I am excited to have been selected to sing in a Master Class by internationally famous tenor, Vittorio Grigolo, next week! (through Angels Vocal Art in Pasadena)
Since I will be singing the role of Hoffmann, in Offenbach’s “The Tales of Hoffmann”, for Repertory Opera Company this June AND since Vittorio Grigolo is singing Hoffmann for Los Angeles Opera’s current production … I am looking forward to getting coached on the Kleinzach aria by a star currently doing the role!
Here’s a recording of Mssr. Grigolo performing the aria:
I have greatly enjoyed being a part of Peter Mark’s Master Class series this winter. There have been new and difficult lessons … but that is always the case when honing one’s skills and advancing. You fall down and get back up, moving ever onward.
As a result I feel like my technique is finally approaching a level that I would call “beautiful singing” … the kind of singing that is nuanced and luxurious. We are our own worse critics, so it is exciting to me to actually feel that way. Now, of course, it is time to get that embodied so it becomes completely natural.
Fortunately I have the perfect opera lined up to help me along that path toward technical embodiment … Offenbach’s “The Tales of Hoffmann” in June!
For now, my focus is on this weekend. We will be singing in front of a panel featuring music professionals from Los Angeles Opera, San Diego Opera, Long Beach Opera, KUSC and more. I will be singing “Donna non vidi mai” from Puccini’s “Manon Lescaut”.
Worked on a brand new aria this past weekend in my master class with Maestro Peter Mark (hence the fact that it is not completely memorized as evidenced in the video). 😉
To set up this clip, Maestro Mark had asked me to walk around to get my legs and core engaged.
In terms of the high C’s, the Maestro talked about the importance of “exploding”, or creating a wind tunnel, backwards on the lower note directly preceding.
You can hear how I successfully did this on the first four high C’s, but then the second set of four I did not and the C’s were thinner and not as solid. The Maestro stops me and motions (off camera) backwards out the back of his head on the lower note. Once I corrected off this instruction the last three high C’s were solid again.
Exciting work! Now to get all this memorized and in my body. 🙂