Primer, Pigment, and Saturation

I was in the M-A-C store (makeup, not computer, though I am an Apple gal to the “core”) the other day, and even though I had felt that morning I had put on “plenty” of makeup, the minute I walked into the store and saw how the salesgirls were madeup, I felt like I wasn’t wearing anything at all! It made me realize how many times they dip their brush into a pigment, into a color, and continue to apply. I have plenty of make-up at home, but I must continue to learn how to use it creatively! (And not look I walked out of “Jem and the Holograms.”). 

Granted, I think if I had their amount of makeup on, I’d feel like it was … time to apply for a “different” job (if you know what I mean …)

On a recent trip, my wonderful friend and traveling partner L.U. had introduced me to the magic of *primer.* I would have thought that it would make my face feel sticky, but if you buy the right kind, it’s such a luxurious feeling. 

I had forgotten that painters also need to “prime” the canvas before getting to work. It goes along with the idea that art making is not all about the actual brush “in the paint” or “on the canvas.” It’s also the set up, clean up, reflection, white space (in life), drafting, sketching, discarding, editing. And in this case, priming.

I captured this image while on a research project in Europe. There was a man “copying” a famous painting on the walls of the Louvre. Of course he was making his own art in the process.

Seeing any great works of art "in person” (this includes seeing a great live performance of any type - opera, theater, classical or jazz or anything, dance, etc.) is a profound encounter, one must prime ourselves for - like an Orthodox parishoner preparing for communion and worship. 

When “developing” photographs, saturation and hue are two important aspects. Because of my professional needs with Adobe Acrobat and InDesign for regular projects, I have no choice these days but to pay their monthly fee for the subscription. (It’s a business expense, and completely deductible off of a Schedule C). It’s been fun to get some pictures edited and chosen for projects, and also to play with the amount of color. Just a splash? Black-and-White? Self-selected editing of color? 

Or almost no editing at all - in “prime” form?

Sculpt

Augusta Read Thomas (read about her here) came to UNM for the Robb Composer’s Symposium in late March. The women of my beloved Chamber Singers gave a “world premiere” of a version of her piece, “Plea for Peace,” which had its world premiere in its original version just in the fall of 2017. 

Our version (which I really adored, as did she) was for unison women and string quartet. There isn’t a text, which she explained when she met with us and discussed the history a bit. It was commissioned to commemorate the Chicago Pile-1, the first artificial nuclear reactor. 

In addition to her amazingly warm spirit and generosity in the rehearsal and working session, I also loved her use of the word “sculpt.” when she was advocating for a more slender opening, for example. She had the women come in one at a time, and one or two with a different vowel. Those were things that I wouldn’t have thought to do.

Photo: With Ms. Thomas, post-performance.

We are grateful for her collaboration and the chance to perform her music!  

The "point" of vacation

I guess I do realize that I write more when I’m “away” then when I’m in the day-to-day rhythm then when I’m traveling. 

Zheng and I are enjoying some much-needed “down-time” before I head to Europe for a pilgrimage (more about that in another post). On today’s adventure was the Art Institute of Chicago. Neither of us had been, and we were very much looking forward to it! Along with some famous works of art (I had to explain some of them, including Dorian Gray as Faust, etc.), it was fun to take in the museum and see the exhibits. 

I had also forgotten that “La Grande Jatte” (inspiration for Sondheim’s Sunday in the Park with George) was at this place, and we turned the corner and got a surprise! The up-close encounter to the “pointillism” was fantastic … 

Getting close to the artwork was informative because you could see an added border, used by Serrat to contrast the frame to the painting itself. He also used, points, dots and jabs to get the affects that we can see from afar.

[ and yes, the pun from the title ] 

Art-Song

My first experiment (or experience, if you would like to call it that) in “playing art” was successful! Here’s what it involved: 

 

- immediate audience reaction 

- audience participation, using vocabulary which they were comfortable with (contrast, line, shape, architecture, length). 

*The above mentioned “architectural” comments are also completely musical. 

Some of the improvisations were very strong. I am working on getting some audio footage edited to photograph-stills … but those can’t be released until all parties have “signed off” on the material, so to speak.  

 

 

I really loved this event and I hope to do more. I also hope to get my students involved. There could be such potential for this - in places such as the East Coast, definitely in Europe or China! I hope to farm out the idea to galleries or museums also in my local state. 

Perhaps the best two things from a perspective of the audience:

- They sat and looked at a painting, even if it wasn’t their favorite, for *much* longer than a usual visit.

- The paintings “changed” for them as they “listened” to them. 

 

 

Photos are taken by yours truly, with a GoPro set up on a foldable tripod and taken remotely with my iPhone.

Pictures at an Exhibition

It isn’t often that one’s “second layer of talent” gets to be utilized. Artists are often clobbering each other, in order to use the “thing” they deem as their “first string” talent level. 

Pianists, it’s the chops. Singers, it’s the voh-chay. (Yes, perceived sarcasm is directly understood). Other instruments, I’m not sure. (Long notes for tuba?). 

It’s the dermis talent (as opposed to epidermis) that gets us where we need to go long-term. 

I received a request a few months ago for an upcoming performance. And in doing so, I get to use my strange, spontaneous thinking and improvisational skills.

The assignment? 

“Play works of art at a gallery.” With a singer. No music. But we play the art (or sing it). We play gestures and come up with contrast, movements, harmonies, melodies, conversation, points of focus, lines, perspectives …  

 

 

Today was our final rehearsal and - people should run to hear and see what we are creating. 

The Albuquerque Museum is hosting its “3rd Thursday” event. It has invited curator Oliver Prezant (read a little about him here) ... 

 

soprano Cecilia Leitner (more about her here), a poet, and myself. Cecilia and I have had several rehearsals of … musical improvisation related to the art on the walls.

Since we have had to rehearse while the museum is open to the public, we have had passers-by become involved in the painting. Oliver has been guiding the audience and Cecilia and myself to share and experience the art in a unique way.  

 

 

The other day, we were creating a multi-movement piece based on this painting. Oliver then had the audience make hand-shapes and gestures related to the visual and aural art!  

 

 

Today, we created a piece based on a portrait of a young boy holding a chicken. (You have to come to the exhibit to see this one!). In one way, the painting is totally “ignorable” and a walk-by. But today, people were present at this painting for close to ten minutes. 

Usually, art museum guests look at paintings, on average, for about 10 seconds. 

We increased the audience-time ratio of “Boy with Chicken” by 6000%. 

Who said art isn’t a great investment?

My Lenten Sacrifice

Lent started approximately an hour ago ... and I realized, upon reflection, what I need to give up, and who I need to become even further, for the next six weeks. During some internet reading, I came across something remarkable. It is a tribute, given by Deen Larsen, about soprano and artist Elly Ameling. 

Now, Elly Ameling has, for the last 35 years, been the very heart of this special summer academy. For she truly embodies the highest qualities of the German Lied as the expression of the Romantic soul. She is our most genuine voice of Mignon and Mignon’s Sehnsucht – that pure longing of the heart for union with the Absolute Beloved, that burning desire to know and to be known, which consumes us and inspires our best songs, both spiritual and erotic at the same time. Elly Ameling has given us Mignon and Gretchen and Suleika and all the souls of Eichendorff and Hölty and Mörike. She has given us the truth of Schubert, Schumann, and Brahms, because she is a truth-teller. Truth-tellers never sing for their own glamour and glory, they never ingratiate or flatter, they have no hidden agendas and no selfish possessive desires. In fact, the singular self disappears like Ganymed and the Greater Self – the All-loving Father who has no name – takes possession of his chosen prophets. And then Goethe speaks, Schubert plays, and Ameling sings. Or rather, Universal Creative Love – at once spiritual and sensual – speaks and plays and sings in and through these geniuses. As Goethe tells us: the Whole is present in every part. 

There is still a small kernel of something within me that I need to sacrifice completely. I sense this surgery is going to be difficult. Yet I know it to be necessary. 

I need to give up the last bit of my ego. 

We have journeyed together through decades, at the keyboard, over oceans, through relationships, times of humility, and times of growth. Egos aren't bad all of the time. They get you through countless dark places of "what do I have to say" and "how dare I take the stage" and "do I deserve this work" and "do I deserve to be here." 

Egos have a bad side, too. At best, they hurt people. At worst, they do permanent damage to great art or the artists within others. 

Let us not, in Larsen's words above, "[live - sing - write - play] for our own glamour and glory." 

For Lent, my singular self needs to disappear. 

1 John 4:7-10

Dear friends, let us love one another, for love comes from God. Everyone who loves has been born of God and knows God. 8 Whoever does not love does not know God, because God is love. 9 This is how God showed his love among us: He sent his one and only Son into the world that we might live through him. 10 This is love: not that we loved God, but that he loved us and sent his Son as an atoning sacrifice for our sins.

Art by Accident

If you google “Art by Accident,” you might come up with an article discussing a Kafka short story (“The Hunger Artist”), and then listing Tim Burton, George Lucas, and Robert Plant. I don’t think that you can put Franz Kafka in the same class with these three men … 

But I have given serious thought to “artistic things created by accident.” Such as a work of art, which gets altered or damaged in some way, and then it is because of its flaw that it becomes famous. 

For example, think of the crack in Philadelphia’s Liberty Bell. It might be the only bell that is famous because of its non-function.

Two things cropped up in Eureka Springs which brought this idea to mind. We luckily stayed there two days - so after the day of the longest drive, we stayed put. (One of the many things on the trip that we did right). 

When we were having an espresso break in Eureka Springs, we sat at a table which was decorated in mosaic. Not just any mosaic - mosaic that was made from broken pieces of pottery and China! It was fascinating to see the different colors, textures, and origins of the dishes. It is a good idea for a future project! 

The other photo was one that Zheng took of a biker bar, leaving Eureka Springs’ downtown to return to our hotel. I love the photo … clearly not the right aperture or shutter speed, but it's fantastic!

 

The colors of "passage" ...

"There are no secrets to success. It is the result of preparation and hard work, learning from failure.” - Colin Powell

I am happy to report that I have passed my oral comprehensive exams. These happened at Eastman last week - I had a committee of four ‘doctors.' For the most part, it was a conversation about music. It encompassed score-identification (Scriabin solo piece), theoretical discussions, historical backgrounds, and pedagogical possibilities. 

While it was a rite of passage, it also felt like the beginning of a good-bye. This brought about, surprisingly, mixed emotions. The let-down, or the relief, after several months of intense preparation, was also very real. 

Two days after, I left Rochester, for my second journey back Stevens Point, Wisconsin. I'm here now for the final rehearsals and performances of "American Opera Triptych." 

This photo brings so many aspects together of what artists need, to prepare a performance, exam or opera. Everything needs different shapes, dimensions, sizes, and colors - just like the departments of an opera (direction, music, set, costumes, lights) or the facets of a complete artist (technique, sound, vision, communication, teaching, writing). The photo is from my bridal bouquet.

Noticing the Extraordinary

Greetings, everyone!

We are winding down our first week in Syracuse! We only got here four days ago, but since that time, we have rehearsed, polished, and staged ninety minutes of music. Not a small feat! And in between that time, my colleagues and I have gotten used to some of the extraordinary things in our new surroundings. 

Whenever traveling, no matter where, there are things that pop out at us as special and notable. That is not to say that a spectacular view, a tall building, or a momentous event are not worth noting. By the size of their spectacle, we notice them. 

And here is my list of "Five Notables" for this week (maybe this will be a Friday thing ...)

1. Painted Horses. Syracuse has a series of horse sculptures throughout town which are painted in tribute to different artists. (Watch the photo later). It really picks up your spirit when you are on the (Van) Go(gh).

2. Coffee-shaped benches. Who wouldn't love to sit on an espresso-shaped demi-tasse? How cute is that? The diameter of the cup is amply sized, no doubtedly designed for two amply-sized American rear ends. 

3. Our hotel will put dinner aside for us if we call ahead. Dinner, which is on the house at our accommodations, is strictly served between 5:30 and 7:00 PM. If you call ahead and sweet-talk the clerk at the front desk, they will save you a plate and it will be waiting for you upon return "home." When I'm busy on a production, sometimes with 8-10 hours of practice or rehearsal a day, the last thing I can think about is preparing, eating, and cleaning a meal. 

4. The coffee shop 'round the corner has the most spectacular pumpkin spice products imaginable. I walked in a few days ago and noticed the aroma of homemade pumpkin spice wafting from the bakery. Ahhhh. Heaven can be purchased for a few dollars. 

5. Syracuse rain is rectangular. It hits your face sideways. It will get you when you least expect it. Have a ten minute break? Walking outside? Don't worry, for the rain will surely find you.

It is the artist's job, after all, to notice the remarkable, and then to proclaim it to the world. 

Laboring on Labor Day

And, just like that, August ended. How? How is it possible? 

Since today is arguably the last "lazy day" I will get in a long while, we rested this morning and then spent sometime together talking to one of my dearest friends, who lives in Italy. We had "coffee" together. Lunch was a feast, and then Zheng and I spent much of Labor Day working on our websites. Mine is now live, which is so exciting! 

www.kristinditlow.com 

It will need endless tweaking and updating, but I will be able to do that myself! Zheng is working on his website. He is adding his own (very sophisticated) creative eye to the process. I will let you know the site address when it is live.

Despite anticipating a very busy and lively fall (new jobs, planning a wedding, and possibly dealing with job applications), my overall attitude is one of sincere gratitude. I am so lucky to be starting two new jobs (one with Syracuse Opera and the other at Ithaca College). I am delighted to have work at all, much less work that is exciting and that will hopefully bear even more fruit. 

I have been reading a lot about the holiness of work. 

As a recovering workaholic, who neither no longer wishes to dwell there, nor visit this tendency on any other human being, I realize that there were long parts of my twenties where my work was not connected to anything holy. In fact, some of the reasons to work were selfish. These reasons were connected to ego, money, or experience. 

The Eastman doctorate completely changed this. It was particularly working with Dr. Barr that really made the change, where you are working for the sake of excellence, because the music demands and deserves it. 

Author Dan Lord, in his book, "Choosing Joy," says that "If we are going to have and display joy, we must not allow ourselves to become anxious." 

Since I feel that September is the real start of the year (who chose January, anyway?), this will be my September Resolution. It will be to keep the anxiety at bay. It will be to work because of the quality it will bring to myself and others. 

John O'Donahue writes so beautifully, "For Work":

"May the light of your soul bless your work with love and warmth of heart ... 

May your work never exhaust you ... 

May your soul calm, console, and renew you."

Friends and readers, I bid you a delicious September, and exciting, inspirational work.

PHOTOS: Are in honor of the Federal Holiday, and also, for a sunset on a magnificent summer.

Speaking and Singing

Today was a rewarding teaching day, in that I got to do a lot of re-visiting with different students. I saw mostly familiar faces and even some repertoire that we had worked on together. The common thread today was,

Speak. Then Sing.

I had a lot of fun today having the students speak a phrase over the accompaniment, and then *immediately* go to the same spot, singing. It clarified a lot of language issues (vowels, consonants, leading with the text, timing), and it also cleared up some rhythmic ones. This is a technique I will definitely use regularly on my next appointment(s).

I am also advocating that all non-pianists(*) must be able to do business with a piano part. What does that mean?

What key does this start in? (I got some special answers on this today).
What key does this end in? (Ditto).
Does the key change? Where? Why?
How quick is the harmonic rhythm?
When does the music change?
Am I a dissonant or consonant with what is around me?

I would then advocate for the non-pianists to play a reduction of their aria and be able to speak the text above it. (Yes, I am aware of how difficult this is.). In my practicing this month, I have been having a great time making some headway on my big-house audition repertoire (various Richard Strauss ensembles) especially in the playing-and-singing department. It takes hours to get this right, and I spend hours a day at the piano.

I am also very proud of all of the singers and pianists from the concert tonight. It was *long* but very exciting to see the progress and ideas that the artists are putting together!

The photo today is from my time in Italy, working for "Si Parla, Si Canta" (One speaks as one sings). It is essential, in every language.


(*) Non-pianist means someone for whom piano is not a primary instrument, but, they need to really work at the instrument anyway.

Scope

Scope

It is hard to believe that we are in our third week here at CoOPERAtive (thecooperativeprogram.org). For those of you reading today, please be sure to check out the final masterclass with Laura Ward (director of LyricFest, Philadelphia).

I am continually amazed by the energy and sponge-like appetites of *all* of the young artists here. It gives me a lot of hope for the industry, actually. I have seen bright-eyed students for three weeks walk into countless studios, ready to learn, immediately ready to implement, and ready to internalize and make something their own.

"The scope of the imagination" is one of my favorite quotes from one of my all-time favorite childhood authors and books, L.M. Montgomery, in "Anne of Green Gables." Anne Shirley has a wild, vivid, imagination. One that gets her into trouble, more often than not. It is these kids, in elementary school, who share a similar fate to Anne, but not to worry. We are destined to give back to the world images of beauty, revelation, and unique observation.

I have also been thinking about a balance of practice vs. experience. Both are necessary for life, for a great balance, and for great artistry. What I used to be so obsessed with (amount of time in a practice room, searching for perfect technique, or a whole host of other things) has been replaced with a desire for something even more holistic (but still inclusive of the things mentioned above).

I've been asking the same thing of the students I've been working with.

I asked a baritone the other day, in the aria of Dandini (Rossini: La Cenerentola) to actively tell me what all of the "melismas" mean in his aria. Which flourishes are on his costume? The architecture of the castle of his boss, Prince Ramiro? Which are directed to which character? I realize this process takes the following steps before getting here:

Learning the text, inside and out, in both Italiano and English (or his native tongue)
Learning all of the notes
Learning how to sing all of the notes
Learning the accompaniment well enough to play a "continuo reduction"
What does it all mean?

I believe that if all of this work is done, in this order, with the highest level of integrity, success will be inevitable. It does take "scope of the imagination" to imagine this all. Especially at the transition of student to professional.

The picture attached is from my travels in Germany last summer. It is a mountain range, near Dresden, immediately next to the Elbe river. This is what I imagine during the "Giants" music in Wagner's "Ring Cycle"

Imagination

I've been thinking a lot about imagination these days. And how it might be one of the most important things for an artist to have, if not THE most important. Yes, we need technique, and yes, we need to practice, and sacrifice, and pay attention to detail. We need to hit our marks.

But what we need to do even more than that is to make ________ (ourselves, our partners, the audience) imagine that something was different. That a foreign world is delivered to them, or that they are watching-listening to the ecstatic nature of love.

We need to be able to make anything levitate. J.K. Rowling gave a terrific commencement address at Harvard on this very topic.

Photo: from the contemporary gallery at the Corning Museum of Glass