You've got to be carefully taught . . Jason Shealy as Sweeney Todd and Yours Truly as Mrs. Lovett. Photo by Megan Phelps.
I just completed 16 performances as Mrs. Lovett in Sweeney Todd, The Demon Barber Of Fleet Street, with The Contemporary Theater Company in Wakefield, RI. Every role's a learning experience, but Mrs. Lovett was an education. Some lessons I'll share with my students, but I know some lessons were just for me.
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What's a lyric coloratura like me doing belting Sweeney Todd?
Read MoreWhy do so many people take an instant dislike to the viola? Because it saves time. I kid, I kid! I'm part of a lovely chamber music concert being held Sunday, April 6 at 4pm at Christ Church Episcopal, 7 Elm Street, in Westerly RI. We are the Ariosti Ensemble, named for Attilio Ariosti, a well-regarded Italian composer whose sonatas for viola d'amore (translation: viol of love) are part of the standard Baroque chamber repertoire. Okay, my eight blog readers: What is a viola d'amore, and why should you care?
If violins are the sopranos of the orchestra, then the violas are altos -- and the viola d'amores are the Red Hat Ladies of the section, proud of their maturity and celebrating their unique experience. Violins play the highest pitches, while violas have a deeper, mellower sound. In addition to its six strings, the viola d'amore has extra "sympathetic" strings that vibrate as the top strings are played by the bow. These extra vibrations give the viola d'amore a distinctively warm, sweet sound. The "d'amore" indicates the era in which the instrument was developed -- there is also an oboe d'amore. Both instruments date back to the 17th century, and are still used in Baroque ensembles. Violas, and viola d'amores, are notoriously difficult to keep in tune. Hence, the plethora of viola jokes.
Did you hear about the violist who played in tune? Neither did I.
Dr. Joe Ceo knows me from our work together at Salve Regina University (where he directed the orchestra for 17 years and I'm a voice teacher), and at the Chorus Of Westerly (where he plays plain old viola and I sing plain old Soprano 1). When Joe invited me to sing with the Ariosti Ensemble, we originally chose arias by Ariosti and by J.S. Bach. We've ditched the Ariosti and have kept the Bach. (It's "Stein, der uber alle Schatze" BWV 152, composed in 1714.) We've also added a piece by Leonardo Vinci. No, it's not the "da" guy who had a special code. This Leonardo came along about 250 years later, and I don't think he painted a thing. He wrote about 50 operas in his short life. He died at 43, poisoned by his girlfriend's husband; one of those dramatic endings that is also apparently true. I'm thrilled to perform Vinci's coloratura-centric "Mesta O Dio fra queste selve," written in 1728.
What's the difference between a viola and a trampoline? You take your shoes off to jump on the trampoline.
I invite you to ignore the viola haters, choose love, and specifically choose to attend this wonderful concert featuring the much-maligned viola d'amore. This is the final event of the Arts Commission's season. The concert will last about an hour and 15 minutes total. In addition to my arias, the Ariosti Ensemble will perform J.S. Bach's Brandenburg Concerto No. 6, and a world premiere chamber piece by Derek Ferris. Admission is always free, and always includes a fabulous reception right after the concert. Since we have Derek's world premiere to celebrate, there will be champagne. So, I hope to see you at Christ Church on Sunday at 4 -- to listen, be merry, and drink. In that order!
