It's now officially over...both Il Trovatore and my opera career, unless I'm asked to return, of course ;) What a ride it has been, and I can't thank Jamie, Steve, and everyone else connected with the production enough for putting up with my rookie mistakes. Last night's performance was over the top in every respect! The only sad part is that we didn't pack the house full every night. Was there anything better going on in town? I doubt it. But many thanks to all who did make it. A large, enthusiastic audience is a very good thing indeed for all concerned!
For everyone who hasn't had enough opera to suit them, don't forget that Piedmont Opera and the Milton Rhodes Center for the Arts will have a "debut" of sorts this Saturday, Oct. 9th at 1:00, the first Live from the Met HD transmission in Winston-Salem! The opening production is Das Rheingold, the first opera in Richard Wagner's epic Ring Cycle, starring the hunky Bryn Terfel as Wotan. Tickets are selling fast, so you'd better call the HanesBrands Theatre box office at 747-1414 to grab yours. I have mine, and I don't care how much you offer me, you can't have them! A total of twelve operas will be shown, at least one per month, through May of 2011.
And if you haven't already bought a calendar for 2011, get one and put down these Piedmont Opera dates:
Feb. 12 at 7:30pm, Love Scenes at Hayworth Fine Arts Center on the High Point University campus
Feb. 13 at 3pm, Love Scenes (repeated) at Brendle Recital Hall on the Wake Forest University campus
March 25 at 8pm, H.M.S. Pinafore by Gilbert and Sullivan at the Stevens Center
March 27 at 2pm, ditto
March 29 at 7:30pm, ditto
May 21, Magnolia Ball fundraiser at Forsyth Country Club
Support the Opera! Call the opera office at 725-7101 for more information on any of these events.
I'll be signing off for now, but I might reincarnate as a new personality ere long. Stay tuned, and thanks for following my opera adventure!
Judy/The Diva/La Zingarella/Mother Superior/Head Monk
Wednesday, October 6, 2010
Monday, October 4, 2010
The Show is On!
What a weekend! With opening night on Friday and the second performance on Sunday afternoon, things have been busy with the opera plus family and friends visiting. How wonderful it all is, though. And the flowers...my sister and brother-in-law arrived on Friday with flowers in hand, my nephew and his family sent flowers to my dressing room on Friday night, and friends from Blowing Rock brought more flowers after the performance yesterday! I don't get to participate in the final bows (for good reason), but these flowers make me feel like a little bit of a diva anyway.
I can't tell you how much fun it is to be on stage with a large audience reacting to the beautiful singing going on all around me! Luckily that audience is pretty much a big blur from the stage. I could tell that most seats downstairs were occupied, but that's about it, so I don't have to worry about someone making a face at me. Now I'm wishing that there could be a DVD done of this production, so I can keep it close by for a "fix" after Tuesday night's final show. Many of the arias simply take your breath away with the beauty of the music combined with its presentation by the exquisite voices of our cast and the fantastic symphony musicians led by Maestro Jamie Allbritten, not to mention outstanding work by the chorus!
Some have asked to see pictures of me in full costume, so reluctantly I comply:
La Zingarella in the flesh...I don't think I'll be dying my hair black any time soon!
And Mother Superior, don't I look pious (it's all an act.) I didn't get a photo of me as a monk, just envision a hooded dark brown, well, monk!
And best of all, the beautiful flowers sent by my nephew Keith, his wife Jan and their children Corinne and Jacob!
One more performance coming up tomorrow (Tuesday) at 7:30, your last chance to see (or re-see!) a great show!! Special thanks to Ken Keuffel of the Winston-Salem Journal for a fine review in Saturday's paper.
See you at the Stevens Center,
La Z
I can't tell you how much fun it is to be on stage with a large audience reacting to the beautiful singing going on all around me! Luckily that audience is pretty much a big blur from the stage. I could tell that most seats downstairs were occupied, but that's about it, so I don't have to worry about someone making a face at me. Now I'm wishing that there could be a DVD done of this production, so I can keep it close by for a "fix" after Tuesday night's final show. Many of the arias simply take your breath away with the beauty of the music combined with its presentation by the exquisite voices of our cast and the fantastic symphony musicians led by Maestro Jamie Allbritten, not to mention outstanding work by the chorus!
Some have asked to see pictures of me in full costume, so reluctantly I comply:
One more performance coming up tomorrow (Tuesday) at 7:30, your last chance to see (or re-see!) a great show!! Special thanks to Ken Keuffel of the Winston-Salem Journal for a fine review in Saturday's paper.
See you at the Stevens Center,
La Z
Friday, October 1, 2010
Tonight's the Night!
Well, it's finally here, opening night of Il Trovatore! After a great final dress rehearsal on Wednesday night and a day of rest, everyone should be pumped up to give it their all. It was fun having an audience to play to, and happily they were sitting far enough back that I couldn't see a single face! I try not to look out into the hall, afraid of seeing some people I know making faces at me (you know who you are, don't do it!)
Speaking of the dress rehearsals, I must pay homage to Terry Allen and his crew of OPERAtors and Piedmont Opera board members, who so deliciously fed the cast and crew both Tuesday and Wednesday nights. Here is a photo of the kitchen crew from Tuesday night. Chief Terry, also known as Chef Terry for bringing three sumptuous pecan pies each night plus many other goodies, is second from right. I found the pecan pie irresistible, so much so that I felt like Scarlet O'Hara getting laced into her corset when it came time to put on my gypsy dress. Relief came with a change into Mother Superior's forgiving robes!
Sharing a dressing room with Amanda Moody has been a real privilege. Not only is she beautiful and extremely talented, she's a really nice person! I've learned a lot about singing and the life of the performer from her. Here she is (above) in her beautiful costume for the role of Leonora's confidante, Ines.
Next door to us is Shannon Magee, aka Azucena, the wild gypsy woman! One of the joys of being "on the hall" with most of the principals is to hear the warm-ups going on all around. I can attest that Shannon's voice is really stunning and powerful! Here she is, looking especially ferocious, but note the cell phone in her hand! She was probably checking in with the baby-sitter for her son, aged 2 1/2, who travels with her wherever she goes. After the photo, she invited me in to view a very large spider in her dressing room and to determine whether it was dead or alive. When it started crawling toward us, we both knew the answer, it had to perish, and I was the one asked to do the nasty deed. Luckily I had on substantial shoes. We all have our special calling.
I have special guests arriving this afternoon, my sister Elinor and brother-in-law Billy from Columbus, Georgia. They will attend tonight along with my long-suffering but patient husband Bill. (The rehearsals do take a toll on your at-home life.) On Sunday my nephew Keith from Atlanta arrives, along with several friends from Blowing Rock and environs. That doesn't help in the nerves control area!
But on with the show, be there!!
La Z, M. Superior and H. Monk
I have special guests arriving this afternoon, my sister Elinor and brother-in-law Billy from Columbus, Georgia. They will attend tonight along with my long-suffering but patient husband Bill. (The rehearsals do take a toll on your at-home life.) On Sunday my nephew Keith from Atlanta arrives, along with several friends from Blowing Rock and environs. That doesn't help in the nerves control area!
But on with the show, be there!!
La Z, M. Superior and H. Monk
Wednesday, September 29, 2010
In boca al lupo!
We have our final dress rehearsal tonight, and I hope anyone who reads this will wish us in boca al lupo! I kept hearing this Italian phrase and wondered what it meant, but no one could tell me other than that it's the opera equivalent of "break a leg" or good luck. The internet came to my rescue again, although I do have friends that could have translated it for me. The phrase literally means "in the mouth of the wolf"...I suppose you would need good luck to get out of there! The other phrase often used for good luck is Toi...Toi...Toi! One internet source said that this phrase is derived from the German for devil (teuflisch), while another said "it's to represent spitting, when properly done it is said over the left shoulder of the recipient of the good wishes." Whatever, wish us luck!
Last night was the first dress rehearsal with wigs and makeup. That made for some glamorous gypsies, of which I was NOT one! I don't think I was cut out to have long, curly black hair. But the process of "wigging" is interesting. First you have to pin up your hair as well as you can using bobby pins, then put on a stocking "skull cap" over your head. The wig/makeup expert next places the wig over your head and proceeds to pin it down to the skull cap using lots more bobby pins. It's not the most comfortable experience I've ever had, but tolerable. Of course when the wig comes off one's hair is sticking out every which way, which makes for a frightful sight.
So off I go to get wigged and into my favorite character,
La Zingarella!
Last night was the first dress rehearsal with wigs and makeup. That made for some glamorous gypsies, of which I was NOT one! I don't think I was cut out to have long, curly black hair. But the process of "wigging" is interesting. First you have to pin up your hair as well as you can using bobby pins, then put on a stocking "skull cap" over your head. The wig/makeup expert next places the wig over your head and proceeds to pin it down to the skull cap using lots more bobby pins. It's not the most comfortable experience I've ever had, but tolerable. Of course when the wig comes off one's hair is sticking out every which way, which makes for a frightful sight.
So off I go to get wigged and into my favorite character,
La Zingarella!
'Piano Dress' Photos Amongst the Halls and Dressing Rooms
This beautiful gypsy band will also take on even more flair once the black wigs are in place - you may not recognize us then! But notice how stunning the gypsy costumes are, all different. We may be poor, but we know how to dress!
Why is Manrico looking so happy when he has to die for the love of Leonora??
Monday, September 27, 2010
Getting into character
This morning's Triad Arts Up Close with David Ford on WFDD radio (88.5) featured Part I of David's interview with principals Jill Gardner and Mark Walters! If you missed it like I did, don't despair. Just turn on your speakers and go to http://wfdd.org/tauc.php/ts1285605373, click on the Listen button and there you have it. It's a great spot. Part II will be aired on Triad Arts Weekend on Friday (opening day!) at 1:30 pm. In case you miss it, that interview will also be available on WFDD's website after it airs.
Sunday, September 26, 2010
Moving to the Big Stage!
Friday night's rehearsal was a run-through of the entire opera in the UNCSA rehearsal hall, our last night working there. It was fantastic! Everyone was in full, beautiful voice, the fight scenes were fierce and realistic and the acting incredible. There were not many pauses for corrections found to be necessary. And there was an enthusiastic response from our nice audience. I was only able to get a couple of photos before the action began, these of two intrepid soldiers:
After the rehearsal Jamie told us some unfortunate news - trouble had occurred during the load-in of the set at the Stevens Center - luckily no one was hurt when one of the large columns collapsed and fell onto another one of them! Adjustments were having to be made to the set to compensate and our rehearsal set for yesterday afternoon was moved to last night.
When I arrived at the Stevens Center through the stage door entrance, I immediately got lost in the rabbit warren of the "underground" regions of the backstage world! Fortunately, Amanda Moody rescued me and showed me the way to the dressing rooms. I found the room designated for the female chorus, and saw racks of costumes set up, arranged in order of last names. What a wonderful sight! That is, until I could find neither my name nor my treasured gypsy attire. Then Amanda reappeared to say that I was to share her dressing room! She led me through more doors and down several stairways, to a lovely space outfitted with super-bright makeup lights and even a bathroom to be shared with Azucena, Shannon Magee, next door. "Our" door is marked "Ines (Amanda's character) and Super Lady", such a privilege to be in this rarefied atmosphere. Other close neighbors are "Ferrando and Ruiz" (Richard Ollarsaba and Marvin Kehler.) Our costumes were there but we are not allowed to put them on until the wardrobe people arrive to dress us. Pity! But I'm pretty sure tonight (Sunday) will be the night this happens for the first time.
After we scoped out our arrangements, the entire cast gathered in the audience of the theatre to receive instructions for the evening. The stage crew was there, as well as the lighting folks. We had a chance to get up on the stage to walk about on the raked (remember? that means inclined) platform, which does feel a little strange after the flat floor of prior rehearsals. Jill Gardner said it helps to "think of cows on a hillside, they put one leg a little ahead of the other to balance themselves!" There are also two steps up to be aware of, one from the base of the stage in front, another at the back. In addition, enhanced props such as carts and benches were introduced, as well as two giant crosses for the convent scene. So you have to be alert as to where you are at all times, while often dodging the swordplay!
After a session of fight reenactments supervised by Dale Girard and adjusted for the new setting, we began another run-through of the entire opera, but this time the singing was held back (according to my roommate Amanda) for two reasons: one is to be able to concentrate on the staging and placement, the other is to allow the voices, particularly of the principals, a day of rest. Amanda said they are rarely asked to "sing out" for two days in a row. Given that the Stevens Center stage is much larger than the previous rehearsal space, a good many adjustments were made by Steve as we went along. We only ran into each other a few times as we got used to all these changes!
I think I'll arrive early for my "dress call" tonight, hoping to get into La Zingarella mode as soon as possible! We will be rehearsing with Angela Ward on the piano for one last time before full dress with the orchestra on Tuesday night. But challenges still await for tonight with full skirts and costume changes added to the mix! On with the show...
Super Lady (or Super Woman, your pick!)
Above is James Hopkins, who coined the "turtlehead" description.
To the right is Kenneth Alexander, in "fierce" mode!
After the rehearsal Jamie told us some unfortunate news - trouble had occurred during the load-in of the set at the Stevens Center - luckily no one was hurt when one of the large columns collapsed and fell onto another one of them! Adjustments were having to be made to the set to compensate and our rehearsal set for yesterday afternoon was moved to last night.
When I arrived at the Stevens Center through the stage door entrance, I immediately got lost in the rabbit warren of the "underground" regions of the backstage world! Fortunately, Amanda Moody rescued me and showed me the way to the dressing rooms. I found the room designated for the female chorus, and saw racks of costumes set up, arranged in order of last names. What a wonderful sight! That is, until I could find neither my name nor my treasured gypsy attire. Then Amanda reappeared to say that I was to share her dressing room! She led me through more doors and down several stairways, to a lovely space outfitted with super-bright makeup lights and even a bathroom to be shared with Azucena, Shannon Magee, next door. "Our" door is marked "Ines (Amanda's character) and Super Lady", such a privilege to be in this rarefied atmosphere. Other close neighbors are "Ferrando and Ruiz" (Richard Ollarsaba and Marvin Kehler.) Our costumes were there but we are not allowed to put them on until the wardrobe people arrive to dress us. Pity! But I'm pretty sure tonight (Sunday) will be the night this happens for the first time.
After we scoped out our arrangements, the entire cast gathered in the audience of the theatre to receive instructions for the evening. The stage crew was there, as well as the lighting folks. We had a chance to get up on the stage to walk about on the raked (remember? that means inclined) platform, which does feel a little strange after the flat floor of prior rehearsals. Jill Gardner said it helps to "think of cows on a hillside, they put one leg a little ahead of the other to balance themselves!" There are also two steps up to be aware of, one from the base of the stage in front, another at the back. In addition, enhanced props such as carts and benches were introduced, as well as two giant crosses for the convent scene. So you have to be alert as to where you are at all times, while often dodging the swordplay!
After a session of fight reenactments supervised by Dale Girard and adjusted for the new setting, we began another run-through of the entire opera, but this time the singing was held back (according to my roommate Amanda) for two reasons: one is to be able to concentrate on the staging and placement, the other is to allow the voices, particularly of the principals, a day of rest. Amanda said they are rarely asked to "sing out" for two days in a row. Given that the Stevens Center stage is much larger than the previous rehearsal space, a good many adjustments were made by Steve as we went along. We only ran into each other a few times as we got used to all these changes!
I think I'll arrive early for my "dress call" tonight, hoping to get into La Zingarella mode as soon as possible! We will be rehearsing with Angela Ward on the piano for one last time before full dress with the orchestra on Tuesday night. But challenges still await for tonight with full skirts and costume changes added to the mix! On with the show...
Super Lady (or Super Woman, your pick!)
Thursday, September 23, 2010
The Male Chorus turns into Gray Turtleheads
When I arrived at rehearsal Tuesday night I noticed some strange characters wandering around - men in quite attractive helmets! James Hopkins, one of these "creatures" and a fine young tenor at UNCSA, told me he felt like a gray-headed turtle, and that's about what they look like. I must get a photo of this headgear tomorrow night. Jamie told the men right off that they would not be able to hear as well with the helmets on, but they had to just get over it, in fact "Embrace it! You're not the first nor are you the last to have this problem. Whatever happens DO NOT remove your helmets!" I'm sure it's safer to have them on with all those swords flying around. Speaking of which, our fight master Dale Girard is leaving shortly for a stint at the Metropolitan Opera, choreographing the fights for their production of Romeo and Juliet! So we're hanging with the big boys.
Also, Jill Gardner and Mark Walters have taped a segment for WFDD radio's Triad Arts Up Close with David Ford about our production, so listen for them sometime next week, 8:50 a.m. If I find out the exact day I will post it. If you miss it, you can also find the interview on wfdd.org after it has been broadcast. (Jill told me that when she's famous, singing at the Metropolitan and being interviewed at intermission, she will proudly proclaim to the world that she grew up in Winston-Salem, home of the finest regional opera in the US! Can't beat that publicity.)
I need to put in a plug for our fantastic production stage managers, Kathleen Edwards and her assistant Ann Louise Wolf. What a job they have to do, and they do it with such skill, precision and good humor! They make sure all the props are available where we need them, and they cue each entrance on stage, to name just a few of their duties that are obvious. So much more planning, etc. has gone on behind the scenes, so to speak. They each have a complete score of the opera, and have marked places at which entrances should occur and by whom with post-it notes. So they have to know the score backwards and forwards, and know where we are at all times, no small task! Once we get to the Stevens Center I'm sure their duties will increase with sets moving around and such. Kathleen also sends out an email each day to remind everyone of the next day's assignments as to when and where to be at rehearsal and for how long. They do everything they can to make us all look good and are greatly respected.
Tomorrow night we will reach another milestone - a complete run-through of the opera, although still in rehearsal mode. Up until now, we in the Chorus (notice that I use "we" to include me now that I sing one line!) have not seen a lot of the action which involves the principals alone. So this will be an exciting evening of great drama! At today's La Lunch, those of us in attendance heard the entire story from Jamie's lips, so we won't need any supertitles to figure out what's going on. Having the libretto (translated) at hand can also help one keep up with the action. Plus we will also have a little audience to play to! A small group of OPERAtors (the Piedmont Opera volunteer association) seized the opportunity to be a sounding board for this effort. A little outside applause will be welcome, hint, hint!
Have a pleasant night and dream of gypsies!
La Zingarella
Also, Jill Gardner and Mark Walters have taped a segment for WFDD radio's Triad Arts Up Close with David Ford about our production, so listen for them sometime next week, 8:50 a.m. If I find out the exact day I will post it. If you miss it, you can also find the interview on wfdd.org after it has been broadcast. (Jill told me that when she's famous, singing at the Metropolitan and being interviewed at intermission, she will proudly proclaim to the world that she grew up in Winston-Salem, home of the finest regional opera in the US! Can't beat that publicity.)
I need to put in a plug for our fantastic production stage managers, Kathleen Edwards and her assistant Ann Louise Wolf. What a job they have to do, and they do it with such skill, precision and good humor! They make sure all the props are available where we need them, and they cue each entrance on stage, to name just a few of their duties that are obvious. So much more planning, etc. has gone on behind the scenes, so to speak. They each have a complete score of the opera, and have marked places at which entrances should occur and by whom with post-it notes. So they have to know the score backwards and forwards, and know where we are at all times, no small task! Once we get to the Stevens Center I'm sure their duties will increase with sets moving around and such. Kathleen also sends out an email each day to remind everyone of the next day's assignments as to when and where to be at rehearsal and for how long. They do everything they can to make us all look good and are greatly respected.
Tomorrow night we will reach another milestone - a complete run-through of the opera, although still in rehearsal mode. Up until now, we in the Chorus (notice that I use "we" to include me now that I sing one line!) have not seen a lot of the action which involves the principals alone. So this will be an exciting evening of great drama! At today's La Lunch, those of us in attendance heard the entire story from Jamie's lips, so we won't need any supertitles to figure out what's going on. Having the libretto (translated) at hand can also help one keep up with the action. Plus we will also have a little audience to play to! A small group of OPERAtors (the Piedmont Opera volunteer association) seized the opportunity to be a sounding board for this effort. A little outside applause will be welcome, hint, hint!
Have a pleasant night and dream of gypsies!
La Zingarella
More Enticing Photos from Rehearsal!
Here are some more of the stars of our production, left to right: Ruiz (Marvin Kehler), Ines (Amanda Moody) and Ferrando (Richard Ollarsaba), fabulous voices all! You are really special when you play a "named" character, all very important to the action.
These lovely ladies are my support group, Kathie Eppert and Sally Wells, both seasoned Chorus members. Steve assigned them to (please) help me out in the critical points of the gypsy and convent scenes, on top of finely-tuned performances of their own! Plus they are fun to hang out with. I am grateful for their guidance.
Then rehearsal started, and I had to stop taking photos. Soon I will have more to share, I hope.
Wednesday, September 22, 2010
Look! Photos!
These photos were taken on Sunday, September 12th during the Il Trovatore Preview at the Milton Rhodes Center for the Arts. To see the principals up close, come to La Lunch tomorrow (noon,9/23, Piedmont Club, call for reservations) or attend the Opera!
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| Director Steve and Orchestra Nancy |
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| The beautiful Leonora, Jill Gardner |
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| The handsome but treacherous Count di Luna, Mark Walters |
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| The handsome and heroic Manrico, Stephen Mark Brown |
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| Conductor Jamie with chorus and the beautiful but wild Azucena, Shannon Magee (seated) |
Monday, September 20, 2010
We're gonna rehearse this until we get it right!!
The weekend was what you might call a marathon of rehearsals, and I'm just talking about the ones I am a part of, but I'm not complaining one bit! Let me give you an idea of the rehearsal schedule, which began on Wednesday, September 8th. The principals have been at it daily since then for approximately six hours a day, with only the 16th, the 23rd and the 30th off, plus (abnormally I believe) the 27th in honor of Renee Fleming's appearance with the Winston-Salem Symphony, which is eagerly anticipated! The female chorus members and I are asked to work basically three hours on each Tuesday, Friday, Saturday and Sunday, except that yesterday (Sunday) we were there about six hours. The male chorus has more time on stage so they have rehearsed a few more hours than we have. On Saturday the 25th we will move into the Stevens Center, and the working hours start lengthening when sets, costumes, makeup and orchestra enter the picture. Can't wait for that!
The first time the orchestra works with the principals is at what is called a sitzprobe (pronounced "zits probe"), and again thanks to Wikipedia, a definition:
Sitzprobe (German) is a term used in opera and musical theatre to describe a seated rehearsal where the singers sing with the orchestra, focusing attention on integrating the two groups. The equivalent Italian term is prova all'italiana.
After the sitzprobe, which will occur on the afternoon of Sunday the 26th, there are only two (dress) rehearsals with the orchestra! It is always fascinating to me that so little time is needed to put the two pieces together, but all parties come to the table knowing what they're doing. In the meantime, I can't say enough about the talented Nancy Johnston, who is flawlessly portraying the orchestra until the rest of the instrumentalists show up! Angela Ward is also a masterful accompanist who works with the principals, and on occasion with the full cast.
So the two dress rehearsals are on the 28th and the 29th, with the latter designated as Student Night, an opportunity for students in grades 6 through 12 to witness live opera at a greatly reduced price. See the Piedmont Opera website at http://www.piedmontopera.org/learn/student_night for details (chaperone(s) required.) That will be our first live audience, let's hope they are kind! Opening night for the rest of the world (don't I wish) is Friday, October 1 at 7:00 p.m.
I just wish I had a video camera with a live feed so everyone could experience the delight of these rehearsals. That is the only way I might be able to capture the pithy remarks of Maestro Jamie and Director Steve, which are always little life lessons unto themselves. Sometimes they are hysterically funny, other times bitingly critical (never mean-spirited), but always they are focused on drawing the best out of each performer. We are SO lucky to have these two working for the cause of great opera, both at Piedmont Opera and UNCSA!
Last evening our Azucena (Shannon Magee) was not feeling well, and had to leave rehearsal. During a scene in which she plays a prominent role, Jamie was singing her part and the rest of the cast pretending she was there. But her dramatic presence was sorely missed, so all of a sudden Steve jumped into the fray and took her place with great flair! We all watched with mouths open, and erupted in applause and bravo!s when the scene came to an end. Steve (sweat dripping and shirttail out) said, "I've only got one of those performances in me and I've used it up tonight!" What a treat to be a witness.
Another highlight for me occurred when Jamie gave me permission to actually sing a line with the chorus (and everybody else on stage at the time!) Of course I'll have to try that out quietly, since it is Italian after all! The line is "Mesta e la tua canzon", hope I spelled that correctly, which I think means "How tragic", sung in response to Azucena relating her sad story around the gypsy firepit. Watch for it!
One more item, I am now officially a monk! To the strains of Miserere being sung by altos and male chorus, I carry a cross onto the stage, followed by three devout monks (truth be told, they are all lovely sopranos) who kneel in front of the cross when I stop for them to pray briefly, then we all leave in procession. A while later we walk back across the stage, signifying an important event has just occurred. (To find out what, see the opera!) With our lovely brown robes you won't be able to recognize any of us, however.
But I'm still devoted to Azucena (when I'm not with Leonora, since they are both lovely people.) The gypsy costume absolutely rocks and I can't wait to get back in it!
La Zingarella
The first time the orchestra works with the principals is at what is called a sitzprobe (pronounced "zits probe"), and again thanks to Wikipedia, a definition:
Sitzprobe (German) is a term used in opera and musical theatre to describe a seated rehearsal where the singers sing with the orchestra, focusing attention on integrating the two groups. The equivalent Italian term is prova all'italiana.
After the sitzprobe, which will occur on the afternoon of Sunday the 26th, there are only two (dress) rehearsals with the orchestra! It is always fascinating to me that so little time is needed to put the two pieces together, but all parties come to the table knowing what they're doing. In the meantime, I can't say enough about the talented Nancy Johnston, who is flawlessly portraying the orchestra until the rest of the instrumentalists show up! Angela Ward is also a masterful accompanist who works with the principals, and on occasion with the full cast.
So the two dress rehearsals are on the 28th and the 29th, with the latter designated as Student Night, an opportunity for students in grades 6 through 12 to witness live opera at a greatly reduced price. See the Piedmont Opera website at http://www.piedmontopera.org/learn/student_night for details (chaperone(s) required.) That will be our first live audience, let's hope they are kind! Opening night for the rest of the world (don't I wish) is Friday, October 1 at 7:00 p.m.
I just wish I had a video camera with a live feed so everyone could experience the delight of these rehearsals. That is the only way I might be able to capture the pithy remarks of Maestro Jamie and Director Steve, which are always little life lessons unto themselves. Sometimes they are hysterically funny, other times bitingly critical (never mean-spirited), but always they are focused on drawing the best out of each performer. We are SO lucky to have these two working for the cause of great opera, both at Piedmont Opera and UNCSA!
Last evening our Azucena (Shannon Magee) was not feeling well, and had to leave rehearsal. During a scene in which she plays a prominent role, Jamie was singing her part and the rest of the cast pretending she was there. But her dramatic presence was sorely missed, so all of a sudden Steve jumped into the fray and took her place with great flair! We all watched with mouths open, and erupted in applause and bravo!s when the scene came to an end. Steve (sweat dripping and shirttail out) said, "I've only got one of those performances in me and I've used it up tonight!" What a treat to be a witness.
Another highlight for me occurred when Jamie gave me permission to actually sing a line with the chorus (and everybody else on stage at the time!) Of course I'll have to try that out quietly, since it is Italian after all! The line is "Mesta e la tua canzon", hope I spelled that correctly, which I think means "How tragic", sung in response to Azucena relating her sad story around the gypsy firepit. Watch for it!
One more item, I am now officially a monk! To the strains of Miserere being sung by altos and male chorus, I carry a cross onto the stage, followed by three devout monks (truth be told, they are all lovely sopranos) who kneel in front of the cross when I stop for them to pray briefly, then we all leave in procession. A while later we walk back across the stage, signifying an important event has just occurred. (To find out what, see the opera!) With our lovely brown robes you won't be able to recognize any of us, however.
But I'm still devoted to Azucena (when I'm not with Leonora, since they are both lovely people.) The gypsy costume absolutely rocks and I can't wait to get back in it!
La Zingarella
Saturday, September 18, 2010
Gentlemen, Draw Your Swords!
Last night's rehearsal was a real treat! After a quick run-through of the convent scene that we had worked on Tuesday night, Steve introduced the guest artist for the evening, Dale Girard, well-known combat instructor from UNCSA and beyond, ready to orchestrate the fight scenes. For more info on Dale, follow this link: http://www.uncsa.edu/drama/faculty8.htm.
While the early stages of fight training were going on, Jamie took the chorus downstairs to work on their music. Since I don't sing, I was able to stay upstairs and watch the process, while being sweetly serenaded by the music wafting up from below. How great is that!
Dale was fascinating to watch as he choreographed the swordplay in Act II. The principals Manrico and Count di Luna (Stephen Mark Brown and Mark Walters) caught on quickly to their routine. I believe they've done a good bit of such fighting before! Dale next worked with Ruiz and Ferrando (Marvin Kehler and Richard Ollarsaba), who also were quickly adept. Then it was the male chorus members' turns, and they also did well. Thank goodness...we nuns are onstage directly behind all this action and flying swords, and we don't even have to "act" frightened, because we are! We were all told to shout "Hold" in a very loud voice if we should see something going awry, but let's hope that doesn't happen.
One other frightening moment occurred when we watched Steve LaCosse use a folding chair to climb up onto the windowsill, in order to get a panoramic view of the action. To everyone's great relief, he made it up (and down!) with no missteps. What he will do for Art.
It's about time to leave for the next rehearsal. Who knows what is in store for today!
Still head of the convent, waiting to be indoctrinated into the brotherhood of monks,
M. Superior
While the early stages of fight training were going on, Jamie took the chorus downstairs to work on their music. Since I don't sing, I was able to stay upstairs and watch the process, while being sweetly serenaded by the music wafting up from below. How great is that!
Dale was fascinating to watch as he choreographed the swordplay in Act II. The principals Manrico and Count di Luna (Stephen Mark Brown and Mark Walters) caught on quickly to their routine. I believe they've done a good bit of such fighting before! Dale next worked with Ruiz and Ferrando (Marvin Kehler and Richard Ollarsaba), who also were quickly adept. Then it was the male chorus members' turns, and they also did well. Thank goodness...we nuns are onstage directly behind all this action and flying swords, and we don't even have to "act" frightened, because we are! We were all told to shout "Hold" in a very loud voice if we should see something going awry, but let's hope that doesn't happen.
One other frightening moment occurred when we watched Steve LaCosse use a folding chair to climb up onto the windowsill, in order to get a panoramic view of the action. To everyone's great relief, he made it up (and down!) with no missteps. What he will do for Art.
It's about time to leave for the next rehearsal. Who knows what is in store for today!
Still head of the convent, waiting to be indoctrinated into the brotherhood of monks,
M. Superior
Wednesday, September 15, 2010
Things get Dramatic!
The first order of business last night was to celebrate our dear director Steve's 50th birthday! Brandon Whitesell, a recent UNCSA voice grad, worked his magic in the kitchen, and produced not one, but three spectacular chocolate/banana cakes! If you ever need a dessert that will dazzle your guests, Brandon is the man to call, unless he leaves us to go sing opera somewhere (mixed feelings on that possibility.)
Then we got down to some serious action in rehearsal. The scene involved Leonora (Jill Gardner, who will knock your socks off when you hear her sing), who thinks her true love Manrico is dead, is planning to enter a convent to avoid giving herself to the evil Count di Luna. Manrico and the Count are portrayed by Stephen Mark Brown and Mark Walters respectively, both with beautiful and powerful voices.
So here I am, Mother Superior, getting ready to accept Leonora into the nunnery, when all h*%# breaks loose, if you get my point. The Count jumps out of hiding to claim her before it's too late, then Manrico appears to further complicate things. Soldiers fight, nuns swoon, a lot of fabulous singing occurs, and you have to come to a performance to see how that all works out!
Steve warned all of us to be aware of the power of the swords, that even though they are "fake" they could put a hurting on someone if we're not careful. Jill immediately said, "No kidding, I've seen someone get killed that way!" Everyone gasped in horror, then she laughed and said she made that up, to our great relief and delight. She is a hoot, keeps things quite lively. I love my scene with her, the true Diva in this narrative, in the best sense of the word.
But I really don't approve of Leonora running away from her commitment to the convent, just to be with that handsome Manrico! She may have to pay the price...
Blessings to all, especially to those who come to the opera,
Mother Superior
Then we got down to some serious action in rehearsal. The scene involved Leonora (Jill Gardner, who will knock your socks off when you hear her sing), who thinks her true love Manrico is dead, is planning to enter a convent to avoid giving herself to the evil Count di Luna. Manrico and the Count are portrayed by Stephen Mark Brown and Mark Walters respectively, both with beautiful and powerful voices.
So here I am, Mother Superior, getting ready to accept Leonora into the nunnery, when all h*%# breaks loose, if you get my point. The Count jumps out of hiding to claim her before it's too late, then Manrico appears to further complicate things. Soldiers fight, nuns swoon, a lot of fabulous singing occurs, and you have to come to a performance to see how that all works out!
Steve warned all of us to be aware of the power of the swords, that even though they are "fake" they could put a hurting on someone if we're not careful. Jill immediately said, "No kidding, I've seen someone get killed that way!" Everyone gasped in horror, then she laughed and said she made that up, to our great relief and delight. She is a hoot, keeps things quite lively. I love my scene with her, the true Diva in this narrative, in the best sense of the word.
But I really don't approve of Leonora running away from her commitment to the convent, just to be with that handsome Manrico! She may have to pay the price...
Blessings to all, especially to those who come to the opera,
Mother Superior
Tuesday, September 14, 2010
La zingarella gets her costume!!
I had my costume(s) fitting today and absolutely LOVE the gypsy duds! I don't look so poor as I thought I might, as it's a beautiful outfit, though a little heavy. There is a dress with a long, multi-layered skirt, a vest, an interesting scarf-belt and a colorful shawl. I'd like to keep this one. But then there's a hat, which I haven't seen yet, and I'm not a big hat person. Cathy Grillo, the costume guru, assures me the hats are delightful for all the gypsy band. These costumes, by the way, were rented from Malabar Limited, a theatrical and opera costume shop in Toronto.
The next outfit I tried on was for Mother Superior...it's a tad austere but lovely in its way. The wimple is another story, a hair-smashing number but it does give me an air of authority, I think. A cross will added to the ensemble later. Cathy put this outfit together just for me, since my M.S. is a made-up addition to the opera, thanks to Steve. I'm afraid tonight's rehearsal involves this aspect of my personality. So much for the care-free lady wineskin bearer, gotta get serious!
Lastly the monk's garb emerged, in which I will be almost totally obscured, which is probably not such a bad thing (my hairdo will be toast by then.) It is a dark brown swallow-me-up robe, with an equally swallowing hood on top. Anonymity rules!
Until rehearsal tonight, I'm still thinking of myself as...
La zingarella!!
The next outfit I tried on was for Mother Superior...it's a tad austere but lovely in its way. The wimple is another story, a hair-smashing number but it does give me an air of authority, I think. A cross will added to the ensemble later. Cathy put this outfit together just for me, since my M.S. is a made-up addition to the opera, thanks to Steve. I'm afraid tonight's rehearsal involves this aspect of my personality. So much for the care-free lady wineskin bearer, gotta get serious!
Lastly the monk's garb emerged, in which I will be almost totally obscured, which is probably not such a bad thing (my hairdo will be toast by then.) It is a dark brown swallow-me-up robe, with an equally swallowing hood on top. Anonymity rules!
Until rehearsal tonight, I'm still thinking of myself as...
La zingarella!!
Sunday, September 12, 2010
Step Two
I hope all of you were able to attend the preview of Il Trovatore at the Milton Rhodes Arts Center this afternoon. There was some powerful singing going on down there by chorus and principals!! I took some pictures, and as soon as I figure out how to show them to you, I promise I will.
Tonight we had Rehearsal #2, and "we" are getting better and better. I can say that because most of what I do is in a supporting role, while my compatriots have to sing and act. But I did find out tonight that I have graduated to the job of the chief gypsy "caretaker" of the somewhat crazy witch-gypsy, very important to the plot Azucena, beautifully portrayed by Shannon Magee, who joined us tonight. She was a big help to me, giving great pointers on how I should react to her character. I do love being a gypsy, with all the cool members of the gypsy band I can hang out with.
Steve rearranged some of the blocking, or placement, of everyone in the Anvil Chorus scene, giving us hints on how to reflect what is happening at any particular moment. Such precise directions are making us all (at least me) better for the whole effect. He has given us homework...to each bring back two ways we can make our roles more meaningful on the stage by our next meeting on Tuesday. That will be a big challenge for this novice!
Jamie got into the minutiae of note "values" (half vs. quarter vs. eighth) to keep the chorus on their toes. They are right there with him, knowing exactly what he's talking about, and executing what he asks. Very impressive. And so much of their discussion centers on the Italian phrases they sing, which leaves me out of the loop to some degree. But I'm picking some of it up, and vow to study the libretto (a copy of the words being sung, both in Italian and translated into English) that I found at the Forsyth County Public Library, of all places!
One of the new words I learned today is what I now wish to be called, and will sign off for now as:
La zingarella (emphasis on "zin" and "rel" with an Italian flair), explained to me by Allison Chickering, soprano phenom of UNCSA, as "Beautiful young gypsy", more or less, as opposed to the mere La zingara (emphasis on "gar" I think), which is your more ordinary gypsy, which I was until tonight.
Tonight we had Rehearsal #2, and "we" are getting better and better. I can say that because most of what I do is in a supporting role, while my compatriots have to sing and act. But I did find out tonight that I have graduated to the job of the chief gypsy "caretaker" of the somewhat crazy witch-gypsy, very important to the plot Azucena, beautifully portrayed by Shannon Magee, who joined us tonight. She was a big help to me, giving great pointers on how I should react to her character. I do love being a gypsy, with all the cool members of the gypsy band I can hang out with.
Steve rearranged some of the blocking, or placement, of everyone in the Anvil Chorus scene, giving us hints on how to reflect what is happening at any particular moment. Such precise directions are making us all (at least me) better for the whole effect. He has given us homework...to each bring back two ways we can make our roles more meaningful on the stage by our next meeting on Tuesday. That will be a big challenge for this novice!
Jamie got into the minutiae of note "values" (half vs. quarter vs. eighth) to keep the chorus on their toes. They are right there with him, knowing exactly what he's talking about, and executing what he asks. Very impressive. And so much of their discussion centers on the Italian phrases they sing, which leaves me out of the loop to some degree. But I'm picking some of it up, and vow to study the libretto (a copy of the words being sung, both in Italian and translated into English) that I found at the Forsyth County Public Library, of all places!
One of the new words I learned today is what I now wish to be called, and will sign off for now as:
La zingarella (emphasis on "zin" and "rel" with an Italian flair), explained to me by Allison Chickering, soprano phenom of UNCSA, as "Beautiful young gypsy", more or less, as opposed to the mere La zingara (emphasis on "gar" I think), which is your more ordinary gypsy, which I was until tonight.
Saturday, September 11, 2010
Into Rehearsals
Home from the first rehearsal for me, and off to an exciting start! Tonight it was the chorus and me, no principals yet, in a space at UNCSA. I learned that step one is always to sign in and get your nametag, then tonight we also had to pick a slot for costume fittings next week. (Another fine adventure to be in store there!) But then we got down to business, with instructions from the excellent Assistant Stage Manager, Ann Louise Wolf. She had already marked the floor to mimic the Stevens Center stage as closely as possible (the UNCSA space is smaller) with where the edge of the stage will be, as well as where the curtain will raise and lower (don't want to get in the way of that!) and the entrance/exit areas in the wings plus a fire pit for the scene we were working on, Act II Scene I, the famous Anvil Chorus. She told us the stage will be "raked", which means it will be on an incline from front to back, and there was a ripple of protest from many chorus members. I can imagine it will take a little getting used to! But Jamie pointed out, in his inimitable style, that "the rake is your friend...It allows you to be seen much better by everyone in the audience, rather than getting lost in the crowd!" And here I was trying to get lost in the crowd, so much for that.
Next Jamie did a run-through of the music with the chorus accompanied by the talented Nancy Johnston at the piano. They sound great!! And for the most part they were singing "off book" which I discovered is the term for having memorized the piece. They have been hard at work for several weeks.
Then Steve got us all on the floor and began assigning "places" for the opening of the act. He said that the scene changes will be done "a vista", which means in view of the audience (with the curtain up.) Some singers were assigned to carry benches, the obligatory anvil and assorted buckets on stage as they enter. I have been designated as a wineskin bearer, how perfect is that! I am one of three who get to flirt with the hard-working gypsy men and pour wine for them. Steve told us that gypsies of the time were mostly tinkers who sold the goods they made. Though they didn't have much in the way of wordly goods they loved being out of doors and valued their freedom above all else, so were a fairly happy band of comrades. I love being in the midst of that band of comrades as they belt out the chorus, just wish I had the voice to sing along with them!
Ann Louise and Steve assigned each person or group a number, in order of their entry on stage from their assigned spot in the wings. Then to start the action rolling, Nancy began playing the intro and Ann Louise would tell us to get ready, then call out each number as their time came to enter. It all happens pretty quickly once it gets going! My fellow wine bearers and I come on after those already on stage have sung for a bit. They seem happy to see us, or is the wine they're after? Several of us move about the stage here and there during the singing.
After several run-throughs with and without tweaking, we were at a point to stop for the night. Tomorrow at 2:00 the chorus will perform the Anvil Chorus in the Mountcastle Forum of the Milton Rhodes Art Center, followed by the principals performing several arias from the opera, which should be a great preview of the production for the public. Come see! Our next rehearsal is tomorrow night, working on the same scene and adding some of the principals, who enter the action where we left off.
So I think I'll just stay in character until then...
The Gypsy Vixen
Next Jamie did a run-through of the music with the chorus accompanied by the talented Nancy Johnston at the piano. They sound great!! And for the most part they were singing "off book" which I discovered is the term for having memorized the piece. They have been hard at work for several weeks.
Then Steve got us all on the floor and began assigning "places" for the opening of the act. He said that the scene changes will be done "a vista", which means in view of the audience (with the curtain up.) Some singers were assigned to carry benches, the obligatory anvil and assorted buckets on stage as they enter. I have been designated as a wineskin bearer, how perfect is that! I am one of three who get to flirt with the hard-working gypsy men and pour wine for them. Steve told us that gypsies of the time were mostly tinkers who sold the goods they made. Though they didn't have much in the way of wordly goods they loved being out of doors and valued their freedom above all else, so were a fairly happy band of comrades. I love being in the midst of that band of comrades as they belt out the chorus, just wish I had the voice to sing along with them!
Ann Louise and Steve assigned each person or group a number, in order of their entry on stage from their assigned spot in the wings. Then to start the action rolling, Nancy began playing the intro and Ann Louise would tell us to get ready, then call out each number as their time came to enter. It all happens pretty quickly once it gets going! My fellow wine bearers and I come on after those already on stage have sung for a bit. They seem happy to see us, or is the wine they're after? Several of us move about the stage here and there during the singing.
After several run-throughs with and without tweaking, we were at a point to stop for the night. Tomorrow at 2:00 the chorus will perform the Anvil Chorus in the Mountcastle Forum of the Milton Rhodes Art Center, followed by the principals performing several arias from the opera, which should be a great preview of the production for the public. Come see! Our next rehearsal is tomorrow night, working on the same scene and adding some of the principals, who enter the action where we left off.
So I think I'll just stay in character until then...
The Gypsy Vixen
Thursday, September 9, 2010
To the Airport
After attending an energetic and fun OPERAtors volunteer meeting, I headed to the Greensboro airport this evening to pick up the final piece of the Trovatore puzzle, our star soprano Jill Gardner, who will assume the role of Leonora in our production.
Those of you who saw Piedmont Opera's recent productions of La Boheme, Light in the Piazza and Turandot will surely remember the beautiful voice and exquisite acting of this talented Tobaccoville native, now living in Binghamton, NY but flying in to grace our stage once more. Jill's husband Jake Gardner is also an opera singer, a terrific bass-baritone, who joined Jill on stage for his Piedmont Opera debut in Turandot. Jill (as Liu) kills herself in that one, and Jill (as Mimi) dies of consumption in La Boheme. Jill and Jake have starred together recently in Puccini's opera Tosca (Mercury Opera in Rochester, NY), in which Jill (as Floria Tosca) murders Jake (as Baron Scarpia)...talk about a challenge to marital bliss! Did I mention that Tosca kills herself after killing him? This woman Jill knows how to die on stage! Opera is full of such good stories.
Jill joins the other principals in rehearsal tomorrow. Most of them don't know each other, but they already know the parts they will be taking on. It will be fun watching Jamie and Steve as they start the process of pulling it all together for opening night on October 1. Stay tuned for further developments!
Those of you who saw Piedmont Opera's recent productions of La Boheme, Light in the Piazza and Turandot will surely remember the beautiful voice and exquisite acting of this talented Tobaccoville native, now living in Binghamton, NY but flying in to grace our stage once more. Jill's husband Jake Gardner is also an opera singer, a terrific bass-baritone, who joined Jill on stage for his Piedmont Opera debut in Turandot. Jill (as Liu) kills herself in that one, and Jill (as Mimi) dies of consumption in La Boheme. Jill and Jake have starred together recently in Puccini's opera Tosca (Mercury Opera in Rochester, NY), in which Jill (as Floria Tosca) murders Jake (as Baron Scarpia)...talk about a challenge to marital bliss! Did I mention that Tosca kills herself after killing him? This woman Jill knows how to die on stage! Opera is full of such good stories.
Jill joins the other principals in rehearsal tomorrow. Most of them don't know each other, but they already know the parts they will be taking on. It will be fun watching Jamie and Steve as they start the process of pulling it all together for opening night on October 1. Stay tuned for further developments!
Wednesday, September 8, 2010
The Back Story
Il Trovatore (The Troubadour) by Giuseppe Verdi is a well-loved opera with fabulous music. To see a list of principals in our production, plus a synopsis of the (somewhat outrageous, but isn't that opera at its best?) story, visit Piedmont Opera's website at http://www.piedmontopera.org/on_stage/il_trovatore. Better yet, come to "La Lunch" at the Piedmont Club in Winston-Salem on September 23, 2010 at noon, when Jamie Allbritten and cast members will fill you in on all you need to know to fully enjoy this production. Those of you familiar with Jamie know what a treat that will be! Call the Piedmont Club at 724-7077 for reservations. The Diva (that would be me) needs all her friends and fans to turn out in support of her budding career.
Tuesday, September 7, 2010
The excitement begins
Welcome to my new blog, as I enter the new (to me) world of living opera from the stage! Having watched many operas from the audience and from DVD's, I wanted to experience first-hand the process of creating this magical artform. Piedmont Opera Artistic Director Jamie Allbritten and Director Steve LaCosse are giving me that chance, in a non-singing, non-speaking "supernumerary" role (make that three roles!) in Il Trovatore by Verdi.
Here are some quotes from Wikipedia regarding the term "Supernumerary:"
"A Supernumerary is an additional member of an organization."
"Supernumerary actors: The term's original use, from the Latin supernumerarius, meant someone paid to appear on stage in crowd scenes or in the case of opera as non-singing small parts. Supernumeraries are usually amateur character artists who train under professional direction to create a believable scene."
"In the Roman army, supernumerarii were either public officers who attended on several of the Roman magistrates or a kind of soldier who served to fill the places of those who were killed or disabled by their wounds, or otherwise bring up the ranks to strength." Very interesting!
What I hope to do with this blog is to chronicle the process of putting an opera production together, from the perspective of one who is just learning what it's all about. So far, what I know is this, that a whole lot of work has been on-going for several months already. Jamie and Steve have put in countless hours studying the score and libretto, planning the production schedule, selecting and hiring the principals, chorus, stage managers and others, procuring costumes and sets, to name a few tasks. Some rehearsals have already begun, mainly with the chorus.
Today the principal cast members started arriving from out of town, and their rehearsals begin tomorrow, 9/8/10. My first call for rehearsal occurs on Saturday, 9/11/10 and I can hardly wait! Steve assures me that he will train me sufficiently in transforming myself into a gypsy, a monk and a nun, obviously not all at the same time, so that hopefully I won't make any on-stage gaffes. At least you won't have to hear me sing! But I relish the thought of being surrounded by so many who can sing mighty well.
It promises to be a spectacular production and I hope to see a big turnout for my debut, or for any other reason. Just be there!
Here are some quotes from Wikipedia regarding the term "Supernumerary:"
"A Supernumerary is an additional member of an organization."
"Supernumerary actors: The term's original use, from the Latin supernumerarius, meant someone paid to appear on stage in crowd scenes or in the case of opera as non-singing small parts. Supernumeraries are usually amateur character artists who train under professional direction to create a believable scene."
"In the Roman army, supernumerarii were either public officers who attended on several of the Roman magistrates or a kind of soldier who served to fill the places of those who were killed or disabled by their wounds, or otherwise bring up the ranks to strength." Very interesting!
What I hope to do with this blog is to chronicle the process of putting an opera production together, from the perspective of one who is just learning what it's all about. So far, what I know is this, that a whole lot of work has been on-going for several months already. Jamie and Steve have put in countless hours studying the score and libretto, planning the production schedule, selecting and hiring the principals, chorus, stage managers and others, procuring costumes and sets, to name a few tasks. Some rehearsals have already begun, mainly with the chorus.
Today the principal cast members started arriving from out of town, and their rehearsals begin tomorrow, 9/8/10. My first call for rehearsal occurs on Saturday, 9/11/10 and I can hardly wait! Steve assures me that he will train me sufficiently in transforming myself into a gypsy, a monk and a nun, obviously not all at the same time, so that hopefully I won't make any on-stage gaffes. At least you won't have to hear me sing! But I relish the thought of being surrounded by so many who can sing mighty well.
It promises to be a spectacular production and I hope to see a big turnout for my debut, or for any other reason. Just be there!
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