Answering readers’ questions

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Readers have searched this blog recently for some topics I’d like to try to answer.

1.  Oratorio audition repertoire

There is nothing special about figuring this out, unless you’ve never done an oratorio audition, or unless no one is helping you.

Your rep for any audition needs to fit your voice (correct range) and showcase your strengths (lyricism, coloratura, drama, etc.).

If possible, find out what the organization is programming, and sing an aria from that oratorio!  Try their web site.  Call their office.

When more than one aria is required for the audition, start with the one you do best.

If there is a recitative before the aria and you sing it well, include it in your audition.

2.  When you go to a concert, how can you meet the performer?

You can find out where “backstage” is by asking an usher.  Ushers who work the front of the auditorium (near the stage) can usually direct you.  (At a theater in VT last weekend, the ushers in the lobby couldn’t answer my question, but the people further to the front could.)

3.  How to practice “The Snow is Dancing” from Children’s Corner by Debussy?

The way I practice it is at a medium (not performance) tempo, listening for evenness in the rhythm and for clarity in the sound (“pingy” sound, slightly blurred w/some pedal).  Bringing out changes in the hazy texture is also important.  If the entire piece is a haze, it loses interest.  Just visualize a snowstorm and make up a story!

The end result will be clearer if you can summon the nerve to practice with no pedal!  (I know.  That’s not easy for me, either.)

Also, be sure you can connect the sections and negotiate the page turns.

4.  Why does a cadenza exist?

Good question!  Cadenzas are the soloists’ chance to improvise and show off their skills.  Soloists often write their own cadenzas for that reason (or ask their coaches to help them).

There are cadenzas that exist in books ~ for study, for performance.  They would be a good starting point.

Cadenzas should be in the character of the piece, i.e., a cadenza in a Mozart aria should not sound like Verdi!

5.  A few searches have been about audition repertoire for a certain voice type.

This is not something I can answer responsibly without hearing you first.  Repertoire needs to be chosen specifically for each person, as each voice is unique.

My suggestion would be to find a good teacher and a good coach.  In addition, participating in master classes and weekend and summer programs can be an enormous help.

I hope this helps!

To my valued readers:

If you have questions, you can always:

1. leave them in the comment section (below each post);
2. send the “Contact form” in the left sidebar; or
3. send an email to gret49@hotmail.com

I love engaging with readers. and feel that it’s extremely important.  And, by the way, there is no such thing as a stupid question. (Parallel situation:  you should see me in a hardware store!)  Musical notation is a collection of circles, lines, and dots, after all.

Thank you!

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Reached a plateau? Find the exit!

Tags

assessing problems, taking action

Image by Kevin Steele via Flickr

Feeling stuck?

If you want to be the best you can be, and know deep in your soul that you “have it,” then this post is for you.

Your audience can tell!

A very astute audience member in one of my recent concerts spoke to me afterwards.  She mentioned that so many performers reach a plateau, and talked about how much work it takes to pass that level.

We have all experienced reaching a plateau from time to time.  For one thing, practicing is different from day to day.  Sometimes it feels like it isn’t helping!

Here, though, I’m talking about the BIG one ~ when you’ve worked at your art for a long time and then find yourself stuck at the same level.  You’re not where you know you can be.

Maybe it’s time to make a change.

• in repertoire
• in vocal fach
• in what you are producing (would you be a better composer?  conductor?  coach?  manager?)
• in teachers/coaches

These are just a few of many variables.

One scenario

Four years after graduating from college, I felt stuck.  Although I was studying, frustration took over the feeling of making progress.

And then something happened that forced me to deal with my feelings, my playing, my ambitions ~ everything.  A good friend died suddenly, causing an emotional upheaval.  He was a professional singer.  All I could do was listen to his wonderful recordings.

I cried in every lesson during the next few weeks and didn’t want to play anything.

Why?  At the time, I had no idea.  Now I realize that the singer spoke to my soul, and my lessons were no longer doing that for me.  In fact, they didn’t make sense.

At that point, I stopped studying.  There was quite a bit of collaborative playing available, so I did that.

An open door

And then, magic happened.  There was a voice seminar at Amherst College.  Martin Katz was playing concerts with seminar faculty.  Because I had played voice lessons for students of Oren Brown, the seminar’s founder, I attended the master classes and concerts.

It was August.  Being naïve, I assumed that Martin wouldn’t take the concerts seriously.  Too hot.  After all, who’s around in August, anyway?

Well.  He walked out on stage and played like God.  Piano reduction.  Debussy, from Pelleas et Melisande. The music in this difficult piece leapt off the page! I had been to many concerts during college, including those at an entire summer of the Aspen Music Festival.  But I had never heard anyone play a piano reduction like that!

No one in my experience had ever taken accompanying seriously, either.  (Example:  Leontyne Price’s pianist.  He was a concert pianist, and played beautifully.  But when songs ended with long notes in his part, he held the damper pedal down, took his hands off the keyboard, and crossed his arms!  Time to go home?  Ms. Price was still singing!)

Progress!

So I made a change.  My piano teacher didn’t understand, I’m sure.  But I knew that what I needed to know was elsewhere.  I wanted to speak to the soul of the audience. And I knew I had it in me.

In the first five minutes of my audition for Martin, I knew I was in the right place.  I felt liberated!

What are you waiting for?

I recommend it.  If you feel stuck, look at the possible reasons.  And then act on your feelings.  Putting up with the status quo will never result in being the best you can be.

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5 ways to hook your audience

Tags

presenting unusual music, speaking to audience

I believe that, given the
state of the music business today, engaging audiences in whatever we do is crucial to the survival of live performances.

Alex Ross, in his New Yorker blog, posted an article that fully supports this.

What I’ve tried recently:

I’ve been playing some of Messiaen’s Préludes for widely diverse audiences.

They include:

1. a rural, small-town MA church;
2. a larger church in a somewhat larger CT town;
3. a concert series in upper Manhattan; and
4. a MA extended-care facility with has weekly concerts.

Assessment

1. 60% of the audience liked this music;
2. people went out of their way to provide enthusiastic feedback;
3. prolonged applause; and
4. people reacted positively

What’s the “secret?”

I talk to the audience just before performing Messiaen.  This approach would apply to other non-traditional music as well, I would think.  (I’m planning to try that next!)

What I’ve said:

“I’d like to talk to you about Messiaen for a minute.  But first, I want to thank [Music Director] and [Committee] for asking me to play today, and thank you for coming!

These pieces are very early examples of his work, written while he was about 20 yrs. old and still in school.  You will hear melodies that repeat, as well as musical ideas Messiaen developed later on.

“Even if you haven’t heard Messiaen’s music before, I’d like to ask you to suspend any expectations you might have and just let your imagination go.”

(… or something like that.)

This is not lecture-recital material, nor is it profound.  Connecting with the audience and drawing them in are the important considerations here.

Why is the audience engaged?

• They feel included, and know that they are not merely spectators
• They have been invited to imagine whatever comes to mind
• Some of the “scare” has been removed; the composer seems like a real person
  
• You seem like a real person! Audience members will find it much easier to tell you what they experienced

A few things to consider:

• Include the audience; avoid talking down to them
• What you say isn’t as important as saying something (in the past, I was shy about speaking to a group.  Trying it out by chance with a small group in someone’s living room changed my mind!)
• Giving the audience an invitation to have their own experience helps them feel free to get into the music
• Even when there are program notes, a minute or so of speaking makes the intangible more real for people

4 more things to try:

1. Play excerpts to illustrate brief verbal comments
2. Ask audience members for a show of hands (that’s where my 60% positive result came from, above)
3. Provide historical context, constructing a musical timeline (by playing related compositions, either excerpting them during your brief remarks or including them in your program)
4. If possible, having the composer present would generate audience involvement.  The composer could make some comments, too.  Or, the composer could make a short video for you to use.  Or, you could share written comments by the composer with your audience.

Do you perform music audiences might not be familiar with?  How do you present it?

When you speak to your audience, what do you say?

Have you found that audience interest and feedback improve when you reach out?

Please comment!

Also, a great read: “How To Make Sure We Don’t Have an Audience in 20 years — Part the First” written by Bill Eddins, Music Director of the Edmonton Symphony Orchestra
Suggestion from Rachel Day Velarde via FB.  Thanks, Rachel!

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End of travelogue, S. Glastonbury edition

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travelogue

Image by 1Sock via Flickr

Yesterday, after sending 2 blog posts from the bus via cell phone, my phone decided it didn’t want to do that any more.  Maybe the rain and wind had something to do with it?

There’s more to say, of course!

I had to sit in Springfield again for over an hour.  So I ate dinner & watched Blitzer interview Gingrich.  Blah blah.

Then, on the bus, I set up my digital recorder for the concert.  Good 2 go.

A very cute little boy got on the bus.  He’s about a yr. and 1/2 old, walking ahead of his mother.  He’s squealing with delight!  And the aisle of the bus is just his size (and no one else’s).

My concert was early this morning.  It went well!  People loved it, applauded for a long time, and spoke to me afterwards.  The piano, a rebuilt Mason & Hamlin, is just as wonderful and responsive as I remember it.

And I didn’t look like a drowned rat after all.  : )

Now I’m home.  Looking forward to sleeping!!!  Last night I probably slept about 4 hrs.  Zzzzzzzz

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Awww, I just looked @

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travelogue

Image by Chocolate Geek via Flickr

Awww, I just looked @ the bag of food I got from The Pub. AJ, the mgr, threw in killer choc cake 4 free!

Finally on bus, tired already,

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travelogue

Image by Viqi French via Flickr

Finally on bus, tired already, probably due 2 awful weather. Planning on that drowned look 4 2morrow. Its all the rage.

How to navigate all the way to the concert

Tags

random situations, unexpected snags

Image by Getty Images via Daylife

Some things you just can’t control.

We can assume that things will happen that could get in the way of a good performance.  If we have thought ahead, the surprises, whether small or large, often just end up being part of an enjoyable concert.

However, if you thought things would be smooth all the time, they’re not!

Examples:

The first professional audition I played with a singer featured a green piano (contact paper?) with no discernable pitches.

For a Juilliard Prep student’s concerto competition audition, there was a piano in the room, but no bench.  Two chairs were stacked up.  They were not at a good height, and made creaking sounds during the audition.

At a singer’s New York City Opera stage audition, the piano was between two fly curtains in the wings.  The singer was at center stage.  All I could see was her back!

Some things you just can’t control.

And, happily, some things you can.

Some things you can work with:

• inconsistent performing level among participants in a group

Accommodate others where you can.  See my previous post, “Playing well with others.”

• interpretation you disagree with

You can’t always get your way.  Martin Katz advises performing the piece as if the interpretation is your choice.

• inconvenient rehearsal times

Planning your day differently helps, as does making sure you do something fun during the day.  Staying hydrated and eating healthfully are also important.

• no dinner following a concert

Take food along, such as snacks and sandwiches.  Consider taking an electrical device to cook with in your hotel room.  Or pick up dinner to go before the concert.

• no time to become accustomed to the piano

If you can arrange for 10 minutes, that’s adequate time to check the action, pedals, and experiment with a variety of sounds.  If that is not possible, being especially attentive at the beginning of the concert will give you information about how the piano works.

It has been helpful to me, when there is no warmup time in the hall, to recall the way my hands felt when practicing on my own piano (calculating weight).

This can also work when you’re playing with a bad cold that blocks your ears.

• not being able to warm up

These days, I see this as a lame excuse.  It is possible to warm up in the car, whether playing or singing.

• unfriendly acoustics (it can be difficult to hear other performers on stage)

In rehearsal, find various ways to assess other group members’ cues.  You may have to watch the back of someone’s head or clothing.  Sometimes a musician will cue before playing.  You can time the space from the cue to the start of the sound by observation.  (Also, a string player’s head motion, for example, is related to a bow connecting with a string.)

• surprising tempos set by conductors or other musicians

Sometimes it is possible to bring the tempo to where you want it.  But sometimes that doesn’t work.  Preparing the piece faster and slower than your ideal tempo can save you from a train wreck on stage.

• bad lighting (shadows on music/keyboard, light in eyes)

Take a stand light along

• piano out of tune, or w/badly regulated pedals

Call ahead to discuss the condition of the piano.  Insist that it be tuned.

• too little sleep (due to travel or noisy neighbors)

Not so easy to fix, unless you can take a nap.  I’ve discovered that I can perform when tired, though.  On tour, that was a valuable discovery.

• hall too hot/cold

You may want to travel with concert dress that includes something short-sleeved, something long-sleeved, and a jacket in case you need it.  That won’t help your hands warm up or stop perspiring, but at least you’ll feel more comfortable.

• being paid late, or less than the agreed-upon amount, or having to call repeatedly to be paid

Make sure you have a signed contract in advance.

Now it’s your turn!

What performance-related obstacles have you encountered?  How did you deal with them?  Please comment!

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Crocuses! & a robin!

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Our glamorous lifestyle: a story

Tags

coping, on the road, travel

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Staying at the Hilton and traveling by limo have nothing to do with it!

One concert runout from New York to Pennsylvania stands out in my mind.  We had a wonderful time due to our ability to go with the flow, sense of humor, and love of the business.

My piano trio was invited to perform by friends who live in Harleysville.  The cellist drove, assuring the violinist and me that there was an atlas in the back on the floor, so don’t worry.

We started out fine.  Things remained that way all the way to New Jersey. Shortly after that, there was a question about the best route to take.  The violinist consulted the atlas, and New Jersey was…missing! Torn out!

The adventure had begun.

Fortunately, we had good directions from my friends.

When we arrived at the concert site, I changed in a bathroom that was bigger than my New York apartment.

Our concert went very well.  We played trios by Haydn, Mozart, Arensky and Smetana, all gorgeous.  The audience was quite enthusiastic, and everyone came backstage.  (How often does that happen?)  After the program, we felt as if we were in the receiving line at a reception.

Back in the car, we drove for a while, then came to a huge sign that said, “Philadelphia,” with a circular arrow.  Hmmm… big help.  Did we want to head toward Philly or away from it?  No idea.  A little more information would have been nice.

We guessed wrong.

Eventually we came to a toll booth, our first chance to turn around.  The attendant was amused, but kind.

When we headed back to where we started, there was bumper-to-bumper traffic.  A game must have just ended.  People in those other cars looked bored.  But we had a tape of our concert!  We had never felt so grateful.

After an hour or so, we again saw the sign. This time we knew what to do.

It was getting late.  Somewhere in New Jersey, we all felt hungry.  Couldn’t make it home without stopping.  No food in the car.

We found a truck stop with a Roy Rogers.

Now it’s 2:30 a.m.  Picture this:  there we are, still in concert dress, standing in the middle of the parking lot, consuming burgers, fries and sodas off the top of the car.  We’re all punchy (had been for some time!), joking around about the “glamorous lifestyle” people think musicians have.

Pathetic.

About 1/2 hour later, we were back in Manhattan.  We went to my apartment first.  I got to bed at about 4:00 a.m.

Was it worth it?

Fun?

Would I do it again?

What do you think?

In a minute!

What have you experienced on the road?  Please comment!

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One more about NY

Tags

Add new tag, Bus, New York City, Times Square

Image by Del Amitri via Flickr

I’m home, but my head is in NY.  So ~ this is the final post of this particular travelogue (probably).

Changing trains in Times Square:

A man with a wonderfully resonant voice repeating “JE-sus Loves you!”  Half a second after someone looks in his direction, his buddy hits them with a brochure.

Timing:  perfect.  Performance:  definitely a 10.  Occupational possibilities:  preacher, singer, actor, orator.

(This description would be much better with audio.)

Fashionista baby girl, lying in stroller.  All you could see was her face.  Everything else was pink, trimmed in black lace.  Stunning.

Cab ride from GCT to 120th & Claremont:

TV on seat back in front of me, a new experience.  The New Yawk Co-AW-fee commercial was especially impressive.  In addition, ads were introduced by fake news reporters.  Since I’m not up on my New Yawk television news reporters these days, it looked like a real newscast at first.

Tourists would watch it ~ can’t tell the difference!

Bus, north of NYC:

We passed Grace Church St. in Rye, where my brother used to live.

Saturday blog:

Be sure to come back!  Poll results from last week’s “A Tale of Two Violinists” will be posted, as well as a brand new topic.

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