One of the challenges I face this year is waiting (I HATE IT. You know I do). As I (gracefully?) age into my mid-to-late-ish-twenties, I get the feeling that something is supposed to happen. I did the schooling, practice my butt off, learn my languages, do the coaching, the auditions, play the field politically, do all the things you're supposed to do to get this career started. And, it's started...a bit. I need to make sure that I simultaneously enjoy what's happening in my singing life and do all I can to make even more and better things happen.
This year, the strategy is to take a step back. Teach, save money, sing gigs locally, and most importantly, have regular lessons and coachings. One crucial element I missed while on tour was vocal training. I was getting plenty of hands-on performing experience, but after 60 or so shows, your technique slips a notch. While my resume was being built, my voice wasn't, and you have to look good on paper AND sound good in person. Since studying and teaching and gigging is a more passive approach to getting to the next step of the career. I remind myself of this daily while I pass up audition opportunities this year in favor of my upcoming wedding (next summer!) and the hope that my voice will be a force to be reckoned with after another 6 months of so. I am doing some auditions and competitions, but am being more particular with who hears me and when. I hope it's a wise choice, and I also remind myself that nobody knows exactly what they're doing in this business, except that they love to sing.
Tuesday, October 25, 2011
Thursday, October 13, 2011
I'm Back!
Time to get back to this thing.
It's weird. I started this blog to feel more like a working singer, to chart my ups and downs, really examine the "process" and hopefully come away a more insightful musician.
Well, this past month, I've TURNED INTO a working singer. I now have:
-a studio of 20 students, ages 6-adult
-a section leader position at the best church gig in the city (relatively speaking, I"m sure, but getting to do the solos for the entire Bach Christmas Oratorio is a pretty legit job)
-a position in the city's premiere small vocal ensemble (first concert is NEXT WEEK! I'll be soloing for Menotti's "Landscapes and Remembrances." visit www.vaecinci.org for tickets and information)
The flip side of this new work situation is less time for auditions, less shows and roles to list, and less time to pursue any other avenues of life. Planning/having a wedding this summer is also reducing the number of auditions I can do this year. And the result is an overwhelming sense of relief. I definitely work better when I give myself limits and parameters. I'm probably doing about 10 auditions and 4 comps this year.
One competition was last week. Though I didn't win, I made the finals, and gave a very solid performance - one that was probably a little safe because it was TOO solid. However, proving that I can solidly sing an aria that gave me problems 2 years ago has bolstered my confidence and now I know I can sing more difficult repertoire for audition season.
Throughout my education and the years following, the one thing I've lacked is a sense of calm. My comments from judges are often "looks worried," "frantic," "lovely voice but working too hard." Now, as I enter the middle years of the middle stage of this career, I feel as though I"m finally achieving a sense of calm and poise on stage. It's slightly less exciting, maybe, than working 4 random jobs just to make my schedule free enough to fly to different cities every weekend, but the trade-off of having regular lessons and coachings and actually SINGING several hours daily to earn a paycheck is well worth it.
It's weird. I started this blog to feel more like a working singer, to chart my ups and downs, really examine the "process" and hopefully come away a more insightful musician.
Well, this past month, I've TURNED INTO a working singer. I now have:
-a studio of 20 students, ages 6-adult
-a section leader position at the best church gig in the city (relatively speaking, I"m sure, but getting to do the solos for the entire Bach Christmas Oratorio is a pretty legit job)
-a position in the city's premiere small vocal ensemble (first concert is NEXT WEEK! I'll be soloing for Menotti's "Landscapes and Remembrances." visit www.vaecinci.org for tickets and information)
The flip side of this new work situation is less time for auditions, less shows and roles to list, and less time to pursue any other avenues of life. Planning/having a wedding this summer is also reducing the number of auditions I can do this year. And the result is an overwhelming sense of relief. I definitely work better when I give myself limits and parameters. I'm probably doing about 10 auditions and 4 comps this year.
One competition was last week. Though I didn't win, I made the finals, and gave a very solid performance - one that was probably a little safe because it was TOO solid. However, proving that I can solidly sing an aria that gave me problems 2 years ago has bolstered my confidence and now I know I can sing more difficult repertoire for audition season.
Throughout my education and the years following, the one thing I've lacked is a sense of calm. My comments from judges are often "looks worried," "frantic," "lovely voice but working too hard." Now, as I enter the middle years of the middle stage of this career, I feel as though I"m finally achieving a sense of calm and poise on stage. It's slightly less exciting, maybe, than working 4 random jobs just to make my schedule free enough to fly to different cities every weekend, but the trade-off of having regular lessons and coachings and actually SINGING several hours daily to earn a paycheck is well worth it.
Tuesday, September 6, 2011
Recital!
I've been busy these past few weeks with many things...my studio is growing (up to 15 students now!) I've gotten a few new gigs, some new headshots, and some new audition rep polished.
But what has been occupying most of my time is my recital. It will be performed in Chicago next Monday and Cincinnati next Friday, and I've been shuttling back and forth to Chi a lot to practice with Kyra, my cellist. We are trying to do a more intense preparation and concentrated performance than we did last year. Part of this preparation includes writing and speaking about each of our pieces. The only problem is, some of the repertoire we are doing is so obscure that I am having trouble finding any previous analysis or notation! That means I have to devote some actual insight and thought into what I am performing.
This is what our professors and predecessors have always told us to do: "Be a THINKING singer!" and it is also why I like performing with instrumentalists - sometimes even more than with other singers. There is much more unspoken communication between instrumentalist and vocalist onstage. Kyra and I have worked together for several years now, and have developed a keen intuitive relationship with each other. Having that sort of bond makes performing a much more powerful and enjoyable experience.
Now, for the particulars of the recital:
Monday, September 12, 8pm
Dixon Strings Studio
4636 N. Ravenswood Ave.
Chicago, IL
Friday, September 16, 7:30pm
Northeast Community Church
12079 Lebanon Rd.
Loveland, OH
Program:
"Se Pari O La Tua Fe" - G. F. Handel
"Vocalise" - A. Previn
"What Lips My Lips Have Kissed" and "My True Love Hath My Heart" - J. Heggie
intermission
"Zwei Gesange" - J. Brahms
"Six Poems of Marichiko" - L. Latiman
"Dream With Me Tonight" - L. Bernstein
Hope to see you there!
But what has been occupying most of my time is my recital. It will be performed in Chicago next Monday and Cincinnati next Friday, and I've been shuttling back and forth to Chi a lot to practice with Kyra, my cellist. We are trying to do a more intense preparation and concentrated performance than we did last year. Part of this preparation includes writing and speaking about each of our pieces. The only problem is, some of the repertoire we are doing is so obscure that I am having trouble finding any previous analysis or notation! That means I have to devote some actual insight and thought into what I am performing.
This is what our professors and predecessors have always told us to do: "Be a THINKING singer!" and it is also why I like performing with instrumentalists - sometimes even more than with other singers. There is much more unspoken communication between instrumentalist and vocalist onstage. Kyra and I have worked together for several years now, and have developed a keen intuitive relationship with each other. Having that sort of bond makes performing a much more powerful and enjoyable experience.
Now, for the particulars of the recital:
Monday, September 12, 8pm
Dixon Strings Studio
4636 N. Ravenswood Ave.
Chicago, IL
Friday, September 16, 7:30pm
Northeast Community Church
12079 Lebanon Rd.
Loveland, OH
Program:
"Se Pari O La Tua Fe" - G. F. Handel
"Vocalise" - A. Previn
"What Lips My Lips Have Kissed" and "My True Love Hath My Heart" - J. Heggie
intermission
"Zwei Gesange" - J. Brahms
"Six Poems of Marichiko" - L. Latiman
"Dream With Me Tonight" - L. Bernstein
Hope to see you there!
Thursday, August 25, 2011
Even on Vacation, Work Happens
Yesterday I had a lovely rehearsal in Hopewell, NJ, with my cellist. I was reminded of how it feels to WORK - not just to sing. To delve, to translate, to search for meaning and connection between text and music and instruments and composer. It has inspired me to write program notes, work harder then ever to memorize EVERYTHING on EVERY page, and prepare more for this recital than I have for any other in my career.
Today I was reminded of the other side of work, as I try to schedule my 20 students for the year into a congruent schedule that allows me time to practice, audition, rehearse and perform. It is VERY nerve-racking, but I think as soon as I settle into a few weeks of routine, I will be calmer and a better teacher for it.
Now I'm off to finish the Brahms translations (that's right, the Brahms viola/contralto songs, performed by cello and soprano!). This will be an unusual recital.....
Today I was reminded of the other side of work, as I try to schedule my 20 students for the year into a congruent schedule that allows me time to practice, audition, rehearse and perform. It is VERY nerve-racking, but I think as soon as I settle into a few weeks of routine, I will be calmer and a better teacher for it.
Now I'm off to finish the Brahms translations (that's right, the Brahms viola/contralto songs, performed by cello and soprano!). This will be an unusual recital.....
Sunday, August 21, 2011
I'm on Vacation
And have been without internet for several days. It's been LOVELY (though a nagging voice in my head keeps telling me to check my emails and hunt for students and learn that music). I will write a more detailed post soon. I've been visiting with friends and family members everywhere from OH to MA to NY to NJ and have a recital coming up in a few weeks, which will surely trigger some insightful tidbits I can share here.
Night!
Night!
Sunday, August 7, 2011
And All of A Sudden I'm A Singer Again
This week, I:
-almost doubled my teaching studio size
-was offered one of the most awesome church jobs in the city
-found (potential, probable) venues for a chamber recital
-found (potential) venue for opera to be performed in October.
All the week before I go on an awesome vacation!
More detailed posts to follow.
-almost doubled my teaching studio size
-was offered one of the most awesome church jobs in the city
-found (potential, probable) venues for a chamber recital
-found (potential) venue for opera to be performed in October.
All the week before I go on an awesome vacation!
More detailed posts to follow.
Monday, July 18, 2011
Misconceptions of My Youth
When I was a senior in high school, I came up with all of these justifications for going to school as a music major rather than a theater major. Here's 17-year-old Sammi's list, and 25-year-old Sammi's older, wiser corrections.
Misconception #1: I want to sing opera rather than musical theater because in MT I'll do 500 shows of the same thing, whereas in opera I'll be doing different shows every time I get to perform.
REALITY: ....I'd be LUCKY to do a 500 show run of anything, because then I'd be employed as a performer. I got cast with OFY and sang Mabel 70+ times. And opera companies do the same 10 operas over and over, with some exceptions. I've done 3 Figaros and 3 Magic Flutes.
Misconception #2: I'd be bored doing the same show over and over again....and opera's get 1-10 performances, whereas MT does a million.
REALITY: As dispelled above, I perform the same role in multiple shows, regardless of the genre, and I do between 1 and 75 performances for opera OR MT.
Misconception #3: Opera music is more challenging than Musical theater, and MT music is boring.
REALITY: The show I've been preparing over the past 8 weeks is some of the hardest ensemble music I've ever learned. More difficult than Mozart (not the language, although the words are hard to remember because they subtly change all the time in a Sondheim-esque way). It's also very emotional, and evokes the Romantic period of music. Both are schmaltzy, but so what.
I'm starting to enjoy musical theater and opera equally, and am realizing that careers in each are not mutually exclusive. Which is thrilling. Basically, I'm going to start auditioning for whatever I want and think I'd be good at. Let's hope I don't make a total ass of myself in the process.
Misconception #1: I want to sing opera rather than musical theater because in MT I'll do 500 shows of the same thing, whereas in opera I'll be doing different shows every time I get to perform.
REALITY: ....I'd be LUCKY to do a 500 show run of anything, because then I'd be employed as a performer. I got cast with OFY and sang Mabel 70+ times. And opera companies do the same 10 operas over and over, with some exceptions. I've done 3 Figaros and 3 Magic Flutes.
Misconception #2: I'd be bored doing the same show over and over again....and opera's get 1-10 performances, whereas MT does a million.
REALITY: As dispelled above, I perform the same role in multiple shows, regardless of the genre, and I do between 1 and 75 performances for opera OR MT.
Misconception #3: Opera music is more challenging than Musical theater, and MT music is boring.
REALITY: The show I've been preparing over the past 8 weeks is some of the hardest ensemble music I've ever learned. More difficult than Mozart (not the language, although the words are hard to remember because they subtly change all the time in a Sondheim-esque way). It's also very emotional, and evokes the Romantic period of music. Both are schmaltzy, but so what.
I'm starting to enjoy musical theater and opera equally, and am realizing that careers in each are not mutually exclusive. Which is thrilling. Basically, I'm going to start auditioning for whatever I want and think I'd be good at. Let's hope I don't make a total ass of myself in the process.
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