Where I've been/CyberSing 2008

It's been a long time since I've posted. I've been working very hard on my various writings for children. I'm putting finishing touches on the ninth (!) of my picture books, and am on the fourth chapter of a hard-hitting young adult novel. :-)

And I did a recital at KHPR, the Public Radio Station in Honolulu (the tan has already fated from my pasty-white skin) and I am really excited about my latest performance effort: an evening of songs by Edith Piaf. Sounds weird, but believe me, it seems to work. I've tried a few out on three different audiences now, and the response has been tremendous.

But enough about me. I did want to post this information about CyberSing, the Lotte Lehmann Foundation's art song performance vocal competition. I'm not the publicist for the Foundation, but I am the vice president of the Board of Directors, and I'm dedicated to getting the word out (ever the proselytizing minister's son!)

In the meantime, sending all the best to my sometime readers. I do promise to get back on the blog bandwagon ere too long. There are so many great singers I'm eager to share with you. Just lately: Janine Micheau, Galina Vishnevskaya, Berta Kiurina, Rosanna Carteri, Hugo Hasslo, Francesco Merli... ah, the list goes on and on!

But for now, here's the press release:


The Lotte Lehmann Foundation has released the new rules, regulations, and dates for CyberSing 2008, its fourth biannual art song performance competition.

The stated objective of CyberSing is “[t]o recognize and award performance of art song by singers and pianists throughout the world.”

Entrants to the competition may enter in one of two Divisions: Division One, for singers 23 years of age and younger, and Division Two for singers over the age of 23. Prizes will include a Top Prize of $1,000 for the Division One winner, and a Top Prize of $5,000 for the Division Two winner. Prizes for best individual song performances will also be awarded in each Division.

Singers of both divisions will submit audio recordings of a range of art song repertoire, including German and French art song, a required song composed expressly for CyberSing by Larry Alan Smith, which is available for download exclusively at the CyberSing website.

In past competitions, entrants were judged exclusively on their submitted audio recordings of a prescribed art song repertoire. This year, for the first time, finalists will be requested to submit a performance DVD. The final round will be judged exclusively on these submitted DVD recordings.

The Foundation is accepting applications now through August 31, 2008. Finalists will be chosen by October 15, 2008, with a November 15, 2008 submission deadline for finalists’ DVD recordings. The winners will be announced on or before January 31, 2009.

Daniel Gundlach, the vice president of the Foundation’s Board of Directors stated, “CyberSing has always been a crucial element of the Lotte Lehmann Foundation’s activities. We are all thrilled with the new parameters of the competition, which will enable the judges to more completely and accurately evaluate the performances of the participants.”

Repertoire requirements and complete rules and regulations for the competition, as well as application forms, are available on the Foundation’s website: www.lottelehmann.org or at www.cybersing.org.

My journey to blogdom

I was writing a blog before it was even known as a blog!

On my first audition trip to Germany in the fall of 1999, I wrote a series of emails from the road to friends, family and colleagues. My recipient list topped out at over two hundred. Some of you who are reading this now were among those first readers. A lot has changed since then.

(See what I mean? That tsunami-do went the way of all flesh years ago.)

I had some amazing singing engagements in Germany and in France, but in the end, I returned home to New York, where I have been now for nearly two years. During my time in Europe, I kept my travel emails going at sporadic intervals, but since I’ve been back in New York, I haven’t felt the need to keep them up.

In spite of all the changes in my personal life in the past two years, some things have remained constant, however. Those who know me well are aware of my strong opinions and convictions about singers and singing. Even in high school, my English teacher decided that I would become the chief music critic of the New York Times.

Obviously my aspirations led in different directions, but that has not kept me from expressing my opinions quite freely, and sometimes rather eloquently. The idea of creating my own blog came to me as I began working on revisions to my website about six weeks ago. I filed the idea away, unsure that I actually had anything of real interest to say. But I found the inspiration I needed from traveling the subways with Brigitte Fassbaender.

Recently EMI has reissued four volumes of Fassbaender’s early lieder recordings for Electrola, and though they are only sporadically available in the US, they are self-recommending to anyone who loves great singing. Has there been a greater lieder singer since Lehmann? If so, I need to be convinced. Mind you, I am a great admirer of Souzay, of Baker, Schreier, Ameling, and more recently Quasthoff, Goerne and sometimes Terfel (note that there are several significant names missing from that list!). But Fassbaender’s intensity and commitment are unique. When her voice was in optimum working order, as it is in these recordings from the mid- to late-seventies, she is without peer.

As do so many city dwellers these days, I get through the usual bustle and madness by listening to music on my headphones. Mine are connected to my iRiver, which I also use to record my voice lessons and which I affectionately refer to as my Object. The Object has very little storage space, so every few days, I replace the music I have been listening to with something new.

My tastes are very eclectic. I won’t say that I’m not a musical snob, because my standards are very high, but I do spread my net pretty wide. (Well, I may have a few hidden musical vices, but I'm not revealing all my secrets in my first posting.) Depending on my state of mind, on any given day I might be listening to Ileana Cotrubas or Rufus Wainwright, Pam Tillis or Georges Thill, Piaf or Magda Olivero, Dusty or Supervia. On these particular days of which I am writing, I had loaded Fassbaender onto the Object.

I am deeply affected by whatever music I am listening to, no matter if I’m at home, walking down the street, in the concert hall or riding in the subway. The frequency and intensity of my transcendent listening experiences can often be in complete opposition to the situation I might be in at that moment.

The other day I was heading downtown on the 1 train. As usual, I left the apartment about five minutes later than I had intended, so I had busted my ass to get onto the arriving train. I sat down totally winded. One reason I was a little late, of course, was because I had to get set with my music before I left the apartment.

Brigitte was singing Schubert, who is probably my favorite composer (I will certainly have more to say about him in subsequent postings), and I felt my heart rate slowing as my breathing got deeper. Around 103 Street, she began singing An die Musik, surely one of Schubert’s most popular songs, though not one I treasure most among his output. And yet this day, I found myself overwhelmed by the song.

How can anyone who loves music not have experienced this depth of gratitude to that art that this song reveals? I know that there have been moments in my life that without the transcendent power of music, I probably wouldn’t have survived. I have felt this way ever since I was a very young child, and I feel it even more now.

Hearing an artist like Fassbaender or Lehmann (especially as the final encore of her 1951 Town Hall farewell recital, where she breaks down before the final line) sing this song reminds me of why I chose music as my life’s calling in the first place (or, more accurately, why Music chose me). I sat in that subway car with my eyes pressed shut, feeling the tears welling up behind them, knowing that if I opened my eyes, I wouldn’t be able to keep from weeping. So I just kept them closed, dwelling in the depth and breadth of feeling that had been stirred in me.

Two days later, I found myself once again in the subway with my headphones on. This time I was at Times Square, surely the most abhorrent place in all of New York. Whether in the crush of the crowds in passageways and on platforms too narrow to accommodate them, or above ground, where eager tourists soak up the wholesomely corporate family values of Mickey Mouse (along with a good deal of bare skin, courtesy of Madison Avenue), I always feel as if I were entering the seventh circle of hell. In other words, hardly a place to find inner calm.

Passing through the gauntlet that is the platform for the uptown 1 train, one often hears a poorly-tuned and ear-splitting steel drum playing an inaccurate version of Für Elise. The crowds are impenetrable, and there is no midwest brand of politeness: in this glut of bodies, New Yorkers grab whatever few square inches of breathing room they can get and budge not one millimeter. My patience is always completely spent by the time I reach the far end of the platform.

At the end of this particularly long day, I was completely frazzled and at my wits’ end. Who should be singing in my ear at this point but Brigitte once more, and this time the selection was even more apposite. Mahler’s Ich bin der Welt abhanden gekommen. Suddenly it was as if I was floating over all those bodies, buoyed up by the suspended ecstasy of Mahler’s unending musical line and Rückert’s blissful text, imparted with such a sense of profound peacefulness by the glorious Fassbaender, passing beyond all of the insanity into a world where I was untouchable. Music is not always an escape, but sometimes when one needs to move into another sphere, music is the most efficient and meaningful way of doing so.

So I dunno... maybe I have something to say in a blog after all. Stay tuned. I look forward to your comments.