A letter to New York City Opera

Dear City Opera,
First and foremost, congratulations! You are finally out of the towering omnipresence of the Metropolitan Opera; unfortunately, they no longer have you as their constant reminder of what the people's opera should be.

You are leaving Lincoln Center- a tourist wonder that produces marvelous classical works with a new theatre newly built to support your needs. You won't have the classical Illuminati at your beck and call, perhaps; but, you will have freedom to be the opera company you should be. A true people's opera- a cooperative of good, smart musical works told the old fashion way, with good singing, good acting, simple sets and costumes. And, finally, allowing the story to be told in a theatrical context and not a multi-media one.

I hope your new home supports these ideas. With the onslaught of media every where we look, wouldn't it be refreshing to NY audiences to see sung theatre? Imagine the possibilities of stripping it all down and letting the music tell its story...not conductors, not singers, not directors and certainly not administrators and their marketing directors. Perhaps if you let good theatre be, people will come the old fashion and secured way- word of mouth.

Finally, regarding your friends, the unions. I certainly hope American Guild of Musical Artists leaves you alone. You create jobs for singers and its apparent you don't have a lot of money right now. So I hope they continue to let you create and keep jobs and not at the cost of their ego. And, Local 1, they are great people and their work is important - but I hope they are careful at what they wish for. This could be the beginning of their demise because by letting you leave, they are telling the world they don't care about you or the arts in general. And, your old buddy, Lincoln Center- we get it, operational costs are skyrocketing and going with the highest bidder is the smart choice. But the arts is your bread and butter, too- and soon there will be no audience left who understands how important classical arts are.

Best of luck to you, City Opera! I hope you enjoy your new digs! I am excited to come to your housewarming party.

Your friend,
Courtenay

PS- I would love it if you visited me in Brooklyn!

Carmen- Singing Frasquita at Amore Opera

Hi Friends, I am associate producer for this production as well as covering Frasquita (performance with piano Wed, May 18th at 7.30 pm). Please come! www.amoreopera.org

Cajones

On Friday night, I went to a lovely concert- everyone played perfectly, beautiful balanced classical music...perfect perfect perfect and boring boring bored.

They didn't play with their cajones.

Immediately juxtaposed in my mind was the royal wedding that was also "performed" last Friday. A perfect celebration and ceremony that left me misty-eyed. Why? I don't know these people! Yet, despite all pomp and circumstance and an extravagant show of wealth, I was moved to tears. I think the reason is that people look to royalty is so that they can see themselves as a perfect version of themselves. And I think classical music also does this same thing; the perfectness of it all is what we crave in this crazy society. But, we are all human beings and we shouldn't have to act castrated to be perfect! Prince William's behavior, by blushing, telling Kate she looked beautiful, Harry laughing, driving away in a convertible, etc. took an extremely high profile event and transformed it to a normal beautiful emotional wedding. They were human beings- perfect lovely laughing excited human beings- every detail perfectly executed and with emotion.

Now, take Mozart, and again- it's all in the details and making it "look easy". This group did exactly that. But there was no emotion to their performance. They were playing loud because Mozart said so- but they didn't think WHY he marked it thus. And Mozart- he was a randy guy. He liked to flirt with women- play into the give and take and flirticious (I just made that word up) courtly games. That is why his music is so delightful- there is a conversation with every phrase with humor interspersed throughout. But, this performance- no conversation, no courtly games, no cajones.


Violetta- well, you know where I am going with this and I think she has made me a better singer because I have to use my cajones. Not only because she is woman who desires, but for the simple reason that I have to engage my entire body to sing the wide range Verdi lays out for me. The breath has to be connected and what a better way to connect to your breath then with your cajones! Now, Verdi and Mozart are very different composers- but not really- they want the same thing. Verdi's Violetta is more obvious, but I bet if you took a time machine and met Mozart he would be more then happy with your "cajones enhanced" interpretation.