New Year's Resolutions

With the intense schedule of rehearsals for the producton that I directed and some additonal work responsibilites in the 'real world,' I missed my annual resolutions. Now, half way through January, it makes me think back on the years of resolutions that were never met.

Year after year, I wrote of schedules and opera roles to be learned... and while I think I may have worked diligently, many of the goals were left unfulfilled. Yet, I suppose that a grand total of 40+ opera and operetta roles performed is nothing to sneer at. If you add a few musical theatre roles into the mix, we probably get to 50 or so. And then, there were many that were prepared and not performed (Nemorino, Romeo, Alfredo, Pinkerton, and others. Crap, quite a few now that I think of it).

During my younger years, I was often amazed when I would talk to singers around me. They rarely knew any repertoire outside of their own and often did not coach except when they had something coming up. I never approached my career or my preparation that way. Maybe it was reflective of my general love of singing. No doubt, at a certain point I tired of singing some of the standard arias (hey, how many times do you really want to coach "ll mio tesoro") but I was also lucky enough to have a soprano wife with whom I could always sing a duet or two (even if it might be in a fach heavier that I might sing in public).

There was an article in a recent edition of "Psychology Today" on the concept of grit. Well, I cannot think of too many other careers that require "grit" than opera singing (hell, classical singing). That article described "grit" as persistence and passion. If you can find it, read it. It may give you validation or it may give you some guidance (particularly if you are raising children). I think this is a topic for some further discussion.

Hey, did you celebrate "Sanctity of Life Day?" Man, I hate this administraton. It really makes me think about leaving this country!

Well, the production was quite a success. The kids pulled together and delivered wonderful performances. During the final dress rehearsal and each of the two performances, I was able to sit in the hall and just enjoy what I was seeing. I am the type of person that can watch certain movies or old TV shows (ie: Black Adder, Fawlty Towers, the Honeymooners) over and over again, knowing exactly what is coming and yet, laugh. Well, the production held the same quality. I knew what was coming and yet found myself laughing each time.

One of the best feelings was knowing that as the audience laughed at so many of the moments in the show, I could remember back to the rehearsal in which I assigned that bit or that blocking or in many cases, gave the singer that reading of a line. Living with that piece and the concept for the last 3 years, the acceptance of it by that audience was a wonderful experience. Very gratifying. Very satisfactory.

And now, the next project beckons. The problem is that I don't know what that next project is! I currently have quite a few ideas floating around in my head and have yet to settle on one of them. I am in the process of pulling together the details of a post-mortem on this production and also outlining a class that I want to propose. The department is undergoing some major changes. It could be an exciting time (or a very depressing one)... only time will tell.

And yet, despite the lack of time to devote to my own singing, I found myself in great voice on my trip home after a long day of teaching several days ago. Maybe a recital looms? So much to do, so little time.

Oh, by the way, the Met's Magic Flute on Saturday contained some of the most un-legato phrasing I've heard in a long time. (Is un-legato a word ... non-legato, okay, okay). I just don't get it sometimes.

So, where have you gone Joe D...

Starting production week for a G&S production that I am directing...

This is my second pass as a stage director in the university world. Magic Flute was the first and when approaching this production, I thought it would be SO much easier. WRONGO! Perhaps it is the less than dedicated cast, perhaps it is the choreo (provided by yours truly), perhaps it is the lack of rehearsal time, lack of budget and lack of support staff but somehow, this is proving to be a rather difficult endeavor. I also find myself having to explain so many references since I've updated the time period and the students have no historical reference at all. No knowledge of music of the new time period, no concept of the literature and no exposure to the famous movies or TV shows. Hard to be witty when one must explain every reference!!!

As for singing, heard part of today's Met broadcast of Elixir. Don't know who the soprano was but I hated her. Vargas sounded very good as usual. Nemorino is one of my fav roles. Worked on it for many years, sang many of the duets and arias in concert but never got to do the whole role. Unfortunately, I am now aging to the point that I'd probably not be considered (although I have a video of Bergonzi singing it at a VERY advanced age) eventhough I can still sing the sh*t out of it (No, I don't yet look like CB!)

And as for my own singing, home obligations and this production have kept me away from my own practicing. My keep my Handel style up because of an upcoming engagement. Believe it or not I actually found my fioratura technique improve greatly in this last year. Just goes to show you, an old dog can learn a new trick!