Carrie Hennessey
Carrie Hennessey, Soprano
Handel's MESSIAH - So. Cal Style!
Being from MN, it's very different to be fast approaching the holidays, listening to carols all around, getting ready to sing the MESSIAH....and seeing palm trees. My home state was just inundated with snow that COLLAPSED the stadium where the MN Vikings play, the Metrodome. How odd. Here I am awaiting rehearsal for my first professional MESSIAH concert in a short sleeved dress and open toed shoes, discussing my plans to sit by the pool the next morning. WHAT???!?!?? Note: I am NOT complaining!
It was an unseasonably warm weekend in Costa Mesa, CA, which suited me just fine. Two days of short rehearsals, and we were off to the races. My experience, again, was amazing working with Maestro David Lockington. His feedback clear, with no doubt of what I could do with all of his information. I am grateful for his help and to have his trust on stage. After the precision work in the rehearsal is down, it is truly there that we create a new reality. There is freedom in the notes on the page, and he always leaves room enough in his clear conducting for ...possibility. Wow! What a pleasure! People have heard the MESSIAH so many times, and this performance gave me such inspiration to be bold within the structure. Take chances. We were all in it together. What a delight!
The soloists were fantastic! The Pacific Symphony sounded amazing and I can hardly say enough about the chorus. They were so precise in their movement, their interpretation and understanding of all the music and text. Their voices clear, filled the several thousand seat hall even in the hush of "Since by Man Came Death", my favorite chorus in the whole piece. Such extremes in emotion, dynamic, texture and I have no idea how many seats. I should've asked, but 3000-4000 seems about right in the 4 tiered, state of the art hall. I was nearly overcome to see that many people stand during the brisk, joyful Hallelujah chorus. Then realized I needed to follow that....eek. But, it was my final solo, and one that I have always felt from the bottom oh my toes when singing, "I Know that My Redeemer Liveth". There I stood, score about waist high, looking up and out to that audience to tell this part of the story. In rehearsal I had struggled with some of the breathing, but as usual, I had done all the tough work and now was time to let go and tell the story. That is what happened and it went beautifully. One of the soloists said she saw one of the patrons crying, "and it was an ugly cry." If people are touched by what we do, then we are doing it right. Why question something so real?
Wardrobe Malfunction...gulp!
The preparation needed to sing with an orchestra seems endless at times, at least for me. I tend to over prepare to make sure that I am ready for anything that is thrown at me. That's just how I work, and yet I get into the rehearsals with the conductor, and feel like I may not be prepared enough until we really get into the work. For CARMINA, I started feeling more comfortable once we had a rehearsal with the orchestra under our belts. For some reason, this particular show was making me nervous. Maybe because the conductor had hired me on the spot 9 months prior on faith of what he heard, maybe it was because it was the first time anyone had flown me somewhere to sing, maybe it was the incredible pressure I put on myself to be perfect and perform really well for the folks in Grand Rapids that have been so kind. The moment I realized in my entire being that I was there because conductor David Lockington believed in what I had to offer, it was fun! I just had to do what I do best, enjoy the poetry, the music, and the people. The final dress went really well and I was excited for the first performance.
The Friday night performance went extremely well. The audience was thrilled, the orchestra members and chorus members with whom I spoke also thoroughly enjoyed the performance. In the moments afterward, I was asked how on earth I could sit for 45 minutes without warm-up and just open my mouth and sing when it was time. My response, "I practiced it! I warmed up, then sat quiet for 45 minutes, then sang my part." My mom backstage without missing a BEAT replies, "And you must know how difficult it is for her to stay quiet that long!" I t was BEAUTIFUL! Everyone cracked up!
So, the Saturday night performance is at hand. I go through my routine. I warmed up only a moment or two, waiting to do most of it right before the intermission is finishing. I begin putting on my gown during the end of the second piece in the concert which is right before intermission. My zipper gets stuck. I go outside of the dressing room and ask Joe, from the symphony, if he can help me. Aaron Nicholson, the baritone soloist, is out there as well with his bow tie and the hotel room sewing kit in tow. "Bow tie busted, but Brad (the tenor soloist) has en extra and is grabbing it for me right now." Nice save, I thought. I get zipped up and as I am bending to fix my shoe, I laugh at something said and feel air on my lower back.....my zipper busted open. Joe sees the look on my face and start cracking up. After a few moments of thinking of options with Joe, we decide, "Aaron, we're gonna need that sewing kit!" "I know exactly who I need!" and with that, Joe quickly and calmly went to find the seamstress in the sea of 170 chorus members. Soon I was being sewn into my dress during the moments I should be warming up....eek! I was more concerned about pulling a "Janet Jackson" in the symphonic world, which would not be a good thing in Grand Rapids, MI. I don't think a wardrobe malfunction of this magnitude would be forgiven quickly.
I tested sitting before the seamstress left my dressing room, and decided that perching on the very edge of my chair was the only option to ensure not BUSTING out. After the concert, my mom, also quite a seamstress, came back to say hello with my family but I called out of the dressing room, "I am being cut out of my dress at the moment! My zipper busted!" the last thing I heard was my mom re-telling the story and the entire crowd in the hall bursting with laughter. The theater background helped. Anything can happen on stage....close call!!!!
Grand Rapids Family day :)
I have to say, a huge part of getting ready for a rehearsal or performance is getting a good balance of rest and relaxed socialization. I don't do really well with complete isolation, unless, of course, I am in a situation where I have to sing something last minute and truly need to study a score. I am still finding out how to strike that balance. Yesterday before the final rehearsal of CARMINA BURANA seemed to work really well!
I was able to sleep in a bit, which is always good. I was able to rouse myself slowly to get ready for a lunch date with some lovely, music-loving ladies that I met this summer here in Grand Rapids. I felt honored to be asked to an afternoon of wonderful conversation about life and music! It was a perfect way to spend the afternoon.
Afterward, I went and rested for a bit, then I was off to pick up my mom! I hadn't seen her in 9 months...too long. Here's a brief history to understand our relationship. My mother and I are extremely close, and I am blessed to have a musical connection with her. I sang from a very young age, and my mom often accompanied me. She is the most musical person I know. I grew up listening to her play piano for many different choirs growing up, and when I say "growing up", I really mean it! While accompanying a local women's choir in the suburbs of Mpls, MN, she pedaled the piano with one foot and rocked me in a little seat with the other. My mom understands with her whole being how to listen to a singer while she's accompanying. She breathes, leads and follows as necessary.
So here I am, in Grand Rapids, MI. My step sister lives here with her family. My mom flies here, is able to spend time with her, her husband, the grandkids AND come and see me sing! We went for an early, relaxed dinner, then off to the rehearsal. I was THRILLED that she was able to come to the rehearsal and witness how a production of this magnitude is put together. Just to hear her description of surprise in watching all of those people walk on stage, was priceless! I am honored that she and my family that lives here will be able to attend the concerts this weekend to include, of course, my new-found family in the amazing women and men I've met here in Grand Rapids!
CARMINA rehearsals Grand Rapids Symphony
Last night was out final rehearsal for CARMINA BURANA here in Grand Rapids, MI. It went incredibly well and it amazes me how a 170 person choir, over 100 piece orchestra and soloists can get it all together. This piece exact rhythmic drive as well as perfectly tuned, quiet, chant-like unisons throughout. CARMINA BURANA doesn't reach it's fullest effect unless it's absolutely precise, with abandon. The songs are about life, love, lust, and drinking - precision of the feeling of abandon is necessary. That precision and unity in the orchestra and/or choir is never just about watching the conductor, it is about listening to everyone else around you, knowing what's going on at each moment, anticipating what's next and knowing with whom (of the 300) you are playing or singing at all times. Incredible concentration, and multiple levels of awareness, self and outward, is necessary in order to make this happen. It's unbelievable. I am always amazed how the orchestra does this when they are playing pieces with singers. Instrumentalists simply have their part without any context at all. If they are not already familiar with the piece, they have only few short rehearsals to listen, watch and figure it all out. Singers, at the very least, have scores with piano reduction accompaniments that can give us the idea of what is happening while we are singing so we have some context entering a rehearsal. Thankfully the conductor helps to answer the questions like, "With whom am I playing? Who am I doubling? What instrument/voice am I listening for in this passage?" I am always impressed by the quick response of the players. Challenges in a piece of this scale present themselves, for example, when one player needs to try and tune an octave with a fellow player all the way across 100 the room.
The Grand Rapids Symphony is quite amazing and David Lockington really is pulling this entire group together. Last night at the final rehearsal I was so happy to sit and listen. We ran the whole piece and then went back to fix things. Again, it's amazing to watch as David goes back through the score and remembers exactly which moments he wants to work out. I wouldn't mind being there ay the rehearsal even if I wasn't needed because I learn so much about the inner workings of an orchestra simply by shutting my eyes and listening. Tonight's performance will be a joy!
I think I have a "Butterfly" in my stomach!
Some of the most moving and beautiful music that I know of, is from the opera MADAMA BUTTERFLY by Giacomo Puccini. That was one of the first full opera productions I ever saw, and I wept. I have always thought of that role as being one that is an "untouchable". Meaning that, ALL of the great sopranos like Scotto, Tebaldi, Callas..and the list goes on and on, has sung and mastered Butterfly in their own unique way. Although my voice type might be a good fit, I have shied away from learning it. Well, that is, until I was called back for a second audition for the role in Livermore, CA.
Livermore Valley Opera is one of our small, regional opera companies here in Northern CA and they do some really great work. It would be a perfect place for someone like me to jump in with both feet, and try out a role like that.
The call back consisted of the famous aria, "Un bel di" and one of the last arias "Che tua madre". I decided that regardless of the outcome, my job was to go in there and feel like Butterfly. I didn't have time to master, perhaps, the movements of a young Japanese woman of that time, but wanted to be sure and sing from her experience. This is when auditioning can be fun! Allowing myself to be transported and vulnerain that way really freed me vocally and physically. "Un bel di" felt full of wonder and hope in anticipation of Pinkerton's arrival. "Che tua madre" was devastating. I was crushed. I had never welled up with tears in an audition before that moment.
No word yet about the results, but what I do know is that I will be digging into that score very soon, whether this job pans out or not...
Good practice!
Off to an audition. A normal event on any given Sat. or Sun. throughout the year, depending on the opera company. It was the first day of rain in our area, so I left 2.5 hours to get from Sacramento to San Francisco. Unfortunately, not even THAT was enough time! I drove along Hwy 80 to encounter 3 HUGE, probably with extreme injuries, along the way. 20 miles out was 1.5 hours of driving.
The Pocket Opera offices are just on the other side of the Bay Bridge, thankfully, but still, I would be nearly an hour late. I called the office hoping for either someone to answer the phone, or trusting that someone would check messages prior to the audition's start time. Being late drives me crazy! I am such a stickler for being on time, because it shows respect one has for other people's time. Extenuating circumstances occur, and this was clearly out of my control. So, taking the time to practice relaxing in an uncomfortable moment, was a very good thing for me.
The folks running the auditions, thankfully, got my message and were gracious enough to slip me in between a couple of singers. I got into the audition space and realized that after 3+ hours on the road, there was no where to warm up. Again, good time to practice the skill of "What aria should I sing first?" "Which will keep me grounded in my body and get my breath going?" "I need to sing something that isn't too difficult, something I can sing when you get out of bed in the morning..."
I realized yesterday, in ALL my auditions I NEED to have a piece like that because things happen. I won't always have perfect circumstances in which I can fully mentally and physically prepare to sing the most showy aria on my list right away. I need to make sure that out of the box I am at ease and relaxed with whatever circumstances are thrown my way, and be calm enough and engaging enough for the panel to want to ask for a second aria. The audition panel doesn't necessarily care about your circumstances leading up to the audition, just about what they hear and see.
I sang one of the Countess' arias from LE NOZZE DI FIGARO, "Porgi Amor". It went well, I was relaxed and in my space. Then they asked for "Come Scoglio" from COSI FAN TUTTE....eek. After a long time sitting, I hoped the quick coloratura was awake.It was the aria went quite well. Other than a few sleepy voice gurgles that I had to be conscious to sing over, it was good!
Whew! One more audition next week, then hopefully I can simply get working on my upcoming projects for the season without worrying about more "job interviews" for a while!
Filming "Love is Like a River" - Day 1
This process started last week when Thomas and I scoped out locations to shoot the video. There are some great areas in Discovery Park here in Sacramento. One is a small area of trees that was scorched by a forest fire, walking paths in the park along the river and the first location we shot is a train bridge.
4:30 a.m. Wake up. Make coffee. Take shower. Put on pretty clothes and do hair and make up....it's early....
We left the house at 6 a.m. just to be sure. The light has to be just right, and until you see it, you don't know what will work. We stood on a bridge and watched the sun begin to come up. The bike path on the bridge was alive with riders of all sorts. It was a perfect way to begin the day.
The plan was for me to walk across the train bridge singing the song as the sun was rising, while my friend Thomas filmed from a neighboring bridge. We wanted to do 3 takes so he could have choices of the footage to use. We did two takes. The shots weren't as he had hoped because of the light.
I have to say, it was nirvana beginning the day this way. To feel at one with all things around me and to just sing into the open air while the sun rose was bliss! Unbeknownst to me, however, there was a homeless woman sleeping under said bridge and it seems that I was her official alarm clock. Could be worse...
We quickly drove to the second site of the morning, the burned out forest. Light was soon going to be too high and cause shadows, so time was of the essence. We hit it almost perfectly. Again we did long shots as I passed in and out of the scorched trees singing; the light hitting my face, the ash getting all over my feet and hands. It was really beautiful to be completely aware of everything and nothing all at once.
Now I plan to keep my mind focused on how I felt this morning as we begin working on the close up shots of the video. I need not "worry" about the details of how I look on camera, but only the details of the story we're telling.
What an exciting process!
Delving into film making
Really? Film making? I just got done talking about the laundry list of things to do, and I am adding one more. FILM MAKING!
Thank goodness I am not having to take on the craft of actually filming, just being IN the film. That, in and of itself, is a challenge. My experience is in the live theater. Big and small, the movements are completely different. Playing to a crowd is a far cry from playing to the camera. MY dear friend Thomas who is a film maker, had an idea. He has a similar energy to mine, when the idea comes, and you fell it strongly, you have to GO! His vision was me singing while I walked along the river. "Sister," he calls me his sister, "think of a song and we are going to make a music video!" So, here we are on the first day of shooting the music video!
The song I chose is from an album I made a couple of years ago. Although the style of singing in the music I chose isn't the full-on, operatic singing I am doing now, I felt that this was the right choice. The song is "Love is Like a River" by composer Hiram Titus. Hiram and I collaborated on a recital in 2007 of mostly his works, some of them written specifically for me and many had never been performed. We recorded the recital and I produced a CD/DVD called "A Prelude to Summer" of. The chemistry Hiram and I have when we perform together is other worldly, and I am hoping to capture some of that essence in this music video.
A Rolling Stone Gathers No Moss!
The rest of the "lazy" summer is long gone. The final show of last season, EMMELINE, went on until mid-June. Now I need to make preparations for the wild and crazy upcoming season, along with trying to get an agent! Big job! PIles of music are strewn all over the house, in bags, in and out of 3 ring binders and in the trunk of my car. (I always leave one set of audition music and materials in my car. One never knows when it might be needed!)
The list of tasks at hand is insurmountable at times. After the audition is over, and the concert/performance awaits, the first task of many is to learn and embody the music. Because of the many years I was away from singing, every job I get is new to me. When I was in my early 20s I studied lots of different pieces with my voice teacher, but that was many moons ago. Thankfully I learn music quickly!
So here is the exciting list of "seems new to me" music that I have been working on for the upcoming season.
CARMINA BURANA - Grand Rapids Symphony Nov. 2010
HAYDN'S PAUKENMESSE - Napa Valley Youth Symphony Nov. 2010
MESSIAH (ok, this is quite familiar) - Pacific Symphony Dec. 2010
BRAHMS REQUIEM - Oakland East Bay Symphony Jan. 2011
Papagena - Sacramento Opera Feb. 2011
Cora in the West Coast Premiere of Stephen Paulus' THE POSTMAN ALWAYS RINGS TWICE - Sacramento Opera May 2011
Recital - Crocker Art Museum Concert Series Sept. 2011
Such luck to have an incredible variety of work this season!
Summer gigs for Opera Singers....you never know what you're gonna get
As an opera singer, the summer can be a pretty lean time for full on operatic projects. Yes there are some summertime festival opera companies, and other summer music festivals, but because I am just getting back into the business, I have not entered into that world quite yet.
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? 
