The next time we sing all the way through Dido and Aeneas will be a performance - a daunting yet exciting thought! We've worked very hard the last few days on so many different levels of nuance and I think it will add up to be an amazing show. It's very exciting to think that we could sell some of these performances out!
One of the great things about this group is that even though the cast of characters may change every performance we work very hard to create rapport and camaraderie amongst ourselves. That is so essential in chamber music - we all rely on each other's musicianship and skills and that, in turn, energizes each of our own performances. I think the more I sing with new members of Seraphic Fire the more I realize how small the singing world really is (hello, six degrees of Kevin Bacon!) I have friends and acquaintances in common with just about every member of the ensemble this week. Sure, the world is small, but I really that significantly increases how much we trust each other - you've worked with my friends, so you must be great. At the end of the week we have each expanded our network of connections - our own six degrees - that much further, and it's very possible our paths will cross again in different endeavours (many already have!) I really feel that the bond we create throughout the week makes us the group that we are, and hopefully that will be evident this weekend.
I'm looking forward to seeing all of you at the concerts and please stop by and say hello!
Thursday, September 27, 2007
P.S. (PDQ)
3 Notes:
1) Thanks to all of y'all who posted comments yesterday. I've passed them on to the musicians. It is great to get feedback BEFORE the concert!
2) This really is the best-selling concert we've ever had, so if you're planning on coming (especially to the Miami Beach or Ft. Lauderdale concerts) you might want to make sure you have a ticket waiting for you at the door. No matter what, it is going to be an amazing crowd, but those have the possibility of selling out.
3) WHAT IS UP with all this rain? While appropriate for this opera, it would be nice to show these out-of-town musicians some amazing Miami weather at least one day while they're here...
1) Thanks to all of y'all who posted comments yesterday. I've passed them on to the musicians. It is great to get feedback BEFORE the concert!
2) This really is the best-selling concert we've ever had, so if you're planning on coming (especially to the Miami Beach or Ft. Lauderdale concerts) you might want to make sure you have a ticket waiting for you at the door. No matter what, it is going to be an amazing crowd, but those have the possibility of selling out.
3) WHAT IS UP with all this rain? While appropriate for this opera, it would be nice to show these out-of-town musicians some amazing Miami weather at least one day while they're here...
One more lap to go (PDQ)
We have our final two rehearsals today. [Just in case anyone was wondering, we have a total of 8 rehearsals over 4 days. A typical day is rehearsal from 10 am until 1 pm with a two hour lunch break, and then a second rehearsal from 3 pm to 6 pm. Musicians working during the day? Totally wierd...]
Yesterday afternoon we solidified the "staging" for the concert. Staging is in quotes because it is more stylized movement than true dramatic blocking, although the choir gets to act a bit rowdy at one point (Note: this Monday was international "Speak Like a Pirate" day. Watch for a momentary commemoration of that during the performance).
Today we're going to be really drilling the movements and transitions from scene to scene in the morning, working hard on portraying the stark emotions of the piece. In the afternoon, starting at 3 pm, we'll be having our full dress rehearsal.
Today is definitely a more rock, less talk sort of day...
Yesterday afternoon we solidified the "staging" for the concert. Staging is in quotes because it is more stylized movement than true dramatic blocking, although the choir gets to act a bit rowdy at one point (Note: this Monday was international "Speak Like a Pirate" day. Watch for a momentary commemoration of that during the performance).
Today we're going to be really drilling the movements and transitions from scene to scene in the morning, working hard on portraying the stark emotions of the piece. In the afternoon, starting at 3 pm, we'll be having our full dress rehearsal.
Today is definitely a more rock, less talk sort of day...
Tuesday, September 25, 2007
Whew. (PDQ)
So, we started rehearsals yesterday. Tonight, after roughly 12 hours of rehearsal in 2 days I’m pretty confident we could do the performance tomorrow morning.
Life, I must say, is very good.
Kellie Van Horn and David McFerrin are just such a joy to work with, my ideal Dido and Aeneas. Expressive, musically inspiring, gorgeous voices—it all applies. David has worked with us a few times before, but this is the first time Kellie and I are getting to work together since grad school at Yale. Her ability to communicate the emotional depth of Dido is simply amazing. (Larry Johnson interviewed her for his feature article in the Miami Herald. You can read the story here.)
Tess Wakim as Belinda brings an incredible Baroque sensibility to the role. She sang her aria yesterday. Wow. Choir and other soloists were agape at her mastery of some fantastic baroque ornaments.
Tomorrow morning (Wednesday), I start working with the orchestra. They flew in tonight from all across the country (just like the singers did on Sunday night). It is, in a way, sortof working with the “Dream Team” of American singers and players.
I’m now going to take solace in two scoops of ice cream then pass out. Making music can take a lot out of you!
PS—Could those of y’all who are reading this post a comment to let us know that you’re out there? It is always nice to know when folks are pulling for us.
Life, I must say, is very good.
Kellie Van Horn and David McFerrin are just such a joy to work with, my ideal Dido and Aeneas. Expressive, musically inspiring, gorgeous voices—it all applies. David has worked with us a few times before, but this is the first time Kellie and I are getting to work together since grad school at Yale. Her ability to communicate the emotional depth of Dido is simply amazing. (Larry Johnson interviewed her for his feature article in the Miami Herald. You can read the story here.)
Tess Wakim as Belinda brings an incredible Baroque sensibility to the role. She sang her aria yesterday. Wow. Choir and other soloists were agape at her mastery of some fantastic baroque ornaments.
Tomorrow morning (Wednesday), I start working with the orchestra. They flew in tonight from all across the country (just like the singers did on Sunday night). It is, in a way, sortof working with the “Dream Team” of American singers and players.
I’m now going to take solace in two scoops of ice cream then pass out. Making music can take a lot out of you!
PS—Could those of y’all who are reading this post a comment to let us know that you’re out there? It is always nice to know when folks are pulling for us.
Back to the grindstone... (Sara)
And here I am, posting from lovely Miami. Well, it's gross rainy Miami this morning, but still lovely. It's so great to be singing with these folks again - there are some new faces (one tenor and one baritone) and of course we have Kellie Van Horn and David McFerrin with us as well. I've never had the privilege of singing with David (he's fabulous) but I know Seraphic Fire audiences have seen him before. Kellie is also singing beautifully and, of course, we have our fabulous little band guided by the amazing Henry Lebedinsky.
This production is going to be really fun. We can't stage it, per se, so PDQ is really working on us creating the affect with our voices - the chorus plays sailors and witches among other things and we're really playing with vocal colors to make them distinct. Expect to hear things that you may not have heard Seraphic Fire create before....
These concerts are selling quickly, so if you haven't gotten your tickets you should do so now - we don't want to miss any of you!
Off to fight the morning traffic for a 10AM rehearsal...!
This production is going to be really fun. We can't stage it, per se, so PDQ is really working on us creating the affect with our voices - the chorus plays sailors and witches among other things and we're really playing with vocal colors to make them distinct. Expect to hear things that you may not have heard Seraphic Fire create before....
These concerts are selling quickly, so if you haven't gotten your tickets you should do so now - we don't want to miss any of you!
Off to fight the morning traffic for a 10AM rehearsal...!
Thursday, September 20, 2007
Wow, Purcell really rocks. (Sara)
He definitely rocked big hair. :)
Seriously, though, I had forgotten how much I really love Purcell. This week I've been digging through my music and my iPod - in his short life (he died in his mid-30s!) he wrote a ton of great stuff. I've got mostly vocal repertoire, of course, and it's been really interesting to listen to a bunch of different singers interpret Purcell. For example, Emma Kirkby and Susan Graham - how different can you get? Totally different voices and some amazingly different stylistic choices. Both beautiful, both musical, both inspiring.
Much more later - I'm in a whirlwind the next few days tying up loose ends with my students and the never-ending drama of packing. Last year I was living in Gainesville so I would drive down which meant I could bring all kinds of stuff, including a tightly-packed suitcase the size of Guam. This is the first concert where I'm flying in and I am a chronic overpacker - how in the world do I get a week's worth of clothes and shoes into one suitcase??? I mean, a girl has to have her options! I bought a luggage scale because I have paid that heavy suitcase fee one too many times...
My next entry will be from Florida!
Seriously, though, I had forgotten how much I really love Purcell. This week I've been digging through my music and my iPod - in his short life (he died in his mid-30s!) he wrote a ton of great stuff. I've got mostly vocal repertoire, of course, and it's been really interesting to listen to a bunch of different singers interpret Purcell. For example, Emma Kirkby and Susan Graham - how different can you get? Totally different voices and some amazingly different stylistic choices. Both beautiful, both musical, both inspiring.
Much more later - I'm in a whirlwind the next few days tying up loose ends with my students and the never-ending drama of packing. Last year I was living in Gainesville so I would drive down which meant I could bring all kinds of stuff, including a tightly-packed suitcase the size of Guam. This is the first concert where I'm flying in and I am a chronic overpacker - how in the world do I get a week's worth of clothes and shoes into one suitcase??? I mean, a girl has to have her options! I bought a luggage scale because I have paid that heavy suitcase fee one too many times...
My next entry will be from Florida!
Sunday, September 16, 2007
Less than two weeks... (PDQ)
7 days from our first rehearsal and I am totally ready to get started.
It is Sunday afternoon and I’m wondering what it would be like to not have to worry about the convergence of opening night and hurricane season… Since Wilma two years ago when we prepared for a concert week without power or hot water, I’ve become a bit obsessive about checking the National Hurricane Center website during the two weeks prior to concerts. What do music directors in Iowa fixate on without hurricanes?
I’m pretty excited that we’re performing with a period-instrument ensemble for this opening concert. I spoke with our concertmaster, Michael Albert, last week about the concert. He sent us his bowings to be put in the orchestra parts, and having looked at them, I’m really psyched about how good this is going to sound. [NOTE: For those of y’all reading who are not orchestral musicians, the concertmaster—aka the first chair violinist—writes directions in the sheet music for all the string players so that their bows are all going either up or down at the same time during the performance. This gives a “crispness” to the sound.]
I’ve conducted Dido and Aeneas before—about 6 years ago for my graduate recital at the Yale School of Music. The majority of the time with Seraphic Fire concerts, I am conducting a piece of music for the first time, so it has been really cool to be able to revisit a piece that I know so well. I’ve been looking at my markings from the last time I performed the work and to notice how much I’ve changed as a musician since that time. Some things I’ll do exactly the same, and some things completely different. Amazing the difference that 6 years makes.
In other news, I was interviewed on WLRN’s Arts Beat on Friday by Charles Greenfield (who is also the music reviewer for the Coral Gables Gazette). I’m really happy about the way it turned out. You can listen to it by clicking here. My portion starts at the 28 minute mark.
Also, Greg Stepanich wrote a great article on the smaller-is-better model for the 21st century orchestra. I’m a little biased, as he gives a great plug for our new chamber orchestra, but I think you’ll agree that it is a cool article.
It is Sunday afternoon and I’m wondering what it would be like to not have to worry about the convergence of opening night and hurricane season… Since Wilma two years ago when we prepared for a concert week without power or hot water, I’ve become a bit obsessive about checking the National Hurricane Center website during the two weeks prior to concerts. What do music directors in Iowa fixate on without hurricanes?
I’m pretty excited that we’re performing with a period-instrument ensemble for this opening concert. I spoke with our concertmaster, Michael Albert, last week about the concert. He sent us his bowings to be put in the orchestra parts, and having looked at them, I’m really psyched about how good this is going to sound. [NOTE: For those of y’all reading who are not orchestral musicians, the concertmaster—aka the first chair violinist—writes directions in the sheet music for all the string players so that their bows are all going either up or down at the same time during the performance. This gives a “crispness” to the sound.]
I’ve conducted Dido and Aeneas before—about 6 years ago for my graduate recital at the Yale School of Music. The majority of the time with Seraphic Fire concerts, I am conducting a piece of music for the first time, so it has been really cool to be able to revisit a piece that I know so well. I’ve been looking at my markings from the last time I performed the work and to notice how much I’ve changed as a musician since that time. Some things I’ll do exactly the same, and some things completely different. Amazing the difference that 6 years makes.
In other news, I was interviewed on WLRN’s Arts Beat on Friday by Charles Greenfield (who is also the music reviewer for the Coral Gables Gazette). I’m really happy about the way it turned out. You can listen to it by clicking here. My portion starts at the 28 minute mark.
Also, Greg Stepanich wrote a great article on the smaller-is-better model for the 21st century orchestra. I’m a little biased, as he gives a great plug for our new chamber orchestra, but I think you’ll agree that it is a cool article.
Tuesday, September 11, 2007
My first post! (Sara)
Hello, Seraphic Fire fans!
Welcome to the Seraphic Fire blog! I am excited to be the guinea pig singer blogger and promise to give you all of the inside lowdown. Well, all that's fit to print, at least...!
We're less that two weeks out from rehearsal time, and I'm really excited for this concert. I've only sung with Seraphic Fire since last fall and I've never experienced doing just one work on one of our concerts - should be a lot of fun.
We always spend time in rehearsals trying to find our "sound" for the week, and that often proves to be challenging when we have multiple composers from different time periods on the docket. Our sound for singing Tallis, for example, will be totally different than our sound for a premiere of a new work by Paul Crabtree. In addition, the cast of singers may slightly differ from concert to concert, so it's a constant process. There is fun and skill in that challenge, of course, but on the rare occasions when we sing the work of just one composer (like last fall's Scarlatti concert, for example), it's nice to lock in to that sound early in the week.
Dido and Aeneas is such a beautiful piece and it will be a treat to sing with this group. I've missed them all summer! We'll see how my body handles going from living in an elevation of 6,000 ft to spending a week at sea level!
Welcome to the Seraphic Fire blog! I am excited to be the guinea pig singer blogger and promise to give you all of the inside lowdown. Well, all that's fit to print, at least...!
We're less that two weeks out from rehearsal time, and I'm really excited for this concert. I've only sung with Seraphic Fire since last fall and I've never experienced doing just one work on one of our concerts - should be a lot of fun.
We always spend time in rehearsals trying to find our "sound" for the week, and that often proves to be challenging when we have multiple composers from different time periods on the docket. Our sound for singing Tallis, for example, will be totally different than our sound for a premiere of a new work by Paul Crabtree. In addition, the cast of singers may slightly differ from concert to concert, so it's a constant process. There is fun and skill in that challenge, of course, but on the rare occasions when we sing the work of just one composer (like last fall's Scarlatti concert, for example), it's nice to lock in to that sound early in the week.
Dido and Aeneas is such a beautiful piece and it will be a treat to sing with this group. I've missed them all summer! We'll see how my body handles going from living in an elevation of 6,000 ft to spending a week at sea level!
Saturday, September 8, 2007
Seraphic Fire's New Blog (PDQ)
Dear Seraphic Fire-ites,
Welcome to Seraphic Fire's new blog: ichoir.blogspot.com. I, along with one of Seraphic Fire's singers Sara Guttenberg, will be trying to provide some insight into what goes into putting together a Seraphic Fire concert.
Since Seraphic Fire is an "all-star" group of singers, they live all around the country. We've had musicians fly from as far away as Germany to sing with us. Sara is currently living in Middle-of-Nowhere Utah (that's the name of it, right?) and will be flying in to join us during the week of the concert. Like most of our singers, Sara has multiple advanced degrees in music, and makes her living through a combination of performing around the country and teaching.
I hope you enjoy our postings over the next few weeks!
Welcome to Seraphic Fire's new blog: ichoir.blogspot.com. I, along with one of Seraphic Fire's singers Sara Guttenberg, will be trying to provide some insight into what goes into putting together a Seraphic Fire concert.
Since Seraphic Fire is an "all-star" group of singers, they live all around the country. We've had musicians fly from as far away as Germany to sing with us. Sara is currently living in Middle-of-Nowhere Utah (that's the name of it, right?) and will be flying in to join us during the week of the concert. Like most of our singers, Sara has multiple advanced degrees in music, and makes her living through a combination of performing around the country and teaching.
I hope you enjoy our postings over the next few weeks!
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