UPDATE!

OMGOMGOMGOMG

Today was the FINAL working dress rehearsal for our Mostly Mozart programme!

I can't believe our performance is finally here!

Tomorrow.

Wilden.

7:30 PM

BE THERE!

Or be square... or whatever... >_>

SEE YOU!!!

A few thoughts

The amazing thing AND the difficult thing about opera (and actually any other art form) are as follows:

As a performer, it is NOT about US.

It is NOT "I want to feel. I want to be. I want to experience. I want to learn."

Those are all important things. Feeling, experiencing, being, learning are all great things that one can take away from a production and/or a performance.

However, when all of that--when WE get in the way of the art and the communication, we have DEFEATED OUR PURPOSE.

It IS NOT about us.

It IS about the music.

It IS about the text.

It IS about the audience.

It IS about conveying the truth of human nature in all its silliness, beauty, repulsiveness and insanity.

IT'S ABOUT BEING HONEST.

If a performer impedes other performers from doing their ABSOLUTE best-- whether it be because of EGO, LACK OF PREPAREDNESS, or INSENSITIVITY or all of the above-- that person is SELFISH.

Our duty as artists is to provide our fellow artists with a safe, encouraging, supportive place of work so we can use our craft to touch the audience.

That is all.

Rehearsal Photos!

I just couldn't resist bringing my camera to our first choreography rehearsal today! Here's some of the faces of APU Opera. Clicky HERE to get to my Flickr page!

More on opera camp and other thoughts

It's been a while since Saturday (thanks a lot homework!) but opera camp was fantastic! Two of the highlights: slapping people around and great Mexican food!

Okay, you might be saying "Er... what? Slapping? At APU? WHAT?" Chillax, guys! It was just stage combat training. It was loads of fun! And of course, we had some amazing Mexican food at Dr. Galloway's apartment. Mmm~~~

Now, it's back to the music. You'll get no complaints from me! Singing Mozart is a joy and a privilege. How could you get tired of his music? It's impossible! Every time I sing his music, I just want to melt into all those notes on the page and live there. Only if that were possible...

Alrighty! The staging portion of our production is coming up really soon so expect pictures and videos of us doin' our thang! :D

Ciao!

Opera Camp

The first half of Opera Camp 2010 ended a few hours and all I have to say is that it was AMAZING! We learned so much about each other, our company and what it means to function as a ensemble. There was so much given, taken and exchanged. We met new people, laughed with them and learned with them. We experienced vulnerability, fear and ultimately trust. All within a matter o hours.

We're a company. We're an ensemble. We're a family!

Welcome to the new 2010 APU Opera family, guys. I don't think anyone could have imagined a better group people!

NEWS FLASH!

Guess what guys?? APU Opera has a brand-spankin'-new ad in this month's issue of Classical Singer magazine! How cool is that! And it features our very own Kelsey Pentacost in her outrageous Poppea costume from last year's Getting a Handel on Handel programme! Check it out:

Opera Etiquette Part II: The Maestro

Yep, that guy in the penguin suit!

Next installment of opera etiquette!

Il Maestro

“Maestro” is the Italian word for “Master” or “Teacher” and is the term of endearment and respect for the music director and conductor of the opera. Yes, that guy in the front in a tuxedo, flailing his arms the entire show. Without him, there would be no show! The proper concert etiquette is to applaud him (or her, in which class it would be “Maestra”) at these designated times:

1) Before the overture when the Maestro takes his place in front of the orchestra
2) At the end of the overture
3) At the end of the act before intermission.
4) When the Maestro reassumes his place in front of the orchestra after intermission.
5) During the curtain call when the Maestro is brought on stage with the rest of the cast.

Basically, you applaud whenever you see him walk. It’s a good rule of thumb if you forget.

Conductors: Can't live without 'em! Hopefully this has cleared up a few things. Thanks for reading!

Opera Etiquette Part I: What it's all about and what to wear!

O_o???

Okay, here I go! I'll be breaking this up into a few parts so this post doesn't go on for ever and a day.

Among the many misconceptions about opera, one of the more puzzling aspects is the etiquette. Never mind the screaming fat lady in the last act with the long blonde braids, shield and horned helmet; I’ve heard more false impressions about opera etiquette than anything else.

To someone who hasn’t experienced it, opera can seem like a completely different culture, something entirely foreign and aloof, and this can be just another reason to avoid the theatre. I’m here to tell you that it doesn’t have to be like that! Opera is meant to be enjoyed, not treated as some sort of relic. Opera etiquette, like most etiquette, is about being considerate to both the performers and fellow audience members. It’s as simple as that! So, whenever you don’t know what to do, just ask yourself, “Will this disturb others?” If so, don’t do it.

This is a short, concise guide to help you understand the culture of opera and to, ultimately, make your time at the theatre more enjoyable. Get ready to check one more excuse off of your list!

What (not) to wear

In olden days, going to the opera was a social event. In a way, it still is but back then, it was the place to show off, gossip and stare at others freely. Special, elaborate dresses and tuxedos were made specifically for these occasions because appearances were of the utmost importance to ladies and gentlemen of society. Nowadays, however, the dress code is much more relaxed. Gone are the days of stain and bustles and tuxedos. Instead, for non-gala opera performances, modern society favours something more akin to the “Sunday dress.” Your choice isn’t limited to just these items but these are foolproof.

Gentlemen: Slacks and a button-down shirt with dress shoes will do nicely. Or, if you are so inclined, a suit and tie also are considered fashionable.

Ladies: Dress pants, blouse, below/at the knee skirt, tailored dress, dressy shoes, or anything conservative and beautiful will suffice.

Now, this doesn’t mean you have to look like your great aunt/uncle Sally/Sal; being fashionable is more than acceptable! However, there are a few things that aren’t considered tasteful. These are a few things you should avoid.

Gentlemen: Jeans, tennis shoes, sandals/flip-flops/anything open toe, shorts, anything too baggy and doesn’t cover your boxers, work boots, graphic t-shirts, too much bling, baseball caps or other casual headwear, wife-beaters and anything that doesn’t cover your shoulders, etc.

Ladies: Jeans (unless they’re dark wash and dressy), hoochy skirts that are basically loin clothes, sandals/flip-flops/anything open toe that isn’t dressy, casual tops that you would wear to the gym/pick up your kids, shorts you would wear to the beach/grocery store/etc, tank-tops, anything way too tight (I don’t care how bangin’ your body is), etc.

Now, on to gala events. Galas are special occasions in opera where people get really dressed up and fancy with a reception after the performance. Sometimes you have dinner or cocktails and meet the cast! In these occasions, Sunday dress doesn’t really cut it. Here are a few guidelines to picking the perfect semi-formal to formal outfit.

Gentlemen: Have you seen Casablanca? Who hasn’t? Okay, if you haven’t, go look it up. The outfit Rick wears—the white dinner jacket with the bow tie—is absolutely perfect. Of course, you don’t have to try and look exactly like the incomparable Humphrey Bogart to fit in at a gala. I would recommend a tuxedo outfit. Yep. That’s it for you guys!

Ladies: It’s always more difficult for ladies when it comes to outfits but in this case it’s actually very simple. Any dress that’s form flattering will do. Of course, don’t go in a cocktail dress. That’s a bit too short. Something semi-formal that is beautiful but doesn’t show off too much skin is perfect.

A gala is a social event and you want to look your best. Just make sure that your outfit doesn’t command more respect that you.

Hopefully, that was a bit helpful and informative! Part II coming soon! :D

Coming soon to a blog near you!

Worst audience ever.

Does concert etiquette baffle you? Has this prevented you from going to a concert or an opera? Have you ever attended a classical music performance of some kind and was insecure about when to clap and when to say 'bravo'?

Dang, I just sounded like an infomercial!

When I was first getting into classical music years ago, etiquette was one of the things that felt very daunting and I know I wasn't the only one. At first, it can feel like a completely different culture. I searched all over the internet and went to book shops for a comprehensive guide to concert etiquette and never really found one. I had to hunt and experience a lot of things myself in order to know what is and isn't proper.

So in order to help classical music newcomers, I've recently written a sort of Idiot's guide to opera etiquette and I'm currently revising it. I hope to have bits of it posted here soon!

Get ready to check one more excuse off your list!! :D

Who said opera was boring??

And people say opera's boring-- pfft! I don't think so!

This is a video titled "All the Great Operas in Ten Minutes." It's fun and easy way to be acquainted with most the popular operas! The way she rattled off these synopses left me in stitches the first time I watched it. But I disagree with her on one thing: you've gotta see it in real life to realize it's greatness. And plus, the singing is the most amazing part!

Don Giovanni, one of the operas that will be features in our Fall opera presentation Mostly Mozart is actually mentioned in the video! And yes, the Don is quite the ladies man... To say the least... O_o

Anyways! I hope you enjoyed that video and learned a little while you were at it! :D

Oh--aaand, I have a confession to make: I'm a self-professed opera geek who has watched this video at least half a dozen times and I STILL don't understand what happens in The Ring of the Nibelung.

@_@

Fill in the Blank!

Hey everyone!

This is an interactive post!! I thought it'd be fun to try this out. It's mostly for the cast members but I thought it'd be fun for the audience as well to get a sneak peak into our characters!

So, for those learning an entire role, fill in the blank:

Five words that would describe my character would be _________, _________, _________, _________ and _________.

I'll go first!

If I had to describe my character in five words or less, they would be smart, feisty, experienced, loyal, and loving.

Your turn! :D

NEWS FLASH!

Guess what!

APU Opera now has a Twitter account! Follow it for the quickest updates on anything and everything APU Opera related!

RossiniRossiniRossiniRossini...

Probably Rossini's favourite musical sign. Haha!

I'm a huge fan of mezzo-soprano Joyce DiDonato. No, really. I'm a HUGE fan. I want to be like this woman so much. I own ever CD she ever recorded and I literally cried when I couldn't make it to her performance as Rosina in the LA Opera's production of The Barber of Seville. I'm still really bummed I couldn't go...

But anyways! She's also brilliant when it comes to photography and has a link to her flickr page on her blog (and yes, her blog is seriously titled Yankeediva. Isn't it awesome??). Midst the beautiful pictures of European architecture and gorgeous red and gold performance halls, I came across a low-key picture in her gratitude album.

The picture is of a quote said by one of the stage directors at the Lyric Opera of Chicago, Thor Steingraber. Someone had typed it up and posted on a bulletin board in the rehearsal department. The quote was this:

"I'd like Rossini better if there were more repetition."

I quite literally laughed out loud at this! Rossini is the king of repetition. Hands down. I'm sure the cast members of our Spring opera production La Cambiale di Matrimonio would all agree with me on this. It's not enough that he loads his music with tongue twistery words from the libretto; he makes us sing it over and over again, faster and faster with more spunk that we knew we had in us!

I think this is one of the great beauties of Rossini. He challenges us to be creative. We, as singers, are forced to come up with something new, different and exciting each time a musical theme or the same words are repeated again and again. We're forced to look beyond the external, seemingly mundane repetition and figure out why our characters would say it more than once.

The best Rossini singers know how to make every repetition count-- how to make each one special and meaningful. There's nothing more frustrating when I'm listening to a recording or watching a performance than a singer who just trudges through the repeats like a kid being forced to eat his/her peas and broccoli. It really shouldn't sound like a chore!

Rossini is a joy and a true privilege to sing. "Medicine for the voice" as the late and great Beverley Sills once said about Bel Canto. I'm constantly reminded when I listen to great Bel Canto singers such as Beverly Sills, Joan Sutherland, Juan Diego Florez and Joyce DiDonato that we must savour every word and phrase and make each of them a little gem of their own!

P.S. Puccini might have hated mezzos but Rossini actually preferred mezzos over sopranos. :P

How I got started

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. ;)

NEWS FLASH!

EXTRA EXTRA! READ ALL ABOUT IT! (Okay, just kidding. But it is just as exciting!)

I'd like to introduce the newest member of our opera staff: Mike Mahaffey!

Mike is a highly creative and qualified fight director, actor and teacher of stage combat who works in all avenues of the entertainment on film, stage and television.

And he's got a stellar resume, too!

"Chronicles of Narnia", "Resident Evil: Degeneration", "The Gold Retrievers", "The Last Stand of the 300" and "The Three Musketeers".

And, to boot, he is recognized as a certified teacher and fight director by The Society of American Fight Directors, and is also a member of the British Academy of Stage & Screen Combat, Revenge Arts and the Los Angeles Fight Academy.

We're very honoured and privileged to have such an accomplished professional like Mr. Mahaffey help us bring Rossini's La Cambiale di Matrimonio alive on stage through stage combat workshops and choreography!

As for me, I can't wait until I get to hold a rapier again. I took fencing lessons when I was younger for about a year. I've been dying to pick it up again! I wonder if I'll need all that gear for his workshops... because I don't think I fit into them anymore. Uh-oh. Haha!

Anyways, thanks for reading, everyone! Click that 'follow' button up there to stay updated on all the awesome things happening behind-the-scenes at APU Opera.

--R

Ciao a tutti!

Hi everyone and welcome to the official blog of APU Opera!

I'm Rachel, a member of this year's opera cast and here, you'll find my take on this unique adventure I'll be going through this year. I'll be posting about what it's like to prepare, rehearse, collaborate and perform this year along with photos and videos of all the hilarity and insanity that goes on behind-the-scenes!

This is an exciting year for APU Opera! Mostly Mozart will be our Fall production and it cover Mozart's most famous operas in the form of review. Our Spring production will be Rossini's very first opera, a brilliant comic one-act titled La Cambiale di Matrimonio (AKA The Marriage Contract).

So, go on! Click that 'Follow' button on top of your screen and join me on this intense, exciting, fun ride through the world of opera. I promise: you'll love it!

-Rach