04.15.14

Holy Week

“‘Now there was a day,’” murmured Bull, who seemed really to have fallen asleep, “‘when the sons of God came to present themselves before the Lord, and Satan came also among them.’”

“You are right,” said Gregory, and gazed all round. “I am a destroyer. I would destroy the world if I could.”

A sense of a pathos far under the earth stirred up in Syme, and he spoke brokenly and without sequence. “Oh, most unhappy man,” he cried, “try to be happy! You have red hair like your sister.”

“My red hair, like red flames, shall burn up the world,” said Gregory. “I thought I hated everything more than common men can hate anything; but I find that I do not hate everything so much as I hate you!”

“I never hated you,” said Syme very sadly.

Then out of this unintelligible creature the last thunders broke.

“You!” he cried. “You never hated because you never lived. I know what you are all of you, from first to last—you are the people in power! You are the police—the great fat, smiling men in blue and buttons! You are the Law, and you have never been broken. But is there a free soul alive that does not long to break you, only because you have never been broken? We in revolt talk all kind of nonsense doubtless about this crime or that crime of the Government. It is all folly! The only crime of the Government is that it governs. The unpardonable sin of the supreme power is that it is supreme. I do not curse you for being cruel. I do not curse you (though I might) for being kind. I curse you for being safe! You sit in your chairs of stone, and have never come down from them. You are the seven angels of heaven, and you have had no troubles. Oh, I could forgive you everything, you that rule all mankind, if I could feel for once that you had suffered for one hour a real agony such as I—”

Syme sprang to his feet, shaking from head to foot.

“I see everything,” he cried, "everything that there is. Why does each thing on the earth war against each other thing? Why does each small thing in the world have to fight against the world itself? Why does a fly have to fight the whole universe? Why does a dandelion have to fight the whole universe? For the same reason that I had to be alone in the dreadful Council of the Days. So that each thing that obeys law may have the glory and isolation of the anarchist. So that each man fighting for order may be as brave and good a man as the dynamiter. So that the real lie of Satan may be flung back in the face of this blasphemer, so that by tears and torture we may earn the right to say to this man, ‘You lie!’ No agonies can be too great to buy the right to say to this accuser, ‘We also have suffered.’

“It is not true that we have never been broken. We have been broken upon the wheel. It is not true that we have never descended from these thrones. We have descended into hell. We were complaining of unforgettable miseries even at the very moment when this man entered insolently to accuse us of happiness. I repel the slander; we have not been happy. I can answer for every one of the great guards of Law whom he has accused. At least—”

He had turned his eyes so as to see suddenly the great face of Sunday, which wore a strange smile.

“Have you,” he cried in a dreadful voice, “have you ever suffered?”

(G. K. Chesterton, The Man Who Was Thursday)

03.30.14

Part-timer love

Few professional musicians, of course, make a living performing. A lot of my colleagues teach private lessons or instruct at the primary, secondary, or university level (and sometimes all of them); others are music critics or music librarians or music administrators. Then there’s my crowd, the people with a whole other non-musical career. I hold body and soul together, and work my left brain out between engagements, working as a software developer and data analyst here in Washington. It is a challenging balance to maintain, but it is rarely boring. The Washington Post printed a nice glimpse into the life with its feature this week on my friend and colleague Jason Rylander, a Baroque-specialist tenor whose other career is in the law (and not only the law, but one of those cool jobs you thought only existed in the movies). Reading his dossier, I feel positively slothful.

Also in the Post this week, a review of Cantate’s Curlew River. I’m immensely proud of my part in this production.

02.21.14

An acquired taste

Because I don’t teach voice lessons for a living, I can fantasize about being the kind of teacher who stands out from the crowd by posting dour German affirmations on social media: “Learn to stop struggling with yourself and start struggling with the world! Cast away Neurosis, the more fully to embrace Tragedy!”

02.12.14

"Riding my bicycle to rehearsal"

I’m working up a bigger post about the place of the part-time/semi-pro performer in the world. In the meantime, another quote from a recently deceased celebrity, this from Andrew O’Hehir’s assessment of Philip Seymour Hoffman in Salon:

Hoffman was always reticent with the press, found it difficult to describe how he did his work, and obviously didn’t love doing interviews. Ingeniously enough, someone got him talking about the reasons for that. He had never imagined becoming a movie actor, he explained, and didn’t feel comfortable with the entire publicity machinery around the film business. “I always thought I’d be a New York theater actor, riding my bicycle to rehearsal,” he said. “That was all I ever wanted.” Maybe someone would recognize him once in a while at the grocery store, and tell him, “Oh! I loved you in that Chekhov play!”

02.04.14

Curlew River in the Post's Spring Preview

Anne Midgette’s spring preview of the DC classical music scene includes a nice blurb for Cantate Chamber Singers’ March 23 presentation of Curlew River, where I’m one of the featured soloists.

01.29.14

Won't be worried long

“I would say every artist is, in effect, trying to figure how the human race can be saved from itself. So in those days when we sang for the union workers, and today when I go around and sing on a picket line, I’m not really being all that different. Artists who say ’We’re only interested in art for art’s sake’ are fooling themselves, I think.” – Pete Seeger (1919-2014)

A couple of his records were among the first my parents used to play for me. Just a couple seconds of that voice and I’m spellbound.

(I need to learn more, I realize, about Pete’s stepmother Ruth Crawford Seeger, who traveled back and forth between the worlds of folk music and serialist high modernism. I finally listened to the famous string quartet. Haunting and funny by turns. You should check it out.)

08.30.11

Page to stage

The Poker Flat concert I alluded to last month is officially scheduled for this Saturday, September 3, on the Kennedy Center Millennium Stage. Andrew Simpson’s score combines folksy music-theater elements with a more modernist operatic idiom. We are sharing the 1-2:30 slot with another piece, so I can’t say for sure when we will begin, but I feel safe in saying it’ll be after 1:30.

07.19.11

Dying is easy

Lesson #1 learned (or at least reinforced) from doing Gallantry, which closed out its five-performance run at the Capital Fringe this evening: If you don’t keep up your energy during the non-funny bits, the funny bits fall flat. Lesson #2: Timing, concentration, and commitment to acting seriously within a silly universe require a lot of effort, even for just half an hour. As a rule it takes me forever to internalize any principle of the stage, so watching my castmates Emily Casey, Tad Czyzewski, and Rebecca Stugart cutting up in rehearsal as though they were born to it was as awe-inspiring as it was gratifying.

I’ve never been in such a copiously reviewed show before. I’m not immune to praise or censure (and we got some of each for Gallantry), but the most gratifying reviews, for me, are the ones in which the reviewer clearly got what the performers were trying to do.

Thanks to Jay and Gregg at OperAlterna for taking me on. And thanks to everyone who showed up! I love the opportunity, at Fringe, to mingle with audiences and even get to know some familiar faces year after year.

In other news, one event that’s not on the official list until I have received an official date is at the Kennedy Center’s Page to Stage festival, over Labor Day weekend. Rachel and I will be among the five singers presenting excerpts of Andrew Earle Simpson’s work in progress, The Outcasts of Poker Flat, based on Bret Harte’s story.

05.16.11

Did that just happen?

Trouble in Tahiti was over way too quickly. Thanks to Evan Solomon, Tim McLoraine, and Richard Scerbo at Inscape for making it happen, and my fellow cast members (Tanya Ruth, David Dickey, Brendan Kennedy, and Brittany Baratz) for making it so much fun.

Without any gigs planned for the summer, I thought I’d be able spend a couple of months at my own pace: give one or two auditions, learn some new repertoire, try some different things technically, do some promotional recordings. But last week a call came in, and now instead of taking it easy I’ll be playing my third consecutive Capital Fringe.

This weekend, though, I’ll be unwinding from Tahiti on a long bike ride with friends in a lovely part of West Virginia. I got into biking after leaving grad school and coming back to Washington in my mid-twenties: it seemed like just a practical way to get around and get some exercise at the same time. But I soon discovered that being a bicyclist entails a particular mixture of obsessive tinkering, sheer physical effort, and the occasional ecstatic rush that reminded me a whole lot of singing. I’ve been hooked ever since.

05.12.11

The "trouble" with Tahiti

As all-around brilliant as Leonard Bernstein was, the libretto he wrote for his one-act domestic tragicomedy Trouble in Tahiti is… let’s say unpolished. The colloquial American English back-and-forth of the main characters is authentic, and wonderfully set – there’s a reason the mezzo aria “Island Magic” is the most famous excerpt from the show. (No links to YouTube here – you should come see our live version instead on Sunday!) Some of the satire is ham-fisted and some of it is too clever by half, but there’s still plenty of bite to it. Where the libretto really falls down is when Bernstein tries to get lyrical – when the unhappy suburban husband and wife break off from squabbling with each other to reveal the tender, confused, and for once potentially likable people they are inside. These little monologues are serious wincers on paper. If you watch the show, though, you’ll notice that Bernstein saved his most beautiful music for just these scenes.

For me, a lot of the beauty of opera as it’s actually performed is in this sweet mismatch of imperfect elements. A kind of marriage.