more than just updates

Ok, I'm sick of unpacking and packing, so I will write more.
I will write about my recently added aria.

I have known it was out there, in some version or other, I know the show, I know the role would be great for me, but it was never as "interesting" of an aria, as any of my other standard French pieces. It's a little out there, a little too much piano interlude music and too little singing (although the singing is quite nice), a little too much low/middle and not as much exciting high (there's only a C), but it's a sweet little piece, and it's very specific to a certain look/voice/need in the opera.

I learned it last week (see previous discussion on how thankful I am that I can learn music quickly and well), and offered it two days ago as a second piece.
It was chosen (even after I started with French), and it went---really--well!

I filled the musical nonsinging parts with dramatic involvement, found the character really sweet and fun, had good concentration, and got a nice comment or two after the whole thing too.

So- am I going to keep it? Sure. I suppose it's one of those things that can be phased in and out- much like the doll song. If someone is casting for it, I offer it. Otherwise, it's requested from the 2nd verse--IF I offer it (which all this year I have not been due to my first starting aria in French).

I have an audition that I'm specifically singing for this role again next week, and I'll be sure to think more about it and brush it up. And it's even getting me thinking about possibly not starting with my normal French (since another role I'm up for in the repertoire COULD be a "short and sweet" starter--and then they'll definitely ask for this French).

Hmm..things to think about.

What else?
Competition went veeeeeery well (as in, I'll be receiving the check hopefully in the next few weeks).
I sang Queen and Glitter- a delectable combination of fiery coloratura and crowd pleasing acting and comic timing--so I think it was well-deserved, and, supposedly there is a recording out there (that the panel made) that is floating around, so maybe it'll even be decent enough to use if that's an option.

Oh, competitions. I could look at Yaptracker for HOURS and try to see which ones I should do or not. But they all seem like such a crapshoot.
Some are the artsy- we want musicality/crazy arias/ the judges themselves run opera companies and know what they are talking about.
And some are just- we're the little opera theatre of next door, our donors and previous-winners are the judges, and we want to hear big italian arias so that we can cast you in our predictable season next year and you will win first place.

Ok, I totally understand that. You have to know your audience.
Just like in any job interview, or job situation.
Know your audience.
What do THEY want to hear?
Will they be totally put off by a Zerbie?
Would they like the fireworks of Lakme even though it's "less known"? Or should you just give 'em good old Queen, Caro Nome, Traviata, (NO, not ME, just in general)...and the crowd pleasing biggies for the audience vote?

So I learn and I adapt and I try. And I don't care how many people think coloraturas always win competitions--it's NOT true when in competition with the Italianate voice (of any kind- sop/mezz/ten/bar/bass) in a competition where pleasing the audience with an old favorite is the goal.