The rest of my workspace doesn't look so clean...
Learning an opera role is like... hatching an egg? Digging up treasure? *Thinks...*
One thing that I'm realizing again and again as I learn my first role is this: there's a huge difference between the theoretical and the practical. I've read the books, the interviews, the blogs etc. so I knew before taking on this task that learning a role and creating a character would be both a challenge and a joy. My role isn't a huge one: she's the maid Clarina in Rossini's first opera
La Cambiale di Matrimonio. She probably gets about fifteen minutes max of stage time. But my expectations of what would be difficult and what would be easy were a bit off.
Contrary to by expectations, the technical side seems to be the most difficult. The entire role sits uncomfortably on my passaggio (the break between the mid voice and the head voice-- my sworn enemy). The 'eh' vowel of 'contento' on a G5 is pretty much murdering me right now. Also, keeping the legato line throughout this area is very difficult; therefore, focusing my sound for accurate placement isn't all the way there. And, of course, it's Rossini so there are loads of fast, tongue-twistery words that must be learned correctly the first time. This means repetition repetition repetition! Slow and meticulous learning. Undoing things that you've learned incorrectly is much more tedious that this so I have to take it slow.
Memorization, something I thought I'd have trouble with, is not a problem at all. I suppose knowing the language is helping. Thank God I invested those two years in high school learning Italian. I'm not fluent (yet!) but even just the basics helps a lot with memory. This skill proved crucial since most of my character's scenes are in ensembles. Meaning that I need to not only memorize what I'm saying but what everyone else on stage is saying. Knowledge of everyone else's lines is important because without it, there is so realistic reaction. Part of making a situation and character believable on stage is your reaction. In real life, people listen then react. To do this effectively, preparation is necessary. Of course after the preparation, the trick is to not anticipate on stage and make everything seem like it's happening for the first time.
Characterization was another aspect I thought I'd have more trouble with. After reading the libretto and analyzing it, I found Clarina a relatable character. She funny, sarcastic, smart, and loving. Throughout the opera, she speaks to everyone formally expect the head man servant, Norton. Funny, in'nt? She always uses the 'tu' form with him and her speech seems very comfortable around him. There's a bit of history between them. And from her aria, I think it quite possible that she's in love with him. However, nothing is ever said out-right, almost like she's expecting him to make the first move. The hints are there. Either Norton picks them up or he doesn't. And if he doesn't, Clarina's not going to lose too much sleep over it. Or maybe... maybe they had sparks fly in the past but things never worked out-- perhaps that's the reason for her ambiguity. Either way, she's a woman. I can relate to that.
And of course, my biggest hurdle:
procrastination. I'm notorious for this. But I know myself. I'm pushing myself to do a little everyday because too much will cause a burn out. A couple of measures, a few lines a day keeps be both productive and even motivated to do more. Research shows that learning something bit by bit helps with long-term memory! I also know that I can't learn anything in a week so pacing myself and learning in advance is a must.
That's it for now. I'm considering this a series of blog entries. I'll post more when more revelations have occurred. Hah! I meant, thoughts. ;)
