As the days here are more and more driven by voice practice I find less energy for travel-like expeditions. So the excitement recently is less in the beautiful landscape and more in matching the ring of one note to another or in waking up to find the air to be a little less dry than yesterday. My voice and body have had fun moments adjusting between 100 degree and 60 degree weather with absolutely no warning.
As decided in my last post, this has been a whole lot of Mozart for me. I reworked some old classics (Vedrai Carino & L'ho Perduta) and then learned and coached "Deh Vieni Non Tardar" (Le Nozze di Figaro) and "In Uomini" (Cosi Fan Tutti). Working on Susannah has been interesting because EVERYONE has an opinion on her and her aria. All of the sopranos have sung "Deh Vieni" and have a wealth of their own teachers' advice to offer. It seems that the lesson this aria has offered is that everyone else's thoughts need to measure up to a grain of salt in comparison to my own.
My coach wanted no cadenzas and a melodramatic recitative; my voice teacher wanted a nice B-flat with a quick ornamented scale to be added; and my stage artistry instructor wanted a very poised, stately presentation. My other stage artistry teacher thinks that Susannah is basically giggling about the comedy of her situation, while another soprano thinks that it should be overstatedly sexy. And so on (and so on (and so on (and so on))).
So- I've learned a lot from "Deh Vieni" and will continue to sing it, especially when someone pays me to. But until then, I'm turning to "S'altro Lagrime" from Clemenzo de Tito. Never heard of it? Exactly.
In other news: I sat in on a masterclass yesterday by the incomparable Barbara Bonney. Ahhh. Look her up if you haven't heard her before. She's the voice that gives me hope when I'm feeling small compared to all the big dramatic singers. This woman uses all of her resonance space and acoustical energy to fill the hall, and it's glorious! What's amazing about the many masterclasses I've attended so far (I believe that this was clinician number 6, though many clinicians offer over 12 hours of working time) the sentiment is the same. Breath, find back space, and vibrate on every note. Then, if the singer has that figured out; make sure your interpretation starts with the breath and that you diction is precise and accurate. Oh- and smile. It's a quick fix to lift your zygomatic muscles.
Meanwhile German classes are slowly becoming tedious with nominative/accusitive/dative cases. In class I slowly tread along with whether it's der or den or dem, but out on the streets I just say
"de-" and they tend to catch my drift.
"de-" and they tend to catch my drift.
I had a defining moment one day this week. I had been walking downtown and had stopped to use a restroom. The guard that gave me directions had given me a stern look for not pronouncing the letter "c" of "W.C." has sharply as a native Austrian would have. So I left feeling like an "auslander" (foreigner) when this woman beckons me over and starts talking to me in German. She asks me to take a picture for her and her friends, shows me how to use her camara and joins the pose. I count "eins, zwei, drei", take a good look and proclaim it good ( in German!) She thanks me and walks away. I consider this a sign that I am at home and that I don't look entirely out of place here. Seeing as I spoke only german, understood her, did what she asked and was relatively aloof (like all people here), I am telling myself that the woman had no idea that I was American.
This is disctinctly different from the woman who started cracking up at my translating Mass parts from German to English for a friend at the bus stop so she could understand what was going on. Imagine someone going "was ist SSSpeeerrit?"
I'll choose to remember the camara moment.

