21 May, 2014

..about those critics and reviews...

Much has been written that is more eloquent.

These aren't my 2 cents. This is my '35 weeks pregnant with #2 and STILL performing as of last week and final audition 2 days ago' hormonal ramble. (oh yea, surprise!)

I'd love to invite/force those insensitive critics to try get get through one 'day in the life' of an opera-singer mom in their OWN jobs (ie, horrible night's sleep, wake up and attach a machine to your boobs to milk yourself at 5am, try to get ready with screaming in the background and interrupted to hold a baby every 5 minutes, get to work on time, nope, no coffee break, have to pump,  child-minder just called, the baby threw up everywhere and has a fever can you come home, nope have an important meeting that you have to cancel that might have led to a promotion or a book deal, try to get home by 6 or you'll pay overtime at daycare, oh yea MAKE DINNER for your partner and then attempt to 'relax' at bedtime, which actually means: screaming from 8pm-8:30, sleep for 45 minutes, screaming from 9:15-9:30, a little more sleep, and so on and so forth until about 3am. Wash, Rinse, Repeat-- for approximately 16-20 months...)- and see how much 'work' they get done and how they feel about themselves at the end of the day-- also, how do your EDITORS feel about you at the end of that day. To assume that even IF their work suffered and their editor trashed some piece they wrote it can be blamed on 'recent motherhood'- really?!! 
That plus get some top designer on the line and make them all go into a costume fitting and stand almost naked in front of three mirrors with assistants noting how much material has to be taken OUT, and directors, asst. directors of both genders coming in and out of a flimsy cloth flap meant for 'privacy' to try and fit them into a 'regietheater' costume that fit a certain slimmer singer in the premiere 2 yrs ago and now has to fit the new cast.

Pass the chocolate muesli. 

01 January, 2014

Almost over

Ok those two weeks of 'crazy'/holiday passed pretty uneventfully. GREAT performances, time to rest despite the long drives and long train rides, and now just one more performance of Queen and then some down time.
OH how I HATE down time.
What am I doing right now?
Trying to figure out how I can fill it.
Opera, Concert, Recital, Recording, Lesson, Coaching-- SOMETHING to get me through until the NEXT time around.
Really hoping some last minute einspringens come up this Spring season.

20 December, 2013

clowning/queening around

While everyone else gets to enjoy Christmas, family time, and a vacation, my work begins this weekend.
Two productions of Magic Flute, 5 performances in two weeks, trains, automobiles, and hopefully NOT planes.
The first production just 're-rehearsed' for 2 days this week. Thankfully, this one has a cut version of the dialogue, very easy staging, and not much to do. So four out of my 5 performances will be relatively low-stress. There is ONE thing that I'm not too happy about and that is the conductor who led this piece over a year ago, with a totally different cast, not even taking the time to ask us about tempi or what felt good. And what he took just didn't do it for me. Yes, I can sing the first aria's first part super slow, and then the coloratura super fast. And yes, I can sing the second aria in your 'slower' tempo than I'd actually like, but you know what? If you really wanted me to 'sparkle', you'd FOLLOW ME! or at least ask how the tempo was after the rehearsal or during break! But, no. Instead you waved your little hands around and made the orchestra sound pretty at the tempo that you wanted to have the pieces sung/played at. Not so fun. Plus, when the arias are SO slow, I start thinking - hey, do I actually KNOW this text? And then of course I blank. Sooo-- that's awesome. I know it's coming now, so I'll be more prepared than our one rehearsal which happened to also be the first time onstage which happened to also be the first time with costumes/makeup and orchestra. Great.

Now to the second show, which worries me just a teeeeny bit more. I sang this production ONCE, two years ago. The text is the LONG version and for some reason I have NO recollection of ever having memorized it! (awesome, #not). Also, I wrote down the blocking (2 yrs ago in chicken scratch)...soo.... that has to be deciphered. And of course for production #2 there is no prompter and there is NO brush-up rehearsal since I'm the only person that's new and they just had performances of this show a month ago! Gah. Sooo--- that should be fun times as well.

All of this plus- it's the WINTER! I'll be in HOTELS! Sleeping POORLY! JOY TO THE WORLD! I'm still getting better from a super-long super-horrible cold two weeks ago. I know, negative nelly and debbie downer right now, but I have to get it OUT or else it will still BE there when I go to do the shows. So, it's over and done with. Now time to decipher the blocking, practice the arias in a slower tempo, and stay HEALTHY for the next two weeks.


10 December, 2013

writing

Recently read an article in the Times about job-seekers who were asked to write about their current job-less-ness as part of their further application process in order to actually get a job (ie, meet with couselors, fill out forms, etc.) And of course, it turns out that the more people wrote about their past experiences, even the fact that they were bad/negative and they DIDN"T have a job or were fired/let go from their job, the faster they got new work.
Now, I can't start making comparisons immediately- but let's take a quickie look at this here lil' blog and I sadly see that as far back as 4 or 5 years I was writing almost every other day- the yearly entries around 200-300. And now I'm at a measly 30 per year? I'm not going to connect that with the current state of my work-- because work in different countries is different, and also because I was still in the YAP track back then. But- maybe it WOULD do some good to 'write it out' and just see if that approach leads me to any new revelations about where I"m going next.

2013 began with what was possibly the highlight of my career in terms of gig visibility/publicity, etc. I was on a great roll, and kept rolling with it as an offer came it to bring the show to another theater, in between a zerbinetta or two and a queen or two.
I guess that was the 'prime time', and I did try my best to make as many connections and RE-connect with as many people in the biz as possible. So, I did my job- but it's tough to follow up when NOT that much new and exciting is happening.
Yes, I have 2 more queens and a zerb.

I'm not flying back to the US for auditions this year, as I've been told there really aren't any-- well, specific to my repertoire. I've had a few auditions in Germany that have yielded some of the most bizarre feedback I've heard-- possibly also due to the fact that they were in some of the most bizarre settings that I've ever had to sing in-- ie, the theater is under construction, let's set up bleachers in an old warehouse and erect a stage out of metal and clapboard--aaaand go.
Then on an audition that I really felt I nailed (and even have the recording offstage to 'prove' it)- another resounding no with feedback that I can't really do anything with or do anything about to change. It's just my voice and if you don't like it or it's not in 'style' right now-- sorry not sorry.

So I have one more next week. For a role that I've sung a few years back. A FUN role. I would REALLY just like to 'nail' something. I have work in 2014 (well, one production). And I want ONE more at least.

Even better, here's my list of "THINGS": Just putting it out there----
I want to work with ONE new theater (ie, get a job for '14 or '15) in Europe. (preferably the role I'm about to audition for, mmmkay?)
I want to get asked back by ONE of the theaters that I've already worked with in Europe.
I want to get asked back OR get asked to work with a theater in the US in 2015- I know, without an audition this season-- but...a girl can dream, right?
I want to SOMEHOW find concert contacts and get TWO concert bookings- either arias with orchestra or something like Carmina or Messiah for next Xmas season.
And then I want something totally out of the blue to happen with the modern/contemporary music that I have around.

Basta.

What am I doing to GET all of the 'THINGS'??
Well, I set up a consultation with a possibly new voice teacher in January.
I am going to send a recording with a letter to all of the bigger orchestras here (I've already penned this ages ago, so need to update it and get around to really finding all of the contact info. and sending it, I mean REALLY).
I am going to try and find SMALLER ensemble opportunities for ongoing gigs in the area. I don't yet know how I'm going to do this. I did it for the past 2 years but when the lower-pay of small-time ensembles is NOT offset by my travel costs, it's not really worth it. So I have to go local...or, MORE local than a 60 Euro train ride or 65 Euros in gas.

That's all for now, folks.





08 November, 2013

Back in Deutschland

Back home, picking up the 'routine' again, which, of course, does not include staying in bed until 10am, watching a few episodes of Law and Order, and then rolling out of bed around noon to prepare for rehearsals or performances.

In two weeks I'll be singing another Koenigin, and I'm happy to report that it's the reduced text (yahooooo!), and I'm even happier to report that they're going all "German Wiederaufnahme" on me, which essentially means- I get sent a DVD of the show to look up, show up to the last 2 orchestra staging rehearsals, and then sing the show for the entire run after that! No rehearsal time (can I get a yahoooo again?!), which means I get to spend more time organizing the next few months, next auditions, other repertoire, thinking about a possible dvd recording of some contemporary stuff...maybe just maybe...not sure yet.

Looking forward to working closer to home for the next few months. There may be another international flight or two in my future, but if they're for auditions, that's fine. Otherwise, I get to sleep in my own bed, take ICE trains to performances, and get back in time for a late night snack and bedtime!




26 October, 2013

the Good, part 2

So I get on an airplane 2.5 weeks ago, arrive at rehearsal, have 1.5 hrs to coach and learn the blocking to act 1, have 1.5 hrs to coach and learn the blocking to act 2.
And two days late I'm onstage doing the first piano dress, and two days after that I sang an orchestra dress rehearsal.

The show has since opened, I'm 'on standby' but of course not expecting anything to happen besides having to sit in my super comfy apartment near the theater and wait-it-out.  Now there's a week and 2 days left until I fly home.

And, of course, while I've been away, a few things have been brewing as well.

One of them, another offer for Queen. Yep, I'll take it.

So I'm gainfully employed again (awesome), and now waiting to see what the European and US audition season may have in store for me.


10 October, 2013

i know, i know, but this one is GOOD, part1

Yes, it's been forever, bla bla bla.

Life has been ABsolutely crazy in these last few days.

Here's the rundown:

On schedule for the end of this month: performance with company A (outreach shows, very little money).
Suddenly, AgentX asks if I'm free to do a one week cover of 'favoritest most fun show EVER' in France with company B. Pay is 5 times as much as company A. I'd be SORT of an idiot not to turn down A (politely)...money is money..."it's the economy, stupid", etc.

Contact AgentY and say I need to cancel A (it's just outreach, they should be able to deal with it-- was very polite, and it never HAS happened before that this happens to me, but there's NO way I can say no to this opportunity to introduce myself to the new house, plus 'favoritest role in most fun show EVER'...

All is ok, A is cancelled, B requests my financial info. (last thursday), THEN on Friday AgentX says- wait, the company B in France is reserving the right to decide whether they actually want this to happen until next Wednesday. Ok, I'm thinking, oh crap- just canceled one thing and now I don't even HAVE the other because no contract was signed...this suuucks.

And then on Saturday I get an email from AgentY asking if I can still cancel house B because there is a WHOLE show that needs covering, with the possibility of performing-- at house C. BIG awesome house C that is many many many miles away from Germany.
For FIVE times the amount that house B would have given me- plus, 3 weeks of work instead of just 1.

At this point, I don't have A. I don't KNOW if I have B, and I have an offer for C.

I take C.
I let AgentY know immediately that I have to cancel B and that, contractually, there WAS no contract- so this should all be 'ok'- (and frankly, it was their fault, because I would have really thought twice about accepting C if there was actually something in writing-- and then they go and decide to 'think about it' after they made an offer..so really...eh).

Then I'm feeling just CRAZY because I have 3 days to figure out how to get my life ready and pack for 26 days on the road. Oh, and also to remember the opera- since I sang it in 2004. (And again in 2011 but in a different language).

Part 1 ends with me flying for 10 hrs on Wednesday, arriving at the opera house at noon, costume fitting at 2, wig fitting at 3, rehearsal from 7-10 (I was nearly passed out from jet lag by then-- I didn't sing, just watched) and TODAY rehearsal "just for me" from 12-5:30 and tonight watching a runthrough from 7-10.

Oh wait, addendum to part 1.
I just got offered MORE work before the end of this year. People-- all of this last minute stuff-- it's exciting and cool and all, but really-- mini-heart attack just waiting to happen.

I am THANKFUL for the work and am EXCITED to do it all-- but of course, feel crazy and so last-minute and so much planning and dates, and daycare and housing and fees and car rentals and trains and planes...and music..and... and...

When it rains, it pours-- and I'll take the rain any day if the news that comes along with it is this type of news!