AND....WE'RE OFF!

I have to express my extreme excitement at being with New York City Opera again. The last time I was here was for the New York premiere of Stephen Schwartz' Séance on a Wet Afternoon. I am delighted to be invited back and happy that the false start of delayed contract agreements only resulted in our first rehearsal being postponed by a few days.  But, when given the green light, we hit the ground running and have spent the past week working diligently to get our production well on the road toward being ready for our run of performances.  I think I can speak for the cast when I say that we are all so very grateful to be working on this opera and excited to be a part of this season's huge array of spectacular pieces.

The opera, Prima Donna, which will be making it's U.S. debut and New York City premiere, has been composed by Grammy and BRIT nominated and dual Juno Award winning singer/songwriter, Rufus Wainwright. I have been a fan of Rufus' for at least a decade and one of his songs was even in my wedding reception mix in June, 2008 - long before I knew I'd be working with him. As one can imagine, this is a dream come true.

The story of Prima Donna revolves around an aging opera singer who is attempting to revive her career amidst self-doubt, failed romance and crippling loneliness. The opera, sung in French, is set in Paris, 1970. The story is very much inspired by Maria Callas' later years in Paris where she was known to lock herself inside her room and listen to old opera recordings.

I am so excited to sing the role of Régine Saint Laurent and to open myself to the process and experience of working on this opera. It is enough to be offered an opportunity to give voice to such a complex and dynamic character, but to also get to work with someone whose musical talent I admire so much is beyond wonderful.  To take this "dream come true" experience for me and elevate it to the stratospheric level, last night, the soloists involved in Prima Donna were asked to do a "Works and Process" preview of excerpts of the opera at the Guggenheim Museum. At the last minute, Rufus decided to accompany me in performing the last aria of the night. There are no words to describe the experience of singing Rufus' music while he played.  I really could not breathe for about an hour.

So, my friends, I am on cloud nine. We are doing great work and we are all eager to present this opera on February 19th at the Brooklyn Academy of Music's Howard Gilman Opera House. The show runs through February 25th and tickets are available at New York City Opera's website.

The last show of our run will occur one day after my birthday. As if I were not already swimming in luck during this contract....HAPPY BIRTHDAY TO ME!!!!!!!!

Melody's Commercial for The San Francisco Gay Men's Chorus Holiday Concert

Melody Sings and Rings in the Holiday Season with the San Francisco Gay Men's Chorus

Come and hear me sing with the San Francisco Gay Men's Chorus in their 22nd Annual "Home for the Holidays" Concert.  December 8th at the Masonic Auditorium and three performances on December 24th at the famed Castro Theater.  To buy tickets or for more info, click here.

Time With Susan Rescorla

What a beautiful Labor Day weekend it was in Napa. Susan Rescorla flew into town and got settled into her hotel on Sept. 4th and we started bright and early on a whirlwind Napa adventure the morning of the 5th.

Susan Rescorla 

Somehow, over the months that have passed since I've seen Susan and despite the fact that she experienced major damage to her home from Hurricane Irene, she has become even more fresh faced and beautiful.

Our first stop was the Domaine Carneros Winery by Taittinger. This happens to be, along with Roederer Estate, my favorite champagne. We wanted to have a little tasting before our lunch. We sampled 5 different champagnes and tried to be judicious and not get too silly with the bubbly. However, due to either the glorious beauty of the day or the effects of the wine, Susan ended up ordering a half-case of a moderately expensive and aged blend. On the way to the car for lunch, she actually said to me, "How much was each of those bottles?" I told her what I thought I remembered the price to be. She stopped in her tracks, looked up at me and said, "How many did I order?" I told her "Um.....six." She then got in our car and said, "What the hell is wrong with me!?" I'm still laughing about that. 

Lunch at Auberge de Soleil was spectacular. We split every dish and still walked out stuffed. Corn chowder, a taste of homemade gnocchi and some squash blossoms stuffed with ratatouille. Not too shabby.  

Susan and Melody lunching at Auberge de Soleil

I felt like I was in a dream - spending such a delightful and full day with Susan. We talked about simply everything, laughed, cried and maybe even healed a bit. I love you so very much Susan. You are a warrior. Rick saw it and so do all those who love you.

Let's Do Some Good

This morning I am looking over my music with twenty or so "notes" from Francesca, her assistant Matthew, David Hanlon (assistant conductor) and our librettist, Donna Di Novelli. These notes are, of course, little things that can be changed to make the show better and better. It just takes a little brain power and a good deal of strong coffee to assimilate the suggestions; especially precious hours before an orchestral run-thru.

As we approach opening night, I think about all the things that have been unique about this project:

-I am playing someone who is alive and capable of helping me through rough patches in character.

-I am working day by day with the composer and librettist and making little changes to the score, words and intent. We are creating together every minute.

 

-I am being directed by a world class leader and team.

-Our sound/light/graphics/stage crew is at the top in their fields...literal geniuses behind all of the things the audience will feel and hear.

-Patrick Summers makes my head swim with his talent and knowledge.

-Last, but not least, I will NEVER AGAIN be able to walk out on stage IN PERFORMANCE in either sneakers or barefoot with hardly any make-up on, dragging a dog and using my own hair. EVER.

"In bocca al lupo," "toi toi toi" and general "breaking of legs" to all involved. Be proud of this project and, in the words of Rick Rescorla, "Let's go do some good."

[Above: Thomas Hampson and Melody Moore as Rick and Susan Rescorla at a recent working rehearsal. Photos by Cory Weaver.]

http://sfopera.com/About/Backstage-at-San-Francisco-Opera/August-2011/Susan-Rescorla.aspx 

Meeting Susan Rescorla

I just got off the phone with Susan Rescorla and we're planning a little Sonoma getaway—just us two silly girls—for Labor Day. I've gotten to know Susan so well over the 8 months that have passed since we first met at our Heart of a Soldier workshop and press conference in December of last year. It has been an honor to get to know this woman who is a perfect balance of resilience and vulnerability. Our first meeting, at least on my part, was full of anticipation and a healthy dose of fear. I was so nervous with questions..."What will she be like?", "Will I be able to sing this in front of her without crying?" and "Will she appreciate the work and give her approval?" So many unknowns.

Susan Rescorla walked into our rehearsal room very quietly as we had begun singing Act 2 of the opera. She sat at a work table watching us along with Chris Theofanidis, Francesca Zambello and Donna DiNovelli. I couldn't look at her; so, I just kept to my task—hoping to deliver the text and intentions respectfully and honestly. As we finished the opera, I dared to glance toward her. She was sitting beautifully upright with tears covering her cheeks. I became a massive puddle.

Upon ending rehearsal, I walked over to meet Susan. I was completely prepared to hug her, hold her up or just sit with her if she needed to cry. She looked up at me (she MIGHT be 5 ft. tall in heels) with tears still running down her face and said, "OH GOOD! I always wanted really LONG legs!"

The rest is history—a really good, close, know-each-other-already-without-saying-a-word kind of history. Susan, "This one's for you, kid."

[Below: Rick and Susan Rescorla]

 
Saturday, 8/20/11—Act 2.
We have put some finishing touches on the entirety of Act 2 with all choristers, soldiers and characters present. Even in the bare space of Zellerbach A rehearsal space, with only the skeleton of a set, we are all immersed in and transported to the late 90's/early years of the 2000’s. It's a snapshot of a decade on the verge of major change—unaware of the fact that the nation's view of safety and calm will be shaken as of 8:46 a.m., September 11, 2001.

As I look around this room, I am so grateful to be part of such a respectful picture of Rick Rescorla's life, military and otherwise. A picture of his willingness to save anyone he could touch—to his own cost. Rick thought outside of himself and had the courage to directly defy orders if it meant saving those lives. THIS is the Heart of a Soldier.

http://sfopera.com/About/Backstage-at-San-Francisco-Opera/August-2011/Thoughts-from-Melody-Moore.aspx

Backstage at San Francisco Opera: "Heart of a Soldier Rehearsals Begin"

I'm getting ready to enjoy our first day off from rehearsals and it's hard to believe one week has flown by so quickly. All of my initial jitters have worn off and we are so blessed to have such a GLORIOUS cast of singing actors. Every single member of this ensemble is bringing their best and it's hard not to cheer in the middle of musical rehearsals when Bill Burden hits some crazy high note with no sweat--or when Tom Hampson gives you chills with his spot-on dramatic interpretation. [Photo: Bill Burden, Tom Hampson and Melody Moore in a musical rehearsal for Act II]

The staging rehearsals are looking wonderful although, I must admit that I have not been a huge part of the first week stagings (I enter in Act 2 with only a small appearance in Act 1). The men (soldiers) range anywhere from professional dancers to athletes to actual soldiers returning from tours of duty in both Afghanistan and Iraq. The energy in the room is palpable as they march across the stage.

I tell you, I've already done a lot of interviews and I know that opinions vary wildly in this world of opera. I also know that some people make their livings by meticulously scrutinizing new works. But...I think it will be hard to walk away from this opera untouched by Rick Rescorla--unmoved by his special brand of duty and honor and by his deep love of humanity. I am full to the brim. Thank you, Rick, for what you teach us every day. [Photo: The soldiers move across the stage in a staging rehearsal]

http://sfopera.com/About/Backstage-at-San-Francisco-Opera/August-2011/Heart-of-a-Soldier-Rehearsals-Begin.aspx