The Song Also Rises

After the amazing first half of the quarter I would have never guessed that the second half could be half as great. Too much? But seriously, the last 5 weeks of the quarter proved just as strong musically. I hope the remaining 2 quarters can compete.
November 12 was the UCSB voice department's first voice convocation of the year. I hate to admit how ill prepared I was. I was still memorizing my piece the night before. I sang Stella del Marinar form Ponchielli's La Gioconda. This aria marks a mental turning point for me towards thinking of myself as a dramatic soprano. Though, technically a mezzo-soprano role, it has more dramatic tendancies than my previous arias. The evening was set in Geiringer Hall and was a full house. I was pleased with my performance while recognizing areas that need improvement.

November 20th was the UCSB Chamber Choir concert. We performed parts of 2 Handel Oratorios. Belshazar and Solomon. In Belshazar I sung the role of Daniel and in Solomon I was Solomon. I still sung in the alto section of all chorus numbers as well. We had an orchestra accomany us which added extra rehearsals but made the end result well worth it. We performed in the larger space of the First Presbyterian church and I was worried if we'd be able to fill the space but was pleasantly surprised at our turnout. Perhaps it was due to the increase of UCSB music students, but we also had more faculty present than usual.
November 23rd was our department's production of opera scenes. I learned so much this quarter working with the world renowned opera director Ned Canty. (nedcanty.com) I was cast as the Principessa in Pucinni's Suor Angelica from his Il Trittico. I LOVE Puccini, you know I do and was super excited to sing this role. Our scene was close to 13 minutes and was so much fun. Of course the opera is not a comedy-the fun I refer to is the exquisite drama in Puccini's music. He writes in the music all movement and action. Every emotion and realization is clearly composed for you. And he does it all brilliantly. Annie sang the role of Suor Angelica and it was great to be able to sing this scene with her. The performance was sold out about 15 minutes before we were to start. It was a great audience. I am also extremely grateful to Alyssa who pointed out that I sang all of the Pricipessa role and can claim so on in my bio. Thanks Alyssa!

The first weekend in December I traditionally sing at Disneyland in their Candlelight performance. The DP alumni choir has to audition each year but this year marked my 18th year participating. The narator this year was Jon Voight. I was touched when he choked up in rehearsal but found it a little less convincing as it happened again after each performance and followed byt he same comment about how being an actor should mean he can control his tears. I think he proved he's an actor. He did great regardless and I thought this year was one of the best musically. It's so amazing to be part of such a large production with so many people watching.

This year the Quire of Voyces was invited to sing in Santa Barbara's First Thursday of the Month series at the Art Museum. Just imaging how great the accoustics were. We did selections from our Christmas concert.

It was announced this quarter that the Quire of Voyces will be touring this summer to... that's right, Italy! We are not just going to Italy but have been invited to sing High Mass in the VATICAN!!! I am so excited. We are also touring the Amalfi coast, including Naples, Capri, and Pompeii, and of course, Rome. La Cita Eterna!

Towards the beginning of the quarter I had seen a CAMA flyer announcing that Renee Flemming was returning to Santra Barbara and would be giving a concert at the Granada. I saw her 7 or so years ago at the Arlington and knew I didn't want to miss hearing America's reigning soprano again. She was amazing. Her concert was flawless and beautiful. Her first encore was O mio Babbino Caro by Puccini. I have played this song on the piano so many times that I can give you an Ab on command and recognized the opening chord immediately. (It made me smile that a few measures later, as the audience began to recognize the introduction, you could here their collective sigh.) Being my favorite aria it didn't take much else for Ms. Flemming to reduce me to tears. My heart constricted and I found myself holding my breath throughout the aria and into the silent moments that followed. She was signing cds and programs in the lobby afterward and we quickly joined the line to meet and greet the great. I had a case of starstruck and said something eloquent like "me want sing." She did seem pleased when I told her she has inspired me to hit the practice rooms.

The Quire of Voyces concert marked for me the close of the concert season. Both nights we sold out the beautiful, even while underconstruction, St. Anthony's Seminary. I have realized this Christmas season how grateful; I am to have a knowledge and familiarity with the lesser-known Christmas carol tunes. The beauty in their simplicity is a welcome change to the generic, soda-pop tunes that have been corrupted into over-arranged monstrocities. I love Christmas music but some of the arrangements heard in department stores and on the radio border on criminal. I can only pray that everyone has access to truly beautiful Christmas music. It is the best way to feel the Christmas spirit and keeps the focus of the season where it belongs. Alleluia!
Here's a link to one of the great reviews the Quire received.
http://www.noozhawk.com/arts/article/122109_margo_kline_quire_of_voyces_brings_mysteries_of_christmas>

Week 5

Week 5 marks the half way point in the 10 week quarter. Midterms were this week and now the calm before the storm. With just a couple weeks until concert season, finals, and projects/papers are due.
Opera Scenes- I am in a duet from Puccini's Suor Angelica with another grad student. I am the princess coming to tell her niece, Sister Angelica, that I want her to sign papers forfeiting her inheritance. It is a beautiful scene with a lot of passion and drama. Classic Puccini. We have to have the entire scene memorized by the 5th. And the performance is later this month. http://www.youtube.com/watch?v=Jqzz_gOsGC0
Chamber Choir- We are performing parts of two rarely performed, yet gorgeous, Handel oratorios. Belshazzar and Solomon. Prof. Gervais gave me solos in each and I am loving studying these great choral works. The concert is later this month in a larger venue than we're used to.
Quire of Voyces- This season we're singing Christmas music. But, not Christmas music most people are familiar with. Including a new Mass by our resident composer Michael Eglin. I love his stuff. He is very talented.
Voice Lessons- I am working on several arias. Including one from Ponchielli's La Gioconda, suggested by my instructor. Stella del Marinar. I love it. My teacher is more and more convinced that I am a soprano. (Probably because in the beginning of my lessons she typically takes me up to high Cs.) So we're starting to look at some higher material. I was always resistant to sing soprano because my piano (soft dynamic) is not the same as other's piano. I am loud and have always been loud. So that range that I was always scared of was more a fear of my volume at such levels. Well obviously I need to work on singing high and piano (a matter of support) but I am no longer afraid of those notes. They are actually easier than the 4-5 notes immediately lower, that I used to consider the top of my range. So throughout Stella del Marinar I work extremely hard at all the technique intricacies and difficulties... until I get to the high last note. I don't have to worry about this note because it's the easiest. Kind of strange, I know. Recital coming this Spring. http://www.youtube.com/watch?v=kcCw8MWoBDg

Sing Sing Sing

What a couple of weeks! First, appropriately on the first day of the new quarter, after voice auditions and the voice department meeting, Ben Brecher (head of the voice department) got us in to the dress rehearsal for the world premiere of Stephen Schwartz's opera, Seance on a Wet Afternoon. Amazing! So creepy. Wonderful set and passionate singing. Very dramatic even if reminiscent of musical theater. Very enjoyable.

Second, 5 days later, Kim Jepherson gave a masterclass at UCSB. He was in Seance and was fantastic.

Third, 2 days later, Stephen Schwartz came to UCSB for an interview/Q&A session for the theater and music departments. I'm not a huge fan of most musical theater (Wicked included) but, he was very interesting. Not only did he write Godspell and Pippin :( but Prince of Egypt! :) As well as the lyrics for Pocahontas, Hunchback of Notre Dame and Enchanted. He said that he realizes that 98% of new operas never get performed after their premiere. He also said that he might write another in the future but doesn't have anything on the horizon.

Fourth, 6 days later, Thomas Hampson, world-class Baritone gave a lecture in association with the Library of Congress on American Song and a masterclass at UCSB that I was lucky enough to participate in. My friend Daniel Tuutau filmed it on his cell phone (is filmed the right word?) and I might be able to get it posted. Mr. Hampson talked a lot about hearing it like you want it to sound before opening your mouth, breath technique, posture, and balance, and having a clear understanding of what you and the music are portraying.

Fifth, that night, Thomas Hampson gave a recital for UCSB Arts and Lectures in Campbell Hall. Because I sang in the masterclass I received two tickets to that night's recital. They were front row center! He was wonderful! I've been to a lot of voice recitals but I had never been moved more. The highlights for me were 1, a setting of Lincoln's letter to Mrs. Bixby. So amazing and moving. 2, the setting of William Blake's Tiger, Tiger. I have heard many settings of this text and love to hear the different interpretations. This composer used heavy dissonance throughout until the stanza where the poet asks, "did He who make the lamb make thee?" Here the song became piano, lyrical and reverent. Of course, Thomas Hampson handled it beautifully. 3, Our new baritone teacher, Paul came up to sit by us (snuck up to the good seats) and pointed out to me on the program which pieces he thought I should look at. I was pretty stunned since he's only heard me sing twice, and flattered when I heard the songs and immediately knew I wanted to study them. and 4, the last highlight of the evening for me was when as his first encore he sang Shenandoah. The moment he started singing my tears started falling. It was the most amazing audience moment of my life. (Corny, I know. But true.) When he finished we leaped back to our feet and I realized that the 4 of us, Rebecca, Annie, Alyssa, and I were all crying! Too funny. What is this a Beetles concert? In Italy I shared a room with Blythe and Rebecca and one evening as we were getting ready for our concert we sang. One of the songs we sang was Shenandoah. I sang the melody and Blythe and Rebecca would improvise harmonies. I first learned Shenandoah back in vocal technique class at SBCC. Along with Danny Boy and The River is Wide I had the opportunity to study these American folk songs and have been able to sing them since. All of this adding to the experience of hearing Mr. Hampson sing such a hauntingly beautiful tune.

Sixth, the next night, (tonight), Rebecca and I went to the METs live broadcast, at the Music Academy of the West, of Puccini's Tosca. You know I love Puccini, and you know I love Tosca. This opera has three solid gold arias that you will find on any and all best of opera recordings. Puccini knows when to bring these achingly strong and gut-wrenching melodies back at just the right moment to remind us why his operas never left the standard repertoire and why Tosca is "the opera of operas."

I don't think I missed anything but it has been a great few musical weeks. I've seen some of the top singers in the world and have been a part of history in the making. And it all makes me want to hit the practice rooms and practice.

M.M. Voice

As my first week of grad school comes to a close I am finally getting my schedule set and an idea of what my quarter will look (and sound) like. A graduate student, in order to be full time, is required to take 8 units. I will have 23 units. Keep in mind that the performance courses are one unit. This means that choir, that rehearses 4 hours a week not to mention the outside time I will need to spend on my solos, is one unit. Opera scenes, that meets 4 hours a week and I will need to memorize and perform, is one unit. Who decided that opera production is one unit? Only twice the amount of credit as say jogging! What kind of wacko system is this? In opera production you still have to commit to memory the material, and be able to present it back learned. How is this less work than any other course? I digress.

I am taking the dreaded 200A course that all previous grad students have warned me about. Bibliography. I am exploring research sources and thinking about what topics I would like to focus on for my paper. It's a bibliographical paper, so basically a paper of every source on the entire planet, regardless of language, that discusses my topic. I was able to test my German and French reading skills this week when searching for articles in Le Grand Larrousse and Grosse Broeckhause encyclopedias. As voice majors we are encouraged to sing a variety of composers and a variety of periods. I find it hard to pick a favorite when I only work on small amounts of their repertoire. Now I have to pick a topic to focus on. Then yesterday, in class, she's going around the room and having each student share their topic. I've been trying to think, what musically do I love and would want to learn about above all else? Then it hit me... Mozart's Requiem. I absolutely love this work. It is one of my earliest introductions into sacred, choral music. I've performed it with the Santa Barbara Symphony and the Santa Barbara Chamber Orchestra with the Quire of Voyces. I realized this might be a little specific, so I started thinking about other settings of the Requiem text. Verdi's Dies Irae is AMAZING! I'm also thinking about the settings of the Gloria. Vivaldi's Gloria is THE reason I decided to major in music.

EUROPE

I just got back last week from our two weeks in Italy and my and Rebecca's week in Austria. (I'm going to post pictures as soon as I get organized.) I had such an amazing time. Italy is obviously beautiful and Vienna and Salzburg have their own charm. Tuscany is everything you imagine. In Austria it's green unless it's a rock. We kept ourselves on a strict schedule, trying to see as much as possible. I kept a running total of some of the more common things we did:

Churches Viewed~23

Towers Climbed~5

Concerts Performed~5

Concerts/Operas Watched~2

Forts Explored~3

Museums Patronized~14

Flights Endured~6

Trains Enjoyed~7

Cities Visited~Frankfurt, Siena, Monteroni, San Gimignano, Montepulciano, Montalcino, Chianti, Firenze (Florence), Buonconvento, Roma, Wien (Vienna), Salzburg, Werfen, Munich, and exotic Los Angeles.

Including the Colosseum, 3 homes of Mozart, viewing Michelangelo's David and the Pieta, the Vatican, and the Trevi Fountain.
Stay posted (get it), for more on my tour.

What goes into learning a song you ask?

Sometimes I forget how much non-singing is a part of singing. Sometimes I would like to just memorize notes and words, The End. But I know that isn't doing justice to me, the composer, librettist/poet, or the actual song/aria/recit. etc. So here is what is required of me as a voice major before I can even think about singing.

1. Research in the music library, by composer, trying to find a song that is in my range, fits in a set for my recital, is in a language I don't already have too many selections in, appropriate subject matter (for some reason I have a LOT of songs about death but that can have something to do with my range. Most often romantic love songs are written for soprano/tenor)

2. Listen to said selections. Do I like it? Fast or slow (I tend to have too many slow, death remember?), does it have interesting moments, etc.

3. Check out the score and make copies. One for me double sided to not take up too much space in my binder, one for my voice teacher, double sided for the folder he keeps in his office, and one for my voice coach, single-sided taped together and hole-punched (he has to be able to stretch it out if playing for me in a recital etc).

4. Write in a word for word translation. I have dictionaries in German, Italian, French, and Spanish. I also like Google Translate. I have also taken a year of Italian and Three and 1/2 years of German and am taking a year of French this Summer.

5. Do a poetic translation. Sometimes these are printed in the score, sometimes you have to look them up and sometimes you have to make up your own from the word for word (which is sometimes very difficult)

6. Write in the IPA (International Phoenetic Alphabet). You have to be able to pronouce it correctly. IPA Source.com is a good resource as well as the rules learned in that language's diction class.

7. Practice reading the text in English poetically and to tempo rhythmically

8. Practice reading the text in it's original language poetically and to tempo rhythmically

9. Research the composer. Putting this piece in context.

10. Research the poet/librettist

11.Do a basic tonal analysis

12. What is the form?

13. Look at phrases. How many? Where do they start and end? Where am I going to breathe?

14. Study the dynamics and other markings from the composer

15.Study the accompaniment. Is there a dialogue between singer and piano, is the piano a character, what is the piano doing, how is it similar or different to the voice and WHY?

16. Create a dramatic interpretation. What do I want to communicate with the audience? How can I make it interesting? How can I show or explain that deceptive cadence? etc.

17. Listen to recordings by different performers. See their take on the same song.

18. Learn the notes and rhythm.

19. Practice with correct vocal technique while applying all of the above.

20. Sing for my teachers prepared to apply their counsel

21. Memorize Above

I'm sure I missed something that I'll remember later. I occasionally have to remind myself that I really do like music. I like practicing and doing all of the above. I love it in fact and couldn't stop if I wanted to. Some of the songs I have found are now a part of my soul. (I know it's corny). How can we keep from singing?

Liederabend

Yesterday morning were Liederabend auditions. (A Liederabend is an old tradition of singers gathering in a home and singing German Lied-songs in the Abend-evening.) The voice department each year holds a Liederabend, to be performed in Lotte Lehman Concert Hall, selecting a different composer each year. Last year was Schubert and this year, Brahms. I have had the Flu all week and wasn't able to audition. But luckily I sang my Brahms selection for the faculty at my senior recital audition last week and they are having me close the Liederabend. For the piece it's perfect that I be last since it's his famous lullaby, Wiegenlied (Op. 49, No. 4.) Everyone knows the tune but perhaps not both German verses. This song is so beautiful. The poet describes this evening filled with roses and little carnations as you slip of to sleep. If God wills, you'll awake in the fair morning light. Angels will guard over you and show you in your dream a little Christ-child's tree. The second verse closes with the text, sleep now blissfully and sweetly in your dream's paradise. I just love it.

Wiegenlied:
Guten Abend, gut Nacht,
Mit Rosen bedacht,
Mit Näglein besteckt,
Schlupf unter die Deck':
Morgen früh, wenn Gott will,
Wirst du wieder geweckt.
Guten Abend, gut Nacht,
Von Englein bewacht,
Die zeigen im Traum
Dir Christkindleins Baum:
Schlaf nun selig und süß,
Schau im Traum's Paradies.

Lullaby:
Good evening, good night,
Bedecked with roses,
Covered with carnations,
Slip under the blanket
Early tomorrow, God willing,
Will you be woken again.
Good evening, good night,
Guarded by angels,
Who indicate to you by dream
The tree of the Christ child:
Sleep now blissfully and sweetly,
Behold Paradise in your dreams.

Must the Winter Come so Soon by Samuel Barber

Italian Tour

Did I mention the UCSB Chamber Choir is touring Italy this summer? I am so excited. Two weeks of singing in Italy! What could be better? This week in choir he gave us our proposed schedule. Check it out.~

June 15: LAX-Rome

June 16: Rome-Siena

June 17: rehearsals, Siena

June 18: rehearsals, Siena

June 19: concert, Chianti-Greve?

June 20: concert, e di Corsano?

June 21: concert, Siena

June 22: free day, Siena

June 23: free day, Florence

June 24: concert, Florence

June 25: free day, Florence

June 26: concert, Pienza

June 27: concert, Montalcino?

June 28: concert, Rome

June 29: free day, Rome

June 30 free day, Rome

Professor Gervais told us we might add a concert in Piza. Also, my friend Rebecca and I are staying longer. I'm only staying a week longer because I have to get back to Santa Barbara for my best friend's wedding. (Isn't that a movie?) We're going to continue our travels to Milan, Vienna, and Prague. My flight home will be from Frankfurt so I am also excited to see some of Germany as well. This trip will be amazing. If you have any travel tips, European travel tips, or ideas of things that I must see or do let me know. I would love advice. The timing of this tour is also perfect as I'll walk in graduation the day before we leave, making this trip a nice graduation trip as well.

My Program Bio

Stephanie Turner a native of Santa Barbara, transferred to UCSB from Santa Barbara City College where she majored in music and sang with the SBCC Concert Choir and the Chamber Singers. She performed solos for many works including Mozart’s Coronation Mass, Vivaldi’s Gloria, Haydn’s Mass in D, Gwyneth Walker’s The Christ Child Lullaby, Mozart’s Dixit Dominus, Benjamin Britten’s A Ceremony of Carols, as well as Broadway works and spirituals. While attending SBCC she was accepted into the applied music program where she studied voice with Andriana Kolendrianos. Each Christmas season, Stephanie is invited to sing in Disneyland’s Candlelight Procession. She was also invited to sing in the performance of Mozart’s Requiem at the Arlington Remembering September 11th. Stephanie currently sings with several local choirs including the UCSB Chamber Choir, the Santa Barbara Quire of Voyces, and the Goleta Valley Ward Choir of the Church of Jesus Christ of Latter-Day Saints. She studied for two years with Steven Kronauer and is currently studying with Susana Poretsky. In 2006 she toured England with the Quire of Voyces. Stepahnie participated in vocal performance workshops with Eduardo Villa at SBCC, and David Daniels at UCSB. Stephanie has received scholarships from the California Women’s Chorus, ASAP, and a UCSB Music Affiliates Excellence-at-Entrance award. In 2007 she played the second woman in Purcell’s Dido and Aeneas for The Opera Theatre at UCSB. The following season Stephanie sang the lead role of Mauyra in Ralph Vaughan Williams’ Riders to the Sea. In Summer 2008 she appeared in the Music Academy of the West’s production of William Bolcom’s A Wedding. Stephanie also had the role of Vincenza Biscroma in the 2009 UCSB Opera production of Gaetano Donizetti’s Le Convenienze e le Inconvenienze Teatrali, Viva La Mamma. In addition to singing Stephanie enjoys composing, teaching voice and piano, and playing the flute and violin.

Opera's Greatest Moments

I can think of at least three things wrong with this title. Ok not really. But I just checked this CD out of the library and was surprised by the selections found on and omitted from this album. The description reads, "Favorite selections from the world's best-loved operas." (Please excuse all lack of accents, umlauts, etc.)

1. Verdi: La Traviata: Libiamo, ne' lieti calici

2. Puccini: Gianni Schicchi: O mio babbino caro

3. Rossini: Il Barbiere di Siviglia: Largo al factotum

4. Bizet: Les Pecheurs des perles: Au fond du temple saint

5. Puccini: La Boheme: Mi chiamano Mimi

6. Tchaikovsky: Pique Dame: Yeltsky's Aria

7. Catalani: La Wally:Ebben? Ne andro lontano

8. Donizetti: L'elisir D'amore: Una furtiva lagrima

9. Wagner: Die Walkure: Du bist der Lenz

10. Verdi: La Forza del Destino: Pace, pace, mio Dio

11. Leoncavallo: Pagliacci: Vesti la giubba

12. Mozart: Le Nozze di Figaro: Dove sono i bei momenti

13. Verdi: Rigoletto: La donna e mobile

14. Puccini: Madama Butterfly: Un bel di vedremo

15. Mozart: Die Zauberflote: Ach, ich fuhl's

16. Verdi: Aida: Se quel guerrier io fossi; Celeste Aida

17. Bizet: Carmen: L'amour est un oiseau rebelle (Habanera)

18. Puccini: Turandot: Nessun Dorma

Well, whose favorite selections? How are these operas valued? Frequency of production? Most recorded? Highest ticket sales? Highest record sales? Top opera house's most frequent productions? I don't really want to argue the popularity of moments chosen because I can't deny their brilliance. Yet how can you decide to include Bizet's Habanera but leave off Saint-Saens' Mon coeur s'ouvre a ta voix? I'll be the first to agree that such a compilation should contain Pucinni's Un bel di vedremo, but why leave off his E Lucevan le Stelle? I guess the answer is that there is room for 18 selections. 18 tracks to sum up 400 years of opera. I guess if I was making the cd it would be called Stephanie's Favorite Opera Moments. I am by no means an opera aficionado, but here are the 18 of my favorite opera moments. (I'm going to try to include some non-Pucinni.)

1. Leoncavallo: Pagliacci: Vesti la giubba

2. Puccini: Madama Butterfly: Un bel di vedremo

3. Puccini: Gianni Schicchi: O mio babbino caro

4. Verdi: Il Trovatore: Vedi! Le Fosche Notturne Spoglie (Anvil Chorus)

5. Saint-Saens: Samson et Dalilah: Mon couer s'ouvre a ta voix

6. Mozart: The Marriage of Figaro: Sull'aria

7. Puccini:Tosca: E Lucevan le Stelle

8. Puccini: Tosca: Vissi D'arte

9. Pucinni: Tosca: Recondita Armonia

10. Puccini: La Rondine: Chi il bel sogno di Doretta

11. Dvorak: Rusalka: Song to the Moon

12. Verdi: La Traviata: Libiamo Ne'lieti Calici

13. Wagner: Tristan und Isolde: Mild und Leise

14. Donizetti: La fille du regiment: A mes amis

15. Bizet: Carmen: Votre Toast (Toreador's Song)

16. Bizet: Carmen: La fleur que tu m'avis jetee

17. Verdi: Il Trovatore: Stride la vampa

18. Offenbach: Les Contes d'Hoffmann: Belle Nuit, O Nuit d'Amour

19. Mozart: Die Zauberflote: Der Holle Rache

20. Puccini: La Boheme: O Soave Fanciulla

Ok so a lot are the same, and I ended up with 20, but what can I say? I'm a sucker for the big emotional moments. I don't get all weepy in movies since I started watching opera. When a movie reaches that point where it's trying to make me cry all I can think is "are they serious?" There is no comparison. (I would also recommend watching entire operas, not relying on the best of opera cds to aquire an appreciation.)What would you include on your favorite opera moments cd? Tune in next week for 18 best oratorio moments, followed by 18 best sacred choral and ballet moments.

My Favorite Music Quotes

Please comment back with any you have.

"I have no idea to this day what those two Italian ladies were singing about. Truth is, I don't want to know. Some things are best left unsaid. I'd like to think they were singing about something so beautiful, it can't be expressed in words, and makes your heart ache because of it." ~The Shawshank Redemption

"There is music in my soul today, A carol to my King, and Jesus listening can hear the songs I cannot sing!" ~Eliza E. Hewitt

"He lives, and while He lives I'll sing!" ~Samuel Medley

"Maybe Gloria Estefan was right. Eventually the rhythm IS going to get you." ~Friends

"If you want to be completely honest, sing." ~Dan in the Real World

"How does one become a butterfly?" she asked."You must want to fly so much that you are willing to give up being a caterpillar."~Trina Paulus

Beethoven's Ninth Symphony

I was looking for my passport the other day and found it in the bottom of a bag I hadn't unpacked since I was prepared to evacuate last summer. The bag was full of old journals so of course I had to skim through them. Here are some excerpts from my journal May 31, 2003. Santa Barbara City College Choir and Orchestra had just performed Beethoven's Ninth Symphony. (The last movement's the huge choral "Ode to Joy"). "Professor Kreitzer always told us to save some of our voice but that's so hard when you want to sing it at the top of your lungs. The ending is so great the choir would applaud every time we finished a run-through." "The night of the Saturday performance came and I was so nervous. I didn't have any solos or anything, I was just super excited." "We had to sit through the first five movements. This was hard as we had to sit on stage and remain pleasant. There was a bass that amused us all as he began to fall asleep and lean further and further forward in his chair. I was afraid he'd fall out of it with a loud thunk. That, or start snoring. We finally got to our cue to stand and the energy started building. It finally got to the choir. I sang with such passion I had to fight back tears. I sang those high notes more solid than ever before. I had written the English translation in my score the day before and I had a fuller understanding of the text. I truly believed everything we were singing. When we stopped singing we didn't move until the orchestra finished. Then, the audience leaped to their feet in applause. It was fabulous."
~Symphony No.9, Op.125 "Choral" Ludwig von Beethoven

"Do you sink before Him, millions? World, do you sense your Creator? Seek him then beyond the stars! He must dwell beyond the stars." ~Beethoven

In a website talking about this work and how Beethoven couldn't hear any of it, it says, "Think about that bitter fact, and then wonder that a man so crossed by fate could still demand a choir to sing rapturously of joy."~Elizabeth Schwarm Glesher

And, Claude Debussy said, "It is the most triumphant example of the molding of an idea to the preconceived form; at each leap forward there is a new delight, without either effort or appearance of repetition; the magical blossoming, so to speak, of a tree whose leaves burst forth simultaneously. Nothing is superfluous in this stupendous work... Beethoven had already written eight symphonies and he determined to surpass himself. I can scarcely see how his success can be questioned."

I hope this makes you want to go listen to it. I know what I'm listening to next.

Senior Recital Audition

This morning, April 2, was recital auditions for all students wanting to give recitals this quarter. I had to be prepared to sing any one of my 18 songs from memory. I did a little improvisation but luckily it was only noticeable to my accompanist (who happened to have my words right in front of him). I will now be able to give my senior recital. The tentative day and time is April 25, 8:30 PM. Free admission and in Geiringer Hall in the Music building. Here is the program so far.


O del mio amato ben… Stefano Donaudy (1879-1925)
Ah, che odor di buono

Der Kreuzzug Franz Schubert (1797-1828)
Totengräbers Heimweh

Die Mainacht Fanny Mendelssohn-Hensel (1805-1847)
Nachtlied Felix Mendelssohn (1809-1847)

Sapphischo Ode Johannes Brahms (1833-1897)
Wiegenlied

Un cygne Samuel Barber (1910-1981)
Solitary Hotel
Must the winter come so soon (from Vanessa)

Take, O take those lips away Roger Quilter (1877-1953)
Come away, Death
O Mistress mine
Blow, blow, thou Winter Wind

El tra la la y el punteado Enrique Granados (1867-1916)
El Majo Timido
El Majo Discreto

As a senior BM, I have to have selections in German, Italian, French, and English and it has to be an hour of music.