[Menvi-discuss] Wands for blind people/ working with orchestraand ensemble

[Data]

    As a former stage performer, when I braille operatic parts for my
clients, I always try to include the action cues included in the print
score. And, if it's the entire opera, the music for the person's role is
interwoven into the overall libretto of the opera, so that the performer has
a general idea of what's happening at all times, on- and off-stage.
    I add my voice of admiration, nay, adoration! for you opera folks who
can do what you do. I started as a vocal performance major and the sheer
amount of preparation involved was too much for me. Now I'm a composer,
haha.
    Sincerely, Andy.
  -----Original Message-----
  From: menvi-discuss-bounces at menvi.org
[mailto:menvi-discuss-bounces at menvi.org]On Behalf Of
ayaka.isono at sbcglobal.net
  Sent: Thursday, January 12, 2012 11:40 AM
  To: 'This is for discussing music and braille literacy'
  Subject: Re: [Menvi-discuss] Wands for blind people/ working with
orchestraand ensemble


    I am not a singer, but worked with many singers in opera productions.
One thing I don't think anybody mentioned in the discussion is that there is
a long period of practice sessions before singers actually work with
orchestra, or so-called dress rehearsal.  For example for San Francisco
Opera, singers usually don't get to rehearse with the orchestra till the
last minute, usually a week prior or the same week as the opening night.
They might get to do maybe two rehearsals with the orchestra.  That means,
it's extremely crucial for the singers to have good sessions with the
pianist.  You can ask pianist questions like, "what is the cue before I come
in?"  Instead of try listening to the whole orchestra to see when your
entrance is, pick one instrument which can give you a better cue.  When you
are on the stage, you will be surrounded by a huge sound which you are not
used to hear, and won't be able to really hear yourself anyway.  Especially
opera, the tempo moves a lot, unlike ballet.  You might not be able to
follow the beat the way you are used to because the conductor might move the
tempo depending on his/her interpretation of the music.  So, just focus on
one instrument which can give you a good cue.  If you try listening to the
whole orchestra, you might get panicked.
    Working with a conductor could be tricky.  Some of the conductors could
be very helpful, but some not or have no idea.  It is your responsibility to
talk to them about what you need and establish good relationship.
Conductors can either save you or kill you on the stage.  It might sound
very harsh, but true.  It happens all the time.
    I have so much respect for all the opera singers.  I don't know how you
guys manage remembering the music, texts, and choreography on the stage for
three to five hours of production



----------------------------------------------------------------------------
--
  From: menvi-discuss-bounces at menvi.org
[mailto:menvi-discuss-bounces at menvi.org] On Behalf Of STEPHANIE PIECK
  Sent: Thursday, January 12, 2012 8:40 AM
  To: This is for discussing music and braille literacy
  Subject: [Menvi-discuss] Wands for blind people


  Hi,

  I think the FM system idea might work. Honestly, if we are trying to have
the sighted musical community take us seriously as "professional musicians",
the last thing we need is to say, "Oh, you're gonna need this special
conducting baton".

  In my non-musical past, I exhibited dairy goats at competitions at the
national level. One of the areas I competed in was showmanship--i.e., how
well can you maneuver your animal around the ring, move around with other
exhibitors, handle other people's animals, etc. The first thing you learn in
these classes is that you have to always keep your goat between you and the
judge--they want to see and evaluate the goat, not you, or your backside as
your bending over, or your whatever!

  Anyway, we used an FM system like Maureen described for this. This way, I
didn't have to have somebody else walking around with me in person telling
me when to change sides.

  I think that, unfortunately, despite all the progress that has been made
in the area of inclusion and accommodations, we are still dealing with
people who, for the most part, have never even met a blind person and have
never read anything about blind people. So we're still dealing with the old
stereotypes.

  Another unfortunate situation is that music is becoming a profession
that's kind of frowned upon because it was one of the "old ways" blind
people earned a living. Now, it's much more fashionable to go into the STEM
subjects. But not everybody is passionate about numbers, chemicals,
engineering, or computers.

  I wish there was some way to form some sort of performing
collective--that's not a great word, but I can't come up with a better one
right now. If people were given an opportunity to see and hear, over and
over and over, in lots of different places, that blind musicians are just as
capable as sighted ones, then maybe the attitudes within the overall
community would begin to change, too.

  Any solution to this problem is going to be something big--either in scope
or in the undertaking. Big problems need big solutions, after all.

  I've really enjoyed the discussions on performing and sight-reading--I
have yet to perform with an orchestra as a piano soloist. The one time I
did, I organized a group and we did a Mozart concerto--with no conductor!
Everybody in the group was sighted except me.

  Stephanie Pieck


----------------------------------------------------------------------------
--

  No virus found in this message.
  Checked by AVG - www.avg.com
  Version: 10.0.1416 / Virus Database: 2109/4138 - Release Date: 01/12/12
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://menvi.org/pipermail/menvi-discuss_menvi.org/attachments/20120112/f798c7fe/attachment.htm>