Konstantin Krimmel: a commanding presence
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Putting on a show & other things instrumentalists can learn from singers
Op-edEver since I started working more primarily with singers, I've learned a lot about what it means to be onstage. Unlike pianists, violinists, cellists, clarinetists, etc., singers are their instrument; this is the case when they're making sound, and when they're standing in silence during musical introductions, postludes, and interludes.

Potential orchestra mutiny and conductor envy
Op-edAs a pianist and répétiteur, I don't envy conductors, either. Plenty of pianists do, and often their work repping in rehearsals or coaching singers is a stepping stone for them into the eventual world of conducting. I've never wanted to stand on the other side of the piano, largely because orchestras can be terrifying.

Così fan tutte: misogynist, or just unreasonable?
Op-edThe other day I was fortunate to hear Graham Forst speak about Così fan tutte. If Graham's last name sounds familiar, it's because his wife is the formidable mezzo-soprano Judith Forst; they're both gracing The Banff Centre with their presences, she to teach, and he to get our minds a-spinning.

Despina in Banff
Op-edAs the half way point of my time at The Banff Centre is coming up quickly, it seems like a great time to reflect on what it has been like staying in Banff and working on A Little Too Cozy.

"That concept production didn't work," & here's the real reason why
Op-edInstead of the lazy/meta/shock-value tactic, just commission an opera that tells the story you want to tell. Yep, that's a big ask, I know. It's a longer, riskier, more difficult process than slapping rape scenes onto Rossini, but I think it's the more creative way. Plus, it could be a serious killing of two birds with one stone; the stories would be organic (and still shocking, if you want - I'm no Victorian with what I want to see onstage), and it would be a great motivator to fuel the need for more contemporary operas.

When the crowd went wild for Handel
Op-edFriday night was the second Opera Karaoke night at the Royal Canadian Legion in Banff, AB, and the most amazing thing happened. Soprano Caitlin Wood (singing Despina in A Little Too Cozy) showed off her coloratura chops with Handel's "Da tempeste," Cleopatra's flashiest aria from Giulio Cesare. We weren't performing for a particularly opera-savvy crowd, and in my own experience, the older the aria, the bigger the risk of boredom for this kind of audience.

Lost in translation?
Op-edA translated libretto is one of the more exasperating things in the life of an opera singer. Not always, of course; English to German and vice versa work pretty well, similarly with Italian to French. For reasons that sound trite, singing an English Il barbiere di Siviglia or a German Carmen can feel uncomfortable and weird.

Catty commentary, or what's not useful for opera
Op-edThe Cardiff broadcast looks a bit like a mix between mainstream talent shows (So-and-So-Country's Got Talent, etc.) and TSN; I'm not opposed to the preamble, introducing the singers with an interview and building hype with all the backstage footage. What I didn't like was the commentary. I was appalled to hear what was being said about these young singers; perhaps the idea was to provide context and insider information for listeners, but I think it was just mean.

Breaking into the industry: a vicious cycle?
Op-edWhen you want something like this so badly, you will do pretty near anything to keep going. It makes you feel crazy, sure! But is it crazier to deny yourself what you love, or is it crazier to keep going when there's no end in sight? I wish I was here to bring you some hope and be all, “Here is a solution to all your problems! And here, 10 points for Griffindor!” Unfortunately, however, I am not a wizard and cannot wave a wand, say a little charm, do a little dance and have the circle stop and re-order itself into a tidy, chronological line.

Giving up, caring too little, and other taboos
Op-edA couple of articles popped up this week that circle around the big issue of taboo in the arts. Allison Ford, in her "I Gave Up My Dream And I'd Do It Again," talks about her decision to walk away from pursuing a career in theatre, at the tender age of 20-something. Closer to opera is Kathryn McAdam's "Soprano on Sabbatical...What on earth does she mean?", where she reveals a beautifully personal story about her struggles with vocal health that finally trumped all.