Rehearsal Notes: April 19, 2010

University of Tennessee Opera Theatre

Carroll Freeman, Director

Kevin Class, Music Director

  

Musical Notes:  Sitzprobe/Piano Tech/Dress – April 19, 2010

 

Very nice work everyone.  Considering it was a combination tech/dress, things held together musically very well.  Please find below a few comments combined from the afternoon Sitz and the evening in the theatre. 

 

Also, thank you to Melony for her generosity of time and energy in over the past several weeks!!  Also, thanks to Rachel Grubb for her excellent work in the pit last night.  I know it was a long rehearsal, but appreciate everyone’s patience and energy throughout the evening.  Since we were not going to have a second evening in the theatre before the orchestra dress, I asked Carroll to run the rehearsal past 11pm in order to give everyone a chance to “run” as much of the show as possible and to gain more comfort with Maestro Grubb at the helm.  I realize it was a long day for everyone, but believe the time was valuable and will serve you well this week.

 

Please continue to review your scores for the sake of reinforcing the work you have done.  Most important, continue to think through your characters in a detailed way.  Carroll has given you a great deal of information to work with, but no one can provide 100% for you.  Every aspect of your character you can discover or create will have an impact on both your stage craft and your musical interpretation.  This work is Puccini’s only comedy and is full of tremendous color.  Be sure you are taking full advantage of your dramatic opportunities.

 

Notes:

 

Maestro Grubb:            Grab rit. with a bit more clarity 9 before #1

 

TUTTI:                        Remember to (over)-stress first syllable of Buoso

TUTTI:                        #1-#2:  Whatever the tempo is (fast/slow/just right) – be sure to go with it and do whatever is necessary to maintain the character.  Was a bit behind during the Sitz.

 

Betto/Tutti:                        Find some reason/direction for NOT finishing the word “cognato” before being Shushed! [10mm. before #2].  This is a challenge in several places in this score where Puccini’s notated rhythm is not literally sufficient to accomplish dramatically what he asks for.  At the moment, this looks/sounds like Rocky doesn’t finish the word simply because there is an eighth rest there.  Somehow the others need to shut him up without jumping the rest.  Carroll will likely have some solutions for this.

 

Betto:                        6 before #6:  check your pitches on “Lo dicono a Signa”

 

Simone:            9 before #7:  piano on “Se pero ce l’avesse…”:  Perhaps motivate this change in dynamics as though the thought is occurring to you suddenly, as you speak. (“If, however, he left it in this room…”)

 

Rinuccio:            4 before #10:  be sure to come in with “Salvati” immediately after “No, non c’e!”.  This spot is always difficult as there is so much movement (in every production).  Just be sure to grab it regardless of where you are on stage (ie. Take your cue from “no, non c’e”, not form the conductor).

 

TUTTI:            After #11:  Even if tempos are not energized, you must still find a way to energize the text when necessary.  “Ma si!” must have more energy in the short note to give it some enthusiasm.  Also, “Qui, presto il testamento” [Quickly, the Will!] cannot be sung quickly as it is set musically, but must have really urgency in the diction.  Attack the initial consonant s of “Qui” and “presto” , and separate the two words. 

 

Maestro Grubb:              after #11:  very good work singing vocal cues when necessary.  Important not to trip over the words “sia pure la versiera” as Rinuccio’s entrance should largely be activated by this text.  Also, being able to at least speak this text in rhythm will help you to feel where to bring in the orchestra.

 

 

Simone:            3 before #14:  early on “La mula e I mulini…”

 

Maestro Grubb:            fermata before #15.  Just be in tune with the stage to determine how long this fermata should be.  Sometimes the stage dictates the pacing, sometimes the pit. 

 

Betto:                        after #18:   use your best legato and clear phrase direction on “Io dovro…”  The percussiveness of the string articulations here, coupled with the fact they are in your tessitura, swallows your diction.  You’ll be heard by spinning your legato through the orchestra texture.

 

Zita/Ciesca/Nella:            #19:               reminder  “slargar” – initial consonant is voiced [z] not [s].

 

Gherardino:                        #26:   Zeb – E qui…  “E” needs to be on the beat.  Also make sure you are singing B-Flat on “Schicchi”

 

Gherardo:                        before #27:   “Tu devi obbedire…”  YOU MUST LEARN THIS MUSIC!  Your lip-syncing isn’t working and we actually need to hear your line – in the right place!

 

Maestro Grubb:  5 after #27.   My suggestion:  go up on the fermata and allow Zita to enter when it is dramatically suitable for her.  Drop on “…--tarsi” to bring w.w. in on beat 2.  Here again, if you know the words you will not get lost.

 

Maestro Grubb:            4 after #34:  Give a clear gesture to beat three so Schicchi does not come in early.  It will be very difficult for him to hear much in this phrase so the visual clarity will help.

 

Lauretta:            #40 (Aria):            Do not get stuck in the eighth-note.  Be sure to keep the line direction clear regardless of tempo issues.  Use expressive diction (eg. Observe double consonant on “babbino” to make it sound endearing, slight emphasis on “caro”, etc..) in order to keep us engaged in the line.

 

Maestro Grubb:            6 before #43:            seize the implied ‘a tempo’ here by going directly to beat two.  This is a Puccinism in that an “a tempo” does not specifically mean in an original tempo (or tempo primo).  So clearly what is happening is that 6 before #43 is slightly quicker than the a tempo indicated two bars previous.  I suggest simply treating this as though there is a “poco piu mosso” (or some such).  In any event, just be more assertive in your gesture between beats one and two here to firmly establish the tempo.

 

Schicchi/TUTTI:            8 before #45:   another example of Puccini’s notation not quite giving us what we need dramatically.  Perhaps, Schicchi, you need to cast an evil eye to Z/C/N when they say “ma”….something that shuts them up BEFORE you actually tell them to zip it.  I’m not sure if Carroll wants to play up the intimidation factor here, but something needs to prevent them from continuing in that rest before you actually say “zitte!”

 

Maestro Grubb:            before #45.  This is always a difficult entrance (“Ah!”) since there is not much for them musically to hold onto.  If the knock/doorbell happens exactly where it should, it will be the best cue for the singers, however (in my experience), this does not always happen.  I don’t recall exactly how people are positioned, but you may wish to discretely give a countdown into this bar with your left hand (perhaps two or three measures)).

 

TUTTI:            after #46:            “Va meglio!”.  The tempo is being held strict here, so you still need to find a way to communicate the nervous urgency of “va meglio, va meglio…” by really energizing these short notes.  The same with “altro che”.    MAESTRI:  Could we really bring out these dynamics (mf/p) when the Doctor says “A che potensa l’arrivata la scienza!” for dramatic emphasis of this character.

 

Simone:            #54             Do not jump the gun here. There is a downbeat BEFORE you sing “A me…”

 

Maestro Grubb:            7 before #56:                        Simone must take a catch-breath after Fucecchio.  Just be aware of it so as not to get ahead of him with your movement to beat two in this bar.

 

                        Moderato before #59:   Just my observation/suggestion:  it seems there are too many gestures happening here that are confusing for both singer and orch/piano.  I suggest conducting through (eg. Go up) on beat two of “pace”.   Drop down to mark the down beat of the next bar.  If done right this will also serve as the cut-off for the singers.  Then simply be with the singer with your left-hand, going up with both hands on “per la…”  Easier to show than to describe but I’m sure you can easily work this out.  Simply needs to be more clear by being, well…more simple. 

 

TUTTI:            after #60:            Keep working on your “patter”.  Most is pretty good, but can still be more solid.  Betto:  there are pitches here (you might want to review those).   Ciesca:  too early on “si ci lasci la mula…”.  This starts after the downbeat.

 

Notaio:            remember that when you are speaking in Latin, ALL “o”’s are OPEN (never closed!)  (eg. “amico devoto Joanni…”)

 

3 before #77:                        be ready for this entrance.

 

Maestri:            2 before #78:                        could we move the tempo on the affrettando?  Schicchi needs to be working into almost a momentary hysteria going into his “la,la,la,la…”

 

Schicchi/Carroll:            What’s the verdict on the speech?  This does need to be coordinated with the orchestra so we need a decision on English or Italian, and the maestri will need a copy if it’s in English.