Showing posts with label sometimes I perform. Show all posts
Showing posts with label sometimes I perform. Show all posts
Monday, August 9, 2010
Tuesday, July 27, 2010
Impro Show
We had our show! My first ever acting improvisation show! And there were PEOPLE there! And it went really well! And in the very last scene I started hyperventilating and couldn't calm my heart rate down until 20 minutes later!
12 of us from the class ended up being able to make it to the show. Our teacher, Tom, told us that since only 12 tickets had been pre-ordered he expected about 25 people and due do the small audience size and relatively small size of our class he'd decided to do the show without an interval. This was definitely the right decision because there wasn't an unnecessary break in the energy in the middle, but we did a much more kick ass job pulling people into the show than Tom was expecting - 50 people showed up to be our audience.
The performance was set up as a "Maestro Show" which means that ostensibly it is a competition. Really it's just a good way of having a bunch of improvisers on stage together with some sort of structure. We all got little vests with numbers on them (1-12) and our two directors (our teachers Claire and Tom) would pick numbers from a hat, call those people on to the stage, and give them a scene/scenario/or game. At the end of the scene/scenario/game then the audience would be asked if that was worth 1, 2, 3, 4, or 5 points and everyone in the scene would get as many points as the audience clapped for. (It's in your favour to have your friends in the audience...boosts your applause!) As the show progressed people with lower scores got dropped from the running until there were only two improvisers left - then there was an elimination round and one was crowned MAESTRO! And they won £5, that's the end. Go home.
Make sense?
I got called up for four scenes- I ended up in six because other people kept having scenes where they needed a token lady to show up and I kept being the only female in an aisle seat. (also? I'm way super volunteery) (Yes, that's a word.)
Everyone did a really great job, it was a lot of fun, and we're going to be EVEN better next time. That being said, because this is MY blog and it's all about ME- here's what I did:
The first scene I was in was a parent teacher conference. The set up is designed to have both a battle over status and also as much leaping and justifying as you can shovel in. We kind of lost the plot in the middle but I gather that I, as the head teacher, had called the parents in to talk about their son's eating habits because as a rule we don't prefer the children to eat the furniture and then they were talking about their son like he was a horse and then he had been eating all of the sports equipment and was I sure the school was feeding him adequately and shouldn't that be their responsibility? And MAN that got absurd and confusing quickly. In spite of that we got 5 points! (or 4, I don't actually remember) Woo!
Next I had gibberish scene with Anne Marie. (She's wonderful and Irish.) In gibberish scenes you switch between gibberish and English whenever the directors ding their bell. It's meant to be as fluid as possible going from one to the other in the middle of sentences or even halfway through a word and is excellent for upping the emotional content of a scene because when you're speaking gibberish the only thing you really have to work with is strong emotional and physical states- not so much with the content. Anne Marie had to fire me. As it transpired we worked at a zoo and I had opened the lion enclosure door because I felt that they needed to be free, but 18 people had been killed in the ensuing chaos and really? what choice did she have? Anne Marie was brilliant in closing the scene using the same phrasing I had used about freeing the lions to send me out of the office. 5 points again.
About half the group had been culled at this point and Chris and I got called up to do the final scene of a long running television soap opera in which as many reversals and big reveals as possible happen in the final 60 seconds. This was like taking candy from a baby (a sleeping baby who doesn't know they have any candy) since really all we had to do was cliche after cliche after cliche. I was his mother, I was dying of cancer, he was actually his evil twin, my brain was exploding, I wasn't dying of cancer, blah blah blah and then- (man this would have been cool if we'd actually managed to do it in unison) it was all a dream. 5 points.
You might notice at this point that I've got quite a lot of points.
Anne Marie and I were the final two standing and so as a tie breaker were given the task of filling 60 seconds with neurosis. I went first and freaked out about everyone watching me (inside I was like "what on EARTH am I supposed to be talking about?" First time I'd ever done anything like that.) and then started hyperventilating. This was in character, mind you, I was supposed to be being neurotic; but at that point in the show? Blinded by the spot light? Yeah, important thing to remember: Don't Pretend To Hyperventilate- you'll start doing it for real.
Anne Marie was confused at the beginning of her minute because she had thought she was doing a different word which played in *perfectly* to being neurotic because she kept asking for reassurance that what she was doing was indeed what she was supposed to be doing. It was great fun and Anne Marie won and I'm totally already signed up for the next course in September.
12 of us from the class ended up being able to make it to the show. Our teacher, Tom, told us that since only 12 tickets had been pre-ordered he expected about 25 people and due do the small audience size and relatively small size of our class he'd decided to do the show without an interval. This was definitely the right decision because there wasn't an unnecessary break in the energy in the middle, but we did a much more kick ass job pulling people into the show than Tom was expecting - 50 people showed up to be our audience.
The performance was set up as a "Maestro Show" which means that ostensibly it is a competition. Really it's just a good way of having a bunch of improvisers on stage together with some sort of structure. We all got little vests with numbers on them (1-12) and our two directors (our teachers Claire and Tom) would pick numbers from a hat, call those people on to the stage, and give them a scene/scenario/or game. At the end of the scene/scenario/game then the audience would be asked if that was worth 1, 2, 3, 4, or 5 points and everyone in the scene would get as many points as the audience clapped for. (It's in your favour to have your friends in the audience...boosts your applause!) As the show progressed people with lower scores got dropped from the running until there were only two improvisers left - then there was an elimination round and one was crowned MAESTRO! And they won £5, that's the end. Go home.
Make sense?
I got called up for four scenes- I ended up in six because other people kept having scenes where they needed a token lady to show up and I kept being the only female in an aisle seat. (also? I'm way super volunteery) (Yes, that's a word.)
Everyone did a really great job, it was a lot of fun, and we're going to be EVEN better next time. That being said, because this is MY blog and it's all about ME- here's what I did:
The first scene I was in was a parent teacher conference. The set up is designed to have both a battle over status and also as much leaping and justifying as you can shovel in. We kind of lost the plot in the middle but I gather that I, as the head teacher, had called the parents in to talk about their son's eating habits because as a rule we don't prefer the children to eat the furniture and then they were talking about their son like he was a horse and then he had been eating all of the sports equipment and was I sure the school was feeding him adequately and shouldn't that be their responsibility? And MAN that got absurd and confusing quickly. In spite of that we got 5 points! (or 4, I don't actually remember) Woo!
Next I had gibberish scene with Anne Marie. (She's wonderful and Irish.) In gibberish scenes you switch between gibberish and English whenever the directors ding their bell. It's meant to be as fluid as possible going from one to the other in the middle of sentences or even halfway through a word and is excellent for upping the emotional content of a scene because when you're speaking gibberish the only thing you really have to work with is strong emotional and physical states- not so much with the content. Anne Marie had to fire me. As it transpired we worked at a zoo and I had opened the lion enclosure door because I felt that they needed to be free, but 18 people had been killed in the ensuing chaos and really? what choice did she have? Anne Marie was brilliant in closing the scene using the same phrasing I had used about freeing the lions to send me out of the office. 5 points again.
About half the group had been culled at this point and Chris and I got called up to do the final scene of a long running television soap opera in which as many reversals and big reveals as possible happen in the final 60 seconds. This was like taking candy from a baby (a sleeping baby who doesn't know they have any candy) since really all we had to do was cliche after cliche after cliche. I was his mother, I was dying of cancer, he was actually his evil twin, my brain was exploding, I wasn't dying of cancer, blah blah blah and then- (man this would have been cool if we'd actually managed to do it in unison) it was all a dream. 5 points.
You might notice at this point that I've got quite a lot of points.
Anne Marie and I were the final two standing and so as a tie breaker were given the task of filling 60 seconds with neurosis. I went first and freaked out about everyone watching me (inside I was like "what on EARTH am I supposed to be talking about?" First time I'd ever done anything like that.) and then started hyperventilating. This was in character, mind you, I was supposed to be being neurotic; but at that point in the show? Blinded by the spot light? Yeah, important thing to remember: Don't Pretend To Hyperventilate- you'll start doing it for real.
Anne Marie was confused at the beginning of her minute because she had thought she was doing a different word which played in *perfectly* to being neurotic because she kept asking for reassurance that what she was doing was indeed what she was supposed to be doing. It was great fun and Anne Marie won and I'm totally already signed up for the next course in September.
Tuesday, July 7, 2009
A week after the fact
The show went really well! We had divided up the room (essentially a giant rectangle) so that there was a backstage area on either side. On the left a space fro Meredith, Jo, and Imogen, and on the right behind the screen a space for the back projector, Becca with the computer, Jon, my bass and I, and most of the back end of the grand piano.
We started with "The Performer" which was Meredith with the inner monologue playing over the speakers. I couldn't see because I was backstage, but I could hear that she did an amazing job- beautiful playing and seemingly no evidence of the stage fright that the piece was all about. The applause went on for ages after her piece which meant that I had quite a bit of time to take deep breaths before walking on stage with my bass.
It was helpful that "The instrument" movement was all about my relationship with my bass because that meant that I couldn't look at the audience (I had to focus all my attention on the bass) and that meant that I could forget they were there to some extent. There was a little hiccup at the beginning when I couldn't find my mark where I was supposed to lay the bass down. Eventually after less wandering around in the desert than it felt like I found it and was able to lie down on the floor across from the bass and begin what I thought of as the bass ballet.
In rehearsals I had been rushing and not taking my time or even really remembering to breathe, but there is something about having an audience that heightens the whole thing so that even though I could tell that I was moving calmly and deliberately I was at the same time wondering if I had forgotten a large chunk of the choreography because the whole thing seemed to be over so quickly. To my great relief I neither dropped the bass, nor did I play the theme out of tune. Playing out of tune was a serious concern as I play that portion lying on my side, wrapped around the bass. It is not the most ergonomic playing position...
"The Score" began soon after my piece ended and I would let you know how it went except that in order to smooth out the transitions between the pieces I ended up staying on the stage, tucked behind my bass for the third and final movement. This means that instead of paying attention to what the trio were playing (I'm sure it was wonderful, and I certainly was happy with how the film turned out), I was mostly trying very hard not to twitch my hands or feet which were still visible.
Then at the end people applauded and applauded and we bowed twice and trailed out the way we had rehearsed only to start jumping up and down behind the screens that made the backstage. People were still applauding so we walked back out and bowed again and oh! I was grinning so much. It was an intense and well done performance. I was so proud of all of my collaborators (9 people by the end of things!) and I didn't stop bouncing around about it for days after.
Between the flowers from Latana's final recital, the flowers from the parents at school, and the flowers from this performance- the house is still filled with brightly colored blossoms. One of the perks of living in a house full of performing artists.
We started with "The Performer" which was Meredith with the inner monologue playing over the speakers. I couldn't see because I was backstage, but I could hear that she did an amazing job- beautiful playing and seemingly no evidence of the stage fright that the piece was all about. The applause went on for ages after her piece which meant that I had quite a bit of time to take deep breaths before walking on stage with my bass.
It was helpful that "The instrument" movement was all about my relationship with my bass because that meant that I couldn't look at the audience (I had to focus all my attention on the bass) and that meant that I could forget they were there to some extent. There was a little hiccup at the beginning when I couldn't find my mark where I was supposed to lay the bass down. Eventually after less wandering around in the desert than it felt like I found it and was able to lie down on the floor across from the bass and begin what I thought of as the bass ballet.
In rehearsals I had been rushing and not taking my time or even really remembering to breathe, but there is something about having an audience that heightens the whole thing so that even though I could tell that I was moving calmly and deliberately I was at the same time wondering if I had forgotten a large chunk of the choreography because the whole thing seemed to be over so quickly. To my great relief I neither dropped the bass, nor did I play the theme out of tune. Playing out of tune was a serious concern as I play that portion lying on my side, wrapped around the bass. It is not the most ergonomic playing position...
"The Score" began soon after my piece ended and I would let you know how it went except that in order to smooth out the transitions between the pieces I ended up staying on the stage, tucked behind my bass for the third and final movement. This means that instead of paying attention to what the trio were playing (I'm sure it was wonderful, and I certainly was happy with how the film turned out), I was mostly trying very hard not to twitch my hands or feet which were still visible.
Then at the end people applauded and applauded and we bowed twice and trailed out the way we had rehearsed only to start jumping up and down behind the screens that made the backstage. People were still applauding so we walked back out and bowed again and oh! I was grinning so much. It was an intense and well done performance. I was so proud of all of my collaborators (9 people by the end of things!) and I didn't stop bouncing around about it for days after.
Between the flowers from Latana's final recital, the flowers from the parents at school, and the flowers from this performance- the house is still filled with brightly colored blossoms. One of the perks of living in a house full of performing artists.
Thursday, July 2, 2009
The Three Elements: The Preparation
The hall opened at 11 to start setting up. I wasn't totally clear on what was going to be happening then, but I figured if anyone was going to be there- it was only polite to be there as well since it was for my project. I dropped my satchel and extra clothes off first and then tromped back to Guildhall to get my bass. Have you heard how hot it has been here this week? Dragging my bass (in a black case) from the Barbican to Bishopsgate was sweaty work.
The other performer couldn't get to Bishopsgate until 6pm for his sound check so I had the enviable position of having ALL DAY LONG to set up, try things out, do my sound check in chunks, and just generally really acclimate myself to the environment and area.
I had the stage tech guy (who I think was named Clive...but I don't remember exactly) moving things around to my satisfaction- putting up conference barriers and my big screen and moving the speakers, piano, and chairs around. He was incredibly nice and helpful and I gave him a big bag of chocolate covered espresso beans at the end of the night. Lovely man.
None of my performers could get there until one so I went ahead and worked on setting up the lighting for the bass ballet piece first with the lighting/sound guy- Dave. The piece is a very long piece- not durationally but, um, positionally? It takes a big room, but all on one plane if that makes any sense... Anyhow- I'm on the floor for quite a lot of that piece and was wearing shorts and a tank top because of the heat. At one point I slide myself and the bass across the floor- but was struggling quite a lot with that in the sound check because I was sticking to the floor. Ew. Fortunately for the performance I was A: quite a lot cooler and B: wearing quite a lot more clothing. So it went off without a hitch then. We put gaffer tape I on the floor so I had some spots to eye in the performance so that I didn't end up too far away from the spot lights.
Meredith showed up around 1 and we worked on the stage fright piece at that point. I was still not 100% sold on the nudity of that piece. I was about 95% there, but I wanted to run it again with a small audience in the space in order to make my final decision. So we got Lucy, the project manager for the department, and the two women who do the scheduling for the venue to watch the piece. Meredith had been doing such a good job of just owning the piece. She's amazing to watch. And they all agreed- we needed the nudity to fully make the point. (We tried it nude first, and then ran the opening again clothed)
Then at around half 3, the final version of the graphic score, our artist, and two thirds of the improvising team showed up. Okay, so it was cutting it close to have them rehearsing the final version ON THE DAY, but you know what? That was what we had to do. Two days before the show I had spent 5 hours straight in the computer lab with Paddy mixing the final version of the inner monologue and the day before the show I had spent 3 hours with Becca working on the final structure of the film. But it all came together. Oh! And the day before the show was also the first time we managed to get time with our acting director/coach guy Brodie who was so helpful in terms of figuring out entrances and exits and transitions between the movements.
So it all came together. I spent the hour before the show literally bouncing around. (I talked to Clive afterwards saying that it had only been the hour before that I was bouncing and he looked at me like I was crazy and said something along the lines of " I thought bouncy was your natural state" so the "hour before" claim may be wishful thinking on my part) The first half of the show I tried to stay in and listen but the bounciness was taking over. I meditated for a while sitting down, then I left the hall and paced, and finally I found a somewhat secluded area and just turned for a while. Then I washed my feet. Then I went to the bathroom about 15 times, just because I could. Then I washed my feet again. And bounced a little more.
Then it was showtime.
The other performer couldn't get to Bishopsgate until 6pm for his sound check so I had the enviable position of having ALL DAY LONG to set up, try things out, do my sound check in chunks, and just generally really acclimate myself to the environment and area.
I had the stage tech guy (who I think was named Clive...but I don't remember exactly) moving things around to my satisfaction- putting up conference barriers and my big screen and moving the speakers, piano, and chairs around. He was incredibly nice and helpful and I gave him a big bag of chocolate covered espresso beans at the end of the night. Lovely man.
None of my performers could get there until one so I went ahead and worked on setting up the lighting for the bass ballet piece first with the lighting/sound guy- Dave. The piece is a very long piece- not durationally but, um, positionally? It takes a big room, but all on one plane if that makes any sense... Anyhow- I'm on the floor for quite a lot of that piece and was wearing shorts and a tank top because of the heat. At one point I slide myself and the bass across the floor- but was struggling quite a lot with that in the sound check because I was sticking to the floor. Ew. Fortunately for the performance I was A: quite a lot cooler and B: wearing quite a lot more clothing. So it went off without a hitch then. We put gaffer tape I on the floor so I had some spots to eye in the performance so that I didn't end up too far away from the spot lights.
Meredith showed up around 1 and we worked on the stage fright piece at that point. I was still not 100% sold on the nudity of that piece. I was about 95% there, but I wanted to run it again with a small audience in the space in order to make my final decision. So we got Lucy, the project manager for the department, and the two women who do the scheduling for the venue to watch the piece. Meredith had been doing such a good job of just owning the piece. She's amazing to watch. And they all agreed- we needed the nudity to fully make the point. (We tried it nude first, and then ran the opening again clothed)
Then at around half 3, the final version of the graphic score, our artist, and two thirds of the improvising team showed up. Okay, so it was cutting it close to have them rehearsing the final version ON THE DAY, but you know what? That was what we had to do. Two days before the show I had spent 5 hours straight in the computer lab with Paddy mixing the final version of the inner monologue and the day before the show I had spent 3 hours with Becca working on the final structure of the film. But it all came together. Oh! And the day before the show was also the first time we managed to get time with our acting director/coach guy Brodie who was so helpful in terms of figuring out entrances and exits and transitions between the movements.
So it all came together. I spent the hour before the show literally bouncing around. (I talked to Clive afterwards saying that it had only been the hour before that I was bouncing and he looked at me like I was crazy and said something along the lines of " I thought bouncy was your natural state" so the "hour before" claim may be wishful thinking on my part) The first half of the show I tried to stay in and listen but the bounciness was taking over. I meditated for a while sitting down, then I left the hall and paced, and finally I found a somewhat secluded area and just turned for a while. Then I washed my feet. Then I went to the bathroom about 15 times, just because I could. Then I washed my feet again. And bounced a little more.
Then it was showtime.
Tuesday, March 3, 2009
Coming Soon!
This blog is getting behind, for which I apologise. However, I need to be getting some sleep so that I can teach the tykes well tomorrow (we're singing songs about caterpillars and we're going to wiggle and spin and munch. I'm using a lesson plan from a book and trying to un-twee it a bit.)
Here are some mini entries so that A: you know what is coming and B: I make a commitment to actually write about them...
Cornwall: The End- amazing, so much fun! Beautiful weather! I miss the kids already.
Bubblegum: The Conference- a very silly piece written by my flatmate- I chewed bubblegum in concert for it.
Taming of the Shrew- RSC performance with one of my favorite actresses. Wow, that was difficult to watch. Remind me that I HATE the taming of the shrew and I really ought not to see it, even if I love the people in it. Also, is Shakespeare evil? More to come!
Here are some mini entries so that A: you know what is coming and B: I make a commitment to actually write about them...
Cornwall: The End- amazing, so much fun! Beautiful weather! I miss the kids already.
Bubblegum: The Conference- a very silly piece written by my flatmate- I chewed bubblegum in concert for it.
Taming of the Shrew- RSC performance with one of my favorite actresses. Wow, that was difficult to watch. Remind me that I HATE the taming of the shrew and I really ought not to see it, even if I love the people in it. Also, is Shakespeare evil? More to come!
Wednesday, July 30, 2008
Theodora
What a sublimely beautiful oratorio.
It had been quite a long time since I played with an orchestra (May, 2006) and longer still since I had played for an opera. I started out the week on a high playing wise because I had just had a lesson with Peter the night before I left for Norfolk so I was busy being excited about the bass "Oh, that's how I use the bow!" and the like. The first day of rehearsals was mostly sight reading and I have always enjoyed that part of the process of learning music- when everything is new and making mistakes is part of the game, when you're getting introduced to the music.
The orchestra was full of lovely people as well. Robert Houssart, the conductor and harpsichordist- is enthusiastic and fun. There were 5 violins: Emily from Boston; Marja from Finland via Cork, Ireland; Aiden and Naimh from Ireland; and Tim the 15 year old whose family I was staying with. We had one viola- Tom who has impressively mobile eyebrows; and two cellists- Harriet from the South of England, and Sara- our continuo cellist from Germany. So we were a right international bunch. Two oboeists (Sharon, England; Sian, Minnesota), a timpanist (Polly, Scotland), and a trumpet player (Will, England) all showed up later in the week. Oh, and David- the repititeur harpsichordist (he played for the singers during rehearsals).
Do you know what recitatives are? Wikipedia defines it as "a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms of ordinary speech." Basically it is where all of the exposition happens in operas, because there isn't much space for it in the arias. They also, particularly in baroque music, are full clear cadences. So someone will sing a sentence, and then you have a big V-I and I don't know how to explain it other than that or singing it to you, but that doesn't really work on blogs...Right, so anyhow- the point of this is that through playing this music and all of the recitatives that we played and listened to- I now feel like I understand so much more of the theory that I learned in undergrad from a practical standpoint and I wish in some ways that either I could go back to those classes now, or I could have some how had this experience before (or during) those classes.
Same thing with styles of bowing and articulation- when playing baroque excerpts for orchestral excerpt class we would be told to play light, don't hit the last notes heavily, let go of the unimportant notes, know where the phrase is going and toss off those notes that are only passing. I never really got this- it was hard for me to hear out of context and really frustrating at the time. Now I am like, dude- we really should have been made to play baroque operas in small chamber orchestras, what a great learning opportunity that would have been.
That is me now. During the week however, I was constantly screwing up during rehearsals and playing out of tune and forgetting to look at key signatures and just generally feeling like my playing was not up to snuff. So I wasn't as pleased with the whole thing as I am now. Now I want to practice (me! I want to practice! Okay, so not a whole lot- but there are certain things that I would like to work up again and wouldn't it be lovely to play for fun? Without any sort of pressure?) because then if I get to go back again next year, I wouldn't freak out everytime Robert whipped his head around because I jumped an entrance or played a wrong note. To be fair, I was right next to him so he could hear me clearly, but his starting every time I messed up was not helpful.
Anyhow- enough of my angst about my playing: Handel sure knew how to write music. I don't think I have ever fallen in love with an opera/oratorio like I have with this one. It wasn't just the arias that would get stuck in my head; it is such a lovely work that I would get bits of recitative stuck in my head. 'O That I on Wings Could Rise', one of Theodora's arias. Lovely. And anything Irene sings. 'Wither, Princess, Do You Fly'. And most of the choruses.
It's a heartbreaking story too- the christians are all told to make a sacrifice to the Roman god Jove or be killed. Theodora, a christian princess and Irene, her group's pristess refuse. Instead of killing Theodora though- because shis such a prominent christian, she is setanced to be turned in to a whore. This, because she is so very virtuous is worse than death. Didymus, a Roman soldier is so overcome and impressed with her virtue that he goes to tr save her and convinces Theodora to switch places with him in her prison cell. Didymus is found out and sentenced to die for helping the prisoner to escape. Theodora is also now sentenced to die should she be found. Overjoyed that her virtue is still protected, Theodora races back to the palace to turn herself in. Both Didymus and Theodora argue that they should be killed in place of the other. In interest of fairness, they are both killed. The end.
Obviously this is a bit more nuanced in the actual opera.
It had been quite a long time since I played with an orchestra (May, 2006) and longer still since I had played for an opera. I started out the week on a high playing wise because I had just had a lesson with Peter the night before I left for Norfolk so I was busy being excited about the bass "Oh, that's how I use the bow!" and the like. The first day of rehearsals was mostly sight reading and I have always enjoyed that part of the process of learning music- when everything is new and making mistakes is part of the game, when you're getting introduced to the music.
The orchestra was full of lovely people as well. Robert Houssart, the conductor and harpsichordist- is enthusiastic and fun. There were 5 violins: Emily from Boston; Marja from Finland via Cork, Ireland; Aiden and Naimh from Ireland; and Tim the 15 year old whose family I was staying with. We had one viola- Tom who has impressively mobile eyebrows; and two cellists- Harriet from the South of England, and Sara- our continuo cellist from Germany. So we were a right international bunch. Two oboeists (Sharon, England; Sian, Minnesota), a timpanist (Polly, Scotland), and a trumpet player (Will, England) all showed up later in the week. Oh, and David- the repititeur harpsichordist (he played for the singers during rehearsals).
Do you know what recitatives are? Wikipedia defines it as "a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms of ordinary speech." Basically it is where all of the exposition happens in operas, because there isn't much space for it in the arias. They also, particularly in baroque music, are full clear cadences. So someone will sing a sentence, and then you have a big V-I and I don't know how to explain it other than that or singing it to you, but that doesn't really work on blogs...Right, so anyhow- the point of this is that through playing this music and all of the recitatives that we played and listened to- I now feel like I understand so much more of the theory that I learned in undergrad from a practical standpoint and I wish in some ways that either I could go back to those classes now, or I could have some how had this experience before (or during) those classes.
Same thing with styles of bowing and articulation- when playing baroque excerpts for orchestral excerpt class we would be told to play light, don't hit the last notes heavily, let go of the unimportant notes, know where the phrase is going and toss off those notes that are only passing. I never really got this- it was hard for me to hear out of context and really frustrating at the time. Now I am like, dude- we really should have been made to play baroque operas in small chamber orchestras, what a great learning opportunity that would have been.
That is me now. During the week however, I was constantly screwing up during rehearsals and playing out of tune and forgetting to look at key signatures and just generally feeling like my playing was not up to snuff. So I wasn't as pleased with the whole thing as I am now. Now I want to practice (me! I want to practice! Okay, so not a whole lot- but there are certain things that I would like to work up again and wouldn't it be lovely to play for fun? Without any sort of pressure?) because then if I get to go back again next year, I wouldn't freak out everytime Robert whipped his head around because I jumped an entrance or played a wrong note. To be fair, I was right next to him so he could hear me clearly, but his starting every time I messed up was not helpful.
Anyhow- enough of my angst about my playing: Handel sure knew how to write music. I don't think I have ever fallen in love with an opera/oratorio like I have with this one. It wasn't just the arias that would get stuck in my head; it is such a lovely work that I would get bits of recitative stuck in my head. 'O That I on Wings Could Rise', one of Theodora's arias. Lovely. And anything Irene sings. 'Wither, Princess, Do You Fly'. And most of the choruses.
It's a heartbreaking story too- the christians are all told to make a sacrifice to the Roman god Jove or be killed. Theodora, a christian princess and Irene, her group's pristess refuse. Instead of killing Theodora though- because shis such a prominent christian, she is setanced to be turned in to a whore. This, because she is so very virtuous is worse than death. Didymus, a Roman soldier is so overcome and impressed with her virtue that he goes to tr save her and convinces Theodora to switch places with him in her prison cell. Didymus is found out and sentenced to die for helping the prisoner to escape. Theodora is also now sentenced to die should she be found. Overjoyed that her virtue is still protected, Theodora races back to the palace to turn herself in. Both Didymus and Theodora argue that they should be killed in place of the other. In interest of fairness, they are both killed. The end.
Obviously this is a bit more nuanced in the actual opera.
Norfolk
Norfolk was amazing.
It was blissful weather most of the time and so I frequently went on bike rides around the area- one lane roads (no worries about which side to be on then!) through wheat fields and wild flowers with rabbits jumping out all the time and pheasants and hawks and butterflies and little boys on bikes who challenge you to races. Oh, and centuries old farm houses and a community pea patch that smelled like dill (you have to remember that I actually *like* dill, so this was nice.) And that was just the bike rides!
We put together an opera from scratch in 3 weeks. The instrumentalists were only there for the last week (or, in the case of Will our trumpeter- only the performances. Why did Handel only write trumpet into one movement of a 58 movement work?) and for the first couple of days we were rehearsing around 9 hours a day. So, a little bit in to the deep end after not playing hardly at all for most of the year.
The singers were from all over the place, but a the largest group of them were from DIT in Dublin. Dublin Institute of Technology School of Music and Drama. (Why does a school of technology have a conservatory? Same reason a university synonymous with medicine has a conservatory- the conservatories keep going bankrupt.) There were also a bunch of Australians and two other Americans- my accent was all over the place.
We were housed with various area families. I was with the Lakzo Schroeders- who are wonderful and have 5 children. The first night I was there was very cold; so the older members of the family (The parents Norbert and Tina and their eldest son Tim who played violin with the orchestra) and I sat by the fire in their 17th century living room and chatted about all sorts of things. This proved to be too tempting for the younger members of the family who had all already been put to bed- so one by one they tromped down the stairs with their wet, freshly bathed heads and curled up on their parents laps or on the rug in front of the fire. It was all ridiculously charming.
Everyone got very involved in the making of the costumes, sets, and props. Though mostly the costumes. We needed Roman armor (sawed off flower pots), various Roman lady outfits, christian peasant clothes, etc. All of the singers had at *least* one costume change and all of the costumes were made on site in a little house down the road from the church we were performing in. They were designed and made mostly by Gidon Saks (http://www.intermusica.co.uk/saks)
who it turns out is quite a successful opera singer himself. Like, really successful. And he was making the costumes, 'cause he wanted to. Also, he is a total character and I adore him even though he was slagging off Seattle because he had bad experiences there with Seattle Opera and the Ring Cycle. The costume house was *tiny* by the way. Like, small enough that I could bump my head on the rafters. Gidon is definitely over 6' tall, so I'm not really sure how he survived. He also did a masterclass that I went and watched and was alternately inspired and rolling on the floor with laughter.
The performances took place in St. Mary, South Creake (http://www.norfolkchurches.co.uk/southcreake/southcreake.htm) There is a roster on the wall of vicars for the congregation and it goes back to the 1100's. Cool, huh? I had never seen a church before that had both historic graveyards and a very current graveyard. I spent a lot of time hanging out with Robert Pilch (d.1879) and Susanna Collins (d.1798) as well as the George brothers (d. Oct. 1916, Nov. 1916, 1919). We had built a stage in the center of the church so that the opera was in the round. A little bit weird, but effective. We weren't allowed to have our final, ending party until everything was completely cleaned up and put away and the church put back to rights. We managed to complete this in an impressive hour and a quarter.
There was a wonderful community spirit throughout the whole place and I'm hoping to go back again either for the Easter concert of another of these operas that they do in the summer. It's a strange thing though- I've never heard of any other summer program that was entirely invitation only and depended so completely on who you know. Peter is the one who got this gig for me. Thanks, Peter!
It was blissful weather most of the time and so I frequently went on bike rides around the area- one lane roads (no worries about which side to be on then!) through wheat fields and wild flowers with rabbits jumping out all the time and pheasants and hawks and butterflies and little boys on bikes who challenge you to races. Oh, and centuries old farm houses and a community pea patch that smelled like dill (you have to remember that I actually *like* dill, so this was nice.) And that was just the bike rides!
We put together an opera from scratch in 3 weeks. The instrumentalists were only there for the last week (or, in the case of Will our trumpeter- only the performances. Why did Handel only write trumpet into one movement of a 58 movement work?) and for the first couple of days we were rehearsing around 9 hours a day. So, a little bit in to the deep end after not playing hardly at all for most of the year.
The singers were from all over the place, but a the largest group of them were from DIT in Dublin. Dublin Institute of Technology School of Music and Drama. (Why does a school of technology have a conservatory? Same reason a university synonymous with medicine has a conservatory- the conservatories keep going bankrupt.) There were also a bunch of Australians and two other Americans- my accent was all over the place.
We were housed with various area families. I was with the Lakzo Schroeders- who are wonderful and have 5 children. The first night I was there was very cold; so the older members of the family (The parents Norbert and Tina and their eldest son Tim who played violin with the orchestra) and I sat by the fire in their 17th century living room and chatted about all sorts of things. This proved to be too tempting for the younger members of the family who had all already been put to bed- so one by one they tromped down the stairs with their wet, freshly bathed heads and curled up on their parents laps or on the rug in front of the fire. It was all ridiculously charming.
Everyone got very involved in the making of the costumes, sets, and props. Though mostly the costumes. We needed Roman armor (sawed off flower pots), various Roman lady outfits, christian peasant clothes, etc. All of the singers had at *least* one costume change and all of the costumes were made on site in a little house down the road from the church we were performing in. They were designed and made mostly by Gidon Saks (http://www.intermusica.co.uk/saks)
who it turns out is quite a successful opera singer himself. Like, really successful. And he was making the costumes, 'cause he wanted to. Also, he is a total character and I adore him even though he was slagging off Seattle because he had bad experiences there with Seattle Opera and the Ring Cycle. The costume house was *tiny* by the way. Like, small enough that I could bump my head on the rafters. Gidon is definitely over 6' tall, so I'm not really sure how he survived. He also did a masterclass that I went and watched and was alternately inspired and rolling on the floor with laughter.
The performances took place in St. Mary, South Creake (http://www.norfolkchurches.co.uk/southcreake/southcreake.htm) There is a roster on the wall of vicars for the congregation and it goes back to the 1100's. Cool, huh? I had never seen a church before that had both historic graveyards and a very current graveyard. I spent a lot of time hanging out with Robert Pilch (d.1879) and Susanna Collins (d.1798) as well as the George brothers (d. Oct. 1916, Nov. 1916, 1919). We had built a stage in the center of the church so that the opera was in the round. A little bit weird, but effective. We weren't allowed to have our final, ending party until everything was completely cleaned up and put away and the church put back to rights. We managed to complete this in an impressive hour and a quarter.
There was a wonderful community spirit throughout the whole place and I'm hoping to go back again either for the Easter concert of another of these operas that they do in the summer. It's a strange thing though- I've never heard of any other summer program that was entirely invitation only and depended so completely on who you know. Peter is the one who got this gig for me. Thanks, Peter!
Saturday, July 19, 2008
On my way
Today has been a big day already and it is only just past noon.
For the rest of the summer my stuff, and sometimes my self- will be staying in Stoke Newington in a house that is being rented by friends of my friend Imogen. I am staying in a room on the top floor (3rd or 2nd depending on how you count it) and the people I've met who already live there are lovely. But mostly I'm excited not to be homeless and also to have somewhere to store *all my stuff.*
How did I get this much stuff? I came with three suitcases and now just moved with the aid of a van. Like, a proper van for transporting stuff- not a minivan which is called a "people carrier" here. Funny story that- I called up a taxi service yesterday, explained that I was moving all of my worldly possessions and could I hire a car? They said certainly and so at 11am this morning a people carrier showed up. Unfortunately- the driver took one look at all of my *stuff* and decided that his band new people carrier could not take it all. Which is reasonable and his prerogative- but still put me in a bit of a bind. So I called up the taxi service again and they said that they could send a van (two seats, lots of plywood covered storage area), but I could not ride with it. Since at this point I was getting panicky- I said Okay. I would ride the bus and hope my new housemates were nice people who would help unload the van before I got there.
Fortunately it all turned out peachy. The driver, Aaron, was lively and entertaining and helped me load all of my *stuff* and then let me ride in the van too. Because he's cool. He's from Sweden, but his mother is Jamaican and he grew up in Leeds where he played professional football for a while. His partner just got pregnant and their first child is due on Christmas eve- he's not sure about names but he really likes "Casey" and he asked if I minded if he put that on the list? I said absolutely, go for it.
I leave for King's Cross station in half an hour or so with my bass, my little red bag, my stool, my backpack, and another bag that I meant to leave at the sublet house but accidentally forgot. I'm taking all of this on the tube in order to get to the train station where I am meeting Lisa Hanson for lunch before getting on a train to Kings Lynn station in Norfolk where I will spend the week trying to remember how to play the bass.
I'm going to Norfolk for a week of Handel Opera. Well, technically an oratorio- Theadora. We're rehearsing all week and then performing next weekend. The singers and continuo players have already been there for a week. I have no idea what I'm getting in to. But it should be good- the food we get is apparently legendary.
Last night I went out to Walthamsthow for a lesson with Peter McCarthy. It was great to see him and catch up, and truly lovely to get to play his bass. Magnificent instrument. However, it was unsettling to realize just how very much I have forgotten. Yes, I have played bass this year- but it is a very different thing to be using a bass to make a riff on versus the much more nuanced playing that is needed for baroque and classical music. I'm pleased I had the lesson before the rehearsals begin, but I am more than a little nervous about this whole process now. That being said- before they had me, they had no bassist at all- so better me than nothing. And I'm not terrible. I do have a degree in this after all. I just haven't played in an orchestra in two years.
I am bringing my computer along with me, so hopefully I will be able to blog from out there. Obviously this is subject to what sort of Internet I can find- but at the very least I'll write some blogs and take photos to post when I get back on the 27th.
For the rest of the summer my stuff, and sometimes my self- will be staying in Stoke Newington in a house that is being rented by friends of my friend Imogen. I am staying in a room on the top floor (3rd or 2nd depending on how you count it) and the people I've met who already live there are lovely. But mostly I'm excited not to be homeless and also to have somewhere to store *all my stuff.*
How did I get this much stuff? I came with three suitcases and now just moved with the aid of a van. Like, a proper van for transporting stuff- not a minivan which is called a "people carrier" here. Funny story that- I called up a taxi service yesterday, explained that I was moving all of my worldly possessions and could I hire a car? They said certainly and so at 11am this morning a people carrier showed up. Unfortunately- the driver took one look at all of my *stuff* and decided that his band new people carrier could not take it all. Which is reasonable and his prerogative- but still put me in a bit of a bind. So I called up the taxi service again and they said that they could send a van (two seats, lots of plywood covered storage area), but I could not ride with it. Since at this point I was getting panicky- I said Okay. I would ride the bus and hope my new housemates were nice people who would help unload the van before I got there.
Fortunately it all turned out peachy. The driver, Aaron, was lively and entertaining and helped me load all of my *stuff* and then let me ride in the van too. Because he's cool. He's from Sweden, but his mother is Jamaican and he grew up in Leeds where he played professional football for a while. His partner just got pregnant and their first child is due on Christmas eve- he's not sure about names but he really likes "Casey" and he asked if I minded if he put that on the list? I said absolutely, go for it.
I leave for King's Cross station in half an hour or so with my bass, my little red bag, my stool, my backpack, and another bag that I meant to leave at the sublet house but accidentally forgot. I'm taking all of this on the tube in order to get to the train station where I am meeting Lisa Hanson for lunch before getting on a train to Kings Lynn station in Norfolk where I will spend the week trying to remember how to play the bass.
I'm going to Norfolk for a week of Handel Opera. Well, technically an oratorio- Theadora. We're rehearsing all week and then performing next weekend. The singers and continuo players have already been there for a week. I have no idea what I'm getting in to. But it should be good- the food we get is apparently legendary.
Last night I went out to Walthamsthow for a lesson with Peter McCarthy. It was great to see him and catch up, and truly lovely to get to play his bass. Magnificent instrument. However, it was unsettling to realize just how very much I have forgotten. Yes, I have played bass this year- but it is a very different thing to be using a bass to make a riff on versus the much more nuanced playing that is needed for baroque and classical music. I'm pleased I had the lesson before the rehearsals begin, but I am more than a little nervous about this whole process now. That being said- before they had me, they had no bassist at all- so better me than nothing. And I'm not terrible. I do have a degree in this after all. I just haven't played in an orchestra in two years.
I am bringing my computer along with me, so hopefully I will be able to blog from out there. Obviously this is subject to what sort of Internet I can find- but at the very least I'll write some blogs and take photos to post when I get back on the 27th.
Saturday, July 12, 2008
My IPE
I took my own sweet time writing about this one, huh? Thanks for your patience!
Basically- it went totally swimmingly. The three of us met up at 5:30 and took over the green room at Bishopsgate Institute to do some run throughs and basically just make sure that we knew what we were doing. I made sure we timed them all as well because I was massively paranoid that we were going to cut various sections short and end up with a 5 minute piece instead of 10. This was a totally valid fear as our first run clocked in at 6 minutes...
Fortunately we all relaxed and began to focus on things like dynamic change, the pace of the piece, and actually began listening to each other instead of just trying to remember what came next. We rehearsed for about an hour, brought all of the equipment downstairs, did a quick sound check to make sure that the balance between the instruments and the various amplification methods were working and then sat down to watch the start of the show.
There were six of us performing that evening. Kate, Jorge, Andreas, Heather, Nick, and myself. Kate's piece started off the evening and it was beautiful and well played and enjoyable to listen to. I had spent the whole day up until that point being really excited about the performance instead of nervous; but as soon as I heard Kate's piece I began to get nervous and stayed that way through most of the rest of the concert. Every one's pieces were interesting and engaging and it was a lovely concert.
During the intermission I went over and talked to Jo who said happy fourth of July and then did finger fireworks for me. She made the shapes with her hands and did a remarkably accurate vocal sound track to the fireworks. We decided our favorites were the swirly ones that have that really high pitched whine. I know this sounds weird, but it was totally cool and I left feeling like I really had seen a fireworks show. With all my favorite colors too.
Anyhow, back to the show- we were on last and I play the first notes of the piece. Thank god for vibrato- that way you can shake and not harm the music! It only took about 30 seconds to relax and start really enjoying what we were playing. By the penultimate section I was grinning hugely and putting my whole body into my playing.
We got a huge round of applause and I spent the rest of the night continuing to grin. Cos, Kate's bassist from her band The Rude Mechanicals came up afterwards and told me that my piece had been his favorite, that he was impressed with how well I managed to combine acoustic and electronic elements. I told him it was my first piece and he was shocked! Yay!!!
Unlike my Senior recital at Peabody where it took me months to be able to listen to the recording of my recital, I listened to this piece within 15 minutes of having played it. And then I listened to it again. And I've listened to it a couple of times since, because I still get a big kick out of it.
To celebrate I brought Dave and Gemma, and Jon and Ella back to our flat for some food where we then proceeded to play Boggle and Pit until 3:30 in the morning. It was super fun, and a verbal enough crowd that the competition in boggle was intense.
I am trying to figure out how to post the recording of the performance on the blog, but blogger doesn't host sound files, so I am exploring other hosts for that. In the meantime, if you would like to hear it, email me and I will see if I can get the file small enough to email back to you.
Basically- it went totally swimmingly. The three of us met up at 5:30 and took over the green room at Bishopsgate Institute to do some run throughs and basically just make sure that we knew what we were doing. I made sure we timed them all as well because I was massively paranoid that we were going to cut various sections short and end up with a 5 minute piece instead of 10. This was a totally valid fear as our first run clocked in at 6 minutes...
Fortunately we all relaxed and began to focus on things like dynamic change, the pace of the piece, and actually began listening to each other instead of just trying to remember what came next. We rehearsed for about an hour, brought all of the equipment downstairs, did a quick sound check to make sure that the balance between the instruments and the various amplification methods were working and then sat down to watch the start of the show.
There were six of us performing that evening. Kate, Jorge, Andreas, Heather, Nick, and myself. Kate's piece started off the evening and it was beautiful and well played and enjoyable to listen to. I had spent the whole day up until that point being really excited about the performance instead of nervous; but as soon as I heard Kate's piece I began to get nervous and stayed that way through most of the rest of the concert. Every one's pieces were interesting and engaging and it was a lovely concert.
During the intermission I went over and talked to Jo who said happy fourth of July and then did finger fireworks for me. She made the shapes with her hands and did a remarkably accurate vocal sound track to the fireworks. We decided our favorites were the swirly ones that have that really high pitched whine. I know this sounds weird, but it was totally cool and I left feeling like I really had seen a fireworks show. With all my favorite colors too.
Anyhow, back to the show- we were on last and I play the first notes of the piece. Thank god for vibrato- that way you can shake and not harm the music! It only took about 30 seconds to relax and start really enjoying what we were playing. By the penultimate section I was grinning hugely and putting my whole body into my playing.
We got a huge round of applause and I spent the rest of the night continuing to grin. Cos, Kate's bassist from her band The Rude Mechanicals came up afterwards and told me that my piece had been his favorite, that he was impressed with how well I managed to combine acoustic and electronic elements. I told him it was my first piece and he was shocked! Yay!!!
Unlike my Senior recital at Peabody where it took me months to be able to listen to the recording of my recital, I listened to this piece within 15 minutes of having played it. And then I listened to it again. And I've listened to it a couple of times since, because I still get a big kick out of it.
To celebrate I brought Dave and Gemma, and Jon and Ella back to our flat for some food where we then proceeded to play Boggle and Pit until 3:30 in the morning. It was super fun, and a verbal enough crowd that the competition in boggle was intense.
I am trying to figure out how to post the recording of the performance on the blog, but blogger doesn't host sound files, so I am exploring other hosts for that. In the meantime, if you would like to hear it, email me and I will see if I can get the file small enough to email back to you.
Thursday, July 3, 2008
City of London Festival
Heather's IPE piece
9lives- check out the electric! (I'm so hip.)
Emma's beautiful IPE song about the 1666 fire of London.9lives had a gig with the City of London festival yesterday. There is a bandstand in Finsbury Circus and we played for an hour in the early evening. We played the two songs that we have collaboratively written: Earth and "D" as well as a number of member's IPE (Independent Practice Enquiry) final project songs. The sound quality was a little weird because of the acoustics of the band stand and being outside- but man, we played well. Here are some pictures from the gig. No recording, sorry about that. But we are planning on getting into the recording studio at school early next year to do a demo and start up a myspace page for the band. Of course, that will mean that we need to have more than 20 minutes of music total....
Sunday, June 29, 2008
MapMaking at St. Luke's
St. Luke's is a converted church that the London Symphony Orchestra has turned into a fabulous (and high tech) concert and rehearsal space. It is where our Equator project will eventually be performed in October. On Friday we had our first "run through." Quotation marks are important because nearly all of the graphics are still drafts and the music is only beginning to be composed and so is also still in a nebulous stage. It was kind of silly to have such an intense showing day at this stage, but oh well. It was good to see where everyone has got to. Probably "everyone" should also be in quotes since a few artists refused to show their work.
In any case- more photos!
As a side note- I have spent the last month feeling awkward about how bad I have been sounding on the baroque bass- the sound quality has been just crap and it has been very difficult to get anything like a clear sound out of the instrument. Last night it occurred to me that I had my bow rehaired over spring break and probably it could use some rosin. The effect of the rosin was immediate and huge. Now I am embarrassed about how long it took me to figure that out...sheesh.
Sunday, March 23, 2008
9lives had a gig!
We played on the free stage at the Barbican before Ready, Steady, Blow! which was a large concert attended by many many many primary school children and performed by the Guildhall Symphonic Wind Band, the 1st year GSMD wind, brass, and percussion students, the Morpeth band from Globetown, and the something and Dagenham youth music something or rather...sorry to be so unhelpful with that one.
Anyhow- Tara's parents came to hear us play and I convinced them that a really good idea would be for them to take pictures for me. These are the best of the results. (I particularly like the one of me and Jo looking off into the distance together.)
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