I hardly used the midi at all; I toyed with it but it didn’t really work for me; mainly I was able to follow the score thanks to Robert and Serkan’s patience with me, and also thanks to the sessions we did with Rueben (also wonderfully patient)
and I figured out how to break down the score in a way that became more or less digestible for me (and Toivo showed me a few tricks as I recall)
still when it came to performance, my ability to get the score in synch (and tune) with the conductor and musicians was hit and miss - and none of my score is improvised; I suppose there’s a stage to come, if we ever get to perform the piece a few more times, where I would feel free to devote myself to interpretation and not to structure; as it is, there’s quite a lot of tension between the two which I hope I at least got away with but…
the hardest aspect for me was performing with the orchestra and conductor; it’s the nature of the orchestral system that rehearsals are minimal and the conductor rules (all my singing life, I’ve had the pleasure to be more or less the one the musicians had to follow…)
at one stage, I resigned as I thought I just can’t do this; but it seems that I rescinded my resignation…
extended vocal techniques - quite a lot of study went into my own development of extended vocal techniques, mainly but not only with various members of the Roy Hart Theatre, though I think what I do is mostly the result of self-exploration coupled with the realisation a long time ago that force must be used vary sparingly if one’s not to wreck one’s voice; an another aspect of my approach is I don’t strive to imitate a certain vocal sound, I allow other sounds (say from Central Asia or from all kinds of avant-garde vocal work) to open my imagination but then let my body physicalise that imagination as it will
thank you Adam!
you’re very kind to us
small comments
I hardly used the midi at all; I toyed with it but it didn’t really work for me; mainly I was able to follow the score thanks to Robert and Serkan’s patience with me, and also thanks to the sessions we did with Rueben (also wonderfully patient)
and I figured out how to break down the score in a way that became more or less digestible for me (and Toivo showed me a few tricks as I recall)
still when it came to performance, my ability to get the score in synch (and tune) with the conductor and musicians was hit and miss - and none of my score is improvised; I suppose there’s a stage to come, if we ever get to perform the piece a few more times, where I would feel free to devote myself to interpretation and not to structure; as it is, there’s quite a lot of tension between the two which I hope I at least got away with but…
the hardest aspect for me was performing with the orchestra and conductor; it’s the nature of the orchestral system that rehearsals are minimal and the conductor rules (all my singing life, I’ve had the pleasure to be more or less the one the musicians had to follow…)
at one stage, I resigned as I thought I just can’t do this; but it seems that I rescinded my resignation…
extended vocal techniques - quite a lot of study went into my own development of extended vocal techniques, mainly but not only with various members of the Roy Hart Theatre, though I think what I do is mostly the result of self-exploration coupled with the realisation a long time ago that force must be used vary sparingly if one’s not to wreck one’s voice; an another aspect of my approach is I don’t strive to imitate a certain vocal sound, I allow other sounds (say from Central Asia or from all kinds of avant-garde vocal work) to open my imagination but then let my body physicalise that imagination as it will
Nikolai Galen