Monday, December 22, 2014

Behind the Scenes with Jennifer Bryant


Amici, the young friends of Opera Birmingham, continue the countdown to the opening night of Hamlet and the celebration of Opera Birmingham's 60th Anniversary season with our 60 Days of Opera countdown! (If you've missed the fun, check out the Amici facebook page or find us on twitter by following @AmiciBirmingham or searching the hashtag: #60DaysofOpera.)

Today we bring you a story from Jennifer Bryant, regular Opera Birmingham principal and local music professor, who offers her perspective on what it takes to prepare a role:

Jennifer Bryant, Soprano

In fall of 2012, while living in Tuscaloosa and completing my music degree at the University of Alabama, I auditioned for secondary roles in the upcoming Opera Birmingham season. The company was presenting Madama Butterfly and The Magic Flute in the spring. It was the first time that I had auditioned for an opera company (excluding young artist programs) and I was excited to test the waters and use the skills that I had learned in my degree program. 

Jennifer, Singing at the Birmingham Museum of Art

John Jones, Daniel Siegel, and Kevin Chance were the only people at the audition, which took place in the studio space at the main office. I had performed for Mr. Jones once before when he came to UA to present a master class in Paul Houghtaling opera workshop class. He was very knowledgeable about the casting process and the qualities that casting directors look for in a young artist so I felt prepared knowing his expectations. 

Jennifer as Kate Pinkerton

A short two months later, I was contacted about singing the role of Kate Pinkerton, as well as doubling as a geisha in the chorus, in Madama Butterfly. Many aspiring young sopranos have gotten their start singing this role, even though it is listed as a mezzo soprano role, so I was particularly excited to be offered this opportunity! 

Cast, The Magic Flute

When rehearsals started in January, I was quite nervous even though I had spent a considerable amount of time preparing my whopping seven lines, haha! That first rehearsal with the conductor (Israel Gursky) and répétiteur (Ben Malensek) taught me everything I needed to know about a singing career. Everything that I learned in school was correct, but it was magnified 100 percent in the professional world. For instance:
  1. Effective communication skills are necessary: be someone who adapts and can make changes when necessary, but be sure that your goals are still being met and that you maintain your identity as a singer and performer. 
  2. Size of voice does matter on the operatic stage: the sounds coming from professional singers are not limited by inhibition or boundaries. They are otherworldly. 
  3. Every slight gesture of the face and body needs to be a little bit bigger or it won read to the audience. 
  4. In every part of the rehearsal process, make sure to communicate the character and express the text: subtle details in word inflection, color of voice, and facial and body expressions must be present before the first rehearsal. This can change throughout the process but something must be offered from day one. I found that working with conductors and coaches who speak the language in which you are singing is extremely helpful. 
  5. Take the opportunity to rest during breaks, but also build relationships with your fellow singers: this makes your onstage relationships stronger.

Jennifer as Second Lady

Jennifer and Soprano Jan Cornelius

After singing the role of Kate, I sang in two choruses and learned three more roles with this wonderful company: Second Lady in The Magic Flute, Suor Genovieffa in Suor Angelica, and I covered the role of Gilda in Rigoletto under the stunningly beautiful, Jan Cornelius.


Jennifer and Baritone Todd Thomas

Jennifer doing a TV spot with Jeh Jeh Pruitt, aspiring opera divo

I am so thankful to be a part of the Opera Birmingham family!

Stay tuned for more stories from the Opera Birmingham family! For those of you playing along at home, our countdown stands at 32 days until the curtain goes up on Hamlet! (Click here for ticket information.)

Wednesday, December 10, 2014

Behind the Scenes with Shelly Ann Edge McDonald


Amici, the young friends of Opera Birmingham, continue our countdown to the opening night of Hamlet and our celebration of Opera Birmingham's 60th Anniversary season with our 60 Days of Opera countdown. (If you've missed the fun, check out the Amici facebook page or find us on twitter by following @AmiciBirmingham or searching the hashstag: #60DaysofOpera.)

Today we bring you a story from Shelly Ann Edge McDonald, a regular Opera Birmingham Chorus member, who offers a glimpse into the life of a chorister during a production's run:

Shelly Ann Edge McDonald

In 2005 I was studying vocal performance at UAB. The incomparable Mimi Jackson, who was then the Chorus Master for Opera Birmingham, came to the opera workshop at UAB and told us all about the OB Chorus. I could not get the information fast enough! I couldn’t believe that as a little ole’ college student I was eligible to sing in a professional opera.

I was thrilled to be a part of Aida, it was a big production for Opera Birmingham with an amazing cast. It even included an elephant! I learned first hand the hard work that goes into staging an opera.  

Time to get down to work at the piano!


So what does that mean for chorus members? Long before the first chorus-only rehearsal, we receive our music, usually a reduced libretto (text and musical score) with just the chorus parts, and begin working on it on our own. We also receive a synopsis and translation of the opera in order to familiarize ourselves with the storyline. (Since we invariably perform in a foreign language, most of us wouldn’t know what we were singing without it.) Then we learn the text with help from a phonetic translation, adding in the notes, rhythm, tempo, and dynamics to give us a good foundation.

Staging Rehearsals - The Height of Glamour!


Rehearsals begin and we work on putting all those different aspects together with the rest of the chorus. We spend several months perfecting and polishing the music before staging rehearsals begin. In staging rehearsals we get to meet all the other cast members and learn how we will move about the stage. At this point we forget all our music, words, and dynamics -- that is, until we get comfortable with the staging. Then, to the immense relief of the director, maestro, and chorus master, it all comes back together. It is exciting and awe-inspiring to watch and be part of the process! There’s nothing like the feeling of the curtain rising on opening night, and hearing the audience’s applause for the first time.

Putting it Together with the Orchestra

Since performing in my first Opera, I have been in the chorus of five other Opera Birmingham productions. I consider myself very fortunate! Through the long rehearsals and late nights I have had the opportunity to meet some incredibly talented people. I have made lifelong friends and I have learned so much from watching, listening, and talking to the incredible singers who are brought in to play the principals.

A costume with pockets! The best! Turandot 2009

 Cigarette Girls, Getting into Character for Carmen 2012

Enjoying the Cast Party - Bravi tutti!

I am thankful for the time I’ve had in the chorus and hope to sing in many more productions!

Stay tuned for more stories from the Opera Birmingham family! The countdown for Hamlet's opening night is on - just 44 days to go! Get your tickets here.

Friday, December 5, 2014

Behind the Scenes with Betsy Pate


As you know, Amici, the young friends of Opera Birmingham, have been counting down the days to opening night of Hamlet and celebrating Opera Birmingham's 60th anniversary season with our 60 Days of Opera countdown. (If you've missed the fun, check out the Amici facebook page or find us on twitter by following @AmiciBirmingham or searching the hashtag: #60DaysofOpera.) 

Today, we have a great "Behind the Scenes" story from seven-season Opera Birmingham Chorus veteran Betsy Pate: 


 Betsy Pate

My first chorus gig was in 2009’s production of Turandot. That year a bad cold virus hit the cast. No, it was worse than a cold, it was a plague. I won’t go into any detail, but suffice it to say it wasn’t pretty. Most of us who contracted said plague didn’t develop symptoms until the last few days of production week, or, as in my case, until Sunday’s performance. I ended up taking two days off from work to recover.

Opera Birmingham Chorus - Turandot (2009) 

One person who was hit the hardest was one of the leads, Roy Cornelius Smith. Throughout the week leading up to opening night, he got worse and worse. This rookie wasn’t sure if he would make it. I was amazed to see the lengths he went to to keep himself going. During particularly long stretches requiring both the chorus and most of the principals to stay on stage, Roy managed to always cough, sneeze, wipe, etc. only when his back was turned to the audience. I would be willing to guess that very few people out there had any idea how sick he was. My favorite trick of his involved pinning cough drops to the costumes of other cast members so he could rip them off at an opportune moment -- all while remaining in character and hiding it from anyone but those on stage with him.

Betsy Pate - Aida (2010)

Chorus Women's Dressing Room - Faust (2011)

Betsy Pate and Abbott Jones - Suor Angelica (2013)

It was then I realized how dedicated these performers are, regardless of having a leading role or being in the chorus. Even knowing that the threat of cast-wide sickness always hangs over a production, I stuck around for the next show, and the next, and the next. It’s a privilege to sing with these crazy, wonderful folks and I wouldn’t trade it for the world.

We love hearing stories from the Opera Birmingham family. We look forward to bringing you more Behind the Scenes stories as we continue our countdown to Hamlet's opening night. (You can get your tickets here.) Just 49 days to go!

Monday, March 10, 2014

Hello Friends!

I am pretty excited to have Inna Los as our Nedda and Angelica and feel particularly thankful to know her personally. In the past year, we have shared "stage space" together twice. When I first heard her Butterfly last year I was in awe of her vocal talents, truly one of the most beautiful voices I have ever heard. But it is her ability to become the character and communicate that with the audience that is truly inspirational and unforgettable. Rehearsing Angelica over the past couple of weeks, I am again mesmerized by her gifts. She had us laughing as we watched her Columbina in the commedia scene in Pagliacci and she quickly brought us to tears as she sustained her pianissimo high "A" at the end of "Senza mamma." How thankful we are to watch this artist blossom before our eyes. It was so nice to share that experience with the donors this past Saturday. Inna is a beautiful person. She is always full of so much joy and often shares stories about her family and singing career. I am thankful for our friendship.

When Sondra Kelly joined us for the sitzprobe last week, it was truly a memorable experience. To listen to a true dramatic voice was powerful. I have never heard a female voice with such strength in her lower voice. She creates an atmosphere of fear which contrasts with much of the opera. That is what makes this opera so wonderful! It is soooo real!

Kathleen has worked her magic in just a couple of weeks. The staging in both productions supports the music and the overall themes in the stories. Very clever. She worked so well with all of us. And she is the leader of our bowling team!

 I will not forget the first rehearsal when Maestro Giovanni shared his thoughts about this powerful work. I hope I share this accurately. He said that Suor Angelica is about guilt and forgiveness. The novices are late to prayer, Osmina hides roses in her sleeves, Dolcina is greedy in her desire for food, and Genovieffa desires to hold her lambs again. There are many characters who have their sins revealed by the Monitor. Though these are small infractions, the nuns are made to feel guilty and must repent to be forgiven. We then discover that Angelica's situation is far more serious... she had a child out of wedlock. In the end, Angelica is forgiven, even for the unspeakable act that occurs at the end of the drama. The Virgin Mary forgives Angelica and blesses her with a miracle. This is the basis of Christianity: hope.

In the words of Maestro... "We have a show!"

I have had so many moments where I felt chills up and down my body. I have sung both with tears in my eyes and with a smile on my lips. This is the power of music... to make us feel. Boy, are you gonna feel, friends!

Sunday, March 9, 2014

Recipes from the Stars!

Add some musical medlies to your recipe book with dishes inspired by Italian Opera PLUS personal recipes from our stars!




For centuries, an evening of dinner and the opera formed a winning combo. Food historian Francine Segan celebrates the dynamic duo with a book of musical meals: The Opera Lover’s Cookbook. She pairs recipes and menus with beloved arias and overtures and pays tribute to some of the great composers through dinners and desserts. Here are a few of the book’s recipes, inspired by Puccini, Leoncavallo, and their operas Suor Angelica and I Pagliacci.

Linguine ‘Il Trittico’ with Oranges, Apricots, and Almonds
Serves 6

Just like Puccini’s Il Trittico this marvelously unusual dish is made of three main parts. Cointreau-spiked caramelized onions and sweet oranges are complemented by the slightly tart dried apricots to create a multilayered flavor. You’ll love this dish, which is based on an Italian Renaissance recipe.

Ingredients:
1 pound linguine
1 large purple onion, thinly sliced
1/2 cup, 1stick, unsalted butter
1/3 cup Cointreau
1 1/4 cups fresh squeezed orange juice
8 to 10 fresh or dried apricots, sliced
1 tablespoon light brown granulated sugar
2 tablespoons minced best quality candied orange peel, optional
Freshly ground black pepper
1/2 teaspoon freshly ground nutmeg
1/2 cup freshly grated Parmesan cheese
1 cup almond slivers
Zest of 1 orange

Cook the linguine in plenty of salted water according to package directions.

Meanwhile, saute the onion in the butter in a large skillet over medium heat until soft, about 5 minutes. Carefully add the Cointreau and simmer until reduced by half, about 2 minutes. Add 1/2 cup of the orange juice, the apricots and sugar and stir until the sugar dissolves.

Slowly add the remaining 3/4 cup orange juice and simmer until the sauce turns golden, about 3 minutes. Remove from the heat, stir in the candied orange peel, if using, and generously season to taste with black pepper.

Toss the sauce with the drained linguine and top with nutmeg, Parmesan, and almonds. Garnish with the zest.


Nedda's Amaretti Roasted Peaches
Serves 4

You wouldn't think that anyone could improve on the taste of peaches, but the Italians did.

Filled with amaretti, those crisp little Italian almond cookies, and a splash of Amaretto, the peaches are them slow roasted. The melding of the almondy flavors releases all the fruit's sweet potential.

Quick to assemble, light tasting, but oh-so-satisfying. Service with a glass of Sicilian dessert wine like Moscato di Siracusa.

5 large peaches
12 amaretti, about 3 ounces
1/3 cup Amaretto or other almond liquer, or Marsala wine, plus more as needed
1 large egg yolk
1/4 cup granulated sugar
4 tablespoons sliced almonds
2 tablespoons sliced almonds
2 tablespoons unsalted butter, plus more for the pan
Confectioners' sugar, for serving

Preheat the over to 350 degrees. Generously butter a baking pan. Reserve.

Cut the peaches in half and discard the pits. Using a grapefruit spoon or melon baller, scoop out the centers of 8 of the peach halves. Reserve the pulp.

Combine the pulp with the 2 remaining peach halves in a food processor or blender and pulse until smooth. Add the amaretti, liqueur, egg yolk, and granulated sugar and pulse until well combined. If the mixture is dry, add more liqueur.

Fill each peach half with the amaretti mixture. Top with sliced almonds and a very thin pat of butter. Arrange the halves onto the baking pan and bake for 30 minutes, until golden.

Serve at room temperature, topped with a sprinkle of confectioners' sugar.

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Here, the stars of our Pagliacci and Suor Angelica share some of their favorite recipes!

Red Wine Risotto (Risotto al Vino Rosso)
original recipe, by Giovanni Regiolli

Chop 1 medium-sized red onion, 1 stalk celery, and 1 medium-sized carrot. In pan with olive oil, let them sweat until soft. Add 1 small can of tomato paste, and reduce.  When well mixed, add about 400 grams (around 1 lb.) of Arborio rice. Once rice is well coated with the ragù, add 2 cups red wine (Zinfandel) and 1 cup Marsala. When absorbed, start covering with beef broth. Keep rice wet, continually adding broth until desired consistency is reach. Then add 1½ cups Parmesan cheese and mix well. Serve as a side dish for lamb or beef roast. Serves 4 people.



Enchilada Casserole
by Kathleen Clawson

This is a favorite at my house. It is very easy to prepare and you can adjust the spicy-ness with the heat level of the green chile.

1 lb hamburger meat
1 med. onion, chopped
1 clove garlic
1 15-oz can Ranch Style Beans
1 15-oz can chopped tomatoes
1 4.5-oz can chopped green chile (adjust “heat” to taste)
1 10.75-oz. can cream of chicken soup (condensed)
1 dozen corn tortillas
2-4 cups shredded cheddar cheese

Brown hamburger meat with chopped onion and garlic; add Ranch Style Beans. In a separate bowl, combine tomatoes, cream of chicken soup, and green chile. Spray a casserole dish cooking spray. Tear 1/3 tortillas into medium pieces and spread in the bottom of the casserole; layer with 1/3 tomato mixture, 1/3 hamburger mixture, top with 1/3 cheese, repeat, ending with cheese. Bake at 350 degrees for 45 minutes to one hour, until heated through and cheese is melted.

Tonio's Chili
by Christopher Clayton


So probably the thing that I am most famous for is chili.  When I was in High School I went through a period of intense interest in chili. It may be that I am best known for my, aptly named, "Chili Song."  My love of chili did not just stop with this song, which has been sung by many, perhaps even reaching into the dozens, throughout the United States and on two continents, but I spent years refining my chili making technique: finding the ultimate source of meat, going through the different types of chili peppers to find the one that appeals best to my palate, and combing the known chili literature to increase my knowledge base so I could adapt the chili that would best speak to my soul.  Since all ingredients vary, I usually don't take a careful measure of the ingredients I use, rather letting my senses guide me to the final destination of chili perfection (or maybe I am just too lazy to do it). So, I will give you the best rendition I can of my recipe, and I will call it, "Tonio's Chili."

About 6 lbs of chuck, cut into 3/4" cubes
1/3 cup freshly crushed ancho chili 
Crushed cayenne pepper, if desired
1 stick of butter
2 onions, diced
4-5 cloves of garlic, crushed
2 tsp cumin powder
Salt
1 10 oz can of tomato puree
2+ cups water
1 tsp oregano
Masa harina

Good chili starts, surprisingly, with good chiles.  My favorite are ancho chiles (dried poblano peppers, sometimes also called pasilla peppers), they have a bit of heat, a more complex flavor with hints of smoke and raisin, a nice dark color, and are just stinking good! Once you have found some dried peppers, remove the stems and crush them with a mortar and pestle, or run them through a spice grinder or coffee grinder until they look about like crushed red pepper flakes.  You could possibly also put them in a couple of bags and run over them with your car, though that is harder to judge when they are just right.  Then either convince your butcher to cut you up some 3/4" cubes of beef chuck or get a chuck roast and do it yourself, I hope you have a nice butcher.  Once your chiles and meat are ready, throw a stick of butter in a good sized pot and melt it.  Once it melts throw in the diced onion and cook it for a couple of minutes until the onions get a little tender, then add the cubed meat and the crushed chiles.  (I have called for 1/3 cup of crushed chiles but you may want a bit more or less depending on the strength of your chiles and how finely crushed your chiles are) If you like your chili with more burn, add some crushed cayenne pepper as well.  Add the garlic and cumin and stir until the meat is fairly well browned, then add salt, the tomato puree and a couple of cups of water.  Bring your pot of love to a simmer, turn down the heat and cook for an hour or so, until the meat is tender, stirring occasionally and adding water if needed. It should never get too thick, since now that the meat is tender you are going to add the oregano and a couple of tablespoons of masa harina (mixed with a bit of water) to thicken it up.  Simmer for 10-15 minutes more and start salivating, then eat abundantly.

A note on beans:  The true form of chili, in my line of thinking, is without beans.  However I will, occasionally, substitute some of the meat for beans.  There are only four valid reasons I can think of to do this: 1) You are health conscious, 2) Beans are cheaper than meat, 3) You are a vegetarian, or 4) You are crazy.  I know that I have used beans for reasons 1 and 2, and when cooking chili for certain of my friends to whom 3 applies.  Some people consider me crazy…but not crazy enough to put beans in my chili for no good reason.

From Stephen Mark Brown 

I hate to admit it, but my typical recipe is:

1. Pre-heat oven to 400 degrees.
2. Take frozen pizza from freezer, remove from box and plastic wrapper, and place on top shelf in the oven.
3. Wait 22 minutes, and remove pizza from oven to cool.
4. Cut into slices with the BIG knife.
5. Enjoy with a nice cold A&W root beer.

I actually do love grilling out, or making my own pasta and sauce, or pretty much anything that can start with olive oil and garlic in a pan... but life on the road frequently reduces me to nature's most perfect food:  Pizza!
 

French Lentils
by Philippe Pierce

One of the challenges when you are on the road is to make yourself feel comfortable, and integrate as many of the creature comforts of home life when you are staying in a hotel. One of the things that works best for me is to re-create easy recipes my mother used to make me as a child.  My favorite one, because it is nutritious and delicious, and a great single dish to have after a long day of rehearsal, is my mother’s recipe for French lentils.

In a large pot, put 2 cups of French Green lentils (lentilles du Puy), 6 cups of water, 2 roughly chopped carrots, 1 roughly chopped onion, 2 mashed garlic cloves, 2 bay leaves, and 2 cloves.

Bring to a boil, and then turn down to a simmer for 40 minutes (or until the lentils are soft.)

In a large bowl, mix together 2 tbsps. mustard, 4 tbsp. olive oil, and 1 ½ tbsps. vinegar (add salt and pepper to taste.)

Fish out the bay leaves and the cloves, drain any water, and add the lentils to the vinaigrette in the bowl, and toss.

Serve warm! 

Borsch
by Inna Los 

Ingredients:
2 large or 3 medium beets, thoroughly washed
2 large or 3 medium potatoes, sliced into bite-sized pieces
4 Tbsp of cooking oil
1 medium onion, finely chopped
2 carrots, grated
½ head of cabbage, thinly chopped 
1 can kidney beans with their juice
2 bay leaves
10 cups water and 6 cups broth to get 16 cups liquid total
5 Tbsp ketchup (or 2Tbsp tomato paste)
4 Tbsp lemon juice
¼ tsp freshly ground pepper
1 Tbsp chopped dill

Instructions:
1. Fill a large soup pot with 10 cups of water. Add 2 - 3 beets. Cover and boil for about 1 hour. Once you can smoothly pierce the beets with a butter knife, remove from the water and set aside to cool. Keep the water.
2. Slice 3 potatoes, add into the same water and boil 15-20 minutes.
3. Grate both carrots and dice one onion. Add 4 Tbsp of cooking oil to the skillet and sauté vegetables until they are soft (7-10 minutes). Stir in ketchup when they are almost done cooking.
4. Thinly shred ½ a cabbage and add it to the pot when potatoes are half way done.
5. Next, peel and slice the beets into match sticks and add them back to the pot.
6. Add 6 cups chicken broth, lemon juice, pepper, bay leaves and can of kidney beans (with their juice) to the pot.
7. Add sautéed carrots and onion to the pot along with chopped dill.
8. Cook another 5-10 minutes, until the cabbage is done.
9. Add sugar or honey (approx. 2 Tbsp or to your taste)

Serve with a dollop of sour cream or real mayo.

Date Rolls
by Jennifer Bryant

Here is my grandmother's recipe…

2 cups of graham crackers, crumbled
2 cups of seeded dates
Enough milk to moisten
2 cups of marshmallows, diced
1/2 cup of chopped nuts

Mix ingredients well, adding milk for moisture. Shape into rolls and chill. Make small individual rolls and roll into confectioner's sugar.