Carrie Hennessey

Handel's MESSIAH - So. Cal Style!

2010-12-13T23:43:00Z

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!

2010-11-27T17:25:00Z

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 :)

2010-11-19T22:04:00Z

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

2010-11-19T21:32:00Z

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!

2010-11-03T01:42:23Z

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!

2010-10-18T14:54:00Z

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

2010-10-15T17:44:00Z

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

2010-10-15T17:42:14Z

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!

2010-10-14T23:41:00Z

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

2010-07-11T16:01:00Z

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?

The EMMELINE adventure - The Cast

2010-05-25T20:39:00Z

Again, what a joy to talk about the folks I have an incredible opportunity to share the stage.

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.

The EMMELINE adventure - THE ARTISTIC TEAM

2010-05-25T20:20:00Z

I am stunned by the people involved in EMMELINE! This show is such a huge undertaking, but this company is committed to doing right by the composer and the story.

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!

The EMMELINE adventure - the offer

2010-05-10T15:13:58Z

I wish I was more articulate. This experience at Cinnabar Theater in Petaluma, CA has been quite a journey thus far. We are rehearsing the West Coast Premiere of Tobias Picker's opera EMMELINE. I have the great privilege to be singing the title role.

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.

Last Minute fill in - Part Deux

2010-02-15T21:54:00Z

What a roller coaster the last weeks have been! From intense rehearsals and performances of The Merry Widow in Modesto, to making instruments and teaching songs to children in Berkeley Elementary Schools to a MUCH NEEDED vacation with family in southern California. Well, the vacation was cut a bit short...

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!

Last minute fill in

2010-02-13T23:38:00Z

I got a call Thursday afternoon of the second weekend of The Merry Widow. I was in Berkeley working with some elementary schools for an upcoming performance with members of the Berkeley Symphony Orchestra. During a 15 minute break I checked my phone and saw that Townsend Opera had called. The student that was playing the role of Hannah in the student performances was ill, and they weren't sure that she would make it through the performance. After and hour or so of waiting to hear, it was determined that she would make it through.

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!

Wonderful whirlwind production!

2010-02-13T23:15:00Z

Whew! The people at Townsend Opera Players really run a tight ship, just how I like it! We staged the whole of The Merry Widow with music, dialogue AND dancing in less than a week. We had roughly a week to tweek things and make changes for the better. Start of rehearsals was Jan. 9 and the first show was Jan. 24th. I loved working this way. It was great to plow through the staging and really have time to play with character and make changes to things that don't work.

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!

Happy 2010!

2010-01-03T20:21:00Z

The New Year is here and my first resolution is to BLOG a bit more regularly as I have many exciting projects in this blessed New Year!

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!

West Bay Opera La Boheme - Staging

2009-09-27T03:33:00Z

Jimmy Smith, the stage director, rocks! I am so happy that I decided to contact him prior to the beginning of this project. I know it's not the norm in the business, but I guess I am not doing this career like everyone else as it is. I had e-mailed Jimmy as to some of his ideas so that I could also share some of my ideas in hopes to build on my ideas of the role before rehearsals were to begin.

West Bay Opera La Boheme - Home Stay

2009-09-27T03:23:00Z

What can I say? Again I am blessed with an amazing home stay situation, first in Livermore in March and now in Palo Alto. The Gracons are the best! I get up in the morning and chat with them both. They are great supporters of the opera and completely understand the crazy rehearsal schedule. i have had the great pleasure to not only have many wonderful conversations with both Helen and Tom but also have the opportunity to dine with 2 of their 3 children and families. It's such an amazing environment to fuel me as an artist. I feel at home here and it makes for an easy time to be well rested in order to create!

West Bay Opera Boheme- Day 1

2009-09-27T02:52:00Z

Well, here we go. It's my first major operatic role, so we may as well just jump in. Up at 4:30 am CST, allergies in MN are full blown after only a few days, took a Benadryl the night before, go drowsy then felt like ants were crawling under my skin. (I was quickly reminded why I never take any sort of medication) Early rise and to the airport, 2 flights to CA, then quick grab the already packed suitcase at home and drove 2 hours to Palo Alto for the first music rehearsal of La Boheme at West Bay Opera.

WOW!!!!!!

It was a bit nerve wracking to go into my first rehearsal in such tired shape, but all went well and we actually got through the whole opera! Afterward, I arrived at my host family's house and got ready to go to sleep. It didn't take long, that's for sure!