Dear Director of Magic Flute from 2003, you aren't at the opera house anymore, but last night I had to learn your blocking and staging for your Queen of the Night from your 'vision-2003' production because I did my first 'real' German Einspring!
That means that I got a call from the theater at 6pm on Thursday with the questions- where am I, and am I available to sing on Friday?
And so, at 11:45 today I had a costume fitting (they requested my measurements from previous-long-term-German-Queen-gig and had already altered the thing for me!), at 12:30 I watched the dvd, and from 13:00-13:30 I had a room rehearsal with the assistant director and the conductor (who was ALSO new that night and had NEVER worked with the orchestra before because he was AUDITIONING himself! To be the conductor next year!).
Ok, so then I get to see the set shortly before the show opens. And, oh dear director o'mine, you decided it would look "TOTALLY AWESOME" if the Queen sang her first aria from BEHIND A BLACK SCRIM ALL THE WAY UPSTAGE IN A PICTURE WINDOW!!
Really? I mean....rrrreeeaalllly?
First of all, I'm fine with singing stuff totally upstage. That wasn't the issue. It IS a bummer when you know you want to make a big splash with the first queen's aria and you're one MILLION meters away from the first row, and so you KNOW that the orchestra will be pounding out that B section no matter how well I support and carry and ping, and .etc.etc.
Secondly, your 'blocking' involved making 'pictures'/still images of a Queen with 'red' in the background. Soooo...I'm wearing a red dress that looks like a blazing half sun and WEIGHS a HALF TON (I could have fit three ME's underneath the span of the skirt). And you want me to simply look right once, look left once, make one hand motion and otherwise look straight forward and be a stone.
Ok then.
Now let's get to my FAVORITE part. The BLACK SCREEN in front of me which made it utterly impossible and I mean this was on the verge of scary-impossible to SEE the conductor. Both in the PIT and on the MONITOR to the top left-- all I could see through the black was a tiny gray/white image of a BODY, but certainly no stick waving or anything like that.
Not something they really prepared me for or told me about...would have been nice to know that I couldn't see anything AND I can't go by sound since I'm a good 50 feet behind the orchestra pit.
So in the first aria I was frozen not because of your genius staging, but because there was literally no way that if I moved I could keep any kind of focus on that gray blob whose body language I was attempting to follow.
PS- I HAVE sung behind scrims before- both for Queen's first aria and in Barber of Seville before Rosina's first aria-- however for some reason, the lighting and, oh, the fact that I had REHEARSED with the maestro numerous times before, made singing and not seeing no problem at all.
Other than that moment of realizing- ok then, I'll be singing the B section in THIS tempo and let's hope he goes with me, because I sure can't go with him--- everything was great and fun and did I mention fun?!
The 2nd aria had extra dialogue that I hadn't had for 2 years plus a few extra lines that I had never had for Queen before. So I had to learn that on the fly. They even had a souffleuse there (prompter), but I didn't need that and I just did my thing and then sang the aria and stormed off to a lot of applause!
Then I got to hang around, as usual, for the anti-climactic last death-quintet, take my bow, and head home on the train.
It was a really fun day. I don't know whether I'd like to do this type of thing with a LONGER role where you really have to make sure that you remember EVERY thing new about the new staging that is being thrown at you...but it's so easy when Queen is only onstage 3 times.
And so I say- bring it on! This month has been totally awesome in terms of last minute things coming up. And even though I'm completely exhausted, I have the weekend, I'm relaxing, and will be as good as new for next week's travels!
Showing posts with label HighFs. Show all posts
Showing posts with label HighFs. Show all posts
18 June, 2011
16 June, 2011
ps a note about queenie
Hey there Mr. Opera Casting Person!
You got to judge me yesterday, but now I shall judge you, ok?
When the feedback I get is "sang it amazingly, her queen didn't seem 'evil' enough", you, my friend, lose 2 points.
If you think that ANY director in their right mind would ever tell a queen "you're angry/evil" in EITHER the 2nd or the first aria, you are wrong.
Yes, the COMMON FOLK who think of the opera characters as 'good' or 'evil' can say that yes, Sarastro is 'good', and queen is 'evil'. Therefore when they hear the aria, they think 'mean', 'angry', 'evil'.
But if you'd stop and pay two quick seconds to the WORDS and the DRAMA of the piece, you would realize that the queen is just about anything BUT that.
She is SAD, defeated, SOMEWHAT vengeful, longing for a daughter whose capture has broken her heart and made her vow never to be in the company of a CERTAIN man ever again. She is actually power-LESS (as her power was taken away by her OWN HUSBAND and given to SARASTRO). She is mustering every last strength she has and HOPING that her pleas and sighs will convince a. Tamino to go on a mission FOR her, and in the 2nd aria she feels BETRAYED and sure, is 'angry' at her daughter, but is also trying to get her to DO something to her arch-nemesis.
So, ANGRY? EVIL? No.
Minus two for you there, my friend. But thanks for liking my high notes anyway.
You got to judge me yesterday, but now I shall judge you, ok?
When the feedback I get is "sang it amazingly, her queen didn't seem 'evil' enough", you, my friend, lose 2 points.
If you think that ANY director in their right mind would ever tell a queen "you're angry/evil" in EITHER the 2nd or the first aria, you are wrong.
Yes, the COMMON FOLK who think of the opera characters as 'good' or 'evil' can say that yes, Sarastro is 'good', and queen is 'evil'. Therefore when they hear the aria, they think 'mean', 'angry', 'evil'.
But if you'd stop and pay two quick seconds to the WORDS and the DRAMA of the piece, you would realize that the queen is just about anything BUT that.
She is SAD, defeated, SOMEWHAT vengeful, longing for a daughter whose capture has broken her heart and made her vow never to be in the company of a CERTAIN man ever again. She is actually power-LESS (as her power was taken away by her OWN HUSBAND and given to SARASTRO). She is mustering every last strength she has and HOPING that her pleas and sighs will convince a. Tamino to go on a mission FOR her, and in the 2nd aria she feels BETRAYED and sure, is 'angry' at her daughter, but is also trying to get her to DO something to her arch-nemesis.
So, ANGRY? EVIL? No.
Minus two for you there, my friend. But thanks for liking my high notes anyway.
15 June, 2011
24 hours of crazy, part 3
Today's post is brought to you by the letters: K, L, and M--
Since I've spent a better part of the past 18 hours in airplanes flown by KLM.
Firstly, who came up with the name Fokker for an airplane? Because hearing our pilot say that we'll be flying this City Hopper flight in a Fokker 700 in a "Netherland" accent (ie, Swedish Chef to me) definitely brought out the giggles.
Ok, so yesterday I had to fly to Glasgow for an audition. I booked my flight last week, and since everything this month seems to be happening last minute, I paid a pretty penny for it.
Except that there are no direct flights to Glasgow, so I had to fly to Amsterdam first.
First flight was 7-8pm, next flight was 9:05-10:30pm...
Except that APPARENTLY I have the worst airplane taxi karma EVER---
Because even though our first flight (the fokker) landed at approximately 8:05, we took a little tour of runways A through Z, to get a lay of the land, see the scenic winding rivers of the countryside, THEN park a million miles away from the gate, THEN have some fool forget a SPY novel on the plane, so that the bus to the terminal couldn't leave until someone had claimed it, and THEN arrive at the terminal-- the terminal that was MOST far away from my CONNECTING flight which was now clearly into LATE BOARDING.
As I'm running through Schippol Airport at 8:42pm, I am thinking:
a. I'm not amused as this horrible layout of one 'choke' point and then breaking off in every direction for different terminals.
b. WHY THE HECK do I have to go through ANOTHER passport check AND SECURITY SCREENING?!?! I JUST GOT OFF OF AN AIRPLANE! Have I somehow acquired bomb-making materials in the past 52 minutes since being screened in Germany? Was THEIR metal detector not good enough?
c. Running sucks.
d. Usually Asian business men are my go-to people to stand behind in the security line, but this time, really? WHO DOESN"T KNOW that you have to take the laptop OUT of your bag, OUT of it's case and put it BY ITSELF in a bin through the Xray machine by now? Really? WHO?
Ok, so I make it to gate B24 and-- surprise surprise!!! We have to go through ANOTHER security machine! Yep, xrays and all...(that's three times in less than an hour and a half).
I'm the last person to board the plane, but since I don't have a roll-on carry on it's fine- no need to fight for overhead storage.
Flight to Glasgow is fine- oh, and let me mention (TAKE NOTE, AMERICA and your CRAPPY NO SERVICE DOMESTIC AIRLINES) that on BOTH of these flights, one of which lasted UNDER one hour, I was PLEASANTLY offered TWO free snacks (savory and sweet), and had drink service AND duty free cart choices (had I wanted to spend 8 euros on a Toblerone).
Arrive in Glasgow, and hey Toto, we're not in a EU country anymore.
I actually had to fill out on of those forms saying why I'm here and where I'm staying...and stand in the FOREIGNER line!
It has happened to me now both in Glasgow and London at immigration-- I'm asked why I'm there, and I say for an audition with xyz opera house, and of COURSE I look like crap. I mean, I'm wearing ripped jeans, sneakers, a university hoodie, hair in a busted up high bun so that I can lean my head back on the airplane seat without getting a headache, bright orange backpack stuffed with audition clothes and my music..looking a MESS, and I have to tell them I'm singing an audition at this prestigious opera house.
The double take is kind of priceless.
But they let me into their country.
A 22 pound cab ride later (I don't want to think about how many Euros that actually is to drive 14 kilometers), and I'm checked into my hotel by 11pm.
Next morning- wake up early but stay in bed watching BBC in ENGLISH! Eventually take a shower, do some lip trills, check out, walk 4 blocks to the audition location (I'm there super early since I had to check out by noon, but the audition wasn't until 2:30).
However, due to scheduling, I'm asked to sing earlier- and FIRST!
Hurray- at 1pm I sing Queen2 aria, then asked for Queen1 aria.
Both of which I rocked.
NOTE to ... whoever cares to read this and is in a position on the 'other' side of the table.
Umm, when scheduling an audition for an opera company in a big hall with a grand piano- you MIIIIIGHT want to make sure that the piano is TUNED properly from TOP to BOTTOM- because...when an auditioner is singing Queen of the Night and has to hit High F's as WELL as low F's in the span of about 2 measures, and suddenly the left hand of the piano comes trouncing in halfway through a cadenza which you are otherwise ON PITCH for with the RIGHT hand of the piano...yea...that's not a good sign.
So, I finish my audition, get in another cab and 20 pounds later, I'm enjoying a 10 pound lunch of chicken and chips (I couldn't do fish 'n chips...too risky for an airport restaurant plus having to fly on 2 flights immediately after that).
The rest of my flights were uneventful, as I had plenty of time for my lay-over in Amsterdam this time (except that I'm an idiot and forgot that I had to go through one million security checks again and I bought a bottle of WATER which I had to CHUG half of and pour out the other half of in order to get to my gate).
I arrived home around 11pm, tired but glad to be home.
HOME for 5 more days before another round of travel.
Since I've spent a better part of the past 18 hours in airplanes flown by KLM.
Firstly, who came up with the name Fokker for an airplane? Because hearing our pilot say that we'll be flying this City Hopper flight in a Fokker 700 in a "Netherland" accent (ie, Swedish Chef to me) definitely brought out the giggles.
Ok, so yesterday I had to fly to Glasgow for an audition. I booked my flight last week, and since everything this month seems to be happening last minute, I paid a pretty penny for it.
Except that there are no direct flights to Glasgow, so I had to fly to Amsterdam first.
First flight was 7-8pm, next flight was 9:05-10:30pm...
Except that APPARENTLY I have the worst airplane taxi karma EVER---
Because even though our first flight (the fokker) landed at approximately 8:05, we took a little tour of runways A through Z, to get a lay of the land, see the scenic winding rivers of the countryside, THEN park a million miles away from the gate, THEN have some fool forget a SPY novel on the plane, so that the bus to the terminal couldn't leave until someone had claimed it, and THEN arrive at the terminal-- the terminal that was MOST far away from my CONNECTING flight which was now clearly into LATE BOARDING.
As I'm running through Schippol Airport at 8:42pm, I am thinking:
a. I'm not amused as this horrible layout of one 'choke' point and then breaking off in every direction for different terminals.
b. WHY THE HECK do I have to go through ANOTHER passport check AND SECURITY SCREENING?!?! I JUST GOT OFF OF AN AIRPLANE! Have I somehow acquired bomb-making materials in the past 52 minutes since being screened in Germany? Was THEIR metal detector not good enough?
c. Running sucks.
d. Usually Asian business men are my go-to people to stand behind in the security line, but this time, really? WHO DOESN"T KNOW that you have to take the laptop OUT of your bag, OUT of it's case and put it BY ITSELF in a bin through the Xray machine by now? Really? WHO?
Ok, so I make it to gate B24 and-- surprise surprise!!! We have to go through ANOTHER security machine! Yep, xrays and all...(that's three times in less than an hour and a half).
I'm the last person to board the plane, but since I don't have a roll-on carry on it's fine- no need to fight for overhead storage.
Flight to Glasgow is fine- oh, and let me mention (TAKE NOTE, AMERICA and your CRAPPY NO SERVICE DOMESTIC AIRLINES) that on BOTH of these flights, one of which lasted UNDER one hour, I was PLEASANTLY offered TWO free snacks (savory and sweet), and had drink service AND duty free cart choices (had I wanted to spend 8 euros on a Toblerone).
Arrive in Glasgow, and hey Toto, we're not in a EU country anymore.
I actually had to fill out on of those forms saying why I'm here and where I'm staying...and stand in the FOREIGNER line!
It has happened to me now both in Glasgow and London at immigration-- I'm asked why I'm there, and I say for an audition with xyz opera house, and of COURSE I look like crap. I mean, I'm wearing ripped jeans, sneakers, a university hoodie, hair in a busted up high bun so that I can lean my head back on the airplane seat without getting a headache, bright orange backpack stuffed with audition clothes and my music..looking a MESS, and I have to tell them I'm singing an audition at this prestigious opera house.
The double take is kind of priceless.
But they let me into their country.
A 22 pound cab ride later (I don't want to think about how many Euros that actually is to drive 14 kilometers), and I'm checked into my hotel by 11pm.
Next morning- wake up early but stay in bed watching BBC in ENGLISH! Eventually take a shower, do some lip trills, check out, walk 4 blocks to the audition location (I'm there super early since I had to check out by noon, but the audition wasn't until 2:30).
However, due to scheduling, I'm asked to sing earlier- and FIRST!
Hurray- at 1pm I sing Queen2 aria, then asked for Queen1 aria.
Both of which I rocked.
NOTE to ... whoever cares to read this and is in a position on the 'other' side of the table.
Umm, when scheduling an audition for an opera company in a big hall with a grand piano- you MIIIIIGHT want to make sure that the piano is TUNED properly from TOP to BOTTOM- because...when an auditioner is singing Queen of the Night and has to hit High F's as WELL as low F's in the span of about 2 measures, and suddenly the left hand of the piano comes trouncing in halfway through a cadenza which you are otherwise ON PITCH for with the RIGHT hand of the piano...yea...that's not a good sign.
So, I finish my audition, get in another cab and 20 pounds later, I'm enjoying a 10 pound lunch of chicken and chips (I couldn't do fish 'n chips...too risky for an airport restaurant plus having to fly on 2 flights immediately after that).
The rest of my flights were uneventful, as I had plenty of time for my lay-over in Amsterdam this time (except that I'm an idiot and forgot that I had to go through one million security checks again and I bought a bottle of WATER which I had to CHUG half of and pour out the other half of in order to get to my gate).
I arrived home around 11pm, tired but glad to be home.
HOME for 5 more days before another round of travel.
07 June, 2011
24 hours of crazy part 2.1
Tuesday 9am (after a crappy night's sleep in a foreign bed in an OperWohnung): Get up and get ready for an 11 am performance. Realize around 9am that I have forgotten my passport. And that I have a FLIGHT from German city A to German city B at 2:45. Call Lufthansa. Get assurance that if I have a COPY of my passport and a German driver's license (which thankfully I DO have), I SHOULD be ok.
11am-12:20-show.
12:20- starts POURING rain in city A. I get on a train for the airport.
1pm-2:45pm FREAKING out at the airport because if my flight does NOT leave at 2:45 and arrive at 3:40, after which I have to get in a car, drive for another hour to reach city 2, I will NOT make my makeup call.
Freak out includes:
Think about renting a CAR and driving for 4.5 hours through the pouring rain. BUT, I had time at the airport...do I just GET in the car NOW and maybe make it even though I have to drive through horrid weather, OR do I take the chance that it will clear up and NOT rent a car, but WAIT for the plane? If the plane is late, it's already too late to rent a car.
OK so as I'm watching the rain PELT the runway..I'm waiting and waiting...and FINALLY- the SUN!!! here comes the sun! doot 'n doo doo!!!
Plane arrives, gets emptied, gets cleaned, we BOARD it AND leave ON TIME!
And we LAND! ON TIME! Except for taking that SILLY bus from the plane to the terminal- why do I always have to be on the flight that parks at the FARTHEST possible spot away from the terminal? Thanks.
Get picked up by the husband and his family who are coming to see the show tonight in city B for the first time (no pressure or anything!), AND get to the theater in PLENTY of time to re-warm up, eat a sandwich, get into makeup, feel totally exhausted, and still rock out my last queen of the night in city B.
Part 2.1 continues RIGHT NOW- as I have to get back to CITY A tomorrow before 9:30am.
I am back at home, and will have to get on the road at 5am.
Yea, it's 11:40pm right now.
Wish me luck with that whole energy thing tomorrow please.
11am-12:20-show.
12:20- starts POURING rain in city A. I get on a train for the airport.
1pm-2:45pm FREAKING out at the airport because if my flight does NOT leave at 2:45 and arrive at 3:40, after which I have to get in a car, drive for another hour to reach city 2, I will NOT make my makeup call.
Freak out includes:
Think about renting a CAR and driving for 4.5 hours through the pouring rain. BUT, I had time at the airport...do I just GET in the car NOW and maybe make it even though I have to drive through horrid weather, OR do I take the chance that it will clear up and NOT rent a car, but WAIT for the plane? If the plane is late, it's already too late to rent a car.
OK so as I'm watching the rain PELT the runway..I'm waiting and waiting...and FINALLY- the SUN!!! here comes the sun! doot 'n doo doo!!!
Plane arrives, gets emptied, gets cleaned, we BOARD it AND leave ON TIME!
And we LAND! ON TIME! Except for taking that SILLY bus from the plane to the terminal- why do I always have to be on the flight that parks at the FARTHEST possible spot away from the terminal? Thanks.
Get picked up by the husband and his family who are coming to see the show tonight in city B for the first time (no pressure or anything!), AND get to the theater in PLENTY of time to re-warm up, eat a sandwich, get into makeup, feel totally exhausted, and still rock out my last queen of the night in city B.
Part 2.1 continues RIGHT NOW- as I have to get back to CITY A tomorrow before 9:30am.
I am back at home, and will have to get on the road at 5am.
Yea, it's 11:40pm right now.
Wish me luck with that whole energy thing tomorrow please.
04 June, 2011
24hrs of crazy part 1
This segment will be continued this week and next--but for now:
Last night- Koenigin performance until 9:59. Run off stage, wait (im)patiently for the wig to come off, having already half stripped in the makeup/wig room but holding everything up around me to remain decent, get the costume off, get the street clothes on, RUN to the hauptbahnhof and make a train at 10:10PM so that I can be home by MIDNIGHT.
Why midnight? Well, from 12-12:09am, pack my music for audition tomorrow, find my audition outfit and heels, get my bag ready and my water bottle filled, so that I can SLEEP from 12:10-5am.
Sleep like crap (obviously, because I have to wake up early, and whenever I have an alarm set for super early I never sleep well), wake up at 5am in the middle of a horrible dream that I was at the audition and they asked for pieces of music that I didn't know.
Take a shower, DRY MY HAIR (this takes a longer time these days since it's so LONG and I haven't had TIME to get it cut in like...8 months..awesome). 5:26 out the door, 5:30- tram to the hauptbahnhof, 5:44 walk to the platform, 6am, catch a TGV train for an audition 2 hours away.
Can't sleep on the train because it smells like ... it's not ladylike to say, but...the bathroom...in a BAD way, and a kid is crying in my train car but I'm too tired to go find another seat even though I'm sure if I walked for about 30 seconds I could have some peace and quiet.
8am- arrive at audition hauptbahnhof. Still too early to check into the audition, and I'm exhausted- where to sit indoors and kill and hour? McCafe.
Order a tea, review this new insane music that I've been requested to bring to the audition (modern piece that has like some cowbell and chimes and then I have to find my note out of thin air), attempt to do some lip trills. Fail- it's too early and I'm too tired.
9am- start walking through the city to the opera house. 9:20- arrive at the opera house, check in at the artist entrance, get directed to the KBB office (stop in the bathroom first to put my audition clothes on so I don't walk in there in my sweatpants and University sweatshirt which is my favored travel outfit), check in at the KBB- I'm first, surprise, surprise.
List my arias, go warm up. FINALLY in the warmup room my voice and body decide to wake up a little.
25 min. later I got to rehearse with the pianist who also just got this modern music yesterday...
One hour later- I'm the first audition.
I know they need to hear a high F and a high G, so I just flat out say- I have Queen aria, or modern-aria, or I can start with Zerbinetta as I usually do.
They say start with Zerb.
Then I get a break and the next singer goes on. After her, I'm asked for modern-crazy aria (that I have brought, not the one I was required to learn).
And immediately after modern-crazy aria they ask for the excerpt.
I rock that as well, and then they say thanks and ask me what note I 'warm up' to when I warm up...
I mean....When I am really messing around and trying to see how high I actually can still squeak out, it's a B above high C. So, that one.
Although I think it's just fine if the highest that I sing is the interpolated Aflat in the Doll Song.
11:29- end of my audition, there is a train at 11:49 back at the Hauptbahnhof -- IF I run, and don't change out of my audition outfit and just put my sneaks back on, I can most likely make it.
And so, I run.
I even had a minute to get some apple juice for the train ride home (it was a local train with no on-board snack shop), and FINALLY, after falling asleep and then being woken up by the announcements for 3 hours worth of a train ride, a station exchange and a quick walk back to the apartment, I"M HOME.
Exhausted, but home.
24 hours of crazy part 2 begins on Tuesday.
Last night- Koenigin performance until 9:59. Run off stage, wait (im)patiently for the wig to come off, having already half stripped in the makeup/wig room but holding everything up around me to remain decent, get the costume off, get the street clothes on, RUN to the hauptbahnhof and make a train at 10:10PM so that I can be home by MIDNIGHT.
Why midnight? Well, from 12-12:09am, pack my music for audition tomorrow, find my audition outfit and heels, get my bag ready and my water bottle filled, so that I can SLEEP from 12:10-5am.
Sleep like crap (obviously, because I have to wake up early, and whenever I have an alarm set for super early I never sleep well), wake up at 5am in the middle of a horrible dream that I was at the audition and they asked for pieces of music that I didn't know.
Take a shower, DRY MY HAIR (this takes a longer time these days since it's so LONG and I haven't had TIME to get it cut in like...8 months..awesome). 5:26 out the door, 5:30- tram to the hauptbahnhof, 5:44 walk to the platform, 6am, catch a TGV train for an audition 2 hours away.
Can't sleep on the train because it smells like ... it's not ladylike to say, but...the bathroom...in a BAD way, and a kid is crying in my train car but I'm too tired to go find another seat even though I'm sure if I walked for about 30 seconds I could have some peace and quiet.
8am- arrive at audition hauptbahnhof. Still too early to check into the audition, and I'm exhausted- where to sit indoors and kill and hour? McCafe.
Order a tea, review this new insane music that I've been requested to bring to the audition (modern piece that has like some cowbell and chimes and then I have to find my note out of thin air), attempt to do some lip trills. Fail- it's too early and I'm too tired.
9am- start walking through the city to the opera house. 9:20- arrive at the opera house, check in at the artist entrance, get directed to the KBB office (stop in the bathroom first to put my audition clothes on so I don't walk in there in my sweatpants and University sweatshirt which is my favored travel outfit), check in at the KBB- I'm first, surprise, surprise.
List my arias, go warm up. FINALLY in the warmup room my voice and body decide to wake up a little.
25 min. later I got to rehearse with the pianist who also just got this modern music yesterday...
One hour later- I'm the first audition.
I know they need to hear a high F and a high G, so I just flat out say- I have Queen aria, or modern-aria, or I can start with Zerbinetta as I usually do.
They say start with Zerb.
Then I get a break and the next singer goes on. After her, I'm asked for modern-crazy aria (that I have brought, not the one I was required to learn).
And immediately after modern-crazy aria they ask for the excerpt.
I rock that as well, and then they say thanks and ask me what note I 'warm up' to when I warm up...
I mean....When I am really messing around and trying to see how high I actually can still squeak out, it's a B above high C. So, that one.
Although I think it's just fine if the highest that I sing is the interpolated Aflat in the Doll Song.
11:29- end of my audition, there is a train at 11:49 back at the Hauptbahnhof -- IF I run, and don't change out of my audition outfit and just put my sneaks back on, I can most likely make it.
And so, I run.
I even had a minute to get some apple juice for the train ride home (it was a local train with no on-board snack shop), and FINALLY, after falling asleep and then being woken up by the announcements for 3 hours worth of a train ride, a station exchange and a quick walk back to the apartment, I"M HOME.
Exhausted, but home.
24 hours of crazy part 2 begins on Tuesday.
09 May, 2011
evil queens
Aaaand for the 2nd performance in a row I have made a small child get UP from their cushioned seat on the floor, tears in the their eyes, and run to their mother or father in the rows behind them.
According to my director my intensity is a "great success" (a la borat voice), and it has never happened in the 5 years they've been doing this performance for kids.
She's super happy about it.
I'm a little perturbed!
And then in the 'autograph' session they all look at me like I'm evil and ask why I'm so "boese?!?!?!"
And I have to say it's only AUF DER BUEHNE!
According to my director my intensity is a "great success" (a la borat voice), and it has never happened in the 5 years they've been doing this performance for kids.
She's super happy about it.
I'm a little perturbed!
And then in the 'autograph' session they all look at me like I'm evil and ask why I'm so "boese?!?!?!"
And I have to say it's only AUF DER BUEHNE!
25 April, 2011
qotn # ... a lot
Last night (Easter Sunday) I had yet another performance of Queen...at the first theater that I was hired to sing it...in 2009.
It's kind of cool to be able to say that I've been Guesting somewhere for that long. Even though it hasn't been so many performances, it's definitely the most performances of one production that I've ever sung (ie, the same production). Obviously Koenigin wins for most performed role as well.
Last night we had an einspringer Pamina, 3 lady, new Tamino to the role (he had sung it twice before), einspringer 2nd lady who had done it with us before a few times, and a papagena who took over the role in November (and was new to me).
And everything worked like clockwork. The einspringers were working off of a dvd and about one hour of a stage-walkthrough of their blocking (which is NOT 'normal' Zauberfloete staging), the asked a few questions in the dressing room about when I say this, when we go out there and that happens, and then...we were off.
I do have to say, yet again, that working on one continuous show really takes any and all pressure off, and I am just free to be the artist I WANT to be onstage.
It's not about the review, about impressing the theater for next season, about impressing the conductor since this is one of four times that I'll work with him live onstage (as in the US), not about whether my agents are there, whether OTHER people's agents are there, whether OTHER general directors are there to check out the production for a possible future rental (and therefore a possible future hiring of certain members of the cast), not about making sure I 'earn' my nightly paycheck for my four performances, it's not really about ANYTHING except for the ART.
And that feels amazing.
I sang my two arias, the quintet, bowed (too many times..this house REALLY liked to send us out on curtain calls)...but throughout the ovations I received perhaps some of my strongest applause yet-- and that just goes to show, when you can do your JOB and not have to worry about all of the other BS (and by bs I mean both BS AND "business of singing"...which, yes, I'm great at, but no, I don't want to be thinking about while in a performance), I feel more connected to the art that is music-making.
It's kind of cool to be able to say that I've been Guesting somewhere for that long. Even though it hasn't been so many performances, it's definitely the most performances of one production that I've ever sung (ie, the same production). Obviously Koenigin wins for most performed role as well.
Last night we had an einspringer Pamina, 3 lady, new Tamino to the role (he had sung it twice before), einspringer 2nd lady who had done it with us before a few times, and a papagena who took over the role in November (and was new to me).
And everything worked like clockwork. The einspringers were working off of a dvd and about one hour of a stage-walkthrough of their blocking (which is NOT 'normal' Zauberfloete staging), the asked a few questions in the dressing room about when I say this, when we go out there and that happens, and then...we were off.
I do have to say, yet again, that working on one continuous show really takes any and all pressure off, and I am just free to be the artist I WANT to be onstage.
It's not about the review, about impressing the theater for next season, about impressing the conductor since this is one of four times that I'll work with him live onstage (as in the US), not about whether my agents are there, whether OTHER people's agents are there, whether OTHER general directors are there to check out the production for a possible future rental (and therefore a possible future hiring of certain members of the cast), not about making sure I 'earn' my nightly paycheck for my four performances, it's not really about ANYTHING except for the ART.
And that feels amazing.
I sang my two arias, the quintet, bowed (too many times..this house REALLY liked to send us out on curtain calls)...but throughout the ovations I received perhaps some of my strongest applause yet-- and that just goes to show, when you can do your JOB and not have to worry about all of the other BS (and by bs I mean both BS AND "business of singing"...which, yes, I'm great at, but no, I don't want to be thinking about while in a performance), I feel more connected to the art that is music-making.
03 March, 2011
home sweet jet lag
The past 4 days went something like this:
Night after the last matinee (which was awesome, BTW): was already packed but was so excited to leave I didn't fall asleep until 4am.
Woke up at 8am the next day, left for the airport at 9:30am.
Flight #1- kind of slept.
Flight #2- didn't sleep at all (movies plus a LOT of turbulence).
Landing at home at 7am "home" time- meaning, I felt like 2am but it was the morning.
Proceeded to stay in bed most of the day. No unpacking, no eating until 10pm.
Next day: slept until 2pm.
That night: fell asleep watching a soccer game from 9-10:30pm then didn't sleep AT ALL from midnight to 6am...
6am (today) being the time I had to wake up to take a THREE and a half hour train to my audition.
Today. Yea, did I mention that no sleep part? And the WIDE AWAKE on the train part too?
I was fully expecting to doze off on the train and catch up, but no such luck.
Got to the audition city way early, had a tea at starbucks, checked in, warmed up for about 10 minutes, saw the accompanist for about 10 minutes (YAY YOU CAN PLAY ZERBINETTA!), and then- the audition.
There were three of us today. All Queens.
First singer started with Der hoelle rache. Then they asked for the first aria.
Second singer started with an Italian. Then they asked for Der hoelle rache.
I started with Zerbinetta (from So War). Then they asked for Der hoelle rache.
I felt super good about the Zerb. I felt normally good about the Queen. After hearing the first two girls who had voices on the larger/dramatic side, I was like, Ok, I'm just going to do what I always do and give them what I can give...
and that's accuracy, excitement, crispness, and always always IMMER the high F's and everything in "line".
Aaaand....that is what I did.
On the train back I almost missed my stop home because I fell asleep IMMEDIATELY for three straight hours including interruptions by cold blasts of air from the opening train doors at every stop.
Now I'm just OVERtired...want to go to bed, but just can't make myself actually get in it yet...
Lots to think about tonight...
But very glad to be home.
Night after the last matinee (which was awesome, BTW): was already packed but was so excited to leave I didn't fall asleep until 4am.
Woke up at 8am the next day, left for the airport at 9:30am.
Flight #1- kind of slept.
Flight #2- didn't sleep at all (movies plus a LOT of turbulence).
Landing at home at 7am "home" time- meaning, I felt like 2am but it was the morning.
Proceeded to stay in bed most of the day. No unpacking, no eating until 10pm.
Next day: slept until 2pm.
That night: fell asleep watching a soccer game from 9-10:30pm then didn't sleep AT ALL from midnight to 6am...
6am (today) being the time I had to wake up to take a THREE and a half hour train to my audition.
Today. Yea, did I mention that no sleep part? And the WIDE AWAKE on the train part too?
I was fully expecting to doze off on the train and catch up, but no such luck.
Got to the audition city way early, had a tea at starbucks, checked in, warmed up for about 10 minutes, saw the accompanist for about 10 minutes (YAY YOU CAN PLAY ZERBINETTA!), and then- the audition.
There were three of us today. All Queens.
First singer started with Der hoelle rache. Then they asked for the first aria.
Second singer started with an Italian. Then they asked for Der hoelle rache.
I started with Zerbinetta (from So War). Then they asked for Der hoelle rache.
I felt super good about the Zerb. I felt normally good about the Queen. After hearing the first two girls who had voices on the larger/dramatic side, I was like, Ok, I'm just going to do what I always do and give them what I can give...
and that's accuracy, excitement, crispness, and always always IMMER the high F's and everything in "line".
Aaaand....that is what I did.
On the train back I almost missed my stop home because I fell asleep IMMEDIATELY for three straight hours including interruptions by cold blasts of air from the opening train doors at every stop.
Now I'm just OVERtired...want to go to bed, but just can't make myself actually get in it yet...
Lots to think about tonight...
But very glad to be home.
23 November, 2010
legal eagle
I have a coaching tomorrow in which I PLAN to make a recording. Not just audio. Really, international competition? You're going to require us to submit dvds of our performances but ALSO require that we sign an AFFIDAVIT saying they are legal recordings?
Are ANY video recordings (other than professionally recorded dvds) legal?!
I mean, I'm CERTAINLY not making any money off of my youtube/website offerings, but sure, I guess 'legally', they are illegal.
I don't understand WHY though. I'm not making any money off of them. Or selling them. Or selling a certain 'production', 'costume', 'orchestra', or whatever else you could pinpoint as having a 'union' and being 'for sale' in a recording project.
Nope, I'm just selling my voice. But as a BONUS you get to see me ACT too! and sometimes that can make a huge difference!
Who wants a queen of the night that stands there and looks completely terrified when the high F's roll around? Or when that long Alle Bande phrase comes up and you're dying for a breath?
And what about that high F I added into the end of Una voce poco fa that I'm singing WHILE waving around the 'love letter' (again, not looking like a deer in headlights, but looking like I'm actually completely enjoying what I'm doing?..which, DUH, I am!). Added to the general 'acting chops' displayed throughout....
And how about the clips that I have of Oscar that show I can be 'masculine", and ok, yes, I added a G into the Olympia aria too- but-- you should KNOW that I look like a KNOCKOUT as a spray-painted golden robot-doll.
hahaha...
No, really. There IS merit in requesting these videos for a competition that I'm sure will get TONS of applicants. But you HAVE to acknowledge that ALL the video clips are illegal! Unless you happened to be in a dvd project with a super famous production or singer-- in which case, you're PROBABLY not applying to an UNDER THIRTY vocal competition to make some mulah on the side!
That is all for today.
And so, tomorrow I'll be recording my 'legal' video of arias (with piano- BOO, with no costumes- BOO, in a small rehearsal room and not a big hall/onstage- BOO BOO BOO), so that I can apply to this competition 'legally'.
Are ANY video recordings (other than professionally recorded dvds) legal?!
I mean, I'm CERTAINLY not making any money off of my youtube/website offerings, but sure, I guess 'legally', they are illegal.
I don't understand WHY though. I'm not making any money off of them. Or selling them. Or selling a certain 'production', 'costume', 'orchestra', or whatever else you could pinpoint as having a 'union' and being 'for sale' in a recording project.
Nope, I'm just selling my voice. But as a BONUS you get to see me ACT too! and sometimes that can make a huge difference!
Who wants a queen of the night that stands there and looks completely terrified when the high F's roll around? Or when that long Alle Bande phrase comes up and you're dying for a breath?
And what about that high F I added into the end of Una voce poco fa that I'm singing WHILE waving around the 'love letter' (again, not looking like a deer in headlights, but looking like I'm actually completely enjoying what I'm doing?..which, DUH, I am!). Added to the general 'acting chops' displayed throughout....
And how about the clips that I have of Oscar that show I can be 'masculine", and ok, yes, I added a G into the Olympia aria too- but-- you should KNOW that I look like a KNOCKOUT as a spray-painted golden robot-doll.
hahaha...
No, really. There IS merit in requesting these videos for a competition that I'm sure will get TONS of applicants. But you HAVE to acknowledge that ALL the video clips are illegal! Unless you happened to be in a dvd project with a super famous production or singer-- in which case, you're PROBABLY not applying to an UNDER THIRTY vocal competition to make some mulah on the side!
That is all for today.
And so, tomorrow I'll be recording my 'legal' video of arias (with piano- BOO, with no costumes- BOO, in a small rehearsal room and not a big hall/onstage- BOO BOO BOO), so that I can apply to this competition 'legally'.
31 October, 2010
happy halloweeny
I'm not dressing up for Halloween or anything, but..since it IS Halloween here, I suppose I could comment on the fact that I do miss suburban life trick'er'treating for the BIG candy bars at the rich people's houses up the street from my high school, and I do miss 'urban' life's adult Halloween parties. What other day of the year do you have an excuse to dress up as 'sexy' batgirl, wearing pretty much nothing but pink boyshorts undies and a pink cape and parade around nyc freezing your butt off?
Last night I had another performance of Koenigin...except, this time, it was at PREVIOUS-theater...the one I've been Guest-ing at for the past year.
And I haven't done the show there since JUNE...
So, having just worked in another production, with a different maestro with COMPLETELY different tempi (if you can believe it, for the arias...yes, it's very very true)...and I found myself last night sitting in the dressing room and...thinking about whether I would LIKE to do Queens over and over and over again.
Yes, it's an 'easy' sing for me. But it's also kind of a mind-trip...going from one show to the next with no re-rehearsal. Of course, the blocking is never hard unless you're catapulted out of the depths of the earth at warp speed by a pulley-machine rigged to the OTHER Queen's weight which was not changed to YOUR (lighter) weight (yes, that happened to me right before Der Hoelle Rache), but there is of course the "pressure" of Koenigin.
The pressure that even though you know you can wake up and sing this aria right out of bed with the F's perfect EVERY.Single.Time...the pressure JUST to see if THIS time around in live performance they will all come out perfect. The pressure NOT to let your mind wander since it IS so 2nd nature already. The pressure to make it a perfect and memorable experience for the audience..who up until now is getting a bit sleepy after the long intermission and the slow beginning of Act II, and who KNOW this aria in and out...in whatever tv commercial, online version of an 11 year old boy singing it, etc. They KNOW it.
As "easy" as a sing as it can be...it's never easy once you get onstage.
And that's something that I have to keep reminding myself as I calmly sit backstage knitting or listening to some pop music on my ipod or playing wordwarp on my iphone backstage...feeling no nerves at all because I know I've 'done' it so much..but then getting out there and remembering how much of a 'performance' I do want to give.
It's like I have to remember to 'get pumped' before I'm onstage, even though that 'get pumped' feeling usually shows up by itself via nerves. Now I have no nervous feelings anymore, so I have to find something to replace that with, to get my body and mind ready to 'SANG' it.
Last night I had another performance of Koenigin...except, this time, it was at PREVIOUS-theater...the one I've been Guest-ing at for the past year.
And I haven't done the show there since JUNE...
So, having just worked in another production, with a different maestro with COMPLETELY different tempi (if you can believe it, for the arias...yes, it's very very true)...and I found myself last night sitting in the dressing room and...thinking about whether I would LIKE to do Queens over and over and over again.
Yes, it's an 'easy' sing for me. But it's also kind of a mind-trip...going from one show to the next with no re-rehearsal. Of course, the blocking is never hard unless you're catapulted out of the depths of the earth at warp speed by a pulley-machine rigged to the OTHER Queen's weight which was not changed to YOUR (lighter) weight (yes, that happened to me right before Der Hoelle Rache), but there is of course the "pressure" of Koenigin.
The pressure that even though you know you can wake up and sing this aria right out of bed with the F's perfect EVERY.Single.Time...the pressure JUST to see if THIS time around in live performance they will all come out perfect. The pressure NOT to let your mind wander since it IS so 2nd nature already. The pressure to make it a perfect and memorable experience for the audience..who up until now is getting a bit sleepy after the long intermission and the slow beginning of Act II, and who KNOW this aria in and out...in whatever tv commercial, online version of an 11 year old boy singing it, etc. They KNOW it.
As "easy" as a sing as it can be...it's never easy once you get onstage.
And that's something that I have to keep reminding myself as I calmly sit backstage knitting or listening to some pop music on my ipod or playing wordwarp on my iphone backstage...feeling no nerves at all because I know I've 'done' it so much..but then getting out there and remembering how much of a 'performance' I do want to give.
It's like I have to remember to 'get pumped' before I'm onstage, even though that 'get pumped' feeling usually shows up by itself via nerves. Now I have no nervous feelings anymore, so I have to find something to replace that with, to get my body and mind ready to 'SANG' it.
20 October, 2010
day off
Show number 4 is tomorrow.
Show number three was the 'relaaaaaaxed' show. Everyone got over the opening night jitters, the first matinee slump/fake energy, and now we are in a rhythm.
We know our calls and sometimes get to stage just as the SM turns around to call us.
We take our time to get that 2nd wig change because we already know that the makeup and hair staff is outside smoking a cigarette and having yet another coffee at that exact 5 minutes when we're called to the chair.
I'm still not quite sure what to do with my days off.
I actually bought knitting needles and some yarn, turned on youtube, watched a video about how to get the yarn on the needle, then watched a video about how to knit.
And now..I'm 1/4 done with a scarf.
Except my fingertips hurt from stabbing the tips of them with the needles all the time.
I tried a bit during the show as well, which was pretty calming actually. Instead of eating chocolate and trying to unsuccessfully concentrate on reading books (calls get in the way of truly reading an entire page)...
So, maybe that trend will continue.
I KNOW that as soon as this production is over I'll be in music-learning mode again.
Actually, the other night I DID bring super-future score to the dressing room and managed to do a bit of work on the 'interjection' lines of the first act.
So there, productivity after all!!
Show number three was the 'relaaaaaaxed' show. Everyone got over the opening night jitters, the first matinee slump/fake energy, and now we are in a rhythm.
We know our calls and sometimes get to stage just as the SM turns around to call us.
We take our time to get that 2nd wig change because we already know that the makeup and hair staff is outside smoking a cigarette and having yet another coffee at that exact 5 minutes when we're called to the chair.
I'm still not quite sure what to do with my days off.
I actually bought knitting needles and some yarn, turned on youtube, watched a video about how to get the yarn on the needle, then watched a video about how to knit.
And now..I'm 1/4 done with a scarf.
Except my fingertips hurt from stabbing the tips of them with the needles all the time.
I tried a bit during the show as well, which was pretty calming actually. Instead of eating chocolate and trying to unsuccessfully concentrate on reading books (calls get in the way of truly reading an entire page)...
So, maybe that trend will continue.
I KNOW that as soon as this production is over I'll be in music-learning mode again.
Actually, the other night I DID bring super-future score to the dressing room and managed to do a bit of work on the 'interjection' lines of the first act.
So there, productivity after all!!
17 October, 2010
opening niiiiight and the following matinee
Woo hoo! Had a great opening night of Zauberfloete.
At this point I am most comfortable in saying that I have no weirdo pre-show routine for THIS show, and perhaps this show only in my life...so far.
I have sung it so many times. I know the notes will be there. I can eat bbq flavored potato chips in my dressing room, followed by half a twix bar BEFORE the first aria and the second half of the bar BEFORE the second aria. I can have cereal with milk for breakfast, or I can have pineapple for breakfast.
And IT DOESN"T MATTER which is -- awesome!
I am relaxed. I KNOW that everything rides on those high F's, and I know that I got'em...so...I'm pretty much good to go.
YES, there is that moment right before the set opens up to reveal me before the act I aria that my heart starts pumping harder than usual. Yes, I can feel my heartbeat going a bit higher and faster...but no, it doesn't affect me.
Before the second aria there is just so much dialogue that frankly, if I worried about ANYTHING at all it would be that dang dialogue, not the aria.
And once I get through the FIRST run with the F's, the rest is easy as pie.
Opening night went really well. Had a resting day off where I nearly went stir crazy inside because it was rainy and freezing outside and I didn't want to risk a late-in-the-production chill. I went out to dinner with some castmates last night (pasta with salmon), woke up around 10am today, left for the theater at 1, and the show began at 3pm.
Today the audience was much more enthusiastic, although I'm not quite sure the performers were. For me, it's a total of 10 minutes of singing, so I crank it up every time..frankly, with Queen, there is no way not to.
But most people hate matinees- whether it's immediately after opening night, or after a day off..it's still tough to get INTO it after waking up early, freaking out because you've been on a late night sleep schedule and now it's 10am and you have to make sure the voice is there at 3pm instead of 8pm. The second performance is usually dubbed the lower-energy performance by the singers. So a few singers were feeling sluggish in energy, but I don't know whether it made a difference on stage or not (since I never sing with anyone until the 'death scene' at the end!). Well, I sing TO Tamino and Pamina, but in this production I don't really have contact with them directly.
Aaaanyway, I'm feeling GOOD about today's performance AND opening night.
I have SO much yummmmy chocolate from the bonbons that we all gave each other, and yes, I have been eating them. And will continue to do so. DON"T JUDGE.
NO, I haven't been doing yoga every day either. please don't judge?
thanks.
At this point I am most comfortable in saying that I have no weirdo pre-show routine for THIS show, and perhaps this show only in my life...so far.
I have sung it so many times. I know the notes will be there. I can eat bbq flavored potato chips in my dressing room, followed by half a twix bar BEFORE the first aria and the second half of the bar BEFORE the second aria. I can have cereal with milk for breakfast, or I can have pineapple for breakfast.
And IT DOESN"T MATTER which is -- awesome!
I am relaxed. I KNOW that everything rides on those high F's, and I know that I got'em...so...I'm pretty much good to go.
YES, there is that moment right before the set opens up to reveal me before the act I aria that my heart starts pumping harder than usual. Yes, I can feel my heartbeat going a bit higher and faster...but no, it doesn't affect me.
Before the second aria there is just so much dialogue that frankly, if I worried about ANYTHING at all it would be that dang dialogue, not the aria.
And once I get through the FIRST run with the F's, the rest is easy as pie.
Opening night went really well. Had a resting day off where I nearly went stir crazy inside because it was rainy and freezing outside and I didn't want to risk a late-in-the-production chill. I went out to dinner with some castmates last night (pasta with salmon), woke up around 10am today, left for the theater at 1, and the show began at 3pm.
Today the audience was much more enthusiastic, although I'm not quite sure the performers were. For me, it's a total of 10 minutes of singing, so I crank it up every time..frankly, with Queen, there is no way not to.
But most people hate matinees- whether it's immediately after opening night, or after a day off..it's still tough to get INTO it after waking up early, freaking out because you've been on a late night sleep schedule and now it's 10am and you have to make sure the voice is there at 3pm instead of 8pm. The second performance is usually dubbed the lower-energy performance by the singers. So a few singers were feeling sluggish in energy, but I don't know whether it made a difference on stage or not (since I never sing with anyone until the 'death scene' at the end!). Well, I sing TO Tamino and Pamina, but in this production I don't really have contact with them directly.
Aaaanyway, I'm feeling GOOD about today's performance AND opening night.
I have SO much yummmmy chocolate from the bonbons that we all gave each other, and yes, I have been eating them. And will continue to do so. DON"T JUDGE.
NO, I haven't been doing yoga every day either. please don't judge?
thanks.
14 October, 2010
it's the day before the show, y'all!
My routine?
Do as much of NOTHING as possible.
I have the majority of my 'toi toi toi' notes written (except the director and maestro which always take a bit more time).
I will attempt to drink water today. More water than usual..and my usual is about .75 liters. Ooops. Yea, I know, I should try to improve that, seeing how it's a whopping 2 glasses out of 8 that we are 'supposed' to have per day.
But I ate a clementine! Does that count?
The rest of today's options:
Learn new music? NAAHHHHHH!
Clean the apartment and put all the clothes away that I have been throwing on the floor after arriving home for the past 2 nights at midnight after our tech and dress? MOST LIKELY NOT.
Watch movies and be online from 6pm until I try to go to bed around 2am? Most likely.
Do as much of NOTHING as possible.
I have the majority of my 'toi toi toi' notes written (except the director and maestro which always take a bit more time).
I will attempt to drink water today. More water than usual..and my usual is about .75 liters. Ooops. Yea, I know, I should try to improve that, seeing how it's a whopping 2 glasses out of 8 that we are 'supposed' to have per day.
But I ate a clementine! Does that count?
The rest of today's options:
Learn new music? NAAHHHHHH!
Clean the apartment and put all the clothes away that I have been throwing on the floor after arriving home for the past 2 nights at midnight after our tech and dress? MOST LIKELY NOT.
Watch movies and be online from 6pm until I try to go to bed around 2am? Most likely.
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