Questions of the month (June 08)
No real question, but two mails from two composers friends, Gerald and Hervé. I really appreciate their encouragements. Hervé pointed out to me that I act in quite an unusual manner: I record certain scenes even before I have finished writing them. This is true. Several reasons account for this :
The opera itself has a backbone: It is its libretto. This is the guide for style, rhythm and emotions to be born. With it, I know at least where I should go.
Furthermore, I composed themes and theme songs. Moreover, I also use those which appear in my small symphony piece written a few years ago (“Lance and Blood”) on the same subject.
I would add, concerning my mode of composition, that I am not composing the first version for the piano; I think and write directly for the orchestra.
Finally, I thought it might interest you to have a few sound illustrations to better understand my own thoughts. Without this reason, I would probably have waited for the end of the composition.
Chronicle of a writing
Tremendous work, this month, 40 to 50 hours per week. Singers all have loaded schedules. We have therefore decided that a portion of the first act would be recorded as from 16 June, and the rest, if possible, in September. However, two scenes still had to be composed, and three others to be orchestrally recorded. Fine, it is finished, but these talented persons had the scores and the audiotape only three weeks ago before entering the recording studio. Fortunately, they usually learn very fast!
Everyday, I discover more and more that the music of an opera is much more important than its text (it is not very original!), even if the latter is the backbone of the whole. An opera rarely accommodates long monologues; and if they are not sung in the audience’s language, nobody understands and people are easily bored. While progressing in writing, I noticed that my Libretto no doubt sends across too many ideas (in the second act). I have already started cutting the scenes (maybe important from a philosophical perspective or which clearly states my points of view), but secondary for the general understanding of the action. A difficult choice! One would like to keep everything, but it is impossible. And this second act might last more than one hour 45 minutes; this is too long. The composition of the second act should begin in September or October after the complete recording of the first act.
Meeting with the singers. They tell me that they can sing, one higher, the other lower than what is written. Interesting to know, I would be able to “customise”. Alongside this, I do not like vocal exploits sown for pleasure in numerous operas. A singer sings to express something, not just for acting.
I avoid thinking too much about money. Though, I should. This opera will ruin me. I do not have any subsidy and this is fine, I hate this system. I see no reason asking the taxpayer to pay for a recording which may not interest him.
Provided the first recordings run smoothly!
Three new soloists
Thierry Di Meo, tenor, shall be Bishop Gillardino and is aged 35 years. To my knowledge, he is the only professional singer in the world to hold a post-graduate diploma in Astrophysics (first professional sector that appealed to him). But he changed course when he discovered singing, a passion to which he has devoted himself for the past ten years (encouraged in this by the famous baritone Alain Fondary).
He started an artistic career in the Avignon Opera-Theatre in the choirs and sang in diverse productions before being admitted in 2005 into the choirs of the Nice Opera. We discovered him in the animations of the children’s choir in 2006, in appearances in Paul Dukas’ “Ariane et Barbe- Bleue”, as well as in the role of “Bastien” in “Bastien Bastienne” by Mozart. He also performed concerts (melodies, lieder, opera and operetta excerpts). He also sings in a “baroque” and “renaissance” musical group.
