06 February 2006 @ 06:43 pm
the run is over
Four shows down, one paycheck to be deposited to go.
Today I was the most tired. Doing student matinees that really aren't "au matin" at all are not the most fun (8:30am call, 10am show). At least I didn't sing role 1 that was hard, I just had role 2 that I could sing without warming up at all.
Coach called me last night and said my performance was very good. I know she wasn't the most excited about me singing this role, yet--same with some people's opinions from this past summer. But I think I really opened up into it, sang it in my own way without pushing or screaming like perhaps some DC's or LC's do, and did it well anyway.
I again couldn't hear the orchestra being 13 feet high and about 20 feet away, but I watched teh conductor like a hawk (or tried to), and got the nod of approval after it was all finished.
Both conductor A and B congratulated me, as well as asst. director C who made her living from this role in Germany.
So I guess it's good that I have this under my belt with full orchestra. Maybe I'll take it off my resume in the English performance.
About my general performance. I think I did better opening night. I had more energy and spark. I think I still did really well yesterday, but caught myself a few more times on the singing and noticing the singing than just being able to immerse myself in the evil-ness of the character. All of the notes were still on, of course, which is all that matters in these pieces. It's just that you know when you're really on, and you know when you're paying attention and being careful musically, to "remain" on.
OK.
Now to summer program news and people in my program news.
One and possibly two singers may have heard Yes's from the program that I did this past summer.
As I am always the one to measure myself in the mix of singers, their histories, their experience, age, etc., I am thinking that this is a pretty good thing.
I was one of the youngest last year. One mezzo who is definitely going and doing a small cover is older than me, and a mezzo- no comparison even possible.
one soprano is my double cast for this past role, a bit older than me? (I don't know- I think so), and vocally sometimes really there. There are issues, but the voice is a good one.
I can't really talk about other people's techniques because I'm not one to try and fix or understand them. I will say that there are roles people should NOT so much do until they know that they will never mess them up (note wise, top range wise, bottom range wise,etc). Yes, there is such a thing as a learning experience. But when a whole show could possibly go wrong because this one famous aria is not the "best" it can be for the very expectant audience, I start to get nervous. so do others.
So that's the only news that's non-news.
Except also that the program I"M going to this summer will have two girls from this past summer as well. A little reunion, so to speak, that I'm very much looking forward to. These girls are immensely talented, some have very very big company auditions coming up for which I wish them really truly good luck.
I know I should be excited about where I'm going next year. I mean, I am. Very.
But I can't help thinking what would happen/what would have happened if I tried out for those "top" programs.
Should I wait a year? Sure, why not? I mean, now there is REALLY no reason to try and be the 24year old wonder child of Col.Sop. repertoire for these companies, and attempt to get hired as a product of youth, agility, high notes, and I think more of the "package" deal but highlighted by the fact taht I'm so young. Would it kill me to wait until I was 25 to sing for the top 3?
I guess not.
But sometimes I just want to try and see what happens.
Something to think about this summer when they come by (especially one of them)..hmm..
-g
Today I was the most tired. Doing student matinees that really aren't "au matin" at all are not the most fun (8:30am call, 10am show). At least I didn't sing role 1 that was hard, I just had role 2 that I could sing without warming up at all.
Coach called me last night and said my performance was very good. I know she wasn't the most excited about me singing this role, yet--same with some people's opinions from this past summer. But I think I really opened up into it, sang it in my own way without pushing or screaming like perhaps some DC's or LC's do, and did it well anyway.
I again couldn't hear the orchestra being 13 feet high and about 20 feet away, but I watched teh conductor like a hawk (or tried to), and got the nod of approval after it was all finished.
Both conductor A and B congratulated me, as well as asst. director C who made her living from this role in Germany.
So I guess it's good that I have this under my belt with full orchestra. Maybe I'll take it off my resume in the English performance.
About my general performance. I think I did better opening night. I had more energy and spark. I think I still did really well yesterday, but caught myself a few more times on the singing and noticing the singing than just being able to immerse myself in the evil-ness of the character. All of the notes were still on, of course, which is all that matters in these pieces. It's just that you know when you're really on, and you know when you're paying attention and being careful musically, to "remain" on.
OK.
Now to summer program news and people in my program news.
One and possibly two singers may have heard Yes's from the program that I did this past summer.
As I am always the one to measure myself in the mix of singers, their histories, their experience, age, etc., I am thinking that this is a pretty good thing.
I was one of the youngest last year. One mezzo who is definitely going and doing a small cover is older than me, and a mezzo- no comparison even possible.
one soprano is my double cast for this past role, a bit older than me? (I don't know- I think so), and vocally sometimes really there. There are issues, but the voice is a good one.
I can't really talk about other people's techniques because I'm not one to try and fix or understand them. I will say that there are roles people should NOT so much do until they know that they will never mess them up (note wise, top range wise, bottom range wise,etc). Yes, there is such a thing as a learning experience. But when a whole show could possibly go wrong because this one famous aria is not the "best" it can be for the very expectant audience, I start to get nervous. so do others.
So that's the only news that's non-news.
Except also that the program I"M going to this summer will have two girls from this past summer as well. A little reunion, so to speak, that I'm very much looking forward to. These girls are immensely talented, some have very very big company auditions coming up for which I wish them really truly good luck.
I know I should be excited about where I'm going next year. I mean, I am. Very.
But I can't help thinking what would happen/what would have happened if I tried out for those "top" programs.
Should I wait a year? Sure, why not? I mean, now there is REALLY no reason to try and be the 24year old wonder child of Col.Sop. repertoire for these companies, and attempt to get hired as a product of youth, agility, high notes, and I think more of the "package" deal but highlighted by the fact taht I'm so young. Would it kill me to wait until I was 25 to sing for the top 3?
I guess not.
But sometimes I just want to try and see what happens.
Something to think about this summer when they come by (especially one of them)..hmm..
-g
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