Russian Roulette

If you were to look at my music for the Rachmaninoff Vespers right now - you'd think I had totally lost my mind. There are arrows going every which way. I have doublings upon doublings - weird leaps from tenor to alto to second soprano. I love it. It's challenging.

I have no criticism for my fellow singers. Everyone is doing a beautiful job of struggling with the Russian and taking the markings and doing their level best to get it done. We have some time. It will all work - it always does.

I do have one worry. I sing with the Chamber Chorus. What I am very worried about is that they will fall short of the mark. They MUST rehearse on their own time. They have to sit down and go through rhythms and words (so much more important than the notes) If you can get one thing under your belt that you do not have to worry about then you can concentrate on the notes. I fear, however, that their lackadaisical, keep it in the back seat between rehearsals approach is going to rear it's ugly head. It's my same rant: if you say you're elite - be elite. I know that our Mo. is bringing in "ringers" for this concert. I double-dog dare ANYONE to object. He's going to bring them in because the sound isn't right - the sopranos are not big enough for Russian; the men's section are not big enough for Russian; the altos are not big enough for Russian. And I would bet you, every single singer will take the wrong attitude. It isn't about being "insulted" it is about being aided by better singers. Did I say that? Yep. Better singers.

Here is one thing that will be nasty for me though. If someone who is the same as me - a competent singer - but without a professional music degree - who cannot read as well as I do. . that would be a hard pill to swallow - especially if they had an attitude (yep, I have someone specifically in mind)

But I digress. . . back to expectations.

In my dream world, Chamber Chorus singers would practice at least an hour a day (whether it is with your piano or without). They would keep their mouths quiet during rehearsals and would always have a pencil. They would sing....out....and make BIG mistakes. Then, they would approach a concert with excitement and joy. And afterward, they wouldn't spend an hour or two running down everything that was awful about the concert. They would sit back and let it ride. Everyone wants a "do over". If you are doing your best - you are doing your best. They would ask for sectionals - or make their own. They would be the best choristers - I honestly do not think that they have an option not to be. We have people in the full chorus who sing with more passion than those in Chamber and, frankly, I'd welcome them.

Rachmaninoff is not going to be learned on the fly. Not like you want to know it. There is nothing more uncomfortable than going on the stage not knowing your music COLD. However, that really isn't the conductor's problem - that's ours. I will do my part to get it done. I'm sure everyone is also doing so. We call that - giving them the benefit of the doubt. The week before the concert, if things are ragged, then I'll have a few words to say about effort and work ethic.

Until then - let's all have a blast!