Renewed Efforts.

Okay, kids. From now on, I will post AT LEAST once a week. Mostly this is due to a convenient hour and a half in my schedule that I should be using for practicing, but I inevitably use to write emails, check xkcd.com, read up on the news, and chat with friends. This block of time is also immediately following the most enjoyable and stimulating class I've had since I graduated (yes, I know it's only my second semester of grad school, shut up).

I have finally been cast in a production. It is the one-act operetta Trial by Jury by the ever-loved Gilbert & Sullivan. The most fun I've ever had in a production was in their Pirates of Penzance, so I'm hoping for similar results from this show. I remember thinking during that production, and recently upon listening to recordings of the d'Oyly Carte production, that I would love to do lots of Gilbert & Sullivan. I have no idea if there's a career niche there, as I'm fairly sure most high schools with any kind of drama program have done a Gilbert & Sullivan show. But don't you think that the adoring public will always keep these shows in circulation?

Anyway, I had completely put this final Meadows Opera Theater (hereafter referred to as MOT) production out of my mind. It's probably a good thing I did, because if I had done any research at all, I would have realized that there was only one role in this show for a female. That would have caused far more worry than I really needed. I was riding off the comment by Hank, our MOT director, that he would be "very disappointed" if I did not participate in MOT this semester. I guess now we see why.

Here are my feelings on the role.

First of all, it's short. That's somewhat disappointing, as much of the reason for me attending graduate school at all was to be in a production and find out if it's something of which I really could or would want to make a career. The only other role I've had was Mrs. Nolan in The Medium, also a very short role. I'm not exactly racking up XP here, you know? However, I do see the benefit of starting small so that I will be more prepared to tackle any larger, upcoming roles. For that, I am somewhat relieved.

Secondly, the dialogue refers to my character as being very pretty several times. Now, this isn't really a problem, I guess, but it's kind of strange for me. Before, as a mezzo, I was prepared to always play mothers and old women. Being a soprano has opened me up to roles where I can be the pretty girl. Plus it's just a weird self-esteem issue. Me? The pretty girl? Naw.

Finally, this role is important to me because it's a debut. It's my debut in MOT as something other than some girl in the back with a cute dress and fab shoes. More importantly, though, is that it's my first soprano role. I have arrived. I have now changed the title below my name on my resume from mezzo-soprano to soprano. I would say that I'm past the point of no return, but that's not true. Maybe in the future I'll return to mezzo status. Maybe I'll fulfill my dream of abandoning fach altogether and simply be, as Virginia calls it, a "Willing Female Singer." Until that time, though, I'm excited to finally feel more grounded in my fach. This will be awesome.

2010?

Alright, enough with the nonsense. I can and will make this blog worthwhile. I'm thinking that I'll just update more with smaller stuff and not save it all for the big depressing entries. Okay? Okay.

My teacher inquired after break was over what singers and repertoire we'd been listening to over break. My initial, student-minded reaction was, "Hey, wait! You didn't tell us we had to listen to stuff over break!" But then the broader-minded singer in me spoke up and said, "Is that really so much to expect?" I think thus far I've avoided thinking of singers to model myself after. I thought maybe it would be detrimental to have in mind a sound other than my own. And that was probably true. But I think I'm at a point now where I do need to cultivate my own preference for sound. So far I'm really liking Joyce Didonato and Ruth Ann Swenson. My teacher actually said I kind of look like Swenson.

We've picked out repertoire for the semester. I'm horribly lacking in Faure, so I've got "Mai" and "Aurore." I have to admit I'm pretty excited about that. And any oratorio work I'm happy to do, so I'm excited to get started on "Let the bright seraphim" and "Hear ye, Israel." For the jury we are only required 8 pieces, but prof and I get a bit excited. I think I'm at 10 now and we're looking at an 11th. There will be nothing this semester like Barber's "Sleep Now," "The Monk and his Cat," or "Sea Snatch" from last semester that will be aurally difficult to learn. And she's taken care to give me happier, more lilting melodies. Something about my voice begs slow and depressing for some reason.

Outside opportunities are arising, too. Yeah, I'm still a choir geek, so I'm looking forward to singing in some choral conducting recitals on the side. I've been bumped up to the premiere choral ensemble here, and I'm excited to sing "Rejoice in the Lamb" by Britten with them. There's a very truly alto solo in it that I may attempt. I'm just so happy to be singing good choral rep again. The church job is going well, but budget cuts have possibly cost us our dear choir director. I'll miss him. It's a pleasure to work for someone who has very high expectations.

That's enough for now, methinks. I'm very excited for this semester and I'll try to keep you updated.