2008; the year of Russian hawtness

In addition to beginning my study of the Russian language in 2008, singing in Russian, meeting our favorite Russian baritone, and possibly preparing to study in Russia next year, I'm also reading Tolstoy's War and Peace, on highest recommendation by my friend Mary. My reaction so far?
oh. my. lord.
I'm not sure what I was expecting out of this novel, but I've been blown away. I was familiar with the story, having read the synopsis of the Prokofiev opera, but I'm more than glad I'm taking the time to read the whole novel. I actually have three copies of it; the Maud translation, which unfortunately anglicizes some of the names, changing Andrey to Andrew and things like that. Idiots. I have another from my great-grandmother's house, which is abridged, so I bought a third, the good old Constance Garnett translation. Mary is proud of me. And we both have an extremely nerdy crush on Prince Andrey Bolkonsky. He's about as hawt as a literary character can be. If you don't believe me, read the book. If you do believe me, read the book. If you don't care about the attractiveness of a fictional person, read the book. It's well worth your time.

I wish I was in Europe...

The title of this post really has nothing to do with the actual post. I just really wish I was in Europe right now, as part of an ongoing battle of figuring out my place in the music world...

I was up at Interlochen last weekend for graduation. While it was wonderful to see my friends and teachers again, but it also felt very strange to be back. Mostly everything was the same; the Concourse and Rotundas still had gritty sandy floors, TJ House still had that aweful disgusting smell that I lived with for a year, the lake was still beautiful, and you still saw a lot of blue. Lots of blue. It didn't seem true that I could have been away from the pines for a year, as if everything had stayed exactly the same until that day.

While at Interlochen, I was able to reconnect with some friends and teachers from my year there. I briefly went to the bonfire Andrew set up across the street at the state park campsite (word to the wise; flashlights in a dark woods are a good idea, and cell phones just don't do the same thing). I finally met Pei-Ting's mom and sister who came all the way from Taiwan for her graduation. Her mom speaks no English, and I speak no Chinese, but I feel like we could still understand each other, proving one again that language is not necessarily needed to communicate with another person. I talked with Mr. Norris, my voice teacher at IAA, as well as my IAA accompanist, Mr. Larson, who found out about the Facebook fanclub I created for him.

After our excursion to the American Siberia, mom and I went to Chicago for annual Girl's Weekend. We explored the downtown area just north of Michigan Avenue we hadn't seen much of before. We came across a delightful tea shop called TeaGeschwender, a German-based tea merchant that sold every imaginable sort of tea. Our cute clerk showed us several sorts of teas from the over 70 selections, and we finally settled on a Darjeeling and a Russian Samovar tea. Both taste wonderful. We also walked past several of the beautiful (and freaking expensive) houses in that area, and of course I'd like to live in one of them. But....well, that probably won't happen. Oh, but we can dream, can't we?

I want a samovar.

The war on dough and my bizzare dreams

Last night's dream: I'm at a gas station on highway 37 near Bloomington filling up my car (which I don't have at school), and I'm surprised, yet not, to see gas at $4.50 a gallon. I then realize that it's Sunday and that Filippa will be picking me up any minute, and I'm nowhere near my dorm. Did I mention I'm still in my pajamas? So I start freaking out, thinking she'll be waiting to pick me up and I won't be there. I look at my car clock and see that its 6:30 a.m., an hour before she'll be there...but then I realize that I didn't switch my clock when Daylight Savings Time kicked in! And then I woke up.

The night before's dream: I'm hanging out with baritone Nathan Gunn and his family. I think we're at one of his kid's birthday parties, or I might be their nanny or something. But the whole time I'm thinking, "Oh lordy I'm hanging out with Nathan Gunn!!" And I freak out, but in a good way. So when I come back home (but all my college friends are there), I'm talking about how fun it was, and that Nathan Gunn is good-looking. And none of my friends agree with me in regards to his looks, and think I'm a nutter. Some people...Then I'm driving down Bloomington's Kirkwood Avenue, but it doesn't look quite like Kirkwood. I'm amazed at how many pizza places there are in B-town...

Lessons I learned while making palmeni today:
1. It's 2 cups flour, 1/2 cup water, not 2 cups of each. It makes for very gooey, unkneedable dough.
2. That gooey unkneedable dough is hard to get out of your hair.
3. Let the meat defrost longer. Its much easier to work with when its mostly unfrozen.
4. I can rip frozen meat apart with my hands. Arggg!!
5. I'm a palmeni champion!

Semester Wrap-up

Finally the semester has ended. Finally. Despite the fact that it was one heck of a semester, I'm very glad its finished. 19 credit hours keep a person busy, and can drive that same person insane. Do I still have my sanity....I have no idea. So, we'll wrap up my second semester at the Jacobs School of Music in this way. Photos!! Bloomington in winter. I think I took this photo in February... Pei-Ting, my roommate from Interlochen, came to Bloomington in February to audition for IU.Joshua Bell and I after his recital with Jeremy Denk at IU on February 10. Yeah, he's awesome. And dang...I'm short. And I was wearing heels.Dmitri Hvorostovsky and I after a performance of Eugene Onegin at the Lyric Opera of Chicago, March 14. He's also awesome. And I'm still short. And still wearing heels.

omg eye contact!!Soprano Mary Cloud, myself, and soprano Jessica Skiba after our recitals in April. I'm a mezzo-soprano, although I sang "The trees on the mountains" from Susannah, a soprano aria, on my program. We're staying in mezzo territory for now, and I'm so glad. Opera Workshop!! Picnics during finals week.
Bloomington in the spring...

Cara speme...

A reality check is always a good idea...

The past few weeks were great as far as my vocal progress; my recital seemed to have been a success, opera workshop was moving along splendidly, audition music was good to go, the arias and songs I'm newly looking at started off great. And then...that feeling of "What am I doing here?" comes back...again. In the middle of finals week. Yesterday ended in me feeling rather down about my progress here in comparison to others, in my abilities as a singer, an artist, a performer, in my potential in general. These are unhealthy for a singer, and often begin an emotional roller coaster that has no real clear finish.

The good side though, before you think I'm some emo college kid...

I become more balanced in the end. I work harder to prove to others (and myself) that there is something there. Even though yesterday's practicing wasn't good, I know where I need to improve and what needs to be fixed. It makes my goals for this summer much clearer. I also happened upon a recent issue of Opera News featuring an article about mezzo-soprano Joyce DiDonato and her struggles starting out, even in college. A competition judge once told her she had "nothing to offer as an artist", and she also had many vocal issues as she saw her collegiate colleagues praised and awarded. Few thought she would become much of a singer, and often regarded her as unrefined silver. And now she's one of the top lyric mezzos around. I checked out her website, and the caption of a photo of her and bass-baritone Samuel Ramey talked of how much he inspired her; they're both from Kansas and attended the same university (not at the same time, obviously), and both made it. It is from singers like these that I take inspiration; Birgit Nilsson, Sherrill Milnes, and Bryn Terfel grew up on farms, Samuel Ramey's hometown is smaller than mine, Michelle DeYoung is the daughter of a Michigan minister. People like these singer have to work twice as hard as some others, but because of them, I know that hard work pays in the end...

Juan Diego Florez: Der Supertanker

I was finally able to see one of the Met's HD Broadcasts in movie theaters, today's being Donizetti's La Fille du Regiment, starring Natalie Dessay and Juan Diego Florez. This was the conclusion to Mary's and my birthday spree. I'm not as familiar with Donizetti as I should be (shame on you Lydia!), but I knew Marie's Act I aria and of course, the famous "Ah, mes amis!" and its 9 (count 'em!) high Cs for the tenor.

Natalie Dessay is a crazy actress, but brilliant. Some actors, like Dmitri Hvorostovsky, draw the audience to them by stillness, but Dessay does the same thing by constantly being in motion. She sang the crap out of tomboy Marie's crazy music, making jokes with the coloratura and making her legato smooth.

Now to Florez...he's adorable. You just want to take him home and feed him a very large meal and then have him sing to you out on a balcony. Maybe comb his hair. He looked cute in the lederhosen in Act I. Yes, lederhosen, you read me correctly. His voice has an incredible ring to it that I haven't heard before, and his high notes are sound ridiculously effortless. I'm generally a baritone girl (Dmitri Hvorostovsky, Thomas Hampson, Nathan Gunn, Sherrill Milnes...) but Florez is one of my few tenor exceptions. I've rarely heard something as thrilling as him singing "Ah mes amis"; sadly he didn't encore it this time. Silly tenor. During the first intermission he and Dessay were interviewed by Renee Fleming, and he really is that adorable. He said a send-out to those in Peru, but then said, "But its not being shown there, but hello!" and then scampered off camera. His Act II aria contained a high D-flat, which Florez said isn't written in the music, but he sings it anyways. And his last entrance in Act II was on an army tank. Why? Because he's that awesome.

idk my bff Riff?

Its "Dead Week". Here's a little known fact about dead week; it isn't dead at all. In fact, its one of the busiest weeks of the semester, with exams, papers, presentations, juries and upper divisionals, performances, and preparation for finals week. Not dead at all. However, my time of insanity hit a few weeks ago, and I'm surprised that I have a little more time on my hands than I thought. Either that, or I'm forgetting something terribly important.

Yesterday marked the end of my favorite class this semester, Opera Workshop, taught by none other than Sylvia McNair, a woman whom I respect and admire tremendously. Our work this semester concentrated on singing and staging seven scenes from Leonard Bernstein's West Side Story, which is done by opera companies as much as it is by musical theatre companies; Bernstein himself conducted a recording of the masterpiece with opera singers Kiri Te Kanawa, Jose Carerras, and Tatiana Troyanos. Ms. McNair is perfect to instruct us in this music, having sung everything from Mozart to Cole Porter, and Bernstein himself was able to bridge the gap between the opera stage and the Broadway venue. Brilliant man. Just brilliant.

I sang mostly in "I Feel Pretty" (as Rosalia) and "A Boy Like That" (as Anita), two scenes which can't be more different. One of the reasons I enjoyed doing these scenes is because I'll probably never get to actually do this show; who would ever cast a blond-haired, blue-eyed girl in West Side Story, especially as one of the Shark girls? I was especially glad to sing "A Boy Like That"; I've never had to sing music like that before. Anita's part sits especially low, and I quickly learned that I couldn't sing it beautifully. But Anita's music at that point shouldn't be beautiful; her thoughts are, to quote Ms. McNair "Your man killed my man, and that isn't enough for you to stop loving him." The music is angry, and more than angry. I sang almost the whole piece in total chest voice, and screamed more than I sang. We also had a wonderful director for this scene (all were staged by graduate students of Vince Liotta). Our first rehearsal, he told us to just go on instinct and to see what happened. I was very surprised at the results of that first run-through; I shook the soprano playing Maria, and felt an rush of emotion that I've never felt onstage before. The dialogue preceding the duet also had an emotional intensity I've never felt before; the anger I felt when I shouted "And you still don't know; Tony is one of them!" was real to me. I hope the audience felt it. But the biggest trill of all was Ms. McNair telling me that she was proud of me, proud of how far I've come this semester. She nearly had me crying.

Finally, its spring in Bloomington! The flowering trees are in full bloom, and its even been hot for a few days (ahh!). And while the weather makes me feel somewhat lazy, I still have lots of work to do; a presentation in Russian, four finals next week, an audition, and packing up to go home!! And my birthday is tomorrow...

Infida! - Qual voce! ... - Di geloso amor sprezzato

And people wonder why I love opera...

Insanity

Reasons why I belong in a madhouse:

1. The T 132 Transcription Project. We get about half the music and a recording. The task? Listen to the recording and write the missing notes in a different key. This project ate my soul.

2. Freshman recital. I had a wonderful time preparing for it and performing it, but it still required a lot of work. However, the result was well worth it.

3. Next semester. I miscalculated the amount of classes I wanted to take next semester and nearly signed up for 22 credit hours. This will not happen, and I'm saying good-bye to algebra for the time being. The schedule includes; French, Russian, Music Theory, English Diction, Choir, Lessons.

4. Rehearsals. My last choir concert is on Tuesday, but that's the least of my worries. I was a soloist in the University Chorale's presentation of Schumann's Szenen aus Geothes Faust, which got me positive feedback from Ms. McNair! We're still in the staging process of the West Side Story scenes, which involves me shaking the soprano playing Maria, throwing furniture, and collapsing to the floor. Intense? Yes, and I'm loving every minute of it. There's also a student composition project I'm involved in that's a collaboration with the music and modern dance departments. The music, however, is some of the most challenging I've ever sung, making Vaughn Williams look easy. It is making me a better musician, which is my goal every day, to be better than the day before.

5. The Church Job. I get up earlier on Sundays than during the week. But they pay me!

6. Russian. I love the language, one of the most beautiful, in my opinion, but sometimes I forget that I read Cyrillic. Other times I'm writing be writing in English and find myself writing a word in Russian. холодильник is my parent's favorite word.

7. Finals that are approaching.

Who says its cold in Russia? Its hawt!

After nearly 14 months of planning, waiting for tickets and then the performance, I finally saw Tchaikovsky's masterpiece Eugene Onegin, presented by the Lyric Opera of Chicago, with baritone Dmitri Hvorostovsky in the title role. Early in the season, Hvorostovsky pulled out of half the performances, causing a bit of anxiety on this part, seeing as there was really only one performance that I could attend. Thankfully, he was singing that night. In fact, this was the last night he performed the role in Chicago, and supposedly for the rest of his career, according to Opera News in September 2006. The production by Robert Carson (presented at the Metropolitan Opera last season, and telecast across the world February 07) also featured Dina Kuznestova as Tatyana and Frank Lopardo as Lensky. Kuznestova's Tatyana was heartfelt and beautiful, with liquid high notes and a perfect Letter Scene. In the final scene of the opera, her face clearly showed Tatyana's anxiety as she struggles with the choice in front of her, and we knew that her final rejection of Onegin was concrete.

I wasn't sure how I felt about Lopardo's Lensky; his was a sound I wasn't used to in the role, but by the end of his first scene, he had won the audience over. His interpretation of "Kuda, kuda", sung just before the duel, was wrenching and heartbreaking. His Lensky almost seems to know that he'll die, making the aria all the more tragic.

But of course, Eugene Onegin cannot succeed without a strong baritone in the title role. And we had Dmitri Hvorostovsky, a singer who's name has become synonymous with Eugene Onegin. I had seen the telecast of the opera from the Met last year, with Hvorostovsky and Renee Fleming as Onegin and Tatyana, and his Onegin was cold and unsympathetic towards Tatyana. However, his present Onegin was much warmer and his rejection was easier to take, although it still breaks that heart to see. Instead of simply rejecting her in the traditional "Its not you, its me" fashion, which is how Hvorostovsky played it at the Met, he was much more paternal in turning from her affection, wanting to protect her. Only his last line in that scene was as heartbreaking as always "Learn to control yourself in the future. Not every man will be as understanding as me." (loosely translated) The rejection is always painful, and nothing Onegin could have said would have been easy on Tatyana. His flirtation with Olga in the party scene would have worked on anyone in the audience, and he dances well too. =) He played with cards and talked with Olga during Triqiet's song, and ignored Lensky's despair at Onegin's flirting with Olga. The duel scene had no scenery, with only the singers and the drama onstage. Most of the scene occurred in darkness, with the sun only appearing after Lensky was shot. Instead of taking a break in between the duel scene and the Polonaise, the time was used rather well. Hvorostovsky stepped away from Lensky's body and proceeded to change his costume with the help of several footmen. Needless to say, shirtless Dmitri was worth the price of admission. =) But perhaps the most passionate and emotionally intense moment in the opera occurred after Tatyana's exit, when Onegin, alone on stage, cries out in his despair. Hvorostovsky could not have expressed that very despair with any more perfection; it ripped your heart to shreds, although it was much deeper than that.

We waited by the stage door after the performance hoping to get a chance to see some of the singers. Some annoying (and reasonably untalented) saxophonist whom had been hanging around after Orfeo two seasons ago was again playing on the sidewalk. We saw a small crowd in the entryway by the stage door, and, assuming they also wanted to meet and greet, we went it. It was a good choice. We saw a few singers leave, but we either weren't sure who they were or how to pronounce their names, as in the case of the spectacular Ukrainian bass Vitalij Kowaljow, who sang Prince Gremin. But after about 10 minutes, there was a collective "Ahh!" as Dmitri Hvorostovsky and his white hair were spotted.

To answer the obvious question; yes, Hvorostovsky really is that good-looking, to the point of being overwhelming. He knows how to work a crowd and signed programs and answered questions, from the normal to the obscure. I was about 5th in line to talk to him, which I did. I worked with a former Italian diction coach of his while I was Interlochen, so I made sure to mention her. He seemed pleased and asked me to send her his love. Will gladly do. He also was kind enough to let me grab a photo.

Of course, I could post much more about the whole experience, but I'll spare you. I will say that Eugene Onegin is an underrated opera, and I wish that more people knew it. Anyone can relate to it, because everyone has experienced disappointment and regret, not to mention that Tchaikovsky knows how to express human emotion in a way that no one else has been able to. I adore this opera.

One Week!

One more week until Eugene Onegin!

Photo from www.lyricopera.org

More Countdowns...

11 days until Eugene Onegin in Chicago!

The Joshua Bell Experience: Footnotes

So here are a few things I forgot to mention about the Joshua Bell recital of awesome yesterday.

For one thing, Kelly, Stephanie, Joanna, and I were in the second row. The second freaking row. About twenty feet from the man himself. We could see the sweat and hear him breathe. From our angle, we could mostly see the side and back of him (not exactly a bad view, mind you), but we could also see his music. As soon has he pulled out the last movement of the Saint-Saens piece, I knew it was going to be wild; there were so many notes it looked like one big blurr.

Also, while we were getting Jeremy Denk's autograph, the manager of the MAC (dont' remember his name) inquired him about the reception at Mimi's (that would be Mimi Zweig, current IU faculty member, and Bell's first teacher). Denk said that he didn't have a ride, to which the manager said he could drive him there, and added, "I think Josh's mom is taking some people there." And yes, that would be Bell's mom he's talking about, for she still lives in Bloomington, to my knowledge.

Here are some photos of my autographs:

The Recital Program; this one isn't autographed, but I thought I'd include a photo

Jeremy Denk's autograph on my Red Violin Concerto CD

Joshua Bell's autophrah on the same CD. It is harder to see in a photograph.

Joshua Bell's autograph on my The Romantic Violin CD.

The Joshua Bell Experience

So, the day finally came, after much anticipation...the Joshua Bell and Jeremy Denk recital. The tickets sold out in a matter of hours, suprising no one. Not to mention is was a free concert, when tickets to see him other places go for hundreds of dollars. So...this was something to be excited for.


I'm not going to lie, I was way more than excited...or ecstatic...or overjoyed. He's a great violinist (obviously), but he's also an Indiana native (from B-town) and an IU School of Music graduate. So, he's won a place in the hearts of many Hoosiers just because of that.

But on to the actual program!


The first selection was Tartini's Sonata in G Minor, the "Devil's Trill" sonata. After hearing the piece, the title is obvious; there's more trills in it than I think I've heard in a piece. The next selection was Prokofiev's Sonata in F Minor, a beautiful and still piece. One of the reasons I love Russian music is because it has so much passion and soul in it, and Bell is especially good at bringing out those qualities in whatever he plays. But a few bars into the second movement (Allegro brusco), he turned around to the people who were seated on stage and said, "Excuse me, but what is that noise? Is somebody unwrapping something?" Indeed, a noise could be heard. He continued, "This movement needs special atmosphere. Please excuse me." I know in writing it sounds very jerk-ish, but believe me, as a wittness, it wasn't. He began again and played through the movement. And indeed, you really do need a totally still atmophere for it, and I think his concentration had been broken, which could have ruined the piece. He played it beautifully.


The first piece after intermission was Dvorak's Four Romantic Pieces, which were all short, sweet and pretty tunes with, in great Bell tradition, a lot of passion. Its obvious why they're called "Romantic" (do I even need to explain?) In everything he played, you could hear him breathe between the phrases. The last piece was Saint-Saens's Sonata in D Minor. Of course the whole thing was beautiful, but the last movement was the most impressive. Let's just say he played so fast you couldn't even count the notes. Your pulse literally sped up to the tempo of the music. When he finished, everyone in the MAC got to their feet within 3 seconds.


He played 2 encores; the first, his own transcription of Faure's vocal song "Apres un reve" (After a dream). The second, the march from the opera The Love for Three Oranges, a very trippy opera. But it was thrilling, absolutely and totally thrilling.


Right after the performance, Kelly, Stephanie, and I went downstairs to the Green room of the MAC to get some autographs (Stephanie and I knew the back way). The only thing was that we weren't sure if we were allowed to be back there. We saw Jeremy Denk wander back from the stage area and got his autograph; he's a very nice guy. =) The page turner walked by and knocked on the door of the conductor's dressing room, and from within we heard Bell say "I'll be out in just a minute." Mental freak out begins. We wait there as a line forms, with us at the beginning (yes we're that awesome), and a few minutes later, Bell came out of the room, Stradivarius with him (in the case of course). Stephanie was the first of us brave ones to ask for an autograph, and then it was my turn...freak out continues. So I ask him to please sign both (yes I brought two) CDs and if I might have a photo...more freaking out. Apparently, my hands were shaking as I turned on the camera...but I got the photo. Right after Kelly took the photo, Bell patted my back between the shoulder blades and smiled at me. Freak out concludes.

Baisically, I've been giddy ever since.

Counting down...

Approximately 53 hours until Joshua Bell!

What?: Joshua Bell in recital
Where? The Musical Arts Center, Bloomington, Indiana
When?: Sunday, February 10, 4:00 p.m.
Why?: Because he's that awesome

And where will I be during this recital?

Sitting in the second row...

First Semester Overview

I won't lie; this post is woefully overdue. I have several drafts of other posts saved on my account with Blogger, but I had very little time to complete most of them. So instead, I'll give an overview of my first semester at IU.

So far, IU has been a wonderful experience. I received my grades yesterday and was more than pleased with the fruits of my hard work. I believe I have enough credits at present to be considered a sophomore, resulting from AP credit I earned in high school and a heavy first semester. And of course I'm now laughing at those who said I studied to much. Laugh on. I believe I've worked harder in this semester than I ever have before, and I know I've made progress. I was not especially surprised at the difficulty of the classes nor the amount of work involved; Interlochen prepared me for that in a way no other high school could. My German class was by far the most challenging course I've taken, mostly because it was two semesters of German (the 100 and 150 levels) crammed into one semester. It was by no means a class for the weak, it bringing some graduate students to their knees. But my German requirement is out of the way by a large margin.

As to IU itself, I'm very satisfied with it. Looking back on my college choices from last year, I'm so glad that I ended up at IU. Many large universities get something of a bad reputation in high school, with counselors, teachers, and other students that probably don't know what they're talking about saying that no one will pay attention to you or care about you, or that mentioning alcohol will turn you into a drunk. Not true. I can see how it's possible to get lost in a student body of 37,000, but it's also far from difficult to make your presence known. The Jacobs School of Music in itself is large, but it doesn't feel that way. Because it is such a big school, it gives more of an outlook of what the competition in "the real world" will be, and therefore being a little more realistic than a smaller school. I've had many opportunities to perform, being at "cattle calls" or holding my own with grad students, and show what I can do, and so far, the feedback has been positive. Besides, I'd much rather make an impact on faculty by actually accomplishing something rather than being noticed because I'm one of a small group. It makes successes much more rewarding than if I was at, as some call it, "a glorified high school" smaller than my dormitory.

This semester has also brought on new and exciting things. I signed my first lease a few weeks before Christmas break for the house I'll be living in next semester. Finally I'll be rid of dorm food and creepy cleaning people. After two years in a dormitory, I'm ready to have a single room again and no more half plastic food.

Over break I'm not planning on doing much; learning a lot of music, finishing reading Anna Karenina, and preparing for next semester. And as always, its so nice to be home again. =)

My second semester as a freshman (or I guess my first semester as a sophomore) is something I'm really looking forward to. Since I'm done with German and I'm waiting to tackle my next required language (those being French and Italian) until next fall, I'm taking Russian, something I've wanted to do for a long time. I'm also getting a Russian lit class in, as well as the usual music theory. I'll also be taking the undergraduate opera workshop class with two-time Grammy winner Sylvia McNair, one of the industry's most talented and courageous women.

Also, it was just announced that the Lilly Endowment is giving $44 million to the Jacobs School of Music for the funding of the North Studio Building, which is hoped to be completed by about 2010. Just in time for the JSoM to return to the Metropolitan Opera in 2011, as its rumored to be. Also, to walk in the same halls that people such as Leonard Bernstein, Virginia Zeani, and Joshua Bell once did is quite amazing, if not overwhelming (in a good sense) at times. I also had a slight freak out when I saw Andre Watts crossing Jordan Avenue on my way to the Music Annex to practice. IU's great.

Fern Hill

Dylan Thomas's poem Fern Hill was yet another work that I was unfamiliar with until recently. Composer John Corigliano set the poem to music for chorus and orchestra in 1961, making an already beautiful text become even more powerful. Not only do I enjoy this poem (and the music) for their artistic value, but they also describe nearly everything that I've felt in the past year or so. It makes me nostalgic, but at the same time churn up hope and a sense of newness in me.

Once again, I am simply posting a website link, because I was unable to get the format of the poem the way I wanted on the post.

http://www.poets.org/viewmedia.php/prmMID/15378

Random Poetry

I've only recently come across the poems of Wilhelm Muller, mostly because of Schubert's settings to his work. This however, is one of my favorites: "Des Bachens Wiegenlied", which is the last movement of Die Schone Mullerin, one of Schuber's greatest song cycles, and certainly one of my favorites.

For some reason, I'm not having much luck with copy and paste, so I'll post the link to the text and translation.

http://www.recmusic.org/lieder/get_text.html?TextId=11917

The Countdown Begins...

March 14, 2008. Eugene Onegin at the Lyric Opera of Chicago.