First Night Excitement!!
What a great first night! The theatre was full to the rafters and I was in by six p.m after warming up with my teacher Jeffrey Talbot. A slight worry as my asthma has been playing up and there is a fair bit of congestion, but the amazing thing about The Coli is that the associated buzz about what's actually happening there tends to lift ones' spirits to the point whereby you could sing through just about anything! Sitting in my dressing room whilst the lovely Faye from wigs and make up went about her work there was a constant stream of visitors checking up on me and wishing me well for the big night! It's here! We have dreamt about this night for ever and now the hour is upon us! I mosy on down to the conductor's room and sing through a few "potential danger spots" with Martin Fitzpatrick for fifteen or so minutes just to reassure ourselves about the matter in hand, and with that it's back up to the dressing room and voila! Out goes me and in comes Rodolfo, impoverished poet, flatmate and best friend of Marcello, companion of Schaunard and Colline - single lads, artistic souls, carefree and effing freezing!
As we are standing onstage waiting to start we try to cracking silly jokes in an attempt to relax. John McMurray, ENO's Head of Casting, is informing the audience that due to an accident Robert Poulton will not be singing the two roles of Benoit and Alcindoro and will tonight be replaced by not one, but two singers, Roger Begley and Christopher Ross who will sing Benoit and Alcindoro respectively.
The curtain flies out revealing a pre-set trio - Marcello and Musetta stand silently gesticulating in frustration as Rodolfo watches on - the band strikes up and we're away! Ohhhhhh mummy! This is sooooo scary, but amazing too! Breath is too high, relax, get it down....first few lines out, no probs, oops! a stumble of words then back on track. Mark Stone's Marcello is superb, a seasoned one at that and he's such a supportive colleague. It all falls into place and I feel that this is going to be a good night. Colline and Schaunard amble in out of the cold into the cold(!), and the four boys plan their evening.....
Rodolfo's alone, typing....a knock at the door reveals an upstairs neighbour, Mimi, requiring a match for her candle. Love at first sight...If Lee is nervous she's showing no signs of it! Oops! Not the best way to seduce the woman of your dreams - a little glitch in the way of a bum note during my aria! But she stayed around so she couldn't have been too offended and then on we go, Lees' aria is lovely, the orchestra sounds great, conductor Martin is in fine touch and there's no stopping this story!
The Café Momus scene in Act Two is absolutely alive and scarily full! The chorus' schedule has been so busy that they've not been in second cast stage rehearsals, so suddenly I'm thinking "where did all these people come from?" They are all so fantastic and an integral part of this great night! The chorus are amazing colleagues and seasoned performers always ready with a kind nod and a word of encouragement!
The interval arrives and the audience are loving it! And so are we! A quick touch up of the wig by Faye, a wipe of the sweaty brow, a slurp of Jean's tea and we're back on for Act Three.....a longish sing but it seems to go so fast and swimmingly! Act Four arrives, lots of fun between the four friends and then Musetta appears to alert us to Mimis' condition.....Oh my favourite part of the drama....Lee dies so convincingly; The audience love it, many are in tears....we are ecstatic, and we have done it! One performance down, two to go! Then on Sunday it's the Kurt Weill/Brecht Festival at the Young Vic, then on to ENO's new production of Britten's Death in Venice with a truly stellar cast and the world renowned director Deborah Warner at the helm.
Well, that's it from me.....I hope you have enjoyed sharing my days, listening to my fears, my loves- my life! I can only hope that if anything is glened from this blog it is that some of you have learned more about what goes into putting on opera - the preparation is hellish at times but always thorough. And it's the many people both back and front of house, coming together that make the audience's night at the Opera so special! The Arts is truly a great world to swim in - and unlike real life the nice thing is that no-one really dies, it's just ketchup! Take care! Dx
Nearly opening night...
Heavens, how exciting! We're approaching the last few days before our opening night now and you can feel the exciting tension in the air. Some of the cast are still performing shows with the first cast, then coming in to rehearse with us during the day! Tiredness abounds. Director Ian Rutherford keeps the spark alive with various ideas re the story. If anyone is perplexed regarding a character's "motivation" or not fully understanding the whys and wherefores, Ian is totally there and on board. He is also fully open to any needs one might have as a performer - like not singing whilst in a particular position, the necessity to be in touch with the conductor at that point or the occasional word change given the need to sing on an easier vowel.
On Thursday we had our stage and orchestra rehearsal which, whilst being rather nerve-wracking was a great treat! We were in full costume, wigs and make-up for the first time and on stage with all the real props - the real deal! And the orchestra - such an amazing, powerful sound rising out of the pit when they're in full flow! It's almost like standing too close to the platform edge when one of those express trains belts through the station at high speed! But they are also capable of emitting such beautiful soft, haunting sounds when required. And there, steering it all from the pit is Martin Fitzpatrick, Head of Music staff! Our Martin! He really is a fab colleague. But then that's really what it's all about at ENO - we have an amazing group of people dedicated to making live music accessible to anyone and everyone.
Although I have really tried throughout this blog, I can't tell you just how much of a personal and emotional journey La bohème has been so far! From the first few days - watching rehearsals and then attending the cover calls, piano coachings with music staff learning the dots and various word changes, attending blocking sessions, learning all the various moves required for lighting states and indeed, learning where we need to be in order to just tell the story! - it almost seemed impossible that Lee, William, Gail and myself would soon be up there on stage and yet, here we are!
We are all so looking forward to Wednesday 21st March, and I hope you are too! So please come along, laugh, cry, blush and applaud. But most of all come; And PLEASE tell your friends....Opera is cool!
2nd Cast Rehearsals
Well, here we are Friday, March 2nd (where did February go?) and we edge ever closer! Nineteen days to go 'till our opening night and I have had such a week! As you have no doubt read in the papers the opening night of La bohème was a roaring success and everyone was fantastic! No pressure on the second cast then!
I have been battling a heavy cold and had to spend most of late last week and this week "marking ", a facility we learn in order to sing audibly but not at all loud, so as to take it easy on the voice, singing normally to the passagio and then down an octave when approaching any high notes! It's hard work as you really have to concentrate even more so in order to facilitate an area of your voice that tenors rarely use- soft singing! (I say that quite literally tongue in cheek!). In all honesty though, to sing out with the voice nice and open in performance becomes like second nature through years of study, whereas I personally find it a little difficult to mark! So, last friday when we had a covers' run my mind was racing, struggling to multi-task!
This week we have been working with Martin Fitzpatrick and Mark Rosenblatt from the Young Vic theatre as we are preparing to participate in The Young Vic's Brecht festival. We are contributing with a cycle of seldom seen Kurt Weill songs, collated by Martin himself! The majority being in German means an outing of a different kind for us, as here at "The Coli" we only perform in English. We are fortunate indeed that Martins' German is A1, although for good measure we are attending a couple of sessions with a German coach next week. Weill's songs are really quite fascinating, some utterly beautiful, some taking a little longer to fall in love with!
This coming Monday we commence rehearsals with the remaining cast and with the revival director Ian Rutherford. It's a great position to be in really, attending your first official day of rehearsals yet having quite a grasp on the nuances of the productions' direction having already been schooled by Elaine Tyler Hall, the staff director assisting Ian. So I am reeeally nervous, although looking forward to the coming few weeks, an exciting time for all involved with La bohème, but especially exciting for us!
First night
Wow! It's the afternoon of opening night (so exciting!) and we have already had quite a week; last night we presented our annual ENO Young Singers' concert at the home of Vernon Ellis, chairman of the ENO Board. Although we were all tired the concert was a great success, and it really was great to sing for our generous supporters and various friends of the opera. I love catching up with them as the interaction which follows is always fun, chatting about great singers of the past or favorite operas the company has staged. If the ENO staff are the nuts and bolts, then these people really are quite literally the thread which holds everything together; I hate to imagine where we would be without their generous, ever encouraging support!
During the week when we weren't in the theatre watching the first cast we were rehearsing our blocking with Elaine Tyler-Hall, one of the company staff directors. Elaine is so on the ball - not only does she have to assist the revival director Ian Rutherford in the day to day staging of La bohème, she also knows everyone's blocking inside out! So, during our rehearsals she takes each of us aside one by one and runs through exactly where we should all be in regards to lighting states and interaction with other characters. I honestly don't know how she remembers everyone's moves...!
I personally am feeling so much more comfortable with Rodolfo now, and am slowly understanding the web that is his life. The love of his life is his work, it's the reason for his existence. Marcello, his bestest friend in the entire world, is the other true constant in his life. No matter what happens these two crutches are always there for him. No matter how cold, how hungry, how poor...they are always there. Then into his life strolls a beautiful neighbour, herself an artist who is also single, cold, poor; and a delightful start to an exciting journey! Toi, toi, toi everyone!
Rehearsals begin!
Well, It certainly has been a jam-packed week - full of rehearsals for our Young Singers concert on Feb.21st and also attending rehearsals of La bohème as the company nears its' Feb.22nd opening night! Whilst sitting in the theatre watching the 1st cast go through their paces I realized that it never fails to amaze me time and time again just how powerful a medium opera really is! Think about it - all this wonderful, energetic and stylistic sound filling an enormous theatre yet without amplification - Incredible!
The set of La bohème is a rather large space, emphasizing the coldness of the time by it's starkness, spanning the width and also most of the length of The Coliseum stage. It is here as the curtain ascends for today's stage and orchestra rehearsal that we first encounter our beloved duo, the very best of friends, Marcello the painter and Rudolfo the poet. Mark Stone (Marcello) and Peter Auty (Rudolfo) are fantastic (as are the entire cast - Mary Plazas' frail, vulnerable Mimi will set hearts racing and induce many tears as the drama unfolds) and the ease at which they all display their vocal finesse certainly sets a very high mark for the second cast to attain to. In Act II when the action moves to Café Momus the stage becomes a mass of fantastic singing, from the principles and ensemble alike with hugely entertaining colour and movement! We all sit rather mesmerized at the spectacle before us, swallowing, no, gulping with fear at the very thought that it will soon be our turn as second cast!
As well as time in the theatre auditorium we have been busy rehearsing within another space in the building with ENO Staff Director Elaine Tyler Hall and Martin Fitzpatrick, Head of Music and Conductor for our performances. We need not only to replicate the blocking as set down already, but also add our own little characteristics and nuances to the piece as well. I was in awe yesterday as Lee Bisset (Mimi) went through her paces during her Act I aria - she's such a wonderful performer, a real star in the making! As we are covering the first cast performances, this is valuable time for Lee, William Berger (singing Schaunard) and myself as we are rehearsing along with the understudy cast - extra time which we normally would not be granted.
We will spend the rest of this week learning our blocking and practicing tying it all together before performing runs of each act next week. Then we'll do it all over again and again, only in costume so as to become accustomed to what we're wearing and adding our personal props such as matches, books, money etc; And so it is that I must away to this afternoons' next appointment.....My first fitting with wardrobe!....Bye!
Getting started on La bohème
Hi there! Being an Aussie I won't mention the CRICKET. OOPS-ha ha! After a wonderful Christmas spent over-indulging on all the festive food and drink, it's great to get back to the mission at hand and into the groove of things at ENO!
We have started work on our production of La bohème so it has been all hands on deck attending rep sessions with different music staff here at the Coli. Such valuable advice comes from these sessions, like correct prrrronunciation, phrasing and dynamics such as shade, colour, loud, soft etc; It's also handy running over and over lines, just like an actor does to help him memorise. After all, as opera singers we must have a command of everything an actor does and then some. The blocking (where to stand and move to), the emotion (fun, sadness, love/death etc) and all the while keeping a close eye on the Conductor in the Pit who holds everything/one together. Our rep sessions are always invaluable time spent honing such skills!
We also have a session per week attending one -to-one coachings with Phillip Thomas (it's always fun watching Phillip screw up his face as I attempt to grasp the correct style of a new Opera after singing a lot of Mozart of late and Verdi (La traviata) before that!). You see, each composer demands a style all of their own and it's rather tricky to get into. Puccini composed such beautiful music, but it's hard to get right! And that's where staff like Martin Fitzpatrick and others come into their own. Phillip is Head of Training for the ENO Young Singers programme and Martin is Head of Music. And you'll see from my last blog that they also conduct the occasional Opera too, in fact Martin will be conducting our performances of La bohème - how exciting!! We are so lucky on the programme to work with some of the worlds' foremost coaches.
Today was a great day for me as my voice teacher, Jeffrey Talbot came back from holiday and we had our first lesson of the year. Jeffrey is an amazing teacher, the possessor of a beautiful voice himself and, to be honest one of the finest "technicians" in the country. You see, as singers we actually have to master our technique so as to use our voices not only safely, but to the best of our ability. We can't just stand there and 'yell' - even though it may sound like it! A good teacher (through their technique) should be with you throughout your professional career, and although at times we get really nervous (there are more than 2000 seats in the theatre!) I feel confident knowing that all the coaches and Jeff are backing me 100%. A real team effort! Speak soon, Dwaynex
Covering Alfredo
11:30am. "I'm on duty tonight in any case, so I will call by your dressing room and say Hi" says Bob Holland, ENO Company Manager, informing me that I am to take to the stage as Alfredo in La traviata in eight hours time.
This is actually my ninth performance in the role as I replaced Rhys Merrion for the first eight shows but tonight's tenor, Wynne Evans is indisposed with a cold. Colds are a singer's curse; sometimes we can sing through them, but if you're performing demanding works like Verdi and Puccini you have to take complete rest until the infection passes.
With respect to Wynne, this is great news for me as it means I will be re-joining the team I initially rehearsed so much of the opera with; Maestro Phillip Thomas the Conductor, and the wonderful soprano Linda Richardson as Violetta, my love interest in the show. In fact, for me this is like our "opening night"!
Things to do! I need to call my friend and teacher Jeffrey Talbot and ask him if he will "warm me up" this afternoon. It's so important that I am completely vocally warmed up before I go into the theatre as it's always difficult to "jump in" to a role such as this. I am reassured that Jeff can warm me up, and equally importantly, calm me down, as I am buzzzzzzzing!!
Speaking of buzzing, back at The Coli, there's sure to be a hive of activity too, as Marketing print up posters for front of house advising the audience that I will be appearing. And in Wigs and Make up they have to locate my wig and "quaff" it to within an inch of its life so that it looks just right for the show.
Also, Jean the Costume Supervisor must take Wynne's costume out of the dressing room and replace it with mine, find my boots and shoes for each act and get them all ready along with my props; hat, rifle, dead rabbits, fob-watch and playing cards.
2:30pm. A quick bit of lunch - pasta for a burst of energy - and then it's off for a walk through Hyde park with my ipod. Just what I need to calm my nerves/adrenaline for tonight. On my ipod I listen to everything from Oasis, Blur, Keane, Paul Weller, Missy Elliot, Eminem and U2 to opera - especially great singers from the past like Gigli Bergonzi.
5:00pm. I arrive at the theatre and say hello to various colleagues en route to the stage for a 'fight call' - we need to rehearse a fight scene for the show as I haven't performed it for a while. It's only a short sequence, but quite detailed and requires me to be thrown off a table, so it has to be exactly right....and safe!
6:30pm. Robert from Wigs and Make-up comes to my dressing room to do his magic. Out goes bald loud tenor from Australia; in comes Alfredo Germont, a quiet, poetic soul on his way to Violetta's party!
7:30pm. Backstage prior to curtain up. So many hugs and wishes of success from the rest of the ensemble, cast and crew alike. It's great to be back. Believe me, the staff at ENO are THE most amazing people I have ever known. It is THE best place on earth to work! Curtain Up. Oh My GOD - This is such a huuuuge venue! The seating keeps going up and up and up until you get giddy looking. The Orchestra sound amazing, as do the Chorus; all my friends, smiling, singing and strutting their stuff.
I look to centre stage to see Linda/ Violetta smiling at me, and off we go. We laugh, love, cry and she dies.... That's Opera! Can't wait to get going on La bohème!
