I returned from my travels* yesterday and I’ve already started what will likely be a daily routine of work for the Blier recital: warm-up, review my words, and spend an hour singing through my songs with EM, our “prep coach.” Blier gets here on Sunday, and then, from what I understand, all hell might break loose. The mantra around here seems to be “Just be comfortable with the music and be ready to be flexible.” It seems that Blier has a habit of turning everything on its head, taking things in directions you hadn’t thought about before. This is what makes his programs so brilliant, but I can imagine that it can be a daunting rehearsal process! I’m excited to see how it all works in practice…
As is often (always?) the case for Blier’s recitals, there are multiple singers, in this case, SMTB. (**Edited to explain: "SMTB" stands for soprano-mezzo-tenor-baritone. This isn't my shorthand for someone with four names...) We each have several solo pieces, a duet or trio or two, and then a few songs that we’ll all sing together. In each of the programs that I have seen (I’ve seen one recital here and several on Blier’s New York Festival of Song series), this creates a wonderful evening of theater, in which the singers work (and play!) together to create a world of music.
The theme of the recital is “Manhattan Diaries,” but I’ve also seen it listed as “Manhattan: The Agony and the Ecstasy.” So much has been written about this wonderful town, my new hometown. Steve will be reading quotes about the city throughout the program, and he has asked us each to write something as well, to try and capture our thoughts and feelings about living and working in New York. Regardless of whether he uses our words, it will be a great exercise. I was back in the city for just two days a couple of weeks ago, and as much as I love it here, I’m excited to go back…
My quarter of the recital includes these numbers, which will be interspersed with the rest of the group:
“The Lordly Hudson,” Ned Rorem
“What shall we remember,” Ricky Ian Gordon
“Slumming on Park Avenue,” from the movie On the Avenue, Irving Berlin, duet with SC
“Way out West,” from Babes in Arms, Rodgers & Hart
“Another Hundred People,” from Company, Stephen Sondheim
“I happen to like New York,” from The New Yorkers, Cole Porter; full ensemble
“Some other time,” from On the Town, music by Bernstein, lyrics by Comden & Green, full ensemble
One aspect of this program that differs from Blier’s others: everything is in English! Easy to memorize, fun to play with. And, I can keep the Foreign Language section of my brain open for Italian! After today’s coaching with EM, I’ll be spending several hours writing translations into my Figaro score; I’m finally ready to see the notes!
* There is still a cloud over me, most definitely. The past few days, despite some wonderful activities, have been kind of hazy, like I haven’t really been awake. (That might also have something to do with how poorly I’ve been sleeping…) But I realize now, more than ever, that I am living my Granddaddy’s dream of making music my life, my living. So, I’m living.
Wednesday, August 01, 2007
Wednesday, July 25, 2007
“Dear Friend, leaving so soon?”
The words of the post title are from a Ricky Ian Gordon song, “What shall we remember?” which I am set to sing on the August 11 recital down here. The text of this song took a personal and poignant turn yesterday when I lost my Granddaddy.
Heh. “Lost,” as if I could possibly misplace him, as if he will ever again be farther from me than in my heart and mind and memory. I was his “Number 4,” an honorary title referring to my place as their fourth “daughter.” He was my kindred spirit, my buddy, my biggest fan, and I think I was his.
I lived with him and Mamma for a year in college, my senior year, so they got to watch, up close and personal, as I took the scary step from education to performance major. They watched me fight my way through my senior recital and sing my first opera, but their proudest moment might have been watching me sing the UGA Alma Mater at my graduation in Sanford Stadium. I was also so happy to have been able to sing with the Atlanta Symphony and to have him in the audience, and to have been able to sing at the Met, knowing that he was watching from a movie theater in Georgia!
Whenever I’m asked if I come from a family of musicians, I usually talk about how musical everyone is, how I grew up singing in church with my family (The Bird Family Singers, complete with guitar and rounds and matching outfits. Kidding about the outfits… kind of.), and how our family name likely was given to us years ago because of our singing voices. It’s a running joke on the Pabor side of the family that I most certainly did not get my voice from Granddaddy (that comes from my Granddad Bird), but he was totally comfortable with his musical “gifts!” When I spoke to him on Saturday, after he entered the hospital, his voice was terribly raspy and gravelly; even then, in such a state, he could joke about how he would “never be a high soprano” and that he would leave that to me.
He did make music, though, and passed along his love and passion for it to me. He played the clarinet from early on in life and even wanted to be a band leader a là Tommy Dorsey, but he had to go to war instead. He picked the clarinet up again throughout his life and as recently as last year was playing in the Classic City Band in Athens, GA. When I first heard Schubert’s “Der Hirt auf dem Felsen” (The Shepherd on the Rock), a gorgeous piece for soprano, piano and clarinet, I dreamed about singing it with him. (Read about it and listen to a recording here.) I’m talking with someone about singing that on a concert series in NYC next spring; if it happens, I will be dedicating the performance to Granddaddy.
But more than any of this, Granddaddy just plain loved music. He was embarrassed that beautiful music would make him cry; I probably got my proclivity for being quick to tears from him, as did my mom. He was touched by beautiful things, and I loved him for it. I love him for it.
What shall we remember of the ones me miss?
Dear friend, pain in my heart,
I won’t be afraid if we’re meant to part.
Some things have to end before they ever start.
What shall we remember?
Heh. “Lost,” as if I could possibly misplace him, as if he will ever again be farther from me than in my heart and mind and memory. I was his “Number 4,” an honorary title referring to my place as their fourth “daughter.” He was my kindred spirit, my buddy, my biggest fan, and I think I was his.
I lived with him and Mamma for a year in college, my senior year, so they got to watch, up close and personal, as I took the scary step from education to performance major. They watched me fight my way through my senior recital and sing my first opera, but their proudest moment might have been watching me sing the UGA Alma Mater at my graduation in Sanford Stadium. I was also so happy to have been able to sing with the Atlanta Symphony and to have him in the audience, and to have been able to sing at the Met, knowing that he was watching from a movie theater in Georgia!Whenever I’m asked if I come from a family of musicians, I usually talk about how musical everyone is, how I grew up singing in church with my family (The Bird Family Singers, complete with guitar and rounds and matching outfits. Kidding about the outfits… kind of.), and how our family name likely was given to us years ago because of our singing voices. It’s a running joke on the Pabor side of the family that I most certainly did not get my voice from Granddaddy (that comes from my Granddad Bird), but he was totally comfortable with his musical “gifts!” When I spoke to him on Saturday, after he entered the hospital, his voice was terribly raspy and gravelly; even then, in such a state, he could joke about how he would “never be a high soprano” and that he would leave that to me.
He did make music, though, and passed along his love and passion for it to me. He played the clarinet from early on in life and even wanted to be a band leader a là Tommy Dorsey, but he had to go to war instead. He picked the clarinet up again throughout his life and as recently as last year was playing in the Classic City Band in Athens, GA. When I first heard Schubert’s “Der Hirt auf dem Felsen” (The Shepherd on the Rock), a gorgeous piece for soprano, piano and clarinet, I dreamed about singing it with him. (Read about it and listen to a recording here.) I’m talking with someone about singing that on a concert series in NYC next spring; if it happens, I will be dedicating the performance to Granddaddy.
But more than any of this, Granddaddy just plain loved music. He was embarrassed that beautiful music would make him cry; I probably got my proclivity for being quick to tears from him, as did my mom. He was touched by beautiful things, and I loved him for it. I love him for it.
What shall we remember of the ones me miss?Dear friend, pain in my heart,
I won’t be afraid if we’re meant to part.
Some things have to end before they ever start.
What shall we remember?
Tuesday, July 24, 2007
Blogroll Update, Summer ‘07
The full (enormous!) list is, as always, here. I’ve rearranged the page into a few more categories, since my two big lists of “Music” and “Other” were just getting too bloated to be of any good. I tried to cull the list, really, I did, but only took off three or four blogs that had become dormant. All the rest are still listed in my Bloglines RSS feeder, I swear. Big blog dork, that’s me…
These new additions are listed over on the side bar for easy access, where they’ll stay until the next update. Happy reading!
101 Cookbooks - Inspiration
bighappyfunhouse - found photographs
From Every Corner - SMB in PDX
The Good Musician - Lists, tips, ideas, definitions. These posts about practice journals and (some of the many) things that make a good musician are a great place to start.
Huffington Post - recently brought back to my attention
Pink of Perfection - La dolce vita
James Roe - NYC arts insight from the Dir of Helicon. This post on practicing vs. rehearsing is fantastic.
Slaves to Fashion - Glamour editor
Yankeediva - Joyce DiDonato, sharing her journey with us
These new additions are listed over on the side bar for easy access, where they’ll stay until the next update. Happy reading!
101 Cookbooks - Inspiration
bighappyfunhouse - found photographs
From Every Corner - SMB in PDX
The Good Musician - Lists, tips, ideas, definitions. These posts about practice journals and (some of the many) things that make a good musician are a great place to start.
Huffington Post - recently brought back to my attention
Pink of Perfection - La dolce vita
James Roe - NYC arts insight from the Dir of Helicon. This post on practicing vs. rehearsing is fantastic.
Slaves to Fashion - Glamour editor
Yankeediva - Joyce DiDonato, sharing her journey with us
Monday, July 23, 2007
Instant Opera
Kim posted a better wrap-up of Instant Opera than I ever could, so head on over there and read what she has to say. (Second half of the post.)
I will reiterate two points:
One: generous colleagues! Kim used the word ‘gracious,’ but I think generous works, too. Through this crazy project, we learned lessons in how to help someone out on stage - or how to ask for help! While we may never again have to help each other actually make up the story on the spot, we’re always going to be working together to tell a story. And we may have to feed a line or two. Mostly, we learned how to just play together! And you know how I love to play…
Two: recitative. Before we started Instant Opera, I was really nervous about tackling all the recit in the role of Susanna. I’ve somehow managed to get to this point never having sung a Mozart opera with recit, and I’ve been terrified! Recit seems so daunting, all set out there on the page in perfectly equal eighth- or sixteenth-notes which you somehow have to turn into something that sounds like speech. But, but… what about the rhythm? “Just speak it,” everyone always says. That concept has totally perplexed me, but now, after making up recit on the fly, I get it. A few more weeks of just speaking the Italian (hopefully soon with the help of FG, our Italian coach here at Wolf Trap), I think I’ll be ready to add the notes! That’s going to be incredible.
(I guess this is my first true “Susanna” entry. I plan to blog pretty extensively about learning this role, since it’s a big one, both in and of itself and in terms of my career. Stay tuned…)
So, yes, Instant Opera was an absolute joy and a thrill. I’ll write tomorrow about my final Wolf Trap assignment - the upcoming recital with Steve Blier at the helm - but first, a restful night at home after a delicious weekend back in NYC… (One word: Epoisses...)
I will reiterate two points:
One: generous colleagues! Kim used the word ‘gracious,’ but I think generous works, too. Through this crazy project, we learned lessons in how to help someone out on stage - or how to ask for help! While we may never again have to help each other actually make up the story on the spot, we’re always going to be working together to tell a story. And we may have to feed a line or two. Mostly, we learned how to just play together! And you know how I love to play…
Two: recitative. Before we started Instant Opera, I was really nervous about tackling all the recit in the role of Susanna. I’ve somehow managed to get to this point never having sung a Mozart opera with recit, and I’ve been terrified! Recit seems so daunting, all set out there on the page in perfectly equal eighth- or sixteenth-notes which you somehow have to turn into something that sounds like speech. But, but… what about the rhythm? “Just speak it,” everyone always says. That concept has totally perplexed me, but now, after making up recit on the fly, I get it. A few more weeks of just speaking the Italian (hopefully soon with the help of FG, our Italian coach here at Wolf Trap), I think I’ll be ready to add the notes! That’s going to be incredible.
(I guess this is my first true “Susanna” entry. I plan to blog pretty extensively about learning this role, since it’s a big one, both in and of itself and in terms of my career. Stay tuned…)
So, yes, Instant Opera was an absolute joy and a thrill. I’ll write tomorrow about my final Wolf Trap assignment - the upcoming recital with Steve Blier at the helm - but first, a restful night at home after a delicious weekend back in NYC… (One word: Epoisses...)
Friday, July 20, 2007
Shop talk - arias
It’s been a while since I’ve written an “identity crisis” post, but as I’m starting to nail down arias for this fall’s audition season, the question of Fach is on my mind yet again. I’m coming more to terms with this every day/month/year, but it is still frustrating: I sit squarely between two Fachs! (Reminder for those not in the biz: Fach is the term used to describe someone’s vocal category. People love labels…)
I’m not quite a Lyric soprano, because my voice isn’t heavy enough to sing the big Lyric roles like Mimi or Marguerite. I also have an extension, meaning that I’m comfortable accessing notes above “high C” on a regular basis. Funny, but after a year of embracing my inner Lyric, my highest notes are coming back into focus again. I’m regularly warming up to an F# these days, and therefore that pesky E is getting more and more solid.
But I’m not a Coloratura soprano, because the color of my voice is warmer and rounder than one typically identifies with a “fireworks and bird calls” soprano.* I also am not comfortable with the pointalistic kind of coloratura, a la the Queen of the Night or Olympia, or even Lakme. But what’s one of my favorite arias to sing? Zerbinetta’s showstopper from Ariadne auf Naxos, widely considered to be “the” coloratura masterpiece. I just sang it again today after a few months away… what an incredible aria. It shows everything – lyric singing, agility, high and low notes, acting. Fantastic.
(* For the Associates concert, we all sang an aria or song, and I chose Caro nome (Gilda’s aria from Rigoletto). Several of my colleagues came to me afterwards and said things along the lines of “I’ve never heard anyone sing that with so much voice!” I had no idea what they meant by that; was I just loud that whole time? So I asked a couple of people whose opinions I trust to tell me what that meant. Turns out, it was, in fact, a good thing. The presence and warmth that I’ve been developing in my voice by working with Mark and by growing up and freeing up is really coming into focus, and rather than singing a light, quasi-chirpy Caro nome, my voice sings it as a Lyric soprano. Cool.)
So, I call myself a Lyric with Coloratura. Clear enough, right? The only trouble is that some auditioners might look at an audition list and see roles that, to their minds, might not belong in the same voice. But, I have to trust that they belong in my voice, and so the are “allowed” to coexist on my rep list. (See why this is frustrating?)
What are the roles I know I could sing the pants off of right now: Gilda, Susanna, Adina, Nannetta, Pamina, Zerbinetta, Anne Truelove, Baby Doe. So, arias from these roles should make up my audition list, right? Let’s see what that would look like. Generally, one aims for five arias representing the four major opera languages. I’m usually up to six arias these days, ‘cuz I want an extra Italian aria to show my budding bel canto chops.
It: Gilda, Caro nome
It, Mozart: Susanna, Deh vieni, non tarder
It, bel canto: Adina, Prendi, per me se libero
Ger: Zerbinetta, Grossmächtige Prinzessin
Eng: Baby Doe, Always through the changing (?? There are five others to choose from…)
What’s missing? What’s always missing?! Something French… I’m toying with “Non, monsieur mari” from Poulenc’s “Les mamelles de Tirésias.” Funny, 20th Century… Maybe I’ll spend some time with that tonight.
The trouble with Zerb is that her aria is 12 minutes long and a real test for the pianist. I usually bring my fearless companion, JD, to my auditions, and we’d rehearse it of course. I’ll have to poll some of my fellow sopranos who offer this piece and see which excerpts they offer – and if it ever gets asked for!
How does this list compare with last season’s list?
It: Nannetta’s aria
It, Baroque: Morgana, Tornami a vagheggiar
It, bel canto: Lucia, Regnava nel silenzio
Ger: Sophie, Presentation of the Rose
Fr: Sophie, Du gai soleil
Eng: Baby Doe, Silver Aria
I stopped offering Presentation about halfway through, ‘cuz I still have a hard time carrying that scene as a solo scene (it’s really a duet). And the “other Sophie” was rarely asked for. I feel like this new batch of arias is pretty consistent. I’m swapping a Verdi, a bel canto, and a Baby Doe aria for another of the same; I’m adding a character French (Tirésias) and a flashy German (Zerb).
This feels like a post I write every year… (Heh. Every year in mid-July, it seems...) Sorry for the rehashing, but it helps me get my audition book into focus! Up next: a recap of Instant Opera, but first a trip away from this idyllic countryside. A change of perspective is always good, especially when it involves good food, friends, and the best city in the world. Back soon…
I’m not quite a Lyric soprano, because my voice isn’t heavy enough to sing the big Lyric roles like Mimi or Marguerite. I also have an extension, meaning that I’m comfortable accessing notes above “high C” on a regular basis. Funny, but after a year of embracing my inner Lyric, my highest notes are coming back into focus again. I’m regularly warming up to an F# these days, and therefore that pesky E is getting more and more solid.
But I’m not a Coloratura soprano, because the color of my voice is warmer and rounder than one typically identifies with a “fireworks and bird calls” soprano.* I also am not comfortable with the pointalistic kind of coloratura, a la the Queen of the Night or Olympia, or even Lakme. But what’s one of my favorite arias to sing? Zerbinetta’s showstopper from Ariadne auf Naxos, widely considered to be “the” coloratura masterpiece. I just sang it again today after a few months away… what an incredible aria. It shows everything – lyric singing, agility, high and low notes, acting. Fantastic.
(* For the Associates concert, we all sang an aria or song, and I chose Caro nome (Gilda’s aria from Rigoletto). Several of my colleagues came to me afterwards and said things along the lines of “I’ve never heard anyone sing that with so much voice!” I had no idea what they meant by that; was I just loud that whole time? So I asked a couple of people whose opinions I trust to tell me what that meant. Turns out, it was, in fact, a good thing. The presence and warmth that I’ve been developing in my voice by working with Mark and by growing up and freeing up is really coming into focus, and rather than singing a light, quasi-chirpy Caro nome, my voice sings it as a Lyric soprano. Cool.)
So, I call myself a Lyric with Coloratura. Clear enough, right? The only trouble is that some auditioners might look at an audition list and see roles that, to their minds, might not belong in the same voice. But, I have to trust that they belong in my voice, and so the are “allowed” to coexist on my rep list. (See why this is frustrating?)
What are the roles I know I could sing the pants off of right now: Gilda, Susanna, Adina, Nannetta, Pamina, Zerbinetta, Anne Truelove, Baby Doe. So, arias from these roles should make up my audition list, right? Let’s see what that would look like. Generally, one aims for five arias representing the four major opera languages. I’m usually up to six arias these days, ‘cuz I want an extra Italian aria to show my budding bel canto chops.
It: Gilda, Caro nome
It, Mozart: Susanna, Deh vieni, non tarder
It, bel canto: Adina, Prendi, per me se libero
Ger: Zerbinetta, Grossmächtige Prinzessin
Eng: Baby Doe, Always through the changing (?? There are five others to choose from…)
What’s missing? What’s always missing?! Something French… I’m toying with “Non, monsieur mari” from Poulenc’s “Les mamelles de Tirésias.” Funny, 20th Century… Maybe I’ll spend some time with that tonight.
The trouble with Zerb is that her aria is 12 minutes long and a real test for the pianist. I usually bring my fearless companion, JD, to my auditions, and we’d rehearse it of course. I’ll have to poll some of my fellow sopranos who offer this piece and see which excerpts they offer – and if it ever gets asked for!
How does this list compare with last season’s list?
It: Nannetta’s aria
It, Baroque: Morgana, Tornami a vagheggiar
It, bel canto: Lucia, Regnava nel silenzio
Ger: Sophie, Presentation of the Rose
Fr: Sophie, Du gai soleil
Eng: Baby Doe, Silver Aria
I stopped offering Presentation about halfway through, ‘cuz I still have a hard time carrying that scene as a solo scene (it’s really a duet). And the “other Sophie” was rarely asked for. I feel like this new batch of arias is pretty consistent. I’m swapping a Verdi, a bel canto, and a Baby Doe aria for another of the same; I’m adding a character French (Tirésias) and a flashy German (Zerb).
This feels like a post I write every year… (Heh. Every year in mid-July, it seems...) Sorry for the rehashing, but it helps me get my audition book into focus! Up next: a recap of Instant Opera, but first a trip away from this idyllic countryside. A change of perspective is always good, especially when it involves good food, friends, and the best city in the world. Back soon…
Tuesday, July 17, 2007
Wolf Trap Picture Pages
Sorry, guys, but I seem to have hit a writing slump. I’ve sat down to write almost every day for the past week, and nothing comes together! So, picture pages it is.
The cover of our Wolf Trap indie rock album. Actually, taken backstage at the Aria Showcase concert. We look like we’re just too cool for school.
Jim, our fearless improv leader and bringer of such now-beloved games as “Big Booty,” “Zip Zap Zop,” “Yes, And…,” and “He said, She said.” We got to see him in action with his improv comedy group (former group, actually, as he now lives in Florida), and let me say: this is one funny man.
Working with a high school singer at the anti-masterclass. We talked a lot about freeing up, not being stiff when you sing, and LB instructed her in the ways of French nonchalance…
Instant Opera! Today we put on “The Happy Dragon,” which told the story of a wizard and a princess who galloped in the woods until a dragon came along, and which included such moralistic gems as “Material things can’t bring you happiness” and “Leave only footprints, take only memories.” So much fun!
Tonight’s dinner: polenta with spicy peppers and onions. Actual cooking (as opposed to grazing or eating out) inspired by my blog crush…
While I do miss the breath-taking Santa Fe sunsets, I see some beautiful ones from my little retreat here.
More soon, I hope, as this writer’s block wanes…
The cover of our Wolf Trap indie rock album. Actually, taken backstage at the Aria Showcase concert. We look like we’re just too cool for school.
Jim, our fearless improv leader and bringer of such now-beloved games as “Big Booty,” “Zip Zap Zop,” “Yes, And…,” and “He said, She said.” We got to see him in action with his improv comedy group (former group, actually, as he now lives in Florida), and let me say: this is one funny man.
Working with a high school singer at the anti-masterclass. We talked a lot about freeing up, not being stiff when you sing, and LB instructed her in the ways of French nonchalance…
Instant Opera! Today we put on “The Happy Dragon,” which told the story of a wizard and a princess who galloped in the woods until a dragon came along, and which included such moralistic gems as “Material things can’t bring you happiness” and “Leave only footprints, take only memories.” So much fun!
Tonight’s dinner: polenta with spicy peppers and onions. Actual cooking (as opposed to grazing or eating out) inspired by my blog crush…
While I do miss the breath-taking Santa Fe sunsets, I see some beautiful ones from my little retreat here.More soon, I hope, as this writer’s block wanes…
Saturday, July 14, 2007
FriPod: Mind, Thought, Hear
(I’ve made up Scott’s FriPod lists for the past few weeks but have never gotten around to posting them. Today’s seems fitting somehow, I can’t really say why. I keep these on my iPod as playlists; it’s fun to see your music thrown together in different ways. Enjoy! Oh, and I’ve replaced “Thought” with “Think,” ‘cuz I didn’t have any songs with “thought” in the title…)
1. “It’s all in your mind,” Beck, Sea Change
2. “New York State of Mind,” Billy Joel, The Essential Billy Joel
3. “Speak our minds,” The Innocence Mission, Glow
4. “She’s already made up her mind,” Lyle Lovett, Joshua Judges Ruth
5. “In my own mind,” Lyle Lovett, My Baby Don’t Tolerate
6. “It never entered my mind,” Rodgers & Hart, performed by Miles Davis
7. “Never mind,” Nancy Griffith, Little Love Affairs
8. “How does it feel? (to be on my mind),” Over the Rhine, Patience (I.R.S.)
9. “Always on my mind,” Pet Shop Boys, Discography
10. “Never you mind,” Semisonic, Feeling Strangely Fine
11. “Don’t think twice, it’s alright,” Joan Baez, Ring Them Bells
12. “Don’t you think,” Natalie Imbruglia, Left of the Middle
13. “What do you think?” The Sundays, Blind
14. “Hear me Lord,” Bonnie Raitt, The Best of Bonnie Raitt
15. “What do you hear in these sounds,” Dar Williams, End of Summer
16. “I hear you say so,” Innocence Mission, Glow
17. “Let’s hear that string part again, ‘cuz I don’t think they heard it all the way out in Bushnell,” Who Else but Sufjan Stevens, Come On, Feel the Illinoise!
(I seem to have a lot of “Best of” albums...)
1. “It’s all in your mind,” Beck, Sea Change
2. “New York State of Mind,” Billy Joel, The Essential Billy Joel
3. “Speak our minds,” The Innocence Mission, Glow
4. “She’s already made up her mind,” Lyle Lovett, Joshua Judges Ruth
5. “In my own mind,” Lyle Lovett, My Baby Don’t Tolerate
6. “It never entered my mind,” Rodgers & Hart, performed by Miles Davis
7. “Never mind,” Nancy Griffith, Little Love Affairs
8. “How does it feel? (to be on my mind),” Over the Rhine, Patience (I.R.S.)
9. “Always on my mind,” Pet Shop Boys, Discography
10. “Never you mind,” Semisonic, Feeling Strangely Fine
11. “Don’t think twice, it’s alright,” Joan Baez, Ring Them Bells
12. “Don’t you think,” Natalie Imbruglia, Left of the Middle
13. “What do you think?” The Sundays, Blind
14. “Hear me Lord,” Bonnie Raitt, The Best of Bonnie Raitt
15. “What do you hear in these sounds,” Dar Williams, End of Summer
16. “I hear you say so,” Innocence Mission, Glow
17. “Let’s hear that string part again, ‘cuz I don’t think they heard it all the way out in Bushnell,” Who Else but Sufjan Stevens, Come On, Feel the Illinoise!
(I seem to have a lot of “Best of” albums...)
Thursday, July 12, 2007
Lifelines
Everything I had planned to post about seems trite after hearing about Jerry Hadley. For those who don’t know who he is or what happened, please go read this article in the NY Times. Just know before you read it that it isn’t good news.
I can’t stop thinking that this is a reminder of the side of this business we don’t talk about very often. The lonely side. The side where we constantly put ourselves out there for people’s approval and admiration. The uncertainty about the future of our careers. All of those things that can make as singer feel like he is all alone in this business, that it’s all up to him, and, oh god, what happens if he fails?
I doubt there was a singer out there who, when Beverly Sills passed and the world mourned and shared stories and sang her praises, didn’t wonder, “What will people say about me when I die?” I sure did. Who doesn’t hope to touch lives the way she did and to be remembered with as much love and fondness? A thought like that can either be an inspiration, as it was to many, or it can come to weigh very heavily on your mind and heart.
I will not speak to what brought Mr. Hadley to his decision, and I have no stories or memories of him, other than that of his presence as a great singer. I can only say that, for myself, I am grateful to my friends and family who have stuck by me during the past year of growth (I often use another word to describe last year, but we’ll leave it be for now…). I have learned that I have people I can call at any time if I’m scared, nervous, lonely, sad – and I can call them when I’m happy, excited, feeling silly. I am so blessed.
My family, all of them around the country. JD and ND, MP and PDB, CLR, CT the DT, MP, KG, LW, KW, all my blog friends, my new Wolf Trap buddies and Met colleagues. You are my lifelines. I am grateful that you are there, and even more grateful that I have learned how to use you. I am learning to be a lifeline, too, and I am honored every time you call on me.
We’re not all alone in this business, or any business, but we have to reach out, to look, to open our eyes. We have to ask for help. My heart aches for Mr. Hadley, and for all those who feel they are alone. Reach out to someone today, even if it’s only a smile or a small random act of kindness. You’ll never know how much it can help.
I can’t stop thinking that this is a reminder of the side of this business we don’t talk about very often. The lonely side. The side where we constantly put ourselves out there for people’s approval and admiration. The uncertainty about the future of our careers. All of those things that can make as singer feel like he is all alone in this business, that it’s all up to him, and, oh god, what happens if he fails?
I doubt there was a singer out there who, when Beverly Sills passed and the world mourned and shared stories and sang her praises, didn’t wonder, “What will people say about me when I die?” I sure did. Who doesn’t hope to touch lives the way she did and to be remembered with as much love and fondness? A thought like that can either be an inspiration, as it was to many, or it can come to weigh very heavily on your mind and heart.
I will not speak to what brought Mr. Hadley to his decision, and I have no stories or memories of him, other than that of his presence as a great singer. I can only say that, for myself, I am grateful to my friends and family who have stuck by me during the past year of growth (I often use another word to describe last year, but we’ll leave it be for now…). I have learned that I have people I can call at any time if I’m scared, nervous, lonely, sad – and I can call them when I’m happy, excited, feeling silly. I am so blessed.
My family, all of them around the country. JD and ND, MP and PDB, CLR, CT the DT, MP, KG, LW, KW, all my blog friends, my new Wolf Trap buddies and Met colleagues. You are my lifelines. I am grateful that you are there, and even more grateful that I have learned how to use you. I am learning to be a lifeline, too, and I am honored every time you call on me.
We’re not all alone in this business, or any business, but we have to reach out, to look, to open our eyes. We have to ask for help. My heart aches for Mr. Hadley, and for all those who feel they are alone. Reach out to someone today, even if it’s only a smile or a small random act of kindness. You’ll never know how much it can help.
Monday, July 09, 2007
Quiet, busy
Quick update: I had a wonderful four days in Georgia (where I picked up some kind of cold or allergy or something that is causing my nose to stuff), and started two new projects upon my return to Virginia.
I've got a few posts brewing in my mind; I'll try to get them up this week. The past week has been too full of family dinners, lunches and brunches with friends, swimming, birthday parties, girls' nights, and general good times for me to sit down and think clearly!
Topics on the docket: being in your body vs. in your head, Instant Opera!, a Blogroll overhaul, and more about my upcoming year. Hope everyone is staying cool!
I've got a few posts brewing in my mind; I'll try to get them up this week. The past week has been too full of family dinners, lunches and brunches with friends, swimming, birthday parties, girls' nights, and general good times for me to sit down and think clearly!
Topics on the docket: being in your body vs. in your head, Instant Opera!, a Blogroll overhaul, and more about my upcoming year. Hope everyone is staying cool!
Tuesday, July 03, 2007
Joy, unending
Last night as I sat visiting with my grandparents, we talked a bit about opera singers who they have enjoyed listening to but who have since retired. Granddaddy was a big fan of the Three Tenors, back in their hay day, and he was excited to hear that I'll be (kind of) working with Domingo next year at the Met (I'll be covering in Iphigenie). The next singer to come up, of course, was Beverly Sills. "Is she still around?" he asked. I told him that we'd all been saying prayers for her for the past few days, as her publicist had just announced that she was ill, that we all were preparing to lose her. And sure enough, this morning, we woke to the news.
It always surprises me when I am moved by the death of someone I've never met, but in this case, I really shouldn't be surprised. Hers was the second biography I read when I started my "what's the life of an opera singer all about?" quest. (The first? Callas, natch.) I read her memoir, Bubbles, and was struck by her absolute love of singing. Her Joy! She sang because she was born with a song in her heart and she had no choice but to share it. Just look at the slideshow that accompanies the Times story; there is joy seeping out of every pore.
Every time I saw her on television or heard her on the radio, whether she was singing or conducting interviews, that smile blew me away. And she sang with Muppets! You can't tell me that she didn't relish the opportunity to be silly at work... Talk about living in Joy! More than in her singing, more than in her career, I desire to be like her in that.
Thank you, Ms. Sills, for your Joy. You have infused it deep into our hearts and into the heart of this profession. We have lost you, but you have given us so much.
It always surprises me when I am moved by the death of someone I've never met, but in this case, I really shouldn't be surprised. Hers was the second biography I read when I started my "what's the life of an opera singer all about?" quest. (The first? Callas, natch.) I read her memoir, Bubbles, and was struck by her absolute love of singing. Her Joy! She sang because she was born with a song in her heart and she had no choice but to share it. Just look at the slideshow that accompanies the Times story; there is joy seeping out of every pore.
Every time I saw her on television or heard her on the radio, whether she was singing or conducting interviews, that smile blew me away. And she sang with Muppets! You can't tell me that she didn't relish the opportunity to be silly at work... Talk about living in Joy! More than in her singing, more than in her career, I desire to be like her in that.
Thank you, Ms. Sills, for your Joy. You have infused it deep into our hearts and into the heart of this profession. We have lost you, but you have given us so much.
Monday, July 02, 2007
For the Record
It is already way past my bedtime (or what should have been my bedtime tonight), but I’m about to head to Georgia for a few days to visit family and friends, and there is news!
Kim has finally announced on the Wolf Trap blog that we are going to be releasing a recording of Volpone! She’ll be giving a more detailed explanation of the process, and later I’ll share a bit of my experience (we recorded all four of the performances and did a two-hour touch-up session) from the stage side of things. It was an interesting element to add to the mix of performing this challenging and wonderful piece. We had a great final show today; really, a lot of fun. I’ll miss it!
This recording will bring my current “discography” up to four: Griffelkin with Boston Modern Orchestra Project while I was still in school, Ainadamar (which, um, in case you missed it, won a Grammy! I got my certificate just before I came to Wolf Trap. Eeek!), this recording of Volpone, and Long Road Home, the Parkinson’s benefit cd with Bill Barnewitz (we recorded it in Santa Fe last summer; read about it here.)
That cd was just released last week, I think, and while it is currently only available through European distributors (including Amazon.co.uk), please consider buying one. All the proceeds from this amazing collaboration go towards Parkinson’s research.
Featured on Long Road Home are singers Joyce DiDonato (who is now blogging!), Jennifer Holloway, and Eglise Gutierrez (all Cendrillon cast mates); pianists Carol Anderson and Ursula Oppens; and Margaret Butler, oboe; Todd Levy, clarinet; and Ted Soluri, bassoon. Those last four join Bill (who plays horn on all tracks) for an absolutely beautiful performance of Mozart’s Quintet for Piano and Winds, K. 452. It is a gorgeous cd all around, and would be worth picking up even if it weren’t for such a good cause. As soon as I hear of a US distributor, I’ll let you know, but for now, all of you in Europe: buy one!
With two other recordings in the works for next year (including a recording of Hillula and other selections from the Bhakti Project – it’s not too late to make a donation!), I might need to add a Discography page to my website. How cool is that?
Kim has finally announced on the Wolf Trap blog that we are going to be releasing a recording of Volpone! She’ll be giving a more detailed explanation of the process, and later I’ll share a bit of my experience (we recorded all four of the performances and did a two-hour touch-up session) from the stage side of things. It was an interesting element to add to the mix of performing this challenging and wonderful piece. We had a great final show today; really, a lot of fun. I’ll miss it!
This recording will bring my current “discography” up to four: Griffelkin with Boston Modern Orchestra Project while I was still in school, Ainadamar (which, um, in case you missed it, won a Grammy! I got my certificate just before I came to Wolf Trap. Eeek!), this recording of Volpone, and Long Road Home, the Parkinson’s benefit cd with Bill Barnewitz (we recorded it in Santa Fe last summer; read about it here.)
That cd was just released last week, I think, and while it is currently only available through European distributors (including Amazon.co.uk), please consider buying one. All the proceeds from this amazing collaboration go towards Parkinson’s research. Featured on Long Road Home are singers Joyce DiDonato (who is now blogging!), Jennifer Holloway, and Eglise Gutierrez (all Cendrillon cast mates); pianists Carol Anderson and Ursula Oppens; and Margaret Butler, oboe; Todd Levy, clarinet; and Ted Soluri, bassoon. Those last four join Bill (who plays horn on all tracks) for an absolutely beautiful performance of Mozart’s Quintet for Piano and Winds, K. 452. It is a gorgeous cd all around, and would be worth picking up even if it weren’t for such a good cause. As soon as I hear of a US distributor, I’ll let you know, but for now, all of you in Europe: buy one!
With two other recordings in the works for next year (including a recording of Hillula and other selections from the Bhakti Project – it’s not too late to make a donation!), I might need to add a Discography page to my website. How cool is that?
Friday, June 29, 2007
Please remember to tip your servers
After last night’s (thrilling, beautiful) Carmen performance (I was so proud of all my colleagues up there!), a “few” of us headed over to our favorite hangout, Clyde’s. It’s a fantastic old restaurant up on a hill with some gorgeous art-deco decorations and a beautiful old bar; for those of you in NYC, think PJ Clark’s but without the checkered tablecloths. It also has some awesomely bad “art-deco-inspired” murals on the walls, probably done in the ‘70s. The bartenders are friendly, make great drinks, and are very good at keeping unsavory characters away. We’ve gotten to know several of them by name and they know us (and our preference in bourbon…) – it’s our Cheers!
I say a “few” of us, because it ended up being just about the entire group of Filene Young Artists and the Studio singers and spouses and friends… it was insane. And, of course, we got there at 11:58 for a kitchen that closes at midnight. What did the lovely staff of Clyde’s do for us? They kept the kitchen open for another 45 minutes, taking care that all the burgers and wings and fries and crab cakes got into our bellies.
I’ve never worked in the restaurant business, but many singers and actors make their living there between gigs. It’s a tough and often thankless job! I’m sure no one at Clyde’s will read this, but I want to say thanks to them anyway. All of us are grateful for your going the extra mile last night; I hope it showed up in the tips…
I say a “few” of us, because it ended up being just about the entire group of Filene Young Artists and the Studio singers and spouses and friends… it was insane. And, of course, we got there at 11:58 for a kitchen that closes at midnight. What did the lovely staff of Clyde’s do for us? They kept the kitchen open for another 45 minutes, taking care that all the burgers and wings and fries and crab cakes got into our bellies.
I’ve never worked in the restaurant business, but many singers and actors make their living there between gigs. It’s a tough and often thankless job! I’m sure no one at Clyde’s will read this, but I want to say thanks to them anyway. All of us are grateful for your going the extra mile last night; I hope it showed up in the tips…
Thursday, June 28, 2007
Bubbles
Via La Cieca, this news about Beverly Sills, "gravely ill with cancer." All our love and good wishes are with you, Ms. Sills, not to mention our gratitude for your sharing your gifts with us.
Tuesday, June 26, 2007
Dresses, dresses, everywhere
(This started out as a comment in response to Mme A’s questions in the comments of the last two Volpone posts, but it got a bit long-winded for the comments’ section… So, pardon us while we talk fashion for a bit…)
Mme A, I prefer to live in dresses in the summer (I can’t stand sticky clothes in the heat!), so come spring, I'm constantly on the lookout for cute things. This spring in New York I scored some incredible pieces, including this kelly green number. I swear it was delivered to the wrong store: it is of exceptional quality but I found it in a cheap teeny (as in teenager-y) boutique near NYU! Truly the score of the century.
My closet these days is filled about 50/50 with clothes from boutiques and clothes from places like Ross or Filene’s Basement. It’s tempting to tell everyone just how much of a bargain I got when they compliment a dress, but I’m trying to get over that! If they want to think I paid $200 for that fabulous green dress, let them! I do have two non-wrap dresses from butter by nadia (in addition to the two Signature Wrap dresses Nadia gave us for the recital); those weren’t cheap (although they were inexpensive – there’s a difference!), but they were worth it.
(Side note: I wore my dark purple wrap dress for the “Death by Aria” concert on Saturday, and by the time I went home, I’d wrapped it three different ways! Empire waist with sleeves for the concert, dropped waist and sleeveless for dinner after, and then strapless, just to show that it could be done! [All the changes made in the bathroom, of course; no public demonstrations…] The women with me were astounded, and I hope I drummed up a bit more business for Nadia.)
As for dressing up for the Sitz, I'm not sure where that started. Maybe it has something to do with the fact that we wear “work clothes” for rehearsals, meaning, things we can get down and dirty in. In a show like Volpone, there was a lot of running around, falling down, and bruising of legs in rehearsals, so we didn’t often feel “pretty.” (I still often wore a dress, but added shorts underneath for modesty and a long rehearsal skirt over top to help get used to doing the crazy moves in costume. That got hot…) But when all we have to do is sit (or stand) and sing, it feels nice to dress it up a bit.
Anyone else? Any ideas on why we dress up for the Sitzprobe?
Mme A, I prefer to live in dresses in the summer (I can’t stand sticky clothes in the heat!), so come spring, I'm constantly on the lookout for cute things. This spring in New York I scored some incredible pieces, including this kelly green number. I swear it was delivered to the wrong store: it is of exceptional quality but I found it in a cheap teeny (as in teenager-y) boutique near NYU! Truly the score of the century.
My closet these days is filled about 50/50 with clothes from boutiques and clothes from places like Ross or Filene’s Basement. It’s tempting to tell everyone just how much of a bargain I got when they compliment a dress, but I’m trying to get over that! If they want to think I paid $200 for that fabulous green dress, let them! I do have two non-wrap dresses from butter by nadia (in addition to the two Signature Wrap dresses Nadia gave us for the recital); those weren’t cheap (although they were inexpensive – there’s a difference!), but they were worth it.
(Side note: I wore my dark purple wrap dress for the “Death by Aria” concert on Saturday, and by the time I went home, I’d wrapped it three different ways! Empire waist with sleeves for the concert, dropped waist and sleeveless for dinner after, and then strapless, just to show that it could be done! [All the changes made in the bathroom, of course; no public demonstrations…] The women with me were astounded, and I hope I drummed up a bit more business for Nadia.)
As for dressing up for the Sitz, I'm not sure where that started. Maybe it has something to do with the fact that we wear “work clothes” for rehearsals, meaning, things we can get down and dirty in. In a show like Volpone, there was a lot of running around, falling down, and bruising of legs in rehearsals, so we didn’t often feel “pretty.” (I still often wore a dress, but added shorts underneath for modesty and a long rehearsal skirt over top to help get used to doing the crazy moves in costume. That got hot…) But when all we have to do is sit (or stand) and sing, it feels nice to dress it up a bit.
Anyone else? Any ideas on why we dress up for the Sitzprobe?
Saturday, June 23, 2007
Before & After
The Wig:
The Pincurl Hair:
(with conductor, Sara Jobin, and John Musto, our composer, who I believe was seranading us with "Knock Three Times." I can not tell you why...)
Last night went pretty well, all in all. I think we're all happy to have opening behind us. Now we can relax and get back to playing, to having fun and finding the groove.
The Pincurl Hair:
(with conductor, Sara Jobin, and John Musto, our composer, who I believe was seranading us with "Knock Three Times." I can not tell you why...)Last night went pretty well, all in all. I think we're all happy to have opening behind us. Now we can relax and get back to playing, to having fun and finding the groove.
Friday, June 22, 2007
Privacy
I had a conversation the other night with one of the Wolf Trap Studio artists about online presence and privacy, particularly Facebook. This is an element of “career development” that is still very new, so it’s probably not yet covered in any kind of “Completing the Singer” type course in school, should you be lucky enough to have such a class. (At Juilliard, this class covers things like taxes, publicity materials, personal appearance, etc.. Useful stuff, and I hope they’ll add a section on “teh internets” here pretty soon…) In light of that conversation, I thought I’d share a bit of my strategy, if you can call it that, for trying to maintain a sense of online privacy.
Obviously, this blog is the place to start. This is pretty easy, since everything I write about here is “on topic,” mostly. Loosely related to my career sometimes, but fairly on topic! I’m not going to write about or post pictures of my vacation or a night on the town. That said, I still use initials rather than names and don’t give any substantial clues about where I reside. People who know me or who are in the business can often decipher the initials, and it’s fun to get an email along the lines of “I didn’t know you were working with PDQ!” When I tell people that I mentioned them here but only used their initials, they’ll often say, “Oh, you can use my name; I don’t care,” but better safe than sorry. It can be disconcerting to do a Google search and find your name somewhere you weren’t expecting.
Speaking of Google searches, this is something I do regularly, maybe once every couple of months. It’s a good tool to see where I show up online, and also where I don’t. Social networking sites, like MySpace, can show up in searches, and when I figured that out, I thought it might be time to change my social online presence.
I recently deleted my Friendster and personal MySpace accounts, choosing to focus instead on Facebook for keeping in touch with friends. In a job like this one where you have a new batch of colleagues every three months or less, it’s hard to keep in touch with your new “best friends.” Social networking sites have turned into an opera singers’ favorite communication tool! (I still maintain my MySpace Music page, but more for publicity and less for keeping in touch with friends.)
Why Facebook? First, I find their user interface to be simple and elegant. I hope it stays that way as the site grows in membership. It is easy to communicate with my friends (seems like a given, but it isn’t!), and I love their photo applications; it’s easy to upload photos and you can label the people pictured. But the biggest reason I chose Facebook is that it has excellent Privacy options.
There are several people who are my “friends” on Facebook who I either don’t know in real life (blog friends or friends of friends), or whom I knew ten years ago, or who I’m still getting to know today. For these friends, I have chosen to show them what Facebook calls a Limited Profile, and here’s the best part: I get to choose exactly which elements I want included (or excluded). I’ve chosen to keep things like my education and work history public, but my favorite music and movies private; my performance photos public, but pictures from parties private; my Friends list public, but the comments “wall” private. I currently have about 1/5 of my Friends on a Limited Profile; as I get to know someone better, I’ll let them in a bit more.
Every person building a career should think about this kind of thing: what their potential employer could find “out there” about them. But even more then that, as performers in the public eye (albeit a small public with classical music, compared to others), we should try to keep the line between our private and public selves well-established. I think I really recognized the importance of this after the TONY article was published and I got a few emails asking me out!
This post feels a bit rambly, but I hope it’s interesting and gives food for thought. Public persona, but private life. That’s the goal, and one I’m going to hold on to. With a little help from my Facebook friends!
Obviously, this blog is the place to start. This is pretty easy, since everything I write about here is “on topic,” mostly. Loosely related to my career sometimes, but fairly on topic! I’m not going to write about or post pictures of my vacation or a night on the town. That said, I still use initials rather than names and don’t give any substantial clues about where I reside. People who know me or who are in the business can often decipher the initials, and it’s fun to get an email along the lines of “I didn’t know you were working with PDQ!” When I tell people that I mentioned them here but only used their initials, they’ll often say, “Oh, you can use my name; I don’t care,” but better safe than sorry. It can be disconcerting to do a Google search and find your name somewhere you weren’t expecting.
Speaking of Google searches, this is something I do regularly, maybe once every couple of months. It’s a good tool to see where I show up online, and also where I don’t. Social networking sites, like MySpace, can show up in searches, and when I figured that out, I thought it might be time to change my social online presence.
I recently deleted my Friendster and personal MySpace accounts, choosing to focus instead on Facebook for keeping in touch with friends. In a job like this one where you have a new batch of colleagues every three months or less, it’s hard to keep in touch with your new “best friends.” Social networking sites have turned into an opera singers’ favorite communication tool! (I still maintain my MySpace Music page, but more for publicity and less for keeping in touch with friends.)
Why Facebook? First, I find their user interface to be simple and elegant. I hope it stays that way as the site grows in membership. It is easy to communicate with my friends (seems like a given, but it isn’t!), and I love their photo applications; it’s easy to upload photos and you can label the people pictured. But the biggest reason I chose Facebook is that it has excellent Privacy options.
There are several people who are my “friends” on Facebook who I either don’t know in real life (blog friends or friends of friends), or whom I knew ten years ago, or who I’m still getting to know today. For these friends, I have chosen to show them what Facebook calls a Limited Profile, and here’s the best part: I get to choose exactly which elements I want included (or excluded). I’ve chosen to keep things like my education and work history public, but my favorite music and movies private; my performance photos public, but pictures from parties private; my Friends list public, but the comments “wall” private. I currently have about 1/5 of my Friends on a Limited Profile; as I get to know someone better, I’ll let them in a bit more.
Every person building a career should think about this kind of thing: what their potential employer could find “out there” about them. But even more then that, as performers in the public eye (albeit a small public with classical music, compared to others), we should try to keep the line between our private and public selves well-established. I think I really recognized the importance of this after the TONY article was published and I got a few emails asking me out!
This post feels a bit rambly, but I hope it’s interesting and gives food for thought. Public persona, but private life. That’s the goal, and one I’m going to hold on to. With a little help from my Facebook friends!
Tuesday, June 19, 2007
Pre-Volpone miscellany
So, that wasn’t too bad. I was pretty stressed out before the run-through started, because the more I thought about the character and the show, the less I understood this new idea and how to implement it. But, with some great colleagues (couldn’t’ve done it without you, JJ) and more guidance from PK, I think I’m back to having a cohesive character. She still feels very new to me, which is kind of fun in the way that exploring a new character is always fun. Hopefully she’ll feel a bit more cemented before opening night, though!
I have no idea whether or not the healing scene is going to cause the same amount of rip-roaring laughter, but we should have a few new folks at the first dress rehearsal tonight, so I’ll get a chance to see. Celia is much less maniac and frenetic that she used to be, so I think I’ll be able to stay more centered, regardless of the audience’s reaction.
Last night we had our Sitzprobe, which is always one of my favorite rehearsals. To move from the percussive support of the piano to the enveloping support of the orchestra is always a wonderful transition! A bit unsettling at times, as it can be a challenge to hear the timbre (sound quality) of the clarinet or violin that is doubling my line after weeks of hearing it in the piano. But, we make it. And this orchestration is fantastic; some really beautiful and thrilling moments. Head over to Kim’s blog for a photo (that’s me in the red dress) and her thoughts on the rehearsal; as the General Director, she has a lot more to think about than I do!
After Tuesday’s piano dress, I had the chance to share one of my favorite “tricks of the trade” with one of the young women in the Studio program*: the joys of pin-curl hair!! I arrived at the post-rehearsal notes session with my hair still up in my wig cap, and while PK gave notes I stood in the back taking off the cap and pulling the bobby pins out of my curls. EO was next to me, dealing her own post-wig hair, so I said, “Here’s the trick,” and flipped my hair up and down like a rocker at a concert. When I stood back upright, Voila! Soft wavy curls a là an early-80s Breck commercial. We’ll get the chance to try it again after tonight’s rehearsal, and by Friday she’ll have it mastered! The best hair at the afterparty will be on EO; watch out, ya’ll!
A quiet afternoon here. Some Figaro, some gentle warming up, dinner of some kind… then to the theater at 5:30 for rehearsal!
*Wolf Trap has a new program this season for post-undergraduate students; seven of them have small roles in Volpone.
I have no idea whether or not the healing scene is going to cause the same amount of rip-roaring laughter, but we should have a few new folks at the first dress rehearsal tonight, so I’ll get a chance to see. Celia is much less maniac and frenetic that she used to be, so I think I’ll be able to stay more centered, regardless of the audience’s reaction.
Last night we had our Sitzprobe, which is always one of my favorite rehearsals. To move from the percussive support of the piano to the enveloping support of the orchestra is always a wonderful transition! A bit unsettling at times, as it can be a challenge to hear the timbre (sound quality) of the clarinet or violin that is doubling my line after weeks of hearing it in the piano. But, we make it. And this orchestration is fantastic; some really beautiful and thrilling moments. Head over to Kim’s blog for a photo (that’s me in the red dress) and her thoughts on the rehearsal; as the General Director, she has a lot more to think about than I do!
After Tuesday’s piano dress, I had the chance to share one of my favorite “tricks of the trade” with one of the young women in the Studio program*: the joys of pin-curl hair!! I arrived at the post-rehearsal notes session with my hair still up in my wig cap, and while PK gave notes I stood in the back taking off the cap and pulling the bobby pins out of my curls. EO was next to me, dealing her own post-wig hair, so I said, “Here’s the trick,” and flipped my hair up and down like a rocker at a concert. When I stood back upright, Voila! Soft wavy curls a là an early-80s Breck commercial. We’ll get the chance to try it again after tonight’s rehearsal, and by Friday she’ll have it mastered! The best hair at the afterparty will be on EO; watch out, ya’ll!
A quiet afternoon here. Some Figaro, some gentle warming up, dinner of some kind… then to the theater at 5:30 for rehearsal!
*Wolf Trap has a new program this season for post-undergraduate students; seven of them have small roles in Volpone.
Sunday, June 17, 2007
Ch-ch-changes
Often in the rehearsal process, just when you think you’ve got your character / staging / interpretation nailed down, another element is added to the mix that throws everything out of whack. And sometimes that means completely rethinking what has come before.
At tonight’s rehearsal, I’ll be presenting an almost completely different character than the one I’d grown into over the past couple of weeks. Not entirely different, but different enough that it feels like I’m starting over. The creative direction staff (director, conductor, composer, costumer, etc.) is with me on the change; in fact, I wouldn’t be making the change if it weren’t for them! But, essentially, they’re the Boss. Who knows if this incarnation of Celia will be what audiences see on Friday night; we might go back to what we had last night or come up with something that’s between the two or even find something different altogether! It’s all part of the process…
A very tough part. “Flexibility is the key to airpower,” and all that, but eek!! Time for some visualization and mental focus. I’ll report back…
At tonight’s rehearsal, I’ll be presenting an almost completely different character than the one I’d grown into over the past couple of weeks. Not entirely different, but different enough that it feels like I’m starting over. The creative direction staff (director, conductor, composer, costumer, etc.) is with me on the change; in fact, I wouldn’t be making the change if it weren’t for them! But, essentially, they’re the Boss. Who knows if this incarnation of Celia will be what audiences see on Friday night; we might go back to what we had last night or come up with something that’s between the two or even find something different altogether! It’s all part of the process…
A very tough part. “Flexibility is the key to airpower,” and all that, but eek!! Time for some visualization and mental focus. I’ll report back…
Saturday, June 16, 2007
Small world
I went to my wig fitting yesterday and was thrilled to discover that the wig and makeup guys are J&S – who did wigs and makeup both summers I was at Tanglewood! When S first came into the room, I did that horribly rude “don’t I know you?” stare for about 30 seconds before jumping up with a “Oh, it’s you!” He, of course, knew I would be there, but he almost didn’t recognize me, either, since my hair has changed so much in the past three years. (Three years!) We hugged, and he sent me back to the makeup station to say hello to J.
We caught up quickly on the past few years (nutshell, anyone?), and then it was business as usual. As S adjusted my wig, he said, “Of course, we’ve worked with your head before, so we had a good idea that this one would work.” Ha! But that statement took us down memory lane… way back to the summer of 2003 when I wore an “Elvis the Bullfighter” wig for the premiere of the original version of Ainadamar, complete with sideburns and masculinizing makeup. Hot. (I also wore a gorgeous, artistic, metallic-looking horse head and danced a few sizeable solos in that production! Hmm, maybe I should finally link to my old LiveJournal entries about that production… but the writing is horrible! I’ll think about it.)
When I got home, I also remembered J&S helping me with A Midsummer Night’s Dream in 2004: platinum wig a la Jean Harlow and white makeup on my face, neck, arms… any skin that showed was painted and powdered. I had to remove it with baby oil in the shower, a process which was tedious and messy but gave me very soft skin!
It felt really good to share my recent career developments with J&S, and I think they enjoyed seeing that one of their “kids” was making good. It’s exciting, too, because I have a possible gig (penciled in on the calendar, no contract yet…) with their regular company, an A-level house. We might get to work together again in 2009! It’s fun to think about this “reunion” aspect of my life on the road, coming into unexpected contact with colleagues and friends who I loved working with, catching up and picking up where we left off. The more places I work, the more this kind of thing will happen, and I’m looking forward to it.
In a totally different sort of small world, this morning I discovered that my host’s father and my grandfather served on the same aircraft carrier in World War II, the USS Hancock. How about that?! They were both onboard in the South Pacific when the carrier was hit by a kamikaze plane, a story I always loved to hear Granddaddy tell. CH, my host, says that he has diaries that his father wrote of the account, so I’m looking forward to learning even more about what must have been an amazing day in the life of these young men.
We caught up quickly on the past few years (nutshell, anyone?), and then it was business as usual. As S adjusted my wig, he said, “Of course, we’ve worked with your head before, so we had a good idea that this one would work.” Ha! But that statement took us down memory lane… way back to the summer of 2003 when I wore an “Elvis the Bullfighter” wig for the premiere of the original version of Ainadamar, complete with sideburns and masculinizing makeup. Hot. (I also wore a gorgeous, artistic, metallic-looking horse head and danced a few sizeable solos in that production! Hmm, maybe I should finally link to my old LiveJournal entries about that production… but the writing is horrible! I’ll think about it.)
When I got home, I also remembered J&S helping me with A Midsummer Night’s Dream in 2004: platinum wig a la Jean Harlow and white makeup on my face, neck, arms… any skin that showed was painted and powdered. I had to remove it with baby oil in the shower, a process which was tedious and messy but gave me very soft skin!
It felt really good to share my recent career developments with J&S, and I think they enjoyed seeing that one of their “kids” was making good. It’s exciting, too, because I have a possible gig (penciled in on the calendar, no contract yet…) with their regular company, an A-level house. We might get to work together again in 2009! It’s fun to think about this “reunion” aspect of my life on the road, coming into unexpected contact with colleagues and friends who I loved working with, catching up and picking up where we left off. The more places I work, the more this kind of thing will happen, and I’m looking forward to it.
In a totally different sort of small world, this morning I discovered that my host’s father and my grandfather served on the same aircraft carrier in World War II, the USS Hancock. How about that?! They were both onboard in the South Pacific when the carrier was hit by a kamikaze plane, a story I always loved to hear Granddaddy tell. CH, my host, says that he has diaries that his father wrote of the account, so I’m looking forward to learning even more about what must have been an amazing day in the life of these young men.
Thursday, June 14, 2007
Day off
It is perfectly chilly here today, and I’m taking full advantage of the day off to spend as much time in my yoga clothes as possible. I’m even wearing a sweater! I have the windows open and a cup of steaming coffee and Mozart playing… it’s pretty darn nice.
I’m not feeling very articulate today, but here are a few tidbits:
Head over to Kim’s blog to see some pictures from the Volpone promo photo shoot we did yesterday. There will be a preview article in the Washington Post this Sunday, so we threw together a shoot to get some photos; hopefully they’ll run one with the article. I love my costume, but I’m very curious to see if I can do all of my staging in the corset and big skirt… “That’s why we rehearse!”
We do our first run-through on the set tomorrow!
When I need a break from Volpone (hey, it happens…), I’ve started working on my SIS (Self Imposed Study) for the summer: two Italian roles, Nannetta (Falstaff) and Susanna (Nozze di Figaro). It just so happens that the Studio Artists (the younger level of singers here at WTOC this summer) are doing big scenes from each of those operas. I’m hoping to snag some time with their Italian coach after Volpone is up and running… (And she reads the blog! Hi, FG!)
I’ll outline some of my role prep techniques here soon. Since it’s announced in my biography on my management site, I guess I can say that I’ll be singing my first Susanna next season! This is a huge role (the longest in the soprano repertoire), and I have nine months to get it into my voice/body/spirit. I’m excited for the process! What an amazing opera, amazing role. For now, I’ll just say “text, text, text!”
That’s all for now. There should be some news to share in the next few days, too, so stayed tuned!
I’m not feeling very articulate today, but here are a few tidbits:
Head over to Kim’s blog to see some pictures from the Volpone promo photo shoot we did yesterday. There will be a preview article in the Washington Post this Sunday, so we threw together a shoot to get some photos; hopefully they’ll run one with the article. I love my costume, but I’m very curious to see if I can do all of my staging in the corset and big skirt… “That’s why we rehearse!”
We do our first run-through on the set tomorrow!
When I need a break from Volpone (hey, it happens…), I’ve started working on my SIS (Self Imposed Study) for the summer: two Italian roles, Nannetta (Falstaff) and Susanna (Nozze di Figaro). It just so happens that the Studio Artists (the younger level of singers here at WTOC this summer) are doing big scenes from each of those operas. I’m hoping to snag some time with their Italian coach after Volpone is up and running… (And she reads the blog! Hi, FG!)
I’ll outline some of my role prep techniques here soon. Since it’s announced in my biography on my management site, I guess I can say that I’ll be singing my first Susanna next season! This is a huge role (the longest in the soprano repertoire), and I have nine months to get it into my voice/body/spirit. I’m excited for the process! What an amazing opera, amazing role. For now, I’ll just say “text, text, text!”
That’s all for now. There should be some news to share in the next few days, too, so stayed tuned!
Monday, June 11, 2007
Physical, too
One specific area that’s been a challenge so far is the above mentioned physical intimacy. Without getting too specific, I’ll just say that my character gets a bit overzealous in her attempts to heal Volpone through the “laying on of virgin hands” and ends up with his head under her skirt. Ahime! My partner, JJ, is wonderful, and it’s been a fun scene to work, but not without its challenges!
When we first blocked the scene we had no one in the room except directors and stage management so we could explore the staging without the added pressure of our colleagues sitting around and sniggering. (Most intimate scenes are staged like this, out of simple respect for the actors. I still remember rehearsing my first stage kiss – as Hope Harcourt in Anything Goes in high school – in a closed rehearsal. We must have gotten something right, because my boyfriend complained that I kissed Billy “just like” I kissed him!)
There was lots of laughing and blushing and “Oh god”-ing in the first few runs that day, but also lots of “You ok with this?” and “What do you need me to do?” Great colleagues and a great rehearsal environment. By the time we left that rehearsal, it was just a series of moves, not unlike a dance routine.
But! Add an audience back in, and all of that can go right out the window! As soon as my friends and colleagues were there, positively shrieking with laughter, I lost my focus. The next two times we ran the scene, on two different days, I ended up laughing so much that I couldn’t stay in character OR sing! Fun, and funny, but frustrating. If I can’t hold it together in front of twenty laughing people, what will I do with 400?
I asked PK if we could run the scene a lot, with people doing lots of things to try and distract me. Throwing Ricola lozenges, laughing, talking, etc.. He said I didn’t need that, that I would be fine, but when I balked at that idea, especially nervous about my laughing, he gave me great advice: if I (ACB) feel myself laughing, consider it my character (Celia) filled with the Spirit! She is performing a “miracle healing,” after all. Brilliant! That’s what a good director can do, fix a problem not with rehearsing, but with talking. With giving his actors more tools.
I went into the next run-through confident that I could keep it together. And I almost did… But it was my turn to get a bit of a joke played on me, since PK and I had orchestrated one on JJ a few days before. There was much laughing, and much breaking of character, but I think it will be for the best in the end. I feel like it needed to “go there” in order for us both to be totally comfortable; we needed to play with it. With something like this, it helps to treat it a bit irreverently in a few rehearsals, so that when those 400 people show up, we can concentrate on giving them the experience of the scene untainted by our own concerns.
Will they be shocked? Maybe. But I guarantee they’re going to laugh.
When we first blocked the scene we had no one in the room except directors and stage management so we could explore the staging without the added pressure of our colleagues sitting around and sniggering. (Most intimate scenes are staged like this, out of simple respect for the actors. I still remember rehearsing my first stage kiss – as Hope Harcourt in Anything Goes in high school – in a closed rehearsal. We must have gotten something right, because my boyfriend complained that I kissed Billy “just like” I kissed him!)
There was lots of laughing and blushing and “Oh god”-ing in the first few runs that day, but also lots of “You ok with this?” and “What do you need me to do?” Great colleagues and a great rehearsal environment. By the time we left that rehearsal, it was just a series of moves, not unlike a dance routine.
But! Add an audience back in, and all of that can go right out the window! As soon as my friends and colleagues were there, positively shrieking with laughter, I lost my focus. The next two times we ran the scene, on two different days, I ended up laughing so much that I couldn’t stay in character OR sing! Fun, and funny, but frustrating. If I can’t hold it together in front of twenty laughing people, what will I do with 400?
I asked PK if we could run the scene a lot, with people doing lots of things to try and distract me. Throwing Ricola lozenges, laughing, talking, etc.. He said I didn’t need that, that I would be fine, but when I balked at that idea, especially nervous about my laughing, he gave me great advice: if I (ACB) feel myself laughing, consider it my character (Celia) filled with the Spirit! She is performing a “miracle healing,” after all. Brilliant! That’s what a good director can do, fix a problem not with rehearsing, but with talking. With giving his actors more tools.
I went into the next run-through confident that I could keep it together. And I almost did… But it was my turn to get a bit of a joke played on me, since PK and I had orchestrated one on JJ a few days before. There was much laughing, and much breaking of character, but I think it will be for the best in the end. I feel like it needed to “go there” in order for us both to be totally comfortable; we needed to play with it. With something like this, it helps to treat it a bit irreverently in a few rehearsals, so that when those 400 people show up, we can concentrate on giving them the experience of the scene untainted by our own concerns.
Will they be shocked? Maybe. But I guarantee they’re going to laugh.
Physical
I know I’m involved with a physical comedy when my legs are covered by ugly purple and green bruises, many of which are of unknown origin. This show is no exception.
More so than in a drama, I’m asked to use my body in extreme physical ways in a comedy: entering from Stage Left and being “thrown” to the ground; running around to evade a lascivious embrace; a knee to the groin, stage-combat-style; or physical intimacy the likes of which could make a nun blush. Oh, and my character in this show? A former nun.
I love comedy for this aspect. It’s the most dance-like of my time onstage, unless I’m actually dancing. I’m learning a lot about physical comedy in this production, thanks in large part to PK’s love of the history of it. At the end of rehearsal the other night, we sat down and watch a YouTube clip of Ferruccio Soleri, a master of Italian commedia dell'arte (Harlequin). Such control over his body! Like a dancer, yes, but more of his intention was focused on being still. Everything still except an arm or a leg, which brought that movement into relief, which made it funny - especially when repeated over and over!
After this clip, we watched another classic: Bugs Bunny. Did you know that Bugs is patterned after Harlequin? I sure didn’t, but watching the cartoon with that knowledge, I could see the incredible connection, and Bugs became funnier than ever.
One of the leads in Volpone is being staged much like Harlequin/Bugs, but all of us have elements of commedia in our physicality. PK said “The key to physical comedy is stillness with intention.” Just as Soleri economized his movement to achieve the greatest comedic effect, so PK is trying to get us to focus our movements. Stylize, I guess, but all physical comedy is stylized. Manic movements contrasted with sharp stillness. It’s challenging, but I love the way I’m learning another way to use my body onstage.
I know I’m not getting the Big Picture of this across very well in this post, so I may ask PK to pop in as a guest blogger and share a bit more of the concept. Stay tuned…
More so than in a drama, I’m asked to use my body in extreme physical ways in a comedy: entering from Stage Left and being “thrown” to the ground; running around to evade a lascivious embrace; a knee to the groin, stage-combat-style; or physical intimacy the likes of which could make a nun blush. Oh, and my character in this show? A former nun.
I love comedy for this aspect. It’s the most dance-like of my time onstage, unless I’m actually dancing. I’m learning a lot about physical comedy in this production, thanks in large part to PK’s love of the history of it. At the end of rehearsal the other night, we sat down and watch a YouTube clip of Ferruccio Soleri, a master of Italian commedia dell'arte (Harlequin). Such control over his body! Like a dancer, yes, but more of his intention was focused on being still. Everything still except an arm or a leg, which brought that movement into relief, which made it funny - especially when repeated over and over!
After this clip, we watched another classic: Bugs Bunny. Did you know that Bugs is patterned after Harlequin? I sure didn’t, but watching the cartoon with that knowledge, I could see the incredible connection, and Bugs became funnier than ever.
One of the leads in Volpone is being staged much like Harlequin/Bugs, but all of us have elements of commedia in our physicality. PK said “The key to physical comedy is stillness with intention.” Just as Soleri economized his movement to achieve the greatest comedic effect, so PK is trying to get us to focus our movements. Stylize, I guess, but all physical comedy is stylized. Manic movements contrasted with sharp stillness. It’s challenging, but I love the way I’m learning another way to use my body onstage.
I know I’m not getting the Big Picture of this across very well in this post, so I may ask PK to pop in as a guest blogger and share a bit more of the concept. Stay tuned…
Friday, June 08, 2007
Unexpected
Ordering dinner at the counter at a vegetarian restaurant here in Vienna, looking over into the cold case to choose my drink and seeing Thum’s Up! cola, which I hadn’t seen or tasted since I was in India fourteen years ago. Drinking it with dinner, I could smell so many other things from that summer: the strands of jasmine in the markets and taxicabs, the sweat of our bodies working in the summer heat, the crisp air of the air conditioned sari shops, the dirt and the animals in the street. Not at all unpleasant, these olfactory memories.
I also remembered how good that cola tasted after weeks of drinking water that was still hot from boiling or weak kool-aid made from said hot water. Carbonation! Sugar! To us American teenagers, it was a little bit of heaven. (That summer, I also had chai tea for the first time; I felt very hip when, about a year later, it appeared at Starbucks and other coffee shops here at home. “Oh yeah, I had that in India…”)
As I left the restaurant after dinner, the owner ran out after me with another bottle. “A gift,” he said, and encouraged me to keep it on the shelf in my refrigerator, unopened, so that I could see it every day and remember.
Two notable summers find their connection – 1993, age 17, building a church in India; 2007, age 31, singing an opera in Virginia – both times thrilled to see a Thum’s Up!
(Thanks to EN for the photographic evidence!)
I also remembered how good that cola tasted after weeks of drinking water that was still hot from boiling or weak kool-aid made from said hot water. Carbonation! Sugar! To us American teenagers, it was a little bit of heaven. (That summer, I also had chai tea for the first time; I felt very hip when, about a year later, it appeared at Starbucks and other coffee shops here at home. “Oh yeah, I had that in India…”)
As I left the restaurant after dinner, the owner ran out after me with another bottle. “A gift,” he said, and encouraged me to keep it on the shelf in my refrigerator, unopened, so that I could see it every day and remember.
Two notable summers find their connection – 1993, age 17, building a church in India; 2007, age 31, singing an opera in Virginia – both times thrilled to see a Thum’s Up!
(Thanks to EN for the photographic evidence!)
Monday, June 04, 2007
Doing vs. Being
Last week, I went to my first couple of Bikram yoga classes, persuaded by YL, one of our pianist-coaches. For those unfamiliar, Bikram-style yoga is practiced in a heated room, usually about 105º F; it is very aerobic, and suffice to say you sweat like crazy. It’s very Westernized yoga, to my way of thinking, in that just about every spiritual element is removed, and it is very goal-oriented. The instructor stands at the front of the room, like an aerobics instructor, urging class members to push and go and do.
It was interesting, and I’m glad I went. If nothing else, it kick-started me back into my own practice – the only way to get over those sore muscles is to stretch them out again!
The classes also gave me an insight into performing, believe it or not, or, at least, into the type of performer I enjoy watching and working with. As I looked around the room in the Bikram class (easy to do, since there is a mirror along the front wall, another thing you’d never see in a more Eastern tradition), I could quickly pick out the people who were eager to show what they can do. They had looks of determination on their faces, striving to achieve the most, the best, the hardest; looking to prove they can do it, and hoping to get a word of praise from the instructor. They were Doing.
Then there were those who were only there for themselves, working with their bodies. Some were struggling, some were not, but all of these people had a more gentle and peaceful air. Calm. Being. I enjoyed being class with them. I had to work harder to keep my focus off of the Doing people, which distracted me from my own attempts at Being (while literally dripping with sweat and willing my low blood pressure not to get any lower!).
When I talked to YL about this on the way home, she knew just what I meant and immediately understood the parallel to performing. Some singers get out there and Do whatever they can to make an impression, whereas others just Be. (I know that’s the wrong conjugation, but bear with me…)
Saturday night we had our first WTOC performance, the Steve Blier-led Berlin Night Life recital. (Pictures and a sound-clip over at Kim’s WTOC blog.) Seeing my colleagues on the stage, as well as observing them in our Volpone rehearsals, I realized joyfully that everyone here falls into the Being category! These singers love their work, and when they walk out onstage you can see them just opening themselves to the audience. They seem to do nothing differently in front of an audience of 400 than they would for an audience of 5. It was as if each one of them said:
“Here I Am. Here is the music, the story; I hope you enjoy yourself, because I sure am…”
It was interesting, and I’m glad I went. If nothing else, it kick-started me back into my own practice – the only way to get over those sore muscles is to stretch them out again!
The classes also gave me an insight into performing, believe it or not, or, at least, into the type of performer I enjoy watching and working with. As I looked around the room in the Bikram class (easy to do, since there is a mirror along the front wall, another thing you’d never see in a more Eastern tradition), I could quickly pick out the people who were eager to show what they can do. They had looks of determination on their faces, striving to achieve the most, the best, the hardest; looking to prove they can do it, and hoping to get a word of praise from the instructor. They were Doing.
Then there were those who were only there for themselves, working with their bodies. Some were struggling, some were not, but all of these people had a more gentle and peaceful air. Calm. Being. I enjoyed being class with them. I had to work harder to keep my focus off of the Doing people, which distracted me from my own attempts at Being (while literally dripping with sweat and willing my low blood pressure not to get any lower!).
When I talked to YL about this on the way home, she knew just what I meant and immediately understood the parallel to performing. Some singers get out there and Do whatever they can to make an impression, whereas others just Be. (I know that’s the wrong conjugation, but bear with me…)
Saturday night we had our first WTOC performance, the Steve Blier-led Berlin Night Life recital. (Pictures and a sound-clip over at Kim’s WTOC blog.) Seeing my colleagues on the stage, as well as observing them in our Volpone rehearsals, I realized joyfully that everyone here falls into the Being category! These singers love their work, and when they walk out onstage you can see them just opening themselves to the audience. They seem to do nothing differently in front of an audience of 400 than they would for an audience of 5. It was as if each one of them said:
“Here I Am. Here is the music, the story; I hope you enjoy yourself, because I sure am…”
Wednesday, May 30, 2007
Home? On the Road?
I’m definitely feeling more settled here now, finding the routine and letting myself relax into the reality of life here. And, in truth, the reality is pretty nice! A beautiful home for these three months, lots of quiet and space, and the only thing I “have” to do is a job I love with great colleagues. It kind of feels like vacation!
Yesterday I bought a few of my “creature comforts” to make it feel more like home: a French press for my morning coffee and some Hendrick’s and Knob Creek for my nightcaps. (M.C-, wish you were here to break in the Hendrick’s with me!) My box of books and music arrived yesterday via USPS media mail, so I have more of those little things that make it feel like I live here.
There are different ideas about how to settle in on these long gigs. Some people prefer, as I do, to get nested and really feel at home. At least, I think that’s what I prefer; I’ve never tried it any other way. Other people like to maintain a sense of “just visiting,” maybe by keeping their clothes in the suitcase or by not recreating their home routines on the road. I’d guess that these folks are more likely to have somewhere that really feels like Home to them, a house or apartment to which they always return, so it makes sense. I, on the other hand, don’t have that place, at least currently. I make myself at home where ever I’m working.
I tend to be healthier on the road, more well-balanced. Maybe it’s having a kitchen all to myself, but I buy better groceries, eat breakfast and pack a lunch, carry healthy snacks (most of the time). I often start my days on the road with some yoga, something I could never get into the habit of in my shoebox of an apartment in NYC. I read more, I waste less time on the internet, I spend less money. I think I might even talk to my family more.
Maybe I need to rethink my idea of Home rather than my idea of On the Road…
Yesterday I bought a few of my “creature comforts” to make it feel more like home: a French press for my morning coffee and some Hendrick’s and Knob Creek for my nightcaps. (M.C-, wish you were here to break in the Hendrick’s with me!) My box of books and music arrived yesterday via USPS media mail, so I have more of those little things that make it feel like I live here.
There are different ideas about how to settle in on these long gigs. Some people prefer, as I do, to get nested and really feel at home. At least, I think that’s what I prefer; I’ve never tried it any other way. Other people like to maintain a sense of “just visiting,” maybe by keeping their clothes in the suitcase or by not recreating their home routines on the road. I’d guess that these folks are more likely to have somewhere that really feels like Home to them, a house or apartment to which they always return, so it makes sense. I, on the other hand, don’t have that place, at least currently. I make myself at home where ever I’m working.
I tend to be healthier on the road, more well-balanced. Maybe it’s having a kitchen all to myself, but I buy better groceries, eat breakfast and pack a lunch, carry healthy snacks (most of the time). I often start my days on the road with some yoga, something I could never get into the habit of in my shoebox of an apartment in NYC. I read more, I waste less time on the internet, I spend less money. I think I might even talk to my family more.
Maybe I need to rethink my idea of Home rather than my idea of On the Road…
Saturday, May 26, 2007
Too Much
I told PK, the director of Volpone, the just about the only thing I didn’t do wrong today was not sleep through my alarm. And, well, maybe it would have been a better day if I had…
I very often make these very intricate plans, plans that could totally bomb if one element is out of place. And, usually, things work out pretty well, a recent success being the trip over to Red Hook to meet with Nadia. In a manner of speaking, I guess the past six weeks have been one big intricate plan. That recital took a LOT of mental focus, lots of planning, lots of energy, and it came off. But not without weeks of mile-long To DO lists; rehearsing; worrying about money for Bhakti; and learning a beautiful, challenging, written-just-for-me work that needed to have a killer premiere. Ask anyone who came out for a late dinner after the recital, and they will tell you that I was a complete blob. I had nothing left.
But, five days later, I had to pack up for three months and relocate for a very important gig. A gig with some very hard music of its own, with which I hadn’t spent nearly enough time. (I can say that now, since we’ve had the first rehearsal and I don’t think I embarrassed myself. My “boss” reads this blog, after all!) I was so nervous, and felt time rapidly slipping through my fingers. I started packing for the summer at 8pm the night before my 11am train, packing for a time and then sitting with the score and my keyboard, then back to packing.
(And, imagine on top of all of this, that I might have met someone a few weeks ago with whom I would want to spend lots and lots of time, but couldn’t because of all of the above. A stress of a different kind...)
I’ve said several times today that I’m surprised, looking back, that things didn’t fall apart any earlier. I guess it was a matter of being able to control things, which I was largely able to do – until today. Today I could control nothing, and, therefore, finally had the “I’m exhausted and frustrated” breakdown that those of you who know me in Real Life would have recognized. This is often followed by the “Now I’m just embarrassed” phase, which usually involves finding the best hugger I can and holding on until I can truly laugh about the tears. Good hugs today from JP (I didn’t even need to ask her; she just saw me and said, “Oh, you look like you need a hug!”) and JJ. Many thanks…
So… the day. I’ll try to keep it short.
The Goal: Get to Franconia on the Metro, meet up with the Seller at the DMV, make the exchange, get registered, and get back for my costume fitting at 11. Return the rental car after the fitting. Celebrate my powers of organization and planning.
(Ok, first of all: What was I thinking??!! Saturday morning at the DMV?! Not an in-and-out endeavor.)
The Metro is undergoing weekend maintenance, so we’re stuck underground for half an hour, starting the lateness. The man I bought the car from is slow (not old, just slow) and condescending (“Don’t forget to change the oil every 3000 miles.”) The car itself is decidedly more beat-up than he let on, but it runs. We decide to skip the DMV after seeing the massive line, but only after I can convince him that I will send his tags back to him asap. When I get in the car, I discover that I left my good map in the rental, but I have general directions back to WT. Call and say I’ll be a few minutes late. No problem.
Then, as soon as I hit 70mph on the Interstate – the Check Engine light turns on. You have got to be kidding me. It stays on for the next hour as I’m driving in circles around Vienna, wondering franticly why the roads aren’t going where I think they’re supposed to. I HATE being lost!! I learned how to read a map at a very early age. I always got carsick on our family road trips, so I’d end up in the passenger seat with my Dad driving, and if you’re going to sit there you have to know how to navigate. I love maps, and can find my way just about anywhere if I have one. But today, no map. Lost, hungry, and afraid that I’d bought a total lemon. (The Check Engine light didn’t come back on when I start the car again, but I’ll be investigating…)
Finally, I give up, and LAM comes to rescue me. We meet in a parking lot and I follow her back to campus. By this time I have missed my costume fitting (another thing I hate being: Late), but they were able to move someone ahead and get some work done, rescheduling me for later.
In addition to not having my map, I also hadn’t had any of my usual snacks with me, so I was starving. For some reason I was craving a Snickers (can’t remember the last time I had one), so I buy one, but before I take it out I decide to also get a bottle of water (from the same machine). The bottle falls down – and lands in such a way as to jam the door closed.
I stood there staring at it, head against the glass, thinking, “This should be funny. I should be laughing by this point.” But it was all I could do not to burst into those loud, crazy, quasi-laughing sobs! It was the final blow, the one that makes you realize on days like this that there is nothing you can do. You are Double-O-C, as my brother and I used to say. Out Of Control.
It also makes you realize that when your idea of a “terrible day” involves being lost (with a cellphone), missing an appointment, and not being able to get your Snickers, your life is actually pretty damn good.
I very often make these very intricate plans, plans that could totally bomb if one element is out of place. And, usually, things work out pretty well, a recent success being the trip over to Red Hook to meet with Nadia. In a manner of speaking, I guess the past six weeks have been one big intricate plan. That recital took a LOT of mental focus, lots of planning, lots of energy, and it came off. But not without weeks of mile-long To DO lists; rehearsing; worrying about money for Bhakti; and learning a beautiful, challenging, written-just-for-me work that needed to have a killer premiere. Ask anyone who came out for a late dinner after the recital, and they will tell you that I was a complete blob. I had nothing left.
But, five days later, I had to pack up for three months and relocate for a very important gig. A gig with some very hard music of its own, with which I hadn’t spent nearly enough time. (I can say that now, since we’ve had the first rehearsal and I don’t think I embarrassed myself. My “boss” reads this blog, after all!) I was so nervous, and felt time rapidly slipping through my fingers. I started packing for the summer at 8pm the night before my 11am train, packing for a time and then sitting with the score and my keyboard, then back to packing.
(And, imagine on top of all of this, that I might have met someone a few weeks ago with whom I would want to spend lots and lots of time, but couldn’t because of all of the above. A stress of a different kind...)
I’ve said several times today that I’m surprised, looking back, that things didn’t fall apart any earlier. I guess it was a matter of being able to control things, which I was largely able to do – until today. Today I could control nothing, and, therefore, finally had the “I’m exhausted and frustrated” breakdown that those of you who know me in Real Life would have recognized. This is often followed by the “Now I’m just embarrassed” phase, which usually involves finding the best hugger I can and holding on until I can truly laugh about the tears. Good hugs today from JP (I didn’t even need to ask her; she just saw me and said, “Oh, you look like you need a hug!”) and JJ. Many thanks…
So… the day. I’ll try to keep it short.
The Goal: Get to Franconia on the Metro, meet up with the Seller at the DMV, make the exchange, get registered, and get back for my costume fitting at 11. Return the rental car after the fitting. Celebrate my powers of organization and planning.
(Ok, first of all: What was I thinking??!! Saturday morning at the DMV?! Not an in-and-out endeavor.)
The Metro is undergoing weekend maintenance, so we’re stuck underground for half an hour, starting the lateness. The man I bought the car from is slow (not old, just slow) and condescending (“Don’t forget to change the oil every 3000 miles.”) The car itself is decidedly more beat-up than he let on, but it runs. We decide to skip the DMV after seeing the massive line, but only after I can convince him that I will send his tags back to him asap. When I get in the car, I discover that I left my good map in the rental, but I have general directions back to WT. Call and say I’ll be a few minutes late. No problem.
Then, as soon as I hit 70mph on the Interstate – the Check Engine light turns on. You have got to be kidding me. It stays on for the next hour as I’m driving in circles around Vienna, wondering franticly why the roads aren’t going where I think they’re supposed to. I HATE being lost!! I learned how to read a map at a very early age. I always got carsick on our family road trips, so I’d end up in the passenger seat with my Dad driving, and if you’re going to sit there you have to know how to navigate. I love maps, and can find my way just about anywhere if I have one. But today, no map. Lost, hungry, and afraid that I’d bought a total lemon. (The Check Engine light didn’t come back on when I start the car again, but I’ll be investigating…)
Finally, I give up, and LAM comes to rescue me. We meet in a parking lot and I follow her back to campus. By this time I have missed my costume fitting (another thing I hate being: Late), but they were able to move someone ahead and get some work done, rescheduling me for later.
In addition to not having my map, I also hadn’t had any of my usual snacks with me, so I was starving. For some reason I was craving a Snickers (can’t remember the last time I had one), so I buy one, but before I take it out I decide to also get a bottle of water (from the same machine). The bottle falls down – and lands in such a way as to jam the door closed.
I stood there staring at it, head against the glass, thinking, “This should be funny. I should be laughing by this point.” But it was all I could do not to burst into those loud, crazy, quasi-laughing sobs! It was the final blow, the one that makes you realize on days like this that there is nothing you can do. You are Double-O-C, as my brother and I used to say. Out Of Control.
It also makes you realize that when your idea of a “terrible day” involves being lost (with a cellphone), missing an appointment, and not being able to get your Snickers, your life is actually pretty damn good.
Hitch
The well-oiled machine that was My Life for the past few months finally hit hitch today. I'm fine, really; no one is hurt, I still have my job. But I am exhausted. I don't think I was really aware of it until today, but I think I've been under a lot of stress recently!! And today I broke.
I'll write it all out tonight, because, really, a day this bad is rather funny when it's all out in black and white. But for now, a cool shower and a nap. A real nap - not one where I lie there with my eyes closed for fifteen minutes reciting lyrics or thinking about what I have to do when I get up. Deep sleep with a gentle fan blowing overhead and birds chirping outside my window.
I'm not even going to set my alarm.
I'll write it all out tonight, because, really, a day this bad is rather funny when it's all out in black and white. But for now, a cool shower and a nap. A real nap - not one where I lie there with my eyes closed for fifteen minutes reciting lyrics or thinking about what I have to do when I get up. Deep sleep with a gentle fan blowing overhead and birds chirping outside my window.
I'm not even going to set my alarm.
Friday, May 25, 2007
WTOC blog
Just a reminder that Kim Witman, the Director of Wolf Trap Opera, keeps a blog about life in opera from the other side of the stage. Well, from the administration side, anyway. There's definitely more than one "other side of the stage!"
She has some pictures up of our first day yesterday. Note the looks - and body language! - of intense concentration and not a little fear!
Today is already much better, as we spent the morning doing some intense ensemble work. The tonality shifts rapidly in this piece, and the chords are often very complex - it ain't Mozart! Think jazz. Jazz meets Stravinsky. And I think I heard a little Bach in there today, and, well, I guess there is some Mozart, too! If you come see it, listen for the Don Giovanni reference. Let's just say it is Hard. BUt I can already tell that we're going to have a blast. The cast is very strong; great voices, all, and comic timing is already apparent.
More music rehearsals this afternoon and tomorrow morning, then staging Scene 1 tomorrow afternoon!
Also tomorrow morning, I finally pick up my summer wheels: a green '94 Ford Taurus, purchased for cheap off Craigslist. Fingers crossed that it's in as good a shape as I expect it to be...
She has some pictures up of our first day yesterday. Note the looks - and body language! - of intense concentration and not a little fear!
Today is already much better, as we spent the morning doing some intense ensemble work. The tonality shifts rapidly in this piece, and the chords are often very complex - it ain't Mozart! Think jazz. Jazz meets Stravinsky. And I think I heard a little Bach in there today, and, well, I guess there is some Mozart, too! If you come see it, listen for the Don Giovanni reference. Let's just say it is Hard. BUt I can already tell that we're going to have a blast. The cast is very strong; great voices, all, and comic timing is already apparent.
More music rehearsals this afternoon and tomorrow morning, then staging Scene 1 tomorrow afternoon!
Also tomorrow morning, I finally pick up my summer wheels: a green '94 Ford Taurus, purchased for cheap off Craigslist. Fingers crossed that it's in as good a shape as I expect it to be...
Wednesday, May 23, 2007
Bliss
(**Edited: Hmm, ok, every time I try to upload the pictures, I crash my internet connection. I'll have to see what I can do about that. For now, use your imaginations! **Edited again: Got it!)
My view:
Sky! With a moon and stars in it at night!!
My neighbors:
I've been singing Cole Porter's "Heaven" all evening...
But that will likely change tomorrow - we hit the deck running with a musical run-through of Volpone tomorrow afternoon!! I am quite nervous. I still don't feel like I understand all of Musto's musical language, and I'm scared to have to sing this together with the full cast before getting any coaching time. I thought about trying to get down here a day early and get in for some coaching, but I barely made it after the recital as it were.
This has been a tight turn-around, these past few weeks. Met debut, recital, Wolf Trap. On more than one occasion I've felt like my head was not attached to my body...
I'm feeling that way a bit now, so time to take a shower and test out my new bed. More tomorrow, if I can stay on top of the spotty internet...
My view:
Sky! With a moon and stars in it at night!!
My neighbors:
I've been singing Cole Porter's "Heaven" all evening...
But that will likely change tomorrow - we hit the deck running with a musical run-through of Volpone tomorrow afternoon!! I am quite nervous. I still don't feel like I understand all of Musto's musical language, and I'm scared to have to sing this together with the full cast before getting any coaching time. I thought about trying to get down here a day early and get in for some coaching, but I barely made it after the recital as it were.
This has been a tight turn-around, these past few weeks. Met debut, recital, Wolf Trap. On more than one occasion I've felt like my head was not attached to my body...
I'm feeling that way a bit now, so time to take a shower and test out my new bed. More tomorrow, if I can stay on top of the spotty internet...
Sunday, May 20, 2007
Next
The recital was wonderful! It was well received, and all the risks we took paid off. Judd's piece was a hit, as I suspected, and everyone is excited to hear more. I’ll spend some time later in the week talking through the experience, but for now, Steve’s review does a wonderful job of presenting some of the more non-standard elements of the recital. Thanks for the kind words, Steve! Glad you were there.
We raised a little money, and thanks to all who have donated so far via the $15 Pledge Challenge! I’ll be dropping focus on The Bhakti Project for a while, so this will be the last solicitation until things pick up again in the fall, when we turn our eye to the recording project. Thanks for your support!
How I wish, wish, wish I could take a week off!! To just sit on the couch and read books and watch movies or go out to leisurely dinners… But, alas, as is the nature of things, I’ve been off and running on the next projects before the recital was even over.
Remember Wolf Trap? Yeah, me, too. I leave on Wednesday, so I’m busy for the next few days packing, making sure I know my role, and looking for a car. (I’ll be buying a used car rather than renting all summer. I’ve had good luck with this in the past; here’s hoping the Car Karma continues!)
I’ll be back probably at the end of the week, once I’m settled in my summer home. Be good to each other until I get back!
We raised a little money, and thanks to all who have donated so far via the $15 Pledge Challenge! I’ll be dropping focus on The Bhakti Project for a while, so this will be the last solicitation until things pick up again in the fall, when we turn our eye to the recording project. Thanks for your support!
How I wish, wish, wish I could take a week off!! To just sit on the couch and read books and watch movies or go out to leisurely dinners… But, alas, as is the nature of things, I’ve been off and running on the next projects before the recital was even over.
Remember Wolf Trap? Yeah, me, too. I leave on Wednesday, so I’m busy for the next few days packing, making sure I know my role, and looking for a car. (I’ll be buying a used car rather than renting all summer. I’ve had good luck with this in the past; here’s hoping the Car Karma continues!)
I’ll be back probably at the end of the week, once I’m settled in my summer home. Be good to each other until I get back!
Wednesday, May 16, 2007
Programming, challenges
For those of you who can’t make the recital tomorrow, here’s a sneak-peek at the program. (I guess it’s technically a sneak-peek even if you can make the recital!) As is often the case with these things, Jocelyn and I switched a bit of the order around today at the dress rehearsal, which made me happy that I put off getting the copies made!
I have some light: Songs of Spirit
from Hermit Songs, Samuel Barber:
St. Ita’s Vision
The Heavenly Banquet
Sea-Snatch
The Desire for Hermitage
Mary, did you know?, Lowry & Green
Breathe on me, Breath of God, Hatch & Jackson
w/ Amanda Crider, Cameron Smith, & David Giuliano
Suzanne, Leonard Cohen
Waitin’, William Bolcom
quiet
Action de grâce Olivier Messiaen
Hillula, World Premiere, Judd Greenstein
peace
from Mirabai Songs, John Harbison:
It’s true, I went to the market
All I was doing was breathing
Why Mira can’t go back to her old house
Don’t go
Songs, Sergei Rachamninoff
Ja ne prarok
Zdes xhorosho
Fso xhotchet pet
All together, it’s about 65 minutes including the two small pauses. We’re not calling them intermissions, because, well, they’re not really; they’re just breaks. Each one has part of the drama of the program tied to it, but I can’t say more than that until we go live!
Donations for The Bhakti Project continue to come in, and I’m finally starting to believe that we’ll make this happen! Today we got our first repeat gift, ear-marked as it were for the wine reception. Thank you, SK! We’ll raise a glass to you. My sweet friend LW gave a small donation yesterday because she isn’t able to make the recital, and the gesture gave me an idea…
I’d like to issue a “pledge challenge,” taking a page from public television. If you are sorry that you can’t attend tomorrow’s recital, whether because you don’t live in New York or because you’re currently out of town or because you have rehearsal or because it’s raining like crazy, please consider donating the cost of a ticket – just $15. That may not seem like much in the donation-sense of things, but trust me! It will add up!
This site gets about 240 unique visitors a day, and if 2/3 of you gave $15, we would easily meet Phase One of our fund-raising: recital costs. If 300 more of you gave $15, we could meet Phase Two, which covers the commission fee for Judd Greenstein. We’ll deal with Phase Three, the recording, over the summer and into the fall.
Think about it? Here’s the link again, provided for you just like the number on your screen: Join the $15 Pledge Challenge!
Off for some final study, then bed. Tomorrow: sleeping in, a good breakfast, getting the programs printed, then folding and stuffing them with pledge cards and envelopes while my toenails dry…
I have some light: Songs of Spirit
from Hermit Songs, Samuel Barber:
St. Ita’s Vision
The Heavenly Banquet
Sea-Snatch
The Desire for Hermitage
Mary, did you know?, Lowry & Green
Breathe on me, Breath of God, Hatch & Jackson
w/ Amanda Crider, Cameron Smith, & David Giuliano
Suzanne, Leonard Cohen
Waitin’, William Bolcom
quiet
Action de grâce Olivier Messiaen
Hillula, World Premiere, Judd Greenstein
peace
from Mirabai Songs, John Harbison:
It’s true, I went to the market
All I was doing was breathing
Why Mira can’t go back to her old house
Don’t go
Songs, Sergei Rachamninoff
Ja ne prarok
Zdes xhorosho
Fso xhotchet pet
All together, it’s about 65 minutes including the two small pauses. We’re not calling them intermissions, because, well, they’re not really; they’re just breaks. Each one has part of the drama of the program tied to it, but I can’t say more than that until we go live!
Donations for The Bhakti Project continue to come in, and I’m finally starting to believe that we’ll make this happen! Today we got our first repeat gift, ear-marked as it were for the wine reception. Thank you, SK! We’ll raise a glass to you. My sweet friend LW gave a small donation yesterday because she isn’t able to make the recital, and the gesture gave me an idea…
I’d like to issue a “pledge challenge,” taking a page from public television. If you are sorry that you can’t attend tomorrow’s recital, whether because you don’t live in New York or because you’re currently out of town or because you have rehearsal or because it’s raining like crazy, please consider donating the cost of a ticket – just $15. That may not seem like much in the donation-sense of things, but trust me! It will add up!
This site gets about 240 unique visitors a day, and if 2/3 of you gave $15, we would easily meet Phase One of our fund-raising: recital costs. If 300 more of you gave $15, we could meet Phase Two, which covers the commission fee for Judd Greenstein. We’ll deal with Phase Three, the recording, over the summer and into the fall.
Think about it? Here’s the link again, provided for you just like the number on your screen: Join the $15 Pledge Challenge!
Off for some final study, then bed. Tomorrow: sleeping in, a good breakfast, getting the programs printed, then folding and stuffing them with pledge cards and envelopes while my toenails dry…
Time Out
If you live in NYC or its environs, you might want to pick up a copy of this week’s TimeOut New York. If you can get past the racy cover, (sorry, Mom! at least that’s not me…) there’s a profile of Yours Truly at the start of the Classical Music section! For those of you not in the area, it should be available online soon; I’ll post a link when it’s up.
**Edited to add: Here it is! Welcome to those of you who have found your way here from the article! Please spend some time over on the sidebar, checking out the Blogroll, archived posts and The Bhakti Project. Come back often!
Steve Smith, who writes for the NY Times as well as TONY and keeps an in-depth “music consumption” blog over at Night After Night, contacted me a few weeks ago about this feature. I alluded to this in the first Met Debut post; the actual interview happened about two weeks later at the swanky TONY offices on 10th Avenue. We talked for about 45 minutes, I suppose, Steve's tape recorder going all the while, although it was shut off for about a minute while the building tested the fire alarm!
We covered so much history of the blog and my career since grad school, plus a bit of personal life and, of course, The Bhakti Project. I was anticipating a small blurb of an article, as I just couldn’t see how he was going to get all that information into two or three column-inches! And, well, turns out he didn’t have to: it’s a full page feature! There is also a big picture, my casual headshot, and can I just say how weird it is to see myself smiling out from the pages of a major magazine? Pretty weird!
I read the article outloud to EN as we rode the subway down to a wine shop in Tribeca, on a mission to get wine for the (FREE!) wine reception after the recital tomorrow. I had to stop about every other paragraph and look up at him dumbfoundedly (is that a word?). I am so impressed with Steve’s presentation of all the information, some of it very sensitive; his writing is thoughtful and kind, and it’s obvious that he’s been a reader of the concert for quite a while.
Thank you, Steve! I’m honored to have my first profile, in conjunction with my first recital in NY, written by you, and with such care.
I have an hour more here at home before I meet Jocelyn at the gallery for our dress rehearsal. It’s all falling into place! I’m not nervous, per se, but I do feel the need to step up to the plate even more now. Heck, all of New York might show up…
**Edited to add: Here it is! Welcome to those of you who have found your way here from the article! Please spend some time over on the sidebar, checking out the Blogroll, archived posts and The Bhakti Project. Come back often!
Steve Smith, who writes for the NY Times as well as TONY and keeps an in-depth “music consumption” blog over at Night After Night, contacted me a few weeks ago about this feature. I alluded to this in the first Met Debut post; the actual interview happened about two weeks later at the swanky TONY offices on 10th Avenue. We talked for about 45 minutes, I suppose, Steve's tape recorder going all the while, although it was shut off for about a minute while the building tested the fire alarm!
We covered so much history of the blog and my career since grad school, plus a bit of personal life and, of course, The Bhakti Project. I was anticipating a small blurb of an article, as I just couldn’t see how he was going to get all that information into two or three column-inches! And, well, turns out he didn’t have to: it’s a full page feature! There is also a big picture, my casual headshot, and can I just say how weird it is to see myself smiling out from the pages of a major magazine? Pretty weird!
I read the article outloud to EN as we rode the subway down to a wine shop in Tribeca, on a mission to get wine for the (FREE!) wine reception after the recital tomorrow. I had to stop about every other paragraph and look up at him dumbfoundedly (is that a word?). I am so impressed with Steve’s presentation of all the information, some of it very sensitive; his writing is thoughtful and kind, and it’s obvious that he’s been a reader of the concert for quite a while.
Thank you, Steve! I’m honored to have my first profile, in conjunction with my first recital in NY, written by you, and with such care.
I have an hour more here at home before I meet Jocelyn at the gallery for our dress rehearsal. It’s all falling into place! I’m not nervous, per se, but I do feel the need to step up to the plate even more now. Heck, all of New York might show up…
100,000
Congrats to mlisp, who was my 100,000th visitor yesterday!
There's something kind of cool about the fact that such a momentous number was reached by a visit from someone is a "real life" friend as well as a "computer friend!"
Thanks to all who stop by, whether you come every day or once only, whether I know you in the "real world" or not. Happy that you're here!
There's something kind of cool about the fact that such a momentous number was reached by a visit from someone is a "real life" friend as well as a "computer friend!"
Thanks to all who stop by, whether you come every day or once only, whether I know you in the "real world" or not. Happy that you're here!
FriPod: Mother’s Day Edition
(aka “Better late than never!”)
It’s been a few weeks since I actually had anything in my iTunes library to contribute to FriPod, so I was happy that this week’s topic turned up so much. Even a few “classical” pieces, for once!
1. Mamma Mia, ABBA, Gold
2. Does your Mother Know, ABBA, Voulez-vous
3. Mama Says, Billy Pilgrim, Billy Pilgrim
4. Goodnight to a Mother’s Dream, Nanci Griffith, Flyer
5. Decatur, or, Round of Applause For Your Stepmother!, Sufjan Stevans (who else would have a title like that?!), Come On Feel the Illinoise!
6. Mother, Tori Amos, Little Earthquakes
7. Mothers of the Disappeared, U2, Joshua Tree
8. Senza Mamma, O Bimbo, Tu Sei Morto; from Suor Angelica by Puccini, performed by Victoria de Los Angeles
9-12: Selections from Amahl and the Night Visitors, original cast recording of the NBC Television production:
Oh, Mother, you should go out and see!
Don’t cry, Mother dear
Amahl… Yes, Mother?
I walk, Mother
The first and last two groups of songs (ABBA and Amahl) were regularly on the Bird Family Playlist when I was growing up (I think I knew all the words to the Voulez-vous album by the time I was 10), so there is something fitting about this list!
I love you, Mom! Thanks for helping me love all music!
It’s been a few weeks since I actually had anything in my iTunes library to contribute to FriPod, so I was happy that this week’s topic turned up so much. Even a few “classical” pieces, for once!
1. Mamma Mia, ABBA, Gold
2. Does your Mother Know, ABBA, Voulez-vous
3. Mama Says, Billy Pilgrim, Billy Pilgrim
4. Goodnight to a Mother’s Dream, Nanci Griffith, Flyer
5. Decatur, or, Round of Applause For Your Stepmother!, Sufjan Stevans (who else would have a title like that?!), Come On Feel the Illinoise!
6. Mother, Tori Amos, Little Earthquakes
7. Mothers of the Disappeared, U2, Joshua Tree
8. Senza Mamma, O Bimbo, Tu Sei Morto; from Suor Angelica by Puccini, performed by Victoria de Los Angeles
9-12: Selections from Amahl and the Night Visitors, original cast recording of the NBC Television production:
Oh, Mother, you should go out and see!
Don’t cry, Mother dear
Amahl… Yes, Mother?
I walk, Mother
The first and last two groups of songs (ABBA and Amahl) were regularly on the Bird Family Playlist when I was growing up (I think I knew all the words to the Voulez-vous album by the time I was 10), so there is something fitting about this list!
I love you, Mom! Thanks for helping me love all music!
Friday, May 11, 2007
A day in the life
Today was one of those days, the kind of day that lets me know beyond a shadow of a doubt that I am “living the life,” that I am a professional singer. I’m still kind of floating from the sheer joy of it all! Let me see if I can summarize.
Morning spent, as it often is, with coffee and email and, today, finishing the flyer for the recital. This is just a half-sheet of paper with all the pertinent information about the recital: date (May 17), time (7:30), location (Gallerie Icosahedron, 27 N. Moore St), overview of the program (works by Harbison, Barber, Rachmaninoff, Cohen, Dylan, and a world premiere by Judd Greenstein), and a word about the Bhakti Project-sponsored wine (and cheesecake!) reception following the recital. The morning always goes by too quickly, and then it was time to rush off to meet with Jocelyn.
We spent the time working on Hillula, which is, to use Judd’s word, large-scale! It’s about 18-minutes long, and we’ve had it for about a week, with about another week to go. Needless to say, we went rapidly back and forth between feelings of great joy (it’s a gorgeous work) and great stress! We’ll find the middle ground, though, and make sure what we offer on Thursday is on par with the works we’ve been rehearsing for weeks. This is my New York recital debut, and we want to make sure it goes off without a hitch - not to mention giving Hillula the debut it deserves!
So, another step to that end: checking my Russian diction. I left NYU (where we’d been rehearsing) at 2:15, grabbed a burrito to go, and headed up on the 1 to meet DN at 114th. As soon as we sang through the first song, which I’d learned at Tanglewood in 2003, he said, “Did you coach this with Ken Griffiths?” Indeed I did! Turns out all the little diction things Ken grilled into me at Tanglewood are still there, and, as he studied with him, too, DN could recognize them! We sang through the other two songs, and I was given clearance to sing Russian in public. (What a great language!)
Then I had 45 minutes to get down to the Water Taxi at Pier 11, just off Wall Street, to head over for our meeting with Nadia. Her studio is in Red Hook, Brooklyn, which doesn’t have a subway stop very close by, so Jocelyn and I rendezvous-d (is that a word?) amid much confusion at the Pier. We got on the right boat (no running down the gangplank swearing this time, EHR!) and enjoyed a beautiful ride through across the river. It was a gorgeous day, and the breeze felt absolutely divine. I finally got to eat that burrito on the ride over, and then we were in Brooklyn.
If any of you have ever taken the Water Taxi over to the Brooklyn Army Terminal stop, I think you’ll agree with me when I say that it feels like another country! All of a sudden, we were in Italy or France! The old street car, the supermarket café on the water, and the beautiful old studios lining the street. Charming. We walked towards the studio, but couldn’t locate the address, so I called Nadia. When I told her where we were, she said that she was on the next block, and, still on the phone, I indicated to Jocelyn that we needed to walk “that way,” when Nadia said, “No, the other way.” She could see us! We turned around and found the building, but then couldn’t figure out how to get in. A big truck was in the driveway, getting worked on by several handsome young men, one of whom saw us poking around and said, “You must be looking for Nadia!” Brooklyn is charming and friendly!
We found our way upstairs and were soon drowning in luscious fabrics and colors and styles and ….!!! Nadia was so sweet and generous; she’ll be coming to the recital on Thursday, so if you want to meet the genius behind the dress, come on by. I ended up with two “every day” type dresses (pictures forth-coming) and a long blush-colored Signature Wrap dress for the recital; Jocelyn chose a deep red long gown and the shorter style in champagne. It felt like Christmas morning!! J summed it up perfectly as we were walking back to the water taxi: “I’ve never felt that way in a dress!” It is easily the most comfortable, sexiest dress we’ve ever worn. Get yourself one, or get one for the lady in your life. You won’t be sorry!
We had time before the taxi, so we got a snack at the lovely Fairway: fresh, precut mango; some manchego cheese; and a bar of Lindt classic dark chocolate. We sat across from each other as the taxi zoomed farther over to Brooklyn and then back to Manhattan, grinning at each other in amazement.
Jocelyn headed off to a concert, and I walked on farther to catch the A at Chambers Street. On the way, my manager called: more good news for next season! Talk about a cherry on the top of an already wonderful day. The weekend will be busy – and probably stressful – with studying and more recital prep, but the joy of this day will get us through.
Morning spent, as it often is, with coffee and email and, today, finishing the flyer for the recital. This is just a half-sheet of paper with all the pertinent information about the recital: date (May 17), time (7:30), location (Gallerie Icosahedron, 27 N. Moore St), overview of the program (works by Harbison, Barber, Rachmaninoff, Cohen, Dylan, and a world premiere by Judd Greenstein), and a word about the Bhakti Project-sponsored wine (and cheesecake!) reception following the recital. The morning always goes by too quickly, and then it was time to rush off to meet with Jocelyn.
We spent the time working on Hillula, which is, to use Judd’s word, large-scale! It’s about 18-minutes long, and we’ve had it for about a week, with about another week to go. Needless to say, we went rapidly back and forth between feelings of great joy (it’s a gorgeous work) and great stress! We’ll find the middle ground, though, and make sure what we offer on Thursday is on par with the works we’ve been rehearsing for weeks. This is my New York recital debut, and we want to make sure it goes off without a hitch - not to mention giving Hillula the debut it deserves!
So, another step to that end: checking my Russian diction. I left NYU (where we’d been rehearsing) at 2:15, grabbed a burrito to go, and headed up on the 1 to meet DN at 114th. As soon as we sang through the first song, which I’d learned at Tanglewood in 2003, he said, “Did you coach this with Ken Griffiths?” Indeed I did! Turns out all the little diction things Ken grilled into me at Tanglewood are still there, and, as he studied with him, too, DN could recognize them! We sang through the other two songs, and I was given clearance to sing Russian in public. (What a great language!)
Then I had 45 minutes to get down to the Water Taxi at Pier 11, just off Wall Street, to head over for our meeting with Nadia. Her studio is in Red Hook, Brooklyn, which doesn’t have a subway stop very close by, so Jocelyn and I rendezvous-d (is that a word?) amid much confusion at the Pier. We got on the right boat (no running down the gangplank swearing this time, EHR!) and enjoyed a beautiful ride through across the river. It was a gorgeous day, and the breeze felt absolutely divine. I finally got to eat that burrito on the ride over, and then we were in Brooklyn.
If any of you have ever taken the Water Taxi over to the Brooklyn Army Terminal stop, I think you’ll agree with me when I say that it feels like another country! All of a sudden, we were in Italy or France! The old street car, the supermarket café on the water, and the beautiful old studios lining the street. Charming. We walked towards the studio, but couldn’t locate the address, so I called Nadia. When I told her where we were, she said that she was on the next block, and, still on the phone, I indicated to Jocelyn that we needed to walk “that way,” when Nadia said, “No, the other way.” She could see us! We turned around and found the building, but then couldn’t figure out how to get in. A big truck was in the driveway, getting worked on by several handsome young men, one of whom saw us poking around and said, “You must be looking for Nadia!” Brooklyn is charming and friendly!
We found our way upstairs and were soon drowning in luscious fabrics and colors and styles and ….!!! Nadia was so sweet and generous; she’ll be coming to the recital on Thursday, so if you want to meet the genius behind the dress, come on by. I ended up with two “every day” type dresses (pictures forth-coming) and a long blush-colored Signature Wrap dress for the recital; Jocelyn chose a deep red long gown and the shorter style in champagne. It felt like Christmas morning!! J summed it up perfectly as we were walking back to the water taxi: “I’ve never felt that way in a dress!” It is easily the most comfortable, sexiest dress we’ve ever worn. Get yourself one, or get one for the lady in your life. You won’t be sorry!
We had time before the taxi, so we got a snack at the lovely Fairway: fresh, precut mango; some manchego cheese; and a bar of Lindt classic dark chocolate. We sat across from each other as the taxi zoomed farther over to Brooklyn and then back to Manhattan, grinning at each other in amazement.
Jocelyn headed off to a concert, and I walked on farther to catch the A at Chambers Street. On the way, my manager called: more good news for next season! Talk about a cherry on the top of an already wonderful day. The weekend will be busy – and probably stressful – with studying and more recital prep, but the joy of this day will get us through.
Wednesday, May 09, 2007
Every project needs a logo...
... here's ours!
Thanks to Beth Ragland of bad muffin designs for this beautiful design. Look for it on anything and everything have to do with the Bhakti Project from here on out! Besides the obvious letterhead and postcards/pledgecards, I'm thinking stickers, buttons, t-shirts?
Branding, people; we're branding here!
Thanks to Beth Ragland of bad muffin designs for this beautiful design. Look for it on anything and everything have to do with the Bhakti Project from here on out! Besides the obvious letterhead and postcards/pledgecards, I'm thinking stickers, buttons, t-shirts?
Branding, people; we're branding here!
Like butter
I’m happy to say that I can finally reveal the designer who will be dressing JD and me for the recital: Nadia Tarr, the Brooklyn-based designer of the butter by nadia label. I first saw the Signature Wrap Dress in the window of a boutique near M&E’s house in Park Slope, and I drooled over it for about six months before I finally went in and tried it on. 
As soon as I did, I knew it was the perfect dress to wear for the Trittico afterparty! A special dress for a special night, right? I splurged and bought it, selecting a plummy satin that was ultimately paired with gold open-toe pumps and a soft pink rose for the (all-too short!) party. (Ok, even though the post-pin-curl hair is terrible, here’s a pic from opening night, pre-rose…)
I was thrilled when Nadia agreed a while back to talk with me about providing us with dresses for the recital. JD wants to buy another one to take on her upcoming Dueck Three concert tour to China, and I want to try on a couple more of the styles in the collection, so she already has us as customers! In fact, we’ll be stopping by her studio in Red Hook, Brooklyn, on Friday night (a preview of Saturday’s sample sale…) to take a gander and do some purchasing. I think I need one of these for summer… And I’m thinking of getting one of the longer “ball gown” style versatile wraps for the recital. Just look at all the ways it can be wrapped! I’m hoping to find a cream or some other soft color – peach? periwinkle? – not too bright for this one, and not black, either.
You can check out the whole collection (and purchase online, too, if you don’t live near enough to Brooklyn…) at bennyandshaw.com. I freaked out a bit when I saw that picture of Naomi Watts wearing “my” dress on the homepage! I guess Ms. Tarr is doing very well!! I’m even more excited that she has agreed to collaborate with us. Hopefully JD and I will have some time to take some pictures of us in our dresses sometime before she jets off to China and I leave for Wolf Trap. Soon, maybe we’ll be the ones featured on the website!
As soon as I did, I knew it was the perfect dress to wear for the Trittico afterparty! A special dress for a special night, right? I splurged and bought it, selecting a plummy satin that was ultimately paired with gold open-toe pumps and a soft pink rose for the (all-too short!) party. (Ok, even though the post-pin-curl hair is terrible, here’s a pic from opening night, pre-rose…)I was thrilled when Nadia agreed a while back to talk with me about providing us with dresses for the recital. JD wants to buy another one to take on her upcoming Dueck Three concert tour to China, and I want to try on a couple more of the styles in the collection, so she already has us as customers! In fact, we’ll be stopping by her studio in Red Hook, Brooklyn, on Friday night (a preview of Saturday’s sample sale…) to take a gander and do some purchasing. I think I need one of these for summer… And I’m thinking of getting one of the longer “ball gown” style versatile wraps for the recital. Just look at all the ways it can be wrapped! I’m hoping to find a cream or some other soft color – peach? periwinkle? – not too bright for this one, and not black, either.
You can check out the whole collection (and purchase online, too, if you don’t live near enough to Brooklyn…) at bennyandshaw.com. I freaked out a bit when I saw that picture of Naomi Watts wearing “my” dress on the homepage! I guess Ms. Tarr is doing very well!! I’m even more excited that she has agreed to collaborate with us. Hopefully JD and I will have some time to take some pictures of us in our dresses sometime before she jets off to China and I leave for Wolf Trap. Soon, maybe we’ll be the ones featured on the website!
Wednesday, May 02, 2007
Hillula
Judd just sent out his regular "what’s-up" email with information about his works being performed and premiered (sign up to receive it here), and I was thrilled to see that our collaboration has been given a name! Read his description from the email below:
Finally (for now), there's a big premiere at Gallerie Icosahedron on the 17th: Hillula, my new work for the amazing soprano, Anne-Carolyn Bird. This is a setting of text from the Zohar, a central text of the Jewish Kabbalah, and it was commissioned to be the central part of a concert and recording project that Anne-Carolyn has founded, called The Bhakti Project. This work will be the centerpiece of a program devoted to spiritual music from multiple traditions; I sought out the Zohar as a Jewish text with a tone that was far from that which is typical of most Jewish religious writing. The piece is a celebration of a "wedding" that is also a death, both standing as metaphors for the relationship between people and the Divine. I think that this spirit comes through in the music, and I know that Anne-Carolyn (and Jocelyn Dueck, the amazing pianist who is the third part of this collaboration) will bring even more energy and life into the work, and to the rest of their terrific program. Please come join me for this event!
Isn’t that beautifully exciting?!?!
Judd and I are meeting this evening to talk about progress and go over the work. More from this front soon… For now, please consider making a donation, however small, to help further bring Hillula into the world.
Finally (for now), there's a big premiere at Gallerie Icosahedron on the 17th: Hillula, my new work for the amazing soprano, Anne-Carolyn Bird. This is a setting of text from the Zohar, a central text of the Jewish Kabbalah, and it was commissioned to be the central part of a concert and recording project that Anne-Carolyn has founded, called The Bhakti Project. This work will be the centerpiece of a program devoted to spiritual music from multiple traditions; I sought out the Zohar as a Jewish text with a tone that was far from that which is typical of most Jewish religious writing. The piece is a celebration of a "wedding" that is also a death, both standing as metaphors for the relationship between people and the Divine. I think that this spirit comes through in the music, and I know that Anne-Carolyn (and Jocelyn Dueck, the amazing pianist who is the third part of this collaboration) will bring even more energy and life into the work, and to the rest of their terrific program. Please come join me for this event!
Isn’t that beautifully exciting?!?!
Judd and I are meeting this evening to talk about progress and go over the work. More from this front soon… For now, please consider making a donation, however small, to help further bring Hillula into the world.
House-keeping
I’m knee deep in all kinds of house-keeping right now:
• the literal, spring-cleaning kind
• organizing the recital and reception
• getting together a funds-requesting mailing for The Bhakti Project; every little bit helps!
• learning Volpone
• starting to think about packing for the summer
• arranging for a car at Wolf Trap
• trying NOT to think about having to find a new apartment when I get back!
Pardon the quiet here for a few more days!
• the literal, spring-cleaning kind
• organizing the recital and reception
• getting together a funds-requesting mailing for The Bhakti Project; every little bit helps!
• learning Volpone
• starting to think about packing for the summer
• arranging for a car at Wolf Trap
• trying NOT to think about having to find a new apartment when I get back!
Pardon the quiet here for a few more days!
Saturday, April 28, 2007
See you at the Movies!
It’s the day of the simulcast, ya’ll!
I’ll be thinking about you all out there: Boulder, Spokane, Portland, Atlanta, Athens, Boston, Albuquerque… How exciting! Wish you all could be at the party tonight. JD and her fabulous husband are hosting a “debut” party, and I’ve got two cheesecakes ready to go! Mocha chocolate and mixed berry with shortbread crust… mmmmmm!
I’m off to meet a friend for brunch and to pick up his movie ticket: he’ll be watching from the Walter Reade Theatre, right next door to the Met! There’s something kind of funny about that, almost funnier than watching it from around the world.
Be watching this space for a Guest Blogger team in the next week or so, recounting their experience of seeing The Met at the Movies.
And… A big Happy Birthday to my fellow debutante, LW!!!! You don’t look a day over a size 6.
I’ll be thinking about you all out there: Boulder, Spokane, Portland, Atlanta, Athens, Boston, Albuquerque… How exciting! Wish you all could be at the party tonight. JD and her fabulous husband are hosting a “debut” party, and I’ve got two cheesecakes ready to go! Mocha chocolate and mixed berry with shortbread crust… mmmmmm!
I’m off to meet a friend for brunch and to pick up his movie ticket: he’ll be watching from the Walter Reade Theatre, right next door to the Met! There’s something kind of funny about that, almost funnier than watching it from around the world.
Be watching this space for a Guest Blogger team in the next week or so, recounting their experience of seeing The Met at the Movies.
And… A big Happy Birthday to my fellow debutante, LW!!!! You don’t look a day over a size 6.
Thursday, April 26, 2007
Paging JML
Dear JML:
Thank you for your generous Bhakti Project donation! There are some steps we need to take before Fractured Atlas can fully process your donation, so please contact me as soon as possible, as there is no contact information included with your check. My email address can be found in my Profile.
Thanks again - so much - for your support! I hope to hear from you soon.
Thank you for your generous Bhakti Project donation! There are some steps we need to take before Fractured Atlas can fully process your donation, so please contact me as soon as possible, as there is no contact information included with your check. My email address can be found in my Profile.
Thanks again - so much - for your support! I hope to hear from you soon.
Tuesday, April 24, 2007
Met Debut Weekend: The Afterparty
(Part 3 of 3... so far!)
Man, I am running out of steam! Time for bullet points:
* the Sirius interview was beyond fun - it was so cool to meet Margaret Juntwait! There was lots of giggling, and LW and I got to tell the world how much fun we’ve had getting to know each other. This will be a wonderful souvenir from our debut…
* getting dolled up for the party with LW in our dressing room; my pin-curl hair didn’t really cooperate, but my dress was rockin’, made complete by the addition of a rose from one of my bouquets.
* meeting M&E and KL (representing the Boulder contingency!) on the Grand Tier for hugs and flowers and collecting opening night programs
* taking pictures with GB (who was my chorus master at Santa Fe and who conducted my off-stage singing in Tabarro; it was so special to share this with him!) and YR, my sweet and supportive colleague
* one glass of champagne and a small plate of food, knowing that I had to leave by 1am to get home and try to get to sleep!
* running into my teacher and getting to share a bit of the “afterglow” with him and his wife, together at a table with GB and his partner and Heidi Grant Murphy
One o’clock struck, and with Mark’s gentle encouragement, I left the party, feeling not a little like Cinderella: walking down the grand staircase with my arms full of flowers, leaving a party that was just beginning. I cried, and I couldn’t tell if the tears were sad or happy; probably just overwhelmed! I felt so good, it had been such a wonderful night – so why was I leaving?! Because there was more work to do…
I started a new tradition this Christmas season of sharing my concert flowers with other people who would get joy from them, and since I had four bouquets and only one vase at home, I knew they wouldn’t live long if I kept them. I gave two bouquets to two of the night security guards, who both had ladies at home who would enjoy the surprise. (My family knows of this tradition of mine, and I think they like it, so don’t think that I’m dismissing the joy of my flowers; I’m just trying to spread it around!)
The other two came home with me, one in a huge vase of its own. I was laden with bags, clothes, and flowers (and still in my party shoes), so I grabbed a cab just outside the stage door. As we drove past the front of Lincoln Center, I could see the party going on inside, glittering under the chandeliers. I was sad to leave, but so happy to know that I had been there, that it had been my party, my night. The only Met Debut I’ll ever have…
Mme A, you warned me that the things we look so forward to can sometimes disappoint, and I went into Friday being aware of that possibility. But I am happy to say that it was everything I hoped it would be and more.
Thank you for letting me write it all out here; thank you for reading, thank you for cheering, thank you for loving this crazy life as much as I do!
Man, I am running out of steam! Time for bullet points:
* the Sirius interview was beyond fun - it was so cool to meet Margaret Juntwait! There was lots of giggling, and LW and I got to tell the world how much fun we’ve had getting to know each other. This will be a wonderful souvenir from our debut…
* getting dolled up for the party with LW in our dressing room; my pin-curl hair didn’t really cooperate, but my dress was rockin’, made complete by the addition of a rose from one of my bouquets.
* meeting M&E and KL (representing the Boulder contingency!) on the Grand Tier for hugs and flowers and collecting opening night programs
* taking pictures with GB (who was my chorus master at Santa Fe and who conducted my off-stage singing in Tabarro; it was so special to share this with him!) and YR, my sweet and supportive colleague
* one glass of champagne and a small plate of food, knowing that I had to leave by 1am to get home and try to get to sleep!
* running into my teacher and getting to share a bit of the “afterglow” with him and his wife, together at a table with GB and his partner and Heidi Grant Murphy
One o’clock struck, and with Mark’s gentle encouragement, I left the party, feeling not a little like Cinderella: walking down the grand staircase with my arms full of flowers, leaving a party that was just beginning. I cried, and I couldn’t tell if the tears were sad or happy; probably just overwhelmed! I felt so good, it had been such a wonderful night – so why was I leaving?! Because there was more work to do…
I started a new tradition this Christmas season of sharing my concert flowers with other people who would get joy from them, and since I had four bouquets and only one vase at home, I knew they wouldn’t live long if I kept them. I gave two bouquets to two of the night security guards, who both had ladies at home who would enjoy the surprise. (My family knows of this tradition of mine, and I think they like it, so don’t think that I’m dismissing the joy of my flowers; I’m just trying to spread it around!)
The other two came home with me, one in a huge vase of its own. I was laden with bags, clothes, and flowers (and still in my party shoes), so I grabbed a cab just outside the stage door. As we drove past the front of Lincoln Center, I could see the party going on inside, glittering under the chandeliers. I was sad to leave, but so happy to know that I had been there, that it had been my party, my night. The only Met Debut I’ll ever have…
Mme A, you warned me that the things we look so forward to can sometimes disappoint, and I went into Friday being aware of that possibility. But I am happy to say that it was everything I hoped it would be and more.
Thank you for letting me write it all out here; thank you for reading, thank you for cheering, thank you for loving this crazy life as much as I do!
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