Hello friends,
REMINDER: The Bel Canto social event has been postponed. It has been rescheduled to occur concurrently with the October 10 Boot Camp, in hopes of having most of you there. More to follow on that as we near that date.
Patapan
- The setting is rife with percussion and rhythm. Please think of your vocal parts as having that same rhythmic energy and life.
- A few technical considerations: A) when you have a vocal slide, begin after Beat 2. Basses take your lead from the tenors who precede you; B) Don't rush the triplets and the subsequent Beat 4; C) Sing it with an unflagging sense of rhythmic drive and energy--your parts are often instrumental imitations; Sing with a broader "a" in the word patapan and make the consonants crisp with sharp releases of the "n's".
- Begin memorizing as you practice.
A Choral Christmas Overture
- Sing Adeste Fidels/O Come All Ye Faithful with rich tone and forward moving energy.
- It Came Upon the Midnight Clear should be softer and smoother. Make the transition in mm. 58 and 59 gently rocking in the Tenor/Bass parts.
- What Child is This should be softer yet. Tenor/Bass sing the verse like a lullaby then gently swell into the chorus as trebles join.
- Angels We Have Heard on High should be sung somewhat detached as noted. Even though it says legato in m. 95, make sure there's clarity on moving 16th notes. Bass sing the upper pitches (E4/F4) without strain. If it's too high to do so, please drop out.
- The First Noel should be smooth but keep it moving.
- Keep the last page energized without over-singing. Keep it smooth with "full-bow" articulation.
The Everlasting Flame
- Listen to the Hebrew pronunciation guide if needed to begin using the text in your practice. Sing with open, warm vowels.
- The composer has used lots of expression markings (dynamics, tempo, slurs). Please highlight and observe when singing.
- There's a warmth and a certain sensuality in the melodic and harmonic devices used in this piece--a little like Eric Whitacre's Five Hebew Love Songs. Capture that essence.
- This setting is focused on beautiful, blended tone and LONG ascending lines (whether in the instruments or in the voices.)
- My impression is that Dan Forrest wants singers to breathe together only where the breath marks are indicated creating ever unfolding lines, so practice that way with staggered breathing. (I may insert a few quick luftpauses later). Tenor/Bass please note the breath mark in m. 67, changing the way I've ever heard it phrased.
For TUESDAY, September 8
The Three Nativity Carols
- This Endris Night
- Wonder Tidings)
Gabriel's Message
Awake, Arise
- Choir I - Melody, Carissa, Lisa, Joanna, Brittany, Susan, Jean, Chuck, Dana, Thom, Larry, Jack
- Choir II - Lindsay, Hunter, Vania, Anna, Cassi, Toni, Cyndi, Michele, James, Daria, Dan, David, John, Matthew
