An American Girl in Germany

It is no surprise that after an experience like San Francisco Opera’s Ring Cycle, there would be a bit of an adjustment. A bit is a gross understatement.  

The day after I finished The Ring in San Francisco, I was on a plane headed to Germany, where I would begin Vorproben (pre-rehearsals) for a new production of Les Troyens at the Badisches Staatstheater Karlsruhe. I arrived and we began work. Hot, sweaty, no air-conditioning work. In Germany, (I know that I’ve mentioned this before, but indulge me please) there are two kinds of rehearsal periods. For a new production, rehearsals are upwards of six weeks. If it is a season opening premiere then sometimes they tack on four or so weeks of Vorproben as well. However, if it is a Wiederaufnahmen (a return production), sometimes you get two weeks of rehearsal and sometimes you get two days. As Ado Annie might say, with Germany, it is all or nothing. 

One nice aspect of a long rehearsal process is that you’re able to try many things out. An even nicer aspect, however, is that you’re able to toss out the ones that don’t work, i.e. singing “Nuit d’ivresse” while the tenor makes a fruit salad...in my cleavage.

After the Vorproben ended, I was able to have five blissful, delightful weeks of vacation. I traveled to Texas, Seattle, San Francisco, Buffalo, Toronto and NYC before heading back to Germany. It was lovely and wonderful and greatly needed. 

Once back in Germany, not only was I working full-steam ahead on Les Troyens, but I was getting all of the things done that I needed to do in order to work and live in Germany for awhile. It was an absolute disaster. I would call it a comedy of errors but I still don’t quite find it all funny. Nothing went right. Nothing at all.  However, slowly...ever so slowly, things started coming together. After a week back in Germany, which included moving into an apartment, an IKEA disaster of epic proportions, mayhem at the Visa office, yelling at the internet people, being told that I would not be able to have gas or electricity and yelling at them as well and many minutes of doing the ugly cry, I had to pack up and go to Berlin to sing Gutrune in Götterdämmerung.

Gutrune at the DOB on my birthday

Being back in Berlin was a lovely respite and as always, Wagner has a way of soothing my soul. I sang Gutrune at the Deutsche Oper with Maestro Runnicles on my birthday, and I don’t’ think that I have ever had a better one. 

However, the next day I got sick. It was a horrible cold that turned into bronchitis and sinusitis. I was able to go to the doctor (hooray for German health care) and spent most of the week in bed. I sang the second performance by the skin of my teeth and then headed back to work on Les Troyens. 

After five weeks of regular rehearsal and four weeks of pre-rehearsals, we opened Les Troyens. It was an incredibly special night for me. My first leading role in Germany. My first opera in French. My first time covering myself in head to toe blue paint. Many firsts. It was a wonderful success and I’m incredibly thankful and grateful to have been a part of it. 

Now I’m singing Didon about once a week (it is hard to program a 5 hour opera on a weeknight) and preparing for my Liederabend. I then head back to the USA (land of diet cokes and Walgreens) for Götterdämmerung at the Met. It is apparently the year of Götterdämmerung. And I am just fine with that. 

The San Francisco RING

I am a Wagner Geek. I admit this. Freely. I relish any chance that I have to sing his music and completely geek out in most rehearsals. Anyone who knows me, or has read any of my previous blog entries understands just how much San Francisco Opera means to me. So, it goes without saying that singing the Third Norn and my first ever complete Sieglinde in this new production of the Ring Cycle at San Francisco Opera, all under the baton of Maestro Runnicles, is about the best possible thing that this girl could wish for.

I am pinching myself on a daily basis.

*Pinch*

We began rehearsals for the Ring the second week of April and spent a lot of time figuring out the twists and turns of the Norn scene. The Norns open Götterdämmerung and provide a unique take on the events of the opera. Want more Norn-info? Click here! An often overlooked scene, we spent quite a bit of time and energy on it; changing it from something that can often read as “previously, in the Ring Cycle” to something vital and important. We had to do all of this, however, behind a scrim, on a rake, with less than three feet of space, climbing on a pile of rubble, wearing dark goggles (that easily fog), in blinding sidelight. Who says opera singers just park and bark? It has been a challenge, but an extremely rewarding one.

Then we began work on Walküre. I don’t even know how to begin to describe my experience with this. This music is so big. This story is so big. This character is so big. It is such an honor and a challenge to be able to sing this role, and I count myself fortunate each and every day to be able to do so.

Kneeling next to Siegmund (Photo by Kristen Loken Anstey)

Then there is Brandon Jovanovich. Of course I could go on about how handsome and talented he is (and he is), but what is more incredible is that he is an amazing person and colleague and I feel blessed to be able to sing my first Sieglinde alongside his first Siegmund. It is a special thing to share a rehearsal process with someone who is also doing a role for the first time. The relationship between Siegmund and Sieglinde is so complex and can easily teeter on the line between immensely sensual to downright unpalatable. An inordinate amount of care has to go into shaping it. Fortunately, Brandon and I are lucky enough to have no previously ingrained notions or stagings to work around, and we’ve been awarded the luxury of time and a long rehearsal process. This process, thankfully, has been nothing but a complete and total joy.

*Pinch*

I have fallen in love with this production. It is dirty, sexy, vulnerable, physical and above all real. I have never been so challenged in a show – having to traverse the path of an abused wife, optimistic lover, ferocious fighter, suicidal widow and ultimately to a mother fighting for her son is an immense emotional journey to undertake. Not to mention that I’ve never before been chased around stage by 8 men, had my hair pulled, been thrown to the ground and had a knife held at my throat. No one could ever accuse this production of being the least bit boring. And that is how Wagner is to me. Full of life, love and an incredible energy which penetrates every moment of the show. 

Struggling with Supernumeraries (Photo by Kristen Loken Anstey)

So I sit here tonight, having completed the first stage orchestra rehearsal for Götterdämmerung today and counting down the days until Sunday’s premiere. (And most certainly counting the days until my June 29th performance of Sieglinde.) and I’m just so thankful to be a part of this production. At this house. With this cast. This orchestra. And this Maestro. I’m so thankful, humbled, and so very honored.

*Pinch*

much love,

— heidi

When Autumn Leaves Start to Fall

My, oh my, what a busy fall this was...

After being away for almost a year, I arrived back in San Francisco for the first time as a guest artist. Not a young artist. This difference may seem negligible, but I can tell you, it was huge to me. No longer did my ID badge say “Adler Fellow.”  No longer did I have to do Adler functions. I had one job...to cover the role of Aida. And, while I had covered many roles during my time as an Adler Fellow at San Francisco (Marschallin in Der Rosenkavalier, Venus in Tannhäuser, Amelia in Simon Boccanegra and Leonora in Il Trovatore), this felt oh so different. It was an honor and a pleasure, as well as a great technical stretch to work on this project. As the lovely Aida, Micaela Carosi was absent for the first week of rehearsals, it was a joy to stage and sing the role with arguably the greatest Amneris of our time, Dolora Zajick. What a stunning experience!

Shortly after the opening night, I had my first of three recital performances this fall. (Yes, I may be clinically insane for deciding to do three completely different recital programs in three months. Yikes!) This recital just so happened to be on my birthday, and it was a very memorable way to spend it. Not many ladies are lucky enough to spend their birthday with three incredibly romantic men...Wagner, Strauss and Berg! Hehehe. And, with the astounding John Parr at the piano, I just couldn’t have asked for more.

Die Walküre Bows in Edinburgh

A short two weeks after the first recital, I left for Scotland to sing Act One of Die Walküre with the BBC Scottish Symphony and Maestro Donald Runnicles. I can honestly and without a doubt say that it was simply one of the best musical experiences of my life. Being able to sing my first Sieglinde alongside the menacing Hunding of Reinhard Hagen and the powerful Siegmund of Stuart Skelton was a dream. These two men were seasoned pros at their roles, and were so kind and understanding of my debut. It was an absolute honor. It was amazing to share the debut with the members of the BBC Scottish Symphony Orchestra, who were playing this masterwork for the first time. I wish that I could fully describe the feeling of the floorboards vibrating beneath my feet during the overture, or the sensation of the cello solo in my ribcage. The orchestra was breathtaking, and it was a pleasure to share the stage with them. I truly don’t have the words to express my gratitude and joy at having Maestro Runnicles at the helm. To have a Maestro that seems to know not only what you need as a singer, but what to do to make it even more musical and poignant is a gift beyond words. I am eternally grateful to have been able to sing this role under his baton, and I am counting the days until I am able to sing it in its entirety with him next summer. HOORAY!!

After Scotland, I had a short two weeks before I went to Texas for my first ever meeting with Signore Rossini! It was a real departure for me, and worth every moment. Granted, the Rossini in questionSan Antonio Riverwalk was the Stabat Mater, but it was still out of my comfort zone! What an incredible piece of music. And, singing the famous “Inflammatus” with a full orchestra and chorus is a wonderfully powerful feeling. But, even more special than that, was that my beautiful, kind, sweet nieces were able to join me there for a few days, and I was able to share with them a little bit of what crazy Aunty Heidi does from day-to-day. My eldest niece even wanted to attend the dress rehearsal with me! She was quite amazing, sat by herself, was a participating audience member, and told me just how much she liked the music. I don’t think I could have done nearly as well when I was 7! She behaved beautifully, and even came up on stage during the pause to meet the orchestra and chorus and stand on the Maestro’s podium. I think that just may have been worthy of missing a day of school! 

Upon my return to San Francisco, I had two recitals in two weeks. The first was with the insanely musical John Churchwell, and was a preview recital for our upcoming December 1^st concert with San Francisco Performances. It took place at Michael Savage’s lovely venue, Jessica’s Barn, in Calistoga. It was a very special night. There was rain on the roof, and a glowing heat lamp and mulled wine to keep everyone warm. We performed Sibelius Songs and Korngold’s Lieder des Abschieds (which have become some of my most favorite pieces ever.) The second half we spent with a selection of torch songs. It was such a memorable night for me (it is not every program that you get to sing an entire song in chest voice). We presented a version of this program again under the auspices of San Francisco Performances on December 1^st to a sold out crowd. Another unforgettable night! The second recital was with the absolutely brilliant Allen Perriello, sponsored by Noe Valley Chamber Music. Noe Valley Chamber Music asked us to perform some lesser-known pieces, and to make some of them modern. We did our best to appease them and offered Barber’s Hermit Songs, Debussy’s Chansons di Bilitis, Hoiby’s Songs for Leontyne and Strauss’ Gesänge des Orients. It was a very challenging program, but I was very proud of the work that Allen and I did together. (And, I will always be grateful to Allen for helping me through the insanity of it all...and putting up with me!!!) 

In Wig & Makeup for H&GDecember 5^th, I departed my beloved San Francisco for a very quick run of Hänsel und Gretel at the Deutsche Oper Berlin. It was delightful being back at the Deutsche Oper, and this production was an absolute holiday treat. We had only two days of rehearsal, and then the show was up! It was a perfect experience: the finest colleagues, gorgeous music, and being in Berlin for the holiday season. The only downside was that I came down with a heck of a cold day two of rehearsal. So I had to put on my big girl pants, go to the corner Apotheke, and make it work. It was my first time singing while really sick, and I am happy to say I made it through without having to cancel! Huzzah! After I recouped, I was able to get together with many friends, and enjoy the festive Weihnachtsmarkts of Berlin. (I may have a new Christmastime addiction!)

And, that brings me to today – January 1, 2011. Happy New Year everyone! With every New Year comes reflections on the old. What a year it was. My first professional year as a singer. My flight-plan was: Berlin to Vienna to Berlin to Karlsruhe to Berlin to Vienna to Berlin to Philadelphia to Fort Hood to Spokane to Montreal to Spokane to Fort Hood to San Francisco to Glasgow to Edinburough to San Francisco to San Antonio to San Francisco to Los Angeles to San Francisco to Berlin. PHEWF!

So Dear 2010, You’ve stretched me in ways that I cannot even begin to express. You have allowed me to share my music with many people, and even some of the nearest and dearest to my heart. You brought me back to my beginnings, and allowed me to regroup and regrow. You have been incredible. But, my new, shiny 2011 – I am so very excited for you. For 5 new leading roles. For new countries and hemispheres. For new people and new experiences. For music. Bring. It. On. 

— Miss M