Riggy, I Can't See You!

Rigoletto was back at the Portland Opera for their final production of the ’08-’09 season. Or as some of us say, “welcome home, Riggy!” Why? Because returning to perform the title role was Mark Rucker who sang in the previous production of Rigoletto in 1998. I must say I was very proud to be a part of the opera chorus at that time and singing with one of the world’s premier Verdi Baritones is not something that another baritone takes lightly. In ’98 I was able to observe Mark in every aspect of his character integration with the show. I say ‘integration’ rather than ‘development’ because Mr. Rucker had performed the role countless times even then. I’m sure he’s got a few dozen more under his belt in the last 11 years. But watching him work behind the scenes was amazing from the first music rehearsal to just before the final curtain when he cries in agony over losing his precious daughter, Gilda. Well, cut 11 years and I’m now in the audience ready to enjoy Rigoletto from an audience perspective on a $20 ticket (thanks to PO’s new policy of “padding the house” on certain days and sections). One thing I will say about this new production is that it was not well lit. After performing a number of operas where the lighting designer throws lights from all angles from the rafters, downstage, and offstage left and right, (and becoming near blinded in the process) this show had minimal lighting. Unfortunately, the beautiful, multi-functional 2-level set was drenched in darkness, and all the wonderful colorful costumes were just so-so in the drisly trickle of illumination. So I say to the lighting designer, "may a thousand points of light sting your eyeballs so you can know what light looks like!" The sound, however, was astounding! Rucker…yo, what can I say? He’s da BOMB! But one thing that stood out this time around was the last scene. Remember in "Godfather III" when Michael Corleone is on the steps of the opera house after his daughter was shot, and he gave that looooong silent scream, then suddenly inhales and wails in dispair? Rucker's wail was like that. Chilling to the bone and heartbreaking. And Gilda, sung by Sarah Coburn, brought the house down with her “Caro nome”. I’m not usually a big fan of twittery coloraturas, but Coburn made me swoon. Peter Volpe was Sparafucile and if there ever was a bass that I want to be when I grow up, it is Mr. Volpe. My favorite memory of the show is in Act II when Sparafucile tells Riggy that he’ll be at the same place every night if he needs him, and walks offstage singing a low F – still resonating in the back of the house! Gotta love a great bass! But by far I am most proud of the men’s chorus. The men’s chorus in Riggy is tough. I mean machine gun, ratta-tat-tat type of patter singing that is not easy to coordinate with 20 men, a 40 piece orchestra, and a baton. But the men were DEAD SOLID PERFECT! I have never, even in recordings, heard the chorus so spot on. Brilliantly sung. Bravo, men! Now the season is closed and we look forward to yet another production of La Boheme in September. I think it’s the 4th time in 15 years that they’ve done this show. Hmmm…must be a moneymaker. I’ll be looking for my $20 tic for this as well.

Is is OK to knit in a crowded Opera House?

I was very pleased to accompany my lovely daughter, Goonie, to the final dress rehearsal of La Traviata. Her mother was singin' in the chorus and Goonie likes to go to see productions that her mamma or daddy are performing in. Since she knew I was taking her to the opera she even dressed up in my favorite purple velvet dress. And it is traditional to enjoy fine dining before going to the opera so we went out to eat - at the local ma & pop diner. I mean, they make the best grilled cheese in Portland! We arrived at the opera house and made our way to the first balcony, row B. Ooooo, I thought, gonna be nice seats. They were! If we paid for that pair of seats for opening night they would have been well over $200! We settled in our seats and that was when I noticed that the lady sitting to my right was awfully fidgety. I didn't want to stare at her so I gave her the 'fish eye' and beheld a sight I've never seen before -- she was knitting! I thought, ok, that's a nice way to help make the time pass until the curtain rises. I fully figured the needles and yarn to be put away when the overture started. Nope. Kept right on knittin'! All - through - the - entire - opera! WTF!?!? Knitting is certainly not as bad as texting a friend with your phone, or being openly flatulent for that matter. But the constant fidgeting and elbowing was most distracting. Especially in Act II when Verdi just could not deem himself to move the plot along fast enough. I think because it was the final dress rehearsal and many of the tickets are 'comp' tics and are given to folks who do not usually attend the opera that someone gave it to a relative who figured the 3,000 seat cavernous theater was just as well as her own living room. Ok, then. I'm determined to pass some gas next time I'm at the opera.

Those La Boheme Nights

Puccini has a way of getting under your skin, and invading your dreams. For the past few nights I have bolted wide awake with Act I of La Boheme going through my head. When singing Puccini one must count and listen like mad in order to hear a que and sing at the exact moment. This is not symmetrical form music like my beloved Mozart composed. Alas, Puccini liked to write rather unsymmetrical ensemble dialogue and arias in which he fancied lietmotifs and mood enticing scoring. in Act I of La Boheme Puccini introduces the four main guy characters, Marcello, Rudolpho, Colline, and Shaunard, all who are poor starving artists of some variety. The complain of the bitter cold and starvation until Shaunard enters with some money & food earned from a British Lord. The sound que's are tight and sometimes sycopated, or off-beat. Repitition, I find, is the best rehearsal regime. And thus, with so much repitition the subconscious just loves to take the opportunity during REM sleep to repeat those queues just one (or ten) more times. Yes, for the past week I have suffered an acute case of PPSD (Puccini Production Stress Disorder) and insomnia is my enemy. Almost to the minute I will wake up at 3:30 am with the lines of Puccini rolling past the scrollboard of my mind. When will it end? Hopefully soon 'cause we gotta get to learning how to deliver improvised opera next!

Benefits of learning new roles

Day 2 - Thursday Rehearse rehearse rehearse. 7 hours of staging and reviewing. Gotta get this little opera on it's feet ASAP! I have performed Boheme before as Schaunard in Italian. I have filled in last-minute for this project to perform Colline and Alcindoro in ENGLISH. It's certainly a different learning curve memorizing an opera in English that once was completely learned in Italian. Performing Colline is a bonus to me, I feel, because as a Bass-Baritone I get to utilize the nice low notes, and have yet another role under my belt for this popular show. Later we shall be performing a concert version of our La Boheme in Italian with orchestra, so having another role memorized in Italian is bonus.

New Year, New Life, New Project

Day 1 - Wednesday Here we are and here we go! Today I begin a new adventure as a member of Portland Opera To Go (or, affectionately labeled "POGO"). Met and gret the 5 other cast members of POGO's Boheme and proceeded to get down to business. We have a talented cast with varying experiences. The soaring music of Puccini resounded in the rehearsal studio. Ah, Puccini. A performing artist who is fortunate to listen to Puccini all day for a living is truly blest indeed. After a few hours of music rehearsal we spent a good 5 hours staging acts I and II on our portable and compact set. As a seasoned performing artist I can tell you that staging that many hours at once is exhausting. I went home and after a quiet meal I fell asleep by 8pm. An early night for me.

I Feel Like an Evil Bog Dweller

For two years I’ve been stretching the chops on nice high baritone & tenor-ish repertoire like Sweeney Todd, the tenor solo in the Hoppe Requiem, musical reviews with Broadway favorites like Music of the Night and Bring Him Home. Now I have the distinct honor of re-joining the ranks of my Basso (Canadenis) Profundo friend, Campbell Vertesi, and have been assigned to sing low bass for the Portland Opera Norma chorus. BAD: when the full ensemble of Sops & Tenors scream fortissimo (the actual technical music term is balls-to-the-wall. Really! Look it up in Groves!) on High A’s, Mezzi belting somewhere in the top of the treble, and basses…you got it! We’re trying to force a mighty D root in the middle of Bass Clef. Do you think anyone is going to hear a handful of basses huff on a note placed in the middle of bass cleff with 35 other trained singers screaming 2 & 3 octave higher, AND a full 60 piece orchestra blaring from the pit? No way, Jose! GOOD: But, ohhh, it feels good to rumble on a low G for a page and a half of pianissimo chorus. That’s when having the low notes pays dividends. Ahhhh…it’s nice to be back home for a while. Tenors, eat your heart out. THE BEST: Who wouldn’t want to add ‘Bog Dweller’ to one’s opera resume already littered with, but limited to, Guard, Lowly Slave, Noble, Evil Assassin (I like that one), Soldier, Priest and Gypsy? Besides, the pajama and robe costumes are the most comfortable I’ve worn by far.