Hi Mirko,
In a message dated 06/11/01 09:50:07 GMT Standard Time,
mirkoruckels@i... writes:
mirkoruckels@i... writes:
<< Thanks to everyone for their kind words. You're all very supportive. Ok,
well, I've decided that I'm going to audition for the opera chorus. >>
Very best of luck!
<< I'd like some opinions as to what sort of material I should audition
with. I'm 29 years old, I'm a tenor, with spinto tendencies, but with no
performing experience (apart from the wedding!!). I've need two pieces, >>
Well, I'm no singing tutor, but I am a singer, and a tenor, essentially a
lyric, though latterly with some "push" - a recent reviewer described me, to
my surprise, as having "a lovely tenor, bordering on the heroic"!.
I never felt comfortable with "Dies Bildniss" until fairly recently, as the
control demanded and the smooth legato singing called for is very difficult
to pull off with ease. If you're shying away from "Una Furtiva Lagrima" for
the reasons you state, then I'd run double the distance in the other
direction from "Dies Bildniss".
Of course, everybody's voice is different, and only you (and your teacher)
know what is/would be wise for you to sing, but for me personally, I could
sing "Una Furtiva Lagrima" with a reasonable amount of confidence 10 years
before I could do the same with "Dies Bildniss". Not to say I used to sing it
well (see plug below!) but I could at least give a reasonably confident
rendition of it.
<< Lensky's aria - russian (I'd rather stick to the italian, german or
french, as they are my strengths) >>
Agreed. Stay away is my advice.
<< Il mio tesoro, dalla sua, wie angstlich... - I don't want to do too much
mozart. >>
Technically very demanding, and you're probably bang on the money to avoid it.
<< La fleur (flower song)- too ambitious >>
Eh? Nonsense. (see second plug below!) Take another look, I'd say. Not
technically the most demanding, either in terms of lyric line, tessitura, and
a good one to demonstrate your emotional capabilities on stage.
<< Salut (bizet)- too scary with the high C! >>
Unless you can toss off top Cs with gay abandon, wisely avoided.
Thinking back: 10 years ago (when I was 22), I had a very light, essentially
lyric voice, but used to enter singing festivals (competetive), and my
repertoire consisted mainly of the following:
Flower Song (Carmen)
Celeste Aida (yes, I know. At the time, I was at least 10 years away from
readiness to sing the entire role, but the song isn't that difficult - only
goes up to B flats, and if you have Spinto tendancies, you will probably
enjoy them!)
Vesti La Giubba (I had an arrangement down a tone; this is another great
opportunity to show your acting abilities).
"Vainement, ma bien aimee" (Le Roi D'Ys - Lalo) - technically fairly simple,
and chance to float a couple of delicious A's.
So you could do worse than consider those, but at the end of the day, it's
your choice. Discuss carefully with your singing teacher, and if you don't
have a singing teacher, might I gently advise you find one asap? He or she
will surely guide you in what's best for you to prepare and audition with.
Either way, the very best of luck to you!
And now, over to our gratuitous plug department:
My first two fully professional engagements are happening within the space of
three weeks:
The roles I've been preparing are as follows:
1. Nemorino in Donizetti's "L'elisir D'amore" for Midland Music Makers. The
Crescent Theatre, Birmingham (UK), Tuesday 13th - Saturday 17th November
inclusive.
2. Don Jose in Bizet's "Carmen" for Nottingham Festival Opera. Theatre Royal,
Nottingham (UK), Wednesday 28th and Friday 30th November.
I have been absolutely up to my neck for the past couple of months with
rehearsals for these two, and enjoying every moment of it.
People had been telling me for literally years that Nemorino would be a
perfect role for me, so when the chance to audition for MMM came, I jumped at
it, and I'm gratified to say they jumped at me! I'm having a whale of a time
with this, and looking forward greatly to next week. The role of Adina is
being shared between Lorraine Payne, the society's "resident" soprano, who is
being eased back into the swing after recently giving birth, and Jayne
May-Sysum. Both are delightful and great fun to work with. Tickets are
available from £10 - £12 and the box office number is 0121 643 5858. Website
at http://www.crescent-theatre.co.uk/Y2001/l'elisir_dam.htm
Don Jose is a considerably larger undertaking for me (physically, vocally and
emotionally) and a challenge which I'm relishing. This is an exceptionally
strong cast; aside from me, Micaela is played by Deborah Norman, who has
recently burst onto the international scene (Pique Dame, Covent Garden, Maria
in West Side Story, La Scala) and is currently appearing as Musetta with
Welsh National Opera (with performances as Mimi to follow next year). Carmen
is Helen Beechinor, formerly with Carl Rosa Opera, and who was stricken as
recently as August this year with Breast Cancer. Major surgery followed, and
she is preparing and executing this role (the 4th time she has played it)
before her treatment is completed. She is a tremendously brave human being as
well as a very dear friend. In addition to this, she is a ravishing true
Mezzo who will set the stage alight. Box office details: Tickets £7 - £15;
Tel 01159 989 5555 Web: http://www.royalcentre-nottingham.co.uk/thnfo.htm
Enough self-publicity already. Wish me luck. I'm taking lots of vitamins,
lots of rest, plenty of food & drink. If any listers are planning to make the
trip to either Birmingham or Nottingham, please do let me know and I'll buy
you a drink!
Thanks for your patience. Returning you now to your regularly scheduled
listing!
Best wishes to all,
Nick Sales
www.tenorecord.com
www.nicksales.com
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