Archives For Opera

A Leap Of Faith

January 14, 2018 — 29 Comments

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This week is going to be full of mixed emotions. On Wednesday afternoon I will be singing two songs at the memorial service for Gary Waller, a friend and supporter who many of you that regularly read my posts know, I met a couple of years ago through my blog.  It will be an emotional event for me and I have chosen to sing two songs that I know were dear to his heart, Gersang (An Sylvia) by Franz Schubert, and Frühlingsmorgen by Gustav Mahler. I wanted my contribution to be a celebration of his life, to remember him as I knew him, as a happy man, an encouraging and supportive friend who had a passion for music. I will be accompanied on piano for the service by the very talented Waka Hasegawa who very kindly agreed to play for me.

In the same evening I have been asked to represent the Gustav Mahler Society here in London at the Combined Music Societies Dinner which is to be held at the Lancaster Hall Hotel, 35 Craven Terrace, London W2 3EL.  This is great honour for me, and a privilege to sing alongside accomplished performers for such an appreciative audience.  My programme for the evening comprises of four songs by Gustav Mahler, Frühlingsmorgen; Blicke mir nicht in die Lieder; Ich atmet‘ einen Linden Duft; and Liebst du um Schönheit.  For the performance, Dr. Leslie Howard has agreed to accompany me on piano and it’s a fantastic opportunity and privilege for me to work with him. The evening will also include works by Schubert, Wagner, Liszt, and Alkan, I’ll tell you all about it next week.

On Friday 19th January 2018 at 17:30 pm I will be performing in my first opera scene of 2018 here at the RCM in the Britten Theatre, performing the role of Blanche de la Force from Poulenc’s Opera ‘Dialogue Des Carmélites’ if you didn’t see my post from last week.   Tickets for the events are free and can be booked in advance on the RCM website.

2018 will be a formative year for me after I graduate from the RCM this summer I will be making a huge leap of faith from student to freelance artist, a bit like a Barnacle gosling ( please watch the whole video if you haven’t seen it before ).

That means taking on the daunting task of trying to seek out performance opportunities, finding work with Opera companies, setting schedules, and working privately with coaches.  If any conductors, concert organisers, opera producers, or agents are reading this and need an enthusiastic, hardworking and talented soprano or have any ideas, projects or schemes for me to look at please get in touch!! ( email me at enquiries@charlotte-hoather.com )

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Me with Prajna Idrawati

I will also be looking to expand on my work as part of Lieder duos and if you hear of any venues that put-on concerts for a Lieder duo then please let me know or pass on my contact e-mail details.  I currently perform with either of my good friend’s Prajna Idrawati or George Todica who are both looking to establish a career for themselves here in the UK, Europe and eventually Worldwide.

 

 

Whilst researching the role of Blanche de la Force from Poulenc’s Opera ‘Dialogue Des Carmélites’, I found an opportunity to embark on a little adventure. My character is the daughter of a French Noble family who joins the Carmélite order of nuns against her families wishes during the period of the French Revolution.

At College, as part of a trio, we were doing some short improvisation exercises led by our Director Stuart Barker during our first staging rehearsal last Thursday. The objective of these tasks was to see how your character would react in circumstances prior to our actual scene. For example, Glen and I improvised a meeting between Blanche and her Brother at home with the objective of organising a birthday party for their father. In the second exercise with Davidona, we improvised that our characters were completing the daily tasks that a nun might participate in. It soon became apparent to me that because I don’t have a Catholic upbringing, there were areas of my character development that I had no way of imagining. I wanted to deepen my understanding of what Blanche may have been going through emotionally and the mechanics of her daily life within a Carmélite Monastery.

In order to do this, on Friday afternoon I decided to research on the internet about the Carmélite Order some of which I have added to the end of my post. To my amazement, I discovered that there was a Carmélite Monastery in London, within 45 minutes travelling by bus from my home. I emailed via their contact form on the website, and I was very grateful to Sister Patricia who said that I could join them for Mass on Saturday morning at 8am. Luckily, I’m an early bird so I set my alarm and planned to start my day with this experience.

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I arrived at the Monastery around 7:40am, all was quiet and the morning sun was just starting to colour the sky blue. Not knowing what to expect I was a little apprehensive at first as I was alone and the Monastery was completely enclosed. Ahead of me in the courtyard was a simple sign ‘Chapel’, I climbed the stairs and after a little wait I was greeted silently by one of the sisters and guided into the chapel for Mass.

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Shortly after I sat down, the regular congregation began to slowly arrive. The sister turned on the electric lights to reveal the beautiful intricacies of the chapel.  Somebody then came to light the candles and prepare the altar for the mass. One very interesting observation, even though I could barely see, was watching the sisters in the separate room prepare for Mass as well. The grille was in place, and heavy curtains were opened. Then one sister unlocked half of the grille and it opened in folds like a concertina to create a private opening to the altar. Then the Priest entered the chapel through a private door and began the Mass. It was so wonderful and humbling to watch the mass. I felt very relaxed and reflective. Deep in thought about what I had seen and experienced whilst sharing this short time with the Sisters, I left full of energy for the day ahead. I have the utmost respect for their dedication and commitment and I will try my very best to show that when developing the character that I am to portray in my performance on January 19th at the Royal College of Music.

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The Nuns live a cloistered life, in 2010 they allowed a documentary film director a rare glimpse into their world after he asked them for permission over a ten year period, this film is called ‘No Greater Love’.

You can read more about the Carmelite order on their website here and if you have a minute please take a look at their shop as they have some lovely items for sale.

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More Information On The Carmelite Order

The Postulancy

The Postulancy is the initial stage of formation and is generally an 8-month experience.

The first and last months of the Postulancy are spent at the Motherhouse, and the other six months are spent at one of the Homes served by the Congregation. The Postulant is given the opportunity to work with the elderly in the facility and to participate in the prayer life of the Sisters.

A Certified Nurses Aide training program and other pertinent services are provided for a postulant with no previous experience working with the elderly.

Classes are given on the following: Spiritual life, Community history, Carmelite Spirituality, Catechesis, Community life.

The Postulant Director meets at least weekly with the Postulant to discuss her progress and difficulties, and to offer guidance.

If readiness for the Novitiate is ascertained, the Postulant receives her name in religion and prepares for the next phase of formation: the Novitiate.

The Novitiate

The Novitiate is a two-year period of time during which the Novice explores on a deeper level what it means to be a member of our Carmelite Congregation. The resolve and suitability of the Novice is further discerned. There is concentration on developing a solid spiritual foundation.

The First, or Canonical Year

The Novice receives the Habit of Carmel (Brown tunic, brown scapular, and a white veil.)

The Sister becomes more fully acquainted with the many facets of religious life.

Classes are given on the Rule and Constitutions, the Vows of Obedience, Chastity, and Poverty, Scripture, Prayer, Liturgy, Christian Doctrine, Vatican documents, spiritual growth, and development.

These classes are given by the Novice Director, experienced priests, and other qualified speakers.

The Second Year

The Novice continues to learn and live the spiritual and religious aspects of the Carmelite life.

She learns more about the apostolate through a course on the Organization and Operation of the Long Term Care Facility and by spending time in two homes of the Congregation.

If readiness and suitability of the Novice are ascertained, Sister then goes on to the next step of her religious formation “Profession of First Vows” and receives a black veil that distinguishes the Professed Sister from the Novice.

The Temporary Profession of Vows

The Temporary Profession of Vows is the stage in religious formation during which the newly Professed Sister is assigned to one of our mission houses, where she will gain further experience in integrating the spiritual and apostolic aspect of our lives as Carmelite Sisters for the Aged and Infirm.

The Religious Vows are renewed annually before perpetual profession.

The Sister continues in the active ministry of the Congregation and resides with a local community of Carmelite Sisters.

The Sister continues to attend formal spiritual programs held at the Motherhouse twice a year.

She strives to grow in union with God and in her gift of self to the Community and the apostolate.

The Perpetual Profession of Vows

After completing the five to seven year period of temporary vows, the Sister may request to make perpetual profession.

A gold ring is given at the time of perpetual profession.

The Sister becomes a permanent member of the Congregation.

By her final profession of vows, she gives herself forever to God, her Community and the Church.

Happy New Year 2018

January 1, 2018 — 87 Comments

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Thanks to everyone for all your encouragement and support over the past five years, 2017 brought with it some amazing experiences for me and I think 2018 is going to be a real rollercoaster, so climb aboard, hang on to your hats, and let’s enjoy the thrill of the ride.

Whatever 2018 brings you I hope that you all have a fabulous year, with opportunities to take, decisions to make, and plenty of happy events along the way.

2017 has been an eventful year for me, with so many new things for me to experience and learn, thank you to my wonderful teachers this year for sharing your knowledge and friendship. I started the year performing “La Dolce Speranza”with the RCM classical orchestra, conducted by Ben Palmer. The summer brought with it the opportunity to be involved with the premiere of BambinO at the Manchester International Festival, followed by a tour around the North West of England and then on to the Edinburgh Fringe Festival, finishing in the Autumn with performances in Glasgow.  This was such an exhilarating show to be involved with and I loved every minute of it.  My year ended with two performances of Handel’s Messiah, one with Chamber Orchestra and the other with a Baroque Orchestra. In between the performances, I sang my first cantata, Handel Psalm 112 ‘Laudate Pueri Dominum’ with the Thames Philharmonic and Choir.

Christmas Festivities start tomorrow and I’m going to enjoy a well-earned holiday.  To close off the year, I wanted to share with you one of the arias that I have been working on over the last few months which I hope you enjoy.  It is Kommt ein schlanker Bursch gegangen, Ännchen’s aria from Der Freischütz by Carl Maria von Weber.  I have also included the original lyrics and a translation by Robert Glaubitz. Thank you to George Todica for his wonderful accompaniment on this recording.

Kommt ein schlanker Bursch gegangen,
Blond von Locken oder braun,
Hell von Aug’ und rot von Wangen,
Ei, nach dem kann man wohl schauen
Zwar schlägt man das Aug’ aufs Mieder
Nach verschämter Mädchen Art;
Doch verstohlen hebt man’s wieder,
Wenn’s das Bürschchen nicht gewahrt.
Sollten ja sich Blicke finden,
Nun, was hat das auch für Not?
Man wird drum nicht gleich erblinden,
Wird man auch ein wenig rot.
Blickchen hin und Blick herüber,
Bis der Mund sich auch was traut!
Er seufzt: Schönste!
Sie spricht: Lieber!
Bald heißt’s Bräutigam und Braut.
Immer näher, liebe Leuchten!
Wollt ihr mich im Kranze sehn?
Gelt, das ist ein nettes Bräutchen,

And the youth isn’t any less beautiful?
When a slim youth walks by,
Blond of hair or brown,
Bright of eye and red of cheeks,
Indeed, you can definitely look at him.
Of course, you lay your eyes on your bosom
After the manner of a modest maiden;
But by stealth you raise them again
If the boy doesn’t notice.
If you should catch his glance,
Then, what’s that matter?
You will not be blinded,
You become just a little red.
A little glance here and a glance over there,
Until the mouth is also as bold!
He sighs : beautiful one!
She says : beloved!
Soon, they will be Bride and Bridegroom.
Always nearer, beloved glow!
Do you want to see me in a (bridal) wreath?
Don’t you think, she is a nice bride,
And the youth isn’t any less beautiful?

Pascal Post 24th Dec 2017
Wherever you are I hope that you have a wonderful time over the Christmas Holidays and that as 2017 draws to a close that you have a fabulous New Year in 2018.

It’s starting to feel a lot like Christmas! This week I was celebrating the holiday cheer by catching up with friends, colleagues, and teachers to celebrate the end of the academic year (almost 🤫). The Royal College of Music was decorated with Christmas trees and my Student Village was adorned with lots of tinsel, Christmas ornaments, and lights.

 

Soloists Kingston With John Bate

John Bate, Beth Moxon, Steve Mills, Me, and Dan D’Souza

 

To add to all this cheer and merriment, I was invited to perform Purcell’s O Sing unto the Lord and Pergolesi’s Magnificat alongside my talented peers, Dan D’Souza, Steve Mills, and Beth Moxon at the Thames Philharmonic Choir Winter Concert conducted by the wonderful John Bate. I arrived at the beautiful All Saints Church in the heart of Kingston on Thames at 13:45 ready for afternoon rehearsals beginning at 14:00. It was the first time I would sing through the prepared pieces with the choir and orchestra. It was very exciting and spirits were high. The rehearsal went really well and it was exciting to hear all the hard work come together by the joining forces of so many talented musicians.

 

Rehearsal

The Rehearsal

 

This concert was particularly exciting for me as I was able to sing my first cantata, Handel Psalm 112 ‘Laudate Pueri Dominum’. A cantata is a work for solo voice, choir, and orchestra. This form of vocal music was particularly popular in the Baroque period. This particular cantata was written by Handel when he was 22 years old during his stay in Italy. It’s a truly beautiful piece and I thoroughly enjoyed working on the challenging vocal writing with one of my coaches, the wonderful Andrew Robinson.

Thames Philharmonic Choir Programme

My parents came down for the performance which made it extra special and we were able to enjoy a lovely walk around Kingston where we were able to admire the festive Christmas Markets in light snowfall.

 

Late this afternoon Timothy Connor contacted me to tell me that Fiona Maddocks, a classical music critic in The Guardian newspaper included BambinO in her top ten performances of 2017.  It was such a wonderful early Christmas present for everyone involved in the production.

Link to her review of the year:

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On Friday afternoon I took time out to watch my talented colleagues perform in the dress rehearsal of the Royal College of Music’s production of The Cunning Little Vixen. This wonderful opera by Janácek’s was sung in English for this particular production and tells the exciting and episodic story which constantly raises the imagined similarities and differences between humans and animals.

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The costumes designed by Hannah Wolfe were flamboyant and wonderfully colourful. Every costume was personalised and each suggested a hint of different animalistic features, such as a spiked backpack worn by a hedgehog/man. It was fun as an audience member to notice these intricacies which added to the story and allowed your imagination to build on the images played out on stage.

The set was also exquisite and full of extra compartments that drew your attention as they that opened and closed the space to new scenes. My particular favourite scene that Alex Berry designed was the chicken coop which showcased a Charlie and Chocolate factory esque egg laying factory that really caught my childlike imagination.

Daniel Slater beautifully combines lustful dancing with animalistic gestures performed by the Singers in his direction of this opera. It worked brilliantly and told the story seamlessly. I particularly enjoyed the love duets performed by the dancers which continued to expand on the story during the passionate orchestral interludes, sophisticatedly lead by Michael Rosewell.

This is a great production and my friends were in top form. There are a still a few tickets left if you are in the area and it is definitely worth a visit:  http://www.rcm.ac.uk/events/listings/details/?id=1383768

7:00pm | 27 November 2017
7:00pm | 29 November 2017
7:00pm | 01 December 2017
7:00pm | 02 December 2017

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I’m really looking forward to the ‘Winter Concert’ with the Thames Philharmonic Choir and Beth Moxon (alto), Steve Mills (tenor), Dan D’Souza (bass) under the direction of conductor John Bate and Stephen Disley (organ) in Kingston upon Thames, with our thanks to The Josephine Baker Trust who match us to engagements and provide half the fees.  We’ve had our first rehearsal the program is called ‘A Feast of Baroque & 5 Modern Carols’ you can get tickets at www.thamesphilchoir.org.uk or at the door, should be a great start to the Season.

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I’ve also been working hard on my Handel ‘Messiah’ soloist preparations, the Messiah is an English-language oratorio from the Baroque era, composed in 1741 by George Frideric Handel, it premiered in Dublin in 1742 at Easter and has been performed by choirs across the United Kingdom every year since. Handel continued to work on the piece until 1754 when he arrived at the version we use today.  You can read more about it here http://www.classicfm.com/composers/handel/music/george-frideric-handel-messiah/

I’m excited to start the first of two performances at Blackburn in Lancashire with the Blackburn Music Society and the Lancashire Chamber Orchestra under the baton of conductor Tom Newall and with Chamber Organist Samuel Hudson.  My fellow soloists in Blackburn Cathedral are Helen Ann Gregory; Alexander Grainger and Matthew Mannion who I last performed with in Don Giovanni at Opera Britain last year.  Tickets: 01254 201978 or on the door.

Blackburn Concert

 

 

Mesmerising singing and acting that made me run home to get some sleep so that I could wake up early today and practice some of the ideas I have learned from watching the opera Monday evening.

The soprano Lisette Oropesa performed Lucia exquisitely and despite telling the story with determination and honesty kept the singing consistently beautiful at all times despite the deeply dramatic gothic libretto.

I didn’t know this opera very well and this evening was my first real encounter with it from start to end I felt transfixed by the story.

The direction was very interesting, I loved it and thought the concept of having two distinct rooms in which separate scenarios of the story were unveiled to us in real time was thoroughly enchanting and allowed me to really connect with the character Lucia as I watched her hatch the plan to meet Edgardo her true love and kill Arturo to whom she had been betrothed. To me, this enhanced the intricate detail of the intrigue and added to my enjoyment of the opera.

However, as a singer, I felt for some of the singers on the stage as at times it was difficult to know which of the rooms to watch on the split-screen set. Often, I was drawn to the scenes that were just acting and the performers didn’t sing, but always returning to the singers communicating the story.

For the majority of the story, I didn’t need to watch the subtitles the plot was strong and the acting really told the intricacies of Donizetti’s tragic masterpiece.

It was a brilliant production for anyone preparing the role of Lucia as you watched her live every moment and understand perhaps why she came to complete the actions that she did as a consequence of a forced marriage.