Archives For Women In Music

A Week Full Of Music

March 18, 2018 — 50 Comments

This week has been filled with such a variety of musical experiences and it has been such a pleasure to share them with both family and friends.

On Monday, my brother, Matt, took me to see the ‘Book of Mormon’ at the Prince of Wales Theatre. The show is a personal favourite of his and provided some much-needed comic relief, I particularly enjoyed the tap dancing, and the choreography reminded me of the fun times we shared together during our dance classes when we were younger.

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The Book Of Mormon – London Cast

 

My dear friend Harvey invited me to watch ‘Rinaldo’ by Handel on Tuesday evening. This was a concert performance, involving very little stage direction, glamourous frocks, and one prop. The performance took place at the Barbican. Iestyn Davies (performing the part of Rinaldo) sang alongside a marvelous cast in an evening of divine music and story-telling. I had not heard Davies sing live before, and it was such a treat. I was blown away by the beauty and warmth of his voice and the fiery coloratura that he made seem effortless.

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Rinaldo at the Barbican ( Photo By Robert Workman )

 

On Wednesday, my friend Alex accompanied me to watch ‘From The House Of The Dead’ an opera by Janácek. I managed to get two tickets as part of the Royal Opera House’s student scheme. It was a very moving opera, with moments full of doom and gloom. It was unlike anything else I have seen before. The set design effectively created the prison environment, with a yard, and the warden’s office, which later became the backdrop for the prison theatre event. The experience felt like you were watching through a cracked window, which gave the impression of a mosaic, each piece filled with a different story and commentary, depicting the lives of the men in the prison. Leading you to question their morals and evaluate their choices. It was very interesting to watch this with Alex as he is a barrister and has a personal interest in law. We were able to discuss the piece in great detail afterward.

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Nicky Spence as Nikita and Salim Sai as Actor ( photo by Clive Barda ROH )

 

The week ended with a fabulous opportunity for me to make music with my talented colleagues at the RCM. On Friday evening I performed for Joe Kiely whose composition ‘Ice Legacy’ featured in the ‘Composition for Screen’ showcase held in the Britten Theatre at the RCM. It was such an honour to perform alongside the orchestra conducted by the wonderful Akos Lustyik,  a talented composer himself, whose music also featured in the event.

It has been a real pleasure to work with Joe on this piece, the melody and text were inspired by the Norwegian language. The process of preparing for this event was very exciting. The first rehearsal took place in the Belle Shenkman Studio at the RCM, where we were all equipped by the fantastic sound department with microphones and headphones. The challenge of singing for ‘film’ is that the music has to be extremely accurate in rhythm as it is composed to link up with what is seen on the screen. Therefore, it is vital to be with the conductor and the click that we hear through the headphones, whilst also balancing with the live ensemble. I really enjoyed experimenting and learning how to adapt to the requirements of this style of performance I would love to be involved in similar projects in the future.

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Me With Joe Kiely

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It has really been a treat to go and watch so many wonderful performances. I feel inspired and full of motivation to begin work on my next projects.

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With Ann

 

I bought a copy of Annette’s book “Go You” this week and can thoroughly recommend it. Not only is she a lovely person but you can open this book on any page and a little bit of positivity rubs off on you.

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This weekend has been a key milestone for me in more ways than one, firstly it is the fifth anniversary of my first steps into the world of blogging, secondly it has seen the culmination of many months work as I try to finalise the PowerPoint presentation for my lecture recital on Thursday 8th May for my academic module entitled ‘Women In Music’.

When I selected the module at the beginning of the year, I had no idea how it would affect me, the deeper I researched, the more it drew me in. We were asked to prepare a 20 to 25 minute lecture recital on a female composer. Initially, I thought that this would be quite straightforward but after several months of reading, research and mentoring sessions it has proven to be more difficult than I expected.  Not because I can’t fill the time, on the contrary, I have ended up with such a weight of research and information that I am finding it hard to cut it down to just 25 minutes in total !!

But cut it down I must, so I have been burning the midnight oil, wrestling with myself as to what information should be removed and what should remain.  It is such a difficult and time-consuming process, as I find myself both arguing for and against each small section that I try to isolate and remove from the presentation.

At one point after reading through my work and decided that to try and preserve as much of my work as possible that I will perhaps post the initial un précised presentation as a blog post after I have completed my lecture recital.  It may be a little longer than my usual posts, and I need to figure out how to record attach the spoken word to the PowerPoint presentation but I do hope that some of you find it as interesting to read as I did researching it.

One of the key points that I have taken away from my research is the importance of encouragement and positive reinforcement to the success of an individual’s creative endeavours. This is especially so if the creative arena in which you wish to forge a career for yourself has few gender or racial precedents for you to emulate or against whom you can measure your progress.  Over the years on my blog many of you have contributed so much to my progress, encouraging me just when I need it, being supportive of my choices in an uncertain world, and most important of all just being there as a constant for me as I face every new challenge.  I know that many of you have had your own creative struggles and by being there with you, sharing your experiences, as you individually overcame the obstacles you faced has been truly inspirational.

Thank you background with confetti.

Part of this module included selecting and working closely with mentors, individuals who gave me their time, advice and the benefit of their experience and I would like to thank them:

My singing teacher and friend Rosa Mannion for consistently reinforcing the sound foundations, technical necessities, and good vocal health needed to sing at the highest levels.

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Rosa Mannion and Me

Dr Natasha Loges and Diana Roberts for providing the lectures which guided my research for this module at the Royal College of Music. I would whole heartedly recommend it to any future students when they come to choose their options.  Both Natasha and Diana have provided the necessary support needed for a module like this to succeed, and I can’t thank them enough.

Judith Howarth for her frankness and honesty during our sessions, and for her invaluable insight into the operatic world, advice which I will carry with me as I try to build my career in the years to come.

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Judith Howarth

The composer Lisa Illean who has been so patient with me, providing feedback and guidance on the format and timing of my lecture recital, giving up her own time to talk me through the difficult process of how to decide what to keep and what to cut ( which I am still working on ).

Leanne Singh-Levett for coming to my rescue and stepping in at the eleventh hour to accompany me during my lecture recital, it has been fantastic to work closely with her even if it has been for such a brief time.

Simon Lepper for his skilled accompaniment and creative input during our coaching sessions, and for his patience and understanding as I had to change my repertoire just weeks before my recital lecture due to circumstances beyond my control.

A special thank you to all my friends that I have picked the brains of while preparing my reseach.

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Just before I finish I want to wish the best of luck to all my fellow students presenting their recital lectures this Thursday; Eloise MacDonald, Lisa Burgess, Katy Thomson, and Esme Hurlburt.

Overall this has been both a difficult yet rewarding experience, one that has made me think differently about the challenges that I will face in the future. It has hardened my resolve to push on with my ambition to make a career for myself as an Opera Singer, to work more effectively to achieve my goals, to be thankful to my professional coaches and teachers, and to recognise that if a job is worth doing it is worth doing well.

By way of a thank you I will be putting all the names of everyone who comments or adds a like to this post here on my blog into a hat and I will pick out three names at random.  I would then like to send signed copies of my Haugtussa album to those selected along with a personal message of thanks.

Through my research for my ‘Women In Music Module’, I was intrigued to read that the wife of Gustav Mahler, Alma Mahler, had also composed before their marriage.  Having recently performed some of Gustav Mahler’s songs I decided to search out her compositions to see if I could add them to my repertoire.

As I read about her life I felt that it would provide an interesting point of contrast for my upcoming presentation on Kaija Saariaho to demonstrate how life’s opportunities have changed for women over the past 100 years.

Alma was born in Vienna August 1879, eldest daughter of a landscape painter Emil Jakob Schindler and Hamburg Singer Anna Sofie Bergen. Her early life was influenced by the many artistic people that visited the family home, including Gustav Klimt with whom she is said to have shared her first kiss, she was considered quite a beauty.

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Boulevard of Poplars near Plankenberg, Emil Jakob Schindler, Leopold Museum, Vienna

Encouraged by her father, Alma showed great promise as a pianist and with the help of her teachers, one of which was the composer Alexander Zemlinsky, she started to create her first compositions.

Through the growing circle of artistic contacts, Alma was introduced to Gustav Mahler who at the time was the Director of the Vienna Court Opera. Shortly after their introduction Gustav Mahler became enamored by Alma and pursued her during a brief period of courtship.

Alma’s life to that point had been very bohemian with the freedom to explore and experiment, however, Gustav Mahler, 19 years her senior, had a very traditional view of marriage and family life and is believed to have written a lengthy letter to Alma detailing his requirements of a wife.  One of his key demands was that she stopped composing as he did not want her distracted from her duties which included caring for his needs.

Alma Mahler

Alma Mahler

Alma agreed to his demands and married Gustav Mahler in 1902 and her brief experimentation with composition was brought to an end. However, towards the end of his life, Gustav Mahler had an appointment with Sigmund Freud to try to better understand his wife, Freud deduced that Alma had tried to replace the father figure in her life by marrying Gustav Mahler, following her own father’s death when she was just thirteen. Freud encouraged Gustav Mahler to revisit his decision to curb Alma’s artistic outlet through her compositions which led him to have five of her works published.

After the death of Gustav Mahler in 1911 though Alma led a full and interesting life she never returned fully to composing career. Although in 1915 she published a set of four songs and five songs in 1924.

Updated: Alma died in 1964 in New York at the age of 85 the 14 songs, written for voice and piano, that were credited to her from the time before her marriage to Gustav Mahler remained the only pieces of music that she published as most of her earlier compositions were lost in the Second World War.