That whole song is full of double-entendres, and a lot of them come from old slang expressions. “Neither one knew where the trash is” rhymes with “someone to haul the ashes.” I mentioned it was a phrase you might see in a classic blues song. By this time Christine pulled out her phone to look it up online. “It says: ‘to have sexual intercourse.’ Wait, here’s Urban Dictionary: ‘to have sex, homo or hetero, usually casual, but wild, hot, monkey sex.’” “OK, well, then, you get the picture?” She did.
Read MoreWhen I really think about it, this list wouldn’t be complete without a selection from the man who is the reason behind my choosing this career path. A man who, as I stated in a previous post, inspired countless others to raise their voices and sing: Mario Lanza.
Read MoreFionn’s music was instantly appealing: mellow, relaxing, with nimble finger-picking patterns and interesting chord progressions. Lyrically, his songs are incredibly poetic. I would wait eagerly for him to complete each phrase, curious as to which direction he was heading. His rhythmic use of words and his sense of imagery are commendable. Lyrically/musically, he evokes Dylan.. both Bob Dylan and Dylan Thomas, that is.
Read MoreWhen I was sixteen, I began taking formal voice lessons in Philadelphia. I found a teacher via a wonderful book on Mario Lanza I received for my birthday. I had just recently discovered him and was inhaling every book and record I could get my hands on. In this particular book, there were a number of testimonials from people who knew Mario, worked with him, or were inspired by his voice. One of these was written by Enrico Di Giuseppe, a wonderful tenor who enjoyed a long and productive career with the Metropolitan and NYCO from the 60s-80s in a variety of roles. At the conclusion of his chapter, he stated that he was teaching voice privately in Philadelphia. Inspired, I wrote him a lengthy letter requesting lessons. He called me one evening and we set up a trial lesson for that week. I brought him ‘Amor ti vieta’ from Fedora because “it’s short and only goes to an A”… his reaction was pretty priceless. After I bellowed my way through the aria like the sixteen year old baritenor I was, he handed me the “24 Italian Hits” and we started working together. He was my teacher for the next six years until his passing and in that time, he became very much like a grandfather to me.
Read MoreOne thing, however, was certain: there would undoubtedly be a song from Ryan Adams… but which one? In many ways it’s the equivalent of a hardcore Beatles fan having to choose a single tune that sums up their feelings. Ryan is incredibly prolific: eighteen studio albums, scores of unreleased material that he teases on occasion, and singles albums he was recording and releasing monthly just a couple years ago.
Read MoreAnyone who knows me is aware of my fascination (to the point of obsession) with Neapolitan folk song. I’ve performed several recitals consisting solely of these gems, I’ve written numerous undergrad and grad school papers on the subject, and I’m currently assisting an Italian friend and colleague with her dissertation at the university in Vienna. Additionally, we will perform a joint recital there in January for which I’m very excited! While the texts are often very simple and straightforward, dealing with infatuation, heartbreak, homesickness, and love for the sun and sea, the music is staggeringly beautiful and infused with so much emotion.
Read MoreI thought talking about living composers not yet featured on NYFOS programs would be enough to minimize the list of people I’d love to include- nope! Not the case. So I will have to let it go for now and pick up the topic another time because without a doubt, there are more composers to be talked about who excel writing for the voice- and thankfully so! Most recently, I’ve had the great joy of working on music by some well established composers but today I wanted to focus on someone relatively new on the scene with a powerfully unique ‘voice’: Lembit Beecher
Read MoreThis week I wanted to look at composers not yet featured on NYFOS programs who have exceptional ‘voices’ in the contemporary realm and more specifically, ones with a natural facility writing for the voice in particular. In Laura Kaminsky’s case, her entree into the opera world would not only have tremendous impact in the classical, social and artistic scenes, but she also would introduce a subject matter so current that soon thereafter it became a cultural obsession—the experience of being transgender.
Read MoreI wanted to mention composers whose work is moving and has a knack for unleashing and accentuating the voice’s unique powers. And when I heard the music of David Bruce, I was struck! Here was a composer who had that open channel to the heart and somehow understood how the voice could help him illuminate that. I was so struck that I went out of my way during a recording job in London to see the premiere of his opera Nothing at Glyndebourne. I walked away with the feeling that it was the best premiere I’d ever seen.
Read MoreSo enter Joby Talbot. For the most part, Joby hadn’t written much vocal music when I met him. Like Caroline from yesterday, he’s done some crossover work and also written for countless movies, ballets and stage pieces. His Alice’s Adventures in Wonderland was the first full-length narrative ballet score to be commissioned by The Royal Ballet in 20 years. Not as much for the voice when Dallas Opera commissioned him for 2015. Gene Scheer had an idea for an opera and the two of them immediately hit it off. He is a magician when it comes to word and emotion and the simplicity that often allows them to serve one another so well.
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