Fifteen Years to This Day

Dear Choir Girl readers,

My blog is 15 years old! I am as surprised as you. While I have contemplated with the idea of retiring this blog, a few readers convinced me it is not yet time. 

There is less arts journalism all the time. It is rare for a magazine or newspaper to even have funds to contract an arts and entertainment writer for local coverage these days. If you are lucky enough to get a writer in attendance at your event, you'd be lucky to have one that is knowledgeable enough to comment and critique the performance. It feels like the platforms with quality artistic discourse are ones run by the writer themselves, with some kind of Patreon subscription to make their work financially sustainable. Sure, established, popular artists will still have an opportunity to get media coverage, but what about all the emerging voices and groups that have something to say? While I do not have the stamina to keep up with my choir posts of the past, I do feel there needs to be a platform to host artistic content. Thus, this blog continues to live on. I will continue to save this online space for me to publish choral musings of myself and others as occasions arise.

It was only five years ago that I published this 10 year recap. It is heart-warming to see the array of beloved choral faces even today. It reminds me of singing opportunities I have been fortunate to experience. As well, it reminds me of how my blog has introduced me to so many artists that have significantly impacted my life. It is also sweet for me to see my very first blog post: The Beginning, where I share my hopes and wishes for this blog. 

In the past five years, I have kept on with my singing adventures, albeit, in a more intentional and focused way. I feel it is a mix of getting older, maybe wiser, and rebalancing my singing desires with diminished energy levels post-pandemic. The pandemic really overhauled how I continued to sing or not sing with all the restrictions. It is surprising to see how many masked photos I have of myself in the slideshow round-up below. 

I continue to feel an overwhelming gratitude towards this blog. Some of my closest friends began as blog readers first. If you meet me in person, you may notice that I speak more through actions than words. Reading what I am writing is the best of knowing me: my inner motivations, passions and thoughts. I sense a closeness with each reader. There is no way I can convey what I want in a quick, surface-level interaction if we were to meet in person. Thus, it means so much to me to know that you are taking your own personal time to read my content and connect with me. I have met so many fellow singers, composers, conductors, and members of my artistic community. I am moved by the flourishing and active choral scene we have here in Canada. 

While I am not sure about the future artistic endeavours coming my way, I will be sure to post some adventures here as I go. On my schedule thus far is the Canadian Chamber Choir tour in Calgary this February 2024 and Podium in Montreal this May 2024. 

Until then, please enjoy this 15 year anniversary post slideshow!

Thank-you, dear readers, for continuing to read my choral musings.

Lucia di Lammermoor: The Recovery Process

Photo by Patsy Tomkins courtesy of Edmonton Opera

The month of April has almost come and gone and with it was Edmonton Opera's production of Lucia di Lammermoor. Other than my occasional updates, which you can see in the slideshow social media compilation below, my blogging presence was non-existent.

A reason I didn't provide any additional blog content was because I was fighting through a series of sicknesses these past three weeks. What began as seasonal allergies resulted in uncontrollable post-nasal drip, initiating viral laryngitis and an upper respiratory tract infection. No amount of nasal saline rinses and steroid nasal sprays were equipped to combat my body's response to the allergens present during this Spring thaw.

It's interesting how I begin viewing myself as a patient to cope as I try to expedite the recovery process. I really like this article that outlines six common vocal myths by S-LP, Kristie Knickerbocker, especially this section on using throat coat teas:

"Like any pain, though, if your throat is hurting, don’t mask the problem by using numbing spray or another band-aid.  Your body is trying to tell you something and if you silence it, you could injure yourself further. Know your body.  I’m all for throat coat tea, ginger tea, lemon water, whatever–If you say it helps you feel better. I am against using any of that to hide pain so you can perform. If you are not giving your body time to heal, you’ll end up with a bigger problem."

Everybody has their favorite go-to's when it comes to sickness recovery. My motto is to do what works for you. However, I think there's a balance between doing what you need to do for your body as well as being aware of the side effects that medicinal ingredients can have on your voice. The National Centre for Voice and Speech has an excellent online resource to search that specific information.

Photo by Patsy Tomkins courtesy of Edmonton Opera

I tried to focus on these three factors: rest, hydration, and patience. Before Opera rehearsals, I tried to squeeze in time for a nap in order to recharge before a full evening at the the venue. Staging and technical rehearsals require a sustained amount of energy to stay alert for three hours while spacing, props, and music are sorted out as scenes are worked through. It takes a lot of energy to be on call.

Photo by Dilys Kulchitsky

In order to keep my hydration level up, I kept a water bottle with me everywhere (e.g., bedside, work desk, car, and backstage mirror). I attempted to limit caffeine but sometimes stimulants are needed so, when I did have caffeine, I would keep in mind a 1:2 ratio. For every caffeinated beverage I would have two cups of water - one to cancel that cup and another to hydrate. I aimed to have a net of 6-8 glasses but, since I was on antihistimines, I knew I needed more water because those types of medications can be drying. I would also brew multiple thermoses of non-caffeinated tea so I would have a constant supply of warm beverages and I wouldn't have to waste time by brewing cup to cup.

Photo by Patsy Tomkins

I tried to channel more patience by focusing more on text in rehearsal and refrained from singing, especially for the two days I had no voice. It takes restraint to not sing when there is so much on-stage action and energy. All of this was in attempt to conserve voice for opening night. Although I wasn't totally cured by opening night, my voice was back and I was ready to sing. Since I was extremely deconditioned after spending the previous weeks in a fragile vocal state, I had to make sure I had a solid vocal warm-up before the show. The worst was having to stifle dry tickles in my throat during quiet and tense moments in the story.

Aside from the battle with recovery, the show itself was stunning. I have heard so many comments raving about the ornate costumes and the stunning staircase set. I had goosebumps every night as I listened to Soprano, Simone Osborne, sing her debut Lucia and mimic the eerie melodic runs of the flute only Lucia could hear in madness.

Lucia di Lammermoor was a stunning closer to Edmonton's Opera's season. If you haven't looked already, take a peek at the upcoming 2015-16 Epic Scandals season showcasing Merry Widow, Carmen, and Maria Stuarda. Whether I am singing in these productions or in the audience, I can't wait to see these shows come alive on stage at the Jube.

Photo by Patsy Tomkins courtesy of Edmonton Opera

Photo by Patsy Tomkins courtesy of Edmonton Opera

Photo by Patsy Tomkins courtesy of Edmonton Opera

Also, visit Patsy Tomkins' blog that has more information behind-the-scenes of Lucia from light-walking the set to finding the right concoction of fake blood for the wedding dress.

Backstage at Madama Butterfly

Photo by Nanc Price courtesy of Edmonton Opera

I tend to live in my own head getting ready for the Opera. While I'm in my performance prep mode, I don't start to get a sense of the character until the make-up, wig, and costume are all on. Each of these layers creates a comfortable facade in which I feel free to play. This sense of play manifests when I walk through the lobby speaking Japanese to the audience members or when I am giggling with my fellow geishas. At the same time, it all feels very natural to me. I'm just amplifying characteristics of myself that would be suitable in this role, such as my love for Hello Kitty and black eyeliner. Perhaps I am not so different from my geisha character after all. Since this production of Madama Butterfly has modern and traditional elements, I kept this in mind when I decorated my vanity backstage to incorporate traditional elements my Geisha side would enjoy but also my modern-day love of Hello Kitty.

 

Everybody has their favorite things to do backstage. Some choristers like reading quietly at their backstage space or playing cards in the green room. Tucking my smartphone into my obi, I wander the backstage halls and watch the show from the wings of the stage. I love squinting through the bright lights flooding across the stage from the other wing as I catch fragments of action that appear in the black curtain frame I have chosen to stand next to. One of my favorite moments of the production is watching Cio-Cio-San sit in concentration as the lighting changes from dusk to dawn with only orchestral accompaniment.

There is also a point when a blogger needs to know when to step aside and refer you, dear reader, to photography to tell the story. This is one of those times. Follow Nanc Price as she follows the EO Chorus backstage. My words do not do justice to the images of backstage naturalness in which she captures her subjects. Do visit her Madama Butterfly and visit her photoset for all her photos.

photo by Nanc Price courtesy of Edmonton Opera

Photo by Nanc Price courtesy of Edmonton Opera

Thanks again for my photographer behind-the-scenes, Nanc Price, who supplied all the photos for this post and whose unwavering enthusiasm powered me through tech week and the show's run!

See Madama Butterfly two more times this week on April 8 and 10 at 7:30 PM. Tickets are available online or calling the EO box office at 780-429-1000. Nanc Price also has an archival photo exhibit from our current Madama Butterfly production with the first production in 1963 in the lobby of the Jubilee for your perusal at intermission. Don't miss it!