Coconuts and connection

While lying in a hot bath one chilly November morning in Seattle, trying to soothe my jet-lagged body before a concert and catching up on back issues of the New Yorker, I read the following:

“What are you doing? I don’t mean what are you doing with your life, or in general, but what are you doing right now? The answer, in one respect, is simple enough: you’re reading this magazine. Obviously. From a certain economic perspective, however, you’re doing something else, something you don’t realize, something with a sneaky motive that you aren’t admitting to yourself: you are signaling. You are sending signals about the kind of person you are, or want to be. What’s that you say—you’re reading this in the bath, or on your phone in bed, or otherwise in private? Well, the same argument applies. You are acquiring the tools for a ‘fitness display.’ … Fitness displays ‘can be used to woo mates, of course, but they also serve other purposes like attracting allies or intimidating rivals.’ So there you go: that’s what you’re doing, there in the bath with the magazine. Your rivals are right to feel intimidated.” (John Lanchester)

Intimidated! I burst out laughing and sank deeper into the water, and my eyes rested on my chipping toenail polish: a saturated, dramatic dark blue, most of which was already worn away. The blue might be a signal, too, it occurred to me (rivals, feel intimidated!), and the lack of maintenance yet another (I’ve had too much on my mind since the summer to think about my toes). Read More

What it takes to make an album

Almost as soon as I came back from my epic 2018 summer of travel and work, before I had time to learn where the light switches were in my new house or to recover from jet lag, I plunged straight into a completely full-on project that’s been consuming me every since: the making of the first Damask album. I’ve been involved in other people’s recordings before, and I’ve recorded short sessions of demo material for myself, Damask, and other groups; but this is a full-length commercially available album with full creative control, made to showcase our work, and it’s one of the most absorbing, satisfying, time-consuming, and expensive projects I’ve ever personally undertaken. The learning curve has been steep and the work load has been heavy. It has given me huge respect for everyone who is still involved in recorded sound and for all the greats who came before—the artists but also all the other hundreds of people who work unbelievably hard to make this sort of project happen. Now that we’re preparing for the album’s release, I finally wanted to write something to describe the whole experience up to now. I had NO idea what was truly involved, and I was blindsided by many aspects of it (in mostly good and some bad ways); I am SO SO SO incredibly excited for the end result, but also would love for the process to be more transparent, as I have realized how many misconceptions exist about recordings, how they get made, and what they represent to both artists and listeners. So, off we go! Read More

Strength

“How much time we wasted, she wrote, believing that things came to us as gifts, through channels of wonder, in the form of signs, in the love of men, in the name of God, rather than seeing them for what they were: strengths that we dragged up from the nothingness of our own depths.” –Nicole Krauss, “Seeing Ershadi”

I encountered the above quote in the New Yorker while reading in the middle of the night in Rouen. I haven’t been sleeping well in 2018 (work, anxiety, jet lag), with many hours awake in the dark. So I was happy to read this lovely short story about a dancer, which beautifully articulated so many ambiguities and doubts so well: mostly, that careers in the arts are not usually the pure artistic journeys people think. They are hard work, occasionally successful, full of rejection even when things are going well, generally not paid much, full of humdrum days just like any other job. Intermittently they give huge highs—personal, artistic, social—that keep us going through the harder moments.

This one quote from the story—“strengths that we dragged up from the nothingness of our own depths”—hit me strongly and has stayed with me. When careers in music work out, I’m learning it’s usually because someone managed to find something particular about themselves and make it indispensable. It could be an especially beautiful sound, or quick musicianship, or an affinity with a certain repertoire, or unusual facility with language and text, or good stage ability, or striking physicality, or being rock-solid reliable, or something else or a combination. (This is in addition to all the other things you need for success–hard work, patience, and a huge amount of luck. Opportunities come so arbitrarily and we can’t control timing. When careers don’t work out or are slow to start, it absolutely doesn’t indicate a lack of talent or work, often just a lack of luck. There have been moments that I’ve felt very fortunate and also moments when I’ve cursed the universe as I compared my own trajectory to others’. But I do think that whenever it does work out, it’s because someone found their own particular strength or set of strengths and optimized it.) Read More

I am he who kisses his comrade

Today I want to write about love.

It’s 5:30 a.m. in Los Angeles, and I feel overwhelmingly, distractingly full of love. My computer clock says 14:30 Paris time. 36 hours ago I had an emotional final show, then said a lot of hard goodbyes, spent 11 hours on a plane (most of the time spent trying to memorize songs about love), landed last night, slept only a few hours, in my insomnia read the first chapter of a book about consciousness that—far from being drily scientific—made me overflow with love all the more, and am now trying to sort myself out for a recital I’ll sing tomorrow as the sky lightens outside my window overlooking Disney Hall. I haven’t written a blog post in a while, and I think it’s because I just haven’t had the time or mental space to process what’s been happening this year—it’s been such a big year and every potential post feels huge. But I’m not able to keep this down, and I think it’s something we all should feel freer to talk about.

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Where’s the push?

“Where’s the push?” asks Victor the choreographer, repeatedly, in our short session on stage in Rouen today to address Konstanze’s physicality in the first aria. We’re trying to refine her vocabulary of movement, which means considering character, motivation, confidence, timing. We look for externalizations of her independence, her exhibitionism, her particular way of getting overwhelmed, her way of trying to pull herself together, her diva mannerisms. She is open and proud, so her chest and back don’t collapse—or if they do, it’s in a very deliberate way. She’s in control of herself, so her arms are never pinned to her sides. She reacts fluidly to situations, so her body is never rigid. She is protective of her body, so she takes physical cues from others but isn’t completely influenced by them. She leads, quite literally, from the heart.

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Entführung diaries: Voice

In Kyoto, / hearing the cuckoo, / I long for Kyoto. —Basho

I’ve been using my current production of Entführung as a lens for some musings on identity: how a character can change us, and then about some of the challenges of physicalizing such a piece of music. I’ve known there was a third post I needed to write, the most personal one (strange when the others were about love and body image!), and it’s taken some time for it to come. Now that it’s all out, I realize that it is 1. the longest (sorry!) and 2. the most important—that is, it’s the most specific to my own experience; it’s the story that only I can tell. We open tomorrow night, and I’m glad to have verbalized these thoughts at last. It’s a rather vulnerable look at the intersection of identity and the voice itself. Read More