Umm, when you live out of suitcases, you don't really plan on dressing up for the holidays. I'm a bit too old to trick or treat (a bit!), and the last Halloween party I attended was 3 years ago (where I dressed up as slutty, brunette Britney Spears: The early years). So what will I do this time?
Well, I suppose I'll try.
I'll to to the grocery store or drugstore, buy some devil ears maybe, and wear something black? red? I don't know.
My wardrobe is pretty limited to rehearsal jeans, rehearsal cords, rehearsal black pants that were a mistake to wear to rehearsal since the floor I roll around on is not that clean, plus many sweaters.
Most of all, I'll buy some treats for everyone at rehearsal.
And NOT eat them.
Oh yea, have I mentioned that my costume is bare bare bare? Midriff, abs, arms, legs.
I like my figure--really I do. I know I could always use more abwork and some freeweights for more toned arms. But this costume was a lovely reminder of how I should NOT hibernate in the winter in my blankets and with a book (as I have done for the past hour since waking up), and that I should instead wake up early, get over it, get to the gym, and just get a workout over with!
I hate it so much. Putting the clothes on, going there, locking my stuff up, looking at the clock every 2 minutes, wishing 55 minutes were over.
UGH...
Ok, I'll give you that it feels good if I do it every day for..a week...and then it gets normal and I'm not such a hater.
Let's just say I'm not at that point this week!
31 October, 2007
29 October, 2007
shaping up.
The whole show is staged as of this afternoon, and I think I've come up with my new challenge for this show.
As I said before, vocally, it's not very tough. I've sung Aria1 many a time for auditions, I've had scenes of Duet1, and I have basically just been listening to this show for a while because I love it.
So- new challenge of current-show:
Comedic timing with a partner.
Now, I'm funny- if I do say so myself.
I sing a mean Glitter, know how to milk comic arias, and have generally not had to try so hard because being obnoxious or silly comes...well, naturally.
Add a partner, add lines that fly by, patter, chatter, duets, jumping on benches, running in and out of doorways, slamming windows, timing a slap, and that's where I am right now.
Surrounded by "moves" that I have to make natural every night, despite the ENTIRE cast's inclination to completely ad lib it--making us constantly break out in hysterics.
It has to be fast, smart, funny.
In between being breathless from chasing people around the stage, and oh, yea, singing pretty too.
I think I'll begin settling into my nightly ritual of running things in my head.
That's how I usually learn music, staging, dialog, and anything else.
Before I go to sleep, I run through the whole thing in my head.
Stopping where I'm not sure. Going back, and figuring out the flow of the entire performance.
I find that it really helps my concentration, let's me settle a bit before nodding off to sleep, and I wake up the next day "magically" knowing things that I haven't really worked on.
Ah, the sub/un/conscious mind--it's a beautiful thing.
As I said before, vocally, it's not very tough. I've sung Aria1 many a time for auditions, I've had scenes of Duet1, and I have basically just been listening to this show for a while because I love it.
So- new challenge of current-show:
Comedic timing with a partner.
Now, I'm funny- if I do say so myself.
I sing a mean Glitter, know how to milk comic arias, and have generally not had to try so hard because being obnoxious or silly comes...well, naturally.
Add a partner, add lines that fly by, patter, chatter, duets, jumping on benches, running in and out of doorways, slamming windows, timing a slap, and that's where I am right now.
Surrounded by "moves" that I have to make natural every night, despite the ENTIRE cast's inclination to completely ad lib it--making us constantly break out in hysterics.
It has to be fast, smart, funny.
In between being breathless from chasing people around the stage, and oh, yea, singing pretty too.
I think I'll begin settling into my nightly ritual of running things in my head.
That's how I usually learn music, staging, dialog, and anything else.
Before I go to sleep, I run through the whole thing in my head.
Stopping where I'm not sure. Going back, and figuring out the flow of the entire performance.
I find that it really helps my concentration, let's me settle a bit before nodding off to sleep, and I wake up the next day "magically" knowing things that I haven't really worked on.
Ah, the sub/un/conscious mind--it's a beautiful thing.
25 October, 2007
in a tizzy
the forum is aflutter with the usual audition season posts:
Did anyone here from?
Can I switch auditions times?
Why did I waste my money on them?
Is there an accompanist available?
It's interesting to read these posts from the perspective of a currently working singer.
On one hand, I wish that I was in NY doing auditions so that I can get work for NEXT year!
On the other hand, I'm being paid to sing a role right now that I've been dying to do for a long long time, that will show houses that my role experience is now rounded out with another "biggie" in the repertoire, and I'm having a lot of fun!
I know that when I get back in a few weeks I'll be auditioning a lot (or, at least- I'm hoping that is the case- a lot is still tba as far as I know, plus I'm not the one really setting up mainstage auditions for myself anymore).
So what I'm feeling right now is a bit of separation anxiety for not being in NYC, trying to find out about those last minute auditions, calling up pianists early, rehearsing repertoire, commiserating with fellow singers over the occasional Magnolia cupcake, and wandering around the Upper West Side in between auditions and coachings.
Things here have been going really well.
We had one CRAZY rehearsal last night that was supposed to be a staging of the quartet. It's turning out to be a choreographing of the quartet. We are ALL over the place. And with the blocking, added to the fact that the quartet goes on for about 20 pages and has about 20 words in it, you know that was a recipe for disaster.
Whenever we would stop, we had no idea where we were starting again in the music, I came in early on a line once, it was on the verge of the hysterical.
But that is what happens, and now it's in my head a bit more after a good night's sleep. SO next time, although I'm sure it won't be perfect, I'll at least remember what the next move is supposed to be as well as what the words and notes coming out of my mouth are supposed to be.
The show in general is an easy sing for me.
Two arias that are easy and fun- and depending on how they get staged, could be breathless with stage business.
The challenge is the dialog, the comedic timing, and making it believable to break the fourth wall and also experience things truthfully as the character.
More on character another day.
It's time for breakfast and maybe working out. I'm 2 for 3. I SHOULD do it today.
Really I should.
Did anyone here from?
Can I switch auditions times?
Why did I waste my money on them?
Is there an accompanist available?
It's interesting to read these posts from the perspective of a currently working singer.
On one hand, I wish that I was in NY doing auditions so that I can get work for NEXT year!
On the other hand, I'm being paid to sing a role right now that I've been dying to do for a long long time, that will show houses that my role experience is now rounded out with another "biggie" in the repertoire, and I'm having a lot of fun!
I know that when I get back in a few weeks I'll be auditioning a lot (or, at least- I'm hoping that is the case- a lot is still tba as far as I know, plus I'm not the one really setting up mainstage auditions for myself anymore).
So what I'm feeling right now is a bit of separation anxiety for not being in NYC, trying to find out about those last minute auditions, calling up pianists early, rehearsing repertoire, commiserating with fellow singers over the occasional Magnolia cupcake, and wandering around the Upper West Side in between auditions and coachings.
Things here have been going really well.
We had one CRAZY rehearsal last night that was supposed to be a staging of the quartet. It's turning out to be a choreographing of the quartet. We are ALL over the place. And with the blocking, added to the fact that the quartet goes on for about 20 pages and has about 20 words in it, you know that was a recipe for disaster.
Whenever we would stop, we had no idea where we were starting again in the music, I came in early on a line once, it was on the verge of the hysterical.
But that is what happens, and now it's in my head a bit more after a good night's sleep. SO next time, although I'm sure it won't be perfect, I'll at least remember what the next move is supposed to be as well as what the words and notes coming out of my mouth are supposed to be.
The show in general is an easy sing for me.
Two arias that are easy and fun- and depending on how they get staged, could be breathless with stage business.
The challenge is the dialog, the comedic timing, and making it believable to break the fourth wall and also experience things truthfully as the character.
More on character another day.
It's time for breakfast and maybe working out. I'm 2 for 3. I SHOULD do it today.
Really I should.
23 October, 2007
rehearsal day one
Yesterday afternoon we had a sing-through with full cast minus-one (last minute casting change, couldn't get the new one here in time).
If anything, this opera will sound great.
And that's pretty much what it needs for this kind of Mozart.
If tenor1 and sop1 can't kick the crap out of their arias, the dramatics fall flat, if tenor2 and sop2 can't be the sweetest smartest sidekicks AND sing all the high notes as well, the show is boring.
Well- happy to announce that we've got a wonderful cast (I'm actually the only person who is new to my role---kinda sorta---sop1 has sung my role before and is movin' on up to a more dramatic fach---)and everyone is comfortable. No scary high note moments. No ensembles that need tweaking.
Even after the first read it sounded crisp and "Mozart".
In the evening we had a dialog read in which we thankfully scrapped a bunch of lines that were a bit cheeese-filled, and rewrote things to make more dramatic sense and be funnier.
We also have carte blanche to continue to adlib and just see where the scene takes us.
Yay!
Everyone here seems VERY laid back. In the best of ways.
Because I'm still not used to the time change I've been waking up really early, YES, working out (ok, I did yesterday. Today I SHOULD, but haven't yet---chill out--it's 9:20am!), looking at OTHER music that I need to learn, and of course looking at current music to make sure that I know it.
At dinner with two castmates last night I noticed how, at the beginning, and well into the middle and end, this business is still about- oh, you know that person? I know them too.
And I wonder about that.
IS it because we have SUCH unstable lives, travel everywhere, can't really say that our next-door-neighbor is our best friend who comes over, we confide in them, our husbands know each other, etc... that singers do the name-game so much?
Do we find some sort of comfort that another person ALSO knows a friend of ours--and ARE they really a friend, or are they someone we have worked with in ONE production, TWO years ago, for ONE month?
I mean, of course everyone I've worked with is a "friend".
But in this day of the "update/mass" email, the rarity of a phone call, the status button on AIM and facebook, aren't we just all living vicariously as 'friends', and really just reading or hearing about someone else's accomplishments and maybe dropping them a 'congrats' email once in a while?
And is that wrong?
I mean, COULD I actually keep in touch from 35 singers from summerYap1, 40 singers from summerYap2, any number of castmates and resident artists from the past-yearYAP, PLUS the "real" people like directors, conductors, coaches--who it is actually VERY important to keep in touch with?
It seems impossible. And so, most singers that I meet play the name game. The where have you worked game. The, oh, yes, we did a Flute 3 years ago game.
And that makes us feel like we're part of a small small world of circulating working singers. When really perhaps what we want to feel is that we have a community of close-ness, not unlike what we saw as children, when our parents and whole family lived in one (well, for me much more than one-- but still) location, knew the neighbor's and walked their dog, babysat for the kids down the street, and had a sense of what friend really meant.
If anything, this opera will sound great.
And that's pretty much what it needs for this kind of Mozart.
If tenor1 and sop1 can't kick the crap out of their arias, the dramatics fall flat, if tenor2 and sop2 can't be the sweetest smartest sidekicks AND sing all the high notes as well, the show is boring.
Well- happy to announce that we've got a wonderful cast (I'm actually the only person who is new to my role---kinda sorta---sop1 has sung my role before and is movin' on up to a more dramatic fach---)and everyone is comfortable. No scary high note moments. No ensembles that need tweaking.
Even after the first read it sounded crisp and "Mozart".
In the evening we had a dialog read in which we thankfully scrapped a bunch of lines that were a bit cheeese-filled, and rewrote things to make more dramatic sense and be funnier.
We also have carte blanche to continue to adlib and just see where the scene takes us.
Yay!
Everyone here seems VERY laid back. In the best of ways.
Because I'm still not used to the time change I've been waking up really early, YES, working out (ok, I did yesterday. Today I SHOULD, but haven't yet---chill out--it's 9:20am!), looking at OTHER music that I need to learn, and of course looking at current music to make sure that I know it.
At dinner with two castmates last night I noticed how, at the beginning, and well into the middle and end, this business is still about- oh, you know that person? I know them too.
And I wonder about that.
IS it because we have SUCH unstable lives, travel everywhere, can't really say that our next-door-neighbor is our best friend who comes over, we confide in them, our husbands know each other, etc... that singers do the name-game so much?
Do we find some sort of comfort that another person ALSO knows a friend of ours--and ARE they really a friend, or are they someone we have worked with in ONE production, TWO years ago, for ONE month?
I mean, of course everyone I've worked with is a "friend".
But in this day of the "update/mass" email, the rarity of a phone call, the status button on AIM and facebook, aren't we just all living vicariously as 'friends', and really just reading or hearing about someone else's accomplishments and maybe dropping them a 'congrats' email once in a while?
And is that wrong?
I mean, COULD I actually keep in touch from 35 singers from summerYap1, 40 singers from summerYap2, any number of castmates and resident artists from the past-yearYAP, PLUS the "real" people like directors, conductors, coaches--who it is actually VERY important to keep in touch with?
It seems impossible. And so, most singers that I meet play the name game. The where have you worked game. The, oh, yes, we did a Flute 3 years ago game.
And that makes us feel like we're part of a small small world of circulating working singers. When really perhaps what we want to feel is that we have a community of close-ness, not unlike what we saw as children, when our parents and whole family lived in one (well, for me much more than one-- but still) location, knew the neighbor's and walked their dog, babysat for the kids down the street, and had a sense of what friend really meant.
21 October, 2007
blue morning (Aka I'm here)
After a long flight yesterday that involved waking up at 5am,
(meaning, I never really went to bed because whenever I have to wake up that early I freak myself out that I'll miss my phone alarm- the loudest possible thing..ever...and I wake up on the hour every hour until it's 30 minutes before I have to get up, and I've had no sleep)
having a dry starbucks bagel at 6am, flying to the midwest, eating French toast at the airport at 10am, and getting on another 5 hour flight and eating untoasted poptarts that I had the forethought to buy from the vending machine for a dollar instead of paying 5 bucks for the "snack box" on the airplane, I arrived!!!
My suitcases got here (after being 6lbs over and having to remove 2 sweaters and overpack my carry on which led to some storage problems of its own on the planes), I tried to hydrate myself as much as possible on the airplanes (even though I was in the window seat and felt bad making everyone get up so I could pee), and I'm here now.
Woke up feeling ALL stuffy in the nose and dry in the throat, but hey, I don't have to sing until tomorrow. So today- more water, some healthy food, EmergenC, Flinstone's vitamins, and we'll see how it is tomorrow.
For the past 2 hours that I've been awake (earlier than I would ever choose on a Sunday, but the time difference makes it so that it's morning here, but in NY it's already noon!), the sky has been the more pure color of baby blue.
I can't tell whether the sun has risen (I should google that), or whether it still will rise later on.
There is a layer of frost on everything outside, and I'm guessing it's about 30 degrees.
It hasn't snowed here yet, but all of the locals are expecting it any day now.
My plans for today?
Well, if the weather forecast looks ok (meaning, no snow storms) I'll drive down the coast on what is supposed to be one of the most beautiful drives you can take in this area.
My rental car has been pre-smoked in (yuck), but I'll open the window, take my camera along, and hopefully enjoy some peaceful nature before the fun of rehearsal begins tomorrow.
We've been supplied free gym memberships here, so this time, yet again, I'll say that I will TRY. TRY to make use of that as much as possible.
Although there are gorgeous mountain and coastal trails just a few feet from my doorstep here as well.
Plans for this month besides rocking out in this new role:
Taking a lot of pictures
Making workouts a regular thing
Working out Spring plans, competitions, travel, and work.
Taking advantage of where I am right now and what my surroundings have to offer.
(meaning, I never really went to bed because whenever I have to wake up that early I freak myself out that I'll miss my phone alarm- the loudest possible thing..ever...and I wake up on the hour every hour until it's 30 minutes before I have to get up, and I've had no sleep)
having a dry starbucks bagel at 6am, flying to the midwest, eating French toast at the airport at 10am, and getting on another 5 hour flight and eating untoasted poptarts that I had the forethought to buy from the vending machine for a dollar instead of paying 5 bucks for the "snack box" on the airplane, I arrived!!!
My suitcases got here (after being 6lbs over and having to remove 2 sweaters and overpack my carry on which led to some storage problems of its own on the planes), I tried to hydrate myself as much as possible on the airplanes (even though I was in the window seat and felt bad making everyone get up so I could pee), and I'm here now.
Woke up feeling ALL stuffy in the nose and dry in the throat, but hey, I don't have to sing until tomorrow. So today- more water, some healthy food, EmergenC, Flinstone's vitamins, and we'll see how it is tomorrow.
For the past 2 hours that I've been awake (earlier than I would ever choose on a Sunday, but the time difference makes it so that it's morning here, but in NY it's already noon!), the sky has been the more pure color of baby blue.
I can't tell whether the sun has risen (I should google that), or whether it still will rise later on.
There is a layer of frost on everything outside, and I'm guessing it's about 30 degrees.
It hasn't snowed here yet, but all of the locals are expecting it any day now.
My plans for today?
Well, if the weather forecast looks ok (meaning, no snow storms) I'll drive down the coast on what is supposed to be one of the most beautiful drives you can take in this area.
My rental car has been pre-smoked in (yuck), but I'll open the window, take my camera along, and hopefully enjoy some peaceful nature before the fun of rehearsal begins tomorrow.
We've been supplied free gym memberships here, so this time, yet again, I'll say that I will TRY. TRY to make use of that as much as possible.
Although there are gorgeous mountain and coastal trails just a few feet from my doorstep here as well.
Plans for this month besides rocking out in this new role:
Taking a lot of pictures
Making workouts a regular thing
Working out Spring plans, competitions, travel, and work.
Taking advantage of where I am right now and what my surroundings have to offer.
19 October, 2007
Macbeth Dress reeeeehearsal @ MET
Out out damn spot is going to need a LOT more than a Tide Wipe or Bleach Pen in this show!
Production- me likey the updates, the soldiers and then the kind of dictatorial looking king winning in the end.
Set- Love the way the bed appears and is MRS. Macbeth's and then also the King's bed, and then it's hidden well behind the center drop. Like the forest and the general shape of the sky as it cuts through the top of the proscenium and feels like a "heaven" is out there- or at least a big giant storm--ominous is the word I'm looking for.
I like Banquo's heirs coming in from the ceiling although I could do with a little less Green "club" lighting as they came down- it was a bit too "waiting for 2nite" by JLO circa the MILLENIUM.
Witches are now Mrs. McGonagall's from Harry Potter, mixed with white bobby socks, old purses, and looking like hungry Jewish grandmothers on their way to Zabar's and about to smack someone who gets in the way of the Marble Rye.
Voices-
Maria Guleghina: (WAIT- before I talk about the voice, her negligees almost had a "superbowl janet/justin" moment, she needs to be strapped in, and she was constantly playing with the robe on top to make sure that it didn't happen AGAIN ...as it did in rehearsal...or so my sources say)
Vocally her arias were exciting, the "libiamo" flamenco dancing with the congratulatory "cup" of the king was nice, the duet right before her aria got a bit off track, but I was moved overall. The high notes were there, the low notes were there, the drama was there, although it felt a little like she was in her own world the ENTIRE time and not so much relating to her Mister- except in the ewww-this is bloody, but now you're going to push me down because it turns me on- kind of way.
Dmitri Pittas sounded really great as a YOUNG Macduff. I didn't really believe he was singing about his two possibly dead children, but I sure believed that I wanted him to keep singing to me in that sweeeet tone.
Lucic (add weird symbols above the C's that I don't have in my menu right now) was VERY strong. Again, I missed some of the "togetherness" acting with the MRS., but he really carried his arias alone onstage, and also the weakness and semi-crazy prophet scene.
John Reylea- hawtness as Banquo in body and voice. I liked when he came back as Zombie Banquo.
And I liked his Harry Potter scarved child.
The chorus did mostly well- OH- well, they were AWESOME in the prayer/a cappella scene--- but otherwise sometimes they rushed Jimmy and the Orchestra.
But they were all into being whatever they were supposed to be- weird witches, royalty attendees, soldiers, traitors, soldiers, refugees.
The whole thing came together very well and I understood what Adrian Noble wants out of it.
What I wanted more of was the crazy/sexual/dominant/subservient/love story between the Macbeths.
Like how neither one can live without the other, PLUS the power.
And how killing the king makes them want to dooo eeeet on the kitchen floor.
And how weakness is not an option.
Production- me likey the updates, the soldiers and then the kind of dictatorial looking king winning in the end.
Set- Love the way the bed appears and is MRS. Macbeth's and then also the King's bed, and then it's hidden well behind the center drop. Like the forest and the general shape of the sky as it cuts through the top of the proscenium and feels like a "heaven" is out there- or at least a big giant storm--ominous is the word I'm looking for.
I like Banquo's heirs coming in from the ceiling although I could do with a little less Green "club" lighting as they came down- it was a bit too "waiting for 2nite" by JLO circa the MILLENIUM.
Witches are now Mrs. McGonagall's from Harry Potter, mixed with white bobby socks, old purses, and looking like hungry Jewish grandmothers on their way to Zabar's and about to smack someone who gets in the way of the Marble Rye.
Voices-
Maria Guleghina: (WAIT- before I talk about the voice, her negligees almost had a "superbowl janet/justin" moment, she needs to be strapped in, and she was constantly playing with the robe on top to make sure that it didn't happen AGAIN ...as it did in rehearsal...or so my sources say)
Vocally her arias were exciting, the "libiamo" flamenco dancing with the congratulatory "cup" of the king was nice, the duet right before her aria got a bit off track, but I was moved overall. The high notes were there, the low notes were there, the drama was there, although it felt a little like she was in her own world the ENTIRE time and not so much relating to her Mister- except in the ewww-this is bloody, but now you're going to push me down because it turns me on- kind of way.
Dmitri Pittas sounded really great as a YOUNG Macduff. I didn't really believe he was singing about his two possibly dead children, but I sure believed that I wanted him to keep singing to me in that sweeeet tone.
Lucic (add weird symbols above the C's that I don't have in my menu right now) was VERY strong. Again, I missed some of the "togetherness" acting with the MRS., but he really carried his arias alone onstage, and also the weakness and semi-crazy prophet scene.
John Reylea- hawtness as Banquo in body and voice. I liked when he came back as Zombie Banquo.
And I liked his Harry Potter scarved child.
The chorus did mostly well- OH- well, they were AWESOME in the prayer/a cappella scene--- but otherwise sometimes they rushed Jimmy and the Orchestra.
But they were all into being whatever they were supposed to be- weird witches, royalty attendees, soldiers, traitors, soldiers, refugees.
The whole thing came together very well and I understood what Adrian Noble wants out of it.
What I wanted more of was the crazy/sexual/dominant/subservient/love story between the Macbeths.
Like how neither one can live without the other, PLUS the power.
And how killing the king makes them want to dooo eeeet on the kitchen floor.
And how weakness is not an option.
18 October, 2007
everyone is so bloggy lately..
..no wonder I don't go to sleep until well past 3am!
ACB's "LIST" post got me thinking about the music that I have to learn.
Well, have to is a strong word. I'd choose "should" or "it would be nice" or "I've always wanted to" learn instead.
Current-opera- done and done. Have to review on the airplane on the way there!
Current audition pieces:
Durch Zartlichkeit
Chacun le sait
Zerbinetta
Saper Vorreste
Glitter and be gay
Fire Aria (as of last week's repolishing)
And sometimes if it's specifically being cast:
Der holle rache
And on standby in case the opera is being done or I feel the need to offer ANOTHER really long aria that shows something that the other rep. doesn't:
AND on general standby because so many peeps are h8trz:
Lakme Bell Song
Olympia Doll Song
Norina's Aria
O luce
Monica's waltz
Pieces to brush up for future lieder-"things":
Debussy Quatre chansons de jeunesse
Strauss Brentano Lieder
Liszt- a few nice German pieces
Bernstein- I hate music I-V
Pieces I always keep at-the-ready in case some orchestra comes calling! :)
Rachmaninoff Vocalise
Mozart Exultate
Pieces I've had on my list to learn for a while:
Gliere- Coloratura Concerto
OH SO MUCH oratorio that I've just completely ignored because I usually like to have my Christmas...ooops- HOLIDAY/ H/ch/anukka break to myself and my family.
Mozart Concert Arias that will round out a set
Opera pieces/roles--oh, the list goes on and on.
But at the top of it is learning Act I of Ariadne- since I already have the 2nd "opera" part down.
Then maybe it's to learn a "useful" other role that I could be singing in the future.
In terms of arias- although I wouldn't readily replace anything on my audition list, there are always the following to think about and play with as possible substitutions. But every time I start to play with them, I just think- Zerbie shows this, Lakme shows this, Chacun shows this- and I like them MORE:
Nixon in China- Mme Mao
Cendrillon- Fairy Godmother
Arabella- Fiakermilli
Postcards from Morocco- Lady w/handmirror
What I'm bringing with me to next-opera:
The Gliere, the Mozart, the Lieder, and Ariadne.
Maybe in a month I can come back to this list and cross things off of it!
ACB's "LIST" post got me thinking about the music that I have to learn.
Well, have to is a strong word. I'd choose "should" or "it would be nice" or "I've always wanted to" learn instead.
Current-opera- done and done. Have to review on the airplane on the way there!
Current audition pieces:
Durch Zartlichkeit
Chacun le sait
Zerbinetta
Saper Vorreste
Glitter and be gay
Fire Aria (as of last week's repolishing)
And sometimes if it's specifically being cast:
Der holle rache
And on standby in case the opera is being done or I feel the need to offer ANOTHER really long aria that shows something that the other rep. doesn't:
AND on general standby because so many peeps are h8trz:
Lakme Bell Song
Olympia Doll Song
Norina's Aria
O luce
Monica's waltz
Pieces to brush up for future lieder-"things":
Debussy Quatre chansons de jeunesse
Strauss Brentano Lieder
Liszt- a few nice German pieces
Bernstein- I hate music I-V
Pieces I always keep at-the-ready in case some orchestra comes calling! :)
Rachmaninoff Vocalise
Mozart Exultate
Pieces I've had on my list to learn for a while:
Gliere- Coloratura Concerto
OH SO MUCH oratorio that I've just completely ignored because I usually like to have my Christmas...ooops- HOLIDAY/ H/ch/anukka break to myself and my family.
Mozart Concert Arias that will round out a set
Opera pieces/roles--oh, the list goes on and on.
But at the top of it is learning Act I of Ariadne- since I already have the 2nd "opera" part down.
Then maybe it's to learn a "useful" other role that I could be singing in the future.
In terms of arias- although I wouldn't readily replace anything on my audition list, there are always the following to think about and play with as possible substitutions. But every time I start to play with them, I just think- Zerbie shows this, Lakme shows this, Chacun shows this- and I like them MORE:
Nixon in China- Mme Mao
Cendrillon- Fairy Godmother
Arabella- Fiakermilli
Postcards from Morocco- Lady w/handmirror
What I'm bringing with me to next-opera:
The Gliere, the Mozart, the Lieder, and Ariadne.
Maybe in a month I can come back to this list and cross things off of it!
17 October, 2007
workin' 9-5...well, more like 11-8
Today was business day on the ibook.
No singing.
No running lines.
Just writing, researching, appleC, appleV, word documents, applications, competitions, grants, tax forms, bla bla bla.
I'm actually quite good at all of this "business of business" stuff, but today it was nonstop and my eyes hurt from staring at the computer screen.
I'm trying to get all the deadlines for the next month mailed out before I leave for next-show on Saturday morning.
I'm not sure what the accommodations will be like where I'm going to be for the next month:
internetsss??? please say yes! WHAT will I do without wirelesseses? AHHAHAHAH!
Printer? Photocopy? Fax?
I wish there was a little version of an all-in-one printer/fax/scanner that was the size of my little ibook so that I'd never have to worry about where I'm getting some music sent, printed, documents photocopied, resumes and bios printed, etc. etc.
Upcoming: a MET invited dress-rehearsal that I'm looking forward to this week.
Umm, more and more notification of how the audition season is shaping up I suppose, but I don't have to worry about that for almost a whole month!
And I have shiny new pretty (red) suitcases that match and are the essence of hawtness with my matching Red cutie Peacoat to travel across the country.
No singing.
No running lines.
Just writing, researching, appleC, appleV, word documents, applications, competitions, grants, tax forms, bla bla bla.
I'm actually quite good at all of this "business of business" stuff, but today it was nonstop and my eyes hurt from staring at the computer screen.
I'm trying to get all the deadlines for the next month mailed out before I leave for next-show on Saturday morning.
I'm not sure what the accommodations will be like where I'm going to be for the next month:
internetsss??? please say yes! WHAT will I do without wirelesseses? AHHAHAHAH!
Printer? Photocopy? Fax?
I wish there was a little version of an all-in-one printer/fax/scanner that was the size of my little ibook so that I'd never have to worry about where I'm getting some music sent, printed, documents photocopied, resumes and bios printed, etc. etc.
Upcoming: a MET invited dress-rehearsal that I'm looking forward to this week.
Umm, more and more notification of how the audition season is shaping up I suppose, but I don't have to worry about that for almost a whole month!
And I have shiny new pretty (red) suitcases that match and are the essence of hawtness with my matching Red cutie Peacoat to travel across the country.
16 October, 2007
new audition starter
Started with Zerbie today (from so war es mit Pagliazzo to the end) instead of my normal, very short, very coloratura, but kinda soubrette-y acting pieces.
So? How did it go? (direct quote from Iago in Aladdin)....
It went...raaaather well (another direct quote..from Jafar in Aladdin)..notice the theme.
No, actually, it went terrifically. I LOVE the piece, it lurvs me back, and it is just fun in a box with pretty wrapping paper and a nice big bow tied around the outside.
And then they asked for Fire aria- a recent and short notice resurrection.
Which ALSO went smashingly, after not having sung it for 4 years.
Me likey.
Reason I would not start with Fire even though it's a great, short coloratura piece:
Umm, you have to act like you're fire. People have many different views on how it should be done- from the balletic to personification of fire, to a hot she-devil.
I choose somewhere between she-devil and stern mommy.
Secondly, those runs, while they are coloratura and a whole lot of it-- are LOW! And that breath right before the second set of them is a quick one and then you're just a bit worried about getting through it instead of scaring a little boy/girl/mezzo out of his/her wits.
And lastly- High C? Come ON! I mean, I have at LEAST a fifth above that- really people!
So what will I begin with next audition? It changes daily. What I DO know is that I'm happy with the level of polish and comfort that I have with all of my pieces, and I know that I can start with whatever I feel like on any given day for any given panel with any given repertoire.
Yesssireeebob.
So? How did it go? (direct quote from Iago in Aladdin)....
It went...raaaather well (another direct quote..from Jafar in Aladdin)..notice the theme.
No, actually, it went terrifically. I LOVE the piece, it lurvs me back, and it is just fun in a box with pretty wrapping paper and a nice big bow tied around the outside.
And then they asked for Fire aria- a recent and short notice resurrection.
Which ALSO went smashingly, after not having sung it for 4 years.
Me likey.
Reason I would not start with Fire even though it's a great, short coloratura piece:
Umm, you have to act like you're fire. People have many different views on how it should be done- from the balletic to personification of fire, to a hot she-devil.
I choose somewhere between she-devil and stern mommy.
Secondly, those runs, while they are coloratura and a whole lot of it-- are LOW! And that breath right before the second set of them is a quick one and then you're just a bit worried about getting through it instead of scaring a little boy/girl/mezzo out of his/her wits.
And lastly- High C? Come ON! I mean, I have at LEAST a fifth above that- really people!
So what will I begin with next audition? It changes daily. What I DO know is that I'm happy with the level of polish and comfort that I have with all of my pieces, and I know that I can start with whatever I feel like on any given day for any given panel with any given repertoire.
Yesssireeebob.
14 October, 2007
just so i don't forget
I just watched some dvds of some of my first professional opera performances in the process of making clips, dvds, using too much free technology downloaded from goodness knows where, and that will hopefully not crash my computer.
2004:
First French role in that house.
Good diction.
A bit of jaw tension! (disappears by first show of 2005- hurrah)
Nice acting chops but you can tell that I'm going on pure adrenalin/nerves because it's so ME up there, rather than the character. Which is nice and sweet, and actually works. It's just that I can tell I'm ME trying to be the character, and not ME feeling comfortable enough to let myself explore the character and then give myself over to it.
A nice surprising lightness, airiness, laughter, and PURE joy in my eyes and smile because I'm finally doing it!
2005:
First English role in that house.
V.good diction.
I'm getting a lot more into character here. It's a darker kind of young woman and it's definitely not me up there. I'm exploring her well. I remember exactly the two measures that I got nervous in during the ACt II aria and had to pump myself up mentally to get through the rest of the piece. By the end, it's pretty mesmerizing and completely another person. I captured her fragility, kept her young, and sounded still young-ish, but with more drama in the voice.
Jaw tension gone.
If I could do it again I'd work on body placement and intension in my directional movement on stage.
2005 (later that year):
The end all and be all of Italian bel canto repertoire (yes, I was young- but I still sang the crap out of it)
Voice sounds even more mature- I had a lot more heart in the cadenzas and twists and turns along the way in interpolations and runs--meaning, the notes all meant something rather than just coming out correctly and stunning the audience with that kind of zing.
I DID try too much in some low/middle places and pitch suffered. Tried to sound like those famous gals before me too much, and the low/middle, which I was still working on, should have been left alone and sung lighter instead of what I did.
High notes still ring, coloratura spot on.
Acting was actually frighteningly there when I was in the moment. Which, I admit was NOT all the time. I gave myself too much time to think about what I was about to do, and I could read that in my own performance.
I see myself sitting on stage right, singing beautifully and innocently, and know that in the back of my mind I was trying NOT to get up ON the beat, and planning to take the cross downstage against the music.
And after those 5 seconds I'm back again as the character, with more dedication than ever.
2006
Repeat of one of my favorites, new house:
Yes to voice, Yes to acting. Yes to it being a performance that made a mark here and then continued to impress the next year.
And 2007
previous show:
And now it comes together.
The acting is driven by the character study. The music is nothing to worry about, sounds and looks as it should coming out of my mouth.
It seems easy. It's enjoyable to watch. It's fun. I'm that person. Not me.
And I'm having a really good time!
So.
Just so I don't forget, whenever I feel that crazy "what in the world am I doing and how can it possibly be good?" feeling---
It IS good.
Better than good.
It's polished, it's ready. It's where it's supposed to be.
And so am I.
2004:
First French role in that house.
Good diction.
A bit of jaw tension! (disappears by first show of 2005- hurrah)
Nice acting chops but you can tell that I'm going on pure adrenalin/nerves because it's so ME up there, rather than the character. Which is nice and sweet, and actually works. It's just that I can tell I'm ME trying to be the character, and not ME feeling comfortable enough to let myself explore the character and then give myself over to it.
A nice surprising lightness, airiness, laughter, and PURE joy in my eyes and smile because I'm finally doing it!
2005:
First English role in that house.
V.good diction.
I'm getting a lot more into character here. It's a darker kind of young woman and it's definitely not me up there. I'm exploring her well. I remember exactly the two measures that I got nervous in during the ACt II aria and had to pump myself up mentally to get through the rest of the piece. By the end, it's pretty mesmerizing and completely another person. I captured her fragility, kept her young, and sounded still young-ish, but with more drama in the voice.
Jaw tension gone.
If I could do it again I'd work on body placement and intension in my directional movement on stage.
2005 (later that year):
The end all and be all of Italian bel canto repertoire (yes, I was young- but I still sang the crap out of it)
Voice sounds even more mature- I had a lot more heart in the cadenzas and twists and turns along the way in interpolations and runs--meaning, the notes all meant something rather than just coming out correctly and stunning the audience with that kind of zing.
I DID try too much in some low/middle places and pitch suffered. Tried to sound like those famous gals before me too much, and the low/middle, which I was still working on, should have been left alone and sung lighter instead of what I did.
High notes still ring, coloratura spot on.
Acting was actually frighteningly there when I was in the moment. Which, I admit was NOT all the time. I gave myself too much time to think about what I was about to do, and I could read that in my own performance.
I see myself sitting on stage right, singing beautifully and innocently, and know that in the back of my mind I was trying NOT to get up ON the beat, and planning to take the cross downstage against the music.
And after those 5 seconds I'm back again as the character, with more dedication than ever.
2006
Repeat of one of my favorites, new house:
Yes to voice, Yes to acting. Yes to it being a performance that made a mark here and then continued to impress the next year.
And 2007
previous show:
And now it comes together.
The acting is driven by the character study. The music is nothing to worry about, sounds and looks as it should coming out of my mouth.
It seems easy. It's enjoyable to watch. It's fun. I'm that person. Not me.
And I'm having a really good time!
So.
Just so I don't forget, whenever I feel that crazy "what in the world am I doing and how can it possibly be good?" feeling---
It IS good.
Better than good.
It's polished, it's ready. It's where it's supposed to be.
And so am I.
12 October, 2007
upcoming
Coaching today to prepare for audition tomorrow.
Hopefully callback on Saturday.
Packing on Sunday and Monday for next Saturday.
Returning to city and then going to other-city on Tuesday for audition for previously-sung role- except-that-I-haven't-looked-at-it-since-2004.
Returning to city city on Tuesday night maybe for a MET performance.
Possible audition on Thursday for, um, a house of utmost importance.
In between all that, making sure that I feel prepared for Saturday and the next month.
It's a busy and good time. I like coming home feeling like I can actually fall asleep and I've been productive and working hard all day, and another day just like this one will be ahead of me.
Spent the bday with good friends and family. Got a chance to sing alone for an hour and loved it (I should rent practice rooms because it's pouring rain and I can't shop more often!) Had a great coaching where I know I made a good impression, and feel generally ready to take everything on, so bring it!
Hopefully callback on Saturday.
Packing on Sunday and Monday for next Saturday.
Returning to city and then going to other-city on Tuesday for audition for previously-sung role- except-that-I-haven't-looked-at-it-since-2004.
Returning to city city on Tuesday night maybe for a MET performance.
Possible audition on Thursday for, um, a house of utmost importance.
In between all that, making sure that I feel prepared for Saturday and the next month.
It's a busy and good time. I like coming home feeling like I can actually fall asleep and I've been productive and working hard all day, and another day just like this one will be ahead of me.
Spent the bday with good friends and family. Got a chance to sing alone for an hour and loved it (I should rent practice rooms because it's pouring rain and I can't shop more often!) Had a great coaching where I know I made a good impression, and feel generally ready to take everything on, so bring it!
09 October, 2007
baby steps, huge strides
Today I was offered management.
A good three days before my no-longer-quarter-century-old Birthday.
La. La. La.
What a cool present to myself. Hard work does pay off in the end ... beginning!
A good three days before my no-longer-quarter-century-old Birthday.
La. La. La.
What a cool present to myself. Hard work does pay off in the end ... beginning!
07 October, 2007
more internetsss
Lookie!
More internet reading material, organized in a pretty and fun way! All music blogs. Me likey.
http://www.pageflakes.com/chrisfoley/14649039
(For some reason I can't find the add link button right now. Where have you gone addlink button?
Audition 1 and 2 are down.
Both good, except rep.choice number 2 was a bummer (the piece they chose). If I'm already starting with a piece that is short, I really wish the panel would pick something better than my 2nd shortest piece for the 2nd piece.
Maybe that means I shouldn't start with something short. But it's so fun and goooood. I know what they're trying to see. If I can sing an italianate legato line. GOT IT! But does it have to be the low and show-nothing one? I Know I sing it well, but come on! A little excitement! Go for the hard one!
I just feel like in the starter piece there is only ONE thing that knocks the socks off, and it's the first thing. And everything else about the aria is acting, and not really singing.
And so to pick the little diitty they did for a 2nd, when I have such other grand and much more kick ass pieces like Zerbie or even DurchZ is a bit of a let down.
Ok, maybe that means I'm gonig to re-evaluate what I begin with. Even though I begin with whatever I feel like on whatever day.
Next up, a competition. Totally different rep--this is the "competition winning" rep list and not the "audition" rep list.
Should be fun.
More internet reading material, organized in a pretty and fun way! All music blogs. Me likey.
http://www.pageflakes.com/chrisfoley/14649039
(For some reason I can't find the add link button right now. Where have you gone addlink button?
Audition 1 and 2 are down.
Both good, except rep.choice number 2 was a bummer (the piece they chose). If I'm already starting with a piece that is short, I really wish the panel would pick something better than my 2nd shortest piece for the 2nd piece.
Maybe that means I shouldn't start with something short. But it's so fun and goooood. I know what they're trying to see. If I can sing an italianate legato line. GOT IT! But does it have to be the low and show-nothing one? I Know I sing it well, but come on! A little excitement! Go for the hard one!
I just feel like in the starter piece there is only ONE thing that knocks the socks off, and it's the first thing. And everything else about the aria is acting, and not really singing.
And so to pick the little diitty they did for a 2nd, when I have such other grand and much more kick ass pieces like Zerbie or even DurchZ is a bit of a let down.
Ok, maybe that means I'm gonig to re-evaluate what I begin with. Even though I begin with whatever I feel like on whatever day.
Next up, a competition. Totally different rep--this is the "competition winning" rep list and not the "audition" rep list.
Should be fun.
05 October, 2007
clothing update
I'm now 126 dollars poorer, but 4 cute sweaters richer.
I tried to look for boots, really I did. But it was SO hot today that the thought of even trying to put them on my feet and zip them up high made me dizzy.
I tried to look for boots, really I did. But it was SO hot today that the thought of even trying to put them on my feet and zip them up high made me dizzy.
04 October, 2007
Oh The Places You'll Go
Today I was invited to the final dress rehearsal of Madama Butterfly at the MET by a recent colleague and current singer in one of the upcoming MET productions. She graciously invited me as her guest to the rehearsal, and let's just say it was a BIG day for lil' old me.
AMONG the singers I saw AND met backstage, wandering around, supporting their other colleagues, reporting for rehearsals, etc, etc were:
Angela and Roberto!!! (R I saw just walking into the theater to get ready), A I actually met). Both were donning some sort of urban/Euro fashion t-shirts and looked like they were getting ready to go clubbing--but in a good way.
Maria Ghulegina (sp?) at a Macbeth Reh.
Carlos Alvarez in the hallway backstage Left.
Most of the Butterfly cast in between the 1st and 2nd intermission.
I'm not quite sure how to describe how it felt. Not star-struck, but just a bit in awe that these people work here and I'm in the same hallway as them, at a place that I hope to work one day, and that it would just be completely normal to see them, meet them, and chat with them in the hallway.
About the Butterfly...it was like buttah.
SO pretty. I had seen some pics from last season, read about the production, but could never have expected a thing of so much beauty.
Just go see it yourself if you haven't. You'll be moved by SOMETHING if not the A-mazing singing by Racette and Roberto, as well as a very strong supporting cast.
The one comment I do have- orchestra was a bit all over the place, PLUS they were too loud (not for Patricia), but for just about everyone else.
And I was sitting in row K.
I know sometimes it cuts better to the back of the house, but the voices for most of Act I were close to inaudible if their parts weren't written as soaring high notes OVER the orchestra.
Couldn't even hear the chorus bits during the wedding scene that much and that's about all that's going on in the pitter-patter chit-chat scene.
ALSO, it's a small world after all---after attending the same "institution of learning" a few years back and being acquaintances in Chorale/Chorus (well, more like I was a freshman and knew who the soloist grads were and she may not have had a clue who I was), I met ACB in person. She checked out Act I and II before dashing off to a coaching/rehearsal of her own.
After that, some down time on the UWS and then a dinner of mixed business and pleasure to catch up and plan for the future.
Tomorrow: Shopping. Maybe some boots, Maybe some fall/winter wear if I'm inspired and not in a shopping-hating mood.
AMONG the singers I saw AND met backstage, wandering around, supporting their other colleagues, reporting for rehearsals, etc, etc were:
Angela and Roberto!!! (R I saw just walking into the theater to get ready), A I actually met). Both were donning some sort of urban/Euro fashion t-shirts and looked like they were getting ready to go clubbing--but in a good way.
Maria Ghulegina (sp?) at a Macbeth Reh.
Carlos Alvarez in the hallway backstage Left.
Most of the Butterfly cast in between the 1st and 2nd intermission.
I'm not quite sure how to describe how it felt. Not star-struck, but just a bit in awe that these people work here and I'm in the same hallway as them, at a place that I hope to work one day, and that it would just be completely normal to see them, meet them, and chat with them in the hallway.
About the Butterfly...it was like buttah.
SO pretty. I had seen some pics from last season, read about the production, but could never have expected a thing of so much beauty.
Just go see it yourself if you haven't. You'll be moved by SOMETHING if not the A-mazing singing by Racette and Roberto, as well as a very strong supporting cast.
The one comment I do have- orchestra was a bit all over the place, PLUS they were too loud (not for Patricia), but for just about everyone else.
And I was sitting in row K.
I know sometimes it cuts better to the back of the house, but the voices for most of Act I were close to inaudible if their parts weren't written as soaring high notes OVER the orchestra.
Couldn't even hear the chorus bits during the wedding scene that much and that's about all that's going on in the pitter-patter chit-chat scene.
ALSO, it's a small world after all---after attending the same "institution of learning" a few years back and being acquaintances in Chorale/Chorus (well, more like I was a freshman and knew who the soloist grads were and she may not have had a clue who I was), I met ACB in person. She checked out Act I and II before dashing off to a coaching/rehearsal of her own.
After that, some down time on the UWS and then a dinner of mixed business and pleasure to catch up and plan for the future.
Tomorrow: Shopping. Maybe some boots, Maybe some fall/winter wear if I'm inspired and not in a shopping-hating mood.
03 October, 2007
back in the saddle again
First real audition in a while yesterday.
Went really well. Sang a starter piece that I haven't used it at least 2 years.
I was actually excitedly nervous about it! But the love shown through.
So I give it like a 8.9 or 9 due to the fact that I sang and acted it well but it felt like a comfy old college sweatshirt that I was putting on after finding it in the back of my closet years after graduation. That's not a bad thing, it just didn't feel like this new shiny thing that I had worked on recently to perfect.
I should try to set up some coachings while I'm here, decide what things I'm auditioning for that aren't mainstage, and really try to come up with more of the plan a, plan b, kind of stuff, instead of just have it in my head as this possibility of things I can do IF such and such does or does not happen.
But for now, relaxing, letting the previous show go, thinking about the next few auditions coming up, and just excited to be in the big apple again.
Went really well. Sang a starter piece that I haven't used it at least 2 years.
I was actually excitedly nervous about it! But the love shown through.
So I give it like a 8.9 or 9 due to the fact that I sang and acted it well but it felt like a comfy old college sweatshirt that I was putting on after finding it in the back of my closet years after graduation. That's not a bad thing, it just didn't feel like this new shiny thing that I had worked on recently to perfect.
I should try to set up some coachings while I'm here, decide what things I'm auditioning for that aren't mainstage, and really try to come up with more of the plan a, plan b, kind of stuff, instead of just have it in my head as this possibility of things I can do IF such and such does or does not happen.
But for now, relaxing, letting the previous show go, thinking about the next few auditions coming up, and just excited to be in the big apple again.
01 October, 2007
you made me doooo eeeet
Instead of trying to fall asleep BEFORE midnight, and inspired by the myriad new links to new blogs that I've just been clicking on through OTHER people's websites for the past few months (namely ACB and OC), I sorta kinda updated the "websites I frequent while not checking my email every 5 minutes or memorizing music". Except this time it's "websites I frequent while I should be SLEEPING since I have to wake up at the ungodly, ok, unsingerly hour of 8am to get on a plane!"
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