Chanteuse87

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Everything posted by Chanteuse87

  1. Come to think of it I believe James King's farewell performance was in Die Walküre, performed at Indiana (where he taught), when he was in his seventies. So if they have an orchestra that can handle that, I think Rosenkavalier's only somewhat more challenging. And maybe they include teachers for the too demanding roles like the Marschallin. Not that Sophie's a walk in the park. I bet the tenors will be lining up for the Italian singer role. James King actually taught in the same studio that my teacher is in now -- which is funny because they both have very similar teaching philosophies, and that ringing, almost metallic quality in their voice I get a kick out of it, at least. And yep, it's not the orchestra that anyone's worried about, it's more the size of the production (and the cost, and what it will take away from the other productions we have planned), and the size of the roles of the Marschallin and Baron Ochs. I feel like everything else is pretty doable for students, but there was only one bass in the school who would agree to sing Baron Ochs -- the others, even ones who could sing the role, refused because they didn't feel like burning out their voices while they're still in school There's a tenor in my studio who's been working up the Italian singer aria, and it's probably the most thrilling voice I've ever heard in person. I'm really hoping he'll get Rodolfo in Bohème next year instead, though!
  2. Bahaha, how did you guess I'm an "-ina?" I'm actually more of a lyric coloratura than a soubrette, but at this point I'll take what I can get, especially since I'm so young. I just sang some of the Strauss Brentano lieder on a recital on Monday -- now that's something I can sink my teeth into! Lakmé's "Bell Song" is my current favorite aria to sing, it sits really well in my voice and I get to show lower colors as well as pyrotechnic stuff, lol. I'm lucky in that I've got depth and variety as well as a fairly gymnastic top range. We're doing Der Rosenkavalier next year at IU (which I think is unbelievably stupid. The opera is way too big for university students to handle safely!), and I'm going to audition for Sophie -- but some backups would be the coloratura role in Albert Herring, or maybe Cunegonde in Candide. I'll be picking up roles for the first time this summer, since I've been concentrating on arias and art songs to work up for competitions. But I figure it's high time I started doing big girl work. Since I know most of the arias from Le Nozze, I think I'll just pick up the rest of Susanna. I've sung bits of it in workshop scenes, and it fits well enough in my voice. Well, that was a letter of a post -- you see what happens when you ask questions about someone's special interest?
  3. Aww, thanks! One good thing about my name is that I won't have to go looking for an interesting stage name We're both at Indiana University, it's a great place. We both saw the movie Sunday, he was more forgiving of it than I -- although on the whole, we both agreed that it could have been a LOT worse, even though it wasn't exactly great. Interesting folks are always a good thing, no matter what label they go by! It'll just be nice to be able to talk about ideas without worrying about getting on the wrong side of some faculty member, or future contact. The music world is very enamoured of socialism, on the whole, and it gets old. Thanks for the welcome
  4. Just thought I'd wander in and introduce myself. I'm 23, recently married, and both my husband and I consider ourselves Objectivists. I am currently getting my Masters of Music in Voice, with an outside field in Opera Studies, and my husband is a doctoral student getting his PhD in Strategic Management. We met during our undergrad, when he founded our university's first Objectivist Club in a desperate attempt to find someone else to kick around ideas with (other than his immediate friends!). We've both read AS many times, and naturally we have our own copies, and copies for lending to others We've read all of her fiction, and I'm pretty sure my husband has read all of her non fiction -- I'm not *quite* there, though I am currently slogging my way through the Introduction for Objectivist Epistemology, which is proving a fascinating (and refreshing) read. Anyway, I've become more interested in associating with other Objectivists, especially as I can't talk about many issues with my musical colleagues without a high level of disagreement, even disdain, from them. So here I am!