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.
25 October, 2007
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!"
30 September, 2007
insomniac post
WHY is it 2:03 am and I can't fall asleep?
Easy.
1.Post-show energy.
2. Post show hunger satiated by the following (in no particular order, plus some of them were DURING the show (NOT when I was in costume):
During show:
1 Piece of a Philly Roll left over from sushi dinner. Ginger.
1 peanut butter rice krispy treat covered in chocolate made by a cast member's mommy.
1 cupcake frosted with extremely sweet blue frosting made by a cast member.
1 Klondike bar given to me by my dresser, because she had them.
Water.
Post show:
1 piece of whole wheat bread w/peanut butter on it, folded in half.
(some time later)....
Some cool ranch doritos CRUSHED into a wheat bread sandwich of Brie and Salsa. I'm not kidding. It's delicious.
Some more cool ranch doritos.
Water.
O.M.G.
For reallzzz I could be slowly causing my own early death due to malnutrition. Besides the wasabi and ginger and whatever veggies were pan fried into the Gyoza, I can't remember the last time I ate a vegetable.
Well, I suppose the salsa could count.
Yes, I'll make myself feel better by saying the salsa counted.
Easy.
1.Post-show energy.
2. Post show hunger satiated by the following (in no particular order, plus some of them were DURING the show (NOT when I was in costume):
During show:
1 Piece of a Philly Roll left over from sushi dinner. Ginger.
1 peanut butter rice krispy treat covered in chocolate made by a cast member's mommy.
1 cupcake frosted with extremely sweet blue frosting made by a cast member.
1 Klondike bar given to me by my dresser, because she had them.
Water.
Post show:
1 piece of whole wheat bread w/peanut butter on it, folded in half.
(some time later)....
Some cool ranch doritos CRUSHED into a wheat bread sandwich of Brie and Salsa. I'm not kidding. It's delicious.
Some more cool ranch doritos.
Water.
O.M.G.
For reallzzz I could be slowly causing my own early death due to malnutrition. Besides the wasabi and ginger and whatever veggies were pan fried into the Gyoza, I can't remember the last time I ate a vegetable.
Well, I suppose the salsa could count.
Yes, I'll make myself feel better by saying the salsa counted.
28 September, 2007
hot off the press
A word about reviews.
I think for unknown singers, those who are just starting out, those that need as much press and pr as possible for future visibility, reviews are important.
That said, they are not the end all and be all, and they won't make or break a career.
THAT said, four papers have spoken and they have all spoken extremely favorably about my performances.
So what do I gather from the similarly positive wording about the energy that I brought? the clear coloratura? the spark and youthfulness?
I gather that I understood the character, I sang it darn well, AND I had fun and it showed!
Really.
I thought this role and I would not be the best of friends. It's not anything out of the ordinary for me vocally. Not high, not hard--kind of like a walk in the park where I can not worry about warming up for it until about 20 minutes to showtime, and still know that it will be sung just as well if not better as if I had been coaching all day and was really in the zone.
But what extra did the critics pick up on? That edge that made my performance stick out?
Well, I'm not quite sure, but I'm going to chalk it up to fun mixed with preparation.
And by fun I mean I worked hard on the character, I know what I'm doing each time, but I also leave room to play with it onstage each night and see what happens.
By fun I mean a planned attack of what works, what reads, what I need to do to make THEM think that this is easy for me (whether or not it is on any particular night, or depending on what I ate that day, or what time I finally fell asleep the night before).
This role and I are almost bff now. I'd love to do it again, I'd love to think of new ways that I can play with the character and interact with the rest of the characters on stage. I'd love to give new meaning to this accent, that eighth rest, and that dance sequence.
Aw, shucks. I've blubbered about it before, but this "job" is fun.
I think for unknown singers, those who are just starting out, those that need as much press and pr as possible for future visibility, reviews are important.
That said, they are not the end all and be all, and they won't make or break a career.
THAT said, four papers have spoken and they have all spoken extremely favorably about my performances.
So what do I gather from the similarly positive wording about the energy that I brought? the clear coloratura? the spark and youthfulness?
I gather that I understood the character, I sang it darn well, AND I had fun and it showed!
Really.
I thought this role and I would not be the best of friends. It's not anything out of the ordinary for me vocally. Not high, not hard--kind of like a walk in the park where I can not worry about warming up for it until about 20 minutes to showtime, and still know that it will be sung just as well if not better as if I had been coaching all day and was really in the zone.
But what extra did the critics pick up on? That edge that made my performance stick out?
Well, I'm not quite sure, but I'm going to chalk it up to fun mixed with preparation.
And by fun I mean I worked hard on the character, I know what I'm doing each time, but I also leave room to play with it onstage each night and see what happens.
By fun I mean a planned attack of what works, what reads, what I need to do to make THEM think that this is easy for me (whether or not it is on any particular night, or depending on what I ate that day, or what time I finally fell asleep the night before).
This role and I are almost bff now. I'd love to do it again, I'd love to think of new ways that I can play with the character and interact with the rest of the characters on stage. I'd love to give new meaning to this accent, that eighth rest, and that dance sequence.
Aw, shucks. I've blubbered about it before, but this "job" is fun.
26 September, 2007
more goodness
Tonight's perf. was sehr gut again. Yay.
Tomorrow- coaching on next-opera, quick scene review of one part of the opera for a cast "b" member who will have a performance this weekend, and then a little gathering of friends at my place for some wine and cheese and other assorted spirits and nourishment.
Better clean up and do the laundry!
Things I'm looking forward to:
parents coming into town this weekend to see the show
flying back to NY for unpacking, repacking, and getting to the city
singing auditions again! And pulling out that old fave with the high g--yes- I'll "le sait" it again- that one.
Tomorrow- coaching on next-opera, quick scene review of one part of the opera for a cast "b" member who will have a performance this weekend, and then a little gathering of friends at my place for some wine and cheese and other assorted spirits and nourishment.
Better clean up and do the laundry!
Things I'm looking forward to:
parents coming into town this weekend to see the show
flying back to NY for unpacking, repacking, and getting to the city
singing auditions again! And pulling out that old fave with the high g--yes- I'll "le sait" it again- that one.
25 September, 2007
2:20am show day/night/whatever
Yes, still can't sleep. This schedule must stop.
I was feeling tired around 10:30pm today (after doing NOTHING, and I mean NOTHING besides things on the computer between 11am-3pm...while lying snuggly in my bed), and thought to myself- why am I tired at 10:30pm? That's LAME- I should at least stay up until 12 seeing as how the only thing I've done is practice today.
I mean, sure that was productive.
Yay practicing.
I got the finale and the quartet finally memorized so now everything for next-show is ready.
Oh yea, and I updated my website with the two sweeeet reviews that the show got.
So. In conclusion- I practiced, did more things on the websssies, walked outside for about 30 minutes before a torrential downpour began, went to dinner with a guild member and schmoozed (with an amazing cream of mushroom soup and a grilled chicken with pecan and chevre salad ...((heaven)) for dinner), and then came back to the apt. for more online-ing.
There is SO much to read when I don't stop myself from just the leading articles in the Times and Spiegel and BBC. ARRGHH.. and that is why it's 2:23 and I'm still awake.
With a show tomorrow/today/in about 17 hours.
I think because the weather has changed back and forth from cold to 80 degrees to torrential rains and humid to really cold again, my allergies are going a bit crazy.
I've never had allergy problems before (I think). Each time I feel like I'm about to get sick it's that scratchy throat feeling and then a dry cough which turns into some crazy bronchial thing and I know I can NOT get to that third stage by downing Emergen-C, ricola, not singing, staying in bed, and taking very careful care of myself for 2 days.
But this is different. I wake up feeling like I've been run over by a truck. Or a moose. Or something large and painful. My eyes are red, my throat is tight, and sure, I can start singing right there and then, but the lingering headache doesn't really get better that way either.
So I think it's allergies because my eyes are also red. Or lack of sleep???? But I DO sleep a lot, it's just at horribly weird hours.
Too bad! I'm not going to take anything. I hate every medicine except for the tiny red sugar coated advils and chewable Flinstone's vitamins (of which I prefer getting a grape flavoured Barney over those nasty orange ones, but I think there's a conspiracy to package more of the yucky orange ones in the bottle).
The voice was fine today when I went to practice. I shall be fine today/tomorrow for the show and the rest of the run. I'll just continue to down water and Naked green machine juices (SO GOOD!), and all shall be once again good.
g'nite eventually.
I was feeling tired around 10:30pm today (after doing NOTHING, and I mean NOTHING besides things on the computer between 11am-3pm...while lying snuggly in my bed), and thought to myself- why am I tired at 10:30pm? That's LAME- I should at least stay up until 12 seeing as how the only thing I've done is practice today.
I mean, sure that was productive.
Yay practicing.
I got the finale and the quartet finally memorized so now everything for next-show is ready.
Oh yea, and I updated my website with the two sweeeet reviews that the show got.
So. In conclusion- I practiced, did more things on the websssies, walked outside for about 30 minutes before a torrential downpour began, went to dinner with a guild member and schmoozed (with an amazing cream of mushroom soup and a grilled chicken with pecan and chevre salad ...((heaven)) for dinner), and then came back to the apt. for more online-ing.
There is SO much to read when I don't stop myself from just the leading articles in the Times and Spiegel and BBC. ARRGHH.. and that is why it's 2:23 and I'm still awake.
With a show tomorrow/today/in about 17 hours.
I think because the weather has changed back and forth from cold to 80 degrees to torrential rains and humid to really cold again, my allergies are going a bit crazy.
I've never had allergy problems before (I think). Each time I feel like I'm about to get sick it's that scratchy throat feeling and then a dry cough which turns into some crazy bronchial thing and I know I can NOT get to that third stage by downing Emergen-C, ricola, not singing, staying in bed, and taking very careful care of myself for 2 days.
But this is different. I wake up feeling like I've been run over by a truck. Or a moose. Or something large and painful. My eyes are red, my throat is tight, and sure, I can start singing right there and then, but the lingering headache doesn't really get better that way either.
So I think it's allergies because my eyes are also red. Or lack of sleep???? But I DO sleep a lot, it's just at horribly weird hours.
Too bad! I'm not going to take anything. I hate every medicine except for the tiny red sugar coated advils and chewable Flinstone's vitamins (of which I prefer getting a grape flavoured Barney over those nasty orange ones, but I think there's a conspiracy to package more of the yucky orange ones in the bottle).
The voice was fine today when I went to practice. I shall be fine today/tomorrow for the show and the rest of the run. I'll just continue to down water and Naked green machine juices (SO GOOD!), and all shall be once again good.
g'nite eventually.
23 September, 2007
another opening, another show
I don't know why I'm up so early after going to bed so late and after having so much post-show energy.
But I'm up. So I shall post.
Fasting and then doing a show was not as hard as I thought it would be. I broke early and made sure I got something in me before my call to hair and makeup. But I still feel like I atoned and got hopefully sealed in the book of life!
Show.
I'm thinking back to around May and June when I was posting about how I'm looking at this score every day, and somehow those first 30 pages just "stick" in my head without me having to really memorize it.
And then around August when those last few recits were just not cooperating in my head just up until the last few days before leaving for the gig.
And then the rehearsal period where everything seemed to mesh together and go so smoothly that I was just kind of waiting for something to explode.
But- nothing exploded. Everything was there in that magical "I'm in your head" kind of way.
It still freaks me out every time though.
When I haven't sat down and run lines, typed them out over and over, do speed-throughs every night in my head before going to sleep.
When it's just magically- there- from understanding it, getting it into your body, I am always scared that it will betray me.
But it doesn't. And it didn't.
So.
Happy to report that things were actually pretty awesome.
And by pretty awesome I mean really awesome.
Tempo of aria one was a bit slower than usual in the B section- a conductor's choice or feeling out there--but it was still absolutely easy and fine.
Ensembles were fun. I felt like I was ringing out over the din of lower voices plus the horn section!
Aria two actually got applause after it! YAY! I got to stop the chorus from coming in on the right beat! HA. My songs usually just go right on into the next batch of music and chorus (not like the dramatic/tragic characters in the show who get fermatas after their big cadenzas).
Nerves- a bit for the 5 minutes before my first entrance. And then I just wanted to have fun. And did.
A few unexpected extra "fights" and "physical acting" occurred- as total mistakes (once when I'm thrown off of someone else's back, once when I almost got sucker punched for real and not for fake), but I rolled with the "punches" and took it "like a man". (man/boy). And it was great fun.
After aria 2 I knew it was in the bag, and was already looking forward to the after-party glass o' red wine that I so richly deserved.
Afterwards I got as girly and dressy as I could in new dress o' hawtness (I'm talking seriously hot- backless low cut numbah), talked with the future-possible-company that came to see me, (they were tres tres impressed), and came home around 1:30am with too much energy and really hungry as well.
Basta.
I'm looking forward to the rest of the run, because I do have to admit this show is just plain good times.
But I'm up. So I shall post.
Fasting and then doing a show was not as hard as I thought it would be. I broke early and made sure I got something in me before my call to hair and makeup. But I still feel like I atoned and got hopefully sealed in the book of life!
Show.
I'm thinking back to around May and June when I was posting about how I'm looking at this score every day, and somehow those first 30 pages just "stick" in my head without me having to really memorize it.
And then around August when those last few recits were just not cooperating in my head just up until the last few days before leaving for the gig.
And then the rehearsal period where everything seemed to mesh together and go so smoothly that I was just kind of waiting for something to explode.
But- nothing exploded. Everything was there in that magical "I'm in your head" kind of way.
It still freaks me out every time though.
When I haven't sat down and run lines, typed them out over and over, do speed-throughs every night in my head before going to sleep.
When it's just magically- there- from understanding it, getting it into your body, I am always scared that it will betray me.
But it doesn't. And it didn't.
So.
Happy to report that things were actually pretty awesome.
And by pretty awesome I mean really awesome.
Tempo of aria one was a bit slower than usual in the B section- a conductor's choice or feeling out there--but it was still absolutely easy and fine.
Ensembles were fun. I felt like I was ringing out over the din of lower voices plus the horn section!
Aria two actually got applause after it! YAY! I got to stop the chorus from coming in on the right beat! HA. My songs usually just go right on into the next batch of music and chorus (not like the dramatic/tragic characters in the show who get fermatas after their big cadenzas).
Nerves- a bit for the 5 minutes before my first entrance. And then I just wanted to have fun. And did.
A few unexpected extra "fights" and "physical acting" occurred- as total mistakes (once when I'm thrown off of someone else's back, once when I almost got sucker punched for real and not for fake), but I rolled with the "punches" and took it "like a man". (man/boy). And it was great fun.
After aria 2 I knew it was in the bag, and was already looking forward to the after-party glass o' red wine that I so richly deserved.
Afterwards I got as girly and dressy as I could in new dress o' hawtness (I'm talking seriously hot- backless low cut numbah), talked with the future-possible-company that came to see me, (they were tres tres impressed), and came home around 1:30am with too much energy and really hungry as well.
Basta.
I'm looking forward to the rest of the run, because I do have to admit this show is just plain good times.
21 September, 2007
voldemort still lives (of course- it's only book 5)
I finally finished the book at 4:30am last night.
There shall be no more discussions on that. I think that I just have to not read them, and watch the movies instead, because staying up until 4:30am is certainly eventually going to be detrimental to my sanity and probably health.
There are SO many fun conversations on nfcs right now about application fees, audition woes, did you hear from so-and-so, who has a sublet in NYC? It's just so amusing to read during audition season, when really, NO good information is given (except by the administrators and Opera Directors who are the voice of reason and try to calm us all down by explaining the large budgets that they have to balance with audition expense trips---totally acceptable). Everyone is so snippy. "Have you done a search"? "Always sing what you sing best, stop tailoring your audition materials", "Patience Grasshopper" "My 5-yes, but I've never heard you".
I feel a bit badly for the newbies every year who are so excited about all of the flurry of information and activity, but who are totally shot down by the returning, jaded posters, who have been doing auditions seasons for the past 5 or so years of the forum's existence, and therefore know that the same threads show up every year and are sick of it.
As for me, things are in the development stages.
Since I have another gig this audition season, I have fewer opportunities to audition for the big summer programs as well as mainstage for next year that may be coming through town during those dates.
I'm still working on it though.
Previous-Yap is coming to hear me in current-role, to hopefully help with the decision of whether I'll be hired as a principal in previous-Yap for current-role.
If that worked out for the summer I'd sure be one happy camper.
Next year's unfolding opportunities are a mix of the usual year-rounds, with the added kick/zest of hopefully any mainstage auditions that I can get, plus Europe thrown in the mix as well- if I can ever get over there to sing for the right people, or consider doing the NYIOPs at the right place, right time.
Oh yea, and tonight- we feast. And then fast.
Gmar Chatima Tova.
There shall be no more discussions on that. I think that I just have to not read them, and watch the movies instead, because staying up until 4:30am is certainly eventually going to be detrimental to my sanity and probably health.
There are SO many fun conversations on nfcs right now about application fees, audition woes, did you hear from so-and-so, who has a sublet in NYC? It's just so amusing to read during audition season, when really, NO good information is given (except by the administrators and Opera Directors who are the voice of reason and try to calm us all down by explaining the large budgets that they have to balance with audition expense trips---totally acceptable). Everyone is so snippy. "Have you done a search"? "Always sing what you sing best, stop tailoring your audition materials", "Patience Grasshopper" "My 5-yes, but I've never heard you".
I feel a bit badly for the newbies every year who are so excited about all of the flurry of information and activity, but who are totally shot down by the returning, jaded posters, who have been doing auditions seasons for the past 5 or so years of the forum's existence, and therefore know that the same threads show up every year and are sick of it.
As for me, things are in the development stages.
Since I have another gig this audition season, I have fewer opportunities to audition for the big summer programs as well as mainstage for next year that may be coming through town during those dates.
I'm still working on it though.
Previous-Yap is coming to hear me in current-role, to hopefully help with the decision of whether I'll be hired as a principal in previous-Yap for current-role.
If that worked out for the summer I'd sure be one happy camper.
Next year's unfolding opportunities are a mix of the usual year-rounds, with the added kick/zest of hopefully any mainstage auditions that I can get, plus Europe thrown in the mix as well- if I can ever get over there to sing for the right people, or consider doing the NYIOPs at the right place, right time.
Oh yea, and tonight- we feast. And then fast.
Gmar Chatima Tova.
20 September, 2007
dress rehearsal and he who shall not be named
Tonight (w/orch.) went really well.
There is still tomorrow to have the 'bad' dress and then the 'good opening'. The acoustics in this theater are just so singer friendly, that there really is nothing to do but smile and sing your heart out. It feels so good. Never pushing, never worrying, never for a split second wondering about balance, direction of the voice, whether you're blocking has you too far upstage to carry. It's the best.
What I was feeling today- SO tired.
I went to bed at 3:30am last night, and as I sit and compose this it's already 1:30am.
Know why?
Harry Potter.
I'm not even kidding.
I don't even really CARE about the series or the movie, and I'm only reading book 5 right now. AND the only reason I picked it up, is because since I'm at a gig I didn't bring what I was ACTUALLY in the middle of, Atlas Shrugged, because it was too heavy.
So I asked friends here if they had any reading materials (besides some of the Shakespeare in the apt. that I already thumbed through), and they had Harry Potter.
I haven't read 1,2,3,and 4 since undergrad, but I figured why not just pick it up for some evening reading?
NO.
BAD IDEA.
It's like constantly waiting for SOMETHING to happen, some part of the story that I can say- ok, that's a good place to stop. And then put the book down and turn the light off.
But nothing BIG happens. It's just that something happens in every chapter that you say, well maybe it will START to be resolved in the next chapter...and I read on.
I'm usually like this with books.
Read most of them in one or two sittings, love staying up at night to finish a some quality Rushdie, Dostoevsky, Russian and French literature and of course the Brits and their plays into the wee hours of the morning. But these 600 pagers! I tell you, I was really in pain today when I woke up after going to bed so late.
Well, I guess I'll torture myself again this evening, but I really want to finish the book already! So that I can pick up something that is actually worth staying up until 3:30am and suffering the next morning because of it.
Sometime soon- a post on operas in English. That are meant to be in other languages.
There is still tomorrow to have the 'bad' dress and then the 'good opening'. The acoustics in this theater are just so singer friendly, that there really is nothing to do but smile and sing your heart out. It feels so good. Never pushing, never worrying, never for a split second wondering about balance, direction of the voice, whether you're blocking has you too far upstage to carry. It's the best.
What I was feeling today- SO tired.
I went to bed at 3:30am last night, and as I sit and compose this it's already 1:30am.
Know why?
Harry Potter.
I'm not even kidding.
I don't even really CARE about the series or the movie, and I'm only reading book 5 right now. AND the only reason I picked it up, is because since I'm at a gig I didn't bring what I was ACTUALLY in the middle of, Atlas Shrugged, because it was too heavy.
So I asked friends here if they had any reading materials (besides some of the Shakespeare in the apt. that I already thumbed through), and they had Harry Potter.
I haven't read 1,2,3,and 4 since undergrad, but I figured why not just pick it up for some evening reading?
NO.
BAD IDEA.
It's like constantly waiting for SOMETHING to happen, some part of the story that I can say- ok, that's a good place to stop. And then put the book down and turn the light off.
But nothing BIG happens. It's just that something happens in every chapter that you say, well maybe it will START to be resolved in the next chapter...and I read on.
I'm usually like this with books.
Read most of them in one or two sittings, love staying up at night to finish a some quality Rushdie, Dostoevsky, Russian and French literature and of course the Brits and their plays into the wee hours of the morning. But these 600 pagers! I tell you, I was really in pain today when I woke up after going to bed so late.
Well, I guess I'll torture myself again this evening, but I really want to finish the book already! So that I can pick up something that is actually worth staying up until 3:30am and suffering the next morning because of it.
Sometime soon- a post on operas in English. That are meant to be in other languages.
19 September, 2007
reasons I should be an agent (and singer)
I recently composed a few emails for some of my friends, with text of how they should present themselves as an unmanaged singer to an opera company that may or may not be having auditions in New York this season.
It was a mass type of email, but each one needed the name of the artistic administrator filled in, plus the tailored opera company name in the first and the last line. Nothing too hard, and you can basically cut and paste however many times you want to send it out.
After googling the emails of the admins (don't write the Directors for such a silly inquiry as to whether or not they're having auditions in NYC), I had them send out the emails, and out of about 40 inquiries most all wrote back with the correct information- whether the company accepted materials, whether they would be hearing singers in NY, whether they would have later auditions at their home location.
The BEST part of the responses to these emails, is that FOUR companies wrote back saying something like "please send us your singers' materials and let us know which day you would prefer them to be scheduled and we will get back to you as soon as possible".
HAHAHA! That means they thought that I was the agent- writing to find where and when the auditions were, so that I could submit my singers!
Now, not to get all inflated and self-congratulatory, I already know that I have skillzzzz for the business of this world. It was just really amusing to get responses like this AND it got me thinking.
Why COULDN'T singers/I do this in some form?
Ok- just hear/read me out.
You think of a catchy name that has to do with music (not your last name obviously).
You buy another cell phone line. You use your mom's maiden name as the agency contact (which is really you, the agent and singer), you get some of your talented friends together, rewrite their bios and resumes so they are formatted similarly, get a POBox for post correspondence, and voila!
I know, I know. It's about the contact. People have to know who you are before they want to hear your singers.
BUT- what smaller opera company wouldn't hear a new agent's singers- at least the first year?
You have to make sure they are good, of course.
But if all of the singers ARE good and rock their audition, and are young and motivated and ready to be hired and can actually do the gig---that would be SO awesome!
Everything is done via email anyway.
So. At the beginning of each season to send out hard copy mailings introducing yourself as a new agent, who represents these singers.
Then you find out when the auditions are, and send out an email to the admin. requesting times for your singers to be considered for roles in their upcoming season.
Then you do the audition (and the agent doesn't come with them...duh- cuz it's you!)
Then you follow up. And follow up. And follow up.
And then you wait and see.
And if your singer friends were good enough- maybe you've just begun an agency.
No?
Yes?
So fun.
It was a mass type of email, but each one needed the name of the artistic administrator filled in, plus the tailored opera company name in the first and the last line. Nothing too hard, and you can basically cut and paste however many times you want to send it out.
After googling the emails of the admins (don't write the Directors for such a silly inquiry as to whether or not they're having auditions in NYC), I had them send out the emails, and out of about 40 inquiries most all wrote back with the correct information- whether the company accepted materials, whether they would be hearing singers in NY, whether they would have later auditions at their home location.
The BEST part of the responses to these emails, is that FOUR companies wrote back saying something like "please send us your singers' materials and let us know which day you would prefer them to be scheduled and we will get back to you as soon as possible".
HAHAHA! That means they thought that I was the agent- writing to find where and when the auditions were, so that I could submit my singers!
Now, not to get all inflated and self-congratulatory, I already know that I have skillzzzz for the business of this world. It was just really amusing to get responses like this AND it got me thinking.
Why COULDN'T singers/I do this in some form?
Ok- just hear/read me out.
You think of a catchy name that has to do with music (not your last name obviously).
You buy another cell phone line. You use your mom's maiden name as the agency contact (which is really you, the agent and singer), you get some of your talented friends together, rewrite their bios and resumes so they are formatted similarly, get a POBox for post correspondence, and voila!
I know, I know. It's about the contact. People have to know who you are before they want to hear your singers.
BUT- what smaller opera company wouldn't hear a new agent's singers- at least the first year?
You have to make sure they are good, of course.
But if all of the singers ARE good and rock their audition, and are young and motivated and ready to be hired and can actually do the gig---that would be SO awesome!
Everything is done via email anyway.
So. At the beginning of each season to send out hard copy mailings introducing yourself as a new agent, who represents these singers.
Then you find out when the auditions are, and send out an email to the admin. requesting times for your singers to be considered for roles in their upcoming season.
Then you do the audition (and the agent doesn't come with them...duh- cuz it's you!)
Then you follow up. And follow up. And follow up.
And then you wait and see.
And if your singer friends were good enough- maybe you've just begun an agency.
No?
Yes?
So fun.
18 September, 2007
real life catches up
Yes, the posts should be about music. But I suppose they can also be about personal relationships and how those are affected by a music career.
It's not that a relationship ever takes a backseat, being a performer just makes the road a bit more bumpy to travel on to get anywhere.
Not being together, not knowing what city, state, country or continent you'll be singing in next, not knowing the next time you'll be able to see one another, not being able to plan really leaves things in limbo sometimes.
Many of my singer friends are single. Many of them are in relationships with other singers (either a big mistake or the best thing in their lives--according to which stage of the relationship they're in- new, summer program fling, breakup, or divorce). A few are in relationships with people who have nothing to do with the music business.
So what does it take?
Well, in my experience so far, it takes a lot of working on communication.
One person can't get angry or upset because a scheduled phone call just couldn't happen because rehearsal wasn't let out until 30 minutes later.
The other can't get sad because their hours are so crazy and insane and the time zone they are in precludes any goodnight conversations for over a month.
And you have to talk about these things before you face them, not just assume that you'll get through them just because you love each other and want to be in this relationship.
If you're in it for the long haul (what nice terms to put a loving, forever type of relationship in!), then you have know what you will be willing to sacrifice, and whether that will affect your career, or your relationship, or both.
It's not about being selfish in either case, it's about realizing that you can't be completely happy by giving something up that you're not ready to give up.
Example- would I be happier in my relationship if I only lived in one location with the person that I love?
Yes.
HOWEVER. I would not be happier with myself because I'd feel like I'm giving up on a career I'm just beginning and could go anywhere--and that would creep into my "happy relationship" of living in just one place. And slowly but surely my happiness in the relationship would somehow deteriorate and become intolerable simply because I was not satisfied with another part of my life.
These of course, are my thoughts now, at my age, on this evening.
Check in a few years down the road and maybe the only thing on my mind will be babies and Martha Stewart bedding sets. Even still, I'm pretty sure if it's babies I'd also try to find a way to lug them around to whatever gig I had, wherever it was. Maybe in one of those carriers they make for little yappy dogs.
It's not that a relationship ever takes a backseat, being a performer just makes the road a bit more bumpy to travel on to get anywhere.
Not being together, not knowing what city, state, country or continent you'll be singing in next, not knowing the next time you'll be able to see one another, not being able to plan really leaves things in limbo sometimes.
Many of my singer friends are single. Many of them are in relationships with other singers (either a big mistake or the best thing in their lives--according to which stage of the relationship they're in- new, summer program fling, breakup, or divorce). A few are in relationships with people who have nothing to do with the music business.
So what does it take?
Well, in my experience so far, it takes a lot of working on communication.
One person can't get angry or upset because a scheduled phone call just couldn't happen because rehearsal wasn't let out until 30 minutes later.
The other can't get sad because their hours are so crazy and insane and the time zone they are in precludes any goodnight conversations for over a month.
And you have to talk about these things before you face them, not just assume that you'll get through them just because you love each other and want to be in this relationship.
If you're in it for the long haul (what nice terms to put a loving, forever type of relationship in!), then you have know what you will be willing to sacrifice, and whether that will affect your career, or your relationship, or both.
It's not about being selfish in either case, it's about realizing that you can't be completely happy by giving something up that you're not ready to give up.
Example- would I be happier in my relationship if I only lived in one location with the person that I love?
Yes.
HOWEVER. I would not be happier with myself because I'd feel like I'm giving up on a career I'm just beginning and could go anywhere--and that would creep into my "happy relationship" of living in just one place. And slowly but surely my happiness in the relationship would somehow deteriorate and become intolerable simply because I was not satisfied with another part of my life.
These of course, are my thoughts now, at my age, on this evening.
Check in a few years down the road and maybe the only thing on my mind will be babies and Martha Stewart bedding sets. Even still, I'm pretty sure if it's babies I'd also try to find a way to lug them around to whatever gig I had, wherever it was. Maybe in one of those carriers they make for little yappy dogs.
14 September, 2007
great minds think alike?
Take note- I said that I'd talk about straight theater and acting in opera BEFORE the Metblog's most recent entry (today) that has an interview with N. Dessay about how she approaches her roles, and her dramatic acting techniques, and her wanting to prove that opera singers are actors.
Find that interview here.
From someone who has watched many of her performances on DVD, Youtube, video,and anywhere else I can get it (oh yea, and LIVE), Dessay is, to me, a consummate stage actress. Both delivering lines to an audience and allowing the natural action-reaction of a moment, occasion, scene, to unfold.
In opera staging rehearsals and master classes there is often talk of extending the action. Extending the emotion--because the actual words or music are repetitive (bel canto), OR it is a moment of freeze that is purely emotive, and stands outside of time.
And it should take that long, or those many "actions"- whether they are stock or not- for the character to express what it truly feels.
Oh, let's throw out an example that Dessay is working on now- Lucia.
Is she mad from the start?
Is there a hint of madness?
Is she a victim of circumstance in terms of women's positions in her era?
How can she sing her first act aria and be so excited/afraid, then be so enraptured in a love duet, get crushed in the sextet, and turn to such madness in the third act?
Many singers would take each of these scenes and sing and act them to the fullest emotion, not really thinking about connecting them to the other musical pieces. If you just make each one a pretty picture/scene, the audience very easily understands the one or two emotions you convey in each scene.
But no. What is SO much more interesting to watch and to act/sing, is the evolution. The small hints of instability in the first act aria- the hysteria mixed with terror. The extremes to which she takes the solemnity of a vow--the love duet that may be the final farewell in her mind, and how that sets her up for the lashing out at Enrico, the sextet and the mad scene.
It's so much more riveting when you see how, slowly, the entire character takes shape.And yes, that may mean a more "refined" first aria and first duet. It means you're not going to take the extreme choice of just playing/acting "happy, more happy, oh my gosh, it's unbelievable that I'm so happy" How did I GET so happy? Won't my brother be happy that I'm happy? I hope nothing happens to stop this happiness.'
etc. etc.
I think from seeing a recent performance of theater at a very, well, famous, theater, that actors are trained to concentrate more on the evolution of the entire piece, which singers are trained (as they are vocally), to approach the piece in segments, to master them vocally and dramatically, and then somehow to make the recits in between "make sense".
And it's not being lazy. It's really just how we are taught. Master the big famous arias, tackle the love duets, make sure the recits are solid, and then put together the ensembles and the rest of the role. It's very fragmented when you take it into lessons or coachings, and ever since my own lessons and coachings began to involve more role study than singing through arias and art songs, I have made sure to do things in order. To let the evolution of the entire show influence how I'm doing the coaching that day, and what pieces I'm working on in the coaching.
It's too easy to just warm up and then sing the mad scene.
As Dessay said, the hardest part of that piece is the Act II low duet with her brother.
So why not start at the very beginning? And if you only have an hour, start with that duet and then sing the mad scene.
In my approach to characters over the past few years I have definitely tried to think of the arc of drama instead of perfecting the little gems within. Of course, that too- but to make it more dramatically viable I think the first way should always win out. I'm left cold or unmoved by so many "moving" performances, because of the lack of continuity. Don't just sell me the aria.
Sell me the whole thing. Sell me so much that for an evening I can be transported to whatever time and place you are living this piece in and the piece lives in you.
Find that interview here.
From someone who has watched many of her performances on DVD, Youtube, video,and anywhere else I can get it (oh yea, and LIVE), Dessay is, to me, a consummate stage actress. Both delivering lines to an audience and allowing the natural action-reaction of a moment, occasion, scene, to unfold.
In opera staging rehearsals and master classes there is often talk of extending the action. Extending the emotion--because the actual words or music are repetitive (bel canto), OR it is a moment of freeze that is purely emotive, and stands outside of time.
And it should take that long, or those many "actions"- whether they are stock or not- for the character to express what it truly feels.
Oh, let's throw out an example that Dessay is working on now- Lucia.
Is she mad from the start?
Is there a hint of madness?
Is she a victim of circumstance in terms of women's positions in her era?
How can she sing her first act aria and be so excited/afraid, then be so enraptured in a love duet, get crushed in the sextet, and turn to such madness in the third act?
Many singers would take each of these scenes and sing and act them to the fullest emotion, not really thinking about connecting them to the other musical pieces. If you just make each one a pretty picture/scene, the audience very easily understands the one or two emotions you convey in each scene.
But no. What is SO much more interesting to watch and to act/sing, is the evolution. The small hints of instability in the first act aria- the hysteria mixed with terror. The extremes to which she takes the solemnity of a vow--the love duet that may be the final farewell in her mind, and how that sets her up for the lashing out at Enrico, the sextet and the mad scene.
It's so much more riveting when you see how, slowly, the entire character takes shape.And yes, that may mean a more "refined" first aria and first duet. It means you're not going to take the extreme choice of just playing/acting "happy, more happy, oh my gosh, it's unbelievable that I'm so happy" How did I GET so happy? Won't my brother be happy that I'm happy? I hope nothing happens to stop this happiness.'
etc. etc.
I think from seeing a recent performance of theater at a very, well, famous, theater, that actors are trained to concentrate more on the evolution of the entire piece, which singers are trained (as they are vocally), to approach the piece in segments, to master them vocally and dramatically, and then somehow to make the recits in between "make sense".
And it's not being lazy. It's really just how we are taught. Master the big famous arias, tackle the love duets, make sure the recits are solid, and then put together the ensembles and the rest of the role. It's very fragmented when you take it into lessons or coachings, and ever since my own lessons and coachings began to involve more role study than singing through arias and art songs, I have made sure to do things in order. To let the evolution of the entire show influence how I'm doing the coaching that day, and what pieces I'm working on in the coaching.
It's too easy to just warm up and then sing the mad scene.
As Dessay said, the hardest part of that piece is the Act II low duet with her brother.
So why not start at the very beginning? And if you only have an hour, start with that duet and then sing the mad scene.
In my approach to characters over the past few years I have definitely tried to think of the arc of drama instead of perfecting the little gems within. Of course, that too- but to make it more dramatically viable I think the first way should always win out. I'm left cold or unmoved by so many "moving" performances, because of the lack of continuity. Don't just sell me the aria.
Sell me the whole thing. Sell me so much that for an evening I can be transported to whatever time and place you are living this piece in and the piece lives in you.
13 September, 2007
audition...kinda
I had an audition today.
Well, sorta.
It wasn't for anything in particular, but it was for someone in particular.
I was having an odd day to begin with (probably something to do with the sudden weather change, the fact that I had a really long singing day yesterday and that I was slightly dehydrated) so I was just feeling sluggish all day.
But I got my energy up, got the high g's together, and all that other stuff in the middle as well, and I headed out in my new audition dress.
Performance assessment:
Aria numero uno: 9? and some decimal points maybe.
Ok, more specifically:
Energy was there, dynamics were there, commitment was there, having fun with it was there. It was all totally there in an organic way. Really.
It was funny, though- because I had been kind of out of it all day, a lot of the whole experience seemed to be moving in slow motion almost. It was like I was aware I was doing something but it was so second nature to me, that a lot of time passed between one phrase and the next, one movement and the next, and I could almost be outside of my own body looking at myself performing it, and have enough time to comment.
Not vocally or dramatically of course. Just a weird feeling.
Aria numero dos: 8.95
I say that because of ONE breath that IIII took that I don't usually take.
OTHER people take it. So it's no big deal whatsoever.
But I didn't like that I took it, after deciding with the conductor that I wouldn't take it.
So there!
Take that aria two.
Acting was obviously there since it's something--oh, let's just say currently familiar.
BUT again- there is always that discrepancy between acting what you have been "blocked" to do, and acting in an "audition" situation. So there was modification on both sides as this was the first time the aria was requested since the role had been performed.
Overall- I think I did well. I made pretty music. I was enthusiastic about it. I was vocally and dramatically there.
Next post is about straight theater. No, not heterosexual theater. Straight theater as in real drama. No singing.
After seeing a great play tonight that was "straight".
Well, sorta.
It wasn't for anything in particular, but it was for someone in particular.
I was having an odd day to begin with (probably something to do with the sudden weather change, the fact that I had a really long singing day yesterday and that I was slightly dehydrated) so I was just feeling sluggish all day.
But I got my energy up, got the high g's together, and all that other stuff in the middle as well, and I headed out in my new audition dress.
Performance assessment:
Aria numero uno: 9? and some decimal points maybe.
Ok, more specifically:
Energy was there, dynamics were there, commitment was there, having fun with it was there. It was all totally there in an organic way. Really.
It was funny, though- because I had been kind of out of it all day, a lot of the whole experience seemed to be moving in slow motion almost. It was like I was aware I was doing something but it was so second nature to me, that a lot of time passed between one phrase and the next, one movement and the next, and I could almost be outside of my own body looking at myself performing it, and have enough time to comment.
Not vocally or dramatically of course. Just a weird feeling.
Aria numero dos: 8.95
I say that because of ONE breath that IIII took that I don't usually take.
OTHER people take it. So it's no big deal whatsoever.
But I didn't like that I took it, after deciding with the conductor that I wouldn't take it.
So there!
Take that aria two.
Acting was obviously there since it's something--oh, let's just say currently familiar.
BUT again- there is always that discrepancy between acting what you have been "blocked" to do, and acting in an "audition" situation. So there was modification on both sides as this was the first time the aria was requested since the role had been performed.
Overall- I think I did well. I made pretty music. I was enthusiastic about it. I was vocally and dramatically there.
Next post is about straight theater. No, not heterosexual theater. Straight theater as in real drama. No singing.
After seeing a great play tonight that was "straight".
12 September, 2007
direct competition- food for thought sinceit's 2pm and I haven't eaten yet.
Is it about you as a person and voice?
Or is it about the comparison of you and everyone else as a person/voice?
Is it about the buzz from your recent competition winnings, grants, and other awards that gets you more jobs?
Or is it that we all sing pretty much the same, but if YOU have those competition winnings, grants, and other awards, the panel thinks- well, all of these other people have validated you, you MUST be good/better/best?
Is it about being the best you can be in what you're doing and at your auditions?
Or is it about the direct (or indirect) competition--meaning, getting "wins" in other categories (competitions, grants)- that propels a main stage career?
Or is it about the comparison of you and everyone else as a person/voice?
Is it about the buzz from your recent competition winnings, grants, and other awards that gets you more jobs?
Or is it that we all sing pretty much the same, but if YOU have those competition winnings, grants, and other awards, the panel thinks- well, all of these other people have validated you, you MUST be good/better/best?
Is it about being the best you can be in what you're doing and at your auditions?
Or is it about the direct (or indirect) competition--meaning, getting "wins" in other categories (competitions, grants)- that propels a main stage career?
11 September, 2007
holy days
Well, I suppose it's ALMOST been the traditional 7 days of mourning before I posted again since the last tragedy to the opera world.
As I lay here telling myself that I should have turned the lights off an hour ago when I was actually a bit tired and my eyes started to burn from the hours spent looking at the computer screen today, I thought of a topic to write about since the high holidays approach.
Well, BEFORE that topic, I'll approach this one: religion and work.
When is it ok to request a day or two off because the upcoming holidays are the most important in your religion?
It's pretty much like working on Christmas Eve, Christmas Day, Good Friday, and Palm Sunday all rolled into one.
Well, maybe even more so. For some.
What to do? Well, this year, thankfully, I don't have to do much. It just so happens that I have the three evenings and one full day in question OFF from rehearsal/run-through/tech anyway--but that was a fluke, and if we were not doing so well with the rehearsals, we would have had a run-through.
So- what would I have done?
I'm actually not quite sure.
So maybe I'm not going to approach this topic. I'll just write that I'm glad that this year, at a time when I'm feeling the need for some closeness and spirituality and wisdom of the ages, I'm very glad that I can observe the high holidays without feeling like I'm the "other" whose personal beliefs made someone have to change a master schedule to accommodate me (hey, it's happened before and it didn't feel good--so I'm just thankful that this year and this time it's not like that).
The real topic to write about is fresh starts.
Yes, in just a few days I'll be entering a period where every year, we are encouraged to think back on the last year, think about the wrongs we have done to others, knowingly and unknowingly, and apologize, so that we can have a fresh start in the new year, and hopefully be written in the book of life for one more year.
The symbols of this holiday are especially meaningful to me.
Apples and Honey.
Ever since I can remember it's been just a once a year treat, and as such, a reminder of the sweetness of the year ahead, my childhood watching my mom peel the red apples for my dad and the green apples for me and my brothers, and the honey which came from anywhere local to where we were living that year.
Now that one brother is on the West Coast, the other on the East, parents Upstate, Me- well, everywhere and nowhere, and especially Special Someone in a very very far away country--it seems a comfort that a holiday where you don't necessarily need to be together, but whose essence brings people to think about the ones they love and the ones that most influence their lives, is just around the corner.
Shana Tova.
As I lay here telling myself that I should have turned the lights off an hour ago when I was actually a bit tired and my eyes started to burn from the hours spent looking at the computer screen today, I thought of a topic to write about since the high holidays approach.
Well, BEFORE that topic, I'll approach this one: religion and work.
When is it ok to request a day or two off because the upcoming holidays are the most important in your religion?
It's pretty much like working on Christmas Eve, Christmas Day, Good Friday, and Palm Sunday all rolled into one.
Well, maybe even more so. For some.
What to do? Well, this year, thankfully, I don't have to do much. It just so happens that I have the three evenings and one full day in question OFF from rehearsal/run-through/tech anyway--but that was a fluke, and if we were not doing so well with the rehearsals, we would have had a run-through.
So- what would I have done?
I'm actually not quite sure.
So maybe I'm not going to approach this topic. I'll just write that I'm glad that this year, at a time when I'm feeling the need for some closeness and spirituality and wisdom of the ages, I'm very glad that I can observe the high holidays without feeling like I'm the "other" whose personal beliefs made someone have to change a master schedule to accommodate me (hey, it's happened before and it didn't feel good--so I'm just thankful that this year and this time it's not like that).
The real topic to write about is fresh starts.
Yes, in just a few days I'll be entering a period where every year, we are encouraged to think back on the last year, think about the wrongs we have done to others, knowingly and unknowingly, and apologize, so that we can have a fresh start in the new year, and hopefully be written in the book of life for one more year.
The symbols of this holiday are especially meaningful to me.
Apples and Honey.
Ever since I can remember it's been just a once a year treat, and as such, a reminder of the sweetness of the year ahead, my childhood watching my mom peel the red apples for my dad and the green apples for me and my brothers, and the honey which came from anywhere local to where we were living that year.
Now that one brother is on the West Coast, the other on the East, parents Upstate, Me- well, everywhere and nowhere, and especially Special Someone in a very very far away country--it seems a comfort that a holiday where you don't necessarily need to be together, but whose essence brings people to think about the ones they love and the ones that most influence their lives, is just around the corner.
Shana Tova.
06 September, 2007
farewell
A great voice was silenced last night in the opera world.
Many other tributes will be better than anything I can write here.
No personal stories, just someone saying goodbye, who was moved by all of the youtube videos, bootleg dvd's of Ballo and Elixir, and other recordings that I have watched and listened to.
Ciao Bello.
Many other tributes will be better than anything I can write here.
No personal stories, just someone saying goodbye, who was moved by all of the youtube videos, bootleg dvd's of Ballo and Elixir, and other recordings that I have watched and listened to.
Ciao Bello.
05 September, 2007
well well well
My busy-ness/business seems to have gotten some results and good responses.
It's nice to know that people in the "know" care about what you're doing and are genuinely happy to find out about how you're doing in your career.
Going back through old emails to find addresses and such, it's interesting to see the pattern of contact. Very high volume after summer programs. Saying hi to fellow singers, sending coaches and directors a thank you and an update about what the fall schedule will hold for you. And then of course during audition season everyone wants to meet up in New York.
Then it's a bit quiet- maybe a Happy New Year email. And next it's the big gig you just got a great review from, or one that's coming up as a debut.
End-of-the-year review and a wish for a stress-free summer (for those that are in year-round seasons), AND an especially stress-free summer (for those that run summer programs), and there you have it.
The way to keep in touch with contacts-
Politely letting them know what you are up to, what you look forward to, and somewhere in the middle offering to sing for them again during audition season in NY, inviting them to performances if they are local/regional, and being genuinely interested in what THEY are doing as well.
Knowing where conductors have gone in the past year, wishing someone a good production of Traviata if it's upcoming, etc.
To me it's more of a wonder that so many singers don't do this on a regular basis. They're scared to approach some people, they don't know what to say, they don't feel comfortable.
You know, after getting over the initial 'should I be doing this' jitters...it feels so DANGEROUS to send an unsolicited email to someone that ACTUALLY knows me and PROBABLY remembers my kick-ass audition from this season, or this past summer program, etc....it's actually pretty painless.
And when I start my real business of being a personal manager for people's lives and arts grantwriter, since I already to it for free for so many of my friends (well, not the grantwriting part, that's for a feeee!), I will put up somewhere on a sticky note or an actual bulletin board some sort of phrase reminding me that we are all PEOPLE.
As Borat would say, "I like-uh you peepulsss".
So who cares if you run an A opera house?
If you've conducted and coached at the MET?
If you're the general director of one of the top three summer residency programs?
That doesn't mean that I, singer number 42 on day 4 of the New York auditions, can't write you to say
a. Thank you and could I have some feedback
b. Hello and this is what I'm doing now
c. I wish you a continued successful season and I hope to sing for you again in the future
And CONTINUE to keep in touch with you!
It's nice to know that people in the "know" care about what you're doing and are genuinely happy to find out about how you're doing in your career.
Going back through old emails to find addresses and such, it's interesting to see the pattern of contact. Very high volume after summer programs. Saying hi to fellow singers, sending coaches and directors a thank you and an update about what the fall schedule will hold for you. And then of course during audition season everyone wants to meet up in New York.
Then it's a bit quiet- maybe a Happy New Year email. And next it's the big gig you just got a great review from, or one that's coming up as a debut.
End-of-the-year review and a wish for a stress-free summer (for those that are in year-round seasons), AND an especially stress-free summer (for those that run summer programs), and there you have it.
The way to keep in touch with contacts-
Politely letting them know what you are up to, what you look forward to, and somewhere in the middle offering to sing for them again during audition season in NY, inviting them to performances if they are local/regional, and being genuinely interested in what THEY are doing as well.
Knowing where conductors have gone in the past year, wishing someone a good production of Traviata if it's upcoming, etc.
To me it's more of a wonder that so many singers don't do this on a regular basis. They're scared to approach some people, they don't know what to say, they don't feel comfortable.
You know, after getting over the initial 'should I be doing this' jitters...it feels so DANGEROUS to send an unsolicited email to someone that ACTUALLY knows me and PROBABLY remembers my kick-ass audition from this season, or this past summer program, etc....it's actually pretty painless.
And when I start my real business of being a personal manager for people's lives and arts grantwriter, since I already to it for free for so many of my friends (well, not the grantwriting part, that's for a feeee!), I will put up somewhere on a sticky note or an actual bulletin board some sort of phrase reminding me that we are all PEOPLE.
As Borat would say, "I like-uh you peepulsss".
So who cares if you run an A opera house?
If you've conducted and coached at the MET?
If you're the general director of one of the top three summer residency programs?
That doesn't mean that I, singer number 42 on day 4 of the New York auditions, can't write you to say
a. Thank you and could I have some feedback
b. Hello and this is what I'm doing now
c. I wish you a continued successful season and I hope to sing for you again in the future
And CONTINUE to keep in touch with you!
03 September, 2007
2008 and taking care of business
Today was surprisingly productive.
Took some strides in the business of singing area.
I know, it always comes down to choices and planning, but depending on auditions and audition results, the best laid plans of mice and men...well, yea.
So I sent some update emails to colleagues.
I read more about the possibilities of returning to Europe.
I revised my materials in German.
I made a list of agents and houses that I'd want to get in touch with.
I figure if you never can really tell what will happen in the US, why should my backup plan be temping/tutoring/teaching in some big city near THE city, waiting for the next big thing to happen...when I have contacts and people interested in me returning to Europe and maybe having the opportunity to sing there as well?
I made other lists of US houses still uncast for certain roles in 2008 (at least according to operabase and websites).
I am making sure to keep options open with an open mind, to keep lines of communication open, and not to assume anything or count on anything to happen without me doing something about it.
The one thing I'm still debating about is this young artist thing.
Am I one? I'm young enough to be.
But do I want to stay inside with that "safety net"? And for how many more years?
Should I find it encouraging or discouraging that friends of mine in 5 separate summer and year round residencies said that the overwhelming majority of singers were 28 and OLDER this summer and this year?
Still to be determined on that one--as application deadlines aren't QUITE so near.
I've got about a month.
Took some strides in the business of singing area.
I know, it always comes down to choices and planning, but depending on auditions and audition results, the best laid plans of mice and men...well, yea.
So I sent some update emails to colleagues.
I read more about the possibilities of returning to Europe.
I revised my materials in German.
I made a list of agents and houses that I'd want to get in touch with.
I figure if you never can really tell what will happen in the US, why should my backup plan be temping/tutoring/teaching in some big city near THE city, waiting for the next big thing to happen...when I have contacts and people interested in me returning to Europe and maybe having the opportunity to sing there as well?
I made other lists of US houses still uncast for certain roles in 2008 (at least according to operabase and websites).
I am making sure to keep options open with an open mind, to keep lines of communication open, and not to assume anything or count on anything to happen without me doing something about it.
The one thing I'm still debating about is this young artist thing.
Am I one? I'm young enough to be.
But do I want to stay inside with that "safety net"? And for how many more years?
Should I find it encouraging or discouraging that friends of mine in 5 separate summer and year round residencies said that the overwhelming majority of singers were 28 and OLDER this summer and this year?
Still to be determined on that one--as application deadlines aren't QUITE so near.
I've got about a month.
01 September, 2007
le weekend..thoughts on career and character
Well, it's a long weekend for just about everyone..except me. Rehearsal on Monday. But that's ok. We've had about 3.5 days of rehearsals, and a majority of my scenes have already been staged. I'm feeling pretty good that I have almost three weeks just to tweak, work on character, really dig in. Rather than be staging and "rehearsing" while still not 100% sure blocking is set, etc.
Of course things could still change, but right now the environment is so wonderful that I'm thinking it'll just be more playtime and discovery. Really allowing me to take time with this new character and get as much into it as possible.
The role this time around seems to have to faces, two bodies, two minds, that I need to find just the right combination of on stage:
It's a physical role, but also a very refined one due to the setting and century. So while I jump on other people, and prance around excitedly, I still need to maintain decorum.
It's a young character, but also one with great power and prestige, so while I have that swagger, there is also a sense of refinement, as one who would have been brought up under aristocratic tutelage.
While I'm the comic relief, I always take myself extremely seriously.
Devoted, almost to the point of indoctrination.
Easily offended, easily offending to others (and likes it that way).
Back to the weekend--yes, it will involve further character development as I walk around mirrored rooms, think about musical entrances and how much time I have to be a brat to one character and then another, and of course work on getting taller somehow.
It will involve continued general "thoughts" about audition season.
The applications are all in front of me, almost ready to go, I'm just not sure I want to send them.
It's the same debate in my mind.
Do I pay the money for an audition, which, IF I got it, would maintain the status quo from last year? (meaning, young artist)? Or do I wait, and rely on other upcoming auditions to become a mainstage auditioner and hopefully singer/performer (THIS year--preferably...)?
I recently was emailing a friend about careers, stability, success and life.
They wrote:
"one of things that does inspire me is how un-embittered you are in the face of a
career that offers no security, no room for error, and often no fair
reward for hard work."
It was strange to read those words, because it's not often that I put all of that together and really think about this, as a career different than what someone else in another field would be working for.
I wouldn't say I'm an optimist. I am a realist.
Nothing is fair.
Working hard doesn't mean you'll get the job.
Singing the best/prettiest doesn't mean you'll get the job.
Sending an application doesn't mean you'll get the live audition.
Having the look, materials, voice, recommendations, time free to be in NY--means nothing.
So then, why?
WHY?
Because this is IT. How much better can it be than singing in your favorite opera? Than living the music of one of the geniuses of the century? Than interpreting a work and following the footsteps of your great musical idols? Of joining the ranks of those who make art their passion and share it for a living?
Of course I'm not an optimist. When since the age of 21 you're receiving 29 out of 30 rejection letters each audition season, you learn that it's not about you.
All you can do is work the hardest, be the most in-the-know, sing the best you can, act the best you can, be as prepared as you can...to know everything about the black hole you will walk into for 7 minutes one day a year between October and December and audition for ONE spot in ONE opera of ONE season. And then rinse and repeat however many times you have auditions.
And now back to your regularly scheduled programming for a light and carefree labor day weekend.
Of course things could still change, but right now the environment is so wonderful that I'm thinking it'll just be more playtime and discovery. Really allowing me to take time with this new character and get as much into it as possible.
The role this time around seems to have to faces, two bodies, two minds, that I need to find just the right combination of on stage:
It's a physical role, but also a very refined one due to the setting and century. So while I jump on other people, and prance around excitedly, I still need to maintain decorum.
It's a young character, but also one with great power and prestige, so while I have that swagger, there is also a sense of refinement, as one who would have been brought up under aristocratic tutelage.
While I'm the comic relief, I always take myself extremely seriously.
Devoted, almost to the point of indoctrination.
Easily offended, easily offending to others (and likes it that way).
Back to the weekend--yes, it will involve further character development as I walk around mirrored rooms, think about musical entrances and how much time I have to be a brat to one character and then another, and of course work on getting taller somehow.
It will involve continued general "thoughts" about audition season.
The applications are all in front of me, almost ready to go, I'm just not sure I want to send them.
It's the same debate in my mind.
Do I pay the money for an audition, which, IF I got it, would maintain the status quo from last year? (meaning, young artist)? Or do I wait, and rely on other upcoming auditions to become a mainstage auditioner and hopefully singer/performer (THIS year--preferably...)?
I recently was emailing a friend about careers, stability, success and life.
They wrote:
"one of things that does inspire me is how un-embittered you are in the face of a
career that offers no security, no room for error, and often no fair
reward for hard work."
It was strange to read those words, because it's not often that I put all of that together and really think about this, as a career different than what someone else in another field would be working for.
I wouldn't say I'm an optimist. I am a realist.
Nothing is fair.
Working hard doesn't mean you'll get the job.
Singing the best/prettiest doesn't mean you'll get the job.
Sending an application doesn't mean you'll get the live audition.
Having the look, materials, voice, recommendations, time free to be in NY--means nothing.
So then, why?
WHY?
Because this is IT. How much better can it be than singing in your favorite opera? Than living the music of one of the geniuses of the century? Than interpreting a work and following the footsteps of your great musical idols? Of joining the ranks of those who make art their passion and share it for a living?
Of course I'm not an optimist. When since the age of 21 you're receiving 29 out of 30 rejection letters each audition season, you learn that it's not about you.
All you can do is work the hardest, be the most in-the-know, sing the best you can, act the best you can, be as prepared as you can...to know everything about the black hole you will walk into for 7 minutes one day a year between October and December and audition for ONE spot in ONE opera of ONE season. And then rinse and repeat however many times you have auditions.
And now back to your regularly scheduled programming for a light and carefree labor day weekend.
30 August, 2007
pretty shoes
I just bought two extremely cute pairs of shoes.
One pair is that shiny patent leather thing that's "in" right now- So hot right now. Hansel. High heels. Myriad dresses to wear them with--when I'm wearing dresses again and not capris, jeans and otherwise boyish things to work in.
The other is a cute low heeled T strap to mimic what I'm going to be wearing on stage (kind of), so I can practice without being in my sneakers all the time.
I've been waking up early, and going to sleep at a normal adult bed time (not a crazy college student/insomniac bedtime), and feeling generally like things are coasting right now.
I'm not stressed, I'm just trucking along, enjoying the moment, looking forward to things, and letting things unfold.
One pair is that shiny patent leather thing that's "in" right now- So hot right now. Hansel. High heels. Myriad dresses to wear them with--when I'm wearing dresses again and not capris, jeans and otherwise boyish things to work in.
The other is a cute low heeled T strap to mimic what I'm going to be wearing on stage (kind of), so I can practice without being in my sneakers all the time.
I've been waking up early, and going to sleep at a normal adult bed time (not a crazy college student/insomniac bedtime), and feeling generally like things are coasting right now.
I'm not stressed, I'm just trucking along, enjoying the moment, looking forward to things, and letting things unfold.
28 August, 2007
rehearsal day 1
Costume fitting- handsome.
Rehearsal of most of my music- smooth.
What I'm in the mood for- mint chocolate chip ice cream and a girly movie.
What I'll end up doing- scores, applications, new arias, and listening to my ipod on shuffle.
Currently- Chopin Polonaise in Eflat minor- Arthur Rubinstein playing.
Previous song- Pop- JTimberlake.
Next song- Mediate- INXS
Rehearsal of most of my music- smooth.
What I'm in the mood for- mint chocolate chip ice cream and a girly movie.
What I'll end up doing- scores, applications, new arias, and listening to my ipod on shuffle.
Currently- Chopin Polonaise in Eflat minor- Arthur Rubinstein playing.
Previous song- Pop- JTimberlake.
Next song- Mediate- INXS
26 August, 2007
and we're off
Tomorrow begins a new adventure.
I'm prepared, positive, and most importantly- packed (that is, if the suitcase closes after I add the shirt that's in the dryer, my pj's, and last minute stuff like the toothbrush I'm still going to use tonight.
I'm sure I'll get better at this time with and experience. I'm actually a really good packer- usually- when I don't have to pack for three possible seasons ranging from insanely hot to cool fall foliage to freezing and snow.
But for now one checked bag and one carry-on sized suitcase (which I'm going to check anyway) will do- plus my deep black hole bag which has my score and my laptop.
Ok. Last post from current-state.
I'm prepared, positive, and most importantly- packed (that is, if the suitcase closes after I add the shirt that's in the dryer, my pj's, and last minute stuff like the toothbrush I'm still going to use tonight.
I'm sure I'll get better at this time with and experience. I'm actually a really good packer- usually- when I don't have to pack for three possible seasons ranging from insanely hot to cool fall foliage to freezing and snow.
But for now one checked bag and one carry-on sized suitcase (which I'm going to check anyway) will do- plus my deep black hole bag which has my score and my laptop.
Ok. Last post from current-state.
24 August, 2007
theatre. theater. theatre.
My younger cousin is in town to visit and have her last two weeks of vacation before she officially embarks upon the lifestyle of the poor starving artist. She wants to be an actress.
Actually, she is a very fine actress already, and I'm sure that although she'll do the struggling waitress/tempjob thing in the city, she'll also have her continued share of successes.
Coincidentally, I happened to have an audition yesterday for a production that is "straight theater" heavy. It's an opera, yes. It's an entire role. But it is also staged for a smaller, more intimate audience, with the use of close up Audio/Visual materials, etc, and so they were looking to cast a strong actor who would not stand and sing pretty, but be able to convey up close the emotion and meaning of what is necessary in the piece.
I walked into the room quite sure of what I was doing vocally, and I decided to just let myself feel the piece out dramatically. What did that mean?
Well, for me it meant more time in the recits, and motivating them with realism on stage.
Instead of hoping the conductor isn't getting pissed that you're taking too much freedom with that eighth note rest.
It meant different vocal colors, that may not have "beauty of tone", but still belong there dramatically.
Instead of worrying what your voice teacher or coach will say about the fluidity and even-ness of the vocal range.
It meant relying on my acting skillzzz and actually finding out that they are "right". They work. They inspire me to do the "right" things, the things that make people move. That make people lean forward in their seats. That make people think about what I'm saying in another language becaues they can understand my body language and intent.
I have never subscribed to one "method" of acting. Usually it comes to me quite naturally, but I do have to still find it-- whether I find it in my voice, the character, a piece of detailed information, the source material--there is some trigger and then I "get" what I have to do to make this person come alive through me.
It was a great feeling to work with drama people and feel like I wasn't "opera"-acting faking it.
You know what I'm talking about.
Basta. A few more days of leisure, a gbye, and I'm off to opera1 this season.
Actually, she is a very fine actress already, and I'm sure that although she'll do the struggling waitress/tempjob thing in the city, she'll also have her continued share of successes.
Coincidentally, I happened to have an audition yesterday for a production that is "straight theater" heavy. It's an opera, yes. It's an entire role. But it is also staged for a smaller, more intimate audience, with the use of close up Audio/Visual materials, etc, and so they were looking to cast a strong actor who would not stand and sing pretty, but be able to convey up close the emotion and meaning of what is necessary in the piece.
I walked into the room quite sure of what I was doing vocally, and I decided to just let myself feel the piece out dramatically. What did that mean?
Well, for me it meant more time in the recits, and motivating them with realism on stage.
Instead of hoping the conductor isn't getting pissed that you're taking too much freedom with that eighth note rest.
It meant different vocal colors, that may not have "beauty of tone", but still belong there dramatically.
Instead of worrying what your voice teacher or coach will say about the fluidity and even-ness of the vocal range.
It meant relying on my acting skillzzz and actually finding out that they are "right". They work. They inspire me to do the "right" things, the things that make people move. That make people lean forward in their seats. That make people think about what I'm saying in another language becaues they can understand my body language and intent.
I have never subscribed to one "method" of acting. Usually it comes to me quite naturally, but I do have to still find it-- whether I find it in my voice, the character, a piece of detailed information, the source material--there is some trigger and then I "get" what I have to do to make this person come alive through me.
It was a great feeling to work with drama people and feel like I wasn't "opera"-acting faking it.
You know what I'm talking about.
Basta. A few more days of leisure, a gbye, and I'm off to opera1 this season.
22 August, 2007
it's the most wonderful time of the yeaaaarrrrr
Wow, every singer that I know is in the WORST of moods these days.
Why?
Because it's "gather ye rosebuds..." I mean, ye CRAP for audition season...while ye may.
There is SO much resume paper, rewritable cd's, printing, filling out, downloading of Adobe Acrobat 8.0...even things on the internetsss are getting more hard and annoying to fill out with writable pdfs that you have to save to your desktop or submit online (that you can't fill out in smaller writing like you could if you were hand writing the thing to actually EXPLAIN to them your proficiency in four languages).
And the kicker? That's just the application. It doesn't guarantee an audition.
The EVEN more annoying kicker?
YOU can fill out an entire application, have the CD with 3 selections, have a new headshot, updated bio, reformatted resume, and IF you don't have THREE people that are "on it" and "on time" to write your recommendations, you can't send out the application.
What if I'm the person to come up with the grand idea of getting ALL the young artist program directors together, split them up by summer and residency/year round, and ask WHAT they want to know about their applicants. For real.
DO you REALLY care that 90 percent of your singers, when asked if they play a musical instrument, will probably put down those 4 years of piano that their parents made them learn in 4-8th grade even though they get by on playing their own line and maybe a little left hand bass notes now?
DO you REALLY care WHERE, WHEN and with WHOM singers have taken acting/dance/movement?
Really? THAT's suddenly going to ring a bell for you?
WELL--we should hear HER because she studied "ekkktinggg" with blabity bla bla bla of the Stanislavsky method.
Oh, no, we should hear HER because she took "movement for singers" at this pay-to-sing five years ago.
I mean, what singer, who isn't in school these days, has MONEY to study acting/movement/dance with ANYONE famous in New York?
Asking straight theater or broadway singers- sure. They take classes ALL the time and parade around NOLA with little clothes and tap shoes on.
But I don't think a majority of opera singers living anywhere get to independently study any of these things, so we inevitably write down who we studied with for one, or two years in college, and then maybe those three times we took a movement class at the summer program we did last year.
OK, so after asking all of these "important" questions, I will come up with a "common application".
Yes, you heard it here first. Don't steal my idea. For serious.
It will be online, and perfect. And if a specific opera co. wants more information, they can have an added "supplement".
AND payment will be online and they can each charge different things.
The MAIN thing will be that all of the "general" info. that we fill out 10,20,30 times over and over in tiny block letter handwriting, or try to fit into pdf files, or have to THINK about because it's just THAT little bit different on each application, will get to be taken out of the equation.
And then it can go straight into their computer, from ours. And there will be room to upload headshots, resumes, bios, reviews, and mp3s.
AND RECOMMENDATIONS!!!!!!
Why?
Because it's "gather ye rosebuds..." I mean, ye CRAP for audition season...while ye may.
There is SO much resume paper, rewritable cd's, printing, filling out, downloading of Adobe Acrobat 8.0...even things on the internetsss are getting more hard and annoying to fill out with writable pdfs that you have to save to your desktop or submit online (that you can't fill out in smaller writing like you could if you were hand writing the thing to actually EXPLAIN to them your proficiency in four languages).
And the kicker? That's just the application. It doesn't guarantee an audition.
The EVEN more annoying kicker?
YOU can fill out an entire application, have the CD with 3 selections, have a new headshot, updated bio, reformatted resume, and IF you don't have THREE people that are "on it" and "on time" to write your recommendations, you can't send out the application.
What if I'm the person to come up with the grand idea of getting ALL the young artist program directors together, split them up by summer and residency/year round, and ask WHAT they want to know about their applicants. For real.
DO you REALLY care that 90 percent of your singers, when asked if they play a musical instrument, will probably put down those 4 years of piano that their parents made them learn in 4-8th grade even though they get by on playing their own line and maybe a little left hand bass notes now?
DO you REALLY care WHERE, WHEN and with WHOM singers have taken acting/dance/movement?
Really? THAT's suddenly going to ring a bell for you?
WELL--we should hear HER because she studied "ekkktinggg" with blabity bla bla bla of the Stanislavsky method.
Oh, no, we should hear HER because she took "movement for singers" at this pay-to-sing five years ago.
I mean, what singer, who isn't in school these days, has MONEY to study acting/movement/dance with ANYONE famous in New York?
Asking straight theater or broadway singers- sure. They take classes ALL the time and parade around NOLA with little clothes and tap shoes on.
But I don't think a majority of opera singers living anywhere get to independently study any of these things, so we inevitably write down who we studied with for one, or two years in college, and then maybe those three times we took a movement class at the summer program we did last year.
OK, so after asking all of these "important" questions, I will come up with a "common application".
Yes, you heard it here first. Don't steal my idea. For serious.
It will be online, and perfect. And if a specific opera co. wants more information, they can have an added "supplement".
AND payment will be online and they can each charge different things.
The MAIN thing will be that all of the "general" info. that we fill out 10,20,30 times over and over in tiny block letter handwriting, or try to fit into pdf files, or have to THINK about because it's just THAT little bit different on each application, will get to be taken out of the equation.
And then it can go straight into their computer, from ours. And there will be room to upload headshots, resumes, bios, reviews, and mp3s.
AND RECOMMENDATIONS!!!!!!
19 August, 2007
in transit
(written friday night on the train, posted today, first day of internet-availability)
Sung to: If I were a rich man
If I had a treo
I could email email email email email all day long
On the train or bus I’d not study
If I had a crackberreeee
Wouldn’t have to work hard
I’d just email email email email email all day long
So much fun, and I’d be much more calm
If I had a wireless palm
I’d check my
gmail facebook
Hotmail and friendster
Right in the crowded subway
I’d never miss a thread or a blog entry
Refresh my hotmail, gmail, facebook and friendster
On this way long boring journey
If I had a palm PC
SMS my best friends
And I’d email email email email email all day long
Without paying fifteen cents a text
What’ll verizon charge for next?
I’d have a data bundle
I could email email email email email all day long
Birthday time is just around the bend
Iphone- you’ll be my new best friend.
-----------
What is it with me and the luck or should I say bad luck that I have with mass transit?
Last week rescheduling due to flooding = me walking numerous blocks from upper west to midtown east. Then everything rescheduled.
I had a choice to make today. Take the train or take the bus?
Train is more expensive, and I thought to myself as I exited singing2…I did a good job today and feel good about it. The train is worth that extra 40 bucks for the comfort, the non-bus-ness of it all, and so yes, let’s do it.
Walk outside- rain.
Takes 10 min. to get a cab (yet another luxury I decided upon since I was hauling a suitcase, scores, and my laptop), got out of the cab at 36th and jogged the rest of the way (it had stopped raining by then), but that didn’t stop the train from deciding to be an hour late.
Yes, I say deciding. The ACELAS were running, why couldn’t the regional trains run?
Yes, answer me THAT Amtrak!
So I sat on the probably really really dirty floor of Penn station for an hour, looking at my score, looking up at the board every 5 minutes to see 45 minute delay turn into 55 and then an hour and 5 minutes.
It’s ok though.
What can I do?
Nothing.
I can’t complain, I can’t change my tickets to the sold out and 300 dollar Acelas, I can’t run with all of my stuff up the couple of blocks to Port Authority and try to get on the hourly bus—because, hey, that’s in rush hour traffic and who knows when that would get where I want it to get.
I can’t go to Chinatown with my stuff- I mean, I really was soaked and not about to head anywhere around 5 pm on the Subway.
So. I waited patiently and reflected on the past two days.
Singing2 was really fun. I sang a song that I usually teach to my high schoolers, and actually sang myself in high school. And began with a new, yet upcoming aria as well- which was fun practice, as it is mostly asked for as a 2nd or 3rd piece.
AND I had a new audition dress which I’m happy with…except for the excessive sweating from the excessive heat. JEEZ now I remember why I’ve always worn a black top.
Ha.
On the train now, maybe we’ll move, maybe we’ll get there.
The important thing is there is nothing for me to rush to, rush from, or be concerned about getting to except somewhere to sleep for the night.
Sung to: If I were a rich man
If I had a treo
I could email email email email email all day long
On the train or bus I’d not study
If I had a crackberreeee
Wouldn’t have to work hard
I’d just email email email email email all day long
So much fun, and I’d be much more calm
If I had a wireless palm
I’d check my
gmail facebook
Hotmail and friendster
Right in the crowded subway
I’d never miss a thread or a blog entry
Refresh my hotmail, gmail, facebook and friendster
On this way long boring journey
If I had a palm PC
SMS my best friends
And I’d email email email email email all day long
Without paying fifteen cents a text
What’ll verizon charge for next?
I’d have a data bundle
I could email email email email email all day long
Birthday time is just around the bend
Iphone- you’ll be my new best friend.
-----------
What is it with me and the luck or should I say bad luck that I have with mass transit?
Last week rescheduling due to flooding = me walking numerous blocks from upper west to midtown east. Then everything rescheduled.
I had a choice to make today. Take the train or take the bus?
Train is more expensive, and I thought to myself as I exited singing2…I did a good job today and feel good about it. The train is worth that extra 40 bucks for the comfort, the non-bus-ness of it all, and so yes, let’s do it.
Walk outside- rain.
Takes 10 min. to get a cab (yet another luxury I decided upon since I was hauling a suitcase, scores, and my laptop), got out of the cab at 36th and jogged the rest of the way (it had stopped raining by then), but that didn’t stop the train from deciding to be an hour late.
Yes, I say deciding. The ACELAS were running, why couldn’t the regional trains run?
Yes, answer me THAT Amtrak!
So I sat on the probably really really dirty floor of Penn station for an hour, looking at my score, looking up at the board every 5 minutes to see 45 minute delay turn into 55 and then an hour and 5 minutes.
It’s ok though.
What can I do?
Nothing.
I can’t complain, I can’t change my tickets to the sold out and 300 dollar Acelas, I can’t run with all of my stuff up the couple of blocks to Port Authority and try to get on the hourly bus—because, hey, that’s in rush hour traffic and who knows when that would get where I want it to get.
I can’t go to Chinatown with my stuff- I mean, I really was soaked and not about to head anywhere around 5 pm on the Subway.
So. I waited patiently and reflected on the past two days.
Singing2 was really fun. I sang a song that I usually teach to my high schoolers, and actually sang myself in high school. And began with a new, yet upcoming aria as well- which was fun practice, as it is mostly asked for as a 2nd or 3rd piece.
AND I had a new audition dress which I’m happy with…except for the excessive sweating from the excessive heat. JEEZ now I remember why I’ve always worn a black top.
Ha.
On the train now, maybe we’ll move, maybe we’ll get there.
The important thing is there is nothing for me to rush to, rush from, or be concerned about getting to except somewhere to sleep for the night.
16 August, 2007
singing1
OK, I will admit that I was nervous. But only this morning. It was the good nervous/excited that makes me do things very slowly and deliberately--like start getting ready a good 2 hours before I even need to set foot outside of the apartment.
At singing1 today:
OH my gosh were people all over the place. It was amusing to see the level of freakouts that were going on with people being nervous, people being just a bit too loud because they were nervous, people practicing with each other for a two second reading, people trying not to act nervous even though they were.
My personal performance:
Ooh, I shall rate myself a la Olympic judges.
Acting- total 10. I "Kristin Chenowithed" the crap outta that piece and the text.
I mean- really- it's what it needs. It's not about copying. It's about seeing what the modern audience reacts to and likes, and finding a different way to do it myself and making it my own interpretation (in which I go for the-- I kinda LIKE what happened to me in a sick sick way thing).
Singing:
I'm going to say a 9.5 or 6. BUT I will say that those tenths of points are only taken off because of things that IIIII know that I could do better, and not necessarily things that needed to sound better for the panel.
I don't think about any of this while I'm singing, obviously, but my thoughts "after" have to do with TWO little mini-runs that I've done in a more fun/exciting/vocally exciting way before, and today just popped out like the normal staccato that is written in the score.
It was better than my last performance of the aria. It was better than most every coaching (yes, all two) that I've had on the aria...except maybe ONE two weeks ago where I felt really really into it vocally.
So what is there- dynamics- yes, pitch- yes, diction- yes, interpretation- yes, accuracy- yes, it was really a performance/audition that I'm happy with. And since I think of auditions as performances anyway, I would have been glad to have had my singing and acting both audio and video recorded, and on the "public record" as--"this is what she can do".
(oh yes, and added high note got the panel's heads turned up yet again).
mwa hahahahahaha...
It is so so so fun.
Results? Of course I care. But more importantly I want to know that I made a good impression today--for "the future". Again...this is a long long long shot. And also a wonderful opportunity to shine for the first time. Which I think/hope that I did.
Basta. Time to eat.
Round two is tomorrow.
At singing1 today:
OH my gosh were people all over the place. It was amusing to see the level of freakouts that were going on with people being nervous, people being just a bit too loud because they were nervous, people practicing with each other for a two second reading, people trying not to act nervous even though they were.
My personal performance:
Ooh, I shall rate myself a la Olympic judges.
Acting- total 10. I "Kristin Chenowithed" the crap outta that piece and the text.
I mean- really- it's what it needs. It's not about copying. It's about seeing what the modern audience reacts to and likes, and finding a different way to do it myself and making it my own interpretation (in which I go for the-- I kinda LIKE what happened to me in a sick sick way thing).
Singing:
I'm going to say a 9.5 or 6. BUT I will say that those tenths of points are only taken off because of things that IIIII know that I could do better, and not necessarily things that needed to sound better for the panel.
I don't think about any of this while I'm singing, obviously, but my thoughts "after" have to do with TWO little mini-runs that I've done in a more fun/exciting/vocally exciting way before, and today just popped out like the normal staccato that is written in the score.
It was better than my last performance of the aria. It was better than most every coaching (yes, all two) that I've had on the aria...except maybe ONE two weeks ago where I felt really really into it vocally.
So what is there- dynamics- yes, pitch- yes, diction- yes, interpretation- yes, accuracy- yes, it was really a performance/audition that I'm happy with. And since I think of auditions as performances anyway, I would have been glad to have had my singing and acting both audio and video recorded, and on the "public record" as--"this is what she can do".
(oh yes, and added high note got the panel's heads turned up yet again).
mwa hahahahahaha...
It is so so so fun.
Results? Of course I care. But more importantly I want to know that I made a good impression today--for "the future". Again...this is a long long long shot. And also a wonderful opportunity to shine for the first time. Which I think/hope that I did.
Basta. Time to eat.
Round two is tomorrow.
15 August, 2007
tired in a good way
Just had a coaching for singing1 tomorrow.
It was helpful to set tempi, and also going through the rest of my rep was a nice review as well for the official start of the audition season.
I guess it's good to get comments like- it sounds like this is really in your body, and not too old to be tired out, and not too new- just in that perfect and exciting way.
And also--you're young but you sound like you and not trying to be older.
OK.
Sure.
That too.
New York today: Way too polluted. It seemed like I couldn't walk anywhere without someone taking a huge cigarette drag and blowing it out in my general direction, or lighting up a cigar (ughghghghghgh), or having incense burning all over at little tables that try to sell you things on the side of the street, or just generally being blown dirty dirty air upon all day.
I feel like taking the third shower or the day and also taking a long long nap in the cool cool air conditioning.
Thoughts about tomorrow:
I mean, what can I say?
Of course it's a "god I hope I get it" kind of moment and OF COURSE I feel REALLY good about the singing and acting...but there is also a reality that the casting choices for this may be the most competitive casting pool I've been thrown into.
And as much as the "god I hope I get it" kid wants to win, there is the secondary kid in there that's just hoping to kick ass, not assuming they'll get it, but remembering that this is a first important audition for so-and-so and it is the time to make a good impression for the next few years of consideration.
It's better after doing so many auditions to just let everything roll off of my back. I do my best, which I KNOW is my best, and then it's out of my hands. If I impressed, wonderful. If not, next year.
Yes, this would be amazing. Yes, it's my favorite thing. Yes, I understand the piece and am excited about it. Yes, I hope to get a chance to do this again at some point in my life.
Basta.
I will spend tonight as any usual night here, seeing friends, light dinner somewhere, get home at a decent hour, go over lines and words before bed, and focus a little (after a rerun of Law and Order or two) on tomorrow.
It was helpful to set tempi, and also going through the rest of my rep was a nice review as well for the official start of the audition season.
I guess it's good to get comments like- it sounds like this is really in your body, and not too old to be tired out, and not too new- just in that perfect and exciting way.
And also--you're young but you sound like you and not trying to be older.
OK.
Sure.
That too.
New York today: Way too polluted. It seemed like I couldn't walk anywhere without someone taking a huge cigarette drag and blowing it out in my general direction, or lighting up a cigar (ughghghghghgh), or having incense burning all over at little tables that try to sell you things on the side of the street, or just generally being blown dirty dirty air upon all day.
I feel like taking the third shower or the day and also taking a long long nap in the cool cool air conditioning.
Thoughts about tomorrow:
I mean, what can I say?
Of course it's a "god I hope I get it" kind of moment and OF COURSE I feel REALLY good about the singing and acting...but there is also a reality that the casting choices for this may be the most competitive casting pool I've been thrown into.
And as much as the "god I hope I get it" kid wants to win, there is the secondary kid in there that's just hoping to kick ass, not assuming they'll get it, but remembering that this is a first important audition for so-and-so and it is the time to make a good impression for the next few years of consideration.
It's better after doing so many auditions to just let everything roll off of my back. I do my best, which I KNOW is my best, and then it's out of my hands. If I impressed, wonderful. If not, next year.
Yes, this would be amazing. Yes, it's my favorite thing. Yes, I understand the piece and am excited about it. Yes, I hope to get a chance to do this again at some point in my life.
Basta.
I will spend tonight as any usual night here, seeing friends, light dinner somewhere, get home at a decent hour, go over lines and words before bed, and focus a little (after a rerun of Law and Order or two) on tomorrow.
14 August, 2007
lil' old international me
Really, I don't google myself ALL the time.
Sometimes I am just curious--especially when people tell me that I have a review two weeks before I find it in a magazine or online.
Aaaanyway, this morning's google revealed a nice little mention in Spanish.
AWESOME!
Usually it's everyone else that I'm googling.
The explorations of a google ninja lead to myriad destinations.
Operabase to opera house to 07-08 season to cast list to who is that soprano to what has she sung to where is her website to can I figure out how old she is to who is her manager to ok this has to be my next level and goal and how do I make that happen...
which leads to itunes, aria database, opera glass, googling free mp3s, this libretto is free is IUCAT, let me learn another crazy and outlandish french aria, oh wait, dessay sang that in an album I have on my ipod, etc. etc. etc.
And this is how I end up in front of my computer all day.
Sometimes I am just curious--especially when people tell me that I have a review two weeks before I find it in a magazine or online.
Aaaanyway, this morning's google revealed a nice little mention in Spanish.
AWESOME!
Usually it's everyone else that I'm googling.
The explorations of a google ninja lead to myriad destinations.
Operabase to opera house to 07-08 season to cast list to who is that soprano to what has she sung to where is her website to can I figure out how old she is to who is her manager to ok this has to be my next level and goal and how do I make that happen...
which leads to itunes, aria database, opera glass, googling free mp3s, this libretto is free is IUCAT, let me learn another crazy and outlandish french aria, oh wait, dessay sang that in an album I have on my ipod, etc. etc. etc.
And this is how I end up in front of my computer all day.
13 August, 2007
maybe 9-5s aren't that horrible...
...if you get to sit in front of your own computer in your workout clothes all day.
Hey- I'd be getting overtime right now since it's 5:32! Plus I only took half an hour for lunch!
I've been staring at the computer screen for mostly all day.
Why?
To be the "decider" of things.
Do I want to do this application?
Do I want to do this competition?
Do I want to send out this mainstage mailing?
That concert mailing?
Should I pay 75 bucks to get 50 headshots reprinted in NY without checking a proof first?
Will any accompanist ever call or email me back and say that they are available for singing1? (yes, they did).
The conclusion? I haven't decided on anything, really. My records are much better in terms of dates, fees, requirements, and what needs to be done by a certain date, but I still haven't made that final commitment to put postage on something and send it off...partially because I don't have my new headshot mass produced yet, and partially because I want to concentrate on other musical things until this week is over, and THEN concentrate on the applications.
In WAY fun news I saw another quote in Opera News that was highly amusing regarding a recent performance of mine. So now my record for showing up there is two months in a row.
Beat that, Trebs!!! j/k, j/k I know you're sick and you're resting your 'voce'. Feel better soon, and oh, yea, please go back to singing rep. that fits in your voice so you don't lose it in the first place.
Hey- I'd be getting overtime right now since it's 5:32! Plus I only took half an hour for lunch!
I've been staring at the computer screen for mostly all day.
Why?
To be the "decider" of things.
Do I want to do this application?
Do I want to do this competition?
Do I want to send out this mainstage mailing?
That concert mailing?
Should I pay 75 bucks to get 50 headshots reprinted in NY without checking a proof first?
Will any accompanist ever call or email me back and say that they are available for singing1? (yes, they did).
The conclusion? I haven't decided on anything, really. My records are much better in terms of dates, fees, requirements, and what needs to be done by a certain date, but I still haven't made that final commitment to put postage on something and send it off...partially because I don't have my new headshot mass produced yet, and partially because I want to concentrate on other musical things until this week is over, and THEN concentrate on the applications.
In WAY fun news I saw another quote in Opera News that was highly amusing regarding a recent performance of mine. So now my record for showing up there is two months in a row.
Beat that, Trebs!!! j/k, j/k I know you're sick and you're resting your 'voce'. Feel better soon, and oh, yea, please go back to singing rep. that fits in your voice so you don't lose it in the first place.
12 August, 2007
a long weekend...
Away for things IRL (in real life) this weekend.
Back now with a countdown to a few things including singing1 and singing2, preparing, memorizing, and packing for singing3, saying a big goodbye, and getting ready for an extended period of time "on the road".
Back now with a countdown to a few things including singing1 and singing2, preparing, memorizing, and packing for singing3, saying a big goodbye, and getting ready for an extended period of time "on the road".
08 August, 2007
post mint oreo post
(and healthy salmon with rosemary and asparagus dinner).
As everyone has posted everyone, NYC was horrifulous today- and by horrifulous I mean horrible and fabulous all at the same time.
A. Everything was down.
B. You couldn't get any cabs, and the working subways and busses were sickeningly packed.
BUT C.- people were being unusually warm and friendly--since ALL of new york's population was outside walking the streets today (trying to GET cabs, busses, subways instead of walking in 90 degree weather and 100% humidity).
They were talking about what other routes to take, which trains were down, people on the way up the escalator were telling people on the way down what to expect...it was actually the most communication I've seen between the ipod/harry potter 7 book-laden noncommunicative New Yorkers I've seen in a very very long time.
My day involved walking from the UWS to Midtown East (after taking the M66 across town) and then walking 25 blocks on foot...I should say running is more like it.
Then, sharing a cab FROM midtown back to the UWS with a guy who was already 2 hrs late to work but had to turn around because he got a call that his air conditioner was leaking in his new apt.
Then planning on being at important place number one, but instead, changing out of nice clothes due to a weather cancellation, leaving the city (by train which was on time), driving 3 hours (in a mild amount of traffic..thankfully mostly before 5pm), and then taking a really really long shower to get all of "NY in summer" off of me.
As everyone has posted everyone, NYC was horrifulous today- and by horrifulous I mean horrible and fabulous all at the same time.
A. Everything was down.
B. You couldn't get any cabs, and the working subways and busses were sickeningly packed.
BUT C.- people were being unusually warm and friendly--since ALL of new york's population was outside walking the streets today (trying to GET cabs, busses, subways instead of walking in 90 degree weather and 100% humidity).
They were talking about what other routes to take, which trains were down, people on the way up the escalator were telling people on the way down what to expect...it was actually the most communication I've seen between the ipod/harry potter 7 book-laden noncommunicative New Yorkers I've seen in a very very long time.
My day involved walking from the UWS to Midtown East (after taking the M66 across town) and then walking 25 blocks on foot...I should say running is more like it.
Then, sharing a cab FROM midtown back to the UWS with a guy who was already 2 hrs late to work but had to turn around because he got a call that his air conditioner was leaking in his new apt.
Then planning on being at important place number one, but instead, changing out of nice clothes due to a weather cancellation, leaving the city (by train which was on time), driving 3 hours (in a mild amount of traffic..thankfully mostly before 5pm), and then taking a really really long shower to get all of "NY in summer" off of me.
things on my angry list
1. NY Mass Transit System.
2. Poughkeepsie
3. To Be Announced after I eat some MINT Oreos!
2. Poughkeepsie
3. To Be Announced after I eat some MINT Oreos!
06 August, 2007
addendum
Ok, Brooklyn, since you have satisfied this evening's craving for cheap sushi, you are off the hook.
In upcoming musical things--an important upcoming musical thing.
But before that, a lesson with my very first voice teacher, and the one I'd consider my only teacher, really.
I'm always excited to see her, as it's not often that I get a chance to come back and have a lesson.
She is the one that gave me my first aria.
While I wanted to be the next broadway legit legend, she had to go a put some Puccini in front of me and change my life forever.
With her it's less about what I learn that specific lesson, and more about the whole journey. Yes, the one that began at 15.
Do I still have that sparkle of excitement in my eyes even during the warm up?
Do I still know and execute everything with freedom and ease?
Do I remember that this is all about the emotional communication of a language?
And all of the other questions and thoughts that are sometimes the farthest thing from what we do when we're in the process or on the stage.
It's good to have that someone to trust, who will always be completely honest, who will never let you get away with anything, and who truly wants you to succeed.
In upcoming musical things--an important upcoming musical thing.
But before that, a lesson with my very first voice teacher, and the one I'd consider my only teacher, really.
I'm always excited to see her, as it's not often that I get a chance to come back and have a lesson.
She is the one that gave me my first aria.
While I wanted to be the next broadway legit legend, she had to go a put some Puccini in front of me and change my life forever.
With her it's less about what I learn that specific lesson, and more about the whole journey. Yes, the one that began at 15.
Do I still have that sparkle of excitement in my eyes even during the warm up?
Do I still know and execute everything with freedom and ease?
Do I remember that this is all about the emotional communication of a language?
And all of the other questions and thoughts that are sometimes the farthest thing from what we do when we're in the process or on the stage.
It's good to have that someone to trust, who will always be completely honest, who will never let you get away with anything, and who truly wants you to succeed.
04 August, 2007
open letter to Bklyn
Dear Brooklyn,
Why are you really far away from everything that I need to get to in the city? And why do I have to change trains twice to get anywhere within singing/coaching importance?
You are really cute. Don't get me wrong. Good restaurants, love the community atmosphere, and most importantly, all of my friends live out here, as you are pretty affordable compared to, well, the upper west side!
It's just the when I have a black tie wedding to attend with a really nice dress to wear, you don't make it too easy to just hop right on over to the Pierre!
Why are you really far away from everything that I need to get to in the city? And why do I have to change trains twice to get anywhere within singing/coaching importance?
You are really cute. Don't get me wrong. Good restaurants, love the community atmosphere, and most importantly, all of my friends live out here, as you are pretty affordable compared to, well, the upper west side!
It's just the when I have a black tie wedding to attend with a really nice dress to wear, you don't make it too easy to just hop right on over to the Pierre!
03 August, 2007
is it wrong
that instead of doing anything constructive I've been comparing the expensive (yet oh so sleek) iphone to a a really cute red blackberry pearl online for the past...oh...2 hours?
back to the music (biz)
I spent a bit of yesterday making the yearly tables of info. in a new Word document.
Auditions.
Spent some quality internet and google time with operabase and yaptracker as well as navigating to individual opera house and program websites.
Printed out a few applications, even-- but mostly just browsed to cut and paste information about seasons, application deadlines, and audition dates.
Even though I won't be in New York for 4 weeks of prime audition season, it's looking like at least for the larger summer programs, that I can still do an audition--somewhere.
The question is- do I want to?
I had SUCH an amazing summer NOT being in one of these programs, and I still managed to get valuable performance and audition experience, as well as sing in a large international competition and impress an agent or two in Europe.
I still "flip-flop" between the value of many of the bigger programs versus the "name", or the fact that "important names" come to see their shows, hear the young artists, etc.
This coming season, especially, with my limited time in the city for auditions, I want to make sure that I'm doing the "right" ones. Meaning, if I have to pick and choose, which ones do I choose?
The categories as I see them are as follows:
Summer: Young Artist or Mainstage
1. The obvious big name summer programs. Some of which I have sung for before, some of which I never sung for. Getting into one of these apprenticeships for the summer means you have a cover role or small role, some scenes, and most importantly also get to sing for everyone "important" in the business and work with the top coaches that travel there. Whatever the money, role, cover- you take it because of the contacts and the name of the program on your resume for the next year. (I think).
2. Mainstage auditions for smaller summer programs. For example, ones that you've done before as an apprentice. OR maybe auditioning as a young artist but getting a "better" mainstage role BECAUSE you've been there before. This is an in-between kind of feeling, because you're not really a principal artist, yet, you have a role, and you're still an apprentice. Less visibility, but a solid role- IF you can get it either way- mainstage or apprentice.
3. Festivals. This audition process is pretty much unknown to me, but something I think would be a perfect fit if the repertoire was right. It's not necessarily a program that has young artists in it, with a delineation between principal and apprentice, it's just a festival- somewhere in America (Or Europe, or anywhere else in the world).
My guess is that besides the VERY famous roles that they have to fill with very famous people, the casting may boil down to who the conductor/director/etc remembers that they've worked with, or what school/program they may be affiliated with, and THEN maybe open auditions for managed singers...maybe.
But again, I have no idea and would be speculating at best.
Year Round: Young Artist or Mainstage, US or Europe
1. Residency Programs (US):
I'm still very much young enough to do them. But now that I have a taste of freedom, do I want to go back? Should I audition for all of them across the board simply because of their renown and their training and the 'in' that an artist can make with the mainstage company if they impress? Should I audition for only the ones where I could really see myself living for 2-3 years? Should I not audition for any of them?
I appreciate that it is a place to be molded, a place to experiment, grow as a performer (wow that was cheeeezy), learn new things, get free coachings, get paid to keep studying, but is it not also a sort of holding pen until the "time is right"? And IS my time right now? Or should I go back inside and wait it out a bit? IF I get accepted inside?
2. Mainstage:
My opinion-- my time IS right now.
a. THAT said, mainstage auditions for upcoming seasons is really what I want to focus on.
b. THAT also said, it involves a delicate balance of calling on previous contacts and approaching new companies that is more difficult than filling out an online application and sending 2 recommendations and a CD.
3. Europe:
Young Artist programs there are a direct channel to mainstage singing. They pay very little, still livable, but if you get in, you're pretty much the cover for the entire season, plus you'll do all of the little roles.
It's extremely expensive and may require flying to Europe to audition for them, which is the main problem.
Mainstage Europe. Well that's just a whole thread in and of itself. But checking out operabase with upcoming performances that are still uncast (well, according to them), there is SO much going on!! And I feel stuck that I can't just send a resume and cover letter requesting an audition, because I'm simply not sure when I'll be back there to audition.
In the "best of all possible worlds" (ha- when I read this in a year, this will be an interesting reference point), I'd get to go back there for a month in January to do a tour. OR somehow my magical European contacts would forward my materials to houses that just happen to need an Einspring-er or haven't cast an '08 show yet- and something actually works out for later this year.
Long post but I had to work through it so I can get back to the task(s) at hand and triple check audition/competition preliminary/callback/final dates.
Auditions.
Spent some quality internet and google time with operabase and yaptracker as well as navigating to individual opera house and program websites.
Printed out a few applications, even-- but mostly just browsed to cut and paste information about seasons, application deadlines, and audition dates.
Even though I won't be in New York for 4 weeks of prime audition season, it's looking like at least for the larger summer programs, that I can still do an audition--somewhere.
The question is- do I want to?
I had SUCH an amazing summer NOT being in one of these programs, and I still managed to get valuable performance and audition experience, as well as sing in a large international competition and impress an agent or two in Europe.
I still "flip-flop" between the value of many of the bigger programs versus the "name", or the fact that "important names" come to see their shows, hear the young artists, etc.
This coming season, especially, with my limited time in the city for auditions, I want to make sure that I'm doing the "right" ones. Meaning, if I have to pick and choose, which ones do I choose?
The categories as I see them are as follows:
Summer: Young Artist or Mainstage
1. The obvious big name summer programs. Some of which I have sung for before, some of which I never sung for. Getting into one of these apprenticeships for the summer means you have a cover role or small role, some scenes, and most importantly also get to sing for everyone "important" in the business and work with the top coaches that travel there. Whatever the money, role, cover- you take it because of the contacts and the name of the program on your resume for the next year. (I think).
2. Mainstage auditions for smaller summer programs. For example, ones that you've done before as an apprentice. OR maybe auditioning as a young artist but getting a "better" mainstage role BECAUSE you've been there before. This is an in-between kind of feeling, because you're not really a principal artist, yet, you have a role, and you're still an apprentice. Less visibility, but a solid role- IF you can get it either way- mainstage or apprentice.
3. Festivals. This audition process is pretty much unknown to me, but something I think would be a perfect fit if the repertoire was right. It's not necessarily a program that has young artists in it, with a delineation between principal and apprentice, it's just a festival- somewhere in America (Or Europe, or anywhere else in the world).
My guess is that besides the VERY famous roles that they have to fill with very famous people, the casting may boil down to who the conductor/director/etc remembers that they've worked with, or what school/program they may be affiliated with, and THEN maybe open auditions for managed singers...maybe.
But again, I have no idea and would be speculating at best.
Year Round: Young Artist or Mainstage, US or Europe
1. Residency Programs (US):
I'm still very much young enough to do them. But now that I have a taste of freedom, do I want to go back? Should I audition for all of them across the board simply because of their renown and their training and the 'in' that an artist can make with the mainstage company if they impress? Should I audition for only the ones where I could really see myself living for 2-3 years? Should I not audition for any of them?
I appreciate that it is a place to be molded, a place to experiment, grow as a performer (wow that was cheeeezy), learn new things, get free coachings, get paid to keep studying, but is it not also a sort of holding pen until the "time is right"? And IS my time right now? Or should I go back inside and wait it out a bit? IF I get accepted inside?
2. Mainstage:
My opinion-- my time IS right now.
a. THAT said, mainstage auditions for upcoming seasons is really what I want to focus on.
b. THAT also said, it involves a delicate balance of calling on previous contacts and approaching new companies that is more difficult than filling out an online application and sending 2 recommendations and a CD.
3. Europe:
Young Artist programs there are a direct channel to mainstage singing. They pay very little, still livable, but if you get in, you're pretty much the cover for the entire season, plus you'll do all of the little roles.
It's extremely expensive and may require flying to Europe to audition for them, which is the main problem.
Mainstage Europe. Well that's just a whole thread in and of itself. But checking out operabase with upcoming performances that are still uncast (well, according to them), there is SO much going on!! And I feel stuck that I can't just send a resume and cover letter requesting an audition, because I'm simply not sure when I'll be back there to audition.
In the "best of all possible worlds" (ha- when I read this in a year, this will be an interesting reference point), I'd get to go back there for a month in January to do a tour. OR somehow my magical European contacts would forward my materials to houses that just happen to need an Einspring-er or haven't cast an '08 show yet- and something actually works out for later this year.
Long post but I had to work through it so I can get back to the task(s) at hand and triple check audition/competition preliminary/callback/final dates.
02 August, 2007
remains of the day
After an entire day of doing laundry and sorting through clothes, the following remain:
(NOT including any thing that needs to go in a garment bag, peacoats, and heavy winter jacket stuff):
I have ONE large suitcase of summer clothes
and ONE large suitcase of winter clothes.
And for traveling: ONE checked sized suitcase of clothes for 5 weeks (for "Fall") weather, and one carry on sized suitcase with audition outfit and general clothes for 4 or 5 days.
Now, that doesn't include shoes. But I obviously can't take more than one pair of nice heels, and whatever I'll wear at rehearsal and HOPEFULLY (somehow) my new boots), and sneaks. So the 4 bags full of "other" shoes will have to be packed away as well.
Oh yea, and the traveling suitcases are pretty much filled, and do not include anything else--which will be a problem since they don't include underwear yet either!!!
But there are three and a half big green leaf bags full of clothes that will keep someone warm, or in 2006/2007 style.
(NOT including any thing that needs to go in a garment bag, peacoats, and heavy winter jacket stuff):
I have ONE large suitcase of summer clothes
and ONE large suitcase of winter clothes.
And for traveling: ONE checked sized suitcase of clothes for 5 weeks (for "Fall") weather, and one carry on sized suitcase with audition outfit and general clothes for 4 or 5 days.
Now, that doesn't include shoes. But I obviously can't take more than one pair of nice heels, and whatever I'll wear at rehearsal and HOPEFULLY (somehow) my new boots), and sneaks. So the 4 bags full of "other" shoes will have to be packed away as well.
Oh yea, and the traveling suitcases are pretty much filled, and do not include anything else--which will be a problem since they don't include underwear yet either!!!
But there are three and a half big green leaf bags full of clothes that will keep someone warm, or in 2006/2007 style.
01 August, 2007
dilemma o' the day
Clothes.
I have quite a few of them. I have even MORE that I've bought, worn once or twice, and have never worn again. But every year, when I look in my closet, my trunks, those suitcases that have been packed up for half a year until the season is right, I have the same problem.
If I haven't worn them in the past year, do I give them away just because I haven't worn them and probably will not? OR do I keep them, because I COULD wear them in the future--if I felt like it?
Example: The summer clothes I packed for this 2 month trip included beachwear, and nice clothes for summer.
I wore HALF of what was in the suitcases. And it's not that I even repeated outfits so often! It's just that I liked what I liked, and I happened to bring about 8 cute tops (that were OVER a year old) that I just never wore. They are CUTE. Don't get me wrong. But I also had maybe 3 or 4 newer tops that were just an easier pick out of the closet for me, and were also newer.
I want to downsize since I'll be living out of a suitcase for two upcoming gigs, but I don't want to one day need a whole new wardrobe!!!
Unlike MOST girls I know, I really really really hate shopping. And I mean a lot. If I need a dress, I'm on a mission for that dress. In and out. Basta
.
I don't browse, I don't try things on and think about them...I just need things and get them. And what's worse, when I DO go on a "spree" and actually feel like buying something that I don't need that second, I feel like I have to buy all of the accoutrements, including a bracelet to match that one color of the top, and then, wait, which shoes do I have that go with this? Ok, ok, I'll look at shoes. Now, one outfit doesn't add up to much when you consider that I don't buy that many things, but that is precisely why I don't want to give my clothes away. More shopping. In the future.
Because maybe, one day, when I have a real house, I'll want those TWO corduroy mini skirts (wine and dark brown) that I can wear in the winter with black tights under them and look really cute.
Maybe, one day I'll want all of the cute summer shirts that I didn't wear this summer (plus the other 10 that I DIDN'T pack).
Right now I have a give-away pile, a maybe-give-away pile, and a pile of stuff that I like, haven't worn in ages, want to keep, but SHOULD give away (but just can't decide yet).
Is it wrong that I own more J-lo booty sweat outfits than jeans and nice pants put together?
And what about the college stuff? It was cool to walk around wearing my University sweatshirt ...during EXAM week!!! ...when I was in my PJ's in Undergrad. Do I really need three shirts with our logo on it? Plus one pair of very short shorts with the logo on the butt?
And all of those summer YAP tshirts with our names on them, and the opera season--I mean, hey, I use those for yoga or working out! (When I take yoga OR work out...ha).
So. What to do?
I think my choices are as follows:
a. Buy clear plastic bins and keep MOST everything, but labeled and by season, KNOWING that I will most definitely not wear it anytime soon, but keeping it for when I have my own walk in closet and shoe rack (ha.)
(ok, that option would involve buying a LOT of clear plastic bins).
b. Give what I haven't worn in the past year away--someone else will get better use out of it, and if I need another cool top, corduroy miniskirt, or pair of beat up comfy college jeans and logo tshirts, I can buy them and break them in again.
c. Give up things that are not "nice" clothes--meaning, those 2 suits that I bought when I thought I wouldn't be a singer, and would be doing interviews and interning at the UN, the dresses, the sheet tunic tops, things I have that are NICE for dress-up time, but have been unworn because I have OTHER things that are NICE for dress-up time as well.
-g, surrounded by unworn clothes and discovering that I had more suitcases of them here in storage than I thought.
I have quite a few of them. I have even MORE that I've bought, worn once or twice, and have never worn again. But every year, when I look in my closet, my trunks, those suitcases that have been packed up for half a year until the season is right, I have the same problem.
If I haven't worn them in the past year, do I give them away just because I haven't worn them and probably will not? OR do I keep them, because I COULD wear them in the future--if I felt like it?
Example: The summer clothes I packed for this 2 month trip included beachwear, and nice clothes for summer.
I wore HALF of what was in the suitcases. And it's not that I even repeated outfits so often! It's just that I liked what I liked, and I happened to bring about 8 cute tops (that were OVER a year old) that I just never wore. They are CUTE. Don't get me wrong. But I also had maybe 3 or 4 newer tops that were just an easier pick out of the closet for me, and were also newer.
I want to downsize since I'll be living out of a suitcase for two upcoming gigs, but I don't want to one day need a whole new wardrobe!!!
Unlike MOST girls I know, I really really really hate shopping. And I mean a lot. If I need a dress, I'm on a mission for that dress. In and out. Basta
.
I don't browse, I don't try things on and think about them...I just need things and get them. And what's worse, when I DO go on a "spree" and actually feel like buying something that I don't need that second, I feel like I have to buy all of the accoutrements, including a bracelet to match that one color of the top, and then, wait, which shoes do I have that go with this? Ok, ok, I'll look at shoes. Now, one outfit doesn't add up to much when you consider that I don't buy that many things, but that is precisely why I don't want to give my clothes away. More shopping. In the future.
Because maybe, one day, when I have a real house, I'll want those TWO corduroy mini skirts (wine and dark brown) that I can wear in the winter with black tights under them and look really cute.
Maybe, one day I'll want all of the cute summer shirts that I didn't wear this summer (plus the other 10 that I DIDN'T pack).
Right now I have a give-away pile, a maybe-give-away pile, and a pile of stuff that I like, haven't worn in ages, want to keep, but SHOULD give away (but just can't decide yet).
Is it wrong that I own more J-lo booty sweat outfits than jeans and nice pants put together?
And what about the college stuff? It was cool to walk around wearing my University sweatshirt ...during EXAM week!!! ...when I was in my PJ's in Undergrad. Do I really need three shirts with our logo on it? Plus one pair of very short shorts with the logo on the butt?
And all of those summer YAP tshirts with our names on them, and the opera season--I mean, hey, I use those for yoga or working out! (When I take yoga OR work out...ha).
So. What to do?
I think my choices are as follows:
a. Buy clear plastic bins and keep MOST everything, but labeled and by season, KNOWING that I will most definitely not wear it anytime soon, but keeping it for when I have my own walk in closet and shoe rack (ha.)
(ok, that option would involve buying a LOT of clear plastic bins).
b. Give what I haven't worn in the past year away--someone else will get better use out of it, and if I need another cool top, corduroy miniskirt, or pair of beat up comfy college jeans and logo tshirts, I can buy them and break them in again.
c. Give up things that are not "nice" clothes--meaning, those 2 suits that I bought when I thought I wouldn't be a singer, and would be doing interviews and interning at the UN, the dresses, the sheet tunic tops, things I have that are NICE for dress-up time, but have been unworn because I have OTHER things that are NICE for dress-up time as well.
-g, surrounded by unworn clothes and discovering that I had more suitcases of them here in storage than I thought.
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