had several days with 6 hours of rehearsal plus a 4 hour dress rehearsal that evening (“evening” rehearsals here begin at 9pm and finish around 12:30am). We were then called back for more rehearsals at noon the next day, or sometimes earlier (if we are called back to work fewer than 12 hours after we were released the previous night, union rules stipulate that we get overtime pay). A week of this pattern left me (and many others) physically tired and vocally shot. I’d never before experienced pain in my throat that wasn’t caused by illness; it is a very unsettling feeling! I was able to “mark” in some rehearsals (sing more softly, or sing things down an octave), but the only thing that really made the pain go away was being quiet. Any spare hour I had was spent relaxing, drinking lots of water, and trying not to talk – quite a feat for a “social butterfly” like me! I’m feeling much better now, and was able to sing in full voice for Saturday’s Turandot.
Peter Grimes is progressing nicely. It is an even more involved opera for the chorus, but our director, Paul Curran, is well suited to the task. He has directed the opera once before and has a clear vision and efficient rehearsal style. I think we’ve all been impressed with how quickly things have come together, Paul included! He is quick to let us know when we’re doing well, but also isn’t afraid to let us hear it when we “fall short” of his expectations! Rehearsals have generally been fun, which doesn’t have to be the case in a complicated opera like this, and we’re all looking forward to adding the rest of the elements (set, orchestra, etc.). The principals are all very strong, and I think there is potential for a real hit. The only negative thing about this production of Peter Grimes? There are only five performances.
Finally, we got our assignments for the Apprentice Scene Programs last week, and I am very happy with mine. I’ve been assigned the sextet (actually, it almost all of Act II Scene ii) from Lucia di Lammermoor, a great opera by Donizetti with one of the greatest coloratura heroines in all opera. I’ve been thinking about this role for about three years, hoping that someday my voice would “grow up” enough that I could sing it. As I started to move into coloratura land this year, the hope grew, but I’ve been floundering so much recently with what I should be singing, that I started to doubt. Then I went through the vocal roller coaster of the first few weeks here. I almost felt like I was back to square one! Then they assigned me this wonderful scene. All of a sudden I had answers. Yes, I am on the right track. Yes, my voice is growing into what I thought it would be: a solid lyric coloratura with enough warmth to sing Susanna and enough silver to sing Baby Doe. Yes, I will sing Lucia!
Monday, April 11, 2005
A dry spell of writing, heavy weather otherwise
I haven’t posted in the past couple of weeks because I’ve had too many things to write about and not enough time to write about them. So I’m afraid it’s time for another bullet points entry. Some topics may reappear in future posts with more details, but I’m not going to hold my breath. Life has a way of moving forward, not stopping and looking back… So here’s what I’ve been up to:
• After my trip to Boulder, I had five days at home to get ready for my trip to New York. In those five days I attended a rehearsal for Orpheus in the Underworld at UW; had a crucial, grounding breakfast with a good friend; hid in a closet and yelled “surprise!” at the appropriate time; came down with a cold, right on schedule; crammed more atonal melodies into my head; and celebrated my 5th Wedding Anniversary.
• The celebration included an exquisite – and exquisitely presented – dinner at The Georgian (ironic in that our wedding reception was at The Georgian - in Athens, GA) and a pampered night at the Fairmont Olympic in downtown Seattle. We have decided to occasionally give ourselves glimpses of the luxurious life we ultimately want for ourselves, and what better time than a milestone like our 5th. Like our wedding, big nights out on the town can serve as public statements of our intent – we are Together and in this for the Long Haul!
• I arrived at JFK on the JetBlue redeye and got a ride to Brooklyn with a very, umm, colorful driver. I stayed in my brother’s apartment last week while he was in Amsterdam and E and S were visiting E’s family in Wisconsin. It was very strange being in the apartment without them, but I had a friendly and affectionate cat to keep me company. I nursed my cold by eating in, drinking tea, and not calling any friends! I continued to cram.
• Rehearsals started on Tuesday for Thursday night’s A.R. Thomas Profile Concert at Miller. I was a guest artist with Alarm Will Sound, a new music ensemble that formed when most of the members were students at Eastman. Since they have known each other and worked together for almost 8 years, they have an easy rapport and rehearsals are efficiently run. Talented individual performers coming together to form a top-notch ensemble dedicated to giving new music a voice in the concert hall.
• The concert itself went fairly well. I missed a couple entrances – and no telling how many notes! – but the desired affect was achieved. A friend of mine said that when the piece was over, she and her friends said that they wanted to hear it again right away. That’s a good sign! I know that Augusta was pleased; she thanked me for learning her piece “so well,” so my little slips must have been little indeed. She asked for my contact info so that she could put other organizations in touch with me when they wanted to program In My Sky at Twlight. Read a review of the concert here.
• After a very large martini (too large, honestly, if there is such a thing) Thursday after the concert, I slept in on Friday. In the afternoon I walked around the neighborhood, practicing fiscal discipline by not purchasing the beautiful, brightly colored dresses in the shop windows, and eating a decadent chocolate croissant with my afternoon coffee.
• A mini-Tanglewood 2004 reunion occurred on Saturday. Two of the Fellows, both tenors, were singing in the finals concert of the Oratorio Society Competition at Weill Hall, and one of the Piano Fellows was playing. It was an exciting concert, in general, with a couple voices that thrilled me so I almost jumped out of my seat and yelped. There was a baritone who sang rapid-fire Handel coloratura while looking so relaxed he could have been yawning and a gentle young mezzo who walked on the stage looking scared to death, but as soon as she started to sing transformed into a young Lorraine Hunt Lieberson. It was wonderful. Neither of our friends placed in the top three, which was a travesty, in my mind. But I won’t go into that here.
• The NYC Bird family got home on Sunday, and we’ve been hanging out and catching up. Syliva is darling as ever, and the next little Baby Bird is present in the slightly wider hugs to E. I’m still nursing the cold, and hope to have all my high notes back by Wednesday when I audition for the folks at Dispeker. I’ll let you know how it goes…
• After my trip to Boulder, I had five days at home to get ready for my trip to New York. In those five days I attended a rehearsal for Orpheus in the Underworld at UW; had a crucial, grounding breakfast with a good friend; hid in a closet and yelled “surprise!” at the appropriate time; came down with a cold, right on schedule; crammed more atonal melodies into my head; and celebrated my 5th Wedding Anniversary.
• The celebration included an exquisite – and exquisitely presented – dinner at The Georgian (ironic in that our wedding reception was at The Georgian - in Athens, GA) and a pampered night at the Fairmont Olympic in downtown Seattle. We have decided to occasionally give ourselves glimpses of the luxurious life we ultimately want for ourselves, and what better time than a milestone like our 5th. Like our wedding, big nights out on the town can serve as public statements of our intent – we are Together and in this for the Long Haul!
• I arrived at JFK on the JetBlue redeye and got a ride to Brooklyn with a very, umm, colorful driver. I stayed in my brother’s apartment last week while he was in Amsterdam and E and S were visiting E’s family in Wisconsin. It was very strange being in the apartment without them, but I had a friendly and affectionate cat to keep me company. I nursed my cold by eating in, drinking tea, and not calling any friends! I continued to cram.
• Rehearsals started on Tuesday for Thursday night’s A.R. Thomas Profile Concert at Miller. I was a guest artist with Alarm Will Sound, a new music ensemble that formed when most of the members were students at Eastman. Since they have known each other and worked together for almost 8 years, they have an easy rapport and rehearsals are efficiently run. Talented individual performers coming together to form a top-notch ensemble dedicated to giving new music a voice in the concert hall.
• The concert itself went fairly well. I missed a couple entrances – and no telling how many notes! – but the desired affect was achieved. A friend of mine said that when the piece was over, she and her friends said that they wanted to hear it again right away. That’s a good sign! I know that Augusta was pleased; she thanked me for learning her piece “so well,” so my little slips must have been little indeed. She asked for my contact info so that she could put other organizations in touch with me when they wanted to program In My Sky at Twlight. Read a review of the concert here.
• After a very large martini (too large, honestly, if there is such a thing) Thursday after the concert, I slept in on Friday. In the afternoon I walked around the neighborhood, practicing fiscal discipline by not purchasing the beautiful, brightly colored dresses in the shop windows, and eating a decadent chocolate croissant with my afternoon coffee.
• A mini-Tanglewood 2004 reunion occurred on Saturday. Two of the Fellows, both tenors, were singing in the finals concert of the Oratorio Society Competition at Weill Hall, and one of the Piano Fellows was playing. It was an exciting concert, in general, with a couple voices that thrilled me so I almost jumped out of my seat and yelped. There was a baritone who sang rapid-fire Handel coloratura while looking so relaxed he could have been yawning and a gentle young mezzo who walked on the stage looking scared to death, but as soon as she started to sing transformed into a young Lorraine Hunt Lieberson. It was wonderful. Neither of our friends placed in the top three, which was a travesty, in my mind. But I won’t go into that here.
• The NYC Bird family got home on Sunday, and we’ve been hanging out and catching up. Syliva is darling as ever, and the next little Baby Bird is present in the slightly wider hugs to E. I’m still nursing the cold, and hope to have all my high notes back by Wednesday when I audition for the folks at Dispeker. I’ll let you know how it goes…
Wednesday, February 16, 2005
Two more things
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.
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.
Tuesday, August 03, 2004
Reviews
More reviews are starting to trickle in, with the general consensus being that people loved the musical elements and performances, but weren't sure about the production. The NYTimes writer seemed to like the whole package, though, as you can read here. It is a general review of the entire weekend at Tanglewood - Seiji Ozawa's Gala Sunday night, the opera, and the two BSO concerts - but there is also another beautiful picture. When the summer is over, I will most certainly be rewriting my bio to include some of these quotes!
I will be bringing home a recording of the opera, and will send copies to anyone who would like one. But if you can't wait until then, New York's WQXR will be broadcasting the recording this Saturday at 1pm EST. They have a live stream from their website, so those of you with modern machines should be able to listen with no problem.
This evening I'm singing on a vocal recital for Tanglewood on Parade; all the singers are scheduled to sing one song each, folk songs of the US and Great Britain. It will a great concert to have a recording of, since all my fellow Fellows will be represented. A good momento, not to mention a resource for neat folk song arrangements! Erik will be in attendance, and afterwards we are having dinner with my sponsors, Pearl and Alvin Schottenfeld. If the weather holds, Erik and I will then head back to the Tanglewood grounds for the 8:30 BSO/TMC joint concert, which ends with the 1812 Overture and fireworks. One of my favorite things about Tanglewood (and I am not alone in this) is sitting on a blanket with a bottle (or two!) of wine, under the stars, listening to one of the best orchestras in the world. I want Erik to have that experience, too, but Mother Nature my have a concert of her own to give tonight. I'll let you know...
I will be bringing home a recording of the opera, and will send copies to anyone who would like one. But if you can't wait until then, New York's WQXR will be broadcasting the recording this Saturday at 1pm EST. They have a live stream from their website, so those of you with modern machines should be able to listen with no problem.
This evening I'm singing on a vocal recital for Tanglewood on Parade; all the singers are scheduled to sing one song each, folk songs of the US and Great Britain. It will a great concert to have a recording of, since all my fellow Fellows will be represented. A good momento, not to mention a resource for neat folk song arrangements! Erik will be in attendance, and afterwards we are having dinner with my sponsors, Pearl and Alvin Schottenfeld. If the weather holds, Erik and I will then head back to the Tanglewood grounds for the 8:30 BSO/TMC joint concert, which ends with the 1812 Overture and fireworks. One of my favorite things about Tanglewood (and I am not alone in this) is sitting on a blanket with a bottle (or two!) of wine, under the stars, listening to one of the best orchestras in the world. I want Erik to have that experience, too, but Mother Nature my have a concert of her own to give tonight. I'll let you know...
Sunday, August 01, 2004
What a dream was here
Thanks to Erik's arrival on Friday (yea!!!), I have a new internet setup. Unfortunately, it involves going to the cafe up the street and paying $2 to use their wireless, but it's better than nothing. For some reason, the IR port on my phone has stopped working, so I can't use it as a modem. Regardless, the lack of internet was only one factor in my week of no posting - I had an opera to perform!
Thursday was opening night, and I feel like I achieved everything I was hoping for in terms of putting the music first. I felt totally connected to Stefan, the conductor, the whole night, enjoying the partnership of conductor and singer. I don't know why, but in my mind I think I had always viewed the conductor - and reliance on the conductor - as a crutch. You only looked at him if you got lost! But that's not it at all. It is one of those contradictions: the more you are with him, the more free you can be. If he sees that you want to take time or move forward (for expressive purposes, hopefully, not because you can't count), he can make the orchestra respond. If he doesn't get those signals from you, you will be fighting against a speeding train! Not an environment conducive to artistic expression. When I talked with Stefan about this realization after the show, he was amazed that I was only just figuring it out. But, hey, life is one long learning process, right?
In addition to that small epiphany, the rest of the night went fabulously. The audience loved it, and the first review is quite good. (Warning: there are lots of pop-ups at the Berkshire Eagle site.) The paper edition has a photo of me and Charley Temkey, although he's wearing the donkey head, so you can't recognize him. Come to think of it, you probably can't recognize me either. Ooh, I found the photo at another review site. The review is pretty amateur, but you can see my costume! I have a ton of photos to post in my abum; I'll get to that soon. After the opera, we all celebrated with drinks and a 2am showing of Waiting for Guffman! I figured, if Erik was going to be up all night on a red-eye flight from Seattle, I would stay up late in solidarity. Which bring me to...
Erik's arrival! I picked him up Friday morning in Albany, and it has been so good to have him here. We had most of Friday to ourselves, then we spent the evening with Calin and Ian (who came in for the opera and some visits with friends) while waiting for the New York Birds to arrive. They were on their first road trip in their "new" Mercedes, and I think it turned into a bit of a National Lampoon's Road Trip. A three hour drive took nine hours, complete with weekend rush hour traffic, rain, stops for dinner and potty training, and strange behavior by the old car. They pulled in around midnight, at which time Sylvia anounced that she didnt' want to go to sleep! There were three kitties to play with! But, of course, she did, and so did we.
I have two more days worth of adventure to tell about, but I am sleepy. The main idea for now is that the opera went very well, everyone arrived safe and sound and is having a great time, and I am overall a very happy woman. Wish you could be here, too.
Thursday was opening night, and I feel like I achieved everything I was hoping for in terms of putting the music first. I felt totally connected to Stefan, the conductor, the whole night, enjoying the partnership of conductor and singer. I don't know why, but in my mind I think I had always viewed the conductor - and reliance on the conductor - as a crutch. You only looked at him if you got lost! But that's not it at all. It is one of those contradictions: the more you are with him, the more free you can be. If he sees that you want to take time or move forward (for expressive purposes, hopefully, not because you can't count), he can make the orchestra respond. If he doesn't get those signals from you, you will be fighting against a speeding train! Not an environment conducive to artistic expression. When I talked with Stefan about this realization after the show, he was amazed that I was only just figuring it out. But, hey, life is one long learning process, right?
In addition to that small epiphany, the rest of the night went fabulously. The audience loved it, and the first review is quite good. (Warning: there are lots of pop-ups at the Berkshire Eagle site.) The paper edition has a photo of me and Charley Temkey, although he's wearing the donkey head, so you can't recognize him. Come to think of it, you probably can't recognize me either. Ooh, I found the photo at another review site. The review is pretty amateur, but you can see my costume! I have a ton of photos to post in my abum; I'll get to that soon. After the opera, we all celebrated with drinks and a 2am showing of Waiting for Guffman! I figured, if Erik was going to be up all night on a red-eye flight from Seattle, I would stay up late in solidarity. Which bring me to...
Erik's arrival! I picked him up Friday morning in Albany, and it has been so good to have him here. We had most of Friday to ourselves, then we spent the evening with Calin and Ian (who came in for the opera and some visits with friends) while waiting for the New York Birds to arrive. They were on their first road trip in their "new" Mercedes, and I think it turned into a bit of a National Lampoon's Road Trip. A three hour drive took nine hours, complete with weekend rush hour traffic, rain, stops for dinner and potty training, and strange behavior by the old car. They pulled in around midnight, at which time Sylvia anounced that she didnt' want to go to sleep! There were three kitties to play with! But, of course, she did, and so did we.
I have two more days worth of adventure to tell about, but I am sleepy. The main idea for now is that the opera went very well, everyone arrived safe and sound and is having a great time, and I am overall a very happy woman. Wish you could be here, too.
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