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<DIV dir=ltr align=left><SPAN class=781102218-12012012><FONT color=#0000ff
size=2 face=Arial> 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.</FONT></SPAN></DIV>
<DIV dir=ltr align=left><SPAN class=781102218-12012012><FONT color=#0000ff
size=2 face=Arial> 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.</FONT></SPAN></DIV>
<DIV dir=ltr align=left><SPAN class=781102218-12012012><FONT color=#0000ff
size=2 face=Arial> 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</FONT></SPAN></DIV><BR>
<DIV dir=ltr lang=en-us class=OutlookMessageHeader align=left>
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<FONT size=2 face=Tahoma><B>From:</B> menvi-discuss-bounces@menvi.org
[mailto:menvi-discuss-bounces@menvi.org] <B>On Behalf Of </B>STEPHANIE
PIECK<BR><B>Sent:</B> Thursday, January 12, 2012 8:40 AM<BR><B>To:</B> This is
for discussing music and braille literacy<BR><B>Subject:</B> [Menvi-discuss]
Wands for blind people<BR></FONT><BR></DIV>
<DIV></DIV>
<DIV><FONT size=2 face=Arial>Hi,</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>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".</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>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!</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>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.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>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.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>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.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>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.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>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.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>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.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>Stephanie Pieck</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
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