tag:blogger.com,1999:blog-81569659311372455812024-02-08T02:09:27.309-08:00A singer's musingsMr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.comBlogger27125tag:blogger.com,1999:blog-8156965931137245581.post-74655115611204142842013-09-22T19:43:00.000-07:002013-09-22T19:43:00.947-07:00RetirementFinally decided to do it. After 20 years, I am retiring from performing professionally. No more.<br />
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Kinda freeing. Actually, amazingly freeing. I can still sing whenever I want, and just WHAT I want. <br />
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Looking forward to the future and concentrating on teaching and making a real living for a change!Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-17022224602734950092013-09-10T21:02:00.001-07:002013-09-11T05:07:33.857-07:00What do we do to our own Art form?<span style="background-color: white; color: #282828; font-family: arial, helvetica, sans-serif; font-size: 14px; line-height: 20px;">“Stop apologising, stop trying to sell our music by dumbing it down. Sell opera on the basis that it is like nothing else on the planet, not on the basis that it’s superficially cool and hip – that is so phoney.” Joyce DiDonato</span><br />
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<span style="background-color: white; color: #282828; font-family: arial, helvetica, sans-serif; font-size: 14px; line-height: 20px;">She has a <i>great</i> point. We spend so much time trying to make our art for "viable" for an audience, that we continue to make them dumber. </span><br />
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<span style="background-color: white; color: #282828; font-family: arial, helvetica, sans-serif; font-size: 14px; line-height: 20px;">Opera isn't really about sitting around and cooing about voices, its meant to be in your face, take a <i style="font-weight: bold;">real, honest </i>look at society. But American directors, </span><span style="color: #282828; font-family: arial, helvetica, sans-serif;"><span style="font-size: 14px; line-height: 20px;">intendants, and even singers don't get that. Do something silly, show off some pecs, do "Opera Acting" rather than finding a real, honest connection to the character, or find a Dramatic Soprano who looks like a young Cindy Crawford to draw in the audience. Look superficially at the text, get pissy that somebody has an origional idea, or that the piece isn't "period." Or, Heaven forbid, that we do the work in English so that the audience is getting the message at the same time it's being delivered.</span></span><br />
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<span style="color: #282828; font-family: arial, helvetica, sans-serif;"><span style="font-size: 14px; line-height: 20px;">To "make them love us" is really <b>NOT </b>what this art form is about. If you want that, go into Musical Theatre, because it's <i>all about</i> dumbing down the audience, or maybe "catering to" is a better term. I don't care if my audience "loves me" or not. I do care that they have been moved, that they have been involved, sometimes to the point of hissing me when I walk onto stage (If I were playing Enrico again). </span></span><br />
<span style="color: #282828; font-family: arial, helvetica, sans-serif;"><span style="font-size: 14px; line-height: 20px;">It's my job to move you. Sometimes to offend you. Sometimes to make you love me, other times, hate me. </span></span><span style="color: #282828; font-family: arial, helvetica, sans-serif; font-size: 14px; line-height: 20px;">At least you'll be engaged and not fall asleep. And it will really make you think.</span><br />
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<span style="color: #282828; font-family: arial, helvetica, sans-serif;"><span style="font-size: 14px; line-height: 20px;">If you want </span><span style="font-size: 14px; line-height: 20px;">entertainment, go to a Michael Buble concert.</span></span><br />
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I am preparing for my lesson on the 6th and, ultimately singing for two agents next month. This also comes into the though of do I just want to give this up and find a job that actually pays me for the work I do? Ah, there's the rub.<br />
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The problem for me is that singing and acting are gifts/calling from God to me. I cannot get past that, no matter how hard I try. For Pete's sake, I am fro bloody podunk Alabama. Why am I where I am? I guess I should just be white trash living in a trailer park or some Baptist minister. But no. I was given this charge....<br />
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And it means the world to me. I can be myself, learn more about myself, yada yada. It's like God, If I could quit Him, I would. But I just <b><i>can't.</i></b><br />
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One review called my tenor "Resplendent." Well, if it is, it's due to Him...Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-31890523777355222782013-08-24T12:27:00.000-07:002013-08-24T12:27:31.948-07:00Walküre #4You know when you own something. I mean, it's yours and it's at a very high level. That is my Siegmund now. <br />
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Hakan Hagegard told me that you will know when a role is yours. He said it usually takes 25 performances, but you will know by it "being there" for you. Very little warm up. He was spot on. That's how Siegmund is to me now. Money.<br />
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Who gives a fig what some schmuck critic might say? They not have the balls nor the talent to stand up and do it.<br />
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Plus, after twenty years, I know when it's dang good.Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-70706232175991192872013-08-22T17:32:00.002-07:002013-08-22T17:32:52.180-07:00nice five day breakNeeded that more than I thought.<br />
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I really wasn't in a good place on Saturday night. Got into street clothes right after bows, headed to Cicero' s, had some Italian and two Woodchuck Granny Smith's.<br />
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One thing I have learned of American audiences: they are dumber than cow dung. If it doesn't sound like something off a CD, they don't know what to do. And if the acting isn't Disney-esque, its' too far above them. If an artist <i>actually</i> performs the role the way it's meant, and doesn't sound manufactured or "like a tenor", they are at a loss. They have no clue, and don't know what to do.<br />
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Heaven forbid that the tenor sing a difficult HELDEN role easily and musically, look good and move well, and use the language very well. Heaven forbid that you be convincing and moving. 99% of Americans have zip of a clue.<br />
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Makes me thankful for the fella that wished I were singing for a German audience because "They would truly appreciate just what you have accomplished tonight."<br />
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My confidence is back, and I will sing and perform this character really well again tomorrow night and Saturday.<br />
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<i>A lion doesn't lose sleep over the opinion of sheep</i>Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-67041981961814419352013-08-17T12:54:00.000-07:002013-08-17T12:54:06.183-07:00opening nightI have been pretty nervous about opening night for a week and a half. Never before have I had problems with G Nat, but it has been bothersome since I git here. Could sing it until I got to the theatre. Weird. The A Nat has not been a problem at all. AT ALL. Maybe it's due to singing the role ten days in a row, then compounding it by singing it thru twice a day before each run...<br />
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But last night, I nailed it!! Prayer works. I was calm, and just happy to be there, and I had fun! I am finally willing to trust and even make an ugly sound. Pretty dang freeing.<br />
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Siegmund is an incredibly, deceptively hard role to sing. Yes, it's the lowest of Wagner's Helden roles, but that's what makes it so difficult. When the role moves from lyric to dramatic in the "Siegmund heiss ich", , it pounds at the E Nat thru F# corridor. Pavarotti was correct that the chords must stay fresh in this area, but he never sang this rep. The intensity makes you work overtime to stay calm and and lyric through the passaggio. If you don't, you are incredibly screwed. <br />
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Don't think because this role is low that it's easy...that will show what an uninformed, uneducated idiot you really are.Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-69831296905760300672013-08-12T23:15:00.003-07:002013-08-12T23:15:55.023-07:00Dress 1I sang thru the role three times today. One just happened to be the dress rehearsal, even after I said I would mark....go figure.<br />
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I have come to love this role for many reasons, but foremost it allows me to be <i>just</i> who I am as an artist. I look the role, I sound the role, I have no problem cutting/carrying, but now I have gotten to the point that I am not afraid to make an ugly sound and I act the scrap out of the text and character.<br />
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If I never perform this role again, at least I will have the aboveMr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-45618803244986787242013-08-12T12:46:00.001-07:002013-08-12T12:46:51.811-07:00first dress tonight!Don't really know just how much I will sing, but the Winterstürme and the Siegmund heiss ich will be done. Voice feels good. Can't wait!Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-54009150955447783122013-08-11T07:08:00.000-07:002013-08-11T07:12:51.285-07:00tech take 2We teched Ackt II,was pretty solid except for one brainfart. Just one of those moments where I totally forgot where we were. I got back on track quickly. <br />
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The space available on the sides is a Lot more compact than that of the rehearsal room, so that made for an evening of thinking rather than doing. Glad I got that out of the way.<br />
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The set looks like something you would see in a German theatre, but the projections really put it on a different level. We are then allowed to tell the story, not some "conzept" going on. Just acting and really expressing the text. No room for American made Italian opera here.<br />
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Finally seem to have gotten over the reflux. I just have to remember that the g nats have to be so bright, and sound so spread to my ear that it makes me want to vomit. The danger of this role, vocally, is its tessitura. The tendency for me is to revert to baritone. Can't do it. It will rip you a new one and make you like it. Makes you sound weak to yourself, but it's easy, and I really ring and thrust into the house. Plus, the Helden sound is there. I don't need to press that. Just relax and do what I do. Del Monaco is a great teacher...<br />
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This is a first rate cast, and is an authentic WAGNERIAN cast. Everyone is spot on for their role. SPOT ON. You won't hear it like this, even in Seattle. And definitely not at the MET.Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-61188691227417708902013-08-09T22:23:00.000-07:002013-08-09T22:27:01.013-07:00tech rehearsal 1Pretty solid night tonight. We ran Act 1, which my portion is about 42 minutes (uncut is an hour fifteen).only had stops in my last aria/monologue "Siegmund gross rich" due to lighting cues and my placement. The problem is I am running up and down a sixteen foot, narrow stairway. Other problem is that the lower stairs are on rollers and they do move.<br />
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Started very well tonight vocally. I thrust out into the hall really well. Only problem is this cursed reflux that I cannot seem to shake, no matter what I try. No matter the work I did before coming here, everything has totally changed, and I can really feel the mucous when I get to f#. I literally fight to find my tessitura and voice every day. It just feels so hard.<br />
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Still, I had to sing the highest portion of the role, "So blühenden, Wälsungen blut" six times. It is the only A thatthat Siegmund sings. First time massive phlegm, afterwards, money. It is so bad I get depressed about singing a role I was singing th poo out of before I got here. And nothing I do helps it get better.<br />
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Oh well, it will be what it will be, and I perform the pee out of this role. Just have fun, give it to God, and perform.Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-17724783208494852292013-08-06T12:10:00.000-07:002013-08-06T12:10:13.978-07:00Die Walkure day 8Been here a week and I have to say that this is the most physical role I have <i>ever</i> done. Bar none. I carry around a pretty heavy broadsword while singing dramatic music that sits in my passaggio, rolling around on the floor with Sieglinde, then a screamfest with Brunnhilde, then a big fight with Binding, then a pretty emotional death. This also includes a pretty intense love thingy with Sieglinde that has to read past the orchestra.<br />
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I get a rest day to get my strength back. Those that have worked with me in the past will understand my energy/intensity level. But it also means I have to work triple hard to not get tight in my neck and push the voice. <br />
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One really has to understand that you sing Wagner like it's Schubert, or Mozart...but on steroids. You sing it lyrically and the rest will take care of itsselfMr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-57103809635349447192013-07-30T19:51:00.000-07:002013-07-30T19:51:42.503-07:00Die Walkure day 2Spent my day staging Act 1 of Walkure. Really didn't move around that much, but the intensity level is sky high. Those that know me know that I am a very intense actor, but geese, this at another level. Verdi and Puccini Don't even come into the same galaxy.<br />
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This is looking to be the best thing I have ever done, and that is saying something. And it's the best cast, all around I have ever worked with. Again, that speaks volumes. Some amazing singing going on.<br />
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Never have I felt this good or this right about a role. Glad I found it!Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-91668239092760543752013-07-29T20:39:00.001-07:002013-07-29T20:39:12.573-07:00Walkure Day 1Today I sang Siegmund all the way the way thru (with the cuts) with other singers.....God it was fantastic!!<br />
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The cast is very fine. And the voices are right! Absolutely RIGHT. my head was ringing like mad when we finished.<br />
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Amber Smoke, my Sieglinde, is going thru the same type of Fach switch I am. But she sounds beautiful. Truly a smoky, rich color and very vibrant. Just like Alexandra Lopiccolo' s, our Brunnhilde. A real pack of dynamite.<br />
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Our Hagen, Nathan Whitson from Kansas City is an imposing bass with a beautiful top. Reminds me of Kevin Bell. The last scene, our fight, is pretty exciting.<br />
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Tim Bruno is our Wotan, and I love hearing him. There is a great color and snarl that truly works for Wotan.<br />
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Gonna be a great run!!Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-55244267759765817602013-07-29T10:06:00.001-07:002013-07-29T10:06:28.060-07:00Die Walkure take 1First musical rehearsal begins in 50 minutes. I have butterflies, but I am so excited. I have never been this prepared nor felt this good vocally. I am very thankful for that.<br />
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Here's to a good musical run!Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-41853803863129657522011-05-29T18:37:00.001-07:002013-07-08T15:46:15.778-07:00The days that make you go insaneMr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-17224121090997532512011-05-26T08:31:00.000-07:002011-05-26T14:47:51.347-07:00Dreams over BBQ<span class="Apple-style-span" style="font-family:georgia;">Today I met with my friend Tammy Motola regarding an idea tat has been brewing in my head for the last two years. </span><div><span class="Apple-style-span" style="font-family:georgia;"><br /></span></div><div><span class="Apple-style-span" style="font-family:georgia;">Richmond has a pitiful dearth of venues for singers, and there are good singers in this town (just don't get me started on pianists). We bring in opera from Norfolk in the guise of Virginia Opera and Lyric Opera of Virginia. But they are not for this city, and have the "Local Bias", as does the RSO. Pretty sad.</span></div><div><span class="Apple-style-span" style="font-family:georgia;"><br /></span></div><div><span class="Apple-style-span" style="font-family:georgia;">Time to make a difference. Time to shake things up.</span></div><div><span class="Apple-style-span" style="font-family:georgia;"><br /></span></div><div><span class="Apple-style-span" style="font-family:georgia;"><br /></span></div>Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-50133404229092326682010-08-19T06:05:00.000-07:002010-08-19T06:39:16.902-07:00What is WRONG with our Art Form: EducationI always get in trouble when kids at VCU ask me why I do not advise. Because I tell people going after Bachelor of Music degrees to stop wasting their money and pursue the BA.<div><br /></div><div>For anyone interested in <i>actually</i> pursuing a career as a performer, the BM is not going to help you. Why? Take time to study another discipline that will allow you to make money while you are getting started. The BM offers absolutely <b><i>NO</i><span class="Apple-style-span" style="font-weight: normal;"> time to learn anything outside of music.</span></b></div><div><b><span class="Apple-style-span" style="font-weight: normal;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-weight: normal;">And one other thing: Where are the classes in basic Acting Skills, movement, and combat that the singer/actor needs? </span></b></div><div><b><span class="Apple-style-span" style="font-weight: normal;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-weight: normal;">Oh, the singer gets classes in Diction, but really </span><i>never learns the language well enough to USE IT.</i><span class="Apple-style-span" style="font-weight: normal;"> But boy, they get bitched at enough about the diction not being perfect. The problem with American singers isn't diction, it is the total lack of heart that comes from having NO CLUE how to communicate the language. </span></b></div><div><b><span class="Apple-style-span" style="font-weight: normal;"><br /></span></b></div><div><b><span class="Apple-style-span" style="font-weight: normal;">One other thing: The vast majority of full time music professors in Voice are totally laughable as experts. The Majority of DMA's spent their time going to college and never competing, or learning true standards. The small number who actually TRY to create a career, then go back for DMA work are excluded because they have something tangible to offer. They </span>TRIED</b>. They may have tried and failed, but at least they tried.</div><div><br /></div><div>Always amuses me that in most colleges, the adjuncts usually are the good teachers who had a semblance of career, and can teach. Funny.</div><div><br /></div><div>One last thing: The Euro's used to say, You can sing, now come to Europe to learn how to be an Artist. Quit worrying about the damn mechanics, and let your heart loose.</div><div><br /></div><div><br /></div>Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com1tag:blogger.com,1999:blog-8156965931137245581.post-47285225256274918662010-07-10T17:08:00.000-07:002010-07-10T17:25:54.222-07:00What a lesson!!This week has been pretty phenomenal, actually, and things have been coming together very nicely vocally. NOW I am able to bring all the other aspects of performing together with the voice. YES!!!!!!!!<div><br /></div><div>Today, I put it all together at my lesson. ALL together! The support, the space....wow!</div><div><br /></div><div>Fifteen minute warm up, then into Celeste Aida. One little correction in the beginning of the recit, then , off we go. Jackson stops me to correct one word, "tuo" since I didn't sing the [o], but the aria goes like clock work. All B flats are nailed, and sound great, with some nasty squillo. Piece feels like I was born to sing it.</div><div><br /></div><div>Then, of all thing, Jackson makes me sing "Il mio Tesoror", then "Un aura amorosa", then "Dies Bildnis." Ouch. That is a pretty tough workout, but nailed them. </div><div><br /></div><div>Then we decided to do more. "Ingemisco " from Verdi's <i>Requiem</i>, "Amor ti vieta", "Nessun Dorma", then finished with "Vesti la giubba".</div><div><br /></div><div>THAT was a workout.</div><div><br /></div><div>I sang like a king. Lord, it was FUN!!</div>Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-8444642374508797412010-07-06T05:38:00.000-07:002010-07-06T07:11:42.500-07:00Practice Journal for 6/3 & 6/56/3<div><br /></div><div>Went to see the Vocal Wizard today( a.k.a. Jackson Sheats), and it was one of the best lessons I have had in this two year period of re-adjustment an fach change.</div><div><br /></div><div>Pretty short warm-up, utilizing the Italian word "Quando". We worked to keep the top nice and skinny.</div><div><br /></div><div>We worked the following arias:</div><div><br /></div><div>"Non piangere, Liu" from <i>Turandot</i></div><div>"addio, fiorito asil" from <i>Madama Butterfly</i></div><div>"E lucevan le stelle" from <i>Tosca</i></div><div>"Vesti la giubba" from <i>Pagliacci</i></div><div>"Celeste Aida" from <i>Aida</i></div><div><i><br /></i></div><div>Flat out sang the Aida like there was no tomorrow. We both agreed that it and the Pagliacci should join the list of audition arias.</div><div><br /></div><div>For the first time, the B Flat on "Ergerti" was NOT a problem. Even when I listened at tad, I was able to correct it and keep it going. To me, that is amazing.</div><div><br /></div><div>6/5</div><div><br /></div><div>Took the day off on Sunday and enjoyed my time with Sheridan and the girls. Also the party at the pool, and some practice at the golf range.</div><div><br /></div><div>Monday: twenty minute warm-up. then through the end of "La fleur que tu m'avais jetee" from "Puis, je m'accusais." Everything there. </div><div><br /></div><div>Next through "Non Piangere Liu." I am struck by the ease in the middle of the voice, especially at "Il tuo signore" and at "chiede colui" to the ending B flat.</div><div><br /></div><div>Sang thru the "Celeste Aida" all the way, as well as "ah si ben mio." Wow. </div><div><br /></div><div><br /></div><div><br /></div>Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-52610404902195146932010-06-29T20:05:00.000-07:002010-06-29T20:17:22.408-07:00Ok, I think I got this thing almost figured out...The past week I have been paying much more attention to my practice ljournal, and I thought I would post them here. <div><br /></div><div><span class="Apple-style-span" style="font-size: 13px; border-collapse: collapse; "><span class="Apple-style-span" style="font-family:georgia;">6/28<br /><br />Good warm up for about twenty minutes. I went into practicing the end<br />of Carmen from "Puis, je m'accusez."<br />I found that with the word "chose", if the vowel has that constricted (Which means a real [O])<br />feeling to it, the "a toi" is lined up and a piece of cake. I can<br />morrendo the end of the pitch. <br /><br />I also practiced the recit beginning of Celeste Aida. That was pretty<br />smooth. I kept a close attention to just waht Verdi asked for<br />musically and dynamically. The "Ergerti un trono" was really easy, as<br />was econd one. But I was most pleased with the last Bflat. As stated<br />in the Carmen, if the O is correct, the Bflat will line up and I can<br />morrendo on the pitch.<br /><br />I also sang through "Vesti la giubba" (Pretty easy), and "addio<br />fiorito asil" from Butterfly. All I can say is wow. And it was all<br />during the 1:00 hour!</span></span></div><div><span class="Apple-style-span" style="font-size: 13px; border-collapse: collapse; "><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:georgia;font-size:100%;"><span class="Apple-style-span" style="border-collapse: collapse; font-size: 13px;">6/29</span></span></div><div><span class="Apple-style-span" style="font-family:georgia;font-size:100%;"><span class="Apple-style-span" style="border-collapse: collapse; font-size: 13px;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:georgia;font-size:100%;"><span class="Apple-style-span" style="border-collapse: collapse; font-size: 13px;">Today had my thirty minute vocalise warm-up, then I spent my time on Non piangere Liu from <i>Turandot</i>. Talk about being easy. Especially the Bflat at the end. Most of that comes from not sprading the [O] vowel as I ascend through the passaggio into the top. Keeps the F nat to A Flat corridor at rest, allowing the A Nat to C nat to just flip over and out, consistently. Pretty awesome!</span></span></div><div><span class="Apple-style-span" style="font-family:georgia;font-size:100%;"><span class="Apple-style-span" style="border-collapse: collapse; font-size: 13px;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:georgia;font-size:100%;"><span class="Apple-style-span" style="border-collapse: collapse; font-size: 13px;">I spent time on Celeste Aida again. This time I worked on the aria proper. I found many more spots for real portamenti throughout, and I paid real attention to the dynamic. That is something I am not used to hearing other guys do. I will say this: keeping the <b><i>pp</i><span class="Apple-style-span" style="font-weight: normal;"> at the repeat of "Il tuo bel cielo" makes that last B flat at "ergerti" just like child's play. And keeping a real [o] fpr the "un trono vicini al sol" allows the voice to set correctly, and morrendo to occur.</span></b></span></span></div><div><span class="Apple-style-span" style="font-family:georgia;font-size:100%;"><span class="Apple-style-span" style="border-collapse: collapse; font-size: 13px;"><b><span class="Apple-style-span" style="font-weight: normal;"><br /></span></b></span></span></div><div><span class="Apple-style-span" style="font-family:georgia;font-size:100%;"><span class="Apple-style-span" style="border-collapse: collapse; font-size: 13px;"><b><span class="Apple-style-span" style="font-weight: normal;">Nice day.</span></b></span></span></div>Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-9838059208204098702010-04-07T21:00:00.000-07:002010-04-07T21:03:54.798-07:00Well, my question has been answered about AcademiaIf you can really teach and sing, you shouldn't be allowed to teach full time. If you can do neither, you should have full time job and be promoted. <br /><br />That is not my reasoning, it is Academia in this country. And it plays it out each and every day. <br /><br />Good? Can teach and get real results? You're not really wanted...just remember that.Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-62832381424796269422010-03-17T16:47:00.000-07:002010-03-17T17:19:05.827-07:00To sing Wagner or not to sing Wagner....<span class="Apple-style-span" style="font-family:arial;">I am in a quandry. May not mean a bloody thing, but I have had <i>at least</i> seven of my colleagues tell me that I should be singing some Helden rep. Jackson even hints at it for the future. Then again, he and Melanie both swear that the horn is just a lirico-spinto tenor. Then a very good tenor from Europe hears me and swears that it is a true spinto. I am a pretty confused tenor. to say the least.</span><div><span class="Apple-style-span" style="font-family:arial, serif;"><br /></span></div><div><span class="Apple-style-span" style="font-family:arial, serif;">This all wouldn't bother me if three of my colleagues did/or hadn't made nice careers singing Wagner. When you come up listening to it in your face everyday for several years, well, when they speak, I listen.</span></div><div><span class="Apple-style-span" style="font-family:arial, serif;"><br /></span></div><div><span class="Apple-style-span" style="font-family:arial, serif;">But honestly, I love the music of Verdi and Puccini. The Verdi temperment really suits me, and my voice opens up quite well in this repertoire. And what tenor doesn't relish singing Puccini's heroes? But the thing is, the characters are driven by emotion and action while Wager's characters are waaaaaaaay too heady. The Italian roles seem to have more fire and depth to me, but....I am truly drawn to <i>Lohengrin</i>.</span></div><div><span class="Apple-style-span" style="font-family:arial, serif;"><br /></span></div><div><span class="Apple-style-span" style="font-family:arial, serif;">Dunno what it is...maybe it is that he is a Knight of the Grail, or that he seems too good to be true. But I love that role. I would kill to sing him. When I sing through "In fernem Land", I feel as if I am totally in my element. <i>Totally</i>. </span></div><div><span class="Apple-style-span" style="font-family:arial, serif;"><br /></span></div><div><span class="Apple-style-span" style="font-family:arial, serif;">Lirico-Spinto tenor, Sandor Konya, made a career of Lohengrin and Walther von Stolzing. I wouldn't mind giving that a try, but like Konya, I wann spend most of my time singing Verdi and Puccini.</span></div>Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-74009539650855851162010-03-08T19:56:00.000-08:002010-03-08T20:09:18.001-08:00Reason number 1.12 billion to hate NATSI grow tired of hearing, "NATS is good for the students." <div><br /></div><div>In what way? To learn early that any Tom, Dick, or Harry can put out a shingle that says "Voice Teacher" and get the chance to tell young people what's what? To learn early that 98% of people teaching Voice have do bloody clue as to what they are listening for, or what they're talking about?</div><div><br /></div><div>Having a few high notes does not a voice make. A trained horn will be uniform from top to bottom. For people in Alabama, that means that it will sound like one voice from the bottom register to the uppermost extent of the voice.</div><div><br /></div><div>It also means, that in the midst of the training, you should go from sounding like a child to sounding like an adult with depth and color throughout. If I hear one more senior woman with absolutely NO bottom or core in her voice, and still sounds like she is a sophomore in High School, I will vomit.</div><div><br /></div><div>Singing is work, and sometimes, especially with big voices, it will sound like work. Our job is to make the audience think it's easy. </div><div><br /></div><div>One piece of advice I could give any young singer: Really research the teacher that you want to work with. The biggest problem with vocal music in the academic circles is that you definitely don't get your money's worth. Why is that? It's because the vast majority of collegiate teachers should be working at McDonalds or finding a sugar daddy to care for them in their old age. It is a certain waste of money, unless it is Yale, MSM, Julliard, or possibly Indiana.</div><div><br /></div><div>Check the teacher out first. See if you are compatible, and if you can learn from them Then, when you begin lessons, surrender your voice to them. Listen to them and try what they are offering. Especially when it works when they show you...</div>Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com1tag:blogger.com,1999:blog-8156965931137245581.post-13371414689749991522010-03-04T20:42:00.000-08:002010-03-05T17:16:50.848-08:00O, how I love NATS...Not really. It is the best excuse for me to see my mates like Chris Moony at CNU, and a couple of others. Guys that have the same idea about singing, and like to hear the same thing. <i>FREEDOM</i> and <i>RING</i>!!!!!!<div><br /></div><div>Biggest reason that NATS drives me nuts is that I have to sit around with people who know less about a subject...oops, excuse me, they have probably read more books on the subject, but never been able to take the lessons from those books and put them into practical use.</div><div><br /></div><div>Last year, judging Musical Theatre, Upper Level High School Men, I had to sit with two of the most unknowledgeable people I could possibly be paired with. These guys couldn't get over themselves with this kid out of Northen VA. Asked why I wasn't enamoured with him, and was with a young tenor I now teach, I stated that "Well, I can't judge him until he gets his tounge off his vocal chords and sings. Plus, everything is the same. Pretty boring."</div><div><br /></div><div>VANATS is a time that I get to see my Mate Chris Mooney, and we gripe about idiots trying to teach voice. There is being nice, but recognizing crap for what it is: CRAP. And it still sinks to the bottom in the long run.</div>Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0tag:blogger.com,1999:blog-8156965931137245581.post-63690878077649145792010-03-02T09:55:00.000-08:002010-03-02T19:14:23.107-08:00If you can't sing Mozart, why even try to sing?Catchy title, eh? I thought it might liven things up a bit...<div><br /></div><div>When I first started this move to tenor, Jackson would anger me when he told me to work on "Dies bildnis ist bezaubernd schon" or "Dalla sua pace." I mean, "pitch a fit" mad. I hated the thought of being stuck or designated as a "Mozart" tenor. Now that I have grown up, my opinion has changed.</div><div><br /></div><div>Anyone who can't sing Mozart, should hang it up. Honestly. If you can sing Mozart, you can sing <i>ANYTHING</i>. Honestly, where can you find a composer who so perfectly gets the voice? Oh yeah, Rossini. He really knew the voice. So did Verdi and Puccini. Verdi just demanded more declamation and power. More color.</div><div><br /></div><div>But Mozart is like no other composer I know. Misunderstood, and a real technician. His music brings the voice into focus better than any others. It is like a balm for the voice. Technically, it teaches one how to handle singing in passaggio's better than any other composer, as well as teaches one how to save and to sing musically.</div><div><br /></div><div>Misunderstood: Like Rossini people today honestly have no idea just what Mozart called for with his tenors. Tamino is not leggiero. The growth this young man undergoes deserves better than a leggiero. He needs a much more heroic sound. </div><div><br /></div><div>The same with Ottavio. Too often we get to hear these necktie, baby faced tenors who turn him into a real wuss. And the man is stronger than that. He is incredibly conflicted, not knowing just whom to believe.</div><div><br /></div><div>The best Ottavio I have heard is Thorsten Kerl. He is a German Heldentenor, and his voice just glides through Mozart. Jon Vickers was a master at Handel.</div><div><br /></div><div>Honestly, if you have a big voice, especially as a male, and can't sing Mozart, you need to hand in your credentials as a singer. You won't really last long...</div><div><br /></div>Mr. T's placehttp://www.blogger.com/profile/08632397429287297942noreply@blogger.com0