Still happily ensconced on 42nd Street, in what otherwise must surely be an opera-free zone. The studios at the New 42 are clean, humane and civilized, and there’s a nice deli next door. Occasionally the sprung floors begin to bounce because the workshop of Shrek: The Musical on the floor above us is doing improv, but it’s all quite pleasant. Good singing, good colleagues, and the 34-block commute is lifting the temporary fog from my brain.
And who wouldn’t be happy with Madame Tussaud’s right outside the window? :)
A Friendly Reminder
Thanks to our pianist “Marco “for making our slightly out-of-tune piano sound like a million bucks. He would like to remind all singers out there to please take your music out of those glossy page protectors. Not so good for you if the pianist can’t see your music.
This year’s aria list is forthcoming, I promise. Perhaps to be tabulated on the train out of New York this weekend.
For now, I will simply note that there seems to be more variety than in previous years, if not on the actual rep lists themselves then at least in the selections that singers chose as starters. It’s not that what’s being offered is exotic, just that the repeats aren’t as plentiful. Or perhaps it’s just my memory, the deficiency of which is legendary…
I did hear a few of my less-common favorites this week: “Au mont Ida” (tenor, from Offenbach’s La belle Helene), “Va pure ad altri in braccia” (mezzo, from Mozart’s Finta giardiniera), “Love Me Big” (soprano, from Bolcom’s McTeague), and “Guardian Angel” (tenor, from Floyd’s Cold Sassy Tree).