Friday, August 18, 2006

Wow. 4 opera clips.

So, I considered myself an actor long before I started singing, and it was as an actor that I came to be a singer. I was already getting paid to do straight theater when I went to my first opera. At that point, I hated musical theater, and I expected opera to be even worse. I hated that it was all mugging, and the movements lacked any purpose and there wasn't really any acting at all....

My first opera was a choir (which I was not in) field trip, and I only went because I had crushes on half of the girls in the choir.

I was blown away.

Not because of the music, which I didn't really get, but because of the acting-- real acting!

Later, when reading "writings in restaurants" I discovered that the guy who many consider the most important modern acting teacher agrees with me. As I read more, I learned that David Mammet writes over and over again that he finds the acting in opera today consistently better than acting on film or on broadway. This is because what most opera singers do is direct and simple and there is a reverence for the script and for the text. The good ones don't mug or try to show off their acting they just f@ckin' do the thing!

SATAN! I'll start with the most accessible one: Yep, this is Sam Ramey playing satan. Opera was often the Marilyn Manson of it's day. In this piece Satan mocks god, and even gives him an obscene gesture! How do you think this went over in ultra catholic Italy?




OTELLO. Next most accessible-- Placido Domingo is just plain exciting. English subtitles.


Old School PUNK ROCK! This clip is vintage punk rock to me from the costumes to the irony, raw emotion and open mockery of the audience. The clip is a play within a play-- the commedia dell'arte stock plot mocking the cuckold husband. The actors are husband and wife performing a show as husband and wife. In both cases, the husband has just discovered that the wife is having an affair. the actor no longer finds the show so funny, but the audience doesn't get that he's gone off script, "bravo!" The wife keeps trying to return to the show as if nothing happened.



OPERA REVOLUTION. For hundreds of years it has been opera that led the way. The two major revolutions in acting technique in the 20th century were led by opera singers. The first was Feodor Chalyapin, who was the father of what became known as the "Stanislavski Method" after the man who wrote down Chalyapin's teaching. The second was lead by Maria Callas. In the early 40s, Callas brought renewed realism and even vulgarity to the stage. Legends abound about the real-life touches she brought to scenes such as taking off her shoes after a party-- revolutionary at the time. Her controversial performances were to inspire a revolution in acting that would eventually reach Broadway in the late 40s and Hollywood in 1951 with Marlin Brando.

Though she was known for "dominating" an audience, here she brings simplicity and honesty to what was a "dead" repertory at the time:

Thursday, August 17, 2006

THE REAGANS ARE COMING! THE REAGANS ARE COMING!



September 8th and 9th at 10:30 at night, and Sunday the 10th at 9:30PM. I'll be singing the role of Michael Reagan (! yep that one) in a cabaret featuring excerpts from a new opera called Reagan's Children. The picture above is from the premier of the show a few months back. I just got the recording from the premier and it sounds pretty good. Take a listen to the Michael Reagan aria: Meditation.

Webeyoo!


You know how when you're on vacation you work more than when you're "at work?" Right. Well I guess I'm not really on vacation at all, I just have a different work schedule.I just updated my singing web page. Because I find most actor/singer web pages to be really silly, I resisted certain design elements for a long time. But in the end, I decided that my page needed to look more "professional."

So I think this page looks more professional, but I've still managed to avoid some of the design elements (as well as some of the technology elements) that I hate most. The page is more definitely more "dramatic." Also, there are certain expectations of what a "classical singer" should be, and I've tried to "brand" the page a little more "classical" or "opera singer."

Take a look and tell me what you think. Did everything render well on your browser/OS? If the page looks like butt on your computer, I'd really like to know!

Friday, August 11, 2006

I have discovered the meaning of life and it is....



The quilt.

I have it on good hearsay that the creator of the universe really, really likes a good quilt. So much so that he created this little ball of quiltin' materials we call "Earth" just to add to his collection.

The Mysteries of Life Explained AT LAST:



When he created two of each animal, he had one of two things in mind-- 1. food for quilters. 2. Keep the quilter population down to prevent disease and famine.

Sharks were invented because the creator of the universe hates soggy quilts.

As for humans, he had one thing in mind-- makin' babies, and makin' quilts. In fact, my sources say that the reason for human frailty at the beginning and end of life is to provide an incentive for quilt making. Human suffering, to provoke comfort quilts.

All the rest of us here are just an elaborate support structure for the chosen ones.





Was Ronald Reagan right when he claimed that god created aids? If so, why would god do something like that...? hmm....

Thursday, August 10, 2006

Old song do again

More of the same-- with more to come-- this bit moved to the front page from comments....

I recently read an article in some Music Journal about this (I'll try to remember which one.) It was a poorly designed "experiment" but their findings we're interesting none the less. Some Mid-west University Choral group made 2 recordings-- one where the singers sang with a good singer's formant response and the other with the singers formant taken out in the "choral technique" taught at their school. Then they did a survey and asked which people liked better. "Overall" (their methodology was deeply flawed) 55% or so of participants preferred the "choral" example. However when they broke down their findings:

Listeners with no musical training slightly preferred the "operatic" example.

Listeners with Instrumental training strongly preferred the "operatic" example. The more musical training they had, the more they favored the "operatic example."

Only Listeners that were trained in the "choral tradition" of that school (the vast majority of survey participants-- hence the flaw) strongly preferred the "choral" example. And the more choral experience they had the more they favored this example.

This would seem to suggest that the "choral" sound is a learned preference... and quite an "acquired taste."

Tuesday, August 08, 2006

Old song new again

On my new project: (this post is about getting some things straight in me cluttered head.)

So, I've rounded up a sextet of singers to get together and sing through some music, and I have to say, I couldn't be more excited. To start with, the singers are some of the best singers I've worked with, and they all have absolutely bee you tee ful solo voices.

More importantly, I've wanted to do this for a long time, "I've got artistic vision up the butt" and for the first time, I get to be as experimental as I want to be.

Firstly, I've really come to believe that while sometimes someone needs to call shots to get work done, centralized decision making in art crushes full artistic subtlety and color. So the most wildly experimental thing that we're going to do is allow all of us to be ourselves and make all of our decisions artistic and otherwise democratic. My feeling is that by encouraging and accepting everyones input we can make ourselves a truly unique group. And so completely democratic approach will be our guiding principle.

A second idea that flows from the first was one of the principles that helped me pick the singers. In addition to being great operatic voices, all of the voices in the group have something in common. I've noticed all of these singers "tuning formants" to achieve vocal colors. The overtones in a voice help determine the color of the voice. One way to categorize singers is by saying that they have "consonant formants" or "dissonant formants." "A singer with "consonant formants" will "tune" the overtones in the voice to enhance the fundamental pitch: so if they are singing a C3, they might have strong overtones at C4, C5 E6 and G6. A "dissonant voice" on the other hand would sing a C3, but tune the overtones to C#4, C#5 E6 F6 and F#6. Obviously, a dissonant voice has a lot of very obvious clanky ring to the voice that makes it very distinctive, while a Consonant voice generally sounds prettier, warmer and more pure and the ring sounds "blended in" to the to one seemless vocal tone. However there is a third group. Many of the greatest singers on record (Hans Hotter, Domingo and Nilssen are good examples) instinctively "tune" their formants to achieve different colors and effects. This is something else that our sextet has in common: though they generally tune on the consonant side, I've heard them change tuning to achieve effect.

Applied to ensemble singing the implications are obvious. If I'm standing next to a singer, and we are singing exactly the same pitch, and have exactly the same vowel sound we're still going to sound like crap if my strongest overtones are on a C# and his is on a C. If you're a singer you know exactly the feeling I'm talking about-- you can actually feel the overtones in your voices fighting with each other.

So, too often, especially in the midwest, "Choral blend" has come to mean taking all the overtones and hence all the color out of the voices. What you get is "in-tune," yes, but to me, utterly bland, each voice losing it's beauty-- the musical equal to the borg.

Instrumentalists talk about the same thing. In some symphonies, each member of a horn section is required to play the same horn, and with the same style. While in others, members play with their own uniqueness-- their own choice of instrument and style, each member taking turns giving their unique color to a phrase, while the others "shadow" to enhance that player's sound and let his color shine through. So in a way, I want to try to use a traditionally instrumental technique to a vocal ensemble.

With the voices that I've assembled I think we will instinctively achieve this-- beautiful blend and intonation-- chords that "pop" and rich beautiful, three-dimensional and unique vocal sounds.

 
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