Only sort of.
No, not really. I haven't been journaling much, but I have been working really hard on the music, and I already have most of a rough draft of the history section done... About 5 pages worth. Plus 3/4 of a synopsis.
So, I should catch up on what I'm learning:
First things first- School started last week, and with it my first-ever acting class. We established the first day that we "know nothing about acting, since this is our first acting class."-- Didn't have to tell me twice.
So, we've set out to build our operational definition of "acting." This is what we have so far:
-Acting is NOT about showing any emotion or mood- emotion is a byproduct. (but of what?)
-Acting IS listening and responding without thinking, and anticipating that something is about to happen.
The second one I get. The first one I still haven't figured out. Apparently we'll continue to add to this definition throughout the semester.
I sit in class and try to apply all these things to singing. Maybe the teacher will get annoyed that I always answer his questions with "as a singer...," but he'll get over it. So, to me, the second part of the above definition is what we're trying to achieve when we say to "have more energy." At least that's what it means to me. When I focus and sing with all my energy and concentration, this is what happens. The part I hadn't thought about though, is that part of acting is not knowing what is coming next. It's easy to over-anticipate things. Because we DO really know what's about to happen, it takes a new perception to act as if we don't (and in some performances, we might really not know... I've been in productions that scary). To establish this part of the definition, we played games. The teacher tried to instill in us the drive to win, but somehow we just couldn't muster it. But, that's what we were trying to achieve. The irresistable drive to win is the same kind of focus necessary on stage.
So when it comes to Dorabella, A) there's energy and focus, and B) there's figuring out how to be completely surprised at every turn of events. I'm excited to get to work on some more parts of the opera with other people. It's easy to imagine these things, but hard to know if you really understand them until you can put them into practice and interact with other characters. Now that I'm getting a taste of understanding, I desperately want more. I'm hesitant to go on stage, actually, until I know I can do it perfectly (another hazard of being a perfectionist), but I'll overcome that. It just has to get better every time.
Also, I've been trying to spend an hour or more a day working on the music. Some days this happens, and some days it doesn't. I THINK I have the first half down fairly well. I actually think I could almost do it in english. The biggest problem now is learning the Italian. The best way I've found to do this so far is to get out my trusty mp3 player and sing along in Italian with the opera in english (yes, it's a little confusing). Practicing this way helps me keep track of what's going on and what I'm saying though, so I'm hoping that will help the italian stick. The only problem I have with this really is that both recordings of the opera I have have fairly extensive cuts in recitative. This would be okay if I was learning it with cuts, but that's not the plan. So, there will be parts I have to find a way to learn without help.
The only part of the opera I haven't really worked on is the Act 2 finale. But, I'll get there eventually.
I met with Dr. Smith for the first formal time today. I have most of the history part of the paper written, but I'm missing a couple key elements. I know these things are missing, but so far I haven't had much luck finding the information. First of all, I need to know about Mozart's stylistic conventions. I need to know when to use appogiaturas in the recits, how to use all those fermatas he provides, etc. I also need to analyze how Mozart's music gives dimension to the characters, the significance in each characters' vocal lines, the differences in style between their arias, etc., etc. I can understand a lot of these things on my own, if I think about it, but I need to find sources to back me up. I've requested several books from other libraries that I'm hoping will yield some info. I've also found a few articles in magazines and journals that might be helpful, but I've yet to figure out how to access them. Still working on that one.
So, my objectives for the next few weeks are:
1) Find info about the fermatas, style specs, orchestration, etc.
2) Keep working on recitative
3) Finish full synopsis and write condensed one
4) Find translation and create another appendix with all of Dorabella's scenes
5) Ask experienced performers I know to try to explain their creative process to me
6) Set up times to meet with Dr. Lile
I'd better get to work.
Wednesday, September 02, 2009
Wednesday, August 19, 2009
I should have agreed to do this in english...
I've been working extra hard on the music for my project for the last week or so. I actually have the majority of it down pretty well, but the recits are killing me. It's very hard to memorize various cadential phrases with no point of reference. It's kind of like learning those Half Minute Songs I did last semester, only in Italian... and like 20 times as much music. I'm going to have to sit down with the score and recording, I think, and spend hours and hours. Maybe then it'll make more sense. My voice teacher told me to translate them all by hand, which was a great idea... except that when I went to do it, 60% of the words weren't in my dictionary. So, I don't know. I would learn it in English and then Italian, but I know myself well enough to know I'd never go back and learn the Italian.
On the positive, and almost completely unrelated, side, I started lessons with my newest student today, and she has a LOT of potential. Only in 8th grade, and already a big, mature sound. And the best part: when I tell her how to fix something, she does it. She made big strides in 30 minutes.
I thought I had a good break-through in my lesson last Friday, but so far I haven't been able to recreate it. At one point, my voice teacher even said "wow, you just looked like as singer!", to which I should have replied "What did I look like before, a trained monkey?" But, I restrained myself. Apparently I wasn't doing whatever it was I used to do on my high notes, and they were working really well and were nice and big. Hopefully we can get it to work again in my next lesson. It had a lot to do with using my abs to support the air well, which I guess I don't generally do. I've been working on that, so maybe if I get one part of it down at a time, it'll all start working soon.
I've been thinking about what it would be like to actually be getting ready to go somewhere and perform this opera with other singers... It's really kind of a scary thought. While I don't doubt that I could do it, the process of working with a director and other singers is something I'm not at all used to, really. Also, it's really scary to think of going into it being the only rookie, so to speak. I need to find a grad school with LOTS of performance opportunities.
Speaking of grad schools: I spent an evening last week trying to find deadlines for applications, audition dates, etc. for graduate schools, and it was terrifying. I don't know how anyone ever gets all of the steps done, and then on top of that, passes all the tests and does well enough in the audition to prove they're worth anything. And on top of that, it costs $150-$200 in application fees for each school. Plus the money I'll spend going there and auditioning and such. So, I have to really narrow it down. It's a really overwhelming ordeal.
This is going to be the semester of paperwork. Grad school apps, graduation paperwork, thesis paperwork... I'm not excited about this. But, I hope it's also the semester that I learn a lot about expression and take my singing to the next level. Right now, I feel like a decent singer, but a horrible performer. My goal is to be decent at both aspects by Dec. And if not by Dec., by Feb. or March.
I still need to find some music for my senior recital. I have it all planned out, but I need a German set and a musical theatre set. I have some ideas about the German, but I'm stuck on the theatre. Of course, what I have planned so far is probably a little unconventional, but it's unconventional in the more difficulty direction, rather than less, so I don't see why it shouldn't be acceptable. As soon as I finish the thesis work, I have to get to work on the recital music.
I have four pages of my thesis written so far. I doesn't sound like much, but I think it's about as much history as I'm going to include. I intended to make it around 10 pages, but now that I've written it, I feel like going any more in-depth would be unnecessary and distracting. But, we'll see what Dr. Smith says. Admittedly, there are some parts I need to do some more work on, some ideas I haven't fully developed, but even at that, I think it will only be 5 or 6 pages.
There is still some more research I need to do. I still haven't managed to unearth something that helps me figure out the stylistic conventions of the time period. I've found things written about trills, appogiaturas, etc, but nothing that tells me anything specific. Perhaps this means that at that time, it was conventional to follow only what the composer wrote? But this can't really be, because there were a LOT of things Mozart didn't write. Which should mean that some things became conventional. But someone is sure trying to keep me from figuring out what they were. Also, I don't know what on my score is Mozart's, and what's the publisher's...
I think it's about time I have a long talk with Janice Fulbright. But that in itself is kind of terrifying. She may be a walking music encyclopedia, but she intimidates the #$#% out of me. But, if anyone is going to know these things, it would be her. She might have a score in which she took notes from Mozart....;)
From an expression standpoint, I think this opera was a good choice. I should have a chance to work on the whole spectrum of emotions, as Dorabella has moments of ecstasy, and some of agony. This post is getting very random, I know, but it's a pretty accurate reflection of how my brain is working at the moment. Hopefully getting back to school will force me to focus.
On the positive, and almost completely unrelated, side, I started lessons with my newest student today, and she has a LOT of potential. Only in 8th grade, and already a big, mature sound. And the best part: when I tell her how to fix something, she does it. She made big strides in 30 minutes.
I thought I had a good break-through in my lesson last Friday, but so far I haven't been able to recreate it. At one point, my voice teacher even said "wow, you just looked like as singer!", to which I should have replied "What did I look like before, a trained monkey?" But, I restrained myself. Apparently I wasn't doing whatever it was I used to do on my high notes, and they were working really well and were nice and big. Hopefully we can get it to work again in my next lesson. It had a lot to do with using my abs to support the air well, which I guess I don't generally do. I've been working on that, so maybe if I get one part of it down at a time, it'll all start working soon.
I've been thinking about what it would be like to actually be getting ready to go somewhere and perform this opera with other singers... It's really kind of a scary thought. While I don't doubt that I could do it, the process of working with a director and other singers is something I'm not at all used to, really. Also, it's really scary to think of going into it being the only rookie, so to speak. I need to find a grad school with LOTS of performance opportunities.
Speaking of grad schools: I spent an evening last week trying to find deadlines for applications, audition dates, etc. for graduate schools, and it was terrifying. I don't know how anyone ever gets all of the steps done, and then on top of that, passes all the tests and does well enough in the audition to prove they're worth anything. And on top of that, it costs $150-$200 in application fees for each school. Plus the money I'll spend going there and auditioning and such. So, I have to really narrow it down. It's a really overwhelming ordeal.
This is going to be the semester of paperwork. Grad school apps, graduation paperwork, thesis paperwork... I'm not excited about this. But, I hope it's also the semester that I learn a lot about expression and take my singing to the next level. Right now, I feel like a decent singer, but a horrible performer. My goal is to be decent at both aspects by Dec. And if not by Dec., by Feb. or March.
I still need to find some music for my senior recital. I have it all planned out, but I need a German set and a musical theatre set. I have some ideas about the German, but I'm stuck on the theatre. Of course, what I have planned so far is probably a little unconventional, but it's unconventional in the more difficulty direction, rather than less, so I don't see why it shouldn't be acceptable. As soon as I finish the thesis work, I have to get to work on the recital music.
I have four pages of my thesis written so far. I doesn't sound like much, but I think it's about as much history as I'm going to include. I intended to make it around 10 pages, but now that I've written it, I feel like going any more in-depth would be unnecessary and distracting. But, we'll see what Dr. Smith says. Admittedly, there are some parts I need to do some more work on, some ideas I haven't fully developed, but even at that, I think it will only be 5 or 6 pages.
There is still some more research I need to do. I still haven't managed to unearth something that helps me figure out the stylistic conventions of the time period. I've found things written about trills, appogiaturas, etc, but nothing that tells me anything specific. Perhaps this means that at that time, it was conventional to follow only what the composer wrote? But this can't really be, because there were a LOT of things Mozart didn't write. Which should mean that some things became conventional. But someone is sure trying to keep me from figuring out what they were. Also, I don't know what on my score is Mozart's, and what's the publisher's...
I think it's about time I have a long talk with Janice Fulbright. But that in itself is kind of terrifying. She may be a walking music encyclopedia, but she intimidates the #$#% out of me. But, if anyone is going to know these things, it would be her. She might have a score in which she took notes from Mozart....;)
From an expression standpoint, I think this opera was a good choice. I should have a chance to work on the whole spectrum of emotions, as Dorabella has moments of ecstasy, and some of agony. This post is getting very random, I know, but it's a pretty accurate reflection of how my brain is working at the moment. Hopefully getting back to school will force me to focus.
Sunday, August 09, 2009
This might be important too...
I hadn't thought about this before today, but while it's fresh on my mind, I should write it down. While I'd not considered it a part of the "process" before, it just occurred to me that there's a large portion of the creative process that actually happens on-stage, and cannot be recreated anywhere else.
I've always been one of those people who is much better at performing with an audience. Some people seem to be able to pull it off anytime, but for me it's much easier with someone watching- the more people, the better. I'm not sure what makes this difference, but it's there, so we go with it.
I'm not sure I'll really be able to explain what happens on-stage, because it's kind of beyond thought. There's no time to actually formulate thoughts, but things happen in performance that don't happen the rest of the time. It's kind of like the "expression" you manage in rehearsal is magnified times 20.
I think it can mostly be attributed to a drastic increase in focus. Even in dress rehearsal there's a feeling that you can fix things if they don't work out, but in the actual performance, it's do or die. Of course, it might not work the same way for someone who is unprepared, but I've yet to give a performance I didn't feel pretty prepared for. Now, while I feel focus is increased in performance, I also think it is adjusted. In rehearsal, it's easy to always think about how things are working vocally, and forget about expression. In fact, in a practice room, it's very easy for me to totally forget expression and only work on vocal issues. In performance, you just have to let it go vocally, because if it doesn't work, it's too late to fix it. This gives you the opportunity to focus on expression instead. It's like when a certain voice teacher has told me a million times to "stop looking like you're thinking about singing." Now that I have enough good habits and feel comfortable with my voice, it's much easier to actually stop thinking about the singing and move on to what I'm doing with the rest of my body. The same voice teacher also likes to remind me that learning all of this takes time. I don't like that part of it, but I know it's true. A few months ago, I couldn't have performed the way I did today, because I just didn't have all the pieces of the puzzle yet. And in a few more performances, I'll be able to say this again.
So, what happens on stage? Focus increases and changes. And there are a lot of little things that go through your mind, but nothing really new. Things like "I shouldn't keep my hand there-(previously mentioned voice teacher) makes fun of me for that." Or, "Keep eyes focused, KEEP EYES FOCUSED!" Or, "Oh crap, last time I talked to that invisible person, tree, etc., I saw him over THERE... too late now." Another voice teacher once told me that every time you perform, it has to be a new creation. You can rehearse things, but when you get onstage, for it to be real and natural, you have to let it be creative all over again. I think this is part of what I'm finally figuring out.
With this latest performance, I noticed things happening over time as well, at times when I was doing things that have absolutely nothing to do with singing. For example, in the shower this morning, which is where I do lots of my thinking, I was visualizing the scenes for this afternoon and thinking of funny little things I could add, like throwing the locket over my shoulder, or facial expressions that would be funny here and there. So, there are parts of the creative process that happen even when I don't intend for them to. I've found that much of singing, and learning to sing, is subconcious. There have been lots of times when I've had vocal problems that I just couldn't figure out, and then suddenly they'll be fixed, and when I look back on it, it turns out I've been thinking a lot more about it than I realized. That being said, the subconcious is still no replacement for a practice room.
I'm really hoping to see a recording of today's performance. The things I did expressively felt much more natural than they have in the past, so I'm anxious to see if they LOOKED more natural too. There are lots of things I think back on and think, "I really should have done that better," but it's too late to take it back, and I did the best I could at the time.
All of this being said, I still have lots of work to do with expression. I've yet to figure out all the little things, like what actions convey what, such as openness, shyness, etc. That's what Dr. Lile and I need to work on some, I think. That, and I just need to do lots of things in front of the mirror.
So, I hadn't thought about any of this before, but after today, I got to thinking about the way performance fits into the process, and determined that it's quite important too. I'm also nerdy enough to think it'd be very interesting to compare brain scans from rehearsals, performances, etc... but I don't expect that to happen...
I've always been one of those people who is much better at performing with an audience. Some people seem to be able to pull it off anytime, but for me it's much easier with someone watching- the more people, the better. I'm not sure what makes this difference, but it's there, so we go with it.
I'm not sure I'll really be able to explain what happens on-stage, because it's kind of beyond thought. There's no time to actually formulate thoughts, but things happen in performance that don't happen the rest of the time. It's kind of like the "expression" you manage in rehearsal is magnified times 20.
I think it can mostly be attributed to a drastic increase in focus. Even in dress rehearsal there's a feeling that you can fix things if they don't work out, but in the actual performance, it's do or die. Of course, it might not work the same way for someone who is unprepared, but I've yet to give a performance I didn't feel pretty prepared for. Now, while I feel focus is increased in performance, I also think it is adjusted. In rehearsal, it's easy to always think about how things are working vocally, and forget about expression. In fact, in a practice room, it's very easy for me to totally forget expression and only work on vocal issues. In performance, you just have to let it go vocally, because if it doesn't work, it's too late to fix it. This gives you the opportunity to focus on expression instead. It's like when a certain voice teacher has told me a million times to "stop looking like you're thinking about singing." Now that I have enough good habits and feel comfortable with my voice, it's much easier to actually stop thinking about the singing and move on to what I'm doing with the rest of my body. The same voice teacher also likes to remind me that learning all of this takes time. I don't like that part of it, but I know it's true. A few months ago, I couldn't have performed the way I did today, because I just didn't have all the pieces of the puzzle yet. And in a few more performances, I'll be able to say this again.
So, what happens on stage? Focus increases and changes. And there are a lot of little things that go through your mind, but nothing really new. Things like "I shouldn't keep my hand there-(previously mentioned voice teacher) makes fun of me for that." Or, "Keep eyes focused, KEEP EYES FOCUSED!" Or, "Oh crap, last time I talked to that invisible person, tree, etc., I saw him over THERE... too late now." Another voice teacher once told me that every time you perform, it has to be a new creation. You can rehearse things, but when you get onstage, for it to be real and natural, you have to let it be creative all over again. I think this is part of what I'm finally figuring out.
With this latest performance, I noticed things happening over time as well, at times when I was doing things that have absolutely nothing to do with singing. For example, in the shower this morning, which is where I do lots of my thinking, I was visualizing the scenes for this afternoon and thinking of funny little things I could add, like throwing the locket over my shoulder, or facial expressions that would be funny here and there. So, there are parts of the creative process that happen even when I don't intend for them to. I've found that much of singing, and learning to sing, is subconcious. There have been lots of times when I've had vocal problems that I just couldn't figure out, and then suddenly they'll be fixed, and when I look back on it, it turns out I've been thinking a lot more about it than I realized. That being said, the subconcious is still no replacement for a practice room.
I'm really hoping to see a recording of today's performance. The things I did expressively felt much more natural than they have in the past, so I'm anxious to see if they LOOKED more natural too. There are lots of things I think back on and think, "I really should have done that better," but it's too late to take it back, and I did the best I could at the time.
All of this being said, I still have lots of work to do with expression. I've yet to figure out all the little things, like what actions convey what, such as openness, shyness, etc. That's what Dr. Lile and I need to work on some, I think. That, and I just need to do lots of things in front of the mirror.
So, I hadn't thought about any of this before, but after today, I got to thinking about the way performance fits into the process, and determined that it's quite important too. I'm also nerdy enough to think it'd be very interesting to compare brain scans from rehearsals, performances, etc... but I don't expect that to happen...
Monday, July 20, 2009
And now for something completely different...
Well, somewhat different. I got a very cool opportunity today to work with Maria Todaro, a French mezzo, currently in New York. She was in Springfield doing a show, I was a stagehand for the show, and in the end, she let me sing for her today before she left.
I had thought of several things I wanted to get to with her, since this was the first time I've ever worked with another mezzo. We got to most of them. The biggest was that weird break into chest. We didn't spend much time on it, but she basically said she'd faced the same thing, and eventually just had to say "if it's below this note, then I'm using chest." I'm going to have to work on it some (more) and see what works.
Secondly, I wanted to get to French, seeing as how she's from Paris and all. We worked the entire time (almost 2 hours) on the Seguidilla from Carmen. As it turns out, either my French isn't really that awful, or she's just too nice. We went through and translated and spoke through everything, and I THINK I got a pretty good handle on it (she said it really wasn't bad to begin with). But must.... remember... to... elide!
All this said and done, I really didn't sing much in the two hours with her. We spent most of the time talking about characterization and what it takes to define a character. I've thought a lot about this with Dorabella, but not in the same way I went about it today. She started off by making sure I knew what was going on in the opera (Carmen), which I basically did, though not as well as I should (but in my defense, my focus has been on a different opera). Then she had me describe what I saw as a modern-day Carmen. My interpretation would be the girl who runs off to Vegas or something to pursue a career in a less-than-innocent field. Then she had me explain why the girl went to Vegas in the first place, which is because she was burned by a man in the past, and now she's living in denial of what happened and is playing with every other man she meets, as a kind of means of retribution. This anger toward the man who hurt her is what drives her to care so little about herself and about the men she seduces. She is shallow because of her youth, but also because she had allowed herself to feel deeply at some point and was hurt, so now it is a means of protection. And so on. So, now that I had defined MY Carmen, we worked on moulding the aria around that.
(I'm writing this A: because the characterization has everything to do with my thesis, and B: because it'll help me remember it.)
First, for my benefit, here is how we "translated" the aria (which I trust is accurate for true meaning since, well, again, she's French):
In the ramparts of Seville, at my friend Lillas Pastia's,
I will go dance the Seguidilla and drink manzanilla.
I will go to my friend Lillas Pastia's.
Yes, I will go, but all alone it is boring.
True pleasure is for two, so I will take my lover to keep me company.
My lover... HA... My lover is with the devil- I threw him out yesterday!
My poor heart-- it is very consolable. My heart is free like air!
I have dozens of lovers, but I don't like any of them.
It is Friday, the end of the week-- who wants to love me?--- I will love in return.
Who wants my soul? It's free for the taking-- You've arrived at just the right moment.
I have no time to wait, because with my new lover I will go to the ramparts of Seville to dance the seguidilla and drink manzanilla.
At this point, Carmen has attacked the woman in the cigarette factory and is being held. Don Jose is with her, and she is trying to figure out how to escape from prison.
We took as much of the aria as we could phrase by phrase, talking about Bizet and Carmen's motives for what is happening. I'll start at the beginning:
The first phrase is in the orchestra (or piano). The first two measures are a very legato statement, which seems to suggest a serpentine cunning, followed by a "laughing" descending line, with staccatos and a dotted rhythm. In this phrase, Carmen seems to be contemplating an idea, which she finds rather amusing. There's a slight pause, and then the phrase repeats, an octave lower, and with a different resolution. Carmen has thought through her idea again, decides that it will work, and is set to put her plan in action.
(This is awkward to write, but hopefully it'll make sense to me later.) The seguidilla rhythm starts in the orchestra. It is written as staccato notes for the violins, mimicking the traditional Spanish guitar. Carmen begins shooting Don Jose looks and tells him she WILL go to Seville and dance, not that she would if she were free. From the very beginning, she displays unshakable confidence, which further entrances Don Jose. She manipulates him throughout the aria. In the next section, she tells him about how when she goes, it's going to be boring, unless she takes her lover-- but wait, she's thrown him out, and she's quite available. In the score, but not in my adapted version, Don Jose breaks in and tells her to shut up. She replies that she's merely singing and that he doesn't have to listen.
The composer (and editors, I'm sure), include many nuances that help the singer and orchestra to paint for viewers exactly what is happening. For example, when Carmen is singing about the dance, she has very short, separated notes, in the style of the dance. When she talks about drinking, the notes are written the same way, but it makes sense to make these notes very legato and sexy (not that there's anything NOT sexy about Carmen). There are countless things throughout the aria, and I'd be up all night if I tried to write about them all, but I've marked a lot in my music, so hopefully between this and that I'll remember most of it. If I had half a brain, I'd have taped the session, but the thought honestly never crossed my mind until I was there.
Basically, everything was about taking a character and making it my own. There was lots of talk about mirrors again. I practice in front of mirrors, I swear I do, but so far I haven't made it effective... but I shall try again, as usual. Toward the end, she had me doing lots of things without moving my body, only using my eyes for expression. That is EXTREMELY difficult. But she swore it was great. I don't know that I can use that much in singing, but it was definitely a good exercise to make me aware of what's going on with my eyes and face, so I'll have to keep playing with it. It would also seem that I sometimes do weird things with my shoulders while singing? I'll have to figure that one out.
Also, she made me aware of lots of other bodily things while singing, like that I should always complete an action before I sing about it. Yeah, that sounds weird. But she had me laughing at one point, while singing, and it really does make much more sense to do the action of laughing before making the sound. Never mind, I know what this means, no one else needs to.
Of course, everything we talked about was under the disclaimer that everything in art is subjective. Which is true. But I think she didn't realize that she was serving less to give me ideas than she was to help change the way I think. I've found that LOTS of this is changing the way I think about things. For example, I always learn notes first. Notes are the easiest, so I always learn them first, but she pointed out today that the words are the whole point, and that since notes are easiest anyway, it only makes sense to do the words first and THEN the notes. My brain won't like this change, but I have to try it.
We also talked about some of the many different Carmens I could choose to be. I could, in this aria, be the Carmen who's just being seductive, or the one who is trying to provoke more than seduce, by treating Don Jose as if I think he's too uptight, or a variety of other possibilities. We also talked about how my age, body type, personality, etc, determines how I interpret Carmen, and possibly how a director would choose the rest of the cast. If I were cast as Carmen, for instance, the rest of the cast would also have to be young. Rather than being the femme fatale type of Carmen, at this point I would be more young and flirty, using my body, but not in the same way as one more well-endowed. I guess put simply, I would be somewhat less sexy and more cute... or just sexy in a different way...
We talked about what to do with my hands. If they're tied behind my back, it really limits what I can do. She suggested that, especially in an audition or recital setting, I begin with them behind my back to give the idea, but then let them go. Another possibility is that they're tied in front, which changes everything yet again. If I let them go, then I have to think about what kind of motions communicate what. I have to concentrate on whether what a gesture is communicating is more open or closed, whether it radiates confidence or shyness. Apparently I tend to go toward the shy ones, so I'll have to work on that... I've never met a shy character in opera.
There are just lots of little things I'd never thought about before. I need to go this in-depth with all my music, I realize now... It will take a lot more work, but whatever it takes, I guess... At least it's the practice-room kind of work, which is much better than book-work.
Anyway, I know this deviates somewhat from Cosi and Dorabella, but it also has everything to do with what I'm trying to develop. In some ways everything I learned today was reassuring. I've often wondered if I'm really cut out for this, because I like precision and reasoning. Some might say it's strange for me to have gone into such a creative field, but I like to think of it as creativity of a different kind. But everything we talked about today showed me that there is reason behind all of the things that I need to think and feel on stage: Just because it's a creative field doesn't mean that I have to figure out how to not think and analyze... I just have to put it to good use. So, this was a great experience, and I'm very grateful she took the time to work with me.
I had thought of several things I wanted to get to with her, since this was the first time I've ever worked with another mezzo. We got to most of them. The biggest was that weird break into chest. We didn't spend much time on it, but she basically said she'd faced the same thing, and eventually just had to say "if it's below this note, then I'm using chest." I'm going to have to work on it some (more) and see what works.
Secondly, I wanted to get to French, seeing as how she's from Paris and all. We worked the entire time (almost 2 hours) on the Seguidilla from Carmen. As it turns out, either my French isn't really that awful, or she's just too nice. We went through and translated and spoke through everything, and I THINK I got a pretty good handle on it (she said it really wasn't bad to begin with). But must.... remember... to... elide!
All this said and done, I really didn't sing much in the two hours with her. We spent most of the time talking about characterization and what it takes to define a character. I've thought a lot about this with Dorabella, but not in the same way I went about it today. She started off by making sure I knew what was going on in the opera (Carmen), which I basically did, though not as well as I should (but in my defense, my focus has been on a different opera). Then she had me describe what I saw as a modern-day Carmen. My interpretation would be the girl who runs off to Vegas or something to pursue a career in a less-than-innocent field. Then she had me explain why the girl went to Vegas in the first place, which is because she was burned by a man in the past, and now she's living in denial of what happened and is playing with every other man she meets, as a kind of means of retribution. This anger toward the man who hurt her is what drives her to care so little about herself and about the men she seduces. She is shallow because of her youth, but also because she had allowed herself to feel deeply at some point and was hurt, so now it is a means of protection. And so on. So, now that I had defined MY Carmen, we worked on moulding the aria around that.
(I'm writing this A: because the characterization has everything to do with my thesis, and B: because it'll help me remember it.)
First, for my benefit, here is how we "translated" the aria (which I trust is accurate for true meaning since, well, again, she's French):
In the ramparts of Seville, at my friend Lillas Pastia's,
I will go dance the Seguidilla and drink manzanilla.
I will go to my friend Lillas Pastia's.
Yes, I will go, but all alone it is boring.
True pleasure is for two, so I will take my lover to keep me company.
My lover... HA... My lover is with the devil- I threw him out yesterday!
My poor heart-- it is very consolable. My heart is free like air!
I have dozens of lovers, but I don't like any of them.
It is Friday, the end of the week-- who wants to love me?--- I will love in return.
Who wants my soul? It's free for the taking-- You've arrived at just the right moment.
I have no time to wait, because with my new lover I will go to the ramparts of Seville to dance the seguidilla and drink manzanilla.
At this point, Carmen has attacked the woman in the cigarette factory and is being held. Don Jose is with her, and she is trying to figure out how to escape from prison.
We took as much of the aria as we could phrase by phrase, talking about Bizet and Carmen's motives for what is happening. I'll start at the beginning:
The first phrase is in the orchestra (or piano). The first two measures are a very legato statement, which seems to suggest a serpentine cunning, followed by a "laughing" descending line, with staccatos and a dotted rhythm. In this phrase, Carmen seems to be contemplating an idea, which she finds rather amusing. There's a slight pause, and then the phrase repeats, an octave lower, and with a different resolution. Carmen has thought through her idea again, decides that it will work, and is set to put her plan in action.
(This is awkward to write, but hopefully it'll make sense to me later.) The seguidilla rhythm starts in the orchestra. It is written as staccato notes for the violins, mimicking the traditional Spanish guitar. Carmen begins shooting Don Jose looks and tells him she WILL go to Seville and dance, not that she would if she were free. From the very beginning, she displays unshakable confidence, which further entrances Don Jose. She manipulates him throughout the aria. In the next section, she tells him about how when she goes, it's going to be boring, unless she takes her lover-- but wait, she's thrown him out, and she's quite available. In the score, but not in my adapted version, Don Jose breaks in and tells her to shut up. She replies that she's merely singing and that he doesn't have to listen.
The composer (and editors, I'm sure), include many nuances that help the singer and orchestra to paint for viewers exactly what is happening. For example, when Carmen is singing about the dance, she has very short, separated notes, in the style of the dance. When she talks about drinking, the notes are written the same way, but it makes sense to make these notes very legato and sexy (not that there's anything NOT sexy about Carmen). There are countless things throughout the aria, and I'd be up all night if I tried to write about them all, but I've marked a lot in my music, so hopefully between this and that I'll remember most of it. If I had half a brain, I'd have taped the session, but the thought honestly never crossed my mind until I was there.
Basically, everything was about taking a character and making it my own. There was lots of talk about mirrors again. I practice in front of mirrors, I swear I do, but so far I haven't made it effective... but I shall try again, as usual. Toward the end, she had me doing lots of things without moving my body, only using my eyes for expression. That is EXTREMELY difficult. But she swore it was great. I don't know that I can use that much in singing, but it was definitely a good exercise to make me aware of what's going on with my eyes and face, so I'll have to keep playing with it. It would also seem that I sometimes do weird things with my shoulders while singing? I'll have to figure that one out.
Also, she made me aware of lots of other bodily things while singing, like that I should always complete an action before I sing about it. Yeah, that sounds weird. But she had me laughing at one point, while singing, and it really does make much more sense to do the action of laughing before making the sound. Never mind, I know what this means, no one else needs to.
Of course, everything we talked about was under the disclaimer that everything in art is subjective. Which is true. But I think she didn't realize that she was serving less to give me ideas than she was to help change the way I think. I've found that LOTS of this is changing the way I think about things. For example, I always learn notes first. Notes are the easiest, so I always learn them first, but she pointed out today that the words are the whole point, and that since notes are easiest anyway, it only makes sense to do the words first and THEN the notes. My brain won't like this change, but I have to try it.
We also talked about some of the many different Carmens I could choose to be. I could, in this aria, be the Carmen who's just being seductive, or the one who is trying to provoke more than seduce, by treating Don Jose as if I think he's too uptight, or a variety of other possibilities. We also talked about how my age, body type, personality, etc, determines how I interpret Carmen, and possibly how a director would choose the rest of the cast. If I were cast as Carmen, for instance, the rest of the cast would also have to be young. Rather than being the femme fatale type of Carmen, at this point I would be more young and flirty, using my body, but not in the same way as one more well-endowed. I guess put simply, I would be somewhat less sexy and more cute... or just sexy in a different way...
We talked about what to do with my hands. If they're tied behind my back, it really limits what I can do. She suggested that, especially in an audition or recital setting, I begin with them behind my back to give the idea, but then let them go. Another possibility is that they're tied in front, which changes everything yet again. If I let them go, then I have to think about what kind of motions communicate what. I have to concentrate on whether what a gesture is communicating is more open or closed, whether it radiates confidence or shyness. Apparently I tend to go toward the shy ones, so I'll have to work on that... I've never met a shy character in opera.
There are just lots of little things I'd never thought about before. I need to go this in-depth with all my music, I realize now... It will take a lot more work, but whatever it takes, I guess... At least it's the practice-room kind of work, which is much better than book-work.
Anyway, I know this deviates somewhat from Cosi and Dorabella, but it also has everything to do with what I'm trying to develop. In some ways everything I learned today was reassuring. I've often wondered if I'm really cut out for this, because I like precision and reasoning. Some might say it's strange for me to have gone into such a creative field, but I like to think of it as creativity of a different kind. But everything we talked about today showed me that there is reason behind all of the things that I need to think and feel on stage: Just because it's a creative field doesn't mean that I have to figure out how to not think and analyze... I just have to put it to good use. So, this was a great experience, and I'm very grateful she took the time to work with me.
Tuesday, July 07, 2009
I will choose the handsome dark one
If it's all the same to you...? Too bad Renee has graduated. I always said this is the perfect duet for the two of us, since I always pick the dark ones, and she always picks the blondes... and because when she lets go and really sings, she's so dang good...
I figured it up today, and I have 5 ensembles left to learn and I'll have the role down. Not all memorized yet, but at least in my voice and where it can be performable in a matter of days. So, I'm slightly more than halfway there. It's hard to learn ensembles without the ensemble... Also, it's not all in the same language... but Italian, English, what's the difference???
I worked on "more teeth" today. It really makes a big difference. I can spit out the diction a lot better that way, and the sound is bigger... it's just good all around. Why does it take me so long to figure out all these things? Something still isn't quite right, but it's closer. Hopefully it becomes a good habit quickly, since it takes so much concentration to get everything working right at the same time. It also helps with "waking up my face," as Buddy Clark has told me about every semester on my jury sheets, but we won't get into that-- it makes me grouchy.
I am REALLY tired of hearing about Michael Jackson. And he was NOT "our Mozart."
I may have said this at some point before, but oh well-- I find it really interesting to learn about the origins of this opera. Though who commissioned it, etc, is really not important, the history of the performers it quite interesting, and I believe it gives some insight into the relationships between characters. For example, the original sisters were sisters in real life too. Fiordiligi has a smaller part than most of the other characters, and a butt-kicking aria in the second act- as it turns out, she was da Ponte's mistress, and Mozart really didn't like her. The original Despina and Don Alfonso were married. Though they have no relationship like that in the show, they obviously have a history and know each other fairly well, from the way Mozart and da Ponte had them interact. I think it helps a lot to know these details in order to really develop the character. Of course, the sister thing doesn't help me a whole lot, even though I have a sister, since we never really lived together, but it still adds a new dimension to the Dorabella I'd imagined.
We talked in rehearsal last week about the way Mozart designed the music perfectly to fit the situation. I'm not good at picking up on this, but I'm working on it. For example, in the finale of the first act, Mozart uses straight note values in the voices trying to create calm, and dotted rhythms in the voices that are losing control. As the finale goes on, Mozart begins writing unison lines in the parts that really need to come out. In several places Dorabella and Fiordiligi have unison parts as they're trying to ward off the men's advances. The volume and intensity just keep building to the very end of the act, and the notes keep getting higher, and all the time the ever-proper women are losing control more and more, until at the end they've just lost it all, and have made it to high As. (Yeah, try reading that all in one breath). I realize now that I've never paid much attention to the way music fits text. Hopefully that will become a new good habit too.
I don't know if I'm learning what I expected to from this experience or not, but I'm definitely learning a lot. The biggest challenge I think is going to be putting all of this down on paper, in a way that's not offensive to academics... I tend to understand academics well, but I'm not sure they understand me. I can be very intellectual, but my mind works differently than most people. I HAVE to start getting the history part of all this down on paper soon. No more procrastinating... I hope... but I'm very good at it...
I figured it up today, and I have 5 ensembles left to learn and I'll have the role down. Not all memorized yet, but at least in my voice and where it can be performable in a matter of days. So, I'm slightly more than halfway there. It's hard to learn ensembles without the ensemble... Also, it's not all in the same language... but Italian, English, what's the difference???
I worked on "more teeth" today. It really makes a big difference. I can spit out the diction a lot better that way, and the sound is bigger... it's just good all around. Why does it take me so long to figure out all these things? Something still isn't quite right, but it's closer. Hopefully it becomes a good habit quickly, since it takes so much concentration to get everything working right at the same time. It also helps with "waking up my face," as Buddy Clark has told me about every semester on my jury sheets, but we won't get into that-- it makes me grouchy.
I am REALLY tired of hearing about Michael Jackson. And he was NOT "our Mozart."
I may have said this at some point before, but oh well-- I find it really interesting to learn about the origins of this opera. Though who commissioned it, etc, is really not important, the history of the performers it quite interesting, and I believe it gives some insight into the relationships between characters. For example, the original sisters were sisters in real life too. Fiordiligi has a smaller part than most of the other characters, and a butt-kicking aria in the second act- as it turns out, she was da Ponte's mistress, and Mozart really didn't like her. The original Despina and Don Alfonso were married. Though they have no relationship like that in the show, they obviously have a history and know each other fairly well, from the way Mozart and da Ponte had them interact. I think it helps a lot to know these details in order to really develop the character. Of course, the sister thing doesn't help me a whole lot, even though I have a sister, since we never really lived together, but it still adds a new dimension to the Dorabella I'd imagined.
We talked in rehearsal last week about the way Mozart designed the music perfectly to fit the situation. I'm not good at picking up on this, but I'm working on it. For example, in the finale of the first act, Mozart uses straight note values in the voices trying to create calm, and dotted rhythms in the voices that are losing control. As the finale goes on, Mozart begins writing unison lines in the parts that really need to come out. In several places Dorabella and Fiordiligi have unison parts as they're trying to ward off the men's advances. The volume and intensity just keep building to the very end of the act, and the notes keep getting higher, and all the time the ever-proper women are losing control more and more, until at the end they've just lost it all, and have made it to high As. (Yeah, try reading that all in one breath). I realize now that I've never paid much attention to the way music fits text. Hopefully that will become a new good habit too.
I don't know if I'm learning what I expected to from this experience or not, but I'm definitely learning a lot. The biggest challenge I think is going to be putting all of this down on paper, in a way that's not offensive to academics... I tend to understand academics well, but I'm not sure they understand me. I can be very intellectual, but my mind works differently than most people. I HAVE to start getting the history part of all this down on paper soon. No more procrastinating... I hope... but I'm very good at it...
Sunday, June 28, 2009
Go and tell your white knight that he's handsome in hindsight, but I don't want the next best thing
People have called me an over-achiever.
But I don't know what that's about.
The audition Wednesday actually went really well... and by that, I mean I think I kicked butt. Problem is, there really wasn't any butt to kick. In the end, I was left with a "You're really talented, but I think I've filled everything, and we try to hire locally so we don't have to pay mileage. BUT, I really would like to have you, so I'm going to try to find something for you." So, I'm not sure if I should be at all reassured by any of that. It's like a yes and a no all wrapped into one. I'll expect to hear from them when I hear from them, but not until then.
Dorabella's been on hold this week. However, while in Tulsa, we went to see The Gondoliers, and I think there were several Dorabella-like characters in it-- and by that I mean they were young and ditsy. Of course, there was also a guy who looked and acted EXACTLY like Nick Gilmore, only shorter (and didn't sing as well). I almost felt like I was watching Forum again. Anyway, I watched all of the young ditsy girls very carefully. What I noticed most was their facial expression and commitment to everything they did. (I might also have learned some about gushing... and Dorabella certainly does plenty of gushing). I think I often don't commit to what I do on stage, because I'm not sure if it's right, because it doesn't feel natural to me. I also dreadfully underestimate my facial expressions and actions. I'm not really sure how to remedy this, other than just experiment with it and do lots of mirror time. I probably really need to screw it up and get feedback, but I SO hate not doing things right the first time. I'm supposed to be working with an actress in Springfield in the next few weeks, so I'm hoping she'll be able to help me out with all of this.
I'm not doing much journaling about the vocal part of this, but I'm not really sure what to write. It's lots of "brighter.... BRIGHTER!"s and "More teeth"s (which has actually been very helpful... never thought about teeth before). I still have a lot to learn about the specifics. For example, there are lots of little ornamentation things that I see written or hear other people do, but I'm not sure what's appropriate, and what would make Mozart kill a kitten (and I like kittens). In general though, most of the voice work has been done in the last 3 years. I've developed lots of good habits (I like to think, anyway), so it's more about polish this time. Which is terribly frustrating, let me tell you. I think it was almost less frustrating when I was working out the really big issues, because now I often can't tell the difference between what I'm doing and what he wants me to do. Usually it comes with time, but in the meantime, I feel like I should switch majors or something. On a positive note, I think my voice has grown quite a bit over the past few weeks. There have been quite a few "paint-peeling" moments, as I like to call them. Of course, that's not hard to do in an 8x8 cell, aka a practice room... but, I've also noticed it in other places, so I think it's real.
Though I'm going to have high-speed internet and cable, and a big fancy Y to work out in for the next few days, I plan to spend lots of time practicing and doing research. Right now, however, I think I need some ice cream and a rerun of House, because what could be better than that?
But I don't know what that's about.
The audition Wednesday actually went really well... and by that, I mean I think I kicked butt. Problem is, there really wasn't any butt to kick. In the end, I was left with a "You're really talented, but I think I've filled everything, and we try to hire locally so we don't have to pay mileage. BUT, I really would like to have you, so I'm going to try to find something for you." So, I'm not sure if I should be at all reassured by any of that. It's like a yes and a no all wrapped into one. I'll expect to hear from them when I hear from them, but not until then.
Dorabella's been on hold this week. However, while in Tulsa, we went to see The Gondoliers, and I think there were several Dorabella-like characters in it-- and by that I mean they were young and ditsy. Of course, there was also a guy who looked and acted EXACTLY like Nick Gilmore, only shorter (and didn't sing as well). I almost felt like I was watching Forum again. Anyway, I watched all of the young ditsy girls very carefully. What I noticed most was their facial expression and commitment to everything they did. (I might also have learned some about gushing... and Dorabella certainly does plenty of gushing). I think I often don't commit to what I do on stage, because I'm not sure if it's right, because it doesn't feel natural to me. I also dreadfully underestimate my facial expressions and actions. I'm not really sure how to remedy this, other than just experiment with it and do lots of mirror time. I probably really need to screw it up and get feedback, but I SO hate not doing things right the first time. I'm supposed to be working with an actress in Springfield in the next few weeks, so I'm hoping she'll be able to help me out with all of this.
I'm not doing much journaling about the vocal part of this, but I'm not really sure what to write. It's lots of "brighter.... BRIGHTER!"s and "More teeth"s (which has actually been very helpful... never thought about teeth before). I still have a lot to learn about the specifics. For example, there are lots of little ornamentation things that I see written or hear other people do, but I'm not sure what's appropriate, and what would make Mozart kill a kitten (and I like kittens). In general though, most of the voice work has been done in the last 3 years. I've developed lots of good habits (I like to think, anyway), so it's more about polish this time. Which is terribly frustrating, let me tell you. I think it was almost less frustrating when I was working out the really big issues, because now I often can't tell the difference between what I'm doing and what he wants me to do. Usually it comes with time, but in the meantime, I feel like I should switch majors or something. On a positive note, I think my voice has grown quite a bit over the past few weeks. There have been quite a few "paint-peeling" moments, as I like to call them. Of course, that's not hard to do in an 8x8 cell, aka a practice room... but, I've also noticed it in other places, so I think it's real.
Though I'm going to have high-speed internet and cable, and a big fancy Y to work out in for the next few days, I plan to spend lots of time practicing and doing research. Right now, however, I think I need some ice cream and a rerun of House, because what could be better than that?
Sunday, June 21, 2009
Because it would look so dang good, that's why!
I'm taking a little time out from Cosi this week to work on some music I've already performed. I've managed to set up an audition for the Tulsa Opera chorus, so it's time I pulled out a couple of things to sing.
Now, why would I put myself through this, you ask? Because it would look so dang good on my resume. And because I'm a glutton for punishment. And because I REALLY want to wear a costume! (Since the only costume I've sung in while in college has been PJs and a mint julep face mask). And because if I'm really honest, it's a step closer to what I dream of doing, so how could I not? See, lots of good reasons.
Mind you, this is no guaranteed spot, even if he likes me. All of the chorus positions are full, I'm told, but I've also been assured that people drop out all the time, and that I'd probably be needed at some point during the season. I'm guessing the fact that I'm a mezzo really helps, since he was very insistent about wanting to hear me sing, even though it's already full. That's all well and good, except I fear if it doesn't get on my calendar in the next few weeks, there won't be any way to make it work. And on top of that, it all hinges on me not sucking it up Wednesday. I feel fairly confident though... I think...
The weather man just said something about not having variety in our weather... What's he smoking!?!
Anyway, as I've been resurrecting music for said audition, I've found that it all fits in my voice a little differently, especially the older stuff. Of the two I've selected, one if from a couple years ago, and it just feels enormous now. I can remember really having to work on the high notes (Gs), and now it just comes out... and about peels the paint off the walls... that's a good feeling. The second piece I just did last year, so it's not so much of a change, but there is still some. Once I got through the first, really "pitchy" (to steal a word from Simon) sing-thru, it worked fairly well.
The only really rough part of them is that lovely transition to my "man-voice," as my voice teacher has so technically named it (I like to call it chest voice, but I'm not sure it's not below chest voice... my breaks are very odd (Well, who are we kidding, I can't FIND my breaks, except for that one)). When that comes around, I still sound like a boy just hitting puberty... and trust me, I'm not a boy, and I'm way past puberty... so it's weird, and annoying. Afore mentioned voice teacher tells me that this is all due to lift, but I can lift that palet til it erupts through my skull and it still cracks... (This is all also relevant to Dorabella, since she occasionally uses man-voice too).
Anyway, I'll get back to Dorabella on Thursday, and technically also Tuesday night, since I'm working on the finale with Loria. I'm taking some girlfriends to Tulsa with me and we're going to make an evening of it. I want to see the Gondoliers, but we'll see if they'll agree.
Now, why would I put myself through this, you ask? Because it would look so dang good on my resume. And because I'm a glutton for punishment. And because I REALLY want to wear a costume! (Since the only costume I've sung in while in college has been PJs and a mint julep face mask). And because if I'm really honest, it's a step closer to what I dream of doing, so how could I not? See, lots of good reasons.
Mind you, this is no guaranteed spot, even if he likes me. All of the chorus positions are full, I'm told, but I've also been assured that people drop out all the time, and that I'd probably be needed at some point during the season. I'm guessing the fact that I'm a mezzo really helps, since he was very insistent about wanting to hear me sing, even though it's already full. That's all well and good, except I fear if it doesn't get on my calendar in the next few weeks, there won't be any way to make it work. And on top of that, it all hinges on me not sucking it up Wednesday. I feel fairly confident though... I think...
The weather man just said something about not having variety in our weather... What's he smoking!?!
Anyway, as I've been resurrecting music for said audition, I've found that it all fits in my voice a little differently, especially the older stuff. Of the two I've selected, one if from a couple years ago, and it just feels enormous now. I can remember really having to work on the high notes (Gs), and now it just comes out... and about peels the paint off the walls... that's a good feeling. The second piece I just did last year, so it's not so much of a change, but there is still some. Once I got through the first, really "pitchy" (to steal a word from Simon) sing-thru, it worked fairly well.
The only really rough part of them is that lovely transition to my "man-voice," as my voice teacher has so technically named it (I like to call it chest voice, but I'm not sure it's not below chest voice... my breaks are very odd (Well, who are we kidding, I can't FIND my breaks, except for that one)). When that comes around, I still sound like a boy just hitting puberty... and trust me, I'm not a boy, and I'm way past puberty... so it's weird, and annoying. Afore mentioned voice teacher tells me that this is all due to lift, but I can lift that palet til it erupts through my skull and it still cracks... (This is all also relevant to Dorabella, since she occasionally uses man-voice too).
Anyway, I'll get back to Dorabella on Thursday, and technically also Tuesday night, since I'm working on the finale with Loria. I'm taking some girlfriends to Tulsa with me and we're going to make an evening of it. I want to see the Gondoliers, but we'll see if they'll agree.
Monday, June 15, 2009
Praise Jesus...
that this opera isn't in French. Ugh... I need a French diction tutor or something.
My goal this summer was to finish the research part of this project. While that's well under-way, I'm finding that the creative part is coming farther and faster than I intended it to (not that I'm complaining). I think perhaps this is because it's just the place I was at in my development as a performer anyway. I felt last semester than the expression really started coming, especially with the musical theatre things, and now it feels like it's right there. Of course, I've not actually performed anywhere for the last few weeks, so I haven't really tested my theory, but I feel like there is a lot more character in my singing, even as I'm learning the music. (This may not make a lot of sense, but hear me out.)
In the past, when I've really worked on music, I've been totally focused on technique and just sounding good. In this latest set of things I'm working on, I'm finding that my brain is now capable of focusing on technique AND characterization. Now I'm seeing scenes unfold in my head and what I would be doing expressively as I practice the music. Along with this, I feel like I've gotten comfortable enough with myself that I'm going to be fairly unhindered in actually expressing what I'm singing about in performance. I've always felt like expression is very tedious and laborious, but now I think I'm finding that it's going to be natural.
Basically, I'm finding that it gets easier with experience, as most things do. I think that once expression is natural and I stop thinking about it, performing is going to be less frustrating and even more fun. We'll see...
As far as Dorabella goes: I'm working with several other area singers on an ensemble for a concert in August, and we're doing one of the finales from Cosi. We were all challenged at our rehearsal last Thursday to find a single object that represents our character and bring it to this week's rehearsal. I've yet to decide for sure on an object, but I've come up with several characteristics that I think describe Dorabella. Now I need an object that fits them. From what I've gathered about her character so far, I'm finding it difficult to describe Dorabella without including her sister in some way. They are together almost the entire opera, and it is hard to separate them in some ways. Basically though, it seems that together they are quite strong, but when separated, Dorabella quickly becomes gullible (as if she wasn't already, believing everything they're told). But really, the sisters have stood true to their men (other than agreeing that a little flirting can't hurt anything) through suicide attempts and an array of other tactics, but the moment the guy gets her alone, she crumbles and gives away her heart. So, on her own, I think she's gullible and of course overly-dramatic, which is natural considering she's a 15-year-old girl. (I'm going to have fun dredging up those memories :s). Perhaps if Dorabella was a modern teenage girl, they would treat her for bi-polar or panic disorder. She can go from deliriously happy to suicidal in the space of a few bars.
I keep coming back to my 14-year-old niece. She's the epitome of an overly-dramatic teenage girl (although thankfully far more sensible than Dorabella). I've found myself watching her lately for her reactions and expressions, and it's really priceless. She's the most hilarious person, and I think she shares many characteristics with Dorabella. Though she wouldn't fall for all the scheming (as no real person would), I can definitely see her having similar reactions to similar circumstances.
Oh, another point I meant to make: digging into the history of the opera can also give you important insights into a character. In looking into the performance history, I was very interested to find out that the original Fiordiligi and Dorabella were actually sisters in real life. Knowing that Mozart would have known who he was composing for, this adds a new dynamic to the interaction of the two characters. The roles were created for them, as sisters, which means that the dynamic between them is crucial. They could have just been friends, but I firmly believe that Mozart didn't do anything without a reason.
All this being said, I still don't know what object I'm going to take to rehearsal, but I think it needs to be something that really just says "TEENAGE GIRL," since almost all of her characteristics, from her flightiness to her dramatics, can be attributed in some degree to her age.
My goal this summer was to finish the research part of this project. While that's well under-way, I'm finding that the creative part is coming farther and faster than I intended it to (not that I'm complaining). I think perhaps this is because it's just the place I was at in my development as a performer anyway. I felt last semester than the expression really started coming, especially with the musical theatre things, and now it feels like it's right there. Of course, I've not actually performed anywhere for the last few weeks, so I haven't really tested my theory, but I feel like there is a lot more character in my singing, even as I'm learning the music. (This may not make a lot of sense, but hear me out.)
In the past, when I've really worked on music, I've been totally focused on technique and just sounding good. In this latest set of things I'm working on, I'm finding that my brain is now capable of focusing on technique AND characterization. Now I'm seeing scenes unfold in my head and what I would be doing expressively as I practice the music. Along with this, I feel like I've gotten comfortable enough with myself that I'm going to be fairly unhindered in actually expressing what I'm singing about in performance. I've always felt like expression is very tedious and laborious, but now I think I'm finding that it's going to be natural.
Basically, I'm finding that it gets easier with experience, as most things do. I think that once expression is natural and I stop thinking about it, performing is going to be less frustrating and even more fun. We'll see...
As far as Dorabella goes: I'm working with several other area singers on an ensemble for a concert in August, and we're doing one of the finales from Cosi. We were all challenged at our rehearsal last Thursday to find a single object that represents our character and bring it to this week's rehearsal. I've yet to decide for sure on an object, but I've come up with several characteristics that I think describe Dorabella. Now I need an object that fits them. From what I've gathered about her character so far, I'm finding it difficult to describe Dorabella without including her sister in some way. They are together almost the entire opera, and it is hard to separate them in some ways. Basically though, it seems that together they are quite strong, but when separated, Dorabella quickly becomes gullible (as if she wasn't already, believing everything they're told). But really, the sisters have stood true to their men (other than agreeing that a little flirting can't hurt anything) through suicide attempts and an array of other tactics, but the moment the guy gets her alone, she crumbles and gives away her heart. So, on her own, I think she's gullible and of course overly-dramatic, which is natural considering she's a 15-year-old girl. (I'm going to have fun dredging up those memories :s). Perhaps if Dorabella was a modern teenage girl, they would treat her for bi-polar or panic disorder. She can go from deliriously happy to suicidal in the space of a few bars.
I keep coming back to my 14-year-old niece. She's the epitome of an overly-dramatic teenage girl (although thankfully far more sensible than Dorabella). I've found myself watching her lately for her reactions and expressions, and it's really priceless. She's the most hilarious person, and I think she shares many characteristics with Dorabella. Though she wouldn't fall for all the scheming (as no real person would), I can definitely see her having similar reactions to similar circumstances.
Oh, another point I meant to make: digging into the history of the opera can also give you important insights into a character. In looking into the performance history, I was very interested to find out that the original Fiordiligi and Dorabella were actually sisters in real life. Knowing that Mozart would have known who he was composing for, this adds a new dynamic to the interaction of the two characters. The roles were created for them, as sisters, which means that the dynamic between them is crucial. They could have just been friends, but I firmly believe that Mozart didn't do anything without a reason.
All this being said, I still don't know what object I'm going to take to rehearsal, but I think it needs to be something that really just says "TEENAGE GIRL," since almost all of her characteristics, from her flightiness to her dramatics, can be attributed in some degree to her age.
Wednesday, June 10, 2009
A work in progress
I think I've reached the point on this project where I begin to procrastinate. It's the point where I have all the information I need (for the first part), and all that remains is to extract and collate. Unfortunately, this is where I usually being to drag, and so far, my MO hasn't changed with this project, despite my enthusiasm for it. That's not to say I'm doing nothing. I'm working on the music itself most days... even when the janitors are standing outside my practice room sloshing water around in the mop bucket-- I'm not dense, I just choose not to take hints.
Anyway, I've found performance history, opera history, Mozart history, etc. The only hang-up at the moment is finding info. on stylistic subtleties of the Classical period. So far none of my books/websites have gone into any detail about it. But, I can't say I've looked THAT hard yet. So, as soon as I find info. on things like those pesky little Mozartian fermatas, or what ornamentation is okay for say, the twentieth time I sing the same passage, I'll be all set.
My biggest question at the moment is why on earth a guy who's only written two other books, The Freudian Left, and The Modernization of Sex, has also written a book called Opera & Ideas: From Mozart to Strauss. It would seem to me he's a little out of his element, but maybe there's a side to this opera that I've yet to unearth...:S
Anyway, I've found performance history, opera history, Mozart history, etc. The only hang-up at the moment is finding info. on stylistic subtleties of the Classical period. So far none of my books/websites have gone into any detail about it. But, I can't say I've looked THAT hard yet. So, as soon as I find info. on things like those pesky little Mozartian fermatas, or what ornamentation is okay for say, the twentieth time I sing the same passage, I'll be all set.
My biggest question at the moment is why on earth a guy who's only written two other books, The Freudian Left, and The Modernization of Sex, has also written a book called Opera & Ideas: From Mozart to Strauss. It would seem to me he's a little out of his element, but maybe there's a side to this opera that I've yet to unearth...:S
Saturday, May 30, 2009
Whoa...
I just made the first outline for my paper. Note, this is only for the research portion of it... Let's just say it's looking a little daunting at the moment, and I'm not sure how I'm going to do it without writing a whole book. Heck, maybe I'll just write a whole book...;) It'll be off to the library for me next week. And probably every week after that. But the good news is that opportunities keep popping up for me to perform different parts of the opera, which I believe will be very beneficial.
Saturday, May 16, 2009
Listening
As my "about me" says, I plan to do the journaling mentioned in the previous post on this blog. Though I've been slacking and haven't actually started the research part of my thesis yet, I have been working a bit on the music. Though I already know a substantial part of the music for this project, I've been doing lots of listening to recordings of the opera to help me pick up the rest. In listening to these recordings, I've had to reevaluate some of the pieces I've already learned. For example, I found that I've been doing Dorabella's first aria all wrong-- though the notes and rhythms are correct, my characterization is off. I've been interpreting it as far too seriously angry (yes, I know that doesn't make sense). Perhaps this stems from a general misunderstanding of the opera. I'd heard the opera before in Italian, but one of the recordings I have is in English. It's easy to call an opera comic, but until one completely understands the language, it is difficult to pick up on the funny parts. Though I realize the English is in no way a direct translation from the Italian, it is close enough to make me realize that the opera is much more outrageously funny than I knew. Part of the beauty of opera is its departure from reality, and until I heard it in English, I wasn't able to understand just how far this particular opera deviates from reality.
So, I've learned that while Dorabella may be sobbing hysterically and pleading for poison, were she presented with said poison, she wouldn't touch it with a ten-foot pole. She's simply an overly-dramatic teenage girl (redundant? yes). As this applies to her first aria: Rather than being sincerely distraught and wishing for death, the emotions should be ten times greater than they would be in reality.
Perhaps I should take a lesson from my 14-year-old niece in this teenage drama thing. We could trade lessons-- She does seem to want to be a singer, though she would never admit it. Afterall, her eighth-grade drama class wrote one-act plays, and she wrote herself in as an opera star (I'm giving myself credit for this, and for forcing her to listen to Carmen in the car).
Anyway, listening to the opera a few times this last week hasn't helped me so much in learning the music yet, but has really helped me with the characterization aspect of this role (which I wasn't even planning on getting to until the fall).
So, I've learned that while Dorabella may be sobbing hysterically and pleading for poison, were she presented with said poison, she wouldn't touch it with a ten-foot pole. She's simply an overly-dramatic teenage girl (redundant? yes). As this applies to her first aria: Rather than being sincerely distraught and wishing for death, the emotions should be ten times greater than they would be in reality.
Perhaps I should take a lesson from my 14-year-old niece in this teenage drama thing. We could trade lessons-- She does seem to want to be a singer, though she would never admit it. Afterall, her eighth-grade drama class wrote one-act plays, and she wrote herself in as an opera star (I'm giving myself credit for this, and for forcing her to listen to Carmen in the car).
Anyway, listening to the opera a few times this last week hasn't helped me so much in learning the music yet, but has really helped me with the characterization aspect of this role (which I wasn't even planning on getting to until the fall).
Thesis Proposal
A. Title
The Performer’s Creative Process: A Personal Analysis of Role Preparation
B. Abstract
My thesis will consist of the preparation of the role of Dorabella from Mozart’s opera Così fan tutte and will explore the extensive creative process necessary to prepare such a role for public performance. It will require private study of voice and acting/stagecraft with professionals in each area. My personal process will be documented with regard to the study of voice and acting techniques. In addition, the study will require intense research of the history of the opera and role, and of the stylistic conventions of the classical period. In preparing this role and defining this process, I will be taking a significant step toward my career as a professional performer.
C. Description of the Project
The thesis will include intense research of all historical aspects of Mozart’s opera, Così fan tutte, including composition and performance history, with emphasis on the character Dorabella. Alongside this research, I will prepare the entire role of Dorabella. The role consists of two solo arias, three duets, one trio, two quintets, one sextet, two group finales, and the recitative that accompanies all of these pieces. In preparing the role, I will participate in a singing practicum and an acting practicum, both centered on the particular role. The final paper will consist of the history of the opera and role, including study of the musical style and conventions of the time period. It will also include a plot synopsis and character analysis, and describe all aspects of role preparation. A substantial portion of the paper will be dedicated to a detailed description of the creative process of role preparation as I personally experience it. I also plan to include as appendices the full libretto with English translation and all pertinent parts of the journal I keep during the private sessions. After the study and paper are complete, I will present my findings in a public presentation, including performances of some of the arias and/or ensembles I will learn.
D. Previous Work
Each professional who prepares a role for stage experiences this process in a very personal way. Many books and articles have been written on the process of preparing roles, though none that I have found have focused on a specific role in detail, especially an operatic one. There is much general information to be found about vocal and acting techniques, and my project will seek to synthesize this information and present it in a role-specific manner.
E. Significance
My study of the creative process necessary to prepare the role will be significant to others in the field of performance, as they will be able to read my documentation of the process and apply it to their own work. I hope that my contribution will be made available to the public through publication in a scholarly journal or monthly publication. My findings will supplement already-available information on the process of role-preparation, as it will be a very detailed personal account of everything I experience and learn.
F. Proposed Methodology
Information presented in my thesis paper and presentation will be drawn from a mixture of previous work by historians, and original work conducted by myself over the next several months. The research cited with regard to the history of the opera and role will be found in reliable written sources, and possibly taken from interviews with experts in this area of music history.
The work I personally conduct will be in the form of one-on-one practicum with vocal and acting coaches. The singing practicum will be led by voice professor Mr. Marvin Murphree, with additional voice coaching given by Dr. Susan Smith. I also hope to work with other voice teachers in a master-class-type setting. I will meet with Mr. Murphree for weekly hour-long sessions and with Dr. Smith at various times during my study. The many different aspects of vocal technique will be confronted during these sessions. We will also work on other components of music preparation, such as applying appropriate techniques and ornamentations as called for by musical conventions of the classical period, as well as polishing Italian diction. I will keep a record of what happens during these sessions, as well as during the acting sessions, and will use this record as I attempt to define my creative process.
The acting practicum will include periodic private sessions with Dr. James Lile. During these sessions, we will study basic acting techniques. We will work on physical and spatial awareness, especially as these apply to the non-verbal communication of the stage. We will also work on emotional expression. During the fall semester, I will also be enrolled in Acting I, a writing intensive course focused on character analysis and beginning acting techniques. While I will study general acting techniques, we will also spend time on role-specific expression, movement, and characterization. To complete the acting practicum, I will also meet two to three times with Dr. Stephen Bomgardner, opera director at Drury University, to work on role- and opera-specific techniques.
I will also study the role by observing other performances, whether live or recorded. As I become more aware of the techniques applied in performing this role, I will be able to analyze these performances and apply what I learn to my own performance. I also plan to interview professional performers about the creative process they experience when getting ready to perform.
My thesis paper will consist of all of this information and what I find during my study. It will begin with the history of the opera and role. Once this groundwork is laid, the remainder of my paper will report on what I experienced as the creative process. This information will be accumulated in a journal as the voice and acting sessions are conducted. I will then review it and attempt to collate my findings to define the creative process as I experienced it. This process of preparing the role will be reported on in a substantial portion of the final thesis paper. I will attach as appendices to the final paper a full English translation of the libretto, as well as all or parts of the journal I keep during the course of the private singing and acting sessions.
My thesis presentation will outline my findings. I will cover what history is needed for attendees to understand, describe how I conducted my project, and then proceed to explain the creative process and all that is involved. To illustrate, I will explain and perform a few of the arias/ensembles that I will learn during the process, and then point out various aspects of preparation that were demonstrated. English translations of the arias/ensembles performed will be provided to aid the audience in understanding.
The Performer’s Creative Process: A Personal Analysis of Role Preparation
B. Abstract
My thesis will consist of the preparation of the role of Dorabella from Mozart’s opera Così fan tutte and will explore the extensive creative process necessary to prepare such a role for public performance. It will require private study of voice and acting/stagecraft with professionals in each area. My personal process will be documented with regard to the study of voice and acting techniques. In addition, the study will require intense research of the history of the opera and role, and of the stylistic conventions of the classical period. In preparing this role and defining this process, I will be taking a significant step toward my career as a professional performer.
C. Description of the Project
The thesis will include intense research of all historical aspects of Mozart’s opera, Così fan tutte, including composition and performance history, with emphasis on the character Dorabella. Alongside this research, I will prepare the entire role of Dorabella. The role consists of two solo arias, three duets, one trio, two quintets, one sextet, two group finales, and the recitative that accompanies all of these pieces. In preparing the role, I will participate in a singing practicum and an acting practicum, both centered on the particular role. The final paper will consist of the history of the opera and role, including study of the musical style and conventions of the time period. It will also include a plot synopsis and character analysis, and describe all aspects of role preparation. A substantial portion of the paper will be dedicated to a detailed description of the creative process of role preparation as I personally experience it. I also plan to include as appendices the full libretto with English translation and all pertinent parts of the journal I keep during the private sessions. After the study and paper are complete, I will present my findings in a public presentation, including performances of some of the arias and/or ensembles I will learn.
D. Previous Work
Each professional who prepares a role for stage experiences this process in a very personal way. Many books and articles have been written on the process of preparing roles, though none that I have found have focused on a specific role in detail, especially an operatic one. There is much general information to be found about vocal and acting techniques, and my project will seek to synthesize this information and present it in a role-specific manner.
E. Significance
My study of the creative process necessary to prepare the role will be significant to others in the field of performance, as they will be able to read my documentation of the process and apply it to their own work. I hope that my contribution will be made available to the public through publication in a scholarly journal or monthly publication. My findings will supplement already-available information on the process of role-preparation, as it will be a very detailed personal account of everything I experience and learn.
F. Proposed Methodology
Information presented in my thesis paper and presentation will be drawn from a mixture of previous work by historians, and original work conducted by myself over the next several months. The research cited with regard to the history of the opera and role will be found in reliable written sources, and possibly taken from interviews with experts in this area of music history.
The work I personally conduct will be in the form of one-on-one practicum with vocal and acting coaches. The singing practicum will be led by voice professor Mr. Marvin Murphree, with additional voice coaching given by Dr. Susan Smith. I also hope to work with other voice teachers in a master-class-type setting. I will meet with Mr. Murphree for weekly hour-long sessions and with Dr. Smith at various times during my study. The many different aspects of vocal technique will be confronted during these sessions. We will also work on other components of music preparation, such as applying appropriate techniques and ornamentations as called for by musical conventions of the classical period, as well as polishing Italian diction. I will keep a record of what happens during these sessions, as well as during the acting sessions, and will use this record as I attempt to define my creative process.
The acting practicum will include periodic private sessions with Dr. James Lile. During these sessions, we will study basic acting techniques. We will work on physical and spatial awareness, especially as these apply to the non-verbal communication of the stage. We will also work on emotional expression. During the fall semester, I will also be enrolled in Acting I, a writing intensive course focused on character analysis and beginning acting techniques. While I will study general acting techniques, we will also spend time on role-specific expression, movement, and characterization. To complete the acting practicum, I will also meet two to three times with Dr. Stephen Bomgardner, opera director at Drury University, to work on role- and opera-specific techniques.
I will also study the role by observing other performances, whether live or recorded. As I become more aware of the techniques applied in performing this role, I will be able to analyze these performances and apply what I learn to my own performance. I also plan to interview professional performers about the creative process they experience when getting ready to perform.
My thesis paper will consist of all of this information and what I find during my study. It will begin with the history of the opera and role. Once this groundwork is laid, the remainder of my paper will report on what I experienced as the creative process. This information will be accumulated in a journal as the voice and acting sessions are conducted. I will then review it and attempt to collate my findings to define the creative process as I experienced it. This process of preparing the role will be reported on in a substantial portion of the final thesis paper. I will attach as appendices to the final paper a full English translation of the libretto, as well as all or parts of the journal I keep during the course of the private singing and acting sessions.
My thesis presentation will outline my findings. I will cover what history is needed for attendees to understand, describe how I conducted my project, and then proceed to explain the creative process and all that is involved. To illustrate, I will explain and perform a few of the arias/ensembles that I will learn during the process, and then point out various aspects of preparation that were demonstrated. English translations of the arias/ensembles performed will be provided to aid the audience in understanding.
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