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!