Continuing Mozart

Here we are, almost in June, and I realize I have not kept up to date with my blog. Bad soprano.

In April, I was called to Atlanta last minute to fill in for someone who was unable to sing Donna Elvira in their production of Don Giovanni. The contract was absolutely incredible – wonderful company and singers, but we hit the ground RUNNING and I barely had time to eat, much less blog.

This month has been all about our brand new production of Mozart’s Magic Flute at San Francisco Opera. I am playing the First Lady and the show is really going to be very fun and lively. David Gockley, General Director of San Francisco Opera, actually did a lot of the English translation that we will be singing and speaking and there are many moments of hilarity to be had. The entire production has been designed by Jun Kaneko, Japanese-born ceramic artist and sculptor. Jun also did the costume design and the general aesthetic is primary colors and geometric/line patterns. We have been able to preview some of the stage scenery and some of the projection ideas and it is truly a feast for the eyes. 

The Three Ladies of The Magic Flute. L to R: Renee Tatum, Me, Lauren McNeese

We open our show June 13^th and it runs through July 8^th. It seems that this summer is shaping up to be a lively and tantalizing season with Nixon in China and Attila running simultaneously at San Francisco Opera. I’ve been able to view a few rehearsals and stage runs of these other two amazing shows and this summer is going to kick start our upcoming seasons in a fierce way!

 More to come, I promise!

A Walk Through My Day: Prima Donna's Opening Night

With Rufus Opening Night

I woke up this morning - the morning of our opening of Rufus Wainwright's opera, Prima Donna, with NYC Opera - and I just knew something was "right." I had rested enough. I had enough water. My sinuses were not stuffy and irritated. My small vocal trills sounded and felt good. I ate a good breakfast and packed good snacks. All my cast gifts for opening were bought and all cards were signed. I just had an "on" feeling.

Upon reaching the theatre, I felt calm and relaxed and I did little 10 minute warm-ups here and there to just make sure all was well. I drank some hot tea, got my hair and make-up done and practiced my piano bit ( I have to play piano and sing on stage in this opera). As we got our "5 minutes to places" call, I got a very slight excited jump in my tummy, but I did not feel nervous.

When the orchestra begins the Overture, I am seated on a chaise lounge alone in my "house" on the stage. Nobody from the audience can see me during most of the Overture because I am in total darkness. Today, when the work lights went off and I heard the orchestra begin their playing, I could not stop myself from smiling from ear to ear.

Previously, I have not had the singing experience where I am totally engaged in each moment of character and not in my own way or thinking about what could have been better or different. I guess I'm just too "Type A" to let it go and move on. But....today was that day. I did not worry or second guess or become an obstacle to this amazing piece of story-telling. I found myself even being tickled at times with how smoothly things were going. I did not know that there was freedom in complete ownership. There was suddenly a lack of doubt. I was able to see not just my own best choices but I was able to react more clearly to others.

I have thought throughout this process that there was room for me to grow - I just had no idea how much growth could happen in one show. I have vocally found different places of my voice that I did not know were there - strength that I did not know existed and vulnerability that has lent itself to true expression on stage.

Meeting the legendary Yoko Ono

Meeting one of my heroes, Susan Sarandon

At the end of the performance, we all toasted Rufus and the entire team that made this opera happen.  I went home to rest for a bit before going out from Brooklyn to Manhattan for Rufus' after party. The gathering was at German restaurant later in the evening and I originally thought that I'd be too tired to attend at all. I decided to go for just an hour or so.

As I walked in, I found Rufus and went up to him to say hello and let him know that I made it. I saw a woman in a pill-box hat decorated with a feather seated next to him and, suddenly, this face turns around to smile at me and I realize that it's Yoko Ono! As I start to look around the table, there's Sean Lennon, Chloe Sevigny and Parker Posey. I tried not to just let my jaw drop. Next, Rufus said, "Come meet Susan." I'm looking at the back of a wavy-red head and Susan Sarandon turns around and begins going on and on about the opera and how much she loved it. We ended up having a very good conversation about my character in the opera, Rufus' first attempt at opera, the state of affairs in opera finances and ... well, just opera in general. Similarly, I found that many of these people we might consider untouchable were ultimately approachable and interested in the art form of opera. Sean Lennon, outside the restaurant as I was leaving, talked to me for at least 10 minutes on how refreshing it was to see our opera, with its small cast and sparse set design, focusing on the characters as one would do in live theatre.

With our Conductor Jayce Ogren and Charlotte Dobbs

What a wonderful day and night and what a wonderful example that, when one least expects it, there is confidence and support and interest from every direction. I think I may try this "getting out of my own way" thing more often.

Next Stop... Opening Night for "Prima Donna"!

Tomorrow is our final dress rehearsal with invited audience and we just had our final touch up rehearsal today.

This has been the biggest whirlwind opera experience of my life. In the past, I have had to learn music quickly, but this time I've had to learn STAGING at lightning speed. Our director, Tim Albery, was unable to be in attendance until the final week of rehearsal due to scheduling issues. His assistant had been running rehearsals and doing a great job with it, but there have been many final "tweaks" put in place so that the audience gets the best show possible. 

The show is guaranteed to be visually STUNNING. During the 15 minutes that I am NOT on stage in this show, I popped out into the hall and watched. The opera is beautifully and artfully lit - lots of silvers and blues against dark metallic walls. There are lit candles and red roses EVERYWHERE. Think Richard Strauss' Rosenkavalier meets Sunset Boulevard and you've got the aesthetic.

The singing from each and every lead is just magnificent and full of life and passion.  Wish us all luck on this major endeavor. Seats are going quickly and we are almost fully sold for the run!

Et maintenant, bonne nuit et bonne chance!

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.