Check out this Spotify playlist I created: Mezzo Soprano Arias.

Do you have any good aria playlists? These can be great resources for finding that perfect aria to round our your “holy five”…
Share the link in the comments below so we can all revel in the aria goodness.

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I suppose I had known about Poulenc for quite some time as a young singer, but it wasn’t until I discovered a brilliant early cycle of his called Chansons Gaillardes that I really fell in love with his music.  They’re delightfully filthy in a way that some children’s movies are, filled with double entendres that would sail over certain heads and leave others with a bad case of the church giggles.  Dirty text aside, the music itself is lush with exciting rhythms and juicy late-romantic harmonies, wonderfully French and lively.

It was when I decided that I wanted to learn more of this fantastic composer’s repertoire and started thinking about how I could incorporate him into themed recitals and concerts that I really started delving into the music of other members of the group of his contemporaries called Les Six.  This group of incredibly diverse musicians were conveniently lumped together as emerging composers more because of their proximity to each other than their similarities as musical innovators, though their early works all seem written as a deliberate departure from the German model of the massively overblown world of post-Wagnerian romanticism.

Incidentally, it was through Cocteau that I first met the members of that famous little group who were just then engaged in turning music upside down in their revolt against Wagner and the Impressionists, and Ravel for what they called his ‘écriture artiste.’ It was Satie, the sponsor of ‘Les Six’ (together with Cocteau), who said that Ravel ‘was careful to put in all the punctuation, but forgot to write anything in between.’ And everyone knows Satie’s famous gibe at Ravel after the latter had refused the Légion d’Honneur: ‘Ravel refuses the Legion of Honor, but all his music accepts it. What is essential is not so much to refuse the Honor, as not to have deserved it!’

A Music Critic in Paris in the Nineteen-Twenties: Some Personal Recollections
Rollo Myers
The Musical Quarterly , Vol. 63, No. 4 (Oct., 1977), pp. 524-544

Poulenc remains the most song-oriented of the group, with Milhaud as the nearest contender for that title, though he and Honegger are more famous for their orchestral output.  Auric was responsible for some absolutely beautiful film scores, to include Cocteau’s La Belle et la Bete.  Durey seemed to be more of a political activist than a composer, though some of his chamber works are really stunning. Tailleferre, the only female member of the group, was also one of the most prolific, and one of the most decorated, winning several prizes for her piano and ensemble works as a young woman and writing almost right up to her death (she outlived all of the five men of the group, though she survived Auric by only a few months).

I slowly pieced enough information about them to develop a major love affair with their music as a whole, so it is exciting to be able to program their music and play to their strengths.  If you want to hear some real jewels of their output, be sure to check out  hexaCollective’s concert on Saturday, January 14th at Mount Vernon Music Space (1015 N. Charles Street in Baltimore).  To find out more about the ensemble, check them out at hexacollective.com.  I think there is a massive amount of amazing music from this portion of the 20th century that’s really worth singing, and though some of it is tough to find, it’s definitely worth the effort.

If you’re interested in this unique concert of solo and chamber music for voice, flute, oboe, English horn, clarinet, bassoon, and piano you may purchase tickets online: http://hexasix.eventbee.com/.
$6 Students/Children/MVMS Members
$12 Adults *Use online discount code “hexaFan”!

Andrew Sauvageau, baritone, loves singing everything he is allowed to sing in song, oratorio, opera and other genres, and occasionally singing the things he’s not allowed to sing to himself.  On stage, he has taken on the roles of Falke in Die Fledermaus, the Forester in Cunning Little Vixen, Papageno in Die Zauberflöte, Herr Bauer in the modern opera Dora, and Count Almaviva in Le Nozze di Figaro.  As a concert soloist, he sang Bach’s Magnificat and Mozart’s C Minor Mass under Helmuth Rilling as a young fellow in Oregon. In the Greater Baltimore/Washington area, he’s tackled solos in Bach’s Johannes-Passion, Mendelssohn’s Elijah, Brahms’ Ein Deutsches Requiem and Handel’s Messiah. As a recitalist, his major love affair with Romantic Lieder and 20^th and 21^st Century song has led him to perform a variety of concerts, to include the premieres of several new works by American composers.

Here’s an excerpt:

A New York City subway train holds 1,200 people. This blog was viewed about 6,800 times in 2011. If it were a NYC subway train, it would take about 6 trips to carry that many people.

Click here to see the complete report.

Thank you to all the Sybaritic Faithful who are such constant supporters of opera and classical singing in the Mid-Atlantic Area and my coverage of those events as well as  issues in the field. Keep the ideas coming. Can’t wait for a happy and productive 2012!

Sincerely,

Megan Ihnen – the Sybaritic Singer

What’s that you say? You already have your two front teeth?

Well, maybe you’ll want to ask Santa for a couple of things around the house instead…

For the studio:

When it comes to practicing, performing, and recording some of the following are daily needs and some would just be really nice to have at hand.

12 Language Speaking Global Translator (Includes Arabic and Turkish)

The Speaking Global Translator contains over 450,000 words and 12,000 phrases, and speaks 115,000 words in recorded human voice. Ideal for communicating on almost any continent, it features 12 languages and translations to and from French, German, Spanish, Italian, Portuguese, Russian, Polish, Turkish, Arabic, Japanese, Chinese (Mandarin) and English. Plus, a voice recording feature allows you to record custom words and phrases appropriate to travel or business needs.

BIC Mechanical Pencil, Medium Point (0.7 mm), 10 Pencils

Edirol R-09 Handheld Digital Voice Recorder

It’s ultra small and looks like a gadget, but make no mistake — the R-09 is a serious, top-quality professional recorder. Capture source material at a crystal-clean 24-bit resolution with your choice of 44.1 or 48kHz sample rates. You can record and play back in MP3 format as well (up to 320kbps). Once recorded, your files can be monitored through the R-09’s headphone jack and/or exported to a computer via USB.

Musician’s Friend Heavy-Duty Folding Music Stand

The Black Folder (Directors Folder)

The Director’s folder is identical to the Standard choral folder except for one important difference. The inside strap is detachable so the folder can lie flat on the music stand. As with the Standard folder, this is the ultimate choral folder. Originally designed for the Los Angeles Master Chorale by engineer Andrew Black, this folder is built from years of experience to provide the best features for all singers and choral groups. It has all the features found on the Standard folder including: – Size: 12- 1/2″ x 10″ – Two deep pockets to hold most choral music – Slot for pen / pencil – Reinforced by an aluminum hinge with 10 elastic strings to hold music – One nylon hand strap outside on the back for hand strap and one nylon strap inside to keep music from sliding down. – The difference in this folder is the inside strap can be unbuttoned to lay flat on a music stand or piano. These are the best things that have ever happened to oratorio folders.

The Black Folder (Directors Folder) - the ultimate choral folder

For the study:

BBC Singer of the World in Cardiff

This collection offers a variety of greatest moments from the annual opera competition. The film includes footage of Karita Mattila, Marius Brenciu, Bryn Terfel, and Dmitri Hvorostovsky.

Engraved Gold Initial S Ecru Boxed Card set of 20

Every singer needs to be able to craft a brilliant and stylish thank-you note. Start with a good classic design. It makes everything easier.

Grove Book of Operas

Opera News

To inform, engage and entertain the U.S. opera audience with special emphasis given to opera on radio, television, CDs and video.

Pimsleur French Comprehensive Complete 1/2/3 CD

Dr. Paul Pimsleur devoted his life to language teaching and testing and was one of the world’s leading experts in applied linguistics. Pimsleur developed The Pimsleur Method based on two key principles:  the Principle of Anticipation and a scientific principle of memory training that he called “Graduated Interval Recall.”

The CDs are a great resource to help you practice a natural speaking accent. Make sure you get them in all the singing languages: French, German, Italian, and maybe even Russian!

The Definitive Kobbe’s Opera Book

The New York Times Essential Library: Opera: A Critic’s Guide to the 100 Most Important Works…

Vicks Warm Mist Humidifier with Auto Shut-Off

You know how persnickety singers can be about humidity levels. Help keep your little diva happy and healthy with this one. It boils water to a pure steam vapor up to 96% bacteria free. This mixes with dry air in the cooling chamber to release warm, moist air into the room.

The Opera Lover's Cookbook: Menus for Elegant Entertaining

For the kitchen:

Thermos Stainless King 16-Ounce Leak-Proof Travel Mug

The Opera Lover’s Cookbook: Menus for Elegant Entertaining

Starbucks Cup of Delight Gift Basket

Singers almost always have a beverage in hand. See the travel mug above? Exactly. You can’t go wrong with this dual coffee and tea gift basket.

Singer’s Soothing Throat Spray

Ideal for sore throats, laryngitis, pharyngitis, hoarseness, cough, expectoration of thick mucus and a feeling of dryness in the throat.

A.M. and P.M. Yoga DVD - Rodney Yee

For the home gym:

Yoga and singers have had a happy relationship for many years. Benefits like better breathing, stress relief, increased strength, and better posture attract singers to the ancient discipline.

YogaAccessories 1/4″ Extra Thick Deluxe Yoga Mat

A.M. and P.M. Yoga

The video is beautifully filmed: you watch the waves roll in as Yee demonstrates yoga poses on a sandy beach. The yoga practice awakens and stretches your muscles gently, leaving you balanced and focused. “Yoga is the foundation of my day,” says Yee.

Cenzo Duffle Vecchio Brown Italian Leather Weekender Travel Bag

On the go:

Travel Ultrasonic Humidifier

Just add your own half-liter water bottle, and plug the unit in anywhere in North America or Europe using the included transcontinental travel AC adapter and exchangeable plugs. How perfect is this for those terribly dry hotel rooms?

London Fog Oxford 21″ Upright

Cenzo Duffle Vecchio Brown Italian Leather Weekender Travel Bag

iTunes Gift Card

Flip UltraHD Video Camera – Black, 8 GB

Organize your videos by dragging and dropping into folders you’ve created, or use the automatic date-stamped folders.  Edit and trim your favorite videos clips or even add your own music, all using FlipShare’s easy editing tools. Create video greeting cards or use the Magic Movie feature to make movies with the click of a button. Capture photos using the easy Snapshot feature. You can grab a still-image photo from any of the 60 frames that comprise each second of your video. Post online by sharing directly to Facebook, Twitter, and YouTube. Here is your gadget for internet-sensation-success.

Apple iPod classic 160 GB Silver

Click to view slideshow.

Well, Sybaritic Faithful, what do you all think? Leave a comment below with your best holiday gift ideas for opera divas, divos, and lovers. I certainly have a couple of these things on my wish list this year. We’ll see if Santa reads my blog posts…

Want more ideas of what to get your burgeoning opera star? Check out our BACK TO SCHOOL FOR DIVAS shopping list.

Take Our Poll

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Tonight 7:30pm and Sunday 3:00pm!

Start your holiday season off on a high note (or 2000!). Join the Baltimore Concert Opera for Rossini’s La Cenerentola, not your classic take on the Cinderella story…and of course, with the BCO’s twist on top of that! Rossini’s vocal fireworks are sure to warm you on a cold winter’s evening, and you can get a head-start on your holiday shopping at our fabulous silent auction! BCO favorites Tim Augustin, David Krohn, Stephen Eisenhard and Jeffrey Tarr return, joined by a stand-out from last year’s So You Think You Can Sing Opera? auditions, Megan Marino, in the title role.

Click here to see Baltimore Concert Opera’s flyer:

La-Cenerentola-BCO

Baltimore Concert Opera presents opera in a format that highlights the human voice. By removing the artifice that separates the audience from the performers, BCO creates an experience that is intimate and affordable, that captures the core essence of opera, and that is unlike the overly visual trend of the industry as a whole. In this way, BCO endeavors to create new fans of the art form while giving existing fans an entirely new experience.

Saturday 2pm & 8pm; Sunday 2pm:

PostClassical Ensemble

Post-Classical Ensemble, “now in its eighth season, is an experimental musical laboratory, testing the limits of orchestral programming.” They are certainly expanding the horizons to more interesting programmatic elements. I am excited to attend their FALLA/STRAVINSKY program tomorrow night. They will be featuring The Soldier’s Tale by Igor Stravinsky and El Amor Brujo by Manuel de Falla. I will be particularly interested in the Falla. This is a rare opportunity to see this “Spanish Gypsy love tale which revolves around three main characters: Candela, a young Gypsy woman; her lover Carmelo; and the spirit of her dead husband, José, which haunts the two lovers.” In fact, this is an exciting opportunity to see a fully-staged production of The Soldier’s Tale as well. It “is a pivotal work in Stravinsky’s repertoire, in that it reveals both his preoccupation with music traditions of his early career and his experimentation with compositional techniques that would be more thoroughly developed in later works.”

Here’s a short note from Anna H. Celenza, Thomas E. Caestecker Professor of Music at Georgetown University:

Georgetown University is honored to join PostClassical Ensemble in the fourth year of an educational partnership. By combining our resources and interdisciplinary interests, we are committed to bringing the joy of music to a new generation. This season, we are also celebrating the second year of collaboration with the Film Program of the National Gallery of Art and our inaugural production with Igal Perry and Peridance Contemporary Dance Company of New York.
Music is more than entertainment, more than a relic of the past. And the study of music has long outgrown the confines of the conservatory. This week’s performing arts celebration serves as a step along Georgetown University’s path to the future. The Music Program in the Department of Performing Arts has recently gained national attention for its undergraduate major in American Musical Culture. The goal of this program is to bridge the fields of “music performance” and “music as a liberal art” through an integrated study of history, cultural studies, theory and performance. Under the leadership of Joseph Horowitz and Angel Gil-Ordóñez, PostClassical Ensemble is bringing an innovative approach to contemporary music culture that inspires our students. They are living proof that understanding music is both an artistic and an intellectual achievement.
Through collaborative concerts, conferences, and classroom instruction, Georgetown University and PostClassical Ensemble are committed to bringing students, scholars, performers and audiences together in new and exciting ways. As partners, we hope to show with events like Falla/Stravinsky and the upcoming Schubert Uncorked that music is both a manifestation of intellectual curiosity and a creative endeavor that strengthens contemporary society.

Please also take a look at PostClassical Ensemble’s stunning flyer:

FALLA-STRAVINSKY_program (2)

]]> http://sybariticsinger.wordpress.com/2011/12/02/bco-postclassical/feed/ 0 sybariticsinger bco timthumb.php http://sybariticsinger.wordpress.com/2011/11/18/in-performance-baltimore-symphony-orchestras-joan-of-arc-at-the-stake/ http://sybariticsinger.wordpress.com/2011/11/18/in-performance-baltimore-symphony-orchestras-joan-of-arc-at-the-stake/#comments Fri, 18 Nov 2011 21:31:46 +0000 sybariticsinger http://sybariticsinger.wordpress.com/?p=1349 ]]> Throughout the 2011-2012 season the Baltimore Symphony Orchestra will be paying homage to the legendary heroine of France, Joan of Arc. In fact, the 600th anniversary of her birth will be celebrated in January 2012. Perhaps only one born in that frigid month would have the fortitude to transform herself from an illiterate peasant from the unnoticeable village of Domremy in Lorraine to the virginal military monarch she came to be known. Last night’s performance of Arthur Honegger‘s Jeanne d’Arc au Bûcher by the BSO was a nuanced voyage through the psyche of Joan waiting to be burned at the stake.

Honegger, a member of Les Six, was commissioned by the dancer and actress Ida Rubenstein to write a work based on Joan of Arc that she could perform. Rubenstein also contacted the French poet and dramatist Paul Claudel, who initially turned her down because of aversion to writing a historical character into a fictionalized piece. After that conversation, Claudel had a vision that completely changed his mind and wrote the text for the piece in a matter of days. Honegger was so inspired by Claudel’s writing that he later wrote, “I don’t regard myself really as the composer but simply as a collaborator… All I did was follow his indications and put my technical know-how at his disposal.” It is because of Rubenstein’s influence to perform in the work as an actress and Claudel’s magnificent writing that the work is wholly effective as an oratorio. There are two spoken roles Joan (played by actress Caroline Dhavernas) and Brother Dominic (Belgian actor, theatrical producer and film producer Ronald Guttman) contrasted by five singing roles featuring Tamara Wilson (soprano), Hae Ji Chang (soprano), Kelly O’Connor (mezzo-soprano), Timothy Fallon (tenor), and Morris Robinson (bass.)

The BSO pulled in a handful of local choirs to lend their voices to this work: Morgan State University Choir, Peabody-Hopkins Chorus, Peabody Children’s Chorus, and the Concert Artists of Baltimore. The chorus was presented a broad and rich sound. Overpowering in the condemnation of Scene III: “The Voices of the Earth”, “Heretic! Sorceress! Apostate! Barbarian!” they chant and sing and then turn toward the humorous and absurd in the famous “hee-haw” chorus in Scene IV: “Joan Given up to the Beasts.”  The ondes Martenot (played with exuberance by Cynthia Miller), invented by Maurice Martenot in 1928, lent its sweeping glissandi and windy electronic sound to the braying and overall animal imitations.

“Hail, Sir Donkey, sing away, ha hee-haw, face!”

Fallon, a pig meant to parody Bishop Cauchon, and Robinson were delightful in their commitment to character both in voice and comportment. Likewise, Dhavernas was compelling from beginning to end. Even the way that she rose from her chair to face her accusers was imbued with theatrical quality. She is able to demonstrate many complex emotions especially in this oratorio setting as opposed to a staged operatic setting. The lighting of Joan throughout the evening was a production detail that did not go unnoticed, especially during the times that she was lit from behind in a pure white light and the instrumentalists and chorus were bathed in blues and reds. Guttman was similarly gifted in his profound portrayal of Brother Dominic.

“But it is hope that is the strongest.”

It is in the last three scenes, “The Sword of Joan”, “Trimazo”, and “Joan of Arc in the Flames”, that the tension truly builds and transforms the piece. Chang and O’ Connor as Joan’s childhood friends, Catherine and Margaret, sang so serenely and powerfully. Their singing voices mingled with Dhavernas’ speaking voice as she exalts her faith while the BSO strings soar in their own rapturous wonderment. Wilson, as the Virgin Mary, shone in the final scene as she encourages Joan, “Are you not already a great flame?” The entire performance was complex and transcendent, did not rely on any gimmickry, and left the audience with powerful feeling of respect for the music, the words, and for Joan of Arc herself. Highest praise to the Baltimore Symphony Orchestra for this innovative performance and for choosing a stellar ensemble of musicians and actors to portray its beauty and poignancy.

Did you hear the news? Lyric Opera Baltimore is bringing Grand Opera back to Mobtown!

Out of the many, many failing classical music institutions across the country, Lyric Opera Baltimore seems to be one of the very few that has risen from the ashes. Check out this guest post I wrote for OperaPulse about their first production of the 2011-2012 season.

Baltimore, MD - Baltimore’s Mt. Vernon neighborhood was buzzing last night with excitement about the return of Grand Opera to our beloved Charm City. Going to an opening night of a new company there are many inherent questions and issues that may befall the production. As I waited, a bit impatiently, in a will-call line that delayed the curtain by at least thirty minutes, I wondered, “Is this going to be the standard for the rest of the night?” There were also tentative murmurs and questions in the lobby before the performance – has Lyric Opera Baltimore really figured out how to bring Grand Opera back?

Also, check out this excellent article (Lyric Opera Baltimore Performs La Traviata) written by our sybaritic friend, Samantha Buker for City Paper. It charts the beginnings and current goings-on of Grand Opera in Baltimore.

In November 1939, a former Metropolitan Opera diva moved to Baltimore, forever changing the city’s musical landscape. Sixty-nine years later, in November 2008, the Baltimore Opera Company she shaped lowered the curtain on its final performance because of financial issues. Today, a new company, forged for collaboration, rises once more. Lyric Opera Baltimore kicks off its 2011-2012 season this weekend.

Harp says he’ll visit about 30,000 schoolchildren this year, often bringing along operatic puppet shows tailored for younger opera-goers. “At the end of a puppet show, when you ask them, ‘Who wants to be an opera singer when they grow up?’ nearly every hand shoots up,” he says.

That’s promising. Eight cities lost opera in the recession beginning in 2008. Only one came back.

Related articles

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As many of you know, Grand Opera is coming back to Baltimore this season. Lyric Opera Baltimore will be ringing the season in with style by presented La Traviata.

La Traviata – In collaboration with Pittsburgh Opera, a production of this perennial Verdi favorite starring internationally renowned Elizabeth Futral as Violetta and conducted by Metropolitan Opera conductor Steven White and featuring Jason Stearns as Germont. The opulent sets and costumes will be designed by Desmond Healey and come from the Lyric Opera of Chicago. This beautiful set, created for a large stage, will find a perfect home in our newly renovated stage-house which for the first time will be able to accommodate a set so grand and lavish. – Baltimoreopera.com

While perusing our Baltimore Opera Blogosphere, I happened upon a letter written to Tim Smith that he posted on his blog Clef Notes and Drama Queens.

Now, frankly, I am happy to read this letter from Jim Ireland. Why? Because he is excited! He is excited about the return of an institution that brought him high-quality entertainment. Ireland isn’t advocating that we all wear tuxes to every opera performance we attend. He is simply campaigning to show our love for this group by donning our better duds for the OPENING NIGHT.

Well, Jim, I will also be there on November 4th and I promise that I will be dressed to impress. I encourage the Sybaritic Faithful to join me and make it a special night.

Will you be attending the opening night? Feel like reveling after the performance? Come join me as I party with the sybarites in the Baltimore Classical Voice and Opera Meetup.

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I am here to tell you – You Are Not Failing. You are making it happen.

Have you sung this week? Have you been working on a role or recital repertoire? Have you updated your résumé, website, bio, headshots, Facebook page, whatever? Have you promoted a musical event? Have you been following the news in your field? You are doing it. You are taking an active part in your long-term career goals by taking little steps now.

There is a short phrase that I like to tell myself when I need a inspirational boost, “upping your averages.” What does “upping your averages” mean? In baseball, the batting average (BA) is defined as the quotient of hits divided by at bats. It means that if you have done only two singing-related things this week and one of them went poorly – you’re average is sitting around .500. (Which is where the baseball and singing averages part ways.) However, if you “up your averages” to fifteen singing-related activities and you’re hitting twelve of those things out of the park – your average has gone up to a cool .800. Try upping your averages to recognize all the ways you aren’t failing. Or, of course – read this Ira Glass quote:

Fear of failure is one of the sneaky pitfalls of perfectionism. Perfectionism, at times, is cloaked as a good thing. It leads to high achievement motivation. Sadly, it can also lead us to underachievement. Perfectionism may lead us to feel anxiety or fear that we cannot meet our high expectations. This is particularly prevalent in the opera business. Singers often buy-in to the negative self-talk about the competitiveness of the industry – only the best technique, best audition outfit, best aria package will win. Sometimes singers avoid the basic day-to-day experiences and duties because they just “aren’t ready yet.” This type of perfectionism is very different from motivation for excellence. Motivation for excellence is about upping those averages – taking little steps each day and each week to reach your goals regardless of what your friends and colleagues are doing.

Succeeding in opera often translates into succeeding comparatively to others. It is necessary that we develop means of measuring success against ourselves. Take a moment to define what excellence looks like regarding your goals. Write down specific actions that will help you achieve that excellence. Seriously, write them down. Start doing them.

You ARE making it happen. You are NOT failing. Just keep singing.

Related articles

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