Happy to report that I am now a bit more gainfully employed for the season. Still looking out for what the future will bring of course.
A few open ended things, a few more auditions coming up this spring/summer, and a few 'meetings' where I'm supposed to be 'marketed' or 'sold' or 'mentioned' or whatever it is that gets you on the radar of houses once they meet your manager and they have something specific in upcoming rep. for you.
All in due time is sure taking its time right now.
That plus I just got over a week and a half of a horrible mess of allergies...
HOWEVER, I'm feeling much better now, even got a chance to practice today, and a small person in another room is taking an epic nap this afternoon (about to hit the 3 hr mark) so I have NO further complaints.
Happy Weekend!
26 April, 2013
28 March, 2013
Pounding the Pavement
This is the first time in a LONG time that I find myself-- not as fully employed as I'd like to be.
Obviously, 2013 started off with a bang, and that's great. That alone on my resume/cv would be 'fine' for this year, but- as someone who usually has 4 or 5 productions per year, to dwindle down to 2 (so far) is not that great.
I know, it's April. I'm not 100% sure that something else won't come up before 2014 rolls around.
But it's still not a situation I've been in since...oh...just about ever!
Sure when I was doing my undergrad and grad I only had time for one summer program, but then- full year residency, and even in the 'gap' year of moving to NYC for auditions I had 4 professional gigs.
So what am I doing about it? Well, I suppose as much as I can, thinking both inside and outside the box.
Trying to get in touch with every theater I've previously auditioned for with 'positive' things to say about the audition. Trying to get my name out there to previous orchestra conductors that may have concert work. Asking my manager to ramp up anything they can on my behalf since I haven't found myself in this type of situation before. I know from other colleagues who have also been 'professional covers' for a few years that this could be an option as well- if the repertoire is right and there is no resident artist covering the 'big stuff'.
It's equal parts frustrating and inspiring- ok, more frustrating I suppose. Frustrating that there is only so much I can do, frustrating that it's already a certain 'time' in the season and so many things are already cast, frustrating that I don't have the direct emails to houses that may be doing modern works in their next few seasons to say- hey! pick me, pick me! I'm good at it!, (and even if I did, they wouldn't pay more than 2 seconds of attention since the email is not coming from a manager anyway!), and yes, frustrating that I now have to look back at my fall and ask myself whether or not something should have been different about the 'audition' season that I have (or didn't have, actually).
Inspiring because- yes, there are people who are happy to hear from me and my good news/updates, give me great feedback, and say they can't wait to work with me again in the future. Inspiring because it makes me want to be BETTER at what I do- to find new rep, to find new coaches, to try out a teacher or two, to delve into what I do and make it the best that it can be for whatever comes next.
And then of course, frustrating again.
Here's to pounding the pavement via email, and hope something comes out of it...sooner rather than later.
Obviously, 2013 started off with a bang, and that's great. That alone on my resume/cv would be 'fine' for this year, but- as someone who usually has 4 or 5 productions per year, to dwindle down to 2 (so far) is not that great.
I know, it's April. I'm not 100% sure that something else won't come up before 2014 rolls around.
But it's still not a situation I've been in since...oh...just about ever!
Sure when I was doing my undergrad and grad I only had time for one summer program, but then- full year residency, and even in the 'gap' year of moving to NYC for auditions I had 4 professional gigs.
So what am I doing about it? Well, I suppose as much as I can, thinking both inside and outside the box.
Trying to get in touch with every theater I've previously auditioned for with 'positive' things to say about the audition. Trying to get my name out there to previous orchestra conductors that may have concert work. Asking my manager to ramp up anything they can on my behalf since I haven't found myself in this type of situation before. I know from other colleagues who have also been 'professional covers' for a few years that this could be an option as well- if the repertoire is right and there is no resident artist covering the 'big stuff'.
It's equal parts frustrating and inspiring- ok, more frustrating I suppose. Frustrating that there is only so much I can do, frustrating that it's already a certain 'time' in the season and so many things are already cast, frustrating that I don't have the direct emails to houses that may be doing modern works in their next few seasons to say- hey! pick me, pick me! I'm good at it!, (and even if I did, they wouldn't pay more than 2 seconds of attention since the email is not coming from a manager anyway!), and yes, frustrating that I now have to look back at my fall and ask myself whether or not something should have been different about the 'audition' season that I have (or didn't have, actually).
Inspiring because- yes, there are people who are happy to hear from me and my good news/updates, give me great feedback, and say they can't wait to work with me again in the future. Inspiring because it makes me want to be BETTER at what I do- to find new rep, to find new coaches, to try out a teacher or two, to delve into what I do and make it the best that it can be for whatever comes next.
And then of course, frustrating again.
Here's to pounding the pavement via email, and hope something comes out of it...sooner rather than later.
24 February, 2013
Closing Night and 'the biz'
And just like that, 4 shows later- it's all over.
Final performance was this evening and everything was electric again. I wish we had 2 more performances! Or 10.
Working with such a talented team of creative directors has really been one-of-a-kind on this show. The treatment of the piece was so new and so - how many times can I say creative? - so...so....just...awesomely fantastic that we all knew we put together a great show and were just hoping beyond all hopes that this big city audience agreed with us.
Since I haven't sung in the States since a certain little someone graced my life last year, this is the first time in over a year that I'm getting REALLY great press, and since the show was so well received on top of that, I'm reallllly hoping that this media blitz goes somewhere.
It's already my 'norm' in the 'business of singing' routine to do my own update emails and let people know every 6months to one year about my whereabouts, etc.- but this time it's big enough that I'm hoping this actually translates to calls or emails being made by my managers on my behalf to get the word out to specific theaters that may have 'modern' programming coming up, places I haven't yet sung for that now have the 'excuse' of a great review to make a first inquiry or a first impression, etc.
I don't want to be considered a 'niche' singer of only contemporary/modern music- I love Mozart and Strauss WAY too much- but if this is a way to make a good first impression and if anyone is programming this kind of stuff in the future and needs an 'agile and magnetic' coloratura soprano- I'll take it!
Final performance was this evening and everything was electric again. I wish we had 2 more performances! Or 10.
Working with such a talented team of creative directors has really been one-of-a-kind on this show. The treatment of the piece was so new and so - how many times can I say creative? - so...so....just...awesomely fantastic that we all knew we put together a great show and were just hoping beyond all hopes that this big city audience agreed with us.
Since I haven't sung in the States since a certain little someone graced my life last year, this is the first time in over a year that I'm getting REALLY great press, and since the show was so well received on top of that, I'm reallllly hoping that this media blitz goes somewhere.
It's already my 'norm' in the 'business of singing' routine to do my own update emails and let people know every 6months to one year about my whereabouts, etc.- but this time it's big enough that I'm hoping this actually translates to calls or emails being made by my managers on my behalf to get the word out to specific theaters that may have 'modern' programming coming up, places I haven't yet sung for that now have the 'excuse' of a great review to make a first inquiry or a first impression, etc.
I don't want to be considered a 'niche' singer of only contemporary/modern music- I love Mozart and Strauss WAY too much- but if this is a way to make a good first impression and if anyone is programming this kind of stuff in the future and needs an 'agile and magnetic' coloratura soprano- I'll take it!
16 February, 2013
opening night
Haha, remember that one time when I did an entire gig without blogging once until after opening night?
Oh yea, that's now!!!
SO. I've been here for 4 weeks. Opening night was last night.
It's been one of my hardest gigs yet. Actually, THE hardest besides the crazy opera that I agreed to sing at weeks after having a baby last year.
This piece is hard. The music is hard. The direction was something completely new. We were all behind it, and after a LOT of rehearsal and a LOT of hard work by all-- we pulled it off last night.
Bla bla bla, a lot of rehearsals,
Bla bla bla, a lot of sleepless nights including one bout of the flu and one horrible head cold/allergy leading right up to opening night,
Bla bla bla, I hope I sing all the notes right since the composer is sitting in the 3rd row...
But yes, it was all good. And I'm happy to once again report that I have been able to learn a crazy-modern piece, and make it feel like- Mozart. Ok, well Strauss at least.
Oh yea, that's now!!!
SO. I've been here for 4 weeks. Opening night was last night.
It's been one of my hardest gigs yet. Actually, THE hardest besides the crazy opera that I agreed to sing at weeks after having a baby last year.
This piece is hard. The music is hard. The direction was something completely new. We were all behind it, and after a LOT of rehearsal and a LOT of hard work by all-- we pulled it off last night.
Bla bla bla, a lot of rehearsals,
Bla bla bla, a lot of sleepless nights including one bout of the flu and one horrible head cold/allergy leading right up to opening night,
Bla bla bla, I hope I sing all the notes right since the composer is sitting in the 3rd row...
But yes, it was all good. And I'm happy to once again report that I have been able to learn a crazy-modern piece, and make it feel like- Mozart. Ok, well Strauss at least.
16 December, 2012
'making it'
I just want to report that I have some colleagues in the business with whom I sang in young artist programs when we were very young who are now -- singing at the MET!
A. This is awesome.
But, even more interestingly, B- they were not necessarily the 'chosen ones' in our programs together. It's just a little tid-bit I feel that I have to mention.
The people that I know who are there are not singing leading roles, they are singing supporting roles, but nonetheless at the MET. They are in their mid-30s, and I sang with them when they were in their late 20s. TWO are in the chorus (and making bank, apparently), and the ones onstage are men.
Now- how does that really breakdown in terms of statistics? Well, two of them who were in a certain program with me were told they would NOT make it upon exiting the program. And that it wasn't about their talent, but it was about their drive, their attitude in the business, etc. I know, tough love- which of course didn't make the NEXT few years easier for these guys I'm sure.
And now- nah nah nah boo boo--- they're MET singers and of course haven't been hired by the previous program or even considered being asked to return after their 'departure'.
I'm of course on the other side of the ocean and not a 'local' anymore, so I don't really consider the MET the end-all and be-all and my next 'step'.
There might be more to this conversation, but for now let's just say that you can't take every criticism as the end-all and be-all of what your career will be like. Obviously technical issues have to be worked out, yes. Obviously you have to have the raw talent and skill on stage, etc.
But- sometimes you can prove the nay-sayers wrong.
A. This is awesome.
But, even more interestingly, B- they were not necessarily the 'chosen ones' in our programs together. It's just a little tid-bit I feel that I have to mention.
The people that I know who are there are not singing leading roles, they are singing supporting roles, but nonetheless at the MET. They are in their mid-30s, and I sang with them when they were in their late 20s. TWO are in the chorus (and making bank, apparently), and the ones onstage are men.
Now- how does that really breakdown in terms of statistics? Well, two of them who were in a certain program with me were told they would NOT make it upon exiting the program. And that it wasn't about their talent, but it was about their drive, their attitude in the business, etc. I know, tough love- which of course didn't make the NEXT few years easier for these guys I'm sure.
And now- nah nah nah boo boo--- they're MET singers and of course haven't been hired by the previous program or even considered being asked to return after their 'departure'.
I'm of course on the other side of the ocean and not a 'local' anymore, so I don't really consider the MET the end-all and be-all and my next 'step'.
There might be more to this conversation, but for now let's just say that you can't take every criticism as the end-all and be-all of what your career will be like. Obviously technical issues have to be worked out, yes. Obviously you have to have the raw talent and skill on stage, etc.
But- sometimes you can prove the nay-sayers wrong.
07 December, 2012
radio silence
It's been a bit hectic around here...
Things are calming down a bit-
If by calming down you mean that I have 1 month and one week before I have to show up for rehearsal.
Um, there is still a lot of work to be done.
There are about 5 pages I just can't - the notes come out of nowhere at breakneck speed, in 9/8 alternating with 2/4 and 5/8. I'm over it. Kinda.
Except that I have to sing it correctly.
Kinda.
Hopefully.
Things are calming down a bit-
If by calming down you mean that I have 1 month and one week before I have to show up for rehearsal.
Um, there is still a lot of work to be done.
There are about 5 pages I just can't - the notes come out of nowhere at breakneck speed, in 9/8 alternating with 2/4 and 5/8. I'm over it. Kinda.
Except that I have to sing it correctly.
Kinda.
Hopefully.
28 October, 2012
more modern music
The score is about 300 pages long. I have to sing approximately 127 of those pages.
Currently I can SORT OF sing 40 of them, LOOKING at the music, counting my @ss off, and HOPING that the notes with 2.5 octaves in between them are coming out correctly.
2.5 months left.
O.
M.
G.
The things that are easy...are easy.
What's hard is:
The INSANE counting and meter changes that happen SO much and in no particular pattern and every time one 'beat' or one tripelet 'off' -ie, different than the last time.
The fact that sometimes it's just a high G to low G jump with a C in the middle, but all the OTHER times it's G to Fsharp to C, Gsharp to G to Eflat, and so on and so forth- just that little TINIEST 'note' off again- like the beast.
Could I ever just get a pattern? How bout some ABA old-school music here? Haendel anyone?
Thank the unicorns it's in English at least. No trouble memorizing text or words. Just have to know what note and beat they all come on!
Currently I can SORT OF sing 40 of them, LOOKING at the music, counting my @ss off, and HOPING that the notes with 2.5 octaves in between them are coming out correctly.
2.5 months left.
O.
M.
G.
The things that are easy...are easy.
What's hard is:
The INSANE counting and meter changes that happen SO much and in no particular pattern and every time one 'beat' or one tripelet 'off' -ie, different than the last time.
The fact that sometimes it's just a high G to low G jump with a C in the middle, but all the OTHER times it's G to Fsharp to C, Gsharp to G to Eflat, and so on and so forth- just that little TINIEST 'note' off again- like the beast.
Could I ever just get a pattern? How bout some ABA old-school music here? Haendel anyone?
Thank the unicorns it's in English at least. No trouble memorizing text or words. Just have to know what note and beat they all come on!
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