Opera is all about details. We practice and polish and hone and obsess, sometimes to the point where we forget what all those details are in service of: performing. All of it is so that when we get up on that stage we have the tools to really, truly, make the art as we want it to be. We so desperately want to share and communicate with the people watching on a primal level, and working towards perfection allows us to communicate more easily and deeply.
Last Saturday I was able to do that thing where you make a roomful of people forget to breathe and wait to clap. Where they're still with you as the last chord fades and they need to sit with you for an extra few seconds while you hold the final energy of your aria. Honestly, that's the moment I live for in opera. It was exactly what I was aiming for with that particular piece, so even though I didn't advance in the competition I was singing for, I'm proud of myself. I didn't sing perfectly, but I took the audience somewhere else. I performed. That's what it's about. That's why I do this. To make people feel, to make them empathize. Not sympathize; empathize. To help them immerse so deeply their neurons line up with mine and they feel with me. I forget what I'm about sometimes when I get caught up in the day-to-day of making specialized throat noises, but that was not one of those days. I lost, but I won.
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I have finally started making vlogs! This first installment is my adventures on Sunday, 29 April. So excited to share this first video with you! I had the privilege of attending the Met Opera National Council Finals and learned a lot. If you are a singer, I highly recommend watching as many competitions as you can. It teaches you about, in no particular order:
In case you were wondering (and didn't just click on the MONC link above), the winners are: Ashley Dixon, Mezzo-Soprano, Northwest Region Jessica Faselt, Soprano, Upper Midwest Region Madison Leonard, Soprano, Middle Atlantic Region Carlos Santelli, Tenor, Western Region Hongni Wu, Mezzo-Soprano, Eastern Region I had a lot of fun making my first MezzoNerd video. Please subscribe to my youtube channel - there will be more vlogs in the future! "Opera is sexy!" I remember the time this innocent tweet from a music community tweep sparked a long, lively conversation between me and another tweep. His problem was that people always say that in an attempt to give opera broader appeal and reel in new audience members. He argued that not everything needs to be sexy, that opera can stand on its other merits, that "sexy" doesn't have to come into play. He's right. For example, The Met's ad campaign from last year clearly utilizes the sex appeal of the international stars gracing its stage, with Anna Netrebko in the throes of ecstasy, Diana Damrau and Vittorio Grigolo entwined atop silk sheets, and Elina Garanca giving us her best 90s Leonardo DiCaprio, one hand seductively stroking Renee Fleming's hair. This is only the latest in a string of aesthetics-based choices at The Met. Then we have those regie European productions, where nudity is practically de rigeur. Gratuitous nudity is in vogue, for example the shower scene in Glyndebourne's Der Rosenkavalier.
So, yes, not everything needs to be sexy and this trend towards hyper-sexualization is not doing the art form any favors. He's right. He's also wrong. Opera IS sexy. It's intrinsically sexy, for so many reasons. The stories are emotionally charged and sparks constantly fly between lovers. They deal with seduction, revenge, sex, and passionate love. The music is intoxicating and sweeps through the fourth wall to envelop and arouse the audience. Singing opera can be arousing. Opera is a safe space to explore and experience the many facets of desire. Opera doesn't need to be sexy. It just is. In case you missed me yelling about this in person or on every social media platform known to man -- I have a concert this Friday, June 23rd. I am insanely proud of this particular concert. It features works by a bunch of composers, and excerpts from an opera in progress. I am singing one of the lead roles in the opera scenes and an entire song cycle by the super-talented and crazy-nice Ross Crean, who is in absurdly high demand in the Chicago new music scene. I am extremely passionate about new vocal works, and this is an opportunity to really dig into some very satisfying music. These composers are all so smart; their music is full of nuance and little touches that bring home just how talented and brilliant they are. AND THE SINGERS. We have a group of amazing singers who have really brought this music to life. I'm so excited to bring this concert to fruition. I can't fully express how important it is to me, and I hope you come to see it. TICKETS June 23, 7pm at Opera America National Opera Center (330 7th Ave) I do not listen to as much instrumental music as I would like and when I do listen, I often have it on as background while I do something else. This makes me miss out on actually appreciating the music. I have wanted to listen to all of Beethoven's symphonies in order for a while now. What better way than to exercise to them? Since many musicologists, who are far more academically qualified than I, have analyzed these masterful symphonies, I shall give you, dear reader, my general and exercise-related impressions.
I listened to Bernstein and the NY Phil again, because why not. The artistry is amazing and the interpretation feels so clean and natural. The first movement starts slowly but changes to a bright, quick tempo about three minutes in, which was perfect for my warm-up walk into my jog. I found myself jogging in time with the music, which set a very swift pace. I was halfway done with my jogging route by the time the first movement ended. I highly recommend this movement for a workout if you were a marching band kid who has a habit of walking in time with music. The second movement is also fairly upbeat, but too slow for my stride. Very genteel and refreshing, it somehow pulls at the heartstrings. The third movement is short and adorable. Not a good tempo for me, but it made me smile. The fourth movement is perfect for a long jog. It has fantastic energy and the tempo is great for a comfortable jogging speed. I recommend the first and fourth movements for a workout playlist. Stats: Symphony No. 2 in D Major, Op. 36 I. Adagio molto - Allegro con brio (12:37) II. Larghetto (11:41) III. Scherzo: Allegro (3:23) IV. Allegro molto (6:09) Total time: 33:50 Verdict: Two fabulous movements to exercise to: mezzo-forte. I do not listen to as much instrumental music as I would like and when I do listen, I often have it on as background while I do something else. This makes me miss out on actually appreciating the music. I have wanted to listen to all of Beethoven's symphonies in order for a while now. What better way than to exercise to them? Since many musicologists, who are far more academically qualified than I, have analyzed these masterful symphonies, I shall give you, dear reader, my general and exercise-related impressions.
The particular rendition I listened to is Leonard Bernstein conducting the New York Philharmonic. I chose it because Bernstein's interpretations are legendary, as is the New York Phil. Also, it is easy to find on Spotify. The first movement has a lot of energy, but the beat was too fast to match to my jogging pace. The terraced dynamics make for interesting listening, but didn't help my energy. On a side note, I love the unsettling opening chords. It really got my attention from the beginning, especially since I was expecting a pompous "PAY ATTENTION RIGHT NOW! THE PIECE IS STARTING AND HERE'S YOUR HEART ATTACK FOR TODAY" tonic chord. The second movement created this buoyant, lovely atmosphere that made for a scenic and relaxing end of my jog. Again, though, it was just the wrong tempo for my step. A little too slow this time. Movement three came on during my cool-down walk. It is adorable and exuberant. Wrong tempo again, but fabulous if you need a short palate-cleanser in the midst of a pop playlist. Movement four has excellent, driven energy. This is a perfect addition for a long-distance jog playlist. The tempo is a tad too slow for my short-person stride, but there is so much wonderful forward momentum in the music that it would be ideal for the end of a lengthy jog. Stats: Symphony No. 1 in C Major, Op. 21 I. Adagio molto - Allegro con brio (9:09) II. Andante cantabile con moto (7:42) III. Menuetto - Allegro molto e vivace (3:18) IV. Finale. Adagio - Allegro molto e vivace (5:43) Total Time - 25:52 Verdict: Not quite right for my workout, but I enjoyed it: mezzo-piano. |
AuthorMaayan is a Manhattan-based opera singer. Archives
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