I have enjoyed more Northern CA style summer performances, singing at wineries, outdoor venues, private parties and this year, an amazing french cafe. These are opportunities to sing some of the most famous rep and enjoy a little party while you do it. They are usually quite laid back and are great places to meet new people and hopefully introduce them to opera, or remind them why they love it.

Although each venue is unique in its environment and feel, last night's event in Old Sacramento, I must say, took the cake!

Last night I performed at Cafe Americain in Old Sacramento for a Bastille Day Celebration. This was in conjunction with both Sacramento Opera and Sterling Caviar. The evening started with amazing French champagne, wine tasting, caviar and sturgeon appetizers. In the turn of the century feeling entry way with multi colored crystal chandeliers, I was set to sing a set of two art songs to kick off the evening. There was a schedule....but, the evening took on a life of its own, it was very European in that way. No one worried about a schedule of events as much as if everyone was enjoying themselves. I then sang two French Art songs, "Ares un Reve" by Faure and "Chere Nuit" by Bachelet. It went really well in this intimate setting and everyone stopped eating to enjoy. At the first singing break, there was a fashion show. It was great, and I definitely knew when the designer walked in. His jacket was pristine, but still had the security tag on. Who else could be cool enough to get away with that and not go to jail for shop lifting? Oh, and also, his shoes were textured like crocodile shoes, but were really shiny silver!

We moved down to the courtyard for the next part of the evening...vodka tasting. Yes, vodka tasting. I was handed several more appetizers while the crowd was more interested in vodka "tasting". It differed from any tasting I had ever seen in that the glasses in which it was served seemed larger than an average shot glass. Also, the pour was more like a bartender pouring a beer and making sure that this was the perfect pint pour, they were filled to the tippy top. Some were vodkas tasted were unique or even saved for royalty.

Next I sang a couple arias from CARMEN, the Habanera, to get their attention, and Micaela's aria. Again, everyone enjoyed. While on our second break, a thin but muscular man with long dread locks and a cowboy hat with a plastic crate had to get by me. He said that he needed to make a fire safety zone....WHAT?!?!?!? A fire safety zone??? Oh yeah, that's right, after the vodka tasting was the fire dancing....OF COURSE! We got to chatting with him, he was hilarious and really interested in what we were doing, which was cool. He got his area set up and then came back with a cigarette in his mouth and asked me for a light. Oh yes, the man that makes a living lighting things on fire did not have a appropriate tools for the job. I thought I'd die laughing! We asked, "Wouldn't that be like our singer coming without her voice?" Pretty funny! Then we enjoyed the amazing spectacle of the fire-dancing. Fire balls were swinging all over this man, and he even lit himself on fire a few times....yikes....although only briefly!

Then came the food. Oh, my, the food! We were welcomed to the unbelievable dinner, tossed mixed green salad, beet ravioli (mmmm!!), two different kinds of beautifully smoked sturgeon with tahini, a salad with escarole, pine nuts and bulgar. Wow! Then there MAY have been a delightful canolli that made its way to my mouth. Then, of course, I sang one more time as I wiped the cream/cheese filling off my lips. Embarrassing, I know, but I couldn't help myself! We ended the evening, well my part of the evening, with me singing Carmen's "Seguidilla". I went home, but still on the "schedule" was Absynthe tasting done in the traditional French style. I should've stayed! I do believe that they know how to throw a party, it was quite an evening.

With this kind of spectacle and unbelievable food, who needs summer festivals?

 

Cary Ann, Robbie, Will and Kim have REALLY committed to the story telling and have graciously put up with me! I don't think I have been bad, but I have really brought my theater-way of doing things to these reheasals. In the theater, actors often try things and then discuss with the other actors what might help solve problematic bits, or just help to do a move more efficiently or effectively. I am grateful that ALL of the cast in EMMELINE at Cinnabar, regardless of their role, has been so gracious to be in the mindset of true collaboration. It's an incredibly satisfying way to work! Everyone wants it to be the best show it can be.

A group in the cast that I have to raise my hat to is the chorus. It's SO difficult musically and to stay engaged when the men in the chorus isn't onstage very often takes discipline and they have it. The girls in the chorus are especially incredible. This piece has music written for women's chorus who are playing young girls working in the textile mills on the East Coast in the 1840's. This chorus in our production actually has mostly girls of that age bracket 14-17. It's surreal! When they sing sweetly, it's as if from heaven. The moment they turn on Emmeline, it is that much more spine tingling and upsetting.

Nina Shuman, the music director, is incredible as is the assistant music director Michael Shahani. Nina has from the beginning of the rehearsal process set the a very high standard. She insists on sticking straight to the score and its markings. This is as close to a flawless score as I have worked on, and it deserves that kind of reverence. Nina also doesn't do it just because it is a beautiful score, but also because of what it is in the story. The score and story don't exist separately, they speak to and create one another. That's what opera is, but isn't always rehearsed in that way. We singer/actors have from the beginning encouraged to always go back to the score when wondering about what the character might be thinking or doing. 

When talking to radio host Charles Sepos about this last week on his show "Curtain Call" for Sonoma County Public Radio, this was one of our topics of discussion. It is such an absolute COMFORT to know it's all in the score. By that, I mean, each note makes sense in relation to what it needs to express in outwardly, but also the subtlety of what the character might be thinking while singing something completely different. That's how our relationships work in real life, and this score captures all of that. Nina continues to encourage our precision in the music in order to truly relate all of this nuance.

Stage Director, Elly Lichenstein is the other wonderful half of this artistic team. Elly is a huge proponent in finding the truth of the story. This means no "SHM'ACTING!". She expects each singer/actor to dig deep, be in the moment, and to relate in truth to each person on stage. No "drama", just be. No "operatic gestures", gestures that make sense are ok, but then commit fully. Audiences know when you're scrambling for something, so go for it. Be vulnerable.

I am in complete appreciation and have great respect for this Artistic Team's approach to this work - COMMIT FULLY! 

Being in LOVE with this story, score, role...I have had no problem jumping in with both feet!  

It all began last summer after I had finished my first ever round of professional opera auditions in the spring of 2009. Being out of the loop for so many years, this was a huge step for me! I had to pull it together and figure out where I stood. 

I was thrilled to receive a call from Elly Lichenstein from Cinnabar Theater offering me quite an opportunity. She offered me the title role in Tobias Picker's opera EMMELINE and told me about the novel it was based on of the same name. I immediately went and got the book from the library and read it in a matter of a few days. Then I listened to clips online and quickly ordered the recording for my iPod. After listening to the entire piece all the way through, I was an absolute puddle and yes was the obvious answer for this job.

While driving through Beverly Hills on a Tuesday afternoon, I got a call from the Modesto Symphony wondering if it were possible for me to sing the soprano solo in Mahler's Symphony No. 4. The snow storm had made it impossible for the soprano to leave the east coast, and this meant I would have to learn the German text and melody in the car on the drive home, possibly not singing it until rehearsing in front of the orchestra...sure, why not? My dear friend and colleague Ming was gracious enough to let me do it, as I was supposed to sing in a gala for his youth symphony in Napa, CA. It turns out that the tenor I as supposed to sing with was also snowed in out east. What a wild weekend!

I arrived home from vacation late on Wed. night, got my rehearsal and formal wear together and left for Modesto on Thursday afternoon for the first rehearsal with the orchestra. Talk about BUTTERFLIES! Yikes, I don't think I can explain how I felt, because as much as my stomach was not allowing me to keep anything in it, I still felt very calm. It was really strange. I guess when you know you have a job to do, that's what happens. 

I heard the piece once through with just orchestra, then sang through it with them before the break. At the break there was a meet and greet with the subscribers and I was able to chat with my lovely host from the opera just two weeks prior, Bob. He introduced me around and we had a lovely chat. Then I went back stge to rest my voice. it was quite harsh on it to be speaking words in the car drive for 10 hours almost solid. Then back to rehearsal. But I was not aware that it was an open rehearsal for the subscribers...gulp! A little nerve-wracking, but again, I had a job to do and knew it was neither the time nor the place to worry about perfection, but just the next layer of getting comfortable with the piece, the German, the interludes, and the orchestration for which I needed to listen. Needless to say, I slept like a baby that night. Thank goodness, I was exhausted!

In Friday's afternoon rehearsal I was able to add still one more layer of comfort with the piece and with what i needed as far as breath etc. Maestro David Lockington was so incredibly generous with his conducting and making sure that I was alright and had what I needed. I am extremely grateful for his patience is letting me chip away at the piece in layers, knowing that more sound and more interpretation would come on the night of the performance. I am also grateful to Ming for allowing me to go and take on such an opportunity! 

You just never know what might be around the corner!

I drove back to Modesto for the Friday night performance. On Sat. I had planned on toodling around and then attending the student performance that night. I wanted to see their work on stage! Unfortunately, I ended up singing the performance. Courtney, the student cast Hannah, had no voice at all. I felt terrible for her!

All went well. Working with the student cast was a great time. They are all such INCREDIBLY hard workers, what a joy!

The cast was great! Vincent Chambers played Count Danilo on short notice, and did a great job. I am grateful to have been able to work with him on this. He and I have AMAZINGLY similar senses of humor, which made the break neck pace of the rehearsal schedule much easier on both of us! THe other point of rest were the amazing hosts that opened their homes to us crazy opera singers! I stayed with Bob who is well known in the Modesto area for his amazing support of the arts. No last name for Bob is needed. Everyone knows Bob! Truly, I am in amazement of his loyalty to the arts and his great generosity. Bob is always attending a recital at CSUS, a Modesto Symphony Board Meeting, an Opera Guild meeting, housing artists that are performing in the area or driving the artists too and from the Sacramento airport! Also, bacon and eggs in the morning and grapefruit and oranges from his trees outside were a plus to staying with him! Mmmmm, bacon! 

Nearby, were Dick and Kay who housed our lovely Baron Zeta, Eric Graber. Eric and I enjoyed morning walks, and even more enjoyed coffee in the morning with Dick and Kay. (and Eric's home made cookies!) and once in a while a night cap to process the events of the day. 

This was a true collaboration with California State University Stanislaus. The chorus were students and there was a second cast for 3 of the leads, Hannah, Danilo and Valencienne. The student cast was wonderful! And of course, I can't talk about this production without talking about the young conductor Ryan Murray. Watch for him! He really is amazingly talented, prepared and knows how to work an orchestra and reign in a singer when needed! Thanks Ryan!

What an experience!

Thanks to everyone at Townsend Opera!

Right now my focus is on Hanna in the production of "The Merry Widow" in Modesto, CA with Townsend Opera Players. I am really excited to begin rehearsals on Saturday! I have the great privilege to work with some wonderful artists that I have already sung with in the last year. When I played Mimi in West Bay Opera's "La Boheme", Ani Maldjian played Musetta . She will play Valencienne in "The Merry Widow". In Townsend Opera Players' Opera Gala this fall, I sang the duet from La Boheme with the powerful tenor Vincent Chambers. He will play Count Danilovitch. It will prove to be a very playful and buoyant production and I look forward to seeing the CA folks there! www.townsednoperaplayers.com 

I am excited to have such an incredibly varied season. There is not one project that is even close to another that I am doing. So far this season I have interpreted Puccini's heroine Mimi, the playful comprimario role of Giannetta in "L'Elisir d'Amore", sung operatic excerpts alongside some of the SFO Adler Fellows in concert and have done performances for and helped in the musical education ofevery child in Berkeley, CA elementary schools with members of the Berkeley Symphony Orchestra. What a 2009 I tell you, and with joyful operetta "The Merry Widow" to kick off 2010, it will be another amazing year!

More to come on the other projects that I am also researching, learning and preparing for the new year!

Cheers!