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!!

REVIEW: Salome & Ghosts @ OTSL

With the ending of Spring and advent of Summer, I have partaken of a couple Opera Theatre of St. Louis productions during their festival season. I was most interested in seeing Salome and The Ghosts of Versailles. The former is, in a word, Straussgasmic and the latter would be an opportunity to experience something new. Here are some thoughts on each production.

Salome

(seen June 3rd)

When I discovered that Richard Strauss's Salome was on the OTSL 2009 lineup, I squeeeeeed like a common Jonas Brothers fan--an embarrassing moment for sure. This excitement was suddenly tempered with concern of whether or not this smaller festival company was up to the task...but those concerns proved to be unfounded.

Director (and choreographer) Seán Curran used the small stage of the Virginia Jackson Browning Theatre to great effect, and showed that Salome doesn't have to "look" big in order to convey the opera's mammoth themes of lust, vengeance, dysfunction and death. Set/Costume Designer Bruno Schwengl depicts the grounds of Herod's Palace as a bleak void, wherein the moon (projected onto the stage floor) and the cistern (at the upstage wall) create a world where the viewer's perspective is skewed, capturing the overall warped nature of the dramatic content. His costumes capture the gaudy decadence of Herod and his wife Herodias, but I must agree with a certain local critic that Salome's wig was kind of "off" so to speak (NOTE: I promise not to fall into this "wig trap" in further reviews.)

Soprano Kelly Kaduce, making her role debut, gave a thrilling portrayal of an emotionally and sexually abused young woman. Kaduce's most chilling and effective moment comes after Jokanaan's rebuke, when she sees another man's blood and thus contemplates murder. Baritone Gregory Dahl was a vocally-strong Jokanaan, despite a few odd diction choices. As the prophet, he made Salome's desire believable. Tenor Michael Hayes gave quite a nuanced reading of Herod's excess, lewdness and paranoia. Mezzo-soprano Maria Zifchak's purple-haired Herodias was a perfect foil for Herod. Tenor Eric Margiore sang beautifully as Narraboth, but his stage movement was quite stiff throughout.

Of course, no Salome is complete without the Dance of the Seven Veils. Seán Curran's choreography utilizes the many dancing talents of his leading lady. Kaduce moves quite beautifully and naturally onstage, and these talents translated quite well into her dancing, which began with a Sari dance followed by several veil-tricks. The most innovative veil was made of a rubbery material which, held in place by attendants, allowed Salome to seduce Herod further.

OTSL should be especially proud of this production...which I found to be one of the best I've seen there in a long time.

The Ghosts of Versailles

(seen at final dress rehearsal)

As much as it may be sacrilege to say, I am not a superfan of Barber of Seville and Marriage of Figaro, both operatic adaptations of the first two in "Figaro Trilogy" of plays by Pierre-Auguste Caron de Beaumarchais. However, I do have a great respect for the operas and their place in the repertory. They've more than withstood the test of time. Suffice it to say that I walked away from John Corigliano's The Ghosts of Versailles with a very similar sentiment.

Ghosts seems, more or less, to be a companion piece to the Rossini and Mozart forerunners, though when compared to them, Corigliano's "installment" is told through a very unconventional conceit:

As Marie Antoinette and her phantom court haunt the palace [of Versailles] after the Revolution, the author of The Marriage of Figaro tries to cheer the Queen with a new opera – and change the course of history.

Librettist William M. Hoffman partially draws upon Beaumarchais's La mère coupable, the final third of the "Figaro trilogy"--in which 20 years have passed since Marriage, the Almavivas live now in Paris, Figaro & Susanna are still servanting. The guilty mother is Rosina, the Countess, whose fling with Cherubino produced a son, Léon...but the Count has also produced a daughter, Florestine, with an unknown woman. Throw in Marie Antoinette, the playwright Beaumarchais himself (a contemporary of the french queen), an Irish villain, and a host of other characters, and you have the recipe for a very convoluted evening...perhaps more convoluted than the preceding operas. And that's the rub.

I do find the whole Marie-Antoinette-seeks-to-redeem-her-image-and-evade-the-guillotine motive to be quite sexy. I just don't think this conceit was the clearest mode of execution (pardon the pun). The singing ranged from decent to outstanding. Nothing much else to complain about. This was a production worth seeing at least once...maybe I'll view it differently in the future.

Next Season...

I must admit that OTSL has outdone itself for next year...so much so that I'd pay to see all but one of them!

The Marriage of Figaro: ZZZZZZZZ (yes, I understand it's beloved...so shoot me)

Eugene Onegin: They've been wanting to do this one for a few years, I believe. Such a great piece and they've got a heavyweight Tatiana (Dina Kuznetsova) onboard.

A Little Night Music: Well spank my ass and call me Susie! They're doing a musical!! Not only that, they've hired designer Isaac Mizrahi to direct and design the production. The only way this could be even sweeter is if Sondheim came to town for a symposium...and it's possible as Mizrahi is good friends with the composer.

The Golden Ticket: An opera based on Charlie and the Chocolate Factory?!? ZOIKS! This Peter Ash piece will be a world-premiere at OTSL. They certainly are working the family-angle with this one...and I cannot wait to see how it will all play out.

UAO rehearsing begins!

Last week marked the beginning of ensemble rehearsals for the Union Avenue Opera summer season. We, the ensemble members of Il Trovatore, Merry Widow and Lakmé, have been working our tuchus off night after night. I'm not that worried about learning/memorizing the musical content of Widow and Lakmé, where we're utilized well but there isn't an inordinate amount of music to learn. Trovatore is a completely different ballgame, especially with only 8 men in the ensemble. That will be a true test of our mettle, for sure.

Excitement has been building. I know I'm a nerd for this, but I love getting all the production emails concerning cuts, rehearsals, etc. The only problematic email I've gotten so far was from our fabulous costume designer, Teresa. She wants the men of Trovatore and Widow to grow full beards and keep our hair grown out. Trovatore requires the men to change into and out of three groups of people (gypsies, Manrico's entourage, Conte di Luna's entourage)...often from one scene to the next. Widow is more an issue of having facial hair that will create pointed, waxy moustaches as well as a hairdo that will give us the waxy look of Parisian men in the early 1900s. I presume from this information that we might look like the cabaret patrons of Moulin Rouge for Widow...and that would be hella cool!

Here's my concern... I can grow a thick head of hair like nobody's business. I cannot, however, grow facial hair to save my life. The last time I "let myself go" in that respect was for Susannah at Wash U a few years back...and the fruits of that effort were not pretty:

The more I think about this issue...the more it bothers me. I hate the fact that I can't grow a beard...at least to try a different look than my default: babyface. Basically, I'd like to look 27 instead of 16 for a change. Not getting carded at bars would be a great bonus, too. Is all that too much to ask? I guess God (or genetics--I can't decide which) didn't mean for it to happen. I guess I'll have to just suck it up until some genius discovers a miracle rogaine for the babyfaced.

Oh geez...

Friends, family, blogreaders I don't know:

I've been such a BAAAAD blogger. Two months have gone by and nary a mention of what's going on, what shows I've seen, what things are pissing me off, etc. There's no excuse. You may wonder what has brought me crawling back? Well, I've been asked to blog for another blog here on Blogger. The reality of my negligence hit me like a ton of bricks...

...SO!

I've decided to create some backdated blog posts covering events of significance in April & May. All you'll have to do is just scroll down OR look at the index/archive for those months and you'll see what I was doing where/when! Enjoy!!!

Oh.... and I'm sorry :(

Back/Spine Update

I have a back health update. After I had the MRI back in April, the chiropractor told me that I was suffering from some mild scoliosis (joy of joys) as well as a spondylolisthesis...in layman's terms: I had both anterior and posterior disc bulges on the right side of my lower back. Two shit-storms for the price of one!!!

Luckily, with some conservative treatments over the course of this month as well as some resolve to do all the prescribed stretches and walking exercise, my lower back has improved. At this point, I'm not back at 100%, but I'm getting there. My flexibility has improved the most. I still have mild pains mostly at the lower back, but the chiropractor says that if the pain is centralizing, that's a good sign. Before, the pain had been up/down the back as well as into my hamstrings and right leg. So there you have it...I'm not completely out of the woods, but I at least am able to manage the pain without the aid of Vicodin or, worse, a trip to a pain specialist for an epidural... Yup, I was this close to getting a procedure for birthing mothers!!!

MRI bizness

After some visits with the chiropractor, it was decided that he needs to get a closer look, so I had an MRI tonight. When I got to the imaging center and filled out the forms, they gave me what looked like a menu. After the initial confusion, the tech told me it was a list of Sirius Satellite Radio Stations that I could choose from. Apparently, they like to keep your mind off all the obnoxious THUD THUD THUD THUD PLONK PLONK PLONK PLONK noises inside the MRI chamber. Very kind of them. I chose the opera station, and was treated to a live performance of Die Walküre from the Met (sadly without Christine Brewer as Brünnhilde...*sigh*).

We'll see what the MRI has to tell the doctor tomorrow...

(On a happy note, I got to surround myself with good friends afterwards...which helped me take my mind off everything that's been plaguing my mind.)

April without Recitals is to December without Christmas

April has been, like most Aprils it seems, a month chock full of recitals at your local university. Here are some of my favorite moments of the recital attendance:

- the masterfully-conceived figur of baritone Alan Naylor's recital
- soprano Alison Moritz's portrayal of five English queens by composer Libby Larsen
- baritone Max von Schlehenreid and mezzo soprano Meghan Garvin's ravishing duet
- a sweetly sung "Un aura amorosa" by tenor Anthony Heinemann
- tenor Joshua Stanton rocking out to Tosti

These recitals make me want to get my arse back on the recital stage. I am dying to explore more song repertoire, especially in the russian realm (got a taste of it on '06 and am wanting more). I've also been working diligently on Schumann's Liederkreis Op. 24 (Heine). I'd also LOVE to delve into Winterreise, though I don't see myself performing that one anytime soon. My voice teacher has mentioned the prospect of a recital series featuring his post-grad students, so this could happen in the near future. I can hope!

Spinal drama!!!

Ok, so Vicodin only helps so much when your back is in excruciating pain. I can't even sit down or stand up without pitching a fit. Decided to take the damn day off and bypass my doctor's suggestion to revisit HIM if I didn't improve...because sometimes you have to take things into your own hands or Scheisse doesn't get done!

On the recommendation of a dear friend, I found a local chiropractor. After a consultation, the chiropractor decided to have me come in every other day for some conservative treatments. Such repeated visits would have scared the crap out of me this time last year when I didn't have insurance...so I count myself lucky for having it!

More info on this later?

Back drama!!!

Oy, my back!!! I think I pulled something during all that comical crawling-around in Don Pasquale. Seriously, my back has been in SUCH pain lately. I had a short episode like this a few years back, but it went away after a massage. I guess I did something much worse. The pain is seriously impairing my ability to do just about ANYTHING.

As such, I got in the car (a feat in and of itself--lateral movements are a BITCH!) and went to the doctor. After a look, he said, quite plainly:

"Do you want narcotics?"

I found the statement a little funny, considering you usually hear the word "narcotics" on Cops in reference to someone who's about to be or already has been arrested for possession. Nevertheless, the doctor put me on Vicodin. While it DOES make the pain go away, I feel like it's a mere mask.

I feel like such a dumbass for letting my back get this unhealthy. They say that back pain is a life-long problem unless you're constantly doing something about it. I think this is a real wakeup call. More later...

REVIEW: An Evening With Patti & Mandy @ Fox

The other day, my dear friend Joy happily came across some comps for a concert that I had decided initially that I'd have to pass up for scrimpin' and savin' reasons.

In the past couple years, I've seen several of my favorite singers/personalities live, including Christine Brewer, Bryn Terfel, Susan Graham, Debbie Voigt, Margaret Cho and most recently Kristin Chenoweth. It's all so surreal! To finally know they exist not just on CD or television. You're actually in the same concert hall/opera house/theatre with them!! I know this seems so gauche of me, but it's an honest feeling I get...

...and I got it definitely tonight at An Evening with Patti Lupone and Mandy Patinkin. They'd not worked together since their monumental performances together in the original Broadway production of Evita...and it was like watching two old friends collaborating as if twenty or so years really hadn't passed by.

What I loved most about the evening was that it didn't feel like a conventional concert. Patti and Mandy treated the evening almost as if it were a classical recital, except the repertoire was not Schubert, Debussy or Copland...it was of equal giants in the musical theatre canon: Rodgers & Hammerstein, Kern, Loesser and Sondheim. Groups songs by these composers were woven into almost a Liederkreis of sorts. We were given a story to watch. I was very touched by Mandy and Patti's recapitulation of the Carousel story, especially.

Of course, the evening also allowed for some solo turns. Patti came out and knocked 'em dead with two solos instrumental in her early career ("Don't Cry for Me, Argentina") and her most recent work ("Everything's Coming Up Roses"). Mandy gave an inspired, borscht-belt reading of "Buddy's Blues" from Follies. It was a little disappointing, though, that he nixed "Oh What a Circus" this evening. The duo closed out the evening with the delightful ditty "Coffee in a Cardboard Cup," which I now am determined to sing with a willing duet partner!

It all flashed by so fast, yet with such pacing, I was never left wanting more. A truly wonderful evening of song!

March has been good to me

The expression on my face in the picture below is inversely related to my joy at how wonderful March has been for me as a singer.


I won’t repeat all the details, as I covered them in the last post…but I do want to talk about Don Pasquale (from which the above photo was taken). This has to be among one of the most enjoyable productions I’ve done in a while. Our director was a delight to work with. The conductor was, as always, spot on. Gina, John, David and Joel were outstanding leads and kept the show bright and comical throughout. Opening night was generally good, but closing night was better…I somewhat wish we could do a few more performances.

Oh, and I cannot leave out this little detail. The director has connections to OTSL, who provided a lot of our props and costumes. My costume, pictured above, included an apron. At my first costume fitting, the director and I noticed a name well known to opera singers, directors and conductors…



I’ll always think of that apron every time I use one of his IPA guides!

So, what does April hold for me besides getting more work done at my day job? Recitals, Recitals, Recitals! No, I’m not giving recitals (though I really want to put one together—the sooner the better). Alan Naylor gives his WashU grad recital on Thursday, and I’ve heard promising things about it. I’ll be seeing a recital every day on the weekend of the 17th-19th starting with Megan & Anthony (joint junior recital at SLU), then Alison and Josh (undergrad & grad recitals, respectively, at WashU). Perhaps all these fresh-faced singers will all inspire me to actually get that Schumann/Heine Liederkreis out in public for once!

A surprising development

I was surprised by a UAO development three days ago. A chorus slot in Lakmé opened up and was offered to me. There were a lot of pros/cons to weigh. The major pros are $ and the chance to be in an important french opera; the only major con is that I'm giving up a significant portion of my summer to do all three operas. I accepted the offer. Who knows if I'll regret this choice or not. Nevertheless, I have decided to act against regret by making some concrete plans for vacation, preferably the last week of May or first week of June before chorus music rehearsals begin.

As for vacation, I'm thinking of spending a week in Fort Lauderdale to lounge on the beach and visit my Uncle Lance and Brian. Maybe they'll even let me stay at their place! *crossing fingers*

Tomorrow night is the opening night of Donizetti's Don Pasquale with New Opera St. Louis. I highly recommend the production, as all four principals are exceptional singers...and there's a bitchin' couple of choruses in Act Three...well maybe not bitchin' but I think the director has given us some fun stuff to do with what little stage time the composer gave us. ;) Here are the details...

WHAT: Don Pasquale
WHEN: Friday, March 27 @ 8pm / Sunday, March 29 @ 5pm
WHERE: Saint Ambrose Church on "The Hill" / 5130 Wilson Ave / St. Louis
TICKETS: $30 / $26 / $22 (Student Rush $10 @ the Door) Call 314.865.0038
WEBSITE: newoperastl.org

Prodigal Blogger Vol. 1

Woah, where have I been this month?!?

*cue cheesy baptist church organ music*

I’m a bonafied certified blog-backslider!!!  I am a lost sheep!!  But I—the Prodigal Blogger—have come home to beg your forgiveness!!!

Ok… now that that part is over with…lemme fill you in on what’s up…

WILLIAM TURNS FIVE!

My nephew William turned 5 years old at the top of the month.  His parents threw him a Cowboy-themed party, and the kid just had a ball!  Was glad to have been a part of it.  I have learned that one of his birthday presents was Tae Kwon Do lessons…though I think they are less a “wheee! fun!!” present and more a “we need to harness this kid’s energy so he doesn’t drive us nuts at home” present.  Either way, I’m wearing a cup next time I visit him in case he wants to practice any kicks when I walk in the door.

MOVIES

So I decided to catch up on a couple Oscar films, albeit retroactively.  I spent a Saturday afternoon at the Chase Park Plaza seeing two films in a row: The Reader and Frost/Nixon.  The Reader was quite amazing and prompted a lot of moral questions, but for reasons of plot spoilage, I cannot comment why I feel that way.  Nonetheless, Kate Winslet proved once again why she’s one of the best working film actresses today…and I actually feel this role to be Oscar worthy, even though I feel like the Academy pulled a “Scorcese” on her.  Frost/Nixon made me feel as if Frank Langella was robbed—and I loved Sean Penn in Milk.  Now I want to see the actual Frost/Nixon interviews.

GIGS, GIGS, GIGS

Got cast at Union Avenue for the coming season.  They’re doing Il trovatore, The Merry Widow (in German), Lakmé and a Christmastime production of Amahl and the Night Visitors.  I’ll be appearing in the Verdi and Lehár, the latter of which I’m most excited…because any chance to flex my german muscles is worth taking!  We have yet to hear how Amahl will be cast, but I am not necessarily holding my breath.

(Oh, and I entered the Crapshoot Olympics® but didn’t even get the Bronze.  However, I did get a compliment from the judge.)

Last weekend, I solo-ed with the St. Louis Women’s Chorale.  Got to sing some Lehár and Weill, one of which I can sing at parties; the other I can add to my aria list…SWELL!!

As if all that weren’t enough, I got hired at the last minute for a chorus gig in New Opera St. Louis’ season-closer Don Pasquale.  Great director, great conductor, fun colleagues... To quote the great Ethel Merman: who could ask for anything more? 

Review: ABE

ABE, a new musical, received its world premiere in Quincy, Illinois two weekends ago.  Presented by the Muddy River Opera Company in a city that hosted one of the historic Lincoln-Douglas debates, this new work holds particular nostalgia for the state of Illinois in 2009, the Lincoln Bicentennial Year.  Composer Roger Anderson and Book-Writer/Lyricist Lee Goldsmith began collaboration on this musical in the 1970s, but had not finished it until recently, when MROC took interest in premiering the work.

ABE focuses on the life of Abraham Lincoln from his early years until his departure from Springfield, Illinois for the Presidential Inauguration.  The first act mostly concerns Lincoln’s formative years in New Salem, Illinois; the second with his rise to power and marriage to Mary Todd.  Dramatically, the musical suffers at the beginning.  While the creative team succeeds with a stirring, effective prologue set at a New Orleans slave auction (at which Lincoln is a prominent spectator), their opening number—“Fifteen Houses, A Hundred People”—lacks energy.  Despite this initial flaw, the musical numbers that follow manage to liven up the pace.  “Who Are You” gives the audience a glimpse into Lincoln’s quest for purpose.  “Corn,” “Two Hundred Seventy Seven to Three” and “Who, Abe? You, Abe!” gives the ensemble ample opportunities to shine and put a smile on our faces.  The second act of ABE happily maintains the established dramatic pace.

In the title role, baritone Samuel Hepler gave a sensitive, well-considered reading of the iconic 16th president.  His warm, rich baritone and lanky, handsome stage presence exuded Lincoln’s idealism, melancholy and heart.  Soprano Elise LaBarge was charming and sympathetic as Lincoln’s first love Ann Rutledge, and her solo “A Man Like Him” proved bittersweet, given Rutledge’s fate.  Ms. LaBarge also deftly negotiated some of the more awkward, stilted dialogue in the show.  Soprano Joy Boland portrayed Mary Todd Lincoln with gutsy aplomb and gave us a glimpse of a woman that—despite an often difficult temper and shifting mood—loved, cherished and supported her husband wholeheartedly.  Baritone Greg Lewis had clear diction and strong presence as Mentor Graham, schoolteacher and early friend to Lincoln. Tenor Robert Boldin was an utter delight as Lincoln’s oft-smashed law-partner Billy Herndon.  Boldin showed remarkable versatility in the unsettling “What Am I Bid?”

Director Mark James Meier handled this big, old-fashioned book musical with careful attention to detail and resourceful usage of his ensemble.  Along with the bigger, splashier numbers, Meier offered many simple, touching moments throughout, especially regarding Lincoln’s early courting and eventual loss of Ann Rutledge as well as the enduring friendship between Lincoln and Billy Herndon.  Conductor Scott Schoonover’s leadership of the 20-piece MROC orchestra was a generous complement to the proceedings onstage.  Paul Denckla’s production design made the effective approach of suggestion over presentation with a rustic unit set (calling to mind Lincoln’s early years in Kentucky and southern Illinois) coupled with projections of actual plot locales.

The production team, cast and crew of Abe are to be commended for giving such a wonderful world premiere.