Thanks Pat,
I am glad you saw Galileo. I also have wonderful memories of the
Messiah I sang with DGCS. I guess I was the first Countertenor many
had heard out there. The applause was quite overwhelming. So much
so that the tenor (at the second performance) asked me to bow
last... I remind him of that every once in a while.
I started out in college as a tuba performance major. Breath was a
major issue until I learned how to control it. Having a large
capacity for breath has certainly been a blessing over the years.
Take care,
Mark
--- In vocalist-temporary@yahoogroups.com, Patricia M Smith
<dgcsorcmgr@j...> wrote:
> Mark: My husband & I saw "Galileo, Galilei" @ the Goodman in August
&
> thought it was terrific! I would suggest to everyone on Vocalist
who has
> an opportunity to see it be certain to go. We found the music to be
> atypical for Philip Glass in that is is quite accessible. We were
> actually wondering previously what Mark had been up to. You sang a
> "Messiah" performance several years ago with the Downers Grove
Choral
> Society, a community group in which I used to sing.
>
> Christine Thomas: BTW, you were an awesome alto soloist when DGCS
did the
> first three parts of the Bach "Christmas Oratorio" last month!
>
> Woodwinds Players: My husband is a clarinetist & his big problem
> resulting from this in studying voice is that he takes breaths that
are
> too big. Good for the clarinet but not so efficient for singing.
>
> Concert Reminder: Our new a cappella chamber choir, Acappellago,
had our
> concert today & we couldn't be more excited about how the music
turned
> out & the audience turn out!!!
>
> Pat Smith
>
> On Fri, 06 Dec 2002 20:13:35 -0000 "Mark Crayton" <mralto@a...>
> writes:
> > Hi Elizabeth,
> >
> > It is a great project. Mr. Glass has taken a beating in the
press
> > but he is laughing all the way to the bank as the audiences love
the
> >
> > piece. It is not based on the Brecht because the librettest and
> > director, Mary Zimmerman, did not want to only base the story on
the
> >
> > end of Galileo's life. The story is told in reverse so the first
> > three scenes are adapted from the transcripts of the trial and
> > inquisition. The scene concerning Galileo's daughter is taken
from
> >
> > her letters to her father. There is a scene that is adapted from
> > Galileo's "Dialogue..." as well as a scene that deals with a
famous
> >
> > priest of the day and his exhortations against Galileo from the
> > pulpit. The remainder of the opera deals with Galileo's
> > presentation
> > of the telescope to the Italian court as well as his childhood.
The
> >
> > last scene concerns Galileo watching an opera composed by his
father
> >
> > Vicenzio Galileo (on of the Camerata that included Caccini,
> > Monteverdi and the like) on the subject of Orion.
> >
> > We have finished Chicago, New York and London and are on hiatus.
> > There are possibilities for Seattle and Paris but no deals are
> > final. Mr. Glass is also working on funding for a recording of
the
> >
> > piece.
> >
> > I would love to tour more with this piece as I really enjoy it
and
> > the response it gets. Mr. Glass' music is very different here.
> > Nothing is repeated! No text! No nothing! Some of the musical
> > language is the same but most of the accompaniment for the
singers
> > consists of broken/driven chords "alberti" style. The harmonic
> > structure changes almost every four measures...it was quite
> > difficult
> > to learn! I think that this is what has caused the fury. The
> > critics did not get what they were expecting and they did not
know
> > how to accept it.
> >
> > care,
> > Mark
> >
>
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