A competition has been launched to find poetry which will feature in the toilets of Shetland.

Six poems will be selected every three months to go on display in all leisure centre toilets and at other locations.

The Bards in the Bog competition is open to all ages, and poems may be on any subject.

The only rule is that they must be 12 lines or less in length as the posters need to have large print which can easily be read from a seated position.

I read it here.

So so so so sooooo many jokes one could make.

I’ve heard of pottymouths, but this would be what? A pottypoet?

Gee, why am I finding out about this now? I usually spot these more quickly. In any case, enjoy!

Sacramento Philharmonic Orchestra

Saturday, February 21, 2009

Community Center Theater 8pm

Mozart, Mendelssohn and More! is a musical tour of Paris, Vienna, and Leipzig. This concert also features “Philharmonic Faces”, presenting the talents of the orchestra’s musicians in the role of soloist. The concert features Felix Mendelssohn’s largest orchestral work, Violin Concerto in E Minor op.64 with principal violinist Michele XiaoYou as the featured soloist. Great Works III also will spotlight principal oboist Thomas Nugent as soloist for Richard Strauss’ Oboe Concerto in G Major. The concert also includes Mozart’s Le Nozze di Figaro Overature and Eine Kleine Nachtmusik.

(I read it here. Click the link to see how to get tickets. And yes, they did spell it “Overature” at their site.)

09. February 2009 · Comments Off · Categories: Opera, Quotes

With a laugh, Lalov told the story of a friend who was the artistic director of the Syracuse Opera in New York.

“He called and said, `Giorgio, I’m struggling selling tickets for my “Aida.”‘ Somebody told him, why not put an elephant in. Three days after, he called me and said he sold out.”

I read it here, in an article about Teatro Lirico.

Hi!

Could someone recomend a composer who’s pieces all are (or at least most are) in minor. The sadder, the more powerfull, the better. Funeral music, war marches etc.

For an example of a piece that I like, check out Henry Purcell’s “Music for the Funeral of Queen Mary”.

www.youtube.com/watch?v=GB3lStMh_O8

Although, keep in mind that I am looking for composers, not single pieces of music.

Thanks allot in advance.

08. February 2009 · Comments Off · Categories: Opera, Reviews

(No, I’m not talking about staying tuned in an A-440 way right now. Really. Although that’s a good idea too.)

The Merc has a teaser for the opera review. It sounds like Mr. Scheinin liked it, and I’m looking forward to reading the entire review. I’ll post the news when it appears at the Merc site.

Right now performing groups can use all the good news possible. And it appears this will be good news. So yay for that. :-)

(Of course if I get panned I’ll be sorry I posted this, yes?)

Q: What didn’t you like about “Peter and the Wolf”?

Handler: The story is boring: A boy goes out for a walk and watches the cruelty of nature and then decides to participate in the cruelty of nature. In terms of this teaching young people about the orchestra — it doesn’t do its job. You hear the story and you hear beautiful music, but if you don’t already know anything about the French horn then you don’t really know anything more about it after (the performance).

Q: How is “The Composer Is Dead” different?

Handler: The composer is dead and his death is suspicious, and the authorities come in and question all the members of the orchestra so you learn about all the different instruments.

I read it here.

(Handler is the writer of the happy-go-lucky Lemony Snicket books.)

08. February 2009 · Comments Off · Categories: Read Online

It was almost as wild as Susan Sarandon reading that Brad Pitt was nominated for “The Curious Case of Benjamin Britten”; in her defense, Sarandon was obviously trying to rush to get the ceremony over with by 11 p.m.

Found here.

Many thanks to Alex Ross for alerting us to this hysterical goof.

… went very well. At least in my little mind. And ears. (Can’t say eyes, since I can’t see the stage. Boo hoo.)

I received a few compliments, which was nice. But of course I am silly about all of that. One friend was saying I was sounding particularly good, and I said I was actually enjoying myself. But then of course the negavoice (just created that. Nice, huh?) started sayiing, “Uh-oh. Now you’re in for it.”

I say I’m not superstitious. (Heck, I can’t even spell the word without looking it up.) But I always fear that once I say I feel like I’m doing well, or that I’m comfortable, or I’m having fun, heaven forbid, I start thinking I’ll be failing quite soon. I get that same negavoice™ when I say something negative about someone else. (I even fear that writing about the difference between composers and performers might bite me … and I honestly didn’t mean that blog entry to be at all hostile or accusatory, but I’m guessing it seems so …?)

So I might not be superstitious. But I probably am. Eh?

In any case, back to the opera: It went well. My solos were fun to play (!). (Here comes negavoice™ again. Ack!) Cosi solos (the few I have) are just the sort I really do enjoy playing. The audience seemed to enjoy what was going on on stage. So that was good too. And they gave a standing O, which isn’t something OSJ audiences do all that frequently.

The story of Cosi is, of course, an uncomfortable one. Men pretending to leave their women (in the original to go off to war), coming back in disguise and romancing them, but switching girlfriends. Awful in oh so many ways. Even while we laugh. I don’t always care for switching eras for operas, but I think this one works in the way the video below is done: it takes place in the hippie era. The men, who are pretty straight business looking sorts, come in disguise as hippies. The women gradually change from the a mod look to hippies. It’s clever. And it works for me. Who’da thunk it?

(Too bad the overture isn’t posted … but the rest of the opera is. Go here to see the selections in order and from the start.)

We have the first performance of Cosi fan tutte tonight. This remains my favorite Mozart opera when it comes to the music — plot-wise not so much, but I can’t have everything, I suppose. But truly, the music is just exquisite, and even while I have a ton of tacets I usually just sit and enjoy the music. Many colleagues have magazines on their stands … it really can be extremely difficult to sit for 30 minutes when we can’t see the stage at all, so I have complete understanding for those who read. And yes, some of the instrumentalists really do sit for 30 minutes or longer without playing a note. (While the poor strings saw away. Mozart operas are pretty exhausting for the string section, I believe.) We oboes have a 25 minute resting period, in fact, along with three other 10 minute tacet spots. Still, you can pretty much guarantee I’ll be sitting there enjoying the music tonight. (If I do read, you can bet the audience won’t be able to tell; it’s a rule I have for myself.)

In defense of those who do read: I know some people think we should be so enraptured by what we are doing, and so involved in our work, that reading is incomprehensible to them. Ah well. I can’t really explain what it’s like to be incredibly focused on what we are doing when we are playing and then being able to transition to a book or magazine when we aren’t involved in a particular piece. If you’ve not been there it’s just too difficult to explain. At least for me. Think of it as our water cooler break, perhaps. Maybe someone else can jump in here and help out?

When we were at the Montgomery Theatre we could see the performance in the reflection of the plexiglass that was put up on the rail that separated the audience from the pit (I was told that the firemarshall deemed the rail (or is it a wall?) too short, so they had to add more height. Plexiglass was chosen because otherwise the audience in the front rows wouldn’t be able to see the stage. Go figure.) In the Montgomery I never read. Even with 25 minute breaks in my part. I watched. And listened. I miss being able to see and I miss hearing as clearly as we used to. Such is life. I still prefer the California Theatre. It’s just too wonderful of a facility … if you haven’t seen it, you should.

Maybe tonight?

06. February 2009 · Comments Off · Categories: Ramble

I was just telling Dan about the blog post by composer Nico Muhly where he makes some comments about composer John Adams. In that blog entry Mr. Muhly refers to composer Mark Adamo’s blog entry about John Adams. And then I recalled that Mark Adamo had written another blog entry talking about another John Adams work.

They are very blunt in what they think.

Which got me to thinking. Composers have, throughout the ages, been blunt about what they think about other composers. Certainly John Adams is blunt about what he thinks, so seeing that Muhly and Adamo comment about him probably doesn’t surprise him. Or it shouldn’t.

I don’t see this same thing in the “classical” performers’ world.

We might think some pretty strong negative things about some musicians. We definitely talk about them — in mostly hushed tones. (Yeah, we can be horribly catty.) But rarely do I see a musician talk openly, for all to hear, about a well known musician in a negative way. Or even a lesser known one. And rarely do I see a performer blog negatively about someone he or she is working with. Or worked with. (I’ve toyed with a few “time to tell the truth” moments about certain artists I’ve worked with, especially if they are no longer on this earth, and decided that while what I would write would be oh-so-true, it certainly wouldn’t be kind or necessary. So never mind.)

I think it’s partly because a composer works singularly so much of the time, and what he or she does is so much a part of who they are. So I think they are more “on their own”, so to speak, more defensive (and maybe more offensive as well?), and less in need of protecting a gig, since saying something negative about another composer won’t necessarily take away all future work.

Performers have to work together. Even with people we really really don’t like. We have to attempt to get along. Or at least pretend we do. We have to collaborate. Saying something negative often sounds like sour grapes. Blogging about it just looks bad. To me anyway.

But maybe I’m wrong. Maybe composers do the negative thing for other reasons. Maybe we don’t for reasons I’m not putting up here. Dunno.

I’m just pondering out loud. Or “out blog”. Or something. I don’t know if I’m anywhere close to getting to the real reasons we differ in this. If there are reasons.

06. February 2009 · Comments Off · Categories: Links, Ramble

If you are an oboist and you don’t read oboeinsight, you should! Patty is the superhero of oboe bloggers.

I read it here and it warmed my heart. Or at least made me smile. Or blush. Or something. (Yeah, I am frequently confused about my feelings.)

In other news (sigh) …

I’ve been waiting for 45 minutes for a student. Waiting means working on reeds, actually, which is a good thing. But a late student isn’t a good thing. And worrisome.

It’s rare to have a late oboe student. Oboists are often obsessive compulsive types. Or control freaks. Or both. And we want to be perfect. So a late oboist? Not common. At least not in my little world.

06. February 2009 · Comments Off · Categories: Ramble

It’s a UCSC day, and driving over the hill was one wet ride! I am loving this rain, and at one point it came down incredibly hard. (No, not dangerously so … no worries!) I just love rain. So I am one happy camper.

And now I’m sitting at the coffee shop, enjoying a latté and a bagel with cream cheese.

Life is good. Let’s hope the oboe students demonstrate that oboe is good, too. :-)

06. February 2009 · Comments Off · Categories: BQOD, Videos

[Chrissie] Hynde apparently has no love for one (or maybe all) Oboe players, as she ridiculed one for a few minutes, ultimately informing us all that the Oboe has the smallest reed.

In case you don’t know who she is, here’s a video for you.

05. February 2009 · Comments Off · Categories: Quotes

Of all the noises known to man, opera is the most expensive.

-Moliere