Tonight we had the rehearsal for the designers and costumers, also known as the final room run.
I was feeling bla vocally due to the lingering crap in my throat, but pulled it together, warmed up, and gave it everything I had for the run.
Things to think about---
Regnava- This is the first piece, and as much as I want to ground myself, of course I know I'm going to get nervous. I have to remember the lowness, the grounding, and also mix that with the light youthful character I want to portray.
The Edgardo duet- When I get to verrano a te it's SUCH an exposed moment. Take my time, BREATHE, and make it seamless and calm.
The Enrico duet- The emotions feel SO good in this one. So heated. But I can't let it get to me. By the end of the duet I was like- OH- I'm LOUD and CRAZY and if I keep going I'm not going to have enough left for the mad scene.
But that was for like a split second and then I calmed down.
The sextet- all goes smoothly. I know what to accent, and it's actually very serene for me.
Aaaaand then the mad scene.
Find the arc. Live it. Don't think about what's coming up next or what passed. Be in the moment.
Concentrate on those 2 tag lines that are orchestra-less, and make sure the runs leading up to the next entrance are pitch perfect.
The flute cadenza- pacing through emotional content.
Watch the recap of verrano a te--that it doesn't get too 'white' sounding, although I'm trying to make it eery.
Spargi. Ok, yea, I'm tired. But it's still all there. If anything, with more energy. And it's almost over- so give it EVERYTHING.
Aaand that's about it!
I feel good. My voice feels fine (like, could I do this whole thing again at 2 pm tomorrow with the same energy? since I have to for our Saturday/Sunday matinee weekend?)
It feels good. I can dooooo eeeeet.
I like it. Now if I could only wash the fake blood off of my arms, shoulders, and legs. That stuff ends up everywhere!!!
One week and 2 days til the show y'all.