Archive for the ‘my gigs’ Category
My Christmas / holiday / solstice greeting for you, sharing a story of the gravitas and beauty of our humanity, from life in San Francisco…to our world. It combines a music track of mine, with some favorite illustration work.
I hope it resonates to you.❤
The music track is from “Christmas in the Ballroom” 2011, with solos by myself, Nicholas Patton, and Gina DiRado. Also featured are Ann Assarsson, Ryan James Brandau, Katie Brennan, Ivy Depner, Matt Peterson, Kathleen Pheneger, and Trond Gilberg on piano.
Illustrations are by Nikki Mclure, Paul Madonna, Barrie Maguire, Paul Bommer, Maggie, Marco Cibola, Mike Brennan, Aline Candido, Cathy Trautmann, Clifford Harper, Artflakes, Tugboat Print Shop, and misc. street artists (Berlin, and elsewhere).
I don’t own the rights to these illustrations, and use them humbly and with great admiration for the artists. This is not for any commercial purpose or broad circulation.
It’s time for my third annual Top 10 round-up. These don’t attempt to be comprehensive reviews…but rather an Amuse-bouche of the most stellar performances I witnessed by the Bay, in ’11. How in the world can I compare a Pop Star to a Handel opera, you ask? Well…I warm up the jcm-ulator, and out come the tabulated results. It doesn’t lie. I seem to be trending towards opera, with musicals taking a back seat. Why? They sing louder, higher and without mics?
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!
Happy Christmas to you!
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!
Enjoy an updated and edited version of my previous post on San Francisco Opera’s “Notes from Valhalla: The RING Blog”:
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.
It’s that time again! I’m serving up my second annual Top 10 LIVE Performances of the year. It’s a follow-up to my ‘09 list. Sadly, there are no Broadway shows on this list. I plan on remedying that in 2011!
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.
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.
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.
The Adventures of…
“Look! Up on the stage! It’s a samisan, it’s a parasol, it’s SUPER-KOKEN!
Slower than a drifting glacier, more stealthy than a leopard on the hunt.
Able to spin the turntable in a single hook.”
Further Feats: 40 minutes of standing in a demi-plié, 6 child’s poses, 30 minutes in a forward yoga lay, 16 turntable rotations, 1 death-defying silk drop catch, and more!
But, don’t all superheroes have baggage? Thus, I deliver my diagnosis of the Koken: In need of treatment for OCD and chronic inefficiency. These Kabuki-inspired characters in San Francisco Opera’s Madama Butterfly (of which I am 1 of 6) unfailingly offer up perfectly aligned prop placement and table settings, and impossibly measured, controlled movement. SICK!
From a serious perspective, I love exploring and learning different kinds of movement (and dance). Ours requires us to be very in sync, and move nearly as one, in an energized, yet internalized way (like the Tai Chi we trained in). It’s been the best workout I’ve gotten in ages (boy, those pliés are GREAT for the inner thighs!). I’m also savoring the meditative, spiritual practice I’m experiencing through the incredible presence this technique requires.
Given that our all-black costumes are very much like those of a ninja, our presence lends an air of intrigue and gravitas to the unfolding of the proceedings.
Demystifying Illusion & Stagecraft (WARNING: SPOILERS)
I’m amazed at how transforming the art of illusion and stagecraft are, when used so masterfully. Up-close and unlit, the set shows its almost 30 years, and doesn’t really “sing”…BUT, when lit, and from the house, it emerges full bloom into a seemingly living and breathing world. The fiber board panels with overlapping green carpet look like REAL stone and earth. The perforated metal panels that up-close look too thick and heavy-handed, appear exactly like paper screens. GENIUS!
The technological trick that enables the crew to rotate the turntable a calculated amount each time is a crafty system that includes UV painted numbers on the TT rim, that when black-lit from the side are visible only to the offstage crew. This ensures exact placements every time. WOW! Yes, the cat’s outta the bag, the Koken only pantomime the TT rotation, but it’s still a workout to make it look real, with right degree of physical tension.
Honored & Humbled
I’m about to embark on one of my most exciting stage opportunities to date. Tomorrow night I dive into rehearsals for the San Francisco Opera production of Madama Butterfly. It’s the acclaimed 1982 Harold Prince (Phantom of the Opera, Sweeney Todd, etc.) production from Lyric Opera of Chicago, most recently seen in LOC’s ’08/09 season.
I’ll be one of six Koken, a Kabuki-style performer and stage assistant/
attendant. Traditionally, their duties include assisting the leading cast with properties and costumes, helping create special and supernatural effects to propel and enhance key plot points, and acting as puppeteers. Although done discreetly, all of this is done onstage, in plain view.
From Behind Black Cloth
We’ll be clothed in all-black costumes, including a robe with cloth belt, partially transparent, veiled hood, cloven boots, and gripper gloves. They are not unlike tailored, ninja costumes to my eyes. In my surfing (aka research), it seems as if our costuming may more accurately define us as a Kurombo (meaning “black fellow,” for the costumes), rather than a Koken (meaning “assistant”). They serve the same function, but are typically costumed differently. Read more about Kabuki and Koken history here, here and here.
Apparently, in this production, the Koken are onstage for most, if not all of the performance. There are extended sections in which only the Koken are onstage, including a 30-minute ritualistic pre-show, involving the set up of various props, which will also be repeated at intermission.
The production also features a turntable that rotates over 25 times in both directions. The Koken connect sturdy hooks on thick ropes to slots on the turntable to simulate its turning. Thank goodness this one is ALL illusion! (Although, it sounds like I’m going to still have to have really good knees.) I don’t want to reveal any of the other illusions, lest I spoil the surprise element. There is an effective, almost jewel-box-like intimacy to this production, as you can see in the photo above, perhaps necessitated by the turntable.
Tai Chi Preparation
In order to help us master the specificity of movement required, we will be training in Tai Chi. with Cory Chan of Kei Lun. Training in a 700+ year old Chinese martial arts practice for a Japanese-themed opera, you ask? (I asked the same thing.) Well, I’d never done Tai Chi, but the small sampling of it I got in the audition whet my palate, as it seems the perfect balance of meditation and dancer-like movement. It’s a great way to really “get in” one’s body, and the intricate sequences will help prepare the mind for the staging sequences that will be asked of us.
Performances are October 12th through November 27th. Buy tickets here. Our cast will include Svetla Vassileva / Daniela Dessì (Cio-Cio-San/Butterfly), Stefano Secco (Pinkerton), Quinn Kelsey / Brian Mulligan (Sharpless) and recent Adler grad Daveda Karenas (Suzuki). Nicola Luisotti / Julian Kovatchev will conduct, and SFO regular Jose Maria Condemi will direct this remounting.
Here goes…I’m ecstatic! How lovely to be able to add a Puccini opera to my previous experiences in a Verdi, Wagner and Philip Glass opera. This opera has never been one of my favorites (other than the few obvious musical highlights), but I’m sure this experience will spark a new love affair with the score.
I leave you now with arguably the most famous selection from the opera, sung by a legendary Cio-Cio-San: