Fairytales can come true, it can happen to you...


Whew! I've been out of communication for a while, haven't I? It's been a whirlwind since the new year, with my trip to New York and a Quintimacy concert and rehearsals and more rehearsals (and yet more rehearsals)...

It's my day off and I'm attending to all the domestic duties I've neglected while rehearsing for an upcoming production of Cendrillon, Massenet's sparkling rendition of the Cinderella fairy tale. I've scrubbed the kitchen sink and counters, the bathroom sink, the toilet, and hubby has filled the washing machine with hot water and vinegar to try and eliminate the residue it's leaving on the supposedly clean laundry. I'm about to head up to scour the shower tiles and tub. Am I the only one who sees the irony here?

I have been invited to return as a guest artist to my alma mater, the Glenn Gould School at the Royal Conservatory of Music (one of the foremost musical training programs in Canada), to perform a leading role in the first opera to be presented in the new acoustically perfect and exquisitely designed Koerner Hall. If you're in the GTA, come hear this magical work performed by the bright new generation of up and coming singers with conductor Uri Mayer and the Royal Conservatory Orchestra, on Saturday, March 20 at 7:30 pm, Sunday, March 21 at 2:00 pm, Tuesday, March 23 at 11:00 am and Thursday, March 25 at 7:30 pm.

Cendrillon (Cinderella) by Jules Massenet (1842-1912) is a re-telling of the familiar story. The Cinderella theme may have originated in classical antiquity, with the story of Rhodopis by the Greek Historian Strabo. The tale was written down in China during the year 830 by Tuan Ch'eng Shih who referred to it then as an old story. Of the most commonly read versions, a somewhat barbaric one by the Brothers Grimm and a more refined one by the upper class seventeenth century French writer Charles Perrault, the composer and his librettist Henri Cain (1859-1937) chose the latter. Massenet's rendition is a wonderfully constructed piece of musical theatre, where the sublime romanticism of the forlorn lovers is juxtaposed against the ethereally magical scenes of the fairy godmother and the outrageous shenanigans of the step-mother and her daughters.

We are deep into dress rehearsals - and it’s so much FUN! I am playing the wicked step-mother, which works for me very well vocally and temperamentally. It's also the perfect balance (and antidote) to the darker material I've been working in for most of the last year and a half: several amazing V-day shows (The Vagina Monologues and Any One of Us) a brilliant but harrowing opera about the holocaust (And the Rat Laughed), and the intensity of the Wagner arias I worked up for a recent vocal competition in New York.

Side note: I'm a hybrid creature - something of a vocal chameleon, possibly a closet soprano, probably zwischen-fach: this means my voice doesn't fall neatly into a category or 'fach'. I have a fine higher register, as well as a rich lower one, and I am operatically well-suited to zwischen-fach repertoire (that is, actual soprano roles which are occasionally taken by mezzos and vice versa) as well as the Verdi and Wagner mezzo roles, which often require the same range as the soprano, but not the same tessitura. Here's an easy analogy: the elevator goes to all the same floors, but the approach to the penthouse is a little different and while we love to visit, we prefer not to live there! It seemed that everyone who heard me had their own opinion about my fach and for years I was subjected to a tug of war between those in the soprano camp and those cheering for the mezzo team. Temperamentally, though, I am definitely much better suited to the mezzo repertoire. These roles are only rarely the heroines; rather usually we play the spoilers - witches, bitches, hags and whores, with the occasional mother, good or bad, thrown in for variety. This makes for much more interesting character fodder for my taste - not to mention the inherent therapeutic cathartic potential ;)

Now, don't get me wrong. I love to sing profoundly dramatic rep (whether mezzo or soprano). I adore the great sweeping Verdi and Wagner roles for their vibrant or lush textures, as well as Rossini, Bellini and Donizetti for their fluidity and fioritura. Alas, Mozart and Puccini did not write much for the mezzo-soprano, though I had a blast in recent years singing Ciesca in Puccini's Gianni Schicchi and Marcellina in Mozart's The Marriage of Figaro - both brilliant comedy shows with some very tight ensemble writing (in the Puccini, I even got to sing some fabulous High C's!). In addition, I am one of those freak singers who loves contemporary repertoire - passionately. But I have to admit that for stage work I wouldn't be bored doing comedy for the rest of my life. It’s ultimately the most gratifying for me.

Fairy tales can come true, it can happen to you...

Comedy is actually harder to do than the romantic or dramatic stuff. The timing and nuance of every action has to be so precise, in the exact musical place to be funny, and you have to play it all just as believably as drama. You don't get up and act funny. You have to be truly as committed to achieving your character's goal as you would be in a dramatic context. Good comedy comes out of good writing: the dialogue and the circumstances create incongruous scenarios and motivate absurd behaviour, and the less aware your character is of all that, the more hilarious the audience finds it all. Of course, there are physical expressions and actions that are funny, but they all have to come out of a genuine intention to get what your character wants in the scene.

Want to see a good example? Come to Cendrillon and I'll be happy to provide it!

Well, I'd better go finish my own chores then practise. Got places to go, people to sing with. Rehearsals to knit through.

HELP for HAITI and the DRC
(reposted from earlier this month)

The Campanula and Hibiscus Sock patterns have been re-issued as HIBISCUS FOR HAITI and CAMPANULA FOR THE CONGO

In 2007 & 2008 the Campanula for the Cure and Hibiscus for Hope sock patterns, together with some very sore muscles, blistered feet and 60 km (twice) helped me raise some $13,500.00 for The Weekend to End Breast Cancer. As there continues to be interest in these patterns, I have reformatted the patterns and I'm offering them as incentives to knitters to donate to these two other worthy causes.

I have re-purposed Hibiscus to raise funds and support for Médecins Sans Frontières, whose efforts in Haiti have been in demand both before the catastrophic earthquake on January 12, 2010 and even more so since then.To obtain the HIBISCUS FOR HAITI pattern, simply make a donation in any amount to MSF at Donate to MSF's Emergency Relief Fund. Then notify me here or on Ravelry and I will send you the pattern.

MSF’s devotion to this calling, despite personal risk and losses, is truly heroic. MSF trauma centres were seriously damaged by the quake. Latest announcements confirm the quake killed 4 Haitian MSF staff; 4 others who’d recently worked with them also died; 6 are still missing. They just rolled up their sleeves and moved their treatment clinics to tents and mobile centres in the open. Their staff has a good sense of what’s going to be needed in the short term as well as how much the rehabilitation of emergency and other healthcare in the country will cost in the long term. As the worldwide generosity continues, donations to their Emergency Relief Fund give MSF the maximum flexibility to respond directly where it’s most needed in Haiti, while ensuring they can still act rapidly should another disaster strike.

Meanwhile the world is distracted from so many other areas where lives continue to be ravaged by unbelievable cruelty. In the Democratic Republic of the Congo it is more dangerous to be a woman or a child than a combatant, as women and girls remain targets for violence. Despite the supposed formal cease of hostilities, several armed groups still use sexual violence as a weapon of war. Physical and economic insecurity still characterize the lives of women and girls and the threat of and the use of violence are constants. Discrimination against women and girls underlies the violence perpetrated against them, and the current climate of impunity allows the many forms of gender-based violence, including sexual violence, to flourish. For more information, please see: MSF Top Ten Humanitarian Crises of 2009: DRC and V-DAY: Sexual Violence In the DRC

I have re-purposed Campanula to raise funds and support for the ongoing crisis of women and children in the Democratic Republic of the Congo.
To obtain the CAMPANULA FOR THE CONGO pattern, simply make a donation in any amount to V-day at Donate to V-Day. Then notify me here or on Ravelry and I will send you the pattern.

Contrasts

I just returned from a whirlwind week of singing and fun in New York, where I participated in a vocal competition. I had the pleasure to reconnect with long-lost family and friends both new and old, I got to absorb some art and culture, and I went to a Broadway show - A Little Night Music.

Now, I am a very picky theatre-goer and I tend to hold very high standards as an audience member so pardon me while I simply GUSH: If you are in NYC you must (absolutely, unequivocally MUST) go to see A Little Night Music. It is magnificent! Brilliant in the seamlessness and economical simplicity of it's staging and beautifully crafted, nuanced and wonderful performances from everybody! It's at the Walter Kerr (on 48th St). Even if the only ticket you can get is expensive - it's worth it. It is as close to a perfect production as I have ever witnessed. If I did not have to come back rehearsals and performances of my own, I would have extended my stay over the weekend to see it another two or three times!

While I was away, in response to the horrific crisis in Haiti, I pledged to match dollar-for-dollar the money I spend on myself that week with a donation to Doctors without Borders and Haitian relief efforts - and I challenged everyone on my Facebook page to do the same! I had no secure internet connection while away, so the total will be donated now, and I have to say it's a whopper!

I am also instigating further efforts to raise funds and support for this cause as well as the ONGOING crisis of women in the Democratic Republic of the Congo, where despite the supposed formal cease of hostilities, several armed groups still use sexual violence as a weapon of war. In the DRC it is more dangerous to be woman than a combatant as women and girls remain targets for violence. Physical and economic insecurity still characterize the lives of women and girls and the threat of and the use of violence are constants, discrimination against women and girls underlies the violence perpetrated against them, and the current climate of impunity allows the many forms of gender-based violence, including sexual violence, to flourish.

Some of you may also know me as MezzoDiva the Operatic Knitaholic, as well as the designer of the Campanula for the Cure and Hibiscus for Hope sock patterns, which together with some very sore muscles, blistered feet and 60 km (twice) helped me raise some $13,500.00 for The Weekend to End Breast Cancer in 2007 & 2008.

Well, if I can scrape together some time this week, I intend to reformat and re-release those patterns as Hibiscus for HAITI and Campanula for the CONGO. It may have to wait a few days, though as I just returned from an exciting but strenuous week of vocal endeavours in NYC, I am juggling assorted family crises and medical emergencies (my 90 year-old mother-in-law is due to be released from a 3 week stay in the hospital this week) and I just dove into rehearsals for an upcoming opera and for the Quintimacy concert next weekend.

With the agreement of the artists, all proceeds from Quintimacy's upcoming salon will be donated to Médecins Sans Frontières, whose efforts in Haiti have been in demand both before the catastrophic earthquake> on January 12, 2010 and since then.

MSF's devotion to this calling, despite personal risk and losses, is truly heroic. MSF trauma centres were seriously damaged by the quake. Latest announcements confirm the quake killed 4 Haitian MSF staff; 4 others who'd recently worked with them also died; 6 are still missing. They just rolled up their sleeves and moved their treatment clinics to tents and mobile centres in the open. Their staff has a good sense of what's going to be needed in the short term as well as how much the rehabilitation of emergency and other healthcare in the country will cost in the long term. As the worldwide generosity continues, donations to their Emergency Relief Fund give MSF the maximum flexibility to respond directly where it’s most needed in Haiti, while ensuring they can still act rapidly should another disaster strike.

I just checked the Yarn Harlot's page and see the Knitters without Borders total is soaring. Keep up the good work, fiberistas!

I'm in NYC for a week for a singing competition and to visit friends - and I hope to see a Broadway show. I've pledged to match dollar-for-dollar the money I spend on myself this WEEK with an equal donation to Doctors without Borders and to Haitian relief efforts. I'm looking forward to making one doozy of a donation on Friday (when I get home to a secure connection) - and I hereby challenge everyone who reads this to do similarly:

Pick a day or the weekend or more, and what ever you spend for yourself that day, make a matching donation. Even if it's just lunch at McDonalds, every little bit helps. Just enjoy yourself and pledge to donate an equal amount to a reliable aid organization. The go have some fun and don't hold back - it's for a good cause!

For my Canadian friends, a list of registered charities can be found here.

For US and international friends, check with your local authorities for a registered charity.

Happy New Year!An open letter written December 31, 2009 but not posted until today due to technical difficulties.

Dear friends and colleagues,

Tonight we take a soul-cleansing breath, release what is past, appreciate what remains, and look forward with new wisdom to what comes next. As this interesting year draws to a close, I'm both grateful for all the life-lessons of 2009 and very glad they are past. Most of all, I am very excited about embarking upon a brand new year. The coming weeks and months are burgeoning with so much goodness, both new beginnings and seeds sewn coming to fruition - my only complaint is that there are still only 7 days in a week and 24 hours in each of them, and I do need to sleep and attend to the mundane necessities of life (and laundry) sometimes. Here are just a few highlights:

I have been invited to return to my alma mater as a guest artist, the Glenn Gould School at the Royal Conservatory of Music (one of the foremost musical training programs in Canada), to perform a leading role in the first opera to be presented in the new acoustically perfect and exquisitely designed Koerner Hall. I look forward to start rehearsals for Le Cendrillon (Cinderella) by Massenet in the New Year, performances coming up in March 2010 with conductor Uri Mayer and the Royal Conservatory Orchestra.

I’m taking a brief hiatus from these rehearsals in mid-January for a trip to New York City to compete in the Liederkranz Foundation’s vocal competition (Wagner Division). Strange, but true: I have never been to New York (other than briefly crossing the tarmac at La Guardia while changing planes), so I am very excited about this trip and look forward to spending a few days after the competition seeing the sights and visiting with friends and family.

In the meantime, I am also preparing for a very special concert with Quintimacy on January 31st. Quintimacy, a Toronto-based group I co-founded in 2008 with musicologist Eleanor Johnston, composer Chad Martin and pianists Joseph Ferretti and Elaine Lau, has become very dear to me. We are dedicated to rebuilding a close working relationship between performers, composers and personal engagement with the audience through intimate salon-style performance of new, rare and beautiful piano, vocal and chamber works in settings which foster a sense of immediacy and connection. You can hear highlights from Quintimacy’s first season online at Instant Encore.

Titled "Expressionists in the Melting Pot," the first concert of our second season will trace the impact of historical events on music from the early 20th century in Vienna to the strange realities of the new world, after the escape or expulsion of many composers from the Nazi regime, in a program which includes music by Berg, Scriabin, Schoenberg, Korngold, Weill. As always with Quintimacy, our concert includes entertaining informative anecdotes mixed with the music and will be followed by a reception with the artists. After our almost excessively intimate event of last season had our guests rubbing shoulders, with many at our very knees sharing cushions on the floor, we are delighted to announce that we’re moving into the more spacious yet still intimate Gallery 345, a beautiful space of over 2,000 square feet with 12 foot wood ceilings and plaster and brick walls, designed and lit for the display of art.

I’m also preparing for other engagements later in the year, including a tour with my alter-ego, Emily. Canadian composer Jana Skarecky’s one-woman opera about Emily Carr, EMILY, THE WAY YOU ARE, with libretto by renowned Canadian poet Di Brandt, premiered on April 20, 2008. I had the profoundly gratifying experience of giving voice to this boldly visionary and nonconformist Canadian artist and writer, as well as to several key figures in her life - her sisters, a spurned suitor, art critics and the Group of Seven’s Lawren Harris. (This performance, with pianist Joseph Ferretti and members of The Talisker Players chamber ensemble under conductor Gary Kulesha, was presented at the McMichael Gallery in Kleinburg, Ontario, through the New Music in New Places program of the Canadian Music Centre, and may be heard online at the CMC archives.)

On top of all this, in response to continual requests by audiences at various concerts for a recording (and I am truly honoured and not a little surprised every time this occurs), I will be entering the studio this year to fulfill my promises and record a CD. To that end, I am preparing a sublime selection of vocal works by contemporary Canadian composers, including oeuvres by Chad Martin and Maria Case, as well as Alex Eddington, and Catherine Magowan and Ian McAndrew (Note to composers who may still be working on or dreaming about their compositions for this project - and you know who you are – start your engines!)

I also have several interesting teaching engagements later in the year in assorted eclectic places, including a personal project about which I am very passionate: developing an inter-disciplinary creativity workshop by applying the performance-related techniques I use with singing students in group master-classes and cross-pollinating from there, using the true inner voice to facilitate free authentic expression for artists in other media, such as painting/sculpture/fibre-arts/writing, and more.

I send you all blessings for this New Year and ever beyond: Don't wait for someone else to elevate you to your potential. Make your own magic in the Universe. Captain your journey. Risk something. Trust your power, and most importantly ... believe!

Wishing you and all your loved ones a wonderful holiday and a life filled with love and laughter, health and happiness, peace and prosperity, and many happy returns!

XO – Ramona