I Want the World...I Want the Whole World!

Opera Theater of Saint Louis is hosting the world premiere of The Golden Ticket, a new opera based on Dahl's Charlie and the Chocolate Factory. One of my favorite mezzos, Jennifer Rivera, is playing Veruca Salt. (Of course the mezzo would play the bratty kid...)

As exciting as this is, this brings up a topic that I've been thinking about/talking with other people about recently. What is with this new trend of making musicals out of movies? Granted, Charlie is a book, but there are two big movies and a musical based on it already. Now there needs to be an opera of it? I think the question needs to be: is this good operatic material?

So here's my problem: medium. Every medium -- be it opera, broadway musical, movie, play, novel, whatever -- has its inherent strong points. Some stories just work in a certain medium. When you start juggling it around, the story loses its original impact. Shrek the musical? Spiderman the musical? An opera based on An Inconvenient Truth? I mean, come on -- who thought this was a good idea? You see the same thing happen when they make your favorite book into a movie. Some movie renditions are wonderful and they even enhance the original story, but some books just lose all their power when they're put into movie form.

I've noticed a trend, especially in broadway musicals, and I think that these media are being compromised because everything new that is being written isn't taking into account the strengths and weaknesses of the form in mind. I could blame it all on commercialism, but this trend began before the recession came in full-force. I think the cause is more laziness than anything. There isn't a commitment to the craft. There needs to be a commitment to the craft! Nothing good ever came from half-hearted writing.

Joyce Didonato said it perfectly in her last post when she explained Dr. George Gibson's philosophy. He believes in the three Ds: Dedication, Disclipline, and Determination. I think that is such a great motivator and thing to live by. If only the entertainment industry would do the same...

Winter uncovers distances...

Dear Life,

How can you be so complex and lovely and draining all at once? I've been here so long, trying in vain to peer through you, but all I see are nameless things-- those things which inspire and confound and ignite.

Open to me! Show me your secrets! Explain yourself. Unravel the hand-knit knots that plague my mind. Night and day you stare me down and laugh because I cannot stare back long enough to win against you. Give in just this once--let me beat you!

God, you present such beautiful things: the scent of winter's fireplaces on the night air, the feel of a wool scarf on my fragile throat, the sight of a kiss blown across the room from one so beloved, the sound of enchanting music -- music to break my heart from an abundance of love.

I gather it all about me; I try to let it seep in. My soul desires and yet resists. When will anything make sense?

See, you have tired me out! I can only sleep now. Unconsciousness beckons to me. I cannot push it away; I cannot stop my hearing. I seek it out as it searches after me. Sleep--one of my favorite dance partners. Let us waltz!

Until tomorrow. Only until tomorrow. Then we shall begin all over again. Conflict, love, tension, release, revelation...

Love,
me

The Skinny on Skinny

I walked into work today and the first words out of my coworker's mouth were,

"Hey there, skinny girl!"

I'm proud to announce that I am wearing a size 10 pair of jeans today. In May, I was pushing a 14. Here's the story:

In May, I was cast in the opera and I said to myself, "Now this is real. In order to have this career, I need to look amazing." I was really inspired by something that Natalie Dessay (a very successful opera singer) said in an interview. She said, "[If you're on stage,] you have to make people dream." I agree with that. Also, I'm totally committed to my artistry and I want to make my character look like they would if they really existed. It needs to be realistic on every level. Prince Orlofsky, a spoiled brat rich teenage boy, is definitely skinner than I am. Besides, I work so hard on my technique and my languages and everything- why should I work any less on this aspect of my performance? I can't let anything get in my way. Therefore I started to try.

The first five attempts/strategies did not work. Some were a lot of work (and I lost literally ZERO pounds) and some made me sick (I got off them immediately) but I've never used pills and I've only done things naturally. (I will talk in a second about the health aspect of this.)

While I was in Austria, I ate tons of pastries and sang my butt off and dropped to a 12. But I couldn't do anything after that and I couldn't go back to Austria and simulate the experience, so I was stuck once again. Two weeks ago, I started a new diet that has finally worked and I am now a size 10. I am thanking God every day because SOMETHING IS FINALLY WORKING! Sure, I'm not eating any of my favorite foods, but it's worth it! I learned that everyone's body is different and you have to find what works for your chemistry. I guess it's like everything else in life: when things don't work the first time, try something else and never give up!

Now, I was committed to losing weight in a healthy way, because I think that it's very important. Looking good means nothing if you're not healthy. Besides, as an opera singer, my body is my instrument and I have changed my lifestyle on a few accounts in order to keep it in top condition. As a singer, you also have to be extremely careful about losing weight because fat distribution affects your singing and technique. (There's an extremely interesting blog post about how your body type affects the sort of vocal problems that you will encounter.) Dropping weight too fast or unnaturally can cause major issues with your voice. That is the last thing I need because it totally defeats the purpose of losing weight in the first place!

So here's my thing: if you want something bad enough, work hard to get it. Go for what you want! I still have a ways to go (and this will probably be a life-long endeavor of mine), but I'm willing to do it because I love what I'm doing and I will do anything I can to be completely successful at it.

Prince Orlofsky, here I come!

Everything = Opera

I love how everything in my life always relates back to opera.

I was doing laundry with my mom last night (or rather, I was watching her do laundry and blabbing on about my life) and she picked up this red V-neck T-shirt and said,

"I've never seen this shirt before. Who's is it? Is this yours?"

"No," I answered. "That must be Ryan's -- it's a boy shirt. I can tell the difference between boy's clothes and girl's clothes." (I am so proud of my amazing skillz at this point.)

My mom laughed and said,

"Yeah, that's because you wear both."

Touché.

Never a Dull Moment

We had some interesting moments in opera scenes yesterday that are definitely worth sharing.

First, Christina (Rosalinde in January) came in with kiddie tattoos all over her one arm ("I got a sleeve" she told me jokingly). Isabel saw her from far away and said "What did you do?" Christina assured her that they were not real and that she was just "bored" last night. Isabel gave her the evil eye and said, "I kill you!"

((This reminded me of all the rules about being in a show and I forgot that those restrictions have started already. That's why Isabel was so shocked to see my red hair in September...I'd already been cast at that point. I love how your opera director has the right to dictate your life. At least she hasn't asked me to do anything crazy yet. YET.))

Then, Jackie was doing "Vedrai, carino" (Don Giovanni) and Isabel was trying to explain Zerlina and Masetto. She said, "You guys have probably known each other since you were 5. Who knows, you might even be related." OH-KAY. THAT puts a whole new spin on the story... Hello rated-R Don Giovanni!

Some people did another scene from Don Giovanni and Leporello decided that Masetto had to go so he slung Masetto over his shoulder and walked out. And Masetto was still singing!

I was invited to be a non-singing participant in a scene from Un Ballo in Maschera. There were about 4 girls and one guy chosen besides the girl playing Oscar. Who gets chosen to play the king? Me. Naturally. The one guy, Paul, looked so bewildered. His facial expression was priceless.

A scene from Don Pasquale ended with the kid playing Don Pasquale getting legit SLAPPED in the face. His glasses went flying and a lens popped out! Everyone gasped. This was serious drama! Isabel commented that we need to learn "boundaries." I never thought I'd hear that word come out of her mouth but I'm so glad that it did!

So that was my day yesterday. Never a dull moment in the world of opera!

Der Rosenkavalier Strikes Again

First things first: SUSAN GRAHAM BOWED LAST!

Ok, now, let me say that the Met's Rosenkavalier last night was divine. The last notes were absolutely heavenly. Overall, the singing was fantastic (I even liked the Faninal!). My only complaint is that La Renee got a little too emotional at times.

Honestly, Susan Graham stood out from all the amazingness. She spun gorgeous, gorgeous lines of nuanced gloriousness that just took my breath away. She was funny and always a treat to watch onstage. I love her Octavian to pieces.

The production was so TRADITIONAL. I was almost in shock from of its traditional-ness. I liked it most of the time. I wasn't as moved by the drama as I usually am. I think there was a bit of stiffness in the joints but overall, the music more than made up for it.

But, Susan Graham...so incredible. She brought the house down for sure and I'm so glad that they gave her last bow because she totally deserved it.

The fact that the Marschallin usually gets the last bow is a major pet-peeve of mine. I mean, she's not there for all of Act II and half of Act III and the opera is named Der Rosenkavalier. Why does the mezzo always get the short end of the stick? Finally, Octavian bowed last and it couldn't have been a better mezzo to do the job.

I am happy. I am tired and over-worked and happy.

E Susanna non vien...

Opera scenes rehearsals are always interesting, but I had a very special opportunity last Thursday. George, Alex, and Christina are doing the "Cosa sento" trio from Le Nozze di Figaro and on Thursday, Christina had to leave to tutor some unlucky kid in eartraining (I say "unlucky" because he/she is still in eartraining) but the trio still had to practice. When George asked where Christina was, Isabel explained and then she pointed at me and said, "Kim will sing Susanna." I was just sitting there innocently waiting for my Barbiere trio to rehearse. I was slightly shocked and really excited. I got up and said, "I'm not a soprano, but sure!"

I've heard the trio before but I've never sang it. So I was sight-reading, but I wasn't too scared. Mozart is my ally. :)

It all went fine. I was able to supply a Susanna so they could practice. What fun! I love singing a character that I never would otherwise. I can hit all the notes without a problem -- it's just the heaviest Susanna that I've ever heard.

Gosh, I love that scene. That trio is genius.

I'm not sure if Isabel picked me because she knew I'd be able to do it or because she was trying to push me out of my comfort zone. She's been doing the latter a lot lately-- I've noticed and I appreciate it. A little push never hurt anyone.

A funny story from Fledermaus rehearsal:

We've been having Fledermaus chorus rehearsals for some time now and they finally let the principals come in on Thursday. So I got to sing my solo stuff with the chorus. We were halfway through the Act II Finale and I have this tricky entrance (the meter changes, I get one beat of entrance from the conductor, I come in without a note...you get the idea) so I was really concentrated.

I came in on time, in meter, and on the right note but in the wrong language. WHOOPS.

We're doing Fledermaus in English but it's originally written in German. When I came in, I was singing in German. I don't have the German words in my score, I've never seen the German words to this section before, and I've never practiced this in German. I have NO idea why I started singing it in German! Only I would sing a foreign language when I should be singing in my native language. Oh boy.

Everyone burst out laughing and we had to start the number over. We had to take a minute so I could recuperate from the laughing (it WAS really funny). Ally, who's playing Ida, turned to me and said,

"That was so adorable!"

Good times. I'm sure there will be MANY more to come. I can't wait to start rehearsing Fledermaus in earnest! It's going to be so much fun...