Program Notes on Maurice Durufle's Requiem

Recently, I had the great privilege to perform Maurice Duruflé's Requiem, his opus 9. Its a brilliant work and the performance itself was brilliant. My fellow choir members and myself received great reviews. Another opportunity I had was to write program notes about the work. Due to the high attendance of the concert, not everyone went home with a program. Therefore, I have decided to post the notes here, along with the notes my classmate Sean Kelly also wrote concerning the Latin text of the Requiem mass. We hope that they enlighten and open your mind.

Maurice Duruflé (1902-1986) began his musical career in Louviers, France, where he was as a choirboy and assisted at the organ. He eventually studied with organists Charles Tournemire and Louis Vierne, who, in addition to their rigorous instruction in organ technique, gave him a deep appreciation for the liturgy and its reliance on Gregorian Chant. In 1929, Duruflé succeeded Louis Vierne as the head organist at St. Etienne-du-Mont. He remained at this position until injuries he and his wife sustained in a car crash in 1975 forced him to stop playing. He died 11 years later in 1986, having composed only a setting of the Lord's Prayer in the interim.

First published in 1947, Duruflé's Requiem combines ideas old and new. The use of ancient Gregorian chant as melody lines pervades each movement, and the corresponding liturgical chants for each movemet are presented at least once. As each movement progresses, the chant melody is then morphed in simple ways, such as transposition and augmentation, as well as more complexly. In the Kyrie for example, the chant is sung by the Basses and then answered by the Tenors in a fugal exposition. Later on, the organ augments the line as a cantus firmus under a new melody sung by the singers.

But while utilizing centuries-old melodies as building blocks, Duruflé was simultaneously concerned with a more modern interpretation of the requiem text and use. "This Mass," he writes, "is not an ethereal work which sings of detachment from earthly worries. It reflects...the agony of man faced with the mystery of his ultimate end." Like Fauré before him, Duruflé removed much of the Sequence, (otherwise known as the Dies Irae: “This day of wrath shall consume the world in ashes”), thus mitigating the atmosphere of fear and damnation which are so prevalent in the requiems of Mozart, Berlioz, and Verdi.

When listening to this requiem, I believe we are not necessarily given an answer to what lies beyond the world of the living. This requiem allows the listener focus on life rather than death, while receiving some comfort in the face of the unknown. In this writer's opinion, this beautiful work can be enjoyed by people of all religions and ideologies; it neither confirms nor disproves an afterlife, and allows the freedom to question what is ahead for us all.        -Andrew Weinstein, junior, music history major

Songs sounding the same? Brave vs. Roar

I'm sure that I am not the only person who listens to popular songs on the radio and think they all are the same thing. The most common defense is that everything has the same backbeat, chords, and structure. Why, just listen to comedian Owen Benjamin explain it to you.

It is not unusual that some music is very similar. Recently, there has been a dispute between Katy Perry and Sarah Bareilles. People are arguing over whether Roar was copied from Brave or vice versa. I listened to both songs individually, Roar during last night's Video Music Awards, and Brave in a music video. The similarities are scary. Then I heard this mashup:

Talk about scary similar. So I found another:

Still incredibly similar! What was going on? Its as if the songs were meant to be performed together. Marketing ploy? Who knows? Honestly, this may just seem like one of those instances of creativity that just seem to strike at the same time. 

But consider the lyrics as well:

Roar: 

[Intro]

I used to bite my tongue and hold my breath
Scared to rock the boat and make a mess
So I sat quietly, agreed politely
I guess that I forgot I had a choice
I let you push me past the breaking point
I stood for nothing, so I fell for everything

You held me down, but I got up
Already brushing off the dust
You hear my voice, your hear that sound
Like thunder, gonna shake your ground
You held me down, but I got up
Get ready 'cause I've had enough
I see it all, I see it now

[Chorus]

I got the eye of the tiger, a fighter,
dancing through the fire
Cause I am a champion and
You're gonna hear me ROAR
Louder, louder than a lion
Cause I am a champion and
You're gonna hear me ROAR
Oh oh oh oh oh oh
You're gonna hear me roar

Now I'm floating like a butterfly
Stinging like a bee I earned my stripes
I went from zero, to my own hero

You held me down, but I got up
Already brushing off the dust
You hear my voice, you hear that sound
Like thunder, gonna shake your ground
You held me down, but I got up
Get ready 'cause I've had enough
I see it all, I see it now

[Chorus]

I got the eye of the tiger, a fighter,
dancing through the fire
'Cause I am a champion and
You're gonna hear me ROAR
Louder, louder than a lion
'Cause I am a champion and
You're gonna hear me ROAR
Oh oh oh oh oh oh
You're gonna hear me roar

Roar-or, roar-or, roar-or

[Chorus]

I got the eye of the tiger, a fighter,
dancing through the fire
'Cause I am a champion and
You're gonna hear me ROAR
Louder, louder than a lion
'Cause I am a champion and
You're gonna hear me ROAR
Oh oh oh oh oh oh
You're gonna hear me roar

Brave:

You can be amazing
You can turn a phrase into a weapon or a drug
You can be the outcast
Or be the backlash of somebody's lack of love
Or you can start speaking up
Nothing's gonna hurt you the way that words do
And they settle 'neath your skin
Kept on the inside and no sunlight
Sometimes a shadow wins
But I wonder what would happen if you

Say what you wanna say
And let the words fall out
Honestly I wanna see you be brave

With what you want to say
And let the words fall out
Honestly I wanna see you be brave

I just wanna see you
I just wanna see you
I just wanna see you
I wanna see you be brave

I just wanna see you
I just wanna see you
I just wanna see you
I wanna see you be brave

Everybody's been there, everybody's been stared down
By the enemy
Fallen for the fear and done some disappearing
Bow down to the mighty
Don't run, stop holding your tongue
Maybe there's a way out of the cage where you live
Maybe one of these days you can let the light in
Show me how big your brave is

Say what you wanna say
And let the words fall out
Honestly I wanna see you be brave

With what you want to say
And let the words fall out
Honestly I wanna see you be brave

Innocence, your history of silence
Won't do you any good
Did you think it would?
Let your words be anything but empty
Why don't you tell them the truth?

Say what you wanna say
And let the words fall out
Honestly I wanna see you be brave

With what you want to say
And let the words fall out
Honestly I wanna see you be brave

I just wanna see you
I just wanna see you
I just wanna see you
I wanna see you be brave

I just wanna see you
I just wanna see you
I just wanna see you
I wanna see you be brave

I just wanna see you
I just wanna see you
I just wanna see you
I wanna see you be brave

I just wanna see you
I just wanna see you
I just wanna see you.

They both are about coming out of your shell and being able to defend yourself. Weird.

What do you think?

Review: Swan Lake in 3D from the Mariinsky Theatre

The Mariinsky Ballet in Russia made history on June 6th, 2013 by presenting their first 3D ballet broadcast across 50 countries in 1200 cinemas. The brain child of conductor Valery Gergiev and Cameron Pace Group, the company behind Hugo, Avatar, and Life of Pi. The ballet was Swan Lake, one of the most essential works in the repertoire. The performance was recorded live in the famous Mariinsky Theatre in St. Petersburg, simulcast to the New Mariinsky Theatre in 3D, and subsequently transmitted to cinemas around the world in 3D with time delays.

The ballet itself was absolutely amazing. Maestro Gergiev led the orchestra, and featured soloists included Yekaterina Kondaurova as Odette-Odile, Timur Askerov as Prince Siegfried, and Andrei Yermakov as von Rothbart. All three were absolutely flawless. The entire company was thrilling to watch. I give props to the quartet of swans in Act 2 who performed together as one. Not an easy task, but executed so well. The choreography was from the 1895 Ivanov/Petipa revival and revised by Konstanin Sergeyev in 1950. Amazing how great works can stand the test of time. The sets were beautiful and breathtaking. If you look at the makeup for von Rothbart, you will be terrified by how good it is. The 3d was a great addition, bringing a new depth to the average viewer and drawing people in.

All that being said, I was not pleased with the overall production of the cinema presentation. The picture quality, compared to The Metropolitan Opera: Live in HD, was equal to that of a late 1990s videocassette. You would think that James Cameron would be able to bring high definition cameras to Russia. Lets hope that a blu ray release comes in the future that will make up for it. Second, there was something wrong with the configuration of the 3D. I had to wear my 3D glasses upside down. The graphics of the credits and name cards were probably from the 90s as far as I could tell. The time spent in between acts, while enjoying the interviews with the artists, could have also been spent showing behind the scenes segments. 

Overall, I greatly enjoyed the ballet. I would always suggest a great Tchaikovsky ballet to anyone who has never seen one before. Remember to go out and support your local company. 

App Review: Beethoven's 9th Symphony

What if I told you that for $7.99, you can have 4 complete recordings of Beethoven's 9th symphony from 4 different conductors and have the score? All of this is possible with the IOS app Beethoven's 9th Symphony. 

This app, one of two collaborations between Touch Press and Deutsche Grammophon, lets you choose from 4 different conductors leading the famed final symphony; Ferenc Fricsay, Herbert Von Karajan, Leonard Bernstein (also in video), and Eliot Gardner. You can easily switch between the 4 as you listen to one of the 4 movements. 

When you first download the app, you get a 2 minute sample of the second movement. You still have all the functionality to explore option.

Score Mode: scrolls as it plays, note by note.

Animated Mode: animates the music as made popular by YouTube user Smalin.

Beatmap: shows which parts of the orchestra and chorus are active.

Commentary mode: David Owen Norris gives his description of how the work progresses (Text-Only). Plus, libretto on the 4th movement.

Video mode: Leonard Bernstein conducts the Weiner Philharmoniker in a video recording from 1979.

All the music is crisp and brilliant as these are highly praised recordings. Everything runs smoothly, and you can continue to listen to each movement after you go back to home screen. It's a free download but $7.99 on iTunes to upgrade. Absolutely worth it. 

Disclaimer: This is a review of the IOS iPhone/iPod Touch version. If you know of a good review for the iPad version of this app or the other Touch Press/ Grammopohon app The Orchestra, please feel free to leave it in the comments below.

The View from "Way" Above: Sitting in Score-Desk seats at the Metropolitan Opera

May 11th, 2013 was like any other day. The weather was nice/rainy, the food from the street vendors was delightful, and I had just picked up my tickets from the Met Opera Guild Office. But these were no ordinary tickets. I had paid $8 dollars to sit in the Metropolitan Opera House for the final performance of Francis Poulenc's Dialogues of the Carmelites, starring Isabel Leonard, Patricia Racette, and Felicity Palmer. The catch? I had to sit in a Score-Desk Seat. I was prepared for an interesting time. I borrowed a vocal score from my school's library, bought a copy of the libretto from the Met Shop, and brought my handy notebook to take notes. I was aware that I would have no view of the stage or the pit, mostly because I would be behind someone sitting against the railing of the family circle.

So what did I get? Exactly what I expected. I got a nice desk with a lamp, a suitable chair one would find in the box seats. I could barely see the stage, but heard every note as I read along in the score. All the voices carried and their emotions were realized in my mind. I tried my hardest to imagine what was going on via the libretto and score, so I hardly got to experience the set which was so famously praised at the premiere; The bare stage in the shape of a cross was the cornerstone of the minimalist design. How quickly flyers would come down to change it to a living room, a chapel, the guillotine, and a jail cell.

Photo from 1976-1977 run

My view that night was this:

And that was actually what I saw from sitting down. As much as I enjoyed listening to amazing trio of singers and the Met Chorus, I felt that I was missing a huge part of the opera house experience. Even though Felicity Palmer presented an outstanding death scene just with her voice I could not imagine the looks of the other actors when that occurred. So at the end of intermission, I took my supplies and moved myself to List Hall to watch on a projector and listen via the Met Opera XM radio station. The Met has a small camera that takes a large view of the stage. No faces, no closeups, and just a wide bright view of the set and moving figures as I read my score on a raised desk. It was a bit more easier to see what was going on, but still not being in the presence of the talent. Nevertheless, I was thrilled by the music, singers, and the story. I even ran back to the main hall to be part of the overwhelming applause that followed.

I followed this up by walking to the backstage door and running into Conductor Louis Langree, Isabel Leonard, Patricia Racette, Felicity Palmer, Natalie Dessay (who was not in that production but most likely was taking care of business from Giulio Caesare), and even Met Radio host William Berger. 

All in all, I had an enjoyable experience but upset I did not get to see the whole experience, which was not necessary to appreciate the power of the opera. I am positive I will try score-desk seats again, but maybe on a production I have heard or seen many times in the past. Like La Boheme of Il Barbiere di Seviglia. I recommend it to anyone hoping to read a score and listen to a good opera for a low price, if you don't mind not seeing the stage.

Next Time: The Best Beethoven App Ever!

What I've Been Up To

If you're wondering where i've been, my bad. I haven't updated my blog in a while. This is due to my busy school schedule, taking care of my YouTube and Facebook pages, and having an amazing year of music enjoyment. But now that school is over, I can focus more on writing entries worthy of excellent audiences. Some reviews, a few things that I learn during the summer, or even answering questions if necessary. Leave a question in my ask box at maestroweinstein.tumblr.com or post on my Facebook wall at facebook.com/maestroweinstein.

Next article, The View from "Way" Above the Stage.

Review: Le Comte Ory Dress Rehearsal at Metropolitan Opera, 1/14/13

This past Monday, I was lucky enough to attend the final dress rehearsal for the upcoming revival of Le Comte Ory at the Metropolitan Opera. I would like to the Met Opera Student Program and the Ambassadors program, of which I am a member. For those of you who are unfamiliar with this production, Director Bartlett Sher took on this tale of a mischevious and horny young count who attempts to "conquer" a beautiful countess while her brother is away at the Crusades back in 2011. He set the production in an old French theater which is putting on Le Comte Ory, complete with a Prompter, curtains, a stage, flyers, and crew to light sets, move scenery, and even create a storm. The show begins even before the overture, as the prompter and crew prepare the stage. But the overture begins when the prompter bangs his staff. 

I saw most of this production on PBS Thirteen back in 2011, but it was nice to see it in person. Eventhough I knew most of the gags, it was incredibly entertaining.

Cast (In Order of Appearance):

Prompter (silent): Rob Besserer

Raimund: Nathan Gunn

Alice: Ashley Emerson

Ragonde: Susanne Resmark

Count Ory: Juan Diego Florez

The Tutor: Nicola Ulivieri (DEBUT)

Isolier: Karine Deshayes

Countess Adele: Pretty Yende (DEBUT)

Courtiers: Scott Scully, Tyler Simpson

The chorus, first off, was perfect as usual. For a Rossini opera, it was very chorus heavy at times, as compared to Il Barbiere di Siviglia, another production Mr. Sher has done for the Met. The orchestra, conducted by Maurizio Benini, also brilliant. I am a lover of the sets and costumes and usage of old theater technology and gimmicks to bring a true uniqueness to the show.

JDF, or Mr. Florez, was superb in his role of the count, just as he was back in 2011. Despite a few mishaps with his coat and wig, he never broke character even when these problems arose. Neither did Rob Besserer, who was a brilliant prompter, even though he is not the real deal. And applause goes to the rest of the cast. Especially Pretty and Karine, performing their respective roles for the first time at the Met. Ms. Yende has a great future ahead of her, she sang with great bel canto beauty. And Karine Deshayes was a fully energetic Isolier. Nicola Ulivieri, also making  debut at the house, sang his first act aria well.

Its hilarious, contains sexual escapades, and men dressed in nuns costumes getting drunk. Whats not to love? Go see it if you havent done so, or go see it again with these brilliant young singers.

The revival opens at the Metropolitan Opera this Friday the 18th. For tickets, visit metopera.org. 

Review: 92Y presents Lyrics and Lyricists- W.S. Gilbert And The Broadway He Inspired 1/13/13

On a rather foggy sunday, after deciphering subway transfers, I visited the 92Y. There, I attended a concert program which was the first in the 2013 Lyrics and Lyricists series. The subject: W.S. Gilbert and how his lyrics inspired hits from the great american songbook. The artistic director and pianist was Rob Fisher, best known as the music director for Tony Award winning revivals of Chicago, Hair, and Anything Goes. Sitting at the adjacent piano was Mr. Ian Axness, who also played percussion. The host was none other than famed lyricist Sheldon Harnick (Fiorello!, Fiddler on the Roof, The Apple Tree). Having been a guest of the series for many years, Mr. Harnick decided to showcase the comic and lyrical genius of Gilbert and Sullivan. The first act consisted of songs from the duo. The second half involved lyrics by Mr. Harnick and other lyricists who claimed they were inspired by Gilbert, including Cole Porter, Noel Coward, Lorenz Hart, and Ira Gershwin. There was also an excerpt from Sondheim, although he stated he never had inspiration from Gilbert.

The show began and ended with 'Hail, Poetry" from The Pirates of Penzance, sung beautifully by the 8 eight person ensemble. This four lead vocalists were Jason Danieley (Curtains), Jenn Gambatese (Tarzan, All Shook Up), David Garrison ( TV's Married with Children, Silence! The Musical), and Mary Testa (On the Town, 42nd Street, Xanadu). The other singers who joined in as an accompanying quartet were Ross Benoliel, Christine DiGiallonardo, Michael Marcotte, and Lindsay O'Neil.

In the first half, Sheldon Harnick spoke about Gilbert's life and the style of his writing and inspiration, even suggesting that Gilbert's mother was the inspiration of Katisha in The Mikado. He even quoted from Wikipedia, where all the Gilbert and Sullivan articles are edited by a Mr. Sam Simmons, who I and Mr. Harnick met after the show. Some highlights from this section are Mr. Garrison's rendition of The Nightmare Song from Iolanthe, Mr. Danieley singing the comedic "A Tenor, All Singers Above" from Utopia, Limited, Mr. Harnick singing from Yeoman of the Guard, and "Brightly Dawns our Wedding Day" from The Mikado sung by the quartet. Ms. Testa was also enjoyable singing "When Frederic Was a Little Lad" from Pirates and joining Mr. Garrison in "Beauty in the Bellow of the Blast" from The Mikado. Mrs. Gambatese also presented great talent singing "The Sun whose rays are all ablaze" from The Mikado.

The second half was no less entertaining than the first. Thanks to Sheldon Harnick, I am inspired by "The Suave Young Man in the Trench Coat" to be that man. Everybody brought out their comic prowess. Mr. Garrison and Ms. Testa, wearing an electrical tape mustache, sang a duet version of Noel Coward's "The Stately Homes of England". Ms. Testa returned to sing "Mr. and Mrs. Fitch" from Cole Porter's Gay Divorce, complete with cymbal crashes at mention of the B-word. Mrs. Gambatese shined in the hilarious "To Keep my Love Alive" from Rodgers and Hart's A Connecticut Yankee. Mr. Garrison brilliantly channeled Danny Kaye in "Tchaikovsky" by Gershwin and Weill, and singing all three witnesses with hilarious accents in Harnick's "Little Tin Box" from Fiorello!.

All in all, I am glad that a google search brought me to this concert. The $25 discount ticket was also a good incentive. That's the lucky thing about being under 35. But like most programs of this nature, I was among the few young people in a crowd of senior citizens. This did not hinder my enjoyment, minus when the couple next to me were talking while Mr. Harnick spoke. It upsets me though how people my age are really missing out on these great opportunities to meet great people that made our world great. My only other complaint was my seat, A101. It was right in front of Mr. Harnick's station, but large speakers at the foot of the stage blocked my view of Mr. Fisher's piano and some of the ensemble. Otherwise, I commend the 92Y on their great programming and hope people will attend the rest of the season to learn about other great Lyrics and Lyricists.

Repost: Princess Ida Production Concept

I was asked by the stage manager to remove the photos from the original version of this post. This will help those of you who have never seen this opera to get an idea of the director's interpretation.
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"What is Man?" According to women, all men are Cavemen! Thus begins the idea for the Hofstra Opera Theatre production of Gilbert and Sullivan's Princess Ida. The 8th of their 14 collaborations, the opera is about a prince who seeks to regain the princess betrothed to him at the age of two years old. However, she has formed a women's university and cut herself off from men, thinking them stupid, vile, and disgusting creatures. How does this idea get translated to a modern production? By showing the extremities of separatism between men and women, in the eyes of womankind. Director Isabel Milenski has taken the medieval storyline and set it in 50,000 BP (Before Present).

Act One takes place in a primitive caveman dwelling. There are rocks, piles of wood, and even a rack to hang dead animal carcasses. It is essentially the world of man as seen from the viewpoint of women of Ida's University. King Hildebrand, Prince Hilarion, Florian, Cyril, and the rest of the kingdom are all neanderthals. They are uneducated, wild creatures. Suddenly, they have their first welcomed guests, King Gama and his three sons, who represent the other side of man as seen by women: Greedy Wall Street Tycoons. (We apologize that this may not make sense historically. The director did not seek to recreate a historically accurate setting.)

Act Two moves the action to Princess Ida's all women's university at Castle Adamant. She and the other ladies are models of class and distinction. They all wear matching uniforms and see themselves as the dominant gender in the world. They do not believe in the regular christian god, but rather give praise to Minerva, or the greek Athena, goddess of learning and strength. This is also important because according to mythology, she was born from Jupiter's forehead.

Act 2: "Gently, Gently": As Hilarion and his friends enter the university, they pass a display showcasing the atrocities of man. Freddy Kreuger, a man on a toilet, a caveman, a football player, and Kim Jong Il.

Act 2: "The World is but a broken toy": When the men, now disguised as lady graduates, meet up with Princess Ida, she sings of how the world has been destroyed of all innocence and peace by men. A large tank rolls behind the display case as the four sing the touchingly beautiful song, a metaphor for the world we live in today.

Act 2: "A Lady Fair of Lineage High": When the boys run into Lady Psyche, she tells them about how evolution proves that man is filthy and vile. She brings the display forward and adds photos of Monkeys to the heads of the figures, and to the men.

Act Three begins with the women preparing for battle. The ground from the display case is cleared and is shown as the merger between the worlds of Act 1 and 2. This is the moment when the ladies and Ida become more like men, because war is not of womanly nature. And after the battle, the ladies begin to associate themselves with men and find they are attractive and not at all bad. When Ida surrenders, she decides that her separatist views will not help the world. She must share the knowledge she has learned with the world in order to make it a better place. She and the other women leave the university and join the cavemen, who are pure and innocent creatures, to rebuild the world.

Thoughts? Leave a comment below. Share with your friends. Come see Princess Ida at the John Cranford Adams Playhouse at Hofstra University on February 1st and 2nd at 8pm, and February 3rd at 3pm. 

Princess Ida Production Blog: Orchestra Rehearsal

After a break from observing singer rehearsals, I finally reached that point where I am contributing to the performance: the orchestra rehearsal. It was great to see my classmates for the first time since the end of finals. The maestro was just printing up parts from the new rental company, so he was forced to read from the vocal score. Most of the work we did was for Act 1 and the finale of Act 2. For the latter, we had to go over cuts, for which there were many. But minus a few sight reading errors, we read through the first Act relatively quickly. Unfortunately, there were other problems. Several musicians were unable to come to today's rehearsal, most of the brass and a few winds. Luckily, we have three more rehearsals this week. With technical difficulties put aside, everything is going smoothly and no major roadblocks are in the way of sounding like the great orchestra that we are.

Funniest Part of the day: little note on page that says it was left blank for easy page turn. Adds " it's a great place to write your favorite conductor joke".

Princess Ida Production Blog: Day 4

Today, I sat in on the dialogue rehearsal for the principals. Due to the fact that it is 2013 and that the production is extremely different from the original, some cuts had to be made to the script and score. But it is life however. I will be sad that there will be no version of "The woman of the wisest wit" or 'Merrily ring the luncheon bell". Lines are cut or rewritten, songs are shortened, etc. But most importantly, the actors must enhance the dialect to match the fact they are cavemen. No victorian english accents in 50,000 BP. So add on some lovely caveman grunts. But honestly, this is necessary when you do something that isn't a normal Gilbert and Sullivan production.

Isabel Milenski is great when it comes to teaching. I took her Opera Scenes course in the previous semester. We not only took on singing, but we took on one of the toughest things I ever dealt with at school: acting. I learned so much in that class and from sitting in on today's rehearsal. Character work, playing with pitch and energy, word accent choice, etc. I personally believe that the show is in good hands with my classmates. They took great care in figuring out what makes their characters tick. The art of acting certainly has evolved since the days of Gilbert and Sullivan, especially in the opera world.

This is it for now. I will be back again on Tuesday after the first orchestra rehearsal.

Princess Ida Production Blog: Day 3

The set designs were revealed today by Isabel Milenski and Jian Jung. Consider instead of medieval times, that Princess Ida takes place around 50,000 BP (Before Present). Hildebrand's court is Primative man, Gama and his son are Wall Street tycoons, and Princess Ida resides in a ladies university that looks like the Museum of Natural History. Confused? So was everyone else. But let me assure you that there is sense in this concept.
(See future post for full details on the production concept and design).

The chorus and principals of Act 1, minus King Gama, Arac, Guron, and Scynthius, began to block the first number after focusing on their inner caveman. To instruct them on the dancing was the choreographer, Ashley Handel. She worked diligently to make sure the opening chorus was perfect, even making sure the singers had the right posture to not obstruct their breathing.

Meanwhile, the music director was faced with a dilemma, the orchestra parts were sent to another location by accident. Luckily, he began damage control and found another place to rent from. The day was saved.

Now that the cast, crew, and myself are now aware of the ultimate goal of the show, it is up to all of us to put in 110% and make it a production no one will soon forget.

Princess Ida Production Blog: Day 2

Day two consisted of the chorus working with the assistant conductor and the principals working with the music director. I sat in with the choral conductor. Boy was I impressed. He presented himself professionally and with a great knowledge of the score. He went over the notes he took yesterday and the tempos that the musical director will take during the show. It went rather smoothly, except at parts where the dividing of the vocal lines became hard even for me to decipher. At least the singers can learn each other's parts to strengthen their own.

The patter songs were a challenge at the beginning, but the singers managed to take them on with eagerness. And once they got it, they sounded amazing.

I have high hopes come show time. Tomorrow, the day of the blocking commences.

Princess Ida Production Blog: Day 1

Principals, Conductor, and Vocal Coach/accompanist run through the music for the entirety of the show in this order: Act 1, Act 3, Act 2.

It is interesting as a instrumentalist to observe a vocal rehearsal. The Conductor works with the pit and the singers separately until close to a week before showtime. Therefore, learning how the vocalists think and act as you play gives you new insight into the art of performance.

Going through each number, the singers run through the song until either they made a mistake or when the conductor had a suggestion about breathing, pacing, and tone color. In sections where words are repeated, it is important to have a different tone each time, as if the words change meaning.

In patter songs, the vocal coach suggested to accent at mid bar. The singers are actually sounding secure on the tougher/faster sections than would be expected on the first day.

We unfortunately had some cast members missing, so not every number was rehearsed.

Everyone was incredibly professional. Total focus and attention was paid to the conductor and to the others as they worked.

Tomorrow, they will combine with the chorus from Act 1. And then the next day, blocking begins. I will give details about the set design, if I can, on Friday's blog.