What We Go Through for Applause...

For 25 seasons, I've been part of the Cincinnati May Festival, the oldest choral festival in the Western Hemisphere (begun 1873) as a member of the official chorus (founded 1880). This year marks the 26th festival for me. It would have been 28 but I took a couple of breathers along the way since my first festival in 1981.

One of the aspects of the May Festival that makes it unique is that we do five completely different programs in a ten day period. We rehearse along the way during our "other season" (when we're the official chorus of the Cincinnati Symphony and Cincinnati Pops orchestras), but when May arrives, we're in for an intense couple of weeks.

That couple of weeks begins on this coming Saturday, with two three hour rehearsals. Sunday's schedule is pretty much the same, and there are nightly rehearsals Monday through Thursday. Friday is the first performance. Saturday morning, another rehearsal followed by a performance Saturday night. Sunday features a rehearsal and performance, as well. Then it's four more nightly rehearsals, with concerts Friday and Saturday with one final rehearsal Saturday morning.

On Sunday, we all get together and have a big dinner and perform skits for one another, singing even more. Then the withdrawal sets in, and we reacquaint ourselves with our families over the summer -- unless we choose to sing in some optional summer concerts at Riverbend Music Center.

It's difficult to communicate this experience to those who aren't part of this. Families don't get it, for sure. "Not tonight, I have rehearsal," is the common refrain.

So, over the next two weeks, starting Saturday night, I will attempt to chronicle this experience. Stayed tuned. It might be boring, but it's going to be a long haul...

While you wait for the next exciting episode, here's a video of what it's like backstage. It might keep you occupied for a few minutes.

Ice, snow and electric violins

Cincinnati is having a bad weather day. Last night's commute was hell, from all indications. I had only to drive 11 blocks to Music Hall, and that took over 20 minutes. When I left there before nine, after the salt trucks and plows had had time to do their magic, it still took 40 minutes to drive the 12 miles home in no traffic. It was slushy, slippery, and dangerous.

Rehearsal with John Adams went well, despite the missing singers. Singers were still drifting in around 8 PM, when rehearsal had been scheduled for 6:15. He's a delightful conductor, very clear in his direction. His personality is upbeat and fun, and he uses tact to get the results he wants.

His music is extremely difficult to sing, primarily because of its rhythmic complexity, so I'm sure he has to deal with choirs that don't do it well. We're better than most but we're still having a hard time. He handles it all with aplomb. He told us last night about how On the Transmigration of Souls was a flop in London because the British chorus didn't understand how to sing the ordinary language of the piece.

The texts were taken from missing posters on the streets of NY after 9/11 and from remembrances of the victims that were published in the NY Times.

"He was extremely good looking. Girls never talked to me when he was around."

"He called me every day. I'm still waiting."

"I wanted to dig him out. I know just where he is."

"It's been three months, but it feels like yesterday since I saw your beautiful face, saying 'I love you to the moon and back.'"

It's hard to sing those lines without tearing up. You have to suck it up and concentrate on the performance, not the emotion.

The second half of the concert will feature Leila Josefowicz playing the electric violin in Adams' The Dharma at Big Sur. I'm looking forward to hearing it. The array of percussion at the back of the stage is a hint that it's going to have big sonic impact.