Stuck writing a bio? Give this handy template a shot from The Cereal List:
[NAME] has been recognized as one of the most exciting [INSTRUMENT + 'ISTS'] of [HIS/HER] generation. Since [HIS/HER] debut with the [SMALL REGIONAL ORCHESTRA], [HE/SHE] has been igniting audiences with [HIS/HER] [ADJECTIVE] technique and [SPELLBINDING INTERPRETATIONS OR CAPTIVATING SINCERITY]. [NAME] has performed in [LIST AT LEAST FIVE COUNTRIES, BUT NO MORE THAN 15. IF NUMBER IS > THAN 15, USE CONTINENT NAMES] and garnered many prizes at prestigious national and international competitions, resulting in solo performances at [LIST UP TO 15 FAMOUS CONCERT/RECITAL HALLS]. In addition, [NAME] has been a featured guest performer at many renowned music festivals, including [LIST UP TO 10 FESTIVALS] and at meetings of the [ORGANIZATION(S) DEDICATED TO YOUR INSTRUMENT].
Admittedly, this looks a little too familiar. Almost like it was stolen from my bio.... Guaranteed to alienate, confuse, anger, puzzle, and, most of all, impress!
via The Collaborative Piano Blog
Monday, August 31, 2009
Thursday, August 27, 2009
Where does the energy come from
Not many posts this week. I tried my hand at my first Sarastro last night and then had an audition today.
The Sarastro was interesting in that it's the first opera that I've done since February that didn't have me running around the stage like a madman and it made it a bit of a challenge to find the energy needed to give a a really engaged performance. I've found, in the past, that you can either take the energy for the character from the physicality of the role (say Bartolo or Don Magnifico,) or from an engaging character that has a lot going on with him and build energy from the character depth and involvment in the levels that exist within that character (for example a Bluebeard or Commendatoreor even a smaller role like Grenville in Traviata.) In Flute, there's not a lot to go on as Sarastro is a fairly uni-dimensional character. He's in charge. He sets up tasks for Tamino, although he doesn't have anything to do with administering them (he has people for that.) He talks about friendship and love and then hands over the reins of the temple after the Speaker and the priests have guided Tamino and Papageno through. There's no internal conflict. There's no showdown with the Queen. There's nothing really at stake for him. Of course I've not discounted the possibility that there is more going on with him and I just didn't find it (or haven't found it yet.) Fortunately, when show time came around I found the energy in my fellow performers who were fantastic, each and every one, and who's energy was available for me to feed off of. It made the night go a lot easier. Thanks folks! Well done all.
The Sarastro was interesting in that it's the first opera that I've done since February that didn't have me running around the stage like a madman and it made it a bit of a challenge to find the energy needed to give a a really engaged performance. I've found, in the past, that you can either take the energy for the character from the physicality of the role (say Bartolo or Don Magnifico,) or from an engaging character that has a lot going on with him and build energy from the character depth and involvment in the levels that exist within that character (for example a Bluebeard or Commendatoreor even a smaller role like Grenville in Traviata.) In Flute, there's not a lot to go on as Sarastro is a fairly uni-dimensional character. He's in charge. He sets up tasks for Tamino, although he doesn't have anything to do with administering them (he has people for that.) He talks about friendship and love and then hands over the reins of the temple after the Speaker and the priests have guided Tamino and Papageno through. There's no internal conflict. There's no showdown with the Queen. There's nothing really at stake for him. Of course I've not discounted the possibility that there is more going on with him and I just didn't find it (or haven't found it yet.) Fortunately, when show time came around I found the energy in my fellow performers who were fantastic, each and every one, and who's energy was available for me to feed off of. It made the night go a lot easier. Thanks folks! Well done all.
Monday, August 24, 2009
Cheap opera tickets, plus perks!
The Star today has a blurb about splitting up Film Fest packs/subscriptions with friends in order to see everything that you want and save money at the same time, but also mentions it as a way to do the same with opera tix. I think that this is a great idea.
You get the tickets for the COC's Dutchman without having to sit through your 30th Carmen, (or however your opera preferences lean,) while your friend gets to see one of the most accessible operas around without having to try to wrap their heads around Stravinsky.
Even better than the selection is that you all get to take advantage of the subscriber benefits, chief among them are the discounts not only on tickets but on partner arts groups, stores, and restaurants. One of the other really great benefits is the free exchange privileges that virtually every subscription comes with. So you want to see VO's Figaro but don't know when? Buy the subscription now at a discount and change the date when your cousin's birthday party gets in the way in April. I'm also a big fan of the ability to buy additional tickets at a discount. So you get the first ticket at a discount and then get to add on more tickets for friends or obnoxious acquaintances also at a discount. Or you can decide to take in that Carmen anyway but not have to pay retail.
Other benefits include the seating. Ever wonder who gets to sit in the front row of the price categories? That's subscribers, who get to pick seats first. Some companies have other perks. Manitoba Opera throws in cheap parking, and a break on service charges. Others enjoy newsletters, invites to other events, an easy lost ticket replacement. Add it all up and as long as you can part with the cash up front, it's a great time to buy.
You get the tickets for the COC's Dutchman without having to sit through your 30th Carmen, (or however your opera preferences lean,) while your friend gets to see one of the most accessible operas around without having to try to wrap their heads around Stravinsky.
Even better than the selection is that you all get to take advantage of the subscriber benefits, chief among them are the discounts not only on tickets but on partner arts groups, stores, and restaurants. One of the other really great benefits is the free exchange privileges that virtually every subscription comes with. So you want to see VO's Figaro but don't know when? Buy the subscription now at a discount and change the date when your cousin's birthday party gets in the way in April. I'm also a big fan of the ability to buy additional tickets at a discount. So you get the first ticket at a discount and then get to add on more tickets for friends or obnoxious acquaintances also at a discount. Or you can decide to take in that Carmen anyway but not have to pay retail.
Other benefits include the seating. Ever wonder who gets to sit in the front row of the price categories? That's subscribers, who get to pick seats first. Some companies have other perks. Manitoba Opera throws in cheap parking, and a break on service charges. Others enjoy newsletters, invites to other events, an easy lost ticket replacement. Add it all up and as long as you can part with the cash up front, it's a great time to buy.
Sunday, August 23, 2009
Look Out Below: Falling into the pit
There was near disaster at Glyndebourne on Friday when Ana María Martínez, during a Rusalka, tripped on some stage props and fell into the pit. The good news is that she fell on a cellist, the bad news is that she didn't fall on a trombonist. Ba-dum-bum.
The fall happened right at the end of act 1 and so they took the intermission and kept on going. While Martinez said that the was good to continue, the festival insisted that she go to the hospital where, thankfully, she was released without and major injury. Natasha Jouhl stepped up from playing the First Nymph and finished the show.
Jeez, it's getting more and more dangerous to be a soprano every day. Fortunately, there are a few of them around, teehee.
The fall happened right at the end of act 1 and so they took the intermission and kept on going. While Martinez said that the was good to continue, the festival insisted that she go to the hospital where, thankfully, she was released without and major injury. Natasha Jouhl stepped up from playing the First Nymph and finished the show.
Jeez, it's getting more and more dangerous to be a soprano every day. Fortunately, there are a few of them around, teehee.
Friday, August 21, 2009
Apples and singing
At rehearsal the other night for a Magic Flute next week, offstage discussion turned towards apples for dry mouth. Certainly anecdotally there is plenty of support for munching a small piece of apple right before you sing with the theory being that the apple is similar enough to your own mucus that it'll get things going. The thing is, I can't find any research to support apples over, say, chocolate.
Some swear by lemons, and others, like Lotte Lehmann had candy sewn into her costume. Anybody out there know of any science behind the apples thing? What do you use, if anything, to get saliva going when you need it, or to head the problem off at the pass?
Some swear by lemons, and others, like Lotte Lehmann had candy sewn into her costume. Anybody out there know of any science behind the apples thing? What do you use, if anything, to get saliva going when you need it, or to head the problem off at the pass?
Tuesday, August 18, 2009
Recording gear sale
I've just been told that soundprofessionals.com, a really reputable source for recording gear, has the Eridol R-09 at 42% off right now at $289, (reg. $500). The R-09 is one of the best devices out there for doing recordings on your own. It's a solid state device (SD cards) with a separately housed professional grade mic built in that records in CD quality(24bit/96kHz linear PCM + I.A.R.C.). A little pricey, to be sure but if you've been looking for one, or something like it, I've not seen them this cheap.
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