Wednesday, August 17, 2011
Bloggedy Blogged Blogged Blog
So, I have been absent dear reader. All I can say is that I have been practicing- truly- well...after a month hiatus. It was too hot and all the BBQ gave me reflux. But, seriously, I am BACK and with a vengeance. I had to take a vocal break. To sing for the sake of singing, when I have been programed to "have a career," is a bit indulgent. But now, I am finally enjoying the sweet taste. Truly, I am singing for myself because...and this is important...I WANT to! Not because I want to develop my technique either- or to improve my sound- or my vowels- or my language-- but, because, I love the sheer power of singing. Of opening my voice and having a lion roar come out of my size 6 waist. Because this is how I clear my head and reconnect with myself. Not because I have an audition, or a show, or a coaching or a lesson or any other outside force propelling me to "improve" and move ahead. Because I want to ... dammit! ;)
Monday, July 11, 2011
Lowering the Floor
I've been on vacation so this is a brief one..but something that resonated with my voice teacher before I left, so I feel I should right it down.
Lowering the floor.
Try it. Instead of thinking the ceiling expanding as you sing the high notes, or not existing....try lowering the floor instead.
Singers will get this use of metaphor ;)
Lowering the floor.
Try it. Instead of thinking the ceiling expanding as you sing the high notes, or not existing....try lowering the floor instead.
Singers will get this use of metaphor ;)
Monday, June 27, 2011
the art of flirting
It's only too ironic that I fell in love with La Traviata in high school. Unfortunately, I never translated the score and had I done that, I would have had a much more successful high school experience!
It's only more satisfactory, now in my ripe puma age of 34, and away from the score while I translated ACT I that I really had my "ah ha" moment. The words seems are direct...and yet, put to Verdi's music...total and complete flirtatious manipulation!
Here is the background: Alfredo, the tenor, has been infatuated with Violetta while she was ill- and Alfredo's love sickness ruminated for about a year. Alas, Violetta was literally too sick to notice. At the start of the opera they are at a party hosted by a cabin-fevered Violetta when her good friend, Gaston, tells her about this young lad. Now, I am not sure if she believes him, or - what my instinct say- believes that of course Alfredo is in love with her- but, either way, she banishes it off as nonsense (her current suitor is a richer man, after all). Then, after a rousing chorus number of "let's get drunk and screw" (Libiamo), Violetta feels faint and excuses herself to her private quarters (not a ruse- she really doesn't feel well). There, Alfredo meets her and declares her love for him. He says:
Ah yes, for a year. One day, happy and ethereal, you flashed before me, and from that day, trembling, I’ve lived for an unknown love. For that love, that love that’s the pulse of the universe, the whole universe, mysterious, unattainable, cross and delight of the heart.
Not bad for a youngster, eh?
Then, Violetta says:
Ah, if that is true then leave as fast as you can… I can only offer you friendship; I don’t know how to love, nor how to handle such heroic passion. I am frank, simple; look for someone else; then you won’t find it difficult to forget me.
Ok- fair enough. She said her peace...end of opera! But-- how Verdi sets this (and music history buff note- Verdi was a terror to his librettist= every word mattered, all the more reason to see how intentional his meaning lies in the music).
In this "frank" and "simple" declaration- he writes pianissimo (quiet), high (above the staff), staccati sixteenth notes with rests (very quick notes followed by a brief pause)- almost like a cooing. She COOS this to him.
Now, I am a horrible HORRIBLE flirt. I run in the other direction or totally completely embarrass myself by saying ridiculous nonsensical things, so I am NO expert on flirting. But, if I really wanted a boy to go away, I would say- go away. If I wanted to be obvious, I would say- hell yes. But, if I wanted him to know I was interested but only had to say these things to entice him and perhaps, make him work harder...I would coo-ly and cool-y reply, Hm...you should leave me be...I'm a simple girl.
Oh why didn't I notice this 10 years ago?? How much more fun my 20s would have been!!
It's only more satisfactory, now in my ripe puma age of 34, and away from the score while I translated ACT I that I really had my "ah ha" moment. The words seems are direct...and yet, put to Verdi's music...total and complete flirtatious manipulation!
Here is the background: Alfredo, the tenor, has been infatuated with Violetta while she was ill- and Alfredo's love sickness ruminated for about a year. Alas, Violetta was literally too sick to notice. At the start of the opera they are at a party hosted by a cabin-fevered Violetta when her good friend, Gaston, tells her about this young lad. Now, I am not sure if she believes him, or - what my instinct say- believes that of course Alfredo is in love with her- but, either way, she banishes it off as nonsense (her current suitor is a richer man, after all). Then, after a rousing chorus number of "let's get drunk and screw" (Libiamo), Violetta feels faint and excuses herself to her private quarters (not a ruse- she really doesn't feel well). There, Alfredo meets her and declares her love for him. He says:
Ah yes, for a year. One day, happy and ethereal, you flashed before me, and from that day, trembling, I’ve lived for an unknown love. For that love, that love that’s the pulse of the universe, the whole universe, mysterious, unattainable, cross and delight of the heart.
Not bad for a youngster, eh?
Then, Violetta says:
Ah, if that is true then leave as fast as you can… I can only offer you friendship; I don’t know how to love, nor how to handle such heroic passion. I am frank, simple; look for someone else; then you won’t find it difficult to forget me.
Ok- fair enough. She said her peace...end of opera! But-- how Verdi sets this (and music history buff note- Verdi was a terror to his librettist= every word mattered, all the more reason to see how intentional his meaning lies in the music).
In this "frank" and "simple" declaration- he writes pianissimo (quiet), high (above the staff), staccati sixteenth notes with rests (very quick notes followed by a brief pause)- almost like a cooing. She COOS this to him.
Now, I am a horrible HORRIBLE flirt. I run in the other direction or totally completely embarrass myself by saying ridiculous nonsensical things, so I am NO expert on flirting. But, if I really wanted a boy to go away, I would say- go away. If I wanted to be obvious, I would say- hell yes. But, if I wanted him to know I was interested but only had to say these things to entice him and perhaps, make him work harder...I would coo-ly and cool-y reply, Hm...you should leave me be...I'm a simple girl.
Oh why didn't I notice this 10 years ago?? How much more fun my 20s would have been!!
Monday, June 13, 2011
ART SONG vs ARIA SMACK DOWN!!
I am organizing an ART SONG vs ARIA smack down next Tuesday, June 21st- as part of the Make Music New York festival.
Art Song Preservation Society will be joining Amore Opera in a "who wrote this medium best" smack down at Tompkins Square Park, from 5-7 pm.
Be there for the most exciting and titillating competition since Justin Timberlake and Brittney Spear's Dance off!
http://www.facebook.com/event.php?eid=173973839331046
Wednesday, May 25, 2011
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!
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!
Monday, May 9, 2011
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
Monday, May 2, 2011
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.
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.
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