Transforming the Operatic Voice with TORCH

A few months ago I blogged about a forthcoming project at TORCH, the Oxford Research Centre in the Humanities, with Dr Toby Young of Somerville College. We have titled our work Transforming the Operatic Voice and this Monday was our first experimental workshop exploring different vocal genres and stylistic uses of the voice.

Toby and I were joined by regular McCaldin Arts collaborator Libby Burgess (above seated) and a new team member (above left) Heather Cairncross. Heather’s singing career spans a wide variety of genres from early music with the Monteverdi Choir to the chameleon vocals of the Swingle Singers, jazz and pop.

Heather Cairncross & Clare McCaldinWe worked with a range of songs and arias from different periods and challenged ourselves to analyse what we did intuitively (or through training) in one genre and to apply this to music from a different vocal heritage.

Nuit resplendissante (Gounod)
Ombra mai fu (Handel)
C’est magnifique (Cole Porter from the show Can-Can)
We’ve only just begun (The Carpenters)
Someone like you (Adele)
The Salley Gardens (folk arr. Britten)

We discussed technical issues (support, soft palate, mask resonance, consonant production, vowel shape and purity) and stylistic questions about the creativity of the response to the melody, situation, use of amplification and text. This was early-stage work to homogenise our language and understanding in preparation for making a new set of songs. The two versions of the song-cycle will be performed acoustically and in a recorded ‘studio’ form by me and Heather respectively, and we will be looking for points of contact and difference between the two performances, based on our experimental learnings.

Prior to the session we had also compiled a fascinating list of singers performing outside their normal musical or vocal territory. To see the list and listen to the tracks, click here.

 

 

 

Elizabeth and Jessie

Every so often someone casually suggests an idea to me that just grabs me, and one of my current projects in development comes from just such a moment. A friend noticed a connection between two very different singers: Elizabeth Schumann (above right), international classical diva, and Jessie Matthews (below right), darling of 1930s musicals, on stage and screen.

Each of these women reached the very peak of her profession, working with the creative giants of her day and experiencing the ups and downs, rivalries and challenges that the performing life unavoidably entails. It is fascinating to weave together the strands of their narratives as an introduction to their music and artistry, built around the curious facts of how their stories finally intersect here in England.

After the success of my first narrated recital Haydn’s London Ladies, this format seemed ideal for combining similarly varied musical items and historical anecdotes. The new programme ranges from Schubert to Rogers and Hart, from Covent Garden and Hollywood.

Elizabeth and Jessie is currently in development, for presentation in late 2017. Dates to be announced.

Can you feel the force?

A friend was telling me about a performance she had recently attended at Shakespeare’s Globe. She was a guest of one of the actors. It was mid-week during a very busy time and, while she wanted to be there, she was also half-wishing for a quiet evening at home. The play was Titus Andronicus – pretty uncompromising stuff, particularly in Lucy Bailey’s production. By the interval, she had realised that she needed to find a way of engaging with the performance, or simply go home. She decided to stay.

16 watch audience reactions web readyShe met her actor friend in the bar afterwards. He told her that immediately he had entered the stage he had spotted her leaning wearily on her husband and had directed his entire performance specifically in her direction. She was astonished to realise that not only was she identifiable at such a distance but that his assertion – “if I could get you [onside], I would also have got everyone else in the theatre” – had been borne out by her own experience and the crowd’s reaction at the end.

My friend understands about live performance. She is aware that performers can sense the energy of the audience but had no idea of what that meant in practice. She was surprised, too, to discover the extent to which a performer might sometimes be in a position to affect it in such a specific way.

A Concert.This is arguably more difficult to do mid-opera than mid-play. I’ve often looked at the backstage monitor at the Royal Opera to see who is sitting in the stalls directly behind the conductor. It’s generally very keen people, pleasingly electrified by their proximity to the action. Occasionally there is someone who drank too much wine with dinner and who is having a snooze, unaware that he (usually) is visible to the entire stage. It’s quite funny, and no doubt he would be mortified to realise he was being so closely observed. But consider what it does to the energy of the show if every time anyone onstage looks in the direction of the conductor, they see that person who has lost the will to stay awake. If someone is unconscious there’s not a lot that any of us can do, but in the case of my friend watching Titus, energy directed towards her arguably influenced her choice to stay to the end. Who hasn’t arrived at a show feeling wrung out, only to be caught up in the performance and leave feeling revived, wondering what happened?

This energy is, of course, hard to see but its ebb and flow is the powerful stuff of live performance, for good or ill. A mobile phone going off can kill a performer’s and audience’s concentration, and crash the energy of a carefully crafted scene. An actor forgetting his lines creates anxiety for everyone, but a brilliant ad lib or ‘rescue’ can generate excitement that has us all leaning in to see what’s coming next.

A last-minute cover thrown into an established cast can be like an energetic hand-grenade if there hasn’t been much rehearsal. This happens more frequently in opera than in theatre, particularly if a production has been revived regularly – it’s a case of taking whomever is available among the singers who have done the show in the past. The in-the-moment negotiations that take place under the nose of the audience may not be directly visible, but the sense of something going on adds a frisson that even live recordings can’t capture.

I recently heard a doom-laden prediction that in a couple of decades’ time, actors on film could all be digital and there may be no need for the real thing. Let’s hope that the invigorating magic of live performance remains more difficult to conjure electronically.

Farewell to Vivienne (for now)

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Yesterday was the last performance of Vivienne in 2013 and, I am happy to report, another triumph, with a big and appreciative lunchtime audience in the Linbury Studio Theatre at the Royal Opera House. The success of the piece in artistic terms was again confirmed by the consistency of the response we had from this audience, which matched the enthusiasm and sentiment of those who have seen other performances. I was particularly grateful to my production team (below, L to R: Joe Austin, director; Christopher Nairne, lighting; Simon Kenny, design)

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who came along to make sure this final performance was of the highest quality. Libby Burgess was, as always, a wonderful musical partner at the piano as we explored Vivienne’s fragile state of mind.
viv_roh_25_nov My task is now to develop a schedule to tour Vivienne and I hope to link performances to the twin anniversaries in 2015 of Vivienne’s marriage to Eliot (100 years) and Eliot’s death (50 years).

Vivienne Published

ed_peters_vivienneThis week I got a wonderful surprise from the team at Edition Peters. The famous music publishing house, who deal with all my colleague Stephen McNeff’s music, has produced the vocal score of Vivienne. I am thrilled that McCaldin Arts has received a pre-publication copy of the score, having premiered and produced this piece which has enjoyed such success.

The copy arrived just as we prepare to perform Vivienne for the final time in 2013, in a lunchtime slot in the Linbury Studio Theatre at the Royal Opera House, Covent Garden on 25 November.

Vivienne in Bloomsbury

october_viv_01Last night we performed Vivienne in the October Gallery as part of the Bloomsbury Festival. It was an important opportunity to try the piece somewhere that is not a dedicated theatrical space, and to discover how far towards a concert performance we can take the staging without losing its power.

Once again we had an appreciative and knowledgeable audience, and it seemed right that a performance of Vivienne should take place in Bloomsbury, with Eliot’s publisher Faber & Faber only a stone’s throw away.

Vivienne: tickets for Autumn performances

Bloomsburylogolinedates13Two more performances of Vivienne are taking place before the end of the year. The first, on Thursday 17 October at 6pm, is part of the Bloomsbury Festival and can be seen at the October Gallery. The advance tickets have now all been taken but there will be more available on the door.ROH_logo

The second and final performance of 2014 takes place in the Linbury Studio Theatre at the Royal Opera House, on Monday 25 November at 1pm, as part of the lunchtime recital series. Booking for this performance opens on 16 November. A proportion of the tickets is retained and available on the day.

Tickets for both performances are free.

Vivienne’s First Run

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left to right: Libby Burgess, Clare McCaldin, Stephen McNeff, Joe Austin

We have finished the second of two performances of Vivienne at The Forge, Camden as part of the Camden Festival and so the summer run of Vivienne has come to an end. The positive reception of this short but concentrated music theatre piece has justified all the hard work that went into bringing it to the stage. On both nights at The Forge the audience stayed after the curtain calls to speak us about their experience. Clearly Vivienne is a strong, involving work and many people wanted to share their impressions of a personal connection formed with me in the role of Vivienne, and to praise the contributions of Libby at the piano and Joe in shaping the piece and my performance.

Vivienne has been a very successful collaboration for the whole McCaldin Arts company. Building on previous experience of working together and a mutual understanding of each others’ abilities and strengths we have created something rich, powerful and – importantly – entertaining.

I’m also indebted to a number of family, friends and acquaintances (all listed in this week’s programme) who supported this production, not least via the Kickstarter crowdfunding campaign that ensured a properly staged production. It’s been wonderful to see a number of those who have supported Vivienne in this way also coming to see the show.

A comprehensive digest of published feedback on Vivienne can be read here via Storify. We have also read the latest print edition of the New Statesman which described Vivienne as “a treasure”, Andy Rashleigh’s libretto as “witty and endlessly allusive” and the Tete a Tete Opera Festival show as “elegantly performed by mezzo-soprano Clare McCaldin and the pianist Elizabeth Burgess”.

Vivienne will return in the Autumn at the Bloomsbury Festival in October and at the Royal Opera House in November.

Vivienne – Production Week

Clare McCaldin rehearses VivienneWe are in the eye of the storm of rehearsing Vivienne, turning her turbulent life and world-view into the half hour stage show that debuts in a week. As usual, working in the rehearsal space with our director Joe Austin has opened up a torrent of ideas and we must now work through them and refine the production to create something focused, purposeful, honest and communicative. The music is a real dressing-up box of styles and moods, by turns fiery, fervent and fun.

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Both summer festivals at which we are presenting Vivienne have now started; it is possible (and cheap!) to come to other productions at both the Tete-a-Tete Opera Festival and the Camden Fringe immediately prior to VivienneHere’s the booking information. There’s plenty to see and discuss at these arts festivals – it would be lovely to see you.

New Projects For 2013

Following the positive reception of McCaldin Arts’ debut CD, the company has moved on to developing work for production later in the year.

Haydn’s London Ladies – a narration & song account of Haydn’s professional and personal relationships with women during his time in London, away from his unhappy marriage – is approaching its final draft. We begin rehearsals soon for the performance on 25 May.

Stephen McNeff & Andy Rashleigh have been working on the innovative and hugely exciting stage work Vivienne with a view to giving a first performance as part of the Tete a Tete Opera Festival in August 2013 and subsequent performances in the Camden Fringe.

Please return for more details on these and other projects as they emerge, or follow McCaldin Arts on Facebook or via Clare McCaldin on Twitter.