2012 Winter Pledge Drive

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WBJC's volunteers are the best!

What a great pledge drive!

I am always touched and amazed at how you, the listener, steps up and stands for what you care about.  It’s truly during the pledge drives when I am reminded that we do something that matters to a great many people.  From the volunteers who spend their precious time taking the calls and sorting through all the paperwork aftermath, to the local food donors who support us with their wares, to the listener who decides that now is the time to join the membership ranks, and finally to the returning member who renews their commitment to classical music on WBJC… they all tell me that what we do is important to you,  OUR LISTENERS!

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The Omelette Queen treats us like royalty!

 

The details:  1046 of you called in and helped us raise over $118,000 dollars, with 375 of those being NEW members!  81 of you were online supporters!

Thank you to our food donors, volunteers and to everyone who pledged support of classical music, opera, vocal and WBJC!!

There are more pictures on Flickr!  If you were at the Drive and want to send us pictures, let me know!

The Gaming Table

Restoration comedy—the stuff of sexual innuendo and other extravagances following the reopening of the London theatres by Charles II—is most famously represented by writers like John Dryden and William Congreve.  (I once played the silly, awkward, country girl, Miss Prue, in Congreve’s Love for Love when I was a drama student – imagine that!)

But, even though I studied restoration comedy and have had an acquaintance with it as a theatre goer, I had never heard of Susanna Centlivre—that is, until the Folger Theatre presented The Gaming Table.  They had the press preview last night.  It has been directed by Baltimore area native, Eleanor Holdridge (who directed Everyman Theatre’s Pygmalion recently).  In her program note she says,

 “As a woman director working on a play from one of the few Restoration women playwright, I have found inspiration through the centuries.  Centlivre walks a tightrope, I believe, in creating a romantic comedy, while ensuring that the women are not simply ciphers of the men they marry, but independent thinkers who find love without compromising other ambitions.”

If you think that women’s roles were still played by men in Shakespeare’s time, just 100 years before Centlivre became a celebrity playwright, it is particularly fascinating to see a play so driven by the female characters.  This production is part of Folger Shakespeare Library’s 2012 celebration of one thousand years of women writers—and it’s a wonderful romp.

Pop socks

If you think that Mark has sounded blue or Dyana has sounded green the past couple of days, it’s not because they are, respectively, sad or sick, it’s that all the WBJC announcers now have individualized multicolored pop socks.  (For the uninitiated, a pop sock is the cover that goes over a microphone to minimize the popping when we speak into the mic.)  Everyone is too polite to say so, but I suspect that it’s all my fault.  The redoubtable GM of WBJC handed out the multicolored pop socks, like handing out candy, shortly after I had that respiratory infection a couple of weeks ago.  So, listen for Reed to sound orange, Kati to sound yellow and Jonathan to sound purple.  As for me?  Well, it seems I’m the traditionalist around here: I’m black.

 

 

 

I get paid to play dress-up. Oh, yeah, and sing.

When I was a kid,”dress-up” was undoubtedly my favorite playtime activity. I had a huge stash of my mom’s old costume jewelry & purchased more of the stuff (plus various used bridesmaid’s dresses) at garage sales, so my friends & I could spend hours pretending to be royalty or characters from our favorite TV shows. My love for all things wearable has never waned; I am still a notorious clotheshorse.

One of the best things about being a performer – especially an opera singer – is that it gives me the opportunity to wear fabulous costumes. Okay, not everything I’ve been asked to wear onstage has been flattering; sometimes the show, or at least the production, demands that I wear things I’d never put on of my own volition, such as a muumuu or a gown so voluminous that it makes me look like a small settee. No such issues in Lyric Opera Baltimore’s current “La Travaiata”: this is a straight-up, traditional production, set in the 19th century, in which the opera premiered. Bring on the corsets!

Last night, I noticed that the cinder block hallways outside the Lyric’s dressing rooms were made considerably brighter by the racks of costumes lining them. Frills, ballgown skirts, jewel tones, metallic lace – my inner eight-year-old leaped with joy. I was meeting with Kristina Lambdin, LOB’s Costume Supervisor, for a pre-rehearsal costume fitting. Kristina & I worked together at Baltimore Opera for years, so it’s great that we’ve both landed at the new company. Right when I walked into the women’s chorus dressing room, she handed me a “butt cage”, a bustle-like protuberance to be worn under my Act One gown. Ah, the things we do for art & period fashion.

As it turns out, the cage looks great once covered by the costume. My dress for Violetta’s party is yellow – think marigold – & gorgeous; lots of ruffles, chiffon, & one heck of a tight corset built right into the bodice. These costumes weren’t sewn by LOB; they’re rentals, & the designer had them made with hooks & eyes up the backs of the bodices. Normally, gowns like this lace up as a corset would, giving a bit of leeway in fitting singers whose rib cages might be different sizes. No such luck here, & Kristina managed to hook me into the dress – at least I think she closed all of the hooks! – but it will have to be taken out a bit if I’m to move & sing in it. I jokingly apologized & said I wasn’t lying about my measurements when asked for them a while back, & she merely laughed & said the alterations wouldn’t be that major. With trepidation, I slipped into my “gypsy” dress for Flora’s party, which is red & black, very lacy, & makes me feel like a Spanish doll. Muy Carmencita & it fits better than the other gown. A few tweaks at the hemline & this one will be ready to go.

Even the prettiest costumes & wigs can present problems onstage. A few years ago, my friend Phyllis & I had a great bit of staging in “Tales of Hoffmann” at BOC. We were placed on a loveseat, downstage, near center, & were supposed to be gossiping about the other guests at Spalanzani’s party. Our costumes were lovely ballgowns & came with elaborate hair ornaments – feathers, curlicues, & such – that we began referring to as our “antlers.” One night, as we leaned toward each other, out antlers became so entwined that we didn’t think we’d be able to unhook from one another, at least not without drawing attention to ourselves. To make matters worse, Phyllis’ wig started coming off! Eventually, we had no choice but to separate our headgear in a most obvious fashion, singing all the while. We had a moment offstage after that, during which Phyllis had just enough time to re-pin her wig.

I haven’t seen our wigs for this show, but I have seen our headgear – small floral pieces for the first scene & snoods for the second. I don’t think I’ll end up conjoined to anyone in this show – at least, I hope I don’t!

I have a tambourine…

& I’m not afraid to use it. Well, maybe a little bit.

It is commonly said that opera singers can’t act, & sometimes with good reason, but we are expected to give it our best shot. These days, no matter how good the voices onstage are, audiences have come to expect a bit of theater with their music, & in my opinion, that’s a good thing. Even a musically solid production can be ruined, or at least diminished, by static, awkward, or otherwise ill-conceived direction.

At this point, we’ve had two staging rehearsals for Lyric Opera Baltimore’s “La Traviata”. In Violetta’s party scene, I’m a 19th-century “Mean Girl”, along with my friends Karen & Erin. After gossiping about all of the other guests, we end up downstage center & are pretty snobbish in our initial reactions to poor, nervous Alfredo when he agrees to sing a drinking song to please his hostess. All three of us ladies sang in the Baltimore Opera Chorus and are quite used to ending up at the front of the stage, for one simple reason: we’re short. Not that that’s the only factor a director considers in placing singers, of course, but we do all need to be able to see the maestro. We staged this scene with a few of the principals on Sunday night (10/23) & added Violetta & Alfredo the following evening. After a few run-throughs, the director, Crystal Manich, decided things looked good, & we moved on to Flora’s party scene, wherein the chorus men are costumed as matadors & the women as gypsies.

This is where the tambourine comes in. I love doing crazy stuff onstage – several years ago, in “The Siege of Corinth”, I did a fight scene in which I bested a male opponent, all while standing on an amphitheater-type set & wearing a long gown. Still, the small, round object I’ve been charged with carrying, banging on, & rattling in this production (presumably at the moments indicated in the score) has me a bit spooked. Why? Well, tambourines are… loud, even when partially muted, as ours have been. If I drop this thing during a performance, I will be mortified. That said, I’m honored to be one of the eight ladies who get to follow several principals into the party, so I’m determined to do my job & do it well. We ladies have a bit of choreography in this scene, too – more stylized movement than actual dancing, but we are opera singers, after all, & were hired for our voices, not our footwork. So far, the choreographer, Kyle Lang, is being most patient with us & we’re having a great time.

We’re staging at the Lyric Opera House, in a rehearsal room just off the principal dressing room hallway, which is a new development. Those of us who performed with Baltimore Opera remember (fondly or otherwise) going to staging rehearsals & costume fittings at the MSOC, or Monument Street Opera Center, a decrepit former warehouse located directly across the street from the jail. The place was allegedly mold-ridden & certainly nothing to look at from the street or on the inside, yet I miss it. I sang with the old company for seven years (2002-2009) & some of my fondest memories are of the MSOC & of the great music we made there. Still, the Lyric was, & is, our real home & I feel amazingly happy the moment I set foot in that building. Since we’re not done staging & the set is still being assembled, I haven’t trod the Lyric’s boards recently, nor have I seen the much-discussed technical upgrades that have been made (no more sandbags!) but I will report back as soon as I do.

 

 

Fall Fundraiser success!

Our thanks to all of you who helped make our Fall pledge-drive a resounding success! The numbers are in: Our overall goal for the three days was $118k and we made $125k! We added 358 NEW members to the family and just over 1,000 of you helped us take care of business so we could get right back to broadcasting the classical music you love.

Our volunteers deserve special thanks. Without them, we would be 11 WBJC employees desperately trying to everything all at once. First time volunteer Chris Serio snapped a few pics of the fun we had. You can view them on our Flickr page here.

Our food donors also made the drive a great experience:
A Pampered Affair
Eddie’s of Roland Park
Executive Coffee Service
Giant Foods
Goldman’s Kosher Bakery
Honeybaked Ham Company
Mari Luna Mexican Bistro
Mr. Charles Market
Mountain Valley Spring Water
The Omelette Queen
Rosina Gourmet
Suburban House Restaurant
Party Plus Rentals in Cockeysville and Columbia

Those first-shift volunteers sure do enjoy the Omelette Queen’s cooking!

If you’d like to be part of the fun in an upcoming pledge-drive, please contact Yvonne Allen in the Membership Department at yallen@bccc.edu or 410-580-5800

“Your voice is not an instrument, it is a…

weapon!”

So says James Harp, Artistic Director & Chorus Master at Lyric Opera Baltimore. Of course, the human voice is also capricious, delicate, & vulnerable to colds, allergies, & all manner of other irritants. Mine is the main reason I get paychecks, so I try to take good care of it.

Those of us who make a living with our voices tend to get a bit neurotic when our instruments – okay, weapons – aren’t functioning correctly. For singers & actors, not being in good voice can cost you an audition or result in your not performing well at a gig (& possibly not being hired again by that company.) The stakes aren’t quite so high if you’re on the radio – you’re not going to lose your job for coming to work sounding like you have a clothespin on your nose – but it’s hard to do your best show in that condition.

As such, those of us who rely on our vocal cords to pay the rent have any number of stay-well & get-well strategies. Some won’t eat dairy or chocolate before a performance; some won’t go near alcohol in the days leading up to a gig, if at all; others eschew those “vices” entirely. (A fate worse than death in my opinion, but as I have plenty of eccentric dietary habits, I try not to judge.) I’ve known singers who wouldn’t go anywhere without a scarf or a shawl wrapped around their necks, even in the summertime, & have been chastised by more than one colleague because I run outdoors during the winter. Again, I try to be respectful & take all well-intentioned advice into consideration, but really, some people take protecting their voices a bit too far.

Even for those who scorn most “alternative” therapies, neti pots are de rigueur. For the uninitiated, a neti pot is a small vessel, usually plastic or ceramic, into which warm water & a pre-measured amount of salt are poured. The user then pours half of the solution into one nostril & out the other & repeats the process on the other side. Much nose-blowing ensues, after which, at least in theory, one’s sinuses are clear & breathing is made easier. I’m a huge fan of the neti pot & use mine daily, except on trips to South Beach, during which the Atlantic Ocean performs basically the same function.

Despite my occasional issues with seasonal allergies & sinus infections, I’ve avoided reflux, nodes, & the more serious vocal afflictions that some of my colleagues have suffered, but several years ago, during a production of “La Traviata” at the late, great Baltimore Opera Company, I had the misfortune to swallow a salmon bone. It didn’t lodge, but left quite a scratch, & I was in excruciating pain – my throat would spasm on a regular basis. Lots of fun when I was on the air or attempting to sing Verdi. After a few days of this misery – I am a doctor-phobe! – I dragged myself to GBMC, where I was scheduled to see an otolaryngoligst & be “scoped”. Yes, to have a tiny camera at the end of a long, skinny tube stuck up my nose & down my throat so that the doctor could get a good look at my cords & see just what was going on. Was I nervous? No, I was in full-on panic mode, so I persuaded my husband to go with me.

Given that Dr. Kaplan, whom I was going to see, is very well-regarded in his field & has worked on a good number of the singers in Baltimore, my jitters were hardly justified, but hello – he was going to have that thing *thisclose* to my source of income. The, um, pathway down which the scope will be going gets numbed before the procedure, & let’s just say that part of the process isn’t fun & the liquid used tastes awful. After that, the camera work was a snap by comparison, although I’d rather not go through it again any time soon. Dr. Kaplan was very funny & kind; he was sympathetic to my plight & let my husband see what was going on with my cords (an ugly scratch, but otherwise, healthy tissue.) Finally, I was persuaded to have a look at the monitor. There it was, the part of my anatomy that produces my livelihood. Not as gross to behold as I’d expected, but I’d rather have been watching a movie, thanks. Dr. Kaplan advised me to avoid spicy food, tomatoes, caffeine, & alcohol for two weeks, to which my reply was that he had just told me to stop eating. I was sent home with a 7-day course of steroids, which my body does not take kindly to, & spent the rest of the production feeling as if the Baltimore Ravens – all of them! – were standing on my chest.

Needless to say, these days, I am very careful when eating fish, especially salmon. Oh, & is that a draft in here? Where’s my scarf?