Undergrad Piano Dress:
Note on embellishments: There are only a few places where we have added ornaments. Specifics will follow in the notes. However, we discussed the reasons (musical, musicological and dramatic) at length early in the rehearsal process so it is much too late in the game to consider revising them now. HOWEVER, the point that might make them objectionable to some is if they are performed in a manner that sounds as thought you are singing and ornament because someone TOLD you to sing an ornament. Remember that any sort of embellishment (whether notated or not) is for dramatic inflection. As with anything else, you must convey a REASON for an embellishment. We have added only a couple, just make sure you are aware of the dramatic reasons you are singing them.
AUDIO: I know hearing the piano was a major problem during the first half. Ensemble was surprisingly good despite that, but a few things that happened last night (which do not usually happen in rehearsal) were not worth commenting upon.
No. 1: Leporello
We MAY lose the turn on “sentinella” only if it will not confuse you at this point. We can lose it only because it is not being executed very cleanly and so may seem a bit distraction. The purpose for it was to be in keeping with a sense of frustration Leporello is experiencing (a musical equivalent to a violent head shake). It is not reading that way, so let’s consider removing this one.
Good rhythmic awareness in the Andante, but be sure not to get behind the beat (again, probably due to being unable to hear the piano).
No. 2 Recit:
D.O. Do not rush into “Cercatemi”
D.O. Do not be in such a hurry on “lo giuro al nostro amor!” I’ll give you the time here.
D.A. On your final “giura!” with fermata: we have not been doing the embellishment that really should be done here, but in order to still activate the drama we discussed of this exchange back in January, at LEAST hold the fermata longer so D.O.’s “lo giuro” is a noticeable contrast.
D.O./D.A.: Do not rush when you start the eighth-notes “vammi ondeggiando il cor”
No. 4: Catalogue Aria:
I started this a bit too quickly, but keep your lines moving forward – especially in the very active staging.
Watch for “nella biondo” BUT, more important (and we have talked about this before)…the pause MUST be filled with some dramatic intention. WHY does this music (ie. Leporello’s tone) change? If you are filling this pause dramatically, you will not rush into it.
Well executed at “la piccina”!
The chromatics at “vezzosa…Delle vecchie” will remain as we have done all semester. Of course they are absolutely stylistically correct and the reasons, dramatic and stylisitic were discussed at length months ago. Again, it is not effective if not sung with an intention. Remember the character discussions at the beginning of the semester: Leporello is not kind hearted simply: he is enjoying the fact that he is pulling strings over this woman ( he does not get to seduce and manipulate women the way D.G. does, so this is the only pleasure he gets at playing with a woman’s heart). You have to ENJOY moment. (AND, FYI, the move to G natural is necessitated by clearing the chromatic flirtations with G-sharp that, also, are indicative of Leporello’s indulgence in this moment. Bla blab la ---- just sing the d***ed chromatic embellishment, but do it with an evil grin!). Mozart will thank you for being aware!
No. 5: CORO
Ladies Chorus: Remember we need voices on the bottom line! It is only a couple bars of music and I don’t think we need to have another rehearsal on that. If you volunteered to sing those notes, please make sure we can hear you.
No. 10: Recit and Aria
D.A. Take a bit of time with “O Dei!...” each can stretch a little more than the previous…this should not be TOO strict in tempo or it will be dramatically unnatural”.
D.O. Speak through your text at “Oh ciel! Possible che sotto…” You are performing every syllable the same, losing the rhythm of the speech and making it sound unnatural. For example, tack just a little more time on “narratemi”
D.O. More energy on initial “p” of “Perfido! E alfin” – remember to match orchestra’s energy here.
Batti, batti:
Z: Very well done!!! Remember always to differentiate the color of the initial “b” between “batti” and “bel” (two of Zerlina’s favorite words!)
Connect with me to start “pace”. Needs a little bit more life despite staging. Just think ‘exhuberant’ if nothing else. It is not music about ‘peace” despite the word “pace”.
FINALE
Men’s chorus: Remember energetic precision (energy) BUT, fill out vowels on “svegliatevi da bravi” in order to project.
Andante:
D.G.: More indulgent when sing “Zerlinetta” (diminuendo to ‘sexify’).
Z: clear phrase direction towards “via” on “Ah, lasciatemi andar via!”
Adagio:
D.A./D.O.: Do not get too slow on “Protegga il giusto cielo” – just keep a crescendo going through the dotted quarter not so you do not get stuck. Don’t RUSH…just don’t get bogged down in the rhythm.
Allegro 6/8:
TUTTI: Look over your parts. Entrances are tricky and I will try to help you as much as I can, but you should never be DEPENDENT on any conductor to show you when to sing.
Andante maestoso:
“Tutto, tutto gia si sa”: separate for double consonants “tutto”, but LEGATO “gia si sa”
Allegro:
“Trema, trema” will be taken slightly slower. Because of Audio issues, I did not concern myself with that too much. I couldn’t hear the piano either!
ACT II
Trio:
D.E. Continue to review “Non e costui lingrato?”: I’ll try to be as clear as possible there, but you need to look it over on your own as well.
Vedrai carino:
Z: Keep embellishment at fermata (“dove, dove mi sta?”), but again, be aware of dramatic purposes. Self-indulgence, playfulness, patronizing, whatever works. Embellishments are always dramatic, never just to be pretty. If you put a purpose behind it, it will sound good, I promise.
Remember to take just a LITTLE time to indulge initial “b” of “battere” in “sentilo battere” – enjoy the word! That’s why you keep saying it over and over!!!
After second fermata, make sure Masetto’s head comes to rest on the ground on the word “bocca” (right where the orchestra music indicates his head should come to rest).
Sextet:
Direction and more energy on initial “p” “Ah, mora il perfido”
E: Best legato on “E mio marito!”
E: NO crescendo “Pieta! Pieta!” The others need to break you off with their “No, no, no, no!”
Duet: O Statua …
L: Fill out your sound on the first note (good long, round “O” vowel)
FINALE
L.; don’t rush “ah, pardon…”
Manwhore chorus: Don’t drag: “tutto a tue colpe…” Anticipate beat a bit since you are so far away.
Allegro assai:
Rhythm (energize short note) “Ah, dov’ e il perfido”
Don’t be tentative on “e noi tutti, o buona gente”
Don’t begin ritardando too soon on “l’antichisima canzon”
Hello, and thanks to all that have been wondering what happened to the Don Giovanni blog! Haha!. It seems there is a large contingent of Chinese followers wondering about the status of things (I'm not sure too many of those for whom this was actually intended check in!). So, all I can say is: xie xie nimen! Scheduling, concert preparations, coachings, teachings, practicing, administration....all are factors in the the lack of maintenance on this particular blog. I have been asked by a couple (again, outside of UTK's production) if I will be completing the 'study notes' I did for much of the score. The answer is "yes", I will. I am humbled and touched to know that my observations and thoughts seem to be of value to others working through this score and so I will add notes for the rest of the opera. Your patience is appreciated. Once Giovanni is completed (including notes here on this blog), I will begin posting study notes for Die Zauberflote which is in preparation for performance in Seoul this summer (www.isongfesta.kr).
