OMGTRAVELINGSOON!!

So, I'm going to Italy one week from Thursday and my affairs sure as hell ain't in order. Here's a list of things I must do before I can go (in no particular order):

- buy cargo pants with removable zipper legs (churches and museums in Italy don't allow shorts, but i can't wear pants all the time...too hot)
- buy some new shirts
- halt my mail service
- send off any bills owed
- pay the rent
- get my euros boughten (today's exchange rate is $1.25 to buy €1...of course, fees will obliterate that)
- authorize the cards for overseas purchases
- clean my apartment and move furniture for repairs while gone (a story for later)
- PACK PACK PACK
- research what I might like to do in Florence/Venice (suggestions, folks?)

I'm also gearing up for ensemble music rehearsals for Pirates and Fille du Régiment. I'm not too concerned with my knowledge of the former, but the latter is kicking my arse. I don't mind the copious French to learn if the G. Schirmer score weren't so screwy. Some SADISTIC A-HOLE editor mostly stuck the English singing translation on the Tenor lines. I find myself having to cross out all the English words, as not to confuse them with the original French, and then highlight the French on another part, then write arrows to MY part..... as you can see, it all leads to a big hot MESS on the page. Why oh WHY weren't we told to use the Ricordi? No fussy English to deal with. Wide open spaces on which to write translations/IPA. I realize this is all a bit ridiculous in the end, but I am very particular about this stuff if I want to learn it properly.

Ok, I'm off to either attempt to learn my Fille score, or run around in circles figuring out how to accomplish stuff on that list!!!

Recitals | Tech-Toy | Italy

RECITALS & CONCERTS

April was the month of recitals. I think I set a record this year—five recitals in one month! I started things off with Meghan Garvin’s senior recital at SLU, then Stephanie Ball’s Masters Recital for WashU a few days later. One particular Sunday, I did a 3-recital marathon: Joy Boland at Christ Church Cathedral, Tom Sitzler’s Masters Recital at WashU and Anthony Heinemann’s senior recital (for SLU) at Union Avenue. Capping off this month of recitals was a concert in Belleville with Christine Brewer and broadway singer Anna McNeely.

One highlight for me from each (though there were many of note):

- Meghan’s Frauenliebe und –Leben

- Stephanie’s Roussel set (with flute)

- Joy’s Puccini arias from Turandot

- Tom’s rendition of Hoiby’s “Last Letter Home”

- Anthony’s Tosti/Donaudy set

- Anna’s Broadway show selections (loved her “Broadway Baby”)

- Christine’s dramatic-soprano encores (which will be released on CD soon)

This month of recitals gives me an itch to audition for Artists’ Presentation Society next year. I have rep that I’d love to put out there…plus I’ve been plugging away at character Tenor rep for some time now. It’s time!

A little over a week after seeing Christine Brewer’s concert in Belleville, I had the opportunity to see her again in an all-Wagner concert with the Saint Louis Symphony. She performed the Liebestod as well as the final scene from Die Walküre with Alan Held (whom I remember from Salome in Chicago). The former was sublime; the latter makes me want to rediscover the Ring Cycle. It was a wonderful way to spend a Sunday afternoon!

THE NEW TOY

A couple weeks ago, I bought myself a new tech-toy. Usually when faced with the urge to splurge on a tech-toy, I second-guess the purchase until I spin myself out of the temptation. It’s a good habit that has spared me money woes. Not this time, though. I now own software and video/audio connections to convert my VHS tapes into DVD format. It’s mostly an effort to downsize and simplify my life, but also to preserve some of my treasures…including a live broadcast of The Light in the Piazza from PBS, the 1982 Pirates of Penzance movie (a box office disaster which will probably never be digitized), plus a bunch of college plays and musicals. I also promised my family I would make DVDs of my sister’s wedding and various family vacations. Bring on the awkward memories!!!

ITALY [!!!]

A month from now, I get on a plane for Italy. There is so much to do between now and then, I cannot even begin to say. However, I can say for sure that I have my plane ticket, hotel reservations in every city (even Venice, which costs an arm/leg), plus my Eurail pass. So that’s getting somewhere. Since church choir will be singing in three of the cities we visit (Rome, Assisi, Florence), we’re gearing up for that with rehearsals. The repertoire is a mix of sacred works (classical and renaissance period) and American spirituals—which Italians tend to enjoy greatly since that form is not part of their cultural/musical history. So far, I’ve heard that while in Rome, we’ll be singing in a service at a major Anglican Church which reportedly has a Sunday attendance second only to the Vatican!! (Funny how in the birthplace—more or less—of Catholicism, we’ll be singing somewhere non-Catholic.) Oh, and a certain traveler in our group will be turning the big THREE-OH while we’re in Rome. Can we say Birthday debauchery?!?!! More on Italy as it approaches.

Memory Lane

I took a little trip down “memory lane” yesterday. Since I moved out of my parents’ house nearly six years ago, my old bedroom has gradually turned into my dad’s office. My mom, who barely uses the room, has been on my back about going through certain things to thin out the clutter and make room for… more of my dad’s crap, I guess. Nevertheless, I thought I’d begin what will be a lengthy, but rewarding process. While cleaning out shelves full of old notebooks from grade school through undergrad, I discovered some literary GEMS. Here, I share with you some of the highlights (bad grammar, ALL CAPS, and misspellings included):

8^th Grade History Notes

On Richard Nixon’s VP Choice:

“His VP – Spiro Agnew – Nixon’s ‘hatchet man’ Picked on anyone who were hippes.”

On President Gerald Ford’s wife:

“…his wife Betty – 1. Had cancer, 2. Addicted to pain killers, 3. ALCOHOLIC!!!! She took care of it. She founded the Betty Ford Clinic.”

On the construction of the St. Louis Gateway Arch, in which I argue with AND contradict myself:

“Construction started in the late ‘50s. 100s of tons of concrete. First death—tearing out an elevator a man got his arm cut off. 13 would die. –NOBODY DIED BUILDING IT.”

From a Research Paper on Racism, in which I don’t mince words about former Cincinnati Reds Owner Marge Schott:

“Marge Schott called those baseball players the 'n word' because she is a bigoted nazi.”

Student Teaching Journal

In addition to all the class notes, I discovered an old journal from my undergraduate student teaching experience. We were encouraged (but not required) to write in it daily about our experience. I kept at it for a whopping THREE WEEKS…probably a testament to how much I’d mentally checked out of the whole experience later in the semester.

On leading choruses at Quincy Junior and Senior High School:

Today at the Junior High was rather uneventful. I basically patrolled the room while the boys worked on a skit with their own group. I have no idea what skits have to do with choral music, but Kathi Dooley must think it’s important. It was the same old crap at the High School today, though Paul Shelor had me teaching part of a piece with Mixed Chorus. This group really challenges my patience at every turn. It makes teaching them the music so difficult and asinine. Someone ought to force these people to visit a prison. It would give them a preview of their life… especially if they don’t shape up and listen to authority and be accountable for their actions.

The entries weren’t all bad. My writing was far more positive on the days I was teaching with Sarah Guilford, a teacher like no other!

Crappy Poetry

Oh! And I even found first drafts of some crappy four-line opera-themed poems that I wrote for Poetry Class at QU:

The Coloratura Soprano

[first line uncompleted] / Soaring through melismas and back / Yet no one takes me seriously / ‘Cause I sound like a birdie on crack

The Dramatic Soprano

She shrieks and screams and shouts / To get up on the boards / She’d be perfect to sing Brünnhilde / But someone should stifle her cords

The Mezzo Soprano

Us mezzos get the saucy roles: / Gypsies and old maids and witches / But we always get upstaged / By those haughty sopranos – those bitches!

Yup...a good chunk of this probably wasn't nearly as funny to you as it was for me...oh well :)

Sheepishly catching up

Hello, my friends. It seems that I just cannot seem to stay faithful to the things that actually bring me joy (like this blog) and get reshackled to the things that bring me trouble (like my car—which ain’t so kaput as I’d stated in the previous entry, but more on that later). Nevertheless, here’s a rundown of the more eventful happenings in my life since last I put keystroke to blog.

UAO

So, at the end of January I auditioned for Union Avenue Opera. They’re doing The Pirates of Penzance, La fille du régiment (Daughter of the Regiment) and Пиковая дама (aka The Queen of Spades or Pique Dame). It wasn’t an easy year to bring in an aria for a prospective role I’d be right for. There are, however, a few tenor comprimarios in Pique Dame. Thus, I figured I’d go into the audition to show off my Russian skills with a ready-learned Tchaikovsky art song (“At the Ball”) as well as a Gilbert-Sullivan piece (“Tit Willow,” which I had to learn anyway for the party scene in Die Fledermaus). Not the most perfect audition repertoire, but I had to have something.

I went in and started with the Tchaikovsky. It seemed, to me, that it went over well with the audition panel. One of them asked me if I’d learned the piece especially for this audition. When I replied that I had previously sung it at a recital, they followed up by asking how I learned the Russian. I stated that the diction was self-taught, and the panelist replied by saying (and I paraphrase), “For having been self-taught, the diction sounds quite authentic to me.” I took it as a compliment. Russian is my weakest, most unfamiliar language.

Buoyed by such a compliment, I thought that I might be at least offered chorus in Pique Dame. Not so. I was offered choruses in Pirates and Fille, with a bit part in the latter. Honestly, I was seriously dejected over not being involved in Pique Dame, which seems like it’s going to be the “IT” show this summer, what with Tim Ocel’s involvement. (Really enjoyed working with him on Amahl!) I get it, though. Not everyone can be cast where they would wish, and one must accept that. So, less whining…more looking on the lighter side. I’ve always had a sweet spot in my heart for Pirates and with a director like Mark, it’s going to be silly, frivolous, campy joy onstage. Fille should have its charms, too…and if Jolly can make it even half as fun as the recent Met production, I’ll be happy to participate.

BIRTHDAYS

My niece turned 3 years old in February; my nephew 6 on the first of this month. Emily and Jeff decided to make this birthday extra special by taking them to Disney World for a week, with both sets of grandparents in attendance. I was invited to come along, but declined if only because I’m already taking off a substantial amount of time from work in June (…more on that laterz) but would have loved to revisit the resort, which I’ve not visited since 1993. The kids had a ball, and if that weren’t enough, they had a joint birthday party with all the neighborhood kids and family members a few weeks later. I hope that after all the travels, cake, presents and Mickey Mouse, they will come to appreciate how much their parents, grandparents and uncle love them.

CAR

Oh yeah, so my Dad and I learned a valuable lesson way later than we should have…and that is to NEVER take your car to its dealer unless you have no other alternatives. Why? They’re always going to triple or quadruple the cost of parts you could easily purchase at AutoZone, then screw you further on labor. If this weren’t enough, the local Ford Dealer did some shoddy work on replacing the Taurus’s heater core in January 2009, which caused all kinds of problems back in January of this year. Rubbing salt in the wound was the discovery that I drove 900 miles beyond the mileage allowance on the part-warranty. Could have had most of this nonsense COMPED!!!

A local, mom-and-pop mechanic shop was able to get my car back to drivable status until I can figure out what kind of car to replace it. So yeah…the assumption that my car was kaput? Not so.

MARCH MADNESS

You might think I’m referring to the annual hullabaloo over college basketball, but you’d be sadly mistaken. My personal March Madness was rehearsing two shows—Gianni Schicchi and Die Fledermaus—at once.

Gianni Schicchi was the third and final production of Gina’s current season, and I think it was apt to cap things off on the Hill, even if St. Ambrose Church is not the most Opera-friendly. Got to work once again with some wonderful colleagues—including my homeboy Charlie Martinez—as well as some new people. A very low-stress gig with the opportunity to go a little over the top on the acting side of things.

Die Fledermaus was Jolly Stewart’s final production at Washington University, involving several alumni, grad students and undergrads. In 20 years of the WU Opera, she almost always mounted productions of 20^th Century British and American works with the objective to challenge students’ musical and dramatic chops. Thus, we were quite surprised to find that she wanted to cap off her time at WU with an operetta completely out of the ordinary fare. However, Fledermaus is one of her faves, so it made some sense. As Ivan, Orlofsky’s very Russian valet, I had the honor of capping off the “midnight entertainment” in the middle of Act II with the “Tit Willow” song. It was also enjoyable to walk about in my Cossack and Stalin moustache/beard/eyebrows whilst speaking English in a faux-Russian accent, dropping all definite/indefinite articles and making sure to swallow every last L.

ITALY

My June trip to Italy with the UACC Chancel Choir is, as they say in pop culture, AWN. My plane ticket is bought. I considered that move a true commitment. I’ve found hotels in every city but Venice, and will soon acquire my Eurail pass. Looks like the dollar is getting stronger, too, so I won’t be so set back by the € exchange rate. The itinerary is 4 days in Rome (with a side-trip to Naples), then 2 days each in Assisi, Florence and Venice.

More on this as it approaches… and if you’ve made it this far, I salute you!

My Car = KAPUT

My 1999 Ford Taurus is, for all intents and purposes, practically dead. Let’s take a look back at the history of my car.

1999: Phil’s Grandpa purchases it brand new; for next five years, Grandpa only drives it to the Mall, the Grocery Store, the Bank and various eating establishments (Fazoli’s, White Castle and Hardee’s, mostly)—all of which were located in one town.

June 2005: Grandpa stops driving. Mom and Uncle Denny decide to hand the car over to me. It had only 6,000 miles on it (see above driving history). For a used car, it was very new and I was lulled into a false sense of security that it would last me several years.

Summer 2005 – Spring 2006: Utter Car Bliss! Blumen und Sonnenschein! LOLZ!!!

June 2006: Car Radio #1 conks out mysteriously (though an electrical short is more like it). Radio #2 installed...

June 2006: CAR STOLEN!!!!!1!!11!

July 2006: Car discovered in Wellston being joy-ridden at 80 mph down city streets by its thief. Cops catch/prosecute the asshole. Car was repaired fully by August…including installation of Radio #3.

Late 2006 – 2009: All kinds of stuff went wrong. Countless trips to Ford Dealer. Countless radio replacements. Countless dollars thrown at various problems. BURGLARIZATION!!1!!!1!!!

Present: Second heater core busted, etc. The last straw. The final insult.

We’re convinced that the car theft back in 2006 was a major blow to the car’s longevity. It sucks to be virtually car-less until I can find a new one. However, maybe this turn of events is deliverance. Maybe the car seeks an owner with better luck. My friend Jason, knowing enough of the car’s history, recently told me “Phil— that car is just trying to Final Destination itself! You’ve gotta let it go!” And you know what? He was right.

The plans are to figure out how to fix the car without forking over an arm and a leg. Then, we’ll either sell it outright, or work out a trade-in deal. The former is more likely than the latter, but some local dealerships have some decent offers to consider. We’ll have to see.

2009: End of the Aughts

Well, another year has marched on by. Let’s take a look at what happened for me in 2009... I saw some great concerts with some heavyweight Broadway talents: Kristin Chenoweth, Mandy Patinkin and Patti LuPone! Also got to see some great operas, including Salome and Ghosts of Versailles at OTSL, plus a world premiere musical: Abe—which turned out to be quite entertaining (despite all the hype of its camp value). Got the opportunity to go to Italy (next year) with my church choir peeps. Best of all, I worked a LOT this year. My favorite gig? Merry Widow, because who wouldn’t love to sing German operetta in German??? Was great to work with Tim Ocel twice: first with Don Pasquale and secondly with Amahl and the Night Visitors—for which I got my first legit newspaper review. And as much as we had to say about O Pioneers!—for better or worse—there is something to be said about doing a new work and creating the first characterization of a role…and being heard on the radio for it wasn’t too shabby, neither!

Can you believe we’re about done with another decade?!? Remember how about 10 years ago this time, lots of people were freaking that computers were going to send us back to the stone age? Crazy that it’s been that long. Looking back, there were many highlights to the years of the Aughts—the decade of my twenties. Here’s a list of some highlights of each year:

2000 – The Pirates of Penzance | attending President Clinton’s speech in Quincy

2001 – spending Spring Break in cold Chicago | having the best. summer. job. EVER: MUNY Usher

2002 – Amos in Chicago | turning 21 | experiencing real-life sitcom living in Senior House with Mark, John and all those wacky guest stars (you know who you are!)

2003 – going on Franciscan Pilgrimage to Italy

2004 – conducting Gypsy | graduating from QU | becoming Uncle Phil to little William

2005 – having least stressful (and laziest) summer in recent memory

2006 – earning my Masters from WashU | seeing Voigt in Salome

2007 – birth of my niece, Grace | performing The Magic Flute | seeing Christine Brewer in Die Frau ohne Schatten…then missing the bus!

2008 – serving as Best Man at John and Hilda’s wedding | experiencing and obsessing over the Election

2009 – making Radio Broadcast Debut | singing quite often (and in this economy, that’s a blessing!)

Hope you have an enjoyable (and safe) New Year’s Eve. I’ll be enjoying a friend’s cabaret concert in midtown, then ringing in the new year in South City. Happy 2010!

Post-Christmas report

Christmas came and went. I found the actual day to be rather anti-climactic. It seems that as I get older, the actual day is not nearly as exciting as the events, gigs and get-togethers that build up to it. Maybe I’ve been emotionally numbed by the rotten December I’ve had. I really don’t know.

Christmas Day and its surrounding times weren’t all bad. I have plenty of happier things to dwell upon:

• Christmas Eve service at Union Avenue; singing “O Holy Night”
• The party at Scott & Anthony’s place
• Giving Snuggies™ to the niece & nephew and getting one from my sister
• Taking Mom to see Up in the Air; enjoying the film more for all the St. Louis landmarks than for the actual plot
• Splurging on an iPod (more on that later)
• Going to see NINE at the Tivoli (worth seeing for Marion Cotillard and Fergie alone!!!)
• Returning an age-inappropriate book to exchange it for the Kathy Griffin memoir on audiobook
• Cookies...nummy cookies...
• Calling my Uncle in DC and discovering that I’m not the only schmuck having a rotten December

Yes, folks, as you read earlier, I splurged and got myself an iPod to replace the one stolen earlier this month. It’s the black iPod nano 5^th generation. I’m very satisfied to have all the portable music I want in ONE place rather than lugging a CD wallet around with me. Aside from the obvious daily uses, this new iPod has all kinds of new bells-n-whistles. I dig the FM tuner…it lets me enjoy 99.1 more often. Love the cover-flow feature. The video feature looks pretty cool, but I don’t know if I’ll use it much though.

The funniest new feature on this iPod hands down is the VoiceOver technology—chiefly designed for the iPod shuffle, but available on all new incarnations. Basically, you can prompt the iPod to speak the song title and artist of whatever you’re currently listening to. The default synthesized voice is a woman speaking English. However, if you have a song in a foreign language, the VoiceOver technology attempts (emphasis on attempts) to detect the language and assign the appropriate synthesized voice. My album of Salome (an opera in German) prompts a deep-voiced male German-speaker—but for only the first two tracks!!! For some odd reason, all following tracks go back to the default English-speaker…and she has some AWFUL German diction ;) I’ve also noticed that for another unexplainable reason, one of the titles on my Porgy & Bess highlights album (“My Man’s Gone Now”) is read by the iPod’s Italian synthesized voice!! Very random. Very funny.

Ok, that’s all I got for now. Will definitely post a year-end retrospective on Thursday. Can’t believe we’re about to exit the Aughts!

Finding that holiday spirit

So, I’m much better after that last entry. It’s been rough not to let the whole car burglary get to me. Things are back to normal, save for the lack of an iPod. I have yet to figure out when I’m going to replace that, but the important things I need (restored heat controls; repaired door lock) and wanted (car radio) have been taken care of. Now, if I can only stop having recurring dreams where I come to my car and discover it burglarized again, that would be great…

AMAHL

After the incident, I tried my best to focus on Amahl, which was a great gig. The Page doesn’t get to sing much at all, but when working with Tim Ocel, I never once felt that the role was peripheral. Aside from the obvious tasks and prop wrangling (Tim referred to me as “the Suzuki of this show”), the Page can become such a cardboard character. What Tim and I worked on was to make him protective towards the Kings—which also transforms him into a pretentious dolt—and suspicious of Amahl and his Mother, for he was once poor as they and knows what poverty can do to otherwise good people. (I couldn’t help thinking about Javert in Les Misérables saying “I was born with scum like you; I am from the gutter too!”) Aside from creating the character, I was grateful to work with and get to know all the singers involved.

We gave a special matinee performance the Thursday before opening night for local area school groups. They seemed to love the show, and the volunteers on hand noted how un-restless and un-distracted they seemed to be. That gave us some great motivation to give even better public performances. The show got a wonderfully positive review from Sarah Bryan Miller…and I got my first-ever mention from her:

“Phil Touchette, as the Page, did a subtle but notable job of acting; his expression upon entering the hut was priceless.”

Zowie! Honestly, I am admittedly annoyed when her writing is unreasonable, and a positive review won’t necessarily change that stance, but I am nonetheless appreciative of the mention.

CHRISTMAS

My Christmas spirit has been quite low this year. Money has been tight, and though I know that gift-giving does not make or break Christmas, I feel awful that I cannot be as plentiful towards those I love. Nevertheless, I’ve been able to scrounge up some gifts—including some child-size Snuggies™ for my Nephew (Toy Story characters) and Niece (Disney® princesses). I also feel a little better now that my Charlie Brown-esque Christmas Tree is up, lit and decorated.

On Christmas Eve, I will go to Freeburg to have a Spaghetti dinner with Mom and the Grandparents. Then, I’ll head over to Union Avenue Church for their Christmas Eve service. It’s hands-down my favorite service of the year—such a peaceful and simple way to end four weeks of Advent.

On Christmas Day, I’ll have brunch at my Sister’s place followed by some gift exchanging. (Can’t wait to see the reaction to the Snuggies™!) Later, we’ll go to a gathering with my Brother-in-law’s family. To cap off the day, I plan to take Mom out to the movies. I really hope she wants to see NINE.

Merry Christmas!

Violated

Was at Union Avenue Church for an opera rehearsal from 6-9pm tonight, where at the end of rehearsal, we got word that six cars (mine included) were broken into and burglarized. I went into the lot, and the people on the scene told me that my car didn't look like it had been bothered as there were no broken windows. Upon closer inspection, I noticed that my car radio was ripped out and my radio-faceplate and iPod (concealed from view, like you do) were missing. The police looked at my lock and noticed it had been popped or jimmied with...thus no need for breaking the windows. At least my steering-wheel club was functional...they ain't stealing this mofo again, even if it is 10 years old and a money pit.

I'm livid. Shaky-irrational livid...and it's been over three hours since.

Turns out that no security was present on the lot because of cutbacks. Glorious.

I get it. The CWE area isn't the safest, and life is unpredictable...but really? I sometimes debate whether working/leisuring there is worth it if I have to be prepared for this SHIT every three or four years. And what happened to me is unmistakably mild.

I have absolutely no Christmas spirit right now. Don't even know if I can now enjoy working on Amahl--an otherwise genuinely joyous experience. F*#@!

I've returned

Dear Blog Readers (if you’re out there, and I don’t blame you if you aren’t),

I must apologize for neglecting this space. I could make excuses, but they’re kind of lame…so here is a rundown on my life events since the end of UAO’s summer season.

During late September/early October, I was involved in a world premiere production of composer Barbara Harbach’s O Pioneers!, an opera based on the Willa Cather novel. I was quite happy to have the job: it paid well, I got to work with some great singers, Mark Meier directed, and it gave me the opportunity to perform at the Touhill PAC. That’s about all I have to say ;)

For the past few months, I’ve been actively singing with the church choir at Union Avenue Church. We are embarking on an Italy Choir Tour this June. Scott, our choir director, negotiated a trip with a NYC-based tour company. The proposed route plan: 10-days in Italy, including 2 nights each in Rome, Assisi, Florence and Como. The airfare, bus transportation, lodging, some meals and admission (for museums/attractions) brought the final total to a whopping $3500—and that was ONLY if we could get 40 people onboard. I, and others, were uneasy about this price. Nevertheless, I was willing to scrimp and save. We got about 25-30 people to commit, and after some developments (including the option to keep costs the same by nixing Assisi—a devastating prospect), it was decided that going through a tour group was no longer feasible…

…which brought us back to square one. Last week, Scott proposed a trip planned independently—and if not enough choir people sign up, it will be an enjoyable trip with great friends. This option looks far more palatable, given how it would save everyone about $1,000. Plus, we’d get to keep Assisi on the tour and end it in Venice—where I’ve never been—instead of Como (on the Swiss border). I can also visit many places/see many sights I missed in Rome and Florence the first time around. And Assisi? Well, you know how I feel.

Paying for the tour seems a tough venture, but I must say that the challenge has been eased by some fortuitous developments. Since O Pioneers!, I have been engaged for five singing gigs. I just finished the first with New Opera STL (Chorus/Ambrogio in Barber of Seville), where I’ll return for some brief comprimarios in Werther and Gianni Schicchi in January/March. Next week, I begin rehearsals for Amahl and the Night Visitors with UAO. Jolly Stewart also asked me to be involved in Die Fledermaus—her final production at WashU this March. I’ll be one of the New Year’s Eve party guests, singing the “Tit-Willow” song from The Mikado. For all of this, I am very thankful!

Speaking of thankful things, here are some other things I have to be thankful for this year:

• Countless wonderful, accepting, understanding friends
• GLEE, South Park, Survivor and The Amazing Race
• A boss and supervisor that “get” my odd schedule and career needs!
• Union Avenue Christian Church—for many reasons
• Prospect of returning to Italy; having the means to do so
• Emily, Jeff, William, Grace, Grandma, Grandpa, Mom, Dad, Uncles, Aunt and cousins
• That I’m alive.

Have a Happy Thanksgiving, everyone!

end of summer

The end of summer is more or less here.  UAO--all three months of it--is done.  Now that I'm back to a more "regular" pattern of life, I've begun to think about what's ahead for me. Prepare yourself for a somewhat meandering read...

Even if UAO has ended for the year, I have another opera gig coming up in a few weeks.  I was recently hired to sing in the world premiere staging of a new opera by composer Barbara Harbach:  O Pioneers!  It's based upon the Willa Cather novel.  I'm singing the role of Oscar, one of two cantankerous, sexist brothers of the opera's/novel's heroine, Alexandra.  Tom Sitzler, whom I got to know well this summer at UAO, will be Lou, the other brother.  We get a trio with Alexandra, and the rest of the time we absorb into the chorus.  Got the score the other day...and did I mention that it was the full orchestral score??  This things are a bee-yotch to read, but if anything, I'll walk away with an appreciation for conductors who have to read that much all the time.

Tomorrow I meet up with John to resume voice lessons, and I'm hoping for a fruitful lesson as well as a meaningful discussion about how I'm going to expand my horizons and put myself out there for audition panels. There are a few Young Artist Programs and Opera Companies that I am really interested in pursuing including, but not limited to Ohio Light Opera, Utah Festival Opera, Opera New Jersey. Of course there's local fare.  New Opera St. Louis (soon to be "Winter Opera St. Louis") is doing Werther, Barber of Seville and Gianni Schicchi.  This repertoire gives me a few things to shoot for, namely Brühlmann in Werther, Fiorello in Barber and Gherardo in Schicchi.  I'd even be happy to do the chorus of Barber once again...I remember the Quincy Barber to be fun stuff, and this time it'd be in Italian (I presume).  UAO's '10 season (Fille du Regiment--Pirates--Queen of Spades) isn't as ripe with role opportunity, but I'll get to all that later.  The hardest part is finding the right rep to bring to auditions, especially when the role you want has either no aria or nothing excerpt-able.  Then again, that dilemma can breed creativity like nothing else.

Of course there's also musical theatre auditions at Stages or the MUNY...HAHAHAHAHA!!!!1!!!11!  The former has announced its somewhat bland season (State Fair, Promises Promises and Big River).  The latter operates on a 5-year cycle, so we can expect a season including some (or possibly all of) the following:  West Side Story, Beauty and the Beast, Sound of Music, Singin' in the Rain and Jesus Christ Superstar (welcome back, Eric Kunze!). They probably won't repeat Annie Get Your Gun or Mame as both kind of stunk up the place.  Bottom line: not so many singing shows on that docket.

In a week or two, I start up again with my church job at UACC. As I mentioned in the previous post, we might be going to Italy.  Hopefully it will work out...and end up reasonably priced. I look forward to all that we're singing, especially if we end up doing this Italy trip for realz.

Ok, that's it...abrupt ending, I know...but that reflects the ending of my summer. ;)

KFUO Sale

So, there's been talk in the local media about the potential sale of Classic 99 KFUO to a local Christian contemporary station seeking to broaden its audience by acquiring a stronger FM signal. The Lutheran Church Missouri Synod, owner of KFUO, wants to sell but they have not been very public about it until recently. I personally find this move to be potentially devastating for the Arts Community at large in St. Louis, as this station has always gone by the tagline "Your station for Classical Music and the Arts." KFUO has been a pillar in that regard, and to lose it just sounds awful.

I know I'm going to sound snobby for what I'm about to quote, but there was an excellent editorial on the potential sale from the St. Louis Post-Dispatch, and it ended with the following line:

"We take no position on church finances or its mission, or even on musical tastes. We only would note that when it comes to stirring souls, there's nothing on the Christian contemporary playlist that can match Beethoven's 7th."

That line could spark a debate like no other, I would say. Personally, I have never gotten into Christian contemporary music. Trust me, when I was still active in the Southern Baptist Church, it was starting to get HUGE. From that experience alone, I get why it's popular with people. They've taken secular, mainstream genres and switched out secular texts for faith-driven, sacred ones. Pretty easy formula. I have no problem with its existence; it just doesn't speak to me the way sacred classical works like the Fauré Requiem, Handel's Messiah or the Mozart Solemn Vespers do. My main gripe with this seemingly overwhelming desire to broaden the availability of Christian contemporary on the radio is that there are at least FIVE christian stations in the St. Louis area providing this very format. Us classical music people have ONE!

Yeah, I get all the capitalistic arguments for why JOY FM should be able to fairly purchase KFUO for its glorious St. Louis-based signal if the LCMS is willing to sell. But I'm sorry...this is where I think capitalism gets ugly and--dare I say it--soulless.

If you'll indulge me, please take some time to read the comment below, taken from the comments on a related story on the Post-Dispatch website. This gentleman makes a strong, nuanced, religious argument for why KFUO ought to remain Classic 99:

KFUO-FM Classic 99 radio station should not be sold!

Classical music is one of the few genres of music in civilization that helps to promote peace, sensitivity, understanding, beauty and thoughtfulness in human beings. How does the saying go: ‘Music calms the savage beast’. And, if there’s anything of which we need more in this world, it’s peace and understanding.

Therefore, if Classic 99 brings a little more peace and beauty to our troubled world, it has done a noble thing, making it, therefore, worthy of the ownership of the Lutheran Church Missouri Synod, of which I am a member. Although it does not continuously broadcast the Gospel (the mandate of the Christian - and Lutheran - Church), it does offer beautiful, and often soothing music, to its listeners. This is something of which I think Jesus would approve, and, frankly, which is part of the commandment to ‘love thy neighbor’.

To those (especially in the LCMS) who say that KFUO FM should only preach the Gospel 24/7, and at the risk of being a bit melodramatic, one could compare the story of the Good Samaritan to the work of Classic 99. This kindly, God-fearing soul didn’t first preach the Good News of God’s grace to the poor victim. No, he first attended to his wounds, and provided for his needs. Indeed, through the very service he offered, the Samaritan extended God’s grace.

Moreover, had there existed in that day and age the blessing of radio and Classic 99, the Samaritan might well have turned it on so the soothing strains of Bach, Beethoven, Chopin or Mozart might have calmed the victims’ soul, giving him much needed comfort and solace.

Not only would Jesus approve of the mission of Classic 99, and thereby the LCMS, but I dare say Martin Luther would also approve, considering a quote of his from the book, ‘What Luther Says’: “Nor am I at all of the opinion that all the arts are to be overthrown and cast aside by the Gospel, as some SUPERSPIRITUAL PEOPLE [my emphasis] protest…” (Vol. II, p. 981.)

There are many ministries in the church at large, and in the individual congregations, that don’t ‘preach the Gospel’ 24/7: for example, ice cream socials, car washes by youth groups, church cuppers, fish fries, habitat for humanity, etc. They are, nevertheless, ministries that are part of the church’s mission and command: to love God and love they neighbor. Classic 99 is such a ministry. If none other than Walter A. Maier, the founder of KFUO, and an ardent preacher of the Gospel, considered the ministry of KFUO-FM worthy of the LCMS, I think we should do no less.

As a concert pianist, and a church musician, I perform classical concerts around the country and in St. Louis. As I reflect on what happens when people listen to classical music, I understand that people are affected in a positive way toward the aforementioned attributes of peace, sensitivity, etc. When people sit for sixty to ninety minutes, and do nothing but listen to, and be affected by great musical works of art, they become (I believe, by default) thoughtful human beings. They reflect on their lives, their families, their occupations, and perhaps even their purpose in life. They think about their joys and their problems. Ultimately, I believe this thoughtfulness can, by the grace of God, even help them to see solutions to the challenges and dilemmas in life that beset us.

In conclusion, KFUO-FM Classic 99 is a blessing to society, gives glory to God, and is a credit to the LCMS. If money is needed is needed in the church, though it may sound simplistic, God can and will provide. With God, nothing is impossible. KFUO-FM Classic 99 radio station should not be sold!

Amen, brother!

Nostalgia: FCHS & QU

Two things happened ten years ago: graduating high school and going to college. I know it's sappy and all, but I admit to having an attack of nostalgia.

My ten year HS reunion (FCHS Class of 1999) was held Saturday night. I had to pass due to a previous engagement with the opera. While it would have been fun to be there, I'm hardly kicking myself for missing it. That's not to say that I look back on my years at FCHS negatively. I'll always remember the positive: Band (concerts, marching, stage band, tours), Drama Club, English w/Reavis, Choir...basically anything that spoke to my creative nature. Bottom line? I've just moved on. I've kept in contact with those that I care about and chosen to forget about (or even laugh about) the inevitable assholes a common BandGeek/DramaFreak/ChoirDork must contend with...by law, or something.

I'm actually a little more sappy-sentimental that it's been ten years since I went to college in the fall of that same year. I found out about Quincy University through a phone call from an admissions rep at the school. I learned that QU was this small catholic school in a place I'd never even heard of: Quincy, Illinois, a town which, oddly enough, I first heard of literally the same day I'd visited nearby Hannibal, MO on a field trip. QU had a small music department offering a Music Ed degree plus multiple opportunities to perform...and the town of Quincy even had an OPERA company. After some consideration, I decided to apply to the school and audition for the music program.

Four months, an acceptance letter and an audition later, I was on my way to QU for my first year. On my first day, I moved into Centennial Hall and met my roommate, John--then a history major. (He has since attained his Ph.D in history from the Univ. of Edinburgh!) I'm pretty sure we were put together for a few reasons:

• we were both Band geeks (he played Trombone; I played Bassoon)
• I'd considered a minor in History
• we both possess/ed a screwy sense of humor

John deserves a medal for putting up with so much crap (chiefly my snoring and musical theatre obsession) for 3 out of the 4 years we roomed together at Quincy. (My sophomore year, I was a douche that wanted his own space and thought Padua Penitentiary was a habitable dwelling...WRONG!) We've kept in touch ever since, and he (along with his parents) have been very supportive of my musical pursuits over the past 10 years. I was honored to be the Best Man at his wedding last summer. I owe you and Hilda a visit to Scotland, John.

I also got to know some great folks in the Music Department that year, including fellow music majors Ellie, Lisa, Ben and Canadian Steve, and Jenée...a personality not easily forgotten. I'm always thinking of you guys and the times we spent in Solano Hall...may it rest in peace.

QU was like a family member. You love it, even though at times it drives you nuts. I know that Quincy wasn't a perfect place by any means, but I think that the community atmosphere that it inspires makes me appreciate it to this day. Was I itching to move onto new surroundings after five years at the school? Surely. However, after some time has passed, I miss it.

Call me a sap, but I really do.

Dourga Dourga

I've been "worshipping" Dourga quite a lot lately in a production of Lakmé.  Coming off of the hyperactivity of Widow, I was prepared to be let down.  However, putting this show together has been a decent experience.  The chorus definitely gets their moments, which are memorable and enjoyable enough to make all the waiting backstage bearable.  (The most unbearable backstage-waiting show?  Le Nozze di Figaro by a landslide!)  The Market Scene at the top of Act Two is probably the most fun and challenging, but I can't help but feel that the greatest moments in the show, for me, are the religious rite at the top of the show and our Act Three offstage chorus.  Delibes' may have viewed India through a possibly biased western-european lens, but his score--on its own--is just ravishing and sublime enough to forget about that.

Check out the video preview.  Scott and Kostis offer a lot of engaging commentary.  Come see the show if you can.  It's a piece well known for the Flower Duet...but oddly enough, it's not done very often anymore.

Our first weekend of performances is over.  Now, I can get back to a semi-normal routine of longer days at work and saving more money... why?

Well, it looks like I may be going to Italy next June.  The plans are far from finalized, but what I do know is that my church choir director wants to take us there for a possible 8-day performance/sightseeing tour to four cities: tentatively Rome, Florence, Venice and...wait for it...wait for it... ....ASSISI!)  I must admit to some apprehension at the first mention of this trip. Don't get me wrong...I loved going Italy back in ought-3, and the prospect of returning to Assisi (and maybe performing in one of its Basilicas) is quite tempting.  It's just that $$$ is a huge object in the way.  I also was of the mind that if I was to invest in a return to Europe, I'd want to visit someplace new, like Austria and southern Germany.  After some thoughts and projections and gigs I've picked up, it looks like the trip could be doable...as long as I can hunker down and be a little more careful and work-ethic-driven.  I'll visualize it as a way to improve my routines.

Dass hat Rrrrrrassss so tra-la-la-la-la-LAAA!

This weekend marked the end of a truly enjoyable experience onstage and off. Die lustige Witwe played its final performance yesterday afternoon. Afterwards, the cast gathered for drinks and hors d'oeuvres at Bar Italia to celebrate the end of our run. It may be hard to top this show! Right now, I'm filled with a sense of joy and wistfulness...for all the obvious reasons.

I'll admit that when I discovered (over a year ago) that UAO would be presenting The Merry Widow, I was quite "meh" about the prospect of auditioning for it. I wasn't that familiar with the operetta, and of what I could tell, it seemed such a saccharine, dated, convoluted piece. However, when I sat down to hear recordings of the season repertoire, I could NOT stop listening to Lovro von Matačič's iconic 1962 recording of Die lustige Witwe with the incomparable Elisabeth Schwartzkopf and Eberhard Wächter. The music, while not at the level of Verdi or Mozart, had this way of making me laugh and feel genuine joy. Sure, the subject of Lehár's score probably hasn't graced the pages of many doctoral dissertations...but who cares? If you have a sense of frivolity and romance, this score will do. you. IN. It did me in, at least...hehe!

Putting the show together was "lustige" on so many levels. The cast got together smashingly, and sounded/looked great! We even proved wrong the old stereotype that opera singers can't move/dance...even I managed to waltz. I even tried my hand at a Polka and the Can-Can! Success? I hope so. I'll always chuckle at waltzing "drunk" with Megan, my lovely Frau auf der Bühne. Men's Chorus numbers were tons of fun...especially our "gawk at Hanna scena" and the epic "Damenwahl trainwreck." And those grisettes? Tres chaud! We looked damn good, too...all thanks to Teresa, our resourceful, dedicated costume designer. Julie, the production manager, summed it up succinctly: "You all look like a million damn bucks!"

Oh, and did I mention that singing the piece in German was the ultimate Glasur auf der Kuchen?!? I don't give a flying @*#!Ü what a silly critic has to say about that choice, either. I think it's quite refreshing and unique to hear a piece just as the composer heard it and wrote it. So there!

...

Oh, and I might as well mention that I turned the big TWO-EIGHT on Thursday. My wonderful, loving parents gave me a fantabulous gift: a MacBook. You may have no I-DEEEE-A how badly I've wanted/needed a new computer, and this was a complete surprise for me. I've already named it: Agador Spartacus. Points to whomever knows where I got the name!

The new week brings on the second wave of Lakmé rehearsals...more on this later as I shave off the mutton chops and take on Brahmin Hinduism.

Me? A YouTube Celebrity?

Me? A YouTube Celebrity?

...

Uh...not quite, but you can see me briefly as part of a preview video for UAO's Merry Widow:



Opening night went over quite well. I can't tell you how much fun this show has been. Every aspect of the show is pleasing in its own way. Franz Lehár's music is so frothy, light and fun...it's no wonder this piece has endured for so long. Singing it in German is definitely a BIG plus for me...and I'm thinking that this production may very well spoil me for any future productions in English...but we'll see. The dancing has been a delightful challenge, especially the March Septet scene in Act II where some of us guys get to let loose and do a kickline (seen @ approx. 5:30 in the video above). Of course, there's lotsa waltzing too, which I'd originally feared, but I've grown to anticipate the embassy waltz in Act I, wanting to make it as bright and joyful as Lehár's score calls for. And did I mention the costumes?! THE COSTUMES!!! We look damn good onstage. The designer managed to make even ME look dashing.

DANGER: cheesy, shameless promotion ahead!

If you're looking to be whisked away to glittery 1905 Paris via dreamy, whimsical Viennese music, you would be a fool to miss out on Die lustige Witwe! Got that? Gut! Click here for more info.

Escape from New York (or St. Louis?)

St. Louis has never been known as a popular destination for moviemaking. As such, us St. Louisans cherish the moments when we do get a little attention from Hollywood. The crew of Up In The Air, an upcoming George Clooney flick, was here a few months ago to film some scenes...some of which took place in a church right here in Maplewood! Also utilized: some downtown buildings, the Cheshire Inn and the now-unused C-concourse at Lambert Airport.

However, no matter how successful Up in the Air may be, the circumstances of its filming in our fair city may never top that of the wildly popular 1981 cult classic Escape from New York. The premise of this John Carpenter film borders on the ridiculous: in 1988 the crime rate in America spiked 400% and as a result, all of Manhattan island has been turned into a maximum security prison walled off from the outside world...once you go in, you never leave (or you can opt to "terminate" yourself before entering the prison for good). Now, in 1997, Air Force One has crashed into NYC, and it's up to a new convict (Kurt Russell) to rescue the president from the roving gangs within the prison.

The story goes that John Carpenter needed to create a destroyed, post-apocalyptic New York City on a shoestring budget. After some location scouting, Carpenter settled on East St. Louis and St. Louis, both of which had been in a state of abject decay. The filming took place in the summers of 1979 and 1980. I assume that East St. Louis (which was far worse off than St. Louis) was used in a lot of driving shots. However, some St. Louis landmarks were used in the film.

Last night, I sat down to watch the film for the first time. I was able to spot the following places quite easily:

1. FOX Theatre

The FOX's facade was used as a dilapidated theatre where Kurt Russell character tracks down a homing device presumably shackled to the president. (Appropriately enough, 1979/80 was a period in which the FOX had been closed due to its failure as a movie theatre. It would be renovated into a live venue a few years later.) There's a blatant wide-angle shot of the theatre's facade. Boy, did that place look sad. I don't believe the interior was used, as the theatre interiors in the film look nothing like the FOX's architecture. The film crew makes the FOX appear to be an old Broadway theatre, but if one looks closely, there is some graffiti that clearly says "FOX THEATRE" right by the ticket booth.

2. Grand Hall, Union Station

Just like the FOX, this location was also dilapidated but would later be renovated. Carpenter uses the Grand Hall to represent Madison Square Garden for a gladiator-style fight. My uncle was one of the extras in this scene...though I cannot spot him at all. :)

3. Old Chain of Rocks Bridge

This old bridge--functioning as the "69th Street Bridge" during a climactic getaway sequence--was bought from the government for $1--for liability protection--then sold back.

Places I didn't spot in the film, but read about later:

• 21st & Locust -- site of Air Force One wreckage


• Civil Courts Building -- site of a minor character's hideout


• Masonic Temple on Lindell....which I assume is now the Moolah Theater??

And now for something zany! At the very end of the credits, there is a list of organizations to be thanked, and it looked just this:

The Crew Would Like To Thank:
THE CITY OF ST. LOUIS
THE CITY OF NEW YORK
THE CITY OF LOS ANGELES
THE MISSOURI COAST GUARD
PT's -- CENTREVILLE

I laughed out loud at that last one. For those not in the know, PT's is an infamous strip joint on the "East Side" that, according to one of the bartenders at Dressel's Pub, the film crew frequented to "blow off steam" and pay the strippers for more than just a strip show, if you get my drift.

Am I a dork to want to rent the version that has a director's commentary track????

Goodbye 'Trovatore' ... Hello 'Witwe'

Opera season leaves me with so few days off...and today I'm free from rehearsals and performances.

No sooner than Trovatore finished, I went right into rehearsals for Merry Widow. Sunday and Monday evening were all about getting the music solidified with the chorus, then chorus + principals. Got to meet the principals on Monday. All the principals but one (Tommy Wazelle, our Camille) have worked with UAO before, but I'd not previously known Sylvia, our Hanna (the title character). She's got the looks and the voice for this role, and she's so wonderful to watch onstage. Ian, the Danilo, is also very engaging in his role. He is definitely going to be the matinee-idol for the audiences. It's also very fun to have a lot of old friends come back to town for the show: Scott Levin, James Harr, David Dillard, Ann Hoyt. It's like a homecoming...or something equally sentimental. John, my voice teacher, is even involved as Njegus, a speaking role. His german is a model for us all!

Tuesday, we had a concept talk amongst the cast. It seemed, at first, like it would be a waste of time, but I will admit that I did learn a lot about the characters and have been able to develop my character a lot better...even if I'm dialogue-less. :( That night, the men of the chorus gathered to work on our opening scene with Hanna...which ought to look pretty cool...almost like Ziegfield Follies-meets-Moulin Rouge.

Thursday, the men of the Marsch Septett in Act Two gathered to block that scene. Expect to see us doing a lot of high kicks...for an extended period... I thank Lehár so much for giving most of the men in that scene a chance to breathe (and for me to get all the sweat off my brow) for at least ten minutes before the next entrance.

Friday night was a night off from Widow, but not for us in Trovatore. As with all returns to a show after a six-day hiatus at UAO, things got a little hairy getting back into the groove...but according to maestro Schoonover, it went a lot better than usual.

Yesterday, I had my costume fitting. Let me just say that Teresa, our costume designer never fails to find and build kick-ass costumes. My Trovatore duds were really cool, and no matter what people think, I loved my gypsy costume which included a vest/coat that made me look like the mysterious man in Into the Woods...or Old Deuteronomy in CATS...those of you who came to the show may be the judge. My doublet and "poofy pants" (as Teresa likes to call them) weren't too shabby neither. Well, now that she's working on Merry Widow wardrobe, I got to see and try on my Bogdanowitsch duds. For Acts One and two, I'm wearing a creme-colored military snap-up coat with black accents. Teresa told me that my costume was recently worn in a San Francisco Opera production of Widow which I've already seen on DVD. Now I'll have to rent it again! (Apparently, I'll have to look for it worn by the Baron Zeta.) You'll see me in tails for Act Three, which takes place in a cabaret setting.

Oh, and did I mention that there's a TON of dancing in this show? Expect the obligatory champagne-operetta waltzes, the famous Act Three can-can, a polonaise, a ballet, a mazurka and my personal favorite (cuz it's clinically simple): the polka!

Saturday afternoon was spent blocking the Act Two finale and running all of Act One...which really flies by even though we had to stop after some minor trainwrecks. I went home in the afternoon to take a nap before I had to get back up for the evening... ...which brings me to the end of Trovatore. I think our final performance really was at the same energy level as last week...and that's a great way to go out. I'll miss the superstition scene, the anvil chorus, the raucous end of "Di quella pira", and the haunting miserere (which I am dying to have heard in the house!).

Now, I can focus my energy completely on Widow...and try to enjoy this lovely mild weather before August comes to screw us all!

Trovatore & its review

Well, Trovatore opened Friday night. Seemed to be an audience pleaser, as there were some arias that got extended applause. The Anvil Chorus seemed to go over ok, even if there were some shaky spots (imo) where the conductor worked to rein us in a bit.


Sarah Bryan Miller's review in the St. Louis Post-Dispatch is out there...and it seems like a hot/cold review that was neither a complete, utter trashing like Carmen last year (when she compared the chorus people to refugees from a Viennese operetta) nor a highly favorable write-up, like last season's Elixir. For those of you who don't know, I am sometimes critical of her write-ups....and so I'm going to offer some thoughts on some of the most egregious bits (her words in block quotes):

In reference to a couple singers' acting:

Neither man will win any awards for acting.

Ok, so you obviously weren't impressed with the acting from these singers. You have the right to that opinion, but can you flesh out WHY they presumably weren't up to par? Sometimes, the readers (not to mention the singers themselves) would like to know something that brought you to that conclusion... Otherwise, your one-sentence, drive-by critique comes off as very snide. [This is one of her repeat offenses.]

On the chorus:

The tiny chorus — just 16 people for Verdi’s big do — sang heroically and well, but it was a little too much to ask, especially in the Anvil Chorus.

As a chorister, I appreciate knowing that we sang well. Trovatore is a taxing sing if you want to do it right. But please... There have been "tiny" choruses (some even tinier) at UAO for season after season. At some point one must accept that the company must spend its performance-fee funds wisely...and the chorus, though small, will work hard to fill the space.

The new "scrappy"?

"Trovatore" doesn’t really work with a chamber orchestra...

That part is my biggest beef of the entire review. Does SBM not realize that a great number of shows done at UAO (the Puccini, Verdi, Donizetti...even the Mozart) are performed with an orchestral reduction? Furthermore, is she completely ignorant that OTSL does the same thing? Their recent Salome was a standard orchestral reduction (60-pieces) from Strauss's original 90-piece orchestration performed only by some of the biggest houses (Met, Lyric, SFO, Houston). How about the fact that John Corigliano himself created a shrunken performance version of Ghosts of Versailles for OTSL and other similarly sized houses? You cannot tell me that the pit at OTSL could accomodate the players in a full orchestration of La Bohème.

Honestly, a larger number of players may have proven too much for the space. From what I listened to in the house during the sitzprobe and some rehearsals, the reduction filled the acoustic space, yet never covered the singers. That is what you want. UAO is a small house...and why SBM cannot accept small-house limitations (no matter how many times she feigns sympathy for them) is beyond me. Did she just now start to care that Trovatore was reduced...or is this just a clever new way of saying that the orchestra was "scrappy"?

Credit, where it's due...

I will give her credit that she was favorable to the conductor, half the singers and the director's approach to the presentation of this dramatically-challenged opera. This time around, she mercifully abandoned the following conventions:

• like, omg, those wigs/supertitles like totally blew!!1!
• i know it's not as cool the Met or even OTSL....but gawd can't it be?!?
• i'm just so flummoxed that they repeatedly ignore my pearls of wisdom, and they won't improve until they do.

Could it be that she's realized that UAO is going to continue what it does best? I know I'm somewhat of a shill, but I think even she sees the writing on the wall. But I can be (and have been) wrong.

ignunce & fireworks

These past four weeks have been a blur of rehearse, rehearse, dressels, work-during-the-day, rehearse, rehearse, ignunce*, rehearse....et cetera!

*Ignunce cannot be described; only experienced! Suffice it to say that when Mark Meier's in town, I stay out waaaaay too late and have waaaaay too much fun ;)

I'm currently singing in the chorus of Il Trovatore with Union Avenue Opera. Two weeks ago, we met to solidify the music and block the entire show. One great aspect of working with our director, Mark, is that his directorial philosophy goes like this: "Mama runs a tight ship." His approach allows us to get all the housecleaning out of the way as quickly/efficently as possible, then take the rest of the time to work in the dramatic elements. The past week was spent running acts and eventually running the entire show...which is incredibly tight and FLYS BY...and that's saying something for Verdi. Today, we meet with the orchestra for the first time to do the Sitzprobe...then the next few days are all Dress Rehearsals before Friday's opening night. Tonight, I will finally have my costume fitting and figure out what she wants to do with my beard...which is quite pitiful. Not gonna lie.

Overall, this has been a great cast to work with. The chorus people are mostly UAO veterans (Nate, Jonathan, Alan, Clark, Jon) with some new blood joining our company (Tom & Anthony). I have a lot of interaction onstage with Jonathan Brader, whose talent for chattering in Italian (whenever we're not singing) is impeccable and amusing. I chuckle at what he'd sound like in a russian piece. The atmosphere backstage is collegial and quite humorous at times...what a great place to to work. I've almost forgot the principals, too. Alexandra, our Leonora, tears. it. UP. in Act IV...and anyone undecided on coming to see Trovatore should keep this in mind. Patrick, our Ferrando, is a vocal powerhouse...one of those "could listen to him sing the phonebook" voices! Veronica, our Azucena, plays the old, crazy gypsy-witch to the hilt...yet another reason to come, y'all. Go to this website and get your tickets: http://www.unionavenueopera.org/

How did you spend your Fourth of July holiday?? I was originally supposed to join my immediate family members down at the Lake of the Ozarks for all of Saturday and then head back today, but circumstances kept us all here. My parents and I spent the afternoon with the Rhymer-side of the family--specifically at the place of my cousin Dave and his wife Amy. I never pass up a chance to schmooze with my Aunt Kathy, plus it was a great way to see some family I see rather infrequently. As dark approached, I drove to good old Freeburg to join my sis, bro-in-law, niece and nephew for a fireworks show at Freeburg Recreation Park. *cue sappy music here* I felt a lot of nostalgia to be honest. This was where my sister and I grew up going to the pool, playing on the swings, playing little league, riding the rides at the homecoming festival (ROCK-O-PLANE!!!), and many other small-town joys. Now, my little niece and nephew were playing there... *end sappy music here* Being in a small town, we weren't expecting a show on par with Fair St. Louis, but the Freeburg Chamber of Commerce (or whatever org) exceeded my expectations! 30 minutes of balls-to-the-wall fireworks...was mightily impressed with what they brought to the table. It was a delightful way to cap off the Fourth of July. All that was missing was a soundtrack of Neil Diamond and Irving Berlin!!