Hello everyone,
I apologize for the time between updates and much has occurred, however I have been to busy to update the site! This is absolutely a good and bad thing. I have been back and forth to Europe several times for various singing adventures and most recently gave a concert featuring the 4 Hymns of Vaughan Williams. I have now posted all 4 of these to my website, such that everyone can hear my latest efforts.
After much work in Europe, I have decided to work towards a Fest contract in a large German house. I was advised that this is certainly a possibility for me provided I work on my German (they will test you in various houses on German proficiency after 6 months) and also adjust my sights on what I may and may not want to sing. It appears that I would be able to get immediate full time work as a Mozartian singer, however as I have mentioned many times, I would prefer to not have to go that route. It seems to me (based on my experiences) that role experience is at a premium for getting contracts at larger houses. I am debating the value of taking roles with lesser companies in the US in an attempt to build my resume so I can jump right into more prestigious contracts. At the same time, that means cutting short any available time I have in the US for extra projects (like recitals and concert work). I promise to write again soon and share some of what I learned from Charlie Hamilton (a sage of a man) and more from various adventures I have lived.
In good health,
Chris
Tuesday, March 15, 2011
Saturday, July 24, 2010
Off to Paris, Munich, and London!
2 weeks from yesterday, I head to Paris where I will work some with my teacher, Howard Haskin. In addition, he is bringing esteemed Covant Garden Stage Director, Charlie Hamilton, to hear me while I am visiting. Howard sent Charlie to listen to me on my website and Charlie has assigned me several selections to have ready to sing for him over the course of 2 days. He also was able to watch video of me. He is set to help me put forth a more complete dramatic interpretation to everything I sing. This will also help me better sell my characters on stages of such acclaim like: Covant Garden, La Scala, and the Met. I realize that there are several aspects of my stage performing that still lack that classic word, 'polish'.
After working with Howard and Charlie, I will be jet setting off to Munich to meet with an agent to discuss Fest Contracts, work in Germany, and other contract work throughout Eastern Europe. After Munich, I will head back to Paris to re-charge my batteries before heading off to London. Here, I will meet and sing for an Italian agent who handles territory in the UK and also Italy.
Right now as I find my way through my European options, I am trying to find the best way to find steady work in Europe. I am also trying to then figure out where I should base my home. The constant travel back and forth from the United States is tiring and expensive; if I am going to make the semi-permanent jump to Europe, I want to make sure it is financially viable long-term.
Singing-wise...I have discovered a rather significant trouble spot that I seemingly have corrected. I have always prided myself on my piano skills, however what I tend to forget, is that sitting at the piano and playing and singing at the same time does not promote great singing technique. As a have been working through Peter Grimes and Das Rheingold, I have really noticed that my phrasing is not as complete as I would like it to be. Almost by mistake, I remembered something a great coach said to me many years ago (Charlie Riecker of the Met Opera)...'Chest Up, Shoulders Back, and Stay on your Heels!' I often lean forward when I sing and as a by product, I slump my shoulders slightly. This causes my ribcage to shorten and then my breathing to become more shallow. Fixing this has suddenly made phrases that were previously difficult, much for simple.
On a final note, I recently guest blogged on a friend's website. If you would like to read my note on the European scene please see this website:
http://sybariticsinger.wordpress.com/
After working with Howard and Charlie, I will be jet setting off to Munich to meet with an agent to discuss Fest Contracts, work in Germany, and other contract work throughout Eastern Europe. After Munich, I will head back to Paris to re-charge my batteries before heading off to London. Here, I will meet and sing for an Italian agent who handles territory in the UK and also Italy.
Right now as I find my way through my European options, I am trying to find the best way to find steady work in Europe. I am also trying to then figure out where I should base my home. The constant travel back and forth from the United States is tiring and expensive; if I am going to make the semi-permanent jump to Europe, I want to make sure it is financially viable long-term.
Singing-wise...I have discovered a rather significant trouble spot that I seemingly have corrected. I have always prided myself on my piano skills, however what I tend to forget, is that sitting at the piano and playing and singing at the same time does not promote great singing technique. As a have been working through Peter Grimes and Das Rheingold, I have really noticed that my phrasing is not as complete as I would like it to be. Almost by mistake, I remembered something a great coach said to me many years ago (Charlie Riecker of the Met Opera)...'Chest Up, Shoulders Back, and Stay on your Heels!' I often lean forward when I sing and as a by product, I slump my shoulders slightly. This causes my ribcage to shorten and then my breathing to become more shallow. Fixing this has suddenly made phrases that were previously difficult, much for simple.
On a final note, I recently guest blogged on a friend's website. If you would like to read my note on the European scene please see this website:
http://sybariticsinger.wordpress.com/
Monday, June 7, 2010
GRIMES...PETER GRIMES
As I embarked upon learning Peter Grimes a month ago, I never envisioned it would be such a tough piece. Having performed Britten's, 'Turn of the Screw' and also his 'Midsummer Night's Dream', I conceived of a tenor role similar to the demands of these other operas. Boy, was I wrong. The demands of this role are akin to a soprano singing Lucia or a baritone singing Wotan. I must admit, even with all the physical exercise I do on a daily basis, I find myself out of breath with regulary frequency in many of the phrases I am singing. In addition, the amount of delicate wordplay and high soft singing is just not something I expected out of this character (it shows how little I truly knew about this opera). I now am in the process of stepping back from certain spots in this opera in hopes that it will come to me through a process of osmosis (I know it sounds silly, but sometimes in music it is best to step away for a bit).
While stepping away in each practice session, I have also been preparing Das Rheingold (also for this summer). I originally envisioned this as much more of a challenge than it has actually been. The initial learning curve of tackling these new harmonies were tough for me, but once I learned the patterns of Wagner, I have found this role to be like learning any Mozart or Verdi role. The toughest aspect of Rheingold has been the approach to the character of Loge. I find myself between worlds with this character. Part of me sees him as a pure trickster who is out purely for himself and part of me sees him as a cold and calculating hired businessman/advisor of Wotan. Because I find myself stuck between these two worlds, I am often caught in between in my interpretations. This leads to a confusing and often schizophrenic character. It also appears that I either don't know the character, or don't understand what I am doing. In either statement, they are completely false. I know and understand the character, but I cannot make up my mind how it most fits me. This indecision is something that plagues me when portraying characters and it leads to real inconsistencies in my performances. Obviously, this is something I am constantly striving to improve upon.
On a note separate from music, I had the opportunity with several friends to attend a high school graduation at the Harbour School of Baltimore. To say it was a moving and life changing event is an understatement. Seeing these 12 graduates of their high school with varying levels of learning disabilities get up and give speeches at their own graduations was an amazing experience. They all spoke of what life was like at the Harbour School, what they learned, and what comes when they graduate. I often criticize the education system in this country, but seeing the amazing things these kids were able to accomplish with the unique challenges they have faced in their lives, the amazing ability of the educators to get the most of these kids, and the outstanding curriculum which enabled these kids to succeed renews my faith in the American education system. The thing that was most moving to me was watching the love between the parents of the students as each student presented their parents with a rose as a 'thank you' for helping them along their journey. The amount of pride in each parent was readily apparent (along with their vast love for the kids) and it was a great experience as an 'outsider' to a be a part of this ceremony. If every high school graduate, learning disabled or not, could tackle life with the same zest these kids do, then this world would be a very different place.
While stepping away in each practice session, I have also been preparing Das Rheingold (also for this summer). I originally envisioned this as much more of a challenge than it has actually been. The initial learning curve of tackling these new harmonies were tough for me, but once I learned the patterns of Wagner, I have found this role to be like learning any Mozart or Verdi role. The toughest aspect of Rheingold has been the approach to the character of Loge. I find myself between worlds with this character. Part of me sees him as a pure trickster who is out purely for himself and part of me sees him as a cold and calculating hired businessman/advisor of Wotan. Because I find myself stuck between these two worlds, I am often caught in between in my interpretations. This leads to a confusing and often schizophrenic character. It also appears that I either don't know the character, or don't understand what I am doing. In either statement, they are completely false. I know and understand the character, but I cannot make up my mind how it most fits me. This indecision is something that plagues me when portraying characters and it leads to real inconsistencies in my performances. Obviously, this is something I am constantly striving to improve upon.
On a note separate from music, I had the opportunity with several friends to attend a high school graduation at the Harbour School of Baltimore. To say it was a moving and life changing event is an understatement. Seeing these 12 graduates of their high school with varying levels of learning disabilities get up and give speeches at their own graduations was an amazing experience. They all spoke of what life was like at the Harbour School, what they learned, and what comes when they graduate. I often criticize the education system in this country, but seeing the amazing things these kids were able to accomplish with the unique challenges they have faced in their lives, the amazing ability of the educators to get the most of these kids, and the outstanding curriculum which enabled these kids to succeed renews my faith in the American education system. The thing that was most moving to me was watching the love between the parents of the students as each student presented their parents with a rose as a 'thank you' for helping them along their journey. The amount of pride in each parent was readily apparent (along with their vast love for the kids) and it was a great experience as an 'outsider' to a be a part of this ceremony. If every high school graduate, learning disabled or not, could tackle life with the same zest these kids do, then this world would be a very different place.
Saturday, April 10, 2010
Apologies
Hello all,
I must confess, I have been a bad tenor lately. The whole point of having a blog and a website is so people can stay updated as to what and where I am singing. Alas, I have not updated this all in a while. The good news is that it is because I have been so busy performing and learning new music, it has left me little time for much else. I did finally put up some photos from the Pearl Fishers and a short video clip from act 1. I will also apologize for the new video. It seems the audio and video are not synched completely. I will fix this soon.
As far as the Pearl Fishers goes, I think the show went really well. Thanks to everyone for making it out to the show. My next big project (which snuck up quickly), is my further transition into singing bigger repertoire. As part of Howard Haskin's plan for me, I am diving into Das Rheingold, Lucia di Lammermoor, and Peter Grimes. As it stands, I have to present these roles in Munich, Paris, and London this summer (July into August) as he helps me gear into a full transition into the European opera circuit. At that point, it is a matter of adding maybe Magic Flute (which I already know) and Carmen (which I am also fairly solid on already) which will become my staple performing operas in Europe over the next few years while I start things off. His assignment for me after all of this (and trust me...it is a TON of work) is Lohengrin. I am really excited about that. I will not get to the opera until probably early 2011, but that is ok. There will always be time for Wagner (and I will certainly make the time)!
In addition to the photos and video I have uploaded, an artist from Pennsylvania has taken an interest in my singing and wants to do some digital portraits of me (she saw the Pearl Fishers). It is computerized artwork and I look forward to being able to use some of the artwork on my website.
As far as preparation goes for this summer, Das Rheingold (the character is Loge) is my first foray into singing Wagner. I am discovering how magical it can be and also how incredibly deep the levels of the characters. I am incredibly fortunate to have taken a Wagner Ring cycle class at the Peabody Conservatory with professor Wayne Conner. In his class I learned the value of learning all Wagner's motives and how my singing and acting can (and should) at times show 2 different sides to the story (this occurs most often when a character is lying with his words, and the music tells the audience this point). In addition to this class, I have been consulting with a retired German professor from Johns Hopkins University (who happens to be a Wagnerite) who has been helping me with the word for word and poetic translations of the German text.
With Peter Grimes, I am taking a slower approach. For right now, I am merely focusing on learning correct notes and rhythms and once I have conquered that, I will go work with a Britten specialist to really focus my style. The Lucia is by far the easiest (and that is quite funny to say considering how difficult this opera is for the tenor). For this opera, I am allowing the great tenors of the 20th century to guide me in their approach to style, breathing, and acting. Having performed other Italian operas in this style, I find the transition to not be overly difficult.
Finally, I am back at the language game again. I just started diving back into my German. I realize that to truely gain the respect of the German audience and directors, I must truly capture this language. At one point 5 years ago, I was quite proficient with German, but being married to a Francophile, and singing mostly in Italian, has rendered my German to this point, moot. However, with this shift in fach, I now need to re-emphasize my German.
Best to all!
I must confess, I have been a bad tenor lately. The whole point of having a blog and a website is so people can stay updated as to what and where I am singing. Alas, I have not updated this all in a while. The good news is that it is because I have been so busy performing and learning new music, it has left me little time for much else. I did finally put up some photos from the Pearl Fishers and a short video clip from act 1. I will also apologize for the new video. It seems the audio and video are not synched completely. I will fix this soon.
As far as the Pearl Fishers goes, I think the show went really well. Thanks to everyone for making it out to the show. My next big project (which snuck up quickly), is my further transition into singing bigger repertoire. As part of Howard Haskin's plan for me, I am diving into Das Rheingold, Lucia di Lammermoor, and Peter Grimes. As it stands, I have to present these roles in Munich, Paris, and London this summer (July into August) as he helps me gear into a full transition into the European opera circuit. At that point, it is a matter of adding maybe Magic Flute (which I already know) and Carmen (which I am also fairly solid on already) which will become my staple performing operas in Europe over the next few years while I start things off. His assignment for me after all of this (and trust me...it is a TON of work) is Lohengrin. I am really excited about that. I will not get to the opera until probably early 2011, but that is ok. There will always be time for Wagner (and I will certainly make the time)!
In addition to the photos and video I have uploaded, an artist from Pennsylvania has taken an interest in my singing and wants to do some digital portraits of me (she saw the Pearl Fishers). It is computerized artwork and I look forward to being able to use some of the artwork on my website.
As far as preparation goes for this summer, Das Rheingold (the character is Loge) is my first foray into singing Wagner. I am discovering how magical it can be and also how incredibly deep the levels of the characters. I am incredibly fortunate to have taken a Wagner Ring cycle class at the Peabody Conservatory with professor Wayne Conner. In his class I learned the value of learning all Wagner's motives and how my singing and acting can (and should) at times show 2 different sides to the story (this occurs most often when a character is lying with his words, and the music tells the audience this point). In addition to this class, I have been consulting with a retired German professor from Johns Hopkins University (who happens to be a Wagnerite) who has been helping me with the word for word and poetic translations of the German text.
With Peter Grimes, I am taking a slower approach. For right now, I am merely focusing on learning correct notes and rhythms and once I have conquered that, I will go work with a Britten specialist to really focus my style. The Lucia is by far the easiest (and that is quite funny to say considering how difficult this opera is for the tenor). For this opera, I am allowing the great tenors of the 20th century to guide me in their approach to style, breathing, and acting. Having performed other Italian operas in this style, I find the transition to not be overly difficult.
Finally, I am back at the language game again. I just started diving back into my German. I realize that to truely gain the respect of the German audience and directors, I must truly capture this language. At one point 5 years ago, I was quite proficient with German, but being married to a Francophile, and singing mostly in Italian, has rendered my German to this point, moot. However, with this shift in fach, I now need to re-emphasize my German.
Best to all!
Saturday, February 20, 2010
Eyebrows!
One would think with a blog entry titled, 'Eyebrows', it may have something to do with eyebrows and what I think of how they look. Yes. In a sense, that is true. While in a practice room on Friday, I made a huge discovery about my singing related to my eyebrows. Now, I won't bother boring everyone with the specifics of how it effects my singing, but it hits on a point that does maybe interest everyone. That point is regardless of what field in which we work or study, every day we are given many points of focus on which to improve. Often in a lesson or coaching I find myself being given up to 30 points of focus and out of those 30, I may only be able to truly implement 2-3 of those points in my immediate work. It is only in time that we are often able to finally implement all the points of focus we may have been given in a given lesson several years before.
I found myself in this position on Friday. While singing, 'Les Pecheurs de Perles', I caught myself doing some odd eyebrow things that, while watching myself in the mirror, I was able to correct. This may seem inconsequential and a small point of the day in day out of being a improving musician, but it is rather large when you consider my very first voice teacher dating back more than 10 years now (Martha Randall) used to hound me on this point. Over the years, I have had other people pick at me over this, but never has it been something to which I could devote much time. Now, 10 years later, I find myself looking back at those first lessons and finally being able to have the, 'a-ha!' moment I never had back then. I would like to think that it doesn't take 10 years for me to learn every lesson, but I do find it rewarding to know that with enough time, practice, and patience; our work really pays off.
This also bring up my last point. NEVER forget what you are told by anyone as you progress through your field. You never know when that advice might come back and help you. This moment with the eyebrows really enforces this point which was originally said to me over 10 years ago. I often told myself that my eyebrows had nothing to do with how I sounded (and in truth when there are 100 huge things wrong, 1 little thing like eyebrows don't make much of a difference). In truth, as I progressed and improved, this point became more and more crucial and finally became a 'huge thing wrong'. All part of the proverbial, 'icing on the cake' for us singers (and trust me...most of us love our cake).
In a side note away from singing, I would like to bring peoples' attention to an article in Esquire magazine this month. It features a very interesting and touching article on Roger Ebert. For those of you have have lost people to cancer (like me), it is a really moving piece of his battle with the horrible disease. Here is the link:
http://www.esquire.com/features/roger-ebert-0310-7
Finally, our production of Les Pecheurs de Perles opens soon. My performance dates as Nadir are the 6th and the 20th of March. Check Center Stage Opera's website for more information, tickets, and directions to the 2 locations.
au revoir!
I found myself in this position on Friday. While singing, 'Les Pecheurs de Perles', I caught myself doing some odd eyebrow things that, while watching myself in the mirror, I was able to correct. This may seem inconsequential and a small point of the day in day out of being a improving musician, but it is rather large when you consider my very first voice teacher dating back more than 10 years now (Martha Randall) used to hound me on this point. Over the years, I have had other people pick at me over this, but never has it been something to which I could devote much time. Now, 10 years later, I find myself looking back at those first lessons and finally being able to have the, 'a-ha!' moment I never had back then. I would like to think that it doesn't take 10 years for me to learn every lesson, but I do find it rewarding to know that with enough time, practice, and patience; our work really pays off.
This also bring up my last point. NEVER forget what you are told by anyone as you progress through your field. You never know when that advice might come back and help you. This moment with the eyebrows really enforces this point which was originally said to me over 10 years ago. I often told myself that my eyebrows had nothing to do with how I sounded (and in truth when there are 100 huge things wrong, 1 little thing like eyebrows don't make much of a difference). In truth, as I progressed and improved, this point became more and more crucial and finally became a 'huge thing wrong'. All part of the proverbial, 'icing on the cake' for us singers (and trust me...most of us love our cake).
In a side note away from singing, I would like to bring peoples' attention to an article in Esquire magazine this month. It features a very interesting and touching article on Roger Ebert. For those of you have have lost people to cancer (like me), it is a really moving piece of his battle with the horrible disease. Here is the link:
http://www.esquire.com/features/roger-ebert-0310-7
Finally, our production of Les Pecheurs de Perles opens soon. My performance dates as Nadir are the 6th and the 20th of March. Check Center Stage Opera's website for more information, tickets, and directions to the 2 locations.
au revoir!
Tuesday, February 9, 2010
The Pearl Fishers and snow!
Hello all,
I am in the midst of my next production, The Pearl Fishers, with Center Stage Opera. Rehearsals have been great and the production includes some great singing. For all those interested, I am performing March 6th and 20th.
While learning this role, I had mentioned my struggles over finding a way to properly sing the Act 1 aria. After much debate, I have decided to sing it comfortably and fuller than I initially wanted. It doesn't match the text as well as I originally wanted (being that I am supposedly going to sleep), but if I sing it as softly as is intended, the audience will never be able to hear me in a big house. This is the advantage of being an opera singer. I get to sing the stuff that is normally very difficult for a singer to sing softly, with more more sound to project to several thousand people. Phew. Now that I am saved from trying to be so artsy, I can now let my voice go back to being comfortable again.
For those of you not in the mid-atlantic area, we were hit with a tremendous snow storm last week. It dropped the second most snow ever in a snowstorm for the city of Baltimore. Not to mention, as I am writing, another snowstorm is slamming Baltimore with expected snow totals of 10-20 inches. I will confess I normally hate the snow as it interferes with everything I do as a performer, but the fact that I now live in the city of Baltimore makes it not so difficult to be able to get out to food stores and get whatever supplies I need (as opposed to living in the suburbs and being unable to get anywhere). One huge downside to Baltimore in a snowstorm (and it differs greatly from NYC, Chicago, or Paris and London) is that there is no underground mass transportation. This lack of mass transit in this city does annoy me greatly and reminds me of why I am always longing to move to one of the above mentioned cities. Soon enough.
In the meantime, enjoy the snow everyone and stay safe!
I am in the midst of my next production, The Pearl Fishers, with Center Stage Opera. Rehearsals have been great and the production includes some great singing. For all those interested, I am performing March 6th and 20th.
While learning this role, I had mentioned my struggles over finding a way to properly sing the Act 1 aria. After much debate, I have decided to sing it comfortably and fuller than I initially wanted. It doesn't match the text as well as I originally wanted (being that I am supposedly going to sleep), but if I sing it as softly as is intended, the audience will never be able to hear me in a big house. This is the advantage of being an opera singer. I get to sing the stuff that is normally very difficult for a singer to sing softly, with more more sound to project to several thousand people. Phew. Now that I am saved from trying to be so artsy, I can now let my voice go back to being comfortable again.
For those of you not in the mid-atlantic area, we were hit with a tremendous snow storm last week. It dropped the second most snow ever in a snowstorm for the city of Baltimore. Not to mention, as I am writing, another snowstorm is slamming Baltimore with expected snow totals of 10-20 inches. I will confess I normally hate the snow as it interferes with everything I do as a performer, but the fact that I now live in the city of Baltimore makes it not so difficult to be able to get out to food stores and get whatever supplies I need (as opposed to living in the suburbs and being unable to get anywhere). One huge downside to Baltimore in a snowstorm (and it differs greatly from NYC, Chicago, or Paris and London) is that there is no underground mass transportation. This lack of mass transit in this city does annoy me greatly and reminds me of why I am always longing to move to one of the above mentioned cities. Soon enough.
In the meantime, enjoy the snow everyone and stay safe!
Monday, December 21, 2009
On ABC 2 Baltimore!
Hello everyone,
It has been an exciting month since I have been back in the US. First, and most important, I was featured in a segment on ABC's show, 'Good Morning Maryland'. In this segment, I was interviewed by Jamie Costello and then performed the aria, 'Nessun Dorma' with pianist Michael Sheppard. It was a thrill to be on live television, to be interviewed by Jamie Costello, and of course to be able to work with Michael Sheppard. When we are are performing, we often forget how much easier our jobs can be when we have a pianist who can take care of everything imaginable. Michael Sheppard is one of those pianists and he makes my life incredibly easier as a singer. I look forward to our next spot on this TV show sometime after the holidays. Stay tuned to this website and I will keep everyone posted. For those that missed it, here is the link to my interview:
http://www.abc2news.com/content/gmm/story/Meet-a-Baltimore-Born-Opera-Star/CWwUykeLU0iYiQR57-SWFQ.cspx
The night after performing on the news, I had the priviledge of seeing Renee Fleming live at the Lyric. It was a quite a show. She really knows how to play to an audience and yet also keep it very classy. I happen to be a fan of how she introduced each piece. I know many people find performers speaking to the audience a bit crass, but I find it educational. Especially when the singer/performer might have insight into something that the audience might find interesting. On a personal note, I also like the connection it forms with the audience and you get to know the performer a bit better. This is always a tactic I take when giving recitals (if given the opportunity). This (in my opinion) is sometimes the only way to explain and bring the audience into the piece, and by doing so, we can bring more people to the 'fine arts'.
On a final performing note, I am in the process of learning Nadir from the 'Pearl Fishers' with Center Stage Opera. I look forward to working with the company again and all the great staff that are involved in these productions. The big conundrum that all tenors face is how to attack the big aria in act one. After much debate, I have decided to go the artistic route and sing all the top notes pianissimo. This is up to much debate, but because the music calls for a soft approach and I am supposed to be in a dream state, it just makes the most sense (even if it is horribly difficult to do well). Luckily, I have 3 more months to get ready for this and prepare myself.
Happy Holidays!
It has been an exciting month since I have been back in the US. First, and most important, I was featured in a segment on ABC's show, 'Good Morning Maryland'. In this segment, I was interviewed by Jamie Costello and then performed the aria, 'Nessun Dorma' with pianist Michael Sheppard. It was a thrill to be on live television, to be interviewed by Jamie Costello, and of course to be able to work with Michael Sheppard. When we are are performing, we often forget how much easier our jobs can be when we have a pianist who can take care of everything imaginable. Michael Sheppard is one of those pianists and he makes my life incredibly easier as a singer. I look forward to our next spot on this TV show sometime after the holidays. Stay tuned to this website and I will keep everyone posted. For those that missed it, here is the link to my interview:
http://www.abc2news.com/content/gmm/story/Meet-a-Baltimore-Born-Opera-Star/CWwUykeLU0iYiQR57-SWFQ.cspx
The night after performing on the news, I had the priviledge of seeing Renee Fleming live at the Lyric. It was a quite a show. She really knows how to play to an audience and yet also keep it very classy. I happen to be a fan of how she introduced each piece. I know many people find performers speaking to the audience a bit crass, but I find it educational. Especially when the singer/performer might have insight into something that the audience might find interesting. On a personal note, I also like the connection it forms with the audience and you get to know the performer a bit better. This is always a tactic I take when giving recitals (if given the opportunity). This (in my opinion) is sometimes the only way to explain and bring the audience into the piece, and by doing so, we can bring more people to the 'fine arts'.
On a final performing note, I am in the process of learning Nadir from the 'Pearl Fishers' with Center Stage Opera. I look forward to working with the company again and all the great staff that are involved in these productions. The big conundrum that all tenors face is how to attack the big aria in act one. After much debate, I have decided to go the artistic route and sing all the top notes pianissimo. This is up to much debate, but because the music calls for a soft approach and I am supposed to be in a dream state, it just makes the most sense (even if it is horribly difficult to do well). Luckily, I have 3 more months to get ready for this and prepare myself.
Happy Holidays!
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