Hey, this blog is picking up steam! Well, insofar as I'm figuring out what I want to put on it (content is still a bit on the random side).
Such as this, a recording my friend made of a cover of the Dire Straits song "Romeo and Juliet..."
I don't know if this is appropriate or anything; I just thought it was beautiful and wanted to share.
Like most of the classical singers I know, I like a lot of different kinds of music. Just a brief sample of the different kinds of music that classical singers (real live ones I know!) like, listed by voice type and genre of choice:
Dramatic Tenor--country, Christian, and Bieber
Lyric Tenor--soundtracks, Glee recordings, anime music, songs from Rock Band
Lyric Mezzo--classic metal, Plain White T's, John Mayer
Lyric Mezzo--most anything folk-inspired from the '70's (and a whole lot of other stuff)
Contralto (okay it's me)--hardcore alternative, female songstresses, funk
Dramatic Baritone--The Smiths
I think most of us are pretty fond of classical as well, but I think we're usually way less critical and snobby about music than people expect us to be. I mean, I can get really pissy about music I don't like, but I do like a lot of music. I guess my point is, if you're ever around a classical singer, don't worry about only discussing classical music! Bring up the Beatles! Mention the Yeah Yeah Yeahs! Mickey and Sylvia! That one Glee mash-up! Random words I am spouting! Tina Turner's "Goldeneye." Mmm. Now there's a recording.
Yes, and now it's "Sara Couden's Useful Tips on How to Deal with Classical Singers." THAT's going in the labels bar.
Tuesday, September 27, 2011
Sredni Vashtar recording
A recording of Nicholas Pavkovic's Sredni Vashtar, as performed by Kevin Korth and I at Mr. Pavkovic's 8/27 recital, can be found at his website:
www.pavkovic.com/recital
If you have 26 or so minutes to spare, give it a listen if you want! You'll never appreciate toast so much!
Other pieces from the recital are there as well, including Nick's Concertino for Piano and Percussion, which my family and friends raved about, as well as the full orchestral recording of Sredni Vashtar's debut, featuring the wonderful mezzo-soprano Roxana Walitzki (I hope I am spelling that right).
We'll be doing a reprise (this time the full orchestral version) of Sredni at a concert on October 30th comprised of Nick's work. Concert at 8 pm, SFCM.
I guess that's about it. Thanks for your time!
www.pavkovic.com/recital
If you have 26 or so minutes to spare, give it a listen if you want! You'll never appreciate toast so much!
Other pieces from the recital are there as well, including Nick's Concertino for Piano and Percussion, which my family and friends raved about, as well as the full orchestral recording of Sredni Vashtar's debut, featuring the wonderful mezzo-soprano Roxana Walitzki (I hope I am spelling that right).
We'll be doing a reprise (this time the full orchestral version) of Sredni at a concert on October 30th comprised of Nick's work. Concert at 8 pm, SFCM.
I guess that's about it. Thanks for your time!
A brief plug...
...for a play I saw tonight:
Desdemona, at the Boxcar Theater.
Information (including a link for tickets) is here:
http://www.boxcartheatre.org/desdemona.php
The play is a retelling (or re-interpretation) of Othello, taking place in the hour or so before the strangulation. It's just three women talking to each other, but the relationships that are established both intra- and interpersonally are really done well, by the play itself and by Boxcar's production. Desdemona, in Paula Vogel's telling of the story anyway, has known the heat of more than one luxurious bed. Karina Wolfe does a great job of playing this version of the character as manipulative, rather unlikeable, and yet extroardinarily sympathetic--her Desdemona, we realize, is a woman who simply can't be satisfied by the world she lives in. Adrienne Krug is just as good as the pious yet mercenary Emilia, giving the same type of layered performance: hardheaded, loyal, idealistic, codependent, and ultimately unsatisfied. Their interaction is what drives the play, and, as presented by this production, it is always fascinating to watch.
The lighting and sound cues can get a little confusing, in my opinion. The set, not so much wrapped up as smothered in clean linen, is an overwhelming and clever metaphor.
I really really enjoyed watching this.
Desdemona, at the Boxcar Theater.
Information (including a link for tickets) is here:
http://www.boxcartheatre.org/desdemona.php
The play is a retelling (or re-interpretation) of Othello, taking place in the hour or so before the strangulation. It's just three women talking to each other, but the relationships that are established both intra- and interpersonally are really done well, by the play itself and by Boxcar's production. Desdemona, in Paula Vogel's telling of the story anyway, has known the heat of more than one luxurious bed. Karina Wolfe does a great job of playing this version of the character as manipulative, rather unlikeable, and yet extroardinarily sympathetic--her Desdemona, we realize, is a woman who simply can't be satisfied by the world she lives in. Adrienne Krug is just as good as the pious yet mercenary Emilia, giving the same type of layered performance: hardheaded, loyal, idealistic, codependent, and ultimately unsatisfied. Their interaction is what drives the play, and, as presented by this production, it is always fascinating to watch.
The lighting and sound cues can get a little confusing, in my opinion. The set, not so much wrapped up as smothered in clean linen, is an overwhelming and clever metaphor.
I really really enjoyed watching this.
Euouae Concert
Hi, all!
Just a couple of points about this listing on my "Calendar" page:
1. It sounds like it will be AWESOME,
and 2. Why I chose to list a choral concert (because everyone cares, I am positive).
1.: Sven Olbash writes in his blog, http://euouae.com:
"Since we are primarily a medieval ensemble, for us for the chant is not a side dish, but the main course. We present new interpretations of the Gregorian melodies that capture something of the ecstatic spontaneity of the ancient chants alongside later polyphonic works. Having premiered over 40 works as a recitalist and during four seasons with the new music ensemble Volti, often in collaboration with the composers, I bring the same approach to the Medieval and Renaissance repertoires, treating them not as museum pieces but as something innovative, modern, and at times shocking. To imagine the experience the original performers had when encountering this polyphonic music for the first time, ensemble members steep themselves in the chant tradition from which it evolved."
Awesome, right?
2.: The "Calendar" page is meant to list performances in which I have solos. As much as I love doing choral stuff (it's a whole lot, by the way), the sara.couden.net platform is that of me as a soloist. But I've decided to include stuff where I get to sing by myself on a line, based on the principle that contraltos can't be super-choosy about what they consider solo work. We're a little bit like violists in that regard. I don't get to sing by myself in the Beatrice et Benedict either (though, again, I'd advocate coming to that concert because the music is going to be beautiful, not because I'm singing, solo or otherwise), but it seems unreasonable to include large choral concerts on what's supposed to be a list of places to hear me sing (I would 100% advocate going to any SF Symphony Chorus concert, whether I'm singing with the chorus or not, but it seems a bit like false advertising to list an SFSC concert I'm involved in as a place where one could hear me, if you see the distinction). So despite Euouae being a choral ensemble, I'm listing it on the site because I am alone on a part sometimes.
And I'm not really sure why I think you'd care about this, gentle reader. But just for the sake of making the rules of the sara.couden.net experience VERY CLEAR, I am offering the above information. You're welcome!
Just a couple of points about this listing on my "Calendar" page:
1. It sounds like it will be AWESOME,
and 2. Why I chose to list a choral concert (because everyone cares, I am positive).
1.: Sven Olbash writes in his blog, http://euouae.com:
"Since we are primarily a medieval ensemble, for us for the chant is not a side dish, but the main course. We present new interpretations of the Gregorian melodies that capture something of the ecstatic spontaneity of the ancient chants alongside later polyphonic works. Having premiered over 40 works as a recitalist and during four seasons with the new music ensemble Volti, often in collaboration with the composers, I bring the same approach to the Medieval and Renaissance repertoires, treating them not as museum pieces but as something innovative, modern, and at times shocking. To imagine the experience the original performers had when encountering this polyphonic music for the first time, ensemble members steep themselves in the chant tradition from which it evolved."
Awesome, right?
2.: The "Calendar" page is meant to list performances in which I have solos. As much as I love doing choral stuff (it's a whole lot, by the way), the sara.couden.net platform is that of me as a soloist. But I've decided to include stuff where I get to sing by myself on a line, based on the principle that contraltos can't be super-choosy about what they consider solo work. We're a little bit like violists in that regard. I don't get to sing by myself in the Beatrice et Benedict either (though, again, I'd advocate coming to that concert because the music is going to be beautiful, not because I'm singing, solo or otherwise), but it seems unreasonable to include large choral concerts on what's supposed to be a list of places to hear me sing (I would 100% advocate going to any SF Symphony Chorus concert, whether I'm singing with the chorus or not, but it seems a bit like false advertising to list an SFSC concert I'm involved in as a place where one could hear me, if you see the distinction). So despite Euouae being a choral ensemble, I'm listing it on the site because I am alone on a part sometimes.
And I'm not really sure why I think you'd care about this, gentle reader. But just for the sake of making the rules of the sara.couden.net experience VERY CLEAR, I am offering the above information. You're welcome!
Friday, September 16, 2011
CCPAS concert!
(In the words that Crow puts into Eegah's mouth [if you don't understand, PLEASE don't worry about it]):
Hi again!
(endquote. THAT was worth it.)
I'm doing pieces from Bach's Magnificat and Handel's Alcina with some friends for a concert being put on by the Contra Costa Performing Arts Society on October 11th, and I want to tell you about it! CCPAS is a volunteer organization, in which members put on short concerts for the public on Tuesday evenings and Friday mornings, as well as sponsoring things like master classes and competitions for local high school and college students*. Each concert is comprised of about an hour of music--usually three ensembles or soloists, playing 20 minutes worth of music each. Concerts are held at one of a few locations, generally Grace Presbyterian Church, located near Rossmoor in Walnut Creek at 2100 Tice Valley Boulevard.
This is the program for my 20-minute segment of the October 11th concert:
"Et misericordia" -- Magnificat -- Brian Chu, tenor / Sara Couden, alto
"Esurientes" -- Magnificat -- Sara Couden, alto
"Suscepit Israel" -- Magnificat -- Felicia Chen, soprano I / Jennifer Kay, soprano II / Sara Couden, alto
"E gelosia" -- Alcina -- Sara Couden: Bradamante
"Non e amor ne gelosia" -- Alcina -- Felicia Chen: Alcina / Jennifer Kay: Ruggiero / Sara Couden: Bradamante
Skye Atman, piano
I'm excited about this concert, because I get to sing with all my friends! Brian and Jenn and I go way back--I owe everything I know about awesome TV (and so much more) to Brian, and a whole lot of gas mileage to Jenn for all those trips to Santa Cruz and Davis. She made a great Violetta to my Giorgio Germont when we were nerding out in the car one night. And Felicia is the queen of the Baroque ornament, so I am very excited that she agreed to sing!!
Also, the Magnificat is just ridiculously beautiful. The "Esurientes" is the only happy solo for contralto of Bach's that I've ever come across--I usually like my music superficially sad, but the "Esurientes" is so beautiful that I don't even mind it being in a major key--and the "Et misericordia" and "Suscepit Israel" are meltingly lovely.
Also-also, the concert is free, and on the right side of the bridge! (Well, for some people.)
Anyway, thanks for your time.
*I am actually chair of the High School Vocal Competition. If your high school-aged students are local to Contra Costa or Alameda Counties and interested in competing in a classical singing competition, or if you'd like to become a CCPAS member and enroll some non-local high school students, please get in touch with me! It's a relaxed and caring atmosphere, and (hopefully) a good experience. Enrollment is only $20! (Yes, this is my version of the hard sell.)
Hi again!
(endquote. THAT was worth it.)
I'm doing pieces from Bach's Magnificat and Handel's Alcina with some friends for a concert being put on by the Contra Costa Performing Arts Society on October 11th, and I want to tell you about it! CCPAS is a volunteer organization, in which members put on short concerts for the public on Tuesday evenings and Friday mornings, as well as sponsoring things like master classes and competitions for local high school and college students*. Each concert is comprised of about an hour of music--usually three ensembles or soloists, playing 20 minutes worth of music each. Concerts are held at one of a few locations, generally Grace Presbyterian Church, located near Rossmoor in Walnut Creek at 2100 Tice Valley Boulevard.
This is the program for my 20-minute segment of the October 11th concert:
"Et misericordia" -- Magnificat -- Brian Chu, tenor / Sara Couden, alto
"Esurientes" -- Magnificat -- Sara Couden, alto
"Suscepit Israel" -- Magnificat -- Felicia Chen, soprano I / Jennifer Kay, soprano II / Sara Couden, alto
"E gelosia" -- Alcina -- Sara Couden: Bradamante
"Non e amor ne gelosia" -- Alcina -- Felicia Chen: Alcina / Jennifer Kay: Ruggiero / Sara Couden: Bradamante
Skye Atman, piano
I'm excited about this concert, because I get to sing with all my friends! Brian and Jenn and I go way back--I owe everything I know about awesome TV (and so much more) to Brian, and a whole lot of gas mileage to Jenn for all those trips to Santa Cruz and Davis. She made a great Violetta to my Giorgio Germont when we were nerding out in the car one night. And Felicia is the queen of the Baroque ornament, so I am very excited that she agreed to sing!!
Also, the Magnificat is just ridiculously beautiful. The "Esurientes" is the only happy solo for contralto of Bach's that I've ever come across--I usually like my music superficially sad, but the "Esurientes" is so beautiful that I don't even mind it being in a major key--and the "Et misericordia" and "Suscepit Israel" are meltingly lovely.
Also-also, the concert is free, and on the right side of the bridge! (Well, for some people.)
Anyway, thanks for your time.
*I am actually chair of the High School Vocal Competition. If your high school-aged students are local to Contra Costa or Alameda Counties and interested in competing in a classical singing competition, or if you'd like to become a CCPAS member and enroll some non-local high school students, please get in touch with me! It's a relaxed and caring atmosphere, and (hopefully) a good experience. Enrollment is only $20! (Yes, this is my version of the hard sell.)
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