1) RING Cycle, SF Opera  details

With the carefully crafted characterizations of a stage play, this Cycle was a well-deserved hit and had the city abuzz with Wagner. Nina Stemme’s Brünnhilde was an utter triumph, equal parts true Wagnerian and singing actress. Stunning SFO leading role debuts were offered by Heidi Melton as Sieglinde, and Daveda Karanas as Waltraute. There wasn’t a weak link in the cast. Francesca Zambello’s concept was fortunately not too heavy-handed, largely staying out of the way of the story and score…more often informing it, and only periodically misstepping. I found the Industrial Revolution concepts throughout Das Rheingold to be the most iconic and potent. However, the mythic Die Walküre was the emotional highpoint, featuring the burnished, virile tenor of Brandon Jovanovich’s Siegmund. Siegfried was also surprisingly engaging. I had the good fortune of serving as Super Captain and Supernumerary in Walküre and Götterdämmerung.

2) Stacey Kent, Venetian Room, Fairmont Hotel  details

I fell in love with her voice three years ago. After stalking her tour schedule for a Bay Area performance, I got to experience her art live at last. She’s a real pixie…a gentle spirit, with a frail flutter to her vibrato. She completely transported me and her audience, casting a convincing spell. Her palpable, loving connection to her band leader, sax player and husband Jim Tomlinson added to the glow. She embodied “less is more,” drawing us in, rather than overworking her numbers in a too extroverted manner. Her set included lots of brazilian and french songs unfamiliar to me, some off her just released album. Come back soon Stacey!

3) Turandot, SF Opera  details

This was my fifth time seeing this David Hockney production. It’s one of my most beloved productions in my over 25 years of operagoing. The fantastical high-key colors and abstract, graphic shapes appeal directly to my sensibilities. Irene Theorin was the most feminine and visually beautiful Turandot I’ve encountered, but still with the cojones to deliver the amplitude modern audiences have grown to expect in this role. Leah Crocetto’s debut as Liù was a real break-out star turn…vulnerable, loving, and with the perfect emerging spinto for this role. The orchestra and chorus really furthered the story with their committed contributions. A most engaging Ping/Pang/Pong trio, and Ray Aceto, the sexiest (daddy) Timur in memory proved this production is still very much alive.

4) Janice Siegel, The Rrazz Room  details

I discovered Janis, of Manhattan Transfer fame in the late 80′s. Through her recordings, I’ve always felt as if she has spoken directly to me. Her “Short Stories” album with Fred Hersch is one of the most perfect contemporary jazz/cabaret albums. Thanks to the generosity of a theatre colleague, we had front row seats, and sat close enough to get her shout-out to The Cockettes (since we are honorary members). Her set list was practically my own wish list, but with enough songs new to me to keep it fresh. Few singers portray such an effortless singing-as-if-talking delivery, which feels completely authentic, and as natural as story-telling. She also has a spicy, candid NY sense of humor. Highlights included: “Where is love?,” “You’re My Everything,” and “Two Fisted Love.”

5) Jonas Kaufmann, Zellerbach Auditorium, CalPerfs  details

Unfortunately, it appears the Bay Area will have to continue to wait years to see this extraordinary tenor du jour on the stage of the SF Opera. But, at least we got a satisfying dose of him in this recital, with Helmut Deutsch at the piano. Not for a very long time has a tenor come along that has provided the unalloyed pleasure he does, having all the squillo, intensity, and dashing looks of a romantic lead and legendary tenor in-the-making. Although he is his own artist, I’ve always likened him to a Vickers/Wunderlich hybrid (my two VERY favorite tenors). He did not provide as much breadth in the emotional scope of his interpretations, or variation in his tonal palette as someone of Vickers’ stature, BUT what he gave was beautiful and expressive. His tender, high piannissimi are so rare in such a dramatic voice. The program included Schumann’s Dicterliebe, and Strauss songs.

6) Janet Jackson #1’s, Bill Graham Civic Auditorium  video

Thanks to my participation in the BAFM’s “Rhythm Nation,” my interest in Miz Jackson’s tour was piqued. In fact, we performed our FlashMob out front twice beforehand, to much fanfare. The concert was a very satisfying look back at her career. I couldn’t call up a single classic she didn’t do. It was like an emotional romp through my teens and 20′s. We had a ball dancing at our seats, and squeezing out as much Janet choreo as room would allow. Her intimate, new arrangements of some songs kept the surprises coming. A musical/video tribute to Michael was quite moving.

7) Xerxes, SF Opera  details

This Nicolas Hytner production doesn’t belie its years (1985). It’s an unfailingly clever, stylish and nuanced production (those British!). All of the daring decisions enhanced this somewhat confectionary opera. The Supers played a HUGE role in setting the stylized tone of this production. As choreographer Larry Pech told them, each movement should have an almost spiritual intentionality. And, they succeeded! The cast was a who’s-who of early music. The debut of Lisette Oropesa was very promising. I look forward to seeing more from her. Her voice has a complex texture which is rare for lyric sopranos these days (offering shades of Streich’s fragility).

8) Clybourne Park (play), American Conservatory Theatre  details

The poignant mirroring of two generation’s racism was almost embarrassingly real at times. It reminded me that subtle racism can be just as or even more harmful than more overt forms. It left me looking at myself wondering what shards of it dwell in me. The cast performed roles in both generations, so it was fascinating to see an actor try on two very different characters. Red-headed Emily Kitchens was the most strikingly real in both acts. Her deaf speech impediment as Betsy was so spot on, I thought she must be a deaf actress, until she spoke without it in the second act. Betsy was so endearing, never for a moment did she feel a caricature or mockery…a very difficult balance to strike with such a role. Kitchens mused on the challenges here.

9) Nadine Sierra, Salon at the Rex, Hotel Rex (SF Perfs)  details

Hers is arguably one of the great lyric soprano voices of the new generation. There is such an ease to her production. I experienced her natural technique months before in Heart of a Soldier, in which she broke hearts as a barefoot, letter-writing wife, but I had fallen for her much earlier via YouTube. She’s been the belle of the ball at many recent vocal competitions, and for good reason. Highlights were “A Sleeping Bee,” an old Arlen/Garland standard, that was a great discovery for me. My tears flowed freely, thanks to her innocent air, the easy spin of her vocal production, and song choice (and truth be told, my recent break-up). Kudos to her mother for making her practice for at least an hour a day, as she shared. Her song introductions were a bit unfocused and less informing than I would have liked, but she IS only 23. Pianist Tamara Sanikidze added some knee-slapping color to the dialogue. One wasn’t surprised that Tamara and Jackie Horne were friends.

10) Maroon 5 (+ Cheryl Crow & Daughtry), Genentech Gives Back, AT&T Park  videos

Thanks to a friend’s invitation, I tagged along for this annual Genentech concert at AT&T Park. The artists weren’t pre-announced, but there were plenty of rumors. I had joked that it might be such casino-performing has-beens as Sha-Na-Na and The Temptations. But, NO…we got a legit concert. Perhaps I’m wooed by Adam Levine’s bell-like tenor…or his toned physique…or his tattoos…or his moves like Jagger? He is even better in concert than on recordings. A true, charismatic pop-rock star. He gave A LOT on that stage. Cheryl Crow was excellent, not bothering with many/any new ditties, but satisfying with old, crowd favorites. Daughtry was a fine opener.

Honorable Mentions:
Tales of the City, ACT (the “Mouse” of Wesley Taylor was a stand-out)
Mozart’s Requiem, 9/11 Opera in the Park, SFOO & SFOC
Madeleine Peyroux, Palace of Fine Arts
Drowsy Chaperone, Diablo Theatre Company
Assassins, Ray of Light Theatre

Notable Individual Performances (not above):
Christine Goerke as Elektra, Teatro Real, Madrid
      (a career defining assumption, my sole intl. inclusion)
Anita Rachvelishvilli as Carmen, SF Opera
Ji Young Yang german recital, The Music Salon at Salle Pianos, Lieder Alive!

Most Overrated: Rock of Ages Tour, Curran Theatre

Most Improved: SFGMC, Home for the Holidays, Masonic Auditorium

What were you favorites of the year? Did I miss any notables? Next year I’ll hope to have some dance on my list again! Enjoy my past lists here: ’10 Top Ten, ’09 Top Ten.

It makes me wonder…are there polite applause man, sitting man, sleeping man, or worse yet MIA man ornaments too?

Click on the image or link below (and turn up your volume) to enjoy my favorite performance from Christmas in the Ballroom 2011 (a track off our live CD).

It features our chorale of 9 and pianist in a simple, largely unison arrangement of the Holst classic, by Catherine Bennett. So atmospheric and peace-filled.

The photography is from my february visit to beautiful Telluride, CO.

May you have peace and joy!

In the Bleak Midwinter

So, gather up your friends and family for a festive evening of traditional Christmas hymns and carols, as well as contemporary and popular favorites, including a sing-along portion (you know you want to!). The generous spread of hot cider and homemade cookies make it a cozy and family friendly tradition.

Here are the complete details:

A Journey Through the Fire

Two years ago I began a journey into the fire…into San Francisco Opera’s new production of Wagner’s Ring Cycle. That journey comes full circle (pun intended) this month.

It all started when I was invited to collaborate on the iconic brand image and identity for this Ring (with the fantastic design and marketing studio Mission-Minded). This alone was a dream come true. I had become an official Wagner-phile when I experienced SFO’s previous naturalistic production in 1999, with my dear operagoing friend Gil. (Watch the documentary Sing Faster for a great glimpse of that beloved production.)

The creative process began with a meeting with Director Francesca Zambello and General Director David Gockley, to discuss the particular approach of this new production (shared with ENO and WNO, but not yet performed in its entirety). The goal: to highlight the concept of destruction and rebirth, and portray a dose of the production’s modernity, including an accessible and familiar visual vernacular. (The production employs a trailer, projections of power lines and electrical towers, an office building board room, a stylish, contemporary bedroom…to mention just a few of these modern nods.)

The iconic image evolved in a direction that also took a tragic nod from 9/11, using the burning and fall of city skyscrapers to show the destruction of a civilization, parallel with that of nature (via a forest). Perched atop this, a reborn/renewed female visage…a triumphant Brünnhilde. The photo-illustration was made up of 15 or so separate images.

Über-Supernumerary

Last year, the journey continued, as I got to first put a Ring on it…as a kinsman/henchman of Hunding, and the ghost of a fallen war hero in Die Walküre.

Lawrence Pech leads audition (me at right)

This year a rather intensive audition process was required for the 11 Supers, to guarantee their physical fit-ness. “The Few, The Proud, The Über-Supers”?  NPR attended the second Super casting call. A brief profile made it on the air, including interviews with Zambello (“Cesca”) and myself. Listen to it here (fast forward to 00:45).

I was thrilled to be re-cast in Die Walküre, as well as join Götterdämmerung, as a hunter and “worker”. Or, as I now like to refer to it (to borrow from a friend): Glitterdämmerung! It’s great to play on the stage again with some familiar Supers from past seasons: Carlos Suarez and Topher Smith (also pictured above), and Jason Mayo, as well as a new crop.

A most happy addition to the Walküre cast is the Sieglinde of Heidi Melton (Cycle 3). It’s her SFO debut in a leading stage role. I simply cannot wait. She’s made for this role, and I get to experience her serving me faux chunky slop in the Hunding scene. On the flip side, I’ll also miss the Sieglinde of Eva-Maria Westbroek, who’s enjoying a triumphant debut in the same role at The Met. Thankfully, the brilliant Nina Stemme and commanding Mark Delavan are returning.

On June 14th the Cycle 1 opens, including my run in GotterWalküre ;-)

Der Ring Schwag

As I browsed the gift shop during intermission at the recent Siegfried Final Dress, I was wonderfully surprised to discover my photo-illustration (above) on the Ring promotional items: t-shirts, hoodies, mugs, and magnets.

Get yours at the SFO Ring Merchandise page!

I was also completely taken by Michael Schwab’s commissioned Ring poster/print. It offers a very different iconic image. I will soon be the proud owner of a 24 x 36 print! About his art, Schwab said:

“I’ve always enjoyed creating dramatic poster images that tell a story. Here, the growing vine at the foot of the spear held by Brünnhilde foreshadows a new life eventually emerging from the ever-flowing Rhine under the horrific, burning Valhalla above. For me, the paper is my stage, with shapes, colors and typography working together to create a scene or evoke a mood.”

The journey continues. Now, back into the fire…

Around the time 11:30 – noon rolls around, I normally make a switch over to jazz. I’ve grown to love 1.FM, Adore Jazz, a primarily vocal jazz station offered on iTunes. By the time 4pm hits, I’m usually on my way to pop, rock, bluegrass, or dance. Unless it’s friday, in which case I make that transition much earlier. But I digress…

Adore Jazz has introduced me to a slew of artists I’d likely not otherwise know. For that I am very thankful. I wanted to share and highlight a few of the best discoveries. Perhaps you jazz/vocals aficionados already know these singers well, but they feel to me to be unjustly under the radar, and were certainly outside of my mainstream. I’m not sure why this is so, as I’ve quickly grown to consider them some of the finest, certainly of the contemporary crop.

Stacey Kent

In trying to describe Stacey Kent to a friend, I likened her to a modern-day Blossom Dearie. She has an impossibly sweet tone. Coming from another artist, it could threaten to be cloying, but her delivery is so honest, it never rings false. She feels very much a product of a different time (ie: 50s-60s)…not only calling to mind Blossom, but also Astrud Gilberto.

Stacey, a Jersey girl, has been nominated for a Grammy, so I suppose she’s hardly a best-kept secret, but I’ve never heard another vocal-phile reference her, or heard her recordings in another venue or on a different station.

Her “I Wish I Could Go Travelling Again” has become an anthem for my insatiable wanderlust, and a replacement for my recent lack of travel. Thankfully, San Francisco is the place to live when you’re unable to travel, so I can hardly complain! The good news is I have a Telluride getaway to look forward to in february, to meet up with some friends. GET ME ON THAT PLANE!

Her “Under a Blanket of Blue” has accompanied many of my Golden Gate Park strolls. Her gentle phrasing and smiling tone practically turns my personal reverie into a scene from a GOOD Nora Ephron movie (think: “When Harry Met Sally,” not those other ones).

Sophie Milman

Sophie is Russian-born, but calls Canada home. Her accent and phrasing only periodically reveal her heritage (certainly in her “Ochi Chernye,” a traditional russian gypsy song). But, her jazz stylings are all her own.

Her take on Bonnie Raitt’s “I Can’t Make You Love Me” may actually outdo the original, which is saying a lot. She knows just what to do, but more importantly, what NOT to do with a classic song cover. And, did I mention that she’s gorgeous? Well, see for yourself…

Her “50 Ways to Leave Your Lover” is positively sexy and sultry, as if she just rolled out of bed, and threw on her spring dress, as she bids adieu to her latest lover. (She’d be a hard one to get dumped by!) I love the way she uses her quick vibrato occasionally for expressive purposes, or at the end of a phrase. (PLEASE ignore the video portion of this, and focus only on the audio.)

Clearly, she took a nod from Rosemary Clooney, who surprisingly also recorded this cover.

Sadly, on her website, she shares in her journal that in fall of 2009 she had to cancel her U.S. tour, due to vocal fatigue problems. It’s not clear if she’s overcome those, but my fingers are sure crossed that she has, as she’s far too great a talent to fall off course in her 20s, and not continue reaching a larger audience.

“Trijntje”

Trijntje (full name: Judith Katrijntje Oosterhuis) is likely not a household name here because she’s Dutch, has shifted genres, and truth be told, who can pronounce her name? She started as more of a contemporary pop diva, but has moved towards classic pop (ie: Burt Bacharach), in a jazz style.

I enjoy her in both genres. My favorite track from her Bacharach/Jazz genre is “Windows of the World,” from The Look Of Love (Burt Bacharach Songbook). Burt plays on two of the tracks on that album. This has to be one of, if not his best song. It portrays a deep sadness, and personally, conjures up 9/11 memories, as the restaurant that used to be atop 106th/107th floors of 1 World Trade Center was called “Windows on the World.” I have fond memories there. Just one of the many epic losses that day.

It shows her textured, almost dusky tone to its best advantage. It’s also a very lush, orchestral arrangement. I’m not surprised she feels/sounds so at home in Bacharach territory, as she does remind me a bit of a Dionne Warwick or Bobbie Gentry. (PLEASE ignore the cheesy video portion of this…it is for your ears only!)

And, my favorite from her earlier pop genre is “It’s You I Need.” Her phrasing is at least on the level of a Kelly Clarkson or Leona Lewis. But, her tone is much more complex and memorable.

I love the way she uses a hushed half voice (a pop equivalent of “mezza voce”) to paint a story.

Are you a fan of any of these singers? Or, have you made any recent and notable vocal jazz discoveries?

The Blog-Health-o-Meter™ reads Wow!

Crunchy numbers

Madison Square Garden can seat 20,000 people for a concert. jcm was viewed about 68,000 times in 2010. If it were a concert at Madison Square Garden, it would have performed about
3 times.

In 2010, I had 85 new posts, growing the total archive to 170 posts. I uploaded 265 pictures, taking up a total of 45mb. (That’s about 5 pictures per week.)

The busiest day of the year was February 16th with 1,469 views. The most popular post that day was Olympic Reigns Ending: Likelihoods or Naysaying?.

Where did they come from?

My top referring sites in 2010 were loopaxles.blogspot.com, parterre.com, requiredelements.com, en.wordpress.com, and lifeskate.com.

Some visitors came searching, mostly for cheeseburger, olympics 2010,
2010 olympics, vancouver olympics, and cheese burger. (“Cheeseburger”?…REALLY?!)

Attractions in 2010

These are the posts and pages that got the most views in 2010.

Olympic Reigns Ending: Likelihoods or Naysaying? July 2009
1 comment

“Cheese Berger” July 2009
2 comments

jcm’s ‘10 Olympics’ Podium Predictions Contest January 2010
42 comments

Missteps, Falls & Wet Tushes March 2009

Heidi Melton: The Official Berlin E-Interview January 2010
6 comments

1. Die Walküre, San Francisco Opera (Details)

This production offered one of the finest casts that could possibly be assembled for this opera (and The Ring) in the current operatic landscape. The production said some new things, and offered a few fresh perspectives, but didn’t try too hard, or overshadow the score. Maestro Runnicles is a Wagnerian master, and he and the orchestra rose to the occasion again. Yeah, I was a “Supernumerary” in the production, but I was able to watch much of it from the orchestra during rehearsals, and even accounting for my bias, this would still takes my top spot. Enjoy my full review here.

Mark Delavan (Wotan) & Nina Stemme (Brünnhilde); Photo by Cory Weaver

2. Scalpel! The Musical, Brava Theatre (Details)

Can you say fun? It had me at the opening number, with countless heals and drag runway walks. It was the first show I’ve seen in the Brava, and I immediately loved this venue…the warm lighting, the urban ambience, and the straight, raked seating offering direct views. Even with all the camp and hijinks, the entire cast was completely committed to the material. This was the second mounting of the show, and my fingers are crossed that it returns yet again. Apparently, there was a bit of a curse on the production, with multiple cast injuries (including a very unfortunate broken leg for leading man, Mike Finn), but they pushed through, with some quick and fortuitous replacements and prevailed. Picturing Sara Moore as “poop-raking” TV reporter Kitty Kelly (“Hardballs” host) still makes me laugh.

Emily McGowan: Fritzy, Arturo Galster: Pepper Van Allen, Cindy Goldfield: Jacqueline Bulgari

3. Heidi Melton: Salon at the Rex, The Rex Hotel (Details)

To hear Heidi Melton plead in spoken french AND debut her chest voice was alone faint-worthy, and positively scintillating. And, to hear her in repertoire much outside her core operatic rep and comfort genres was a treat (ie: Irving Berlin and Kurt Weill cabaret, and Korngold songs). Her rendition of Berlin’s “Always” left not a dry eye in the audience. (Her Noe Valley Chamber Music Recital a few weeks before was also very beautiful). No thanks to the Adler “Future is Now” concert, which was on the same night, the recital was over all too soon (evidenced by a jcm quotation here and here)! I stuck around and imbibed and dined at the bar…I wanted to savor the spell Heidi had cast.

4. Jerry Springer: The Opera, Ray of Light Theatre (Details)

The first act was one of the most entertaining acts of LIVE theatre I’ve ever experienced. I just simply couldn’t wait to see what freak was going to walk onstage next. And, there was quite a parade of freaks, as you would expect. Because of the writing, the beginning of the second act is a bit of a pacing lull after this initial excitement, but the excellent performances themselves didn’t let up an iota. It was a raucous and memorable night of theatre, which I was sure to get back and enjoy a second time. Jessica Coker as Chantel knocked it outta The Victoria, with my favorite “I Just Wanna Dance.” Being a fellow Cincinnati native, I just couldn’t get enough Jerry! All the profanity was a little sick…but A LOTTA liberating!

5. The Makropulos Case, San Francisco Opera (Details)

This was arguably the hit of the SFO fall season. No surprise there, as temperamental Super-Diva Karita Mattila, and Janáček ALWAYS seem to set fire here in San Francisco. I was nearly in the last row of the house and there still wasn’t a dull moment. Yes, Karita managed to incorporate her requisite splits. Every character was finely crafted, and the production and set design were very satisfying. Gerd Grochowski as Prus, and Matthew O’Neill as Count Hauk-Šendorf were particularly affecting.

6. Narukami (1724) & Chatsubo, Zenshinza Theatre Company (Details)

During my run as a Koken in the SFO production of Madama Butterfly, I couldn’t resist experiencing some real kabuki theatre. Thankfully, CalPerfs was offering some just across the Bay Bridge. I can’t know whether it was because it was my very first kabuki experience, or if it was truly a great performance/production, but it was a very special night. Narukami is a real classic, presented in the “aragato” (classic) style. At first, the experience of hearing a man voice the leading female role was a bit grating (even with my vast experience of seeing this done in other genres), BUT I grew accustomed to the sound, and enjoyed it and all the other masterful performances. It left me wanting to run off for 3+ years to train in this style! The way they use their entire bodies to tell a story was transfixing.

Zenshinza Theatre Company performs Narukami

7. Peter Pan, threesixty° Theatre (Details)

This production was pure magic. The ingenious use of the in-the-round ceiling for projections and to aid in the illusion of flying was masterful. But, unlike other hi-tech (Vegas) shows, it wasn’t just flash…it had much heart too. Peter was played by a young man, which added a component of sexual tension and frustration, particularly with Tiger Lily I hadn’t felt before. And, the Captain Hook was perfect. I went back a second time, taking my niece who was visiting from Cincinnati, and a few friends. It was no less impressive this second time, although the audience energy was not crackling as at the preview.

8. A TIE: Something Cool, Veronica Klaus, Rrazz Room (Details)
and Divalicious, Leanne Borghesi, NCTC (Details)

How wonderful when a performer raises their game and steps up to a new level of performance and artistry. (Even more wonderful when that artist is a friend.) Both of these divas blew me away with their solo shows. Veronica’s was cool and smooth, Leanne’s spicy and soulful. Leanne’s came right after my separation, so it was particularly emotional and well-timed for me. I love it when theatre/music serves as therapy too.

Veronica Klaus

9. Wheel in the Middle of the Field, and Rasa: Alonzo King’s LINES Ballet with SFO Adler Fellows, YBCA (Details)

Fresh and daring. Unlike anything I’d ever seen before. The perfect synergy of classical singing and modern dance. It introduced me to the beautiful dancer Brett Conway. Enjoy my full review here.

10. Yo-Yo Ma & Emanuel Ax Recital, Davies Symphony Hall (Details)

I was in a funky mood that night, and therefore didn’t connect with the performance as much as I normally would, but I had waited a long time to see Yo-Yo live, and it was a very beautiful performance indeed. They played Schumann, Chopin and Lieberson. It’s quite powerful to see two of the finest musicians in the world collaborate in that space, with a rapt, full audience.

Honorable Mentions:

Defying Gravity: B.O.O.B.S! (Leanne Borghesi, Jessica Coker, Soila Hughes), Rrazz Room; This show was phenomenal…packed with many fresh, unfamiliar songs, and amazing performances from all three!  •  Carmina Burana, SFS, Davies Symphony Hall; Soprano soloist Joélle Harvey was divine!  •  The Tosca Project, A.C.T.; I couldn’t keep my eyes off Nol Simonse, a phenomenally expressive and unique modern dancer. The piece made me feel very connected to being a (non-native) San Franciscan  •  Dirty Little Showtunes (by Tom Orr), NCTC; This show is screaming to have an Off-Broadway mounting…pun intended  •  Trannyshack, DNA Lounge; The continuing debauchery and gender-play are one-of-a-kind, and I’m honored to be a part of periodic shows there!

And, how ’bout you? What were your favorite LIVE performances of the year?

Please click on the image or link below (and kindly turn up your volume) to enjoy my holiday greeting to you:

“Winter Gifts”

Many blessings & best wishes to you and yours!