While everyone else gets to enjoy Christmas, family time, and a vacation, my work begins this weekend.
Two productions of Magic Flute, 5 performances in two weeks, trains, automobiles, and hopefully NOT planes.
The first production just 're-rehearsed' for 2 days this week. Thankfully, this one has a cut version of the dialogue, very easy staging, and not much to do. So four out of my 5 performances will be relatively low-stress. There is ONE thing that I'm not too happy about and that is the conductor who led this piece over a year ago, with a totally different cast, not even taking the time to ask us about tempi or what felt good. And what he took just didn't do it for me. Yes, I can sing the first aria's first part super slow, and then the coloratura super fast. And yes, I can sing the second aria in your 'slower' tempo than I'd actually like, but you know what? If you really wanted me to 'sparkle', you'd FOLLOW ME! or at least ask how the tempo was after the rehearsal or during break! But, no. Instead you waved your little hands around and made the orchestra sound pretty at the tempo that you wanted to have the pieces sung/played at. Not so fun. Plus, when the arias are SO slow, I start thinking - hey, do I actually KNOW this text? And then of course I blank. Sooo-- that's awesome. I know it's coming now, so I'll be more prepared than our one rehearsal which happened to also be the first time onstage which happened to also be the first time with costumes/makeup and orchestra. Great.
Now to the second show, which worries me just a teeeeny bit more. I sang this production ONCE, two years ago. The text is the LONG version and for some reason I have NO recollection of ever having memorized it! (awesome, #not). Also, I wrote down the blocking (2 yrs ago in chicken scratch)...soo.... that has to be deciphered. And of course for production #2 there is no prompter and there is NO brush-up rehearsal since I'm the only person that's new and they just had performances of this show a month ago! Gah. Sooo--- that should be fun times as well.
All of this plus- it's the WINTER! I'll be in HOTELS! Sleeping POORLY! JOY TO THE WORLD! I'm still getting better from a super-long super-horrible cold two weeks ago. I know, negative nelly and debbie downer right now, but I have to get it OUT or else it will still BE there when I go to do the shows. So, it's over and done with. Now time to decipher the blocking, practice the arias in a slower tempo, and stay HEALTHY for the next two weeks.
20 December, 2013
10 December, 2013
writing
Recently read an article in the Times about job-seekers who were asked to write about their current job-less-ness as part of their further application process in order to actually get a job (ie, meet with couselors, fill out forms, etc.) And of course, it turns out that the more people wrote about their past experiences, even the fact that they were bad/negative and they DIDN"T have a job or were fired/let go from their job, the faster they got new work.
Now, I can't start making comparisons immediately- but let's take a quickie look at this here lil' blog and I sadly see that as far back as 4 or 5 years I was writing almost every other day- the yearly entries around 200-300. And now I'm at a measly 30 per year? I'm not going to connect that with the current state of my work-- because work in different countries is different, and also because I was still in the YAP track back then. But- maybe it WOULD do some good to 'write it out' and just see if that approach leads me to any new revelations about where I"m going next.
2013 began with what was possibly the highlight of my career in terms of gig visibility/publicity, etc. I was on a great roll, and kept rolling with it as an offer came it to bring the show to another theater, in between a zerbinetta or two and a queen or two.
I guess that was the 'prime time', and I did try my best to make as many connections and RE-connect with as many people in the biz as possible. So, I did my job- but it's tough to follow up when NOT that much new and exciting is happening.
Yes, I have 2 more queens and a zerb.
I'm not flying back to the US for auditions this year, as I've been told there really aren't any-- well, specific to my repertoire. I've had a few auditions in Germany that have yielded some of the most bizarre feedback I've heard-- possibly also due to the fact that they were in some of the most bizarre settings that I've ever had to sing in-- ie, the theater is under construction, let's set up bleachers in an old warehouse and erect a stage out of metal and clapboard--aaaand go.
Then on an audition that I really felt I nailed (and even have the recording offstage to 'prove' it)- another resounding no with feedback that I can't really do anything with or do anything about to change. It's just my voice and if you don't like it or it's not in 'style' right now-- sorry not sorry.
So I have one more next week. For a role that I've sung a few years back. A FUN role. I would REALLY just like to 'nail' something. I have work in 2014 (well, one production). And I want ONE more at least.
Even better, here's my list of "THINGS": Just putting it out there----
I want to work with ONE new theater (ie, get a job for '14 or '15) in Europe. (preferably the role I'm about to audition for, mmmkay?)
I want to get asked back by ONE of the theaters that I've already worked with in Europe.
I want to get asked back OR get asked to work with a theater in the US in 2015- I know, without an audition this season-- but...a girl can dream, right?
I want to SOMEHOW find concert contacts and get TWO concert bookings- either arias with orchestra or something like Carmina or Messiah for next Xmas season.
And then I want something totally out of the blue to happen with the modern/contemporary music that I have around.
Basta.
What am I doing to GET all of the 'THINGS'??
Well, I set up a consultation with a possibly new voice teacher in January.
I am going to send a recording with a letter to all of the bigger orchestras here (I've already penned this ages ago, so need to update it and get around to really finding all of the contact info. and sending it, I mean REALLY).
I am going to try and find SMALLER ensemble opportunities for ongoing gigs in the area. I don't yet know how I'm going to do this. I did it for the past 2 years but when the lower-pay of small-time ensembles is NOT offset by my travel costs, it's not really worth it. So I have to go local...or, MORE local than a 60 Euro train ride or 65 Euros in gas.
That's all for now, folks.
Now, I can't start making comparisons immediately- but let's take a quickie look at this here lil' blog and I sadly see that as far back as 4 or 5 years I was writing almost every other day- the yearly entries around 200-300. And now I'm at a measly 30 per year? I'm not going to connect that with the current state of my work-- because work in different countries is different, and also because I was still in the YAP track back then. But- maybe it WOULD do some good to 'write it out' and just see if that approach leads me to any new revelations about where I"m going next.
2013 began with what was possibly the highlight of my career in terms of gig visibility/publicity, etc. I was on a great roll, and kept rolling with it as an offer came it to bring the show to another theater, in between a zerbinetta or two and a queen or two.
I guess that was the 'prime time', and I did try my best to make as many connections and RE-connect with as many people in the biz as possible. So, I did my job- but it's tough to follow up when NOT that much new and exciting is happening.
Yes, I have 2 more queens and a zerb.
I'm not flying back to the US for auditions this year, as I've been told there really aren't any-- well, specific to my repertoire. I've had a few auditions in Germany that have yielded some of the most bizarre feedback I've heard-- possibly also due to the fact that they were in some of the most bizarre settings that I've ever had to sing in-- ie, the theater is under construction, let's set up bleachers in an old warehouse and erect a stage out of metal and clapboard--aaaand go.
Then on an audition that I really felt I nailed (and even have the recording offstage to 'prove' it)- another resounding no with feedback that I can't really do anything with or do anything about to change. It's just my voice and if you don't like it or it's not in 'style' right now-- sorry not sorry.
So I have one more next week. For a role that I've sung a few years back. A FUN role. I would REALLY just like to 'nail' something. I have work in 2014 (well, one production). And I want ONE more at least.
Even better, here's my list of "THINGS": Just putting it out there----
I want to work with ONE new theater (ie, get a job for '14 or '15) in Europe. (preferably the role I'm about to audition for, mmmkay?)
I want to get asked back by ONE of the theaters that I've already worked with in Europe.
I want to get asked back OR get asked to work with a theater in the US in 2015- I know, without an audition this season-- but...a girl can dream, right?
I want to SOMEHOW find concert contacts and get TWO concert bookings- either arias with orchestra or something like Carmina or Messiah for next Xmas season.
And then I want something totally out of the blue to happen with the modern/contemporary music that I have around.
Basta.
What am I doing to GET all of the 'THINGS'??
Well, I set up a consultation with a possibly new voice teacher in January.
I am going to send a recording with a letter to all of the bigger orchestras here (I've already penned this ages ago, so need to update it and get around to really finding all of the contact info. and sending it, I mean REALLY).
I am going to try and find SMALLER ensemble opportunities for ongoing gigs in the area. I don't yet know how I'm going to do this. I did it for the past 2 years but when the lower-pay of small-time ensembles is NOT offset by my travel costs, it's not really worth it. So I have to go local...or, MORE local than a 60 Euro train ride or 65 Euros in gas.
That's all for now, folks.
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