So, I am learning ACT III- taking in the text with the pronunciation with the music all at the same time and thinking- why was this so discouraged by everyone (teachers, coaches) before? This is so much easier and the other way (taking it all apart as 3 separate entities- notes, text, Italian) is clearly on the way to schizophrenia! If I were a cooking student, I would need to understand what garlic does, what onion does, the importance in the difference between canola oil and olive oil (if anyone knows- let me know!). But then, you mix it up and voila- you have an awesome base for marinara sauce.
For singing- it doesn't work this way.First, I am no longer a student. And yes, you need to know the notes, and then the rhythm with the notes, and how to pronounce Italian and then what that Italian means. But, when you put it together...well, a fantastic sauce doesn't always happen. Usually, in my experience, I have one pungent garlic clove and not enough olive oil. This, I am finding, is because as I speak Italian, I try so hard to speak it as an Italian. But then, while I am singing, well- it's not like speaking and I end up doing a disservice by trying to "fit" the vowels in the notes. Which is bad singing and frankly, very hard work. Or, if I have a specific phrase sung out in an ah- and then I have to stuff in all the tiny but specific ever-changing vowels with a consonant thrown in for good measure into a 16th note...well, there I go again re-figuring it all out to make it fit together, sound good, and make sense.
With this new approach- learning each note with it's designated vowel within the musical line- and what this musical line means both in Italian and in musical phrasing- well, you get that awesome base for marinara sauce.
Thursday, January 27, 2011
Sunday, January 23, 2011
Violetta Here and Now
We splurged and bought tickets to the new production of La Traviata at the Metropolitan Opera (directed by Willy Decker, starring the fiery Marina Poplavskaya and sweet sounding Matthew Polenzani). I had read various articles on the production and knowing about it's now infamous sparse set I was a little apprehensive about what I was going to see. As you know, I have been doing research on Violetta in her time...I had no idea what Violetta in my time would look like.
And, ironically, it was all about time and it worked brilliantly.
The set is sparse: large white walls with a dark screen behind it, illuminating dark colors or wallpaper-like imagery. The entire chorus and Flora, Violetta's friend, are dressed like men (suits and short hair and all). There are maybe 3 costume "transformations" for Violetta: a fantastic red party dress, a colorful robe, and a pale dirty sheath. This was not the beloved lush (old and worn out) set of last year...or 20 years ago! This was a different kind of Met and I loved it!
The sparseness was symbolic towards her emotional world, illustrating how little she has in life other then men. When she is with Alfredo in the country house- the various sofas introduced in ACT 1 are covered in vivacious flower drapes, illustrating that her new life is just a cover up from her old one and that her old life is only one slip away. Then, the final act has her just lying on the floor and awaiting death. Needless to say, it was very powerful.
However, the most captivating element of this new production was the introduction of one character and the development of a lesser one. The former is a giant clock- ticking away to symbolize her imminent death and allowing the audience to see her relationship with it. She does this by stopping the hands of the clock, or covering it up. However, most importantly, this new character allows the singer to direct her emotions to something/someone else on stage. This device is even more profound with the development of the Doctor's character. Traditionally, he is introduced in the 3rd ACT and has a few lines. In Decker's production, he is on the stage 30 minutes before the opera even begins, silently watching Violetta and Violetta commenting to him with the direction of her voice or angry glances or embraces, for the duration of the entire opera. These new dimensions added a new tension to the opera. For example, as she relents to Mr. Germont's request and agrees to leave Alfredo, she looks at the doctor/Death and sings that her time is coming to an end anyway. This adds a whole new layer of intensity to the drama. With jealousy, I would also think that this is more interesting for the actors. Instead of blaming "god" or "fate" and looking "wherever", they now have a very direct object in which to communicate their hatred, frustration and final release.
Moreover, what I, Courtenay, took out of this is the importance in telling a story. And it's not a story of 1860s but a story of today: a young woman who made choices that doesn't allow her to live the life she wants, and in this discovery she finds her strength. I only wish that if I ever do perform La Traviata in front of the audience- Mr. Decker will allow me to borrow a few ideas;) (...just kidding!)
And, ironically, it was all about time and it worked brilliantly.
The set is sparse: large white walls with a dark screen behind it, illuminating dark colors or wallpaper-like imagery. The entire chorus and Flora, Violetta's friend, are dressed like men (suits and short hair and all). There are maybe 3 costume "transformations" for Violetta: a fantastic red party dress, a colorful robe, and a pale dirty sheath. This was not the beloved lush (old and worn out) set of last year...or 20 years ago! This was a different kind of Met and I loved it!
The sparseness was symbolic towards her emotional world, illustrating how little she has in life other then men. When she is with Alfredo in the country house- the various sofas introduced in ACT 1 are covered in vivacious flower drapes, illustrating that her new life is just a cover up from her old one and that her old life is only one slip away. Then, the final act has her just lying on the floor and awaiting death. Needless to say, it was very powerful.
However, the most captivating element of this new production was the introduction of one character and the development of a lesser one. The former is a giant clock- ticking away to symbolize her imminent death and allowing the audience to see her relationship with it. She does this by stopping the hands of the clock, or covering it up. However, most importantly, this new character allows the singer to direct her emotions to something/someone else on stage. This device is even more profound with the development of the Doctor's character. Traditionally, he is introduced in the 3rd ACT and has a few lines. In Decker's production, he is on the stage 30 minutes before the opera even begins, silently watching Violetta and Violetta commenting to him with the direction of her voice or angry glances or embraces, for the duration of the entire opera. These new dimensions added a new tension to the opera. For example, as she relents to Mr. Germont's request and agrees to leave Alfredo, she looks at the doctor/Death and sings that her time is coming to an end anyway. This adds a whole new layer of intensity to the drama. With jealousy, I would also think that this is more interesting for the actors. Instead of blaming "god" or "fate" and looking "wherever", they now have a very direct object in which to communicate their hatred, frustration and final release.
Moreover, what I, Courtenay, took out of this is the importance in telling a story. And it's not a story of 1860s but a story of today: a young woman who made choices that doesn't allow her to live the life she wants, and in this discovery she finds her strength. I only wish that if I ever do perform La Traviata in front of the audience- Mr. Decker will allow me to borrow a few ideas;) (...just kidding!)
Sunday, January 9, 2011
Getting out of your own way- yeah or nay?
I had another "Voices of Women" concert this past Thursday night. I sing with 3 talented diverse women in a show we wrote called "We'd Be Surprisingly Good For You." I am particularly proud of it because it tells one distinct story- women in Manhattan looking for love and actually finding it. And, we do this by taking Musical Theatre/American Song Book songs from various composers and their time periods to tell this story. This was the 2nd performance.
We started this evening, however, with a "warm-up" of our favorite songs. The other women mostly sang Standards and American Musical Theatre. I sang Poulenc: a French composer of the early 20th century- prolific during the wars and thereafter. His songs come from the traditional French melodies style- using mostly well known poetry of the time, some of the dada/surrealist period, some of the romantic period, with contemporary tonal structures. Let me tell you--- I was MUCH more comfortable singing these songs.
Which leads me to ask...why? The show is my native language. I helped create it so there is a personal connection. I am in a happy coupledom, so maybe my desire to meet men has become flaccid (yes, using that term on purpose)? Or, maybe I just felt that I was "performing" and not "telling a story?"
When I sing in a foreign language it is easy to hide away myself and get out of my own way to tell the story. Sometimes this is a detriment, as the real Courtenay sits back and watches, without a heightened emotional drive to express the song truthfully (says my old acting coach). But, otherwise, telling someone else's story is so much more interesting to me then telling my own (for once!). And, of course, using my own experiences to add color to that person's story so it comes from a true place. But, for whatever strange reason, when I sing in English, I feel like I am being false. Isn't that odd? Maybe it is too much Courtenay visiting a strange land and not enough of the silent watcher from behind letting the character make choices? Or maybe speaking English makes me feel emotionally naked, vulnerable and uncomfortable so I "perform" to mask this discomfort? I simply do not know.
Whatever the answer may be, I am happy to get back into Violetta again---immersing myself in the colors of Verdi. Perhaps, the same way Violetta immersed herself in Paris? Whether either of us are being true to ourselves and our story, I shall soon find out!
We started this evening, however, with a "warm-up" of our favorite songs. The other women mostly sang Standards and American Musical Theatre. I sang Poulenc: a French composer of the early 20th century- prolific during the wars and thereafter. His songs come from the traditional French melodies style- using mostly well known poetry of the time, some of the dada/surrealist period, some of the romantic period, with contemporary tonal structures. Let me tell you--- I was MUCH more comfortable singing these songs.
Which leads me to ask...why? The show is my native language. I helped create it so there is a personal connection. I am in a happy coupledom, so maybe my desire to meet men has become flaccid (yes, using that term on purpose)? Or, maybe I just felt that I was "performing" and not "telling a story?"
When I sing in a foreign language it is easy to hide away myself and get out of my own way to tell the story. Sometimes this is a detriment, as the real Courtenay sits back and watches, without a heightened emotional drive to express the song truthfully (says my old acting coach). But, otherwise, telling someone else's story is so much more interesting to me then telling my own (for once!). And, of course, using my own experiences to add color to that person's story so it comes from a true place. But, for whatever strange reason, when I sing in English, I feel like I am being false. Isn't that odd? Maybe it is too much Courtenay visiting a strange land and not enough of the silent watcher from behind letting the character make choices? Or maybe speaking English makes me feel emotionally naked, vulnerable and uncomfortable so I "perform" to mask this discomfort? I simply do not know.
Whatever the answer may be, I am happy to get back into Violetta again---immersing myself in the colors of Verdi. Perhaps, the same way Violetta immersed herself in Paris? Whether either of us are being true to ourselves and our story, I shall soon find out!
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