A Walk Through My Day: Prima Donna's Opening Night
Mon, Feb 20 2012 06:33
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| With Rufus Opening Night |
I woke up this morning - the morning of our opening of Rufus Wainwright's opera, Prima Donna, with NYC Opera - and I just knew something was "right." I had rested enough. I had enough water. My sinuses were not stuffy and irritated. My small vocal trills sounded and felt good. I ate a good breakfast and packed good snacks. All my cast gifts for opening were bought and all cards were signed. I just had an "on" feeling.
Upon reaching the theatre, I felt calm and relaxed and I did little 10 minute warm-ups here and there to just make sure all was well. I drank some hot tea, got my hair and make-up done and practiced my piano bit ( I have to play piano and sing on stage in this opera). As we got our "5 minutes to places" call, I got a very slight excited jump in my tummy, but I did not feel nervous.
When the orchestra begins the Overture, I am seated on a chaise lounge alone in my "house" on the stage. Nobody from the audience can see me during most of the Overture because I am in total darkness. Today, when the work lights went off and I heard the orchestra begin their playing, I could not stop myself from smiling from ear to ear.
Previously, I have not had the singing experience where I am totally engaged in each moment of character and not in my own way or thinking about what could have been better or different. I guess I'm just too "Type A" to let it go and move on. But....today was that day. I did not worry or second guess or become an obstacle to this amazing piece of story-telling. I found myself even being tickled at times with how smoothly things were going. I did not know that there was freedom in complete ownership. There was suddenly a lack of doubt. I was able to see not just my own best choices but I was able to react more clearly to others.
I have thought throughout this process that there was room for me to grow - I just had no idea how much growth could happen in one show. I have vocally found different places of my voice that I did not know were there - strength that I did not know existed and vulnerability that has lent itself to true expression on stage.
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| Meeting the legendary Yoko Ono |
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| Meeting one of my heroes, Susan Sarandon |
At the end of the performance, we all toasted Rufus and the entire team that made this opera happen. I went home to rest for a bit before going out from Brooklyn to Manhattan for Rufus' after party. The gathering was at German restaurant later in the evening and I originally thought that I'd be too tired to attend at all. I decided to go for just an hour or so.
As I walked in, I found Rufus and went up to him to say hello and let him know that I made it. I saw a woman in a pill-box hat decorated with a feather seated next to him and, suddenly, this face turns around to smile at me and I realize that it's Yoko Ono! As I start to look around the table, there's Sean Lennon, Chloe Sevigny and Parker Posey. I tried not to just let my jaw drop. Next, Rufus said, "Come meet Susan." I'm looking at the back of a wavy-red head and Susan Sarandon turns around and begins going on and on about the opera and how much she loved it. We ended up having a very good conversation about my character in the opera, Rufus' first attempt at opera, the state of affairs in opera finances and ... well, just opera in general. Similarly, I found that many of these people we might consider untouchable were ultimately approachable and interested in the art form of opera. Sean Lennon, outside the restaurant as I was leaving, talked to me for at least 10 minutes on how refreshing it was to see our opera, with its small cast and sparse set design, focusing on the characters as one would do in live theatre.
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| With our Conductor Jayce Ogren and Charlotte Dobbs |
Comments
Next Stop... Opening Night for "Prima Donna"!
Thu, Feb 16 2012 09:34
Tomorrow is our final dress rehearsal with invited audience and we just had our final touch up rehearsal today.
This has been the biggest whirlwind opera experience of my life. In the past, I have had to learn music quickly, but this time I've had to learn STAGING at lightning speed. Our director, Tim Albery, was unable to be in attendance until the final week of rehearsal due to scheduling issues. His assistant had been running rehearsals and doing a great job with it, but there have been many final "tweaks" put in place so that the audience gets the best show possible.
This has been the biggest whirlwind opera experience of my life. In the past, I have had to learn music quickly, but this time I've had to learn STAGING at lightning speed. Our director, Tim Albery, was unable to be in attendance until the final week of rehearsal due to scheduling issues. His assistant had been running rehearsals and doing a great job with it, but there have been many final "tweaks" put in place so that the audience gets the best show possible.
The show is guaranteed to be visually STUNNING. During the 15 minutes that I am NOT on stage in this show, I popped out into the hall and watched. The opera is beautifully and artfully lit - lots of silvers and blues against dark metallic walls. There are lit candles and red roses EVERYWHERE. Think Richard Strauss' Rosenkavalier meets Sunset Boulevard and you've got the aesthetic.
The singing from each and every lead is just magnificent and full of life and passion. Wish us all luck on this major endeavor. Seats are going quickly and we are almost fully sold for the run!
Et maintenant, bonne nuit et bonne chance!
AND....WE'RE OFF!
Tue, Jan 24 2012 11:18
I have to express my extreme excitement at being with New York City Opera again. The last time I was here was for the New York premiere of Stephen Schwartz' Séance on a Wet Afternoon. I am delighted to be invited back and happy that the false start of delayed contract agreements only resulted in our first rehearsal being postponed by a few days. But, when given the green light, we hit the ground running and have spent the past week working diligently to get our production well on the road toward being ready for our run of performances. I think I can speak for the cast when I say that we are all so very grateful to be working on this opera and excited to be a part of this season's huge array of spectacular pieces.
The opera, Prima Donna, which will be making it's U.S. debut and New York City premiere, has been composed by Grammy and BRIT nominated and dual Juno Award winning singer/songwriter, Rufus Wainwright. I have been a fan of Rufus' for at least a decade and one of his songs was even in my wedding reception mix in June, 2008 - long before I knew I'd be working with him. As one can imagine, this is a dream come true.
The story of Prima Donna revolves around an aging opera singer who is attempting to revive her career amidst self-doubt, failed romance and crippling loneliness. The opera, sung in French, is set in Paris, 1970. The story is very much inspired by Maria Callas' later years in Paris where she was known to lock herself inside her room and listen to old opera recordings.
I am so excited to sing the role of Régine Saint Laurent and to open myself to the process and experience of working on this opera. It is enough to be offered an opportunity to give voice to such a complex and dynamic character, but to also get to work with someone whose musical talent I admire so much is beyond wonderful. To take this "dream come true" experience for me and elevate it to the stratospheric level, last night, the soloists involved in Prima Donna were asked to do a "Works and Process" preview of excerpts of the opera at the Guggenheim Museum. At the last minute, Rufus decided to accompany me in performing the last aria of the night. There are no words to describe the experience of singing Rufus' music while he played. I really could not breathe for about an hour.
So, my friends, I am on cloud nine. We are doing great work and we are all eager to present this opera on February 19th at the Brooklyn Academy of Music's Howard Gilman Opera House. The show runs through February 25th and tickets are available at New York City Opera's website.
The last show of our run will occur one day after my birthday. As if I were not already swimming in luck during this contract....HAPPY BIRTHDAY TO ME!!!!!!!!
Comments (2)
Melody's Commercial for The San Francisco Gay Men's Chorus Holiday Concert
Mon, Nov 28 2011 01:18
Melody Sings and Rings in the Holiday Season with the San Francisco Gay Men's Chorus
Thu, Nov 3 2011 02:21
Time With Susan Rescorla
Wed, Sep 7 2011 04:49
What a beautiful Labor Day weekend it was in Napa. Susan Rescorla flew into town and got settled into her hotel on Sept. 4th and we started bright and early on a whirlwind Napa adventure the morning of the 5th.
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| Susan Rescorla |
Somehow, over the months that have passed since I've seen Susan and despite the fact that she experienced major damage to her home from Hurricane Irene, she has become even more fresh faced and beautiful.
Our first stop was the Domaine Carneros Winery by Taittinger. This happens to be, along with Roederer Estate, my favorite champagne. We wanted to have a little tasting before our lunch. We sampled 5 different champagnes and tried to be judicious and not get too silly with the bubbly. However, due to either the glorious beauty of the day or the effects of the wine, Susan ended up ordering a half-case of a moderately expensive and aged blend. On the way to the car for lunch, she actually said to me, "How much was each of those bottles?" I told her what I thought I remembered the price to be. She stopped in her tracks, looked up at me and said, "How many did I order?" I told her "Um.....six." She then got in our car and said, "What the hell is wrong with me!?" I'm still laughing about that.
Lunch at Auberge de Soleil was spectacular. We split every dish and still walked out stuffed. Corn chowder, a taste of homemade gnocchi and some squash blossoms stuffed with ratatouille. Not too shabby.
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| Susan and Melody lunching at Auberge de Soleil |
I felt like I was in a dream - spending such a delightful and full day with Susan. We talked about simply everything, laughed, cried and maybe even healed a bit. I love you so very much Susan. You are a warrior. Rick saw it and so do all those who love you.
Let's Do Some Good
Mon, Sep 5 2011 01:44
As we approach opening night, I think about all the things that have been unique about this project:
-I am playing someone who is alive and capable of helping me through rough patches in character.
-I am working day by day with the composer and librettist and making little changes to the score, words and intent. We are creating together every minute.
-I am being directed by a world class leader and team.
-Our sound/light/graphics/stage crew is at the top in their fields...literal geniuses behind all of the things the audience will feel and hear.
-Patrick Summers makes my head swim with his talent and knowledge.
-Last, but not least, I will NEVER AGAIN be able to walk out on stage IN PERFORMANCE in either sneakers or barefoot with hardly any make-up on, dragging a dog and using my own hair. EVER.
"In bocca al lupo," "toi toi toi" and general "breaking of legs" to all involved. Be proud of this project and, in the words of Rick Rescorla, "Let's go do some good."
[Above: Thomas Hampson and Melody Moore as Rick and Susan Rescorla at a recent working rehearsal. Photos by Cory Weaver.]
Comments (1)
Meeting Susan Rescorla
Tue, Aug 23 2011 11:46
I just got off the phone with Susan Rescorla and we're planning a little Sonoma getaway—just us two silly girls—for Labor Day. I've gotten to know Susan so well over the 8 months that have passed since we first met at our Heart of a Soldier workshop and press conference in December of last year. It has been an honor to get to know this woman who is a perfect balance of resilience and vulnerability. Our first meeting, at least on my part, was full of anticipation and a healthy dose of fear. I was so nervous with questions..."What will she be like?", "Will I be able to sing this in front of her without crying?" and "Will she appreciate the work and give her approval?" So many unknowns.
Susan Rescorla walked into our rehearsal room very quietly as we had begun singing Act 2 of the opera. She sat at a work table watching us along with Chris Theofanidis, Francesca Zambello and Donna DiNovelli. I couldn't look at her; so, I just kept to my task—hoping to deliver the text and intentions respectfully and honestly. As we finished the opera, I dared to glance toward her. She was sitting beautifully upright with tears covering her cheeks. I became a massive puddle.
Upon ending rehearsal, I walked over to meet Susan. I was completely prepared to hug her, hold her up or just sit with her if she needed to cry. She looked up at me (she MIGHT be 5 ft. tall in heels) with tears still running down her face and said, "OH GOOD! I always wanted really LONG legs!"
Saturday, 8/20/11—Act 2.
We have put some finishing touches on the entirety of Act 2 with all choristers, soldiers and characters present. Even in the bare space of Zellerbach A rehearsal space, with only the skeleton of a set, we are all immersed in and transported to the late 90's/early years of the 2000’s. It's a snapshot of a decade on the verge of major change—unaware of the fact that the nation's view of safety and calm will be shaken as of 8:46 a.m., September 11, 2001.
As I look around this room, I am so grateful to be part of such a respectful picture of Rick Rescorla's life, military and otherwise. A picture of his willingness to save anyone he could touch—to his own cost. Rick thought outside of himself and had the courage to directly defy orders if it meant saving those lives. THIS is the Heart of a Soldier.
http://sfopera.com/About/Backstage-at-San-Francisco-Opera/August-2011/Thoughts-from-Melody-Moore.aspx
Susan Rescorla walked into our rehearsal room very quietly as we had begun singing Act 2 of the opera. She sat at a work table watching us along with Chris Theofanidis, Francesca Zambello and Donna DiNovelli. I couldn't look at her; so, I just kept to my task—hoping to deliver the text and intentions respectfully and honestly. As we finished the opera, I dared to glance toward her. She was sitting beautifully upright with tears covering her cheeks. I became a massive puddle.
Upon ending rehearsal, I walked over to meet Susan. I was completely prepared to hug her, hold her up or just sit with her if she needed to cry. She looked up at me (she MIGHT be 5 ft. tall in heels) with tears still running down her face and said, "OH GOOD! I always wanted really LONG legs!"
The rest is history—a really good, close, know-each-other-already-without-saying-a-word kind of history. Susan, "This one's for you, kid."
[Below: Rick and Susan Rescorla]
Saturday, 8/20/11—Act 2.
We have put some finishing touches on the entirety of Act 2 with all choristers, soldiers and characters present. Even in the bare space of Zellerbach A rehearsal space, with only the skeleton of a set, we are all immersed in and transported to the late 90's/early years of the 2000’s. It's a snapshot of a decade on the verge of major change—unaware of the fact that the nation's view of safety and calm will be shaken as of 8:46 a.m., September 11, 2001.
As I look around this room, I am so grateful to be part of such a respectful picture of Rick Rescorla's life, military and otherwise. A picture of his willingness to save anyone he could touch—to his own cost. Rick thought outside of himself and had the courage to directly defy orders if it meant saving those lives. THIS is the Heart of a Soldier.
http://sfopera.com/About/Backstage-at-San-Francisco-Opera/August-2011/Thoughts-from-Melody-Moore.aspx
Backstage at San Francisco Opera: "Heart of a Soldier Rehearsals Begin"
Thu, Aug 18 2011 11:05
The staging rehearsals are looking wonderful although, I must admit that I have not been a huge part of the first week stagings (I enter in Act 2 with only a small appearance in Act 1). The men (soldiers) range anywhere from professional dancers to athletes to actual soldiers returning from tours of duty in both Afghanistan and Iraq. The energy in the room is palpable as they march across the stage.
"Heart of a Solider" Tickets Now on Sale
Tue, Jul 12 2011 10:53
It is with great excitement that I announce that tickets are now on sale for San Francisco Opera's World Premiere production, Heart of a Soldier. This opera, which will honor and commemorate the10th Anniversary of the tragedy of September 11th, is based on the book by Pulitzer Prize winning journalist James B. Stewart. The opera will tell the real life story of Rick Rescorla from his time as a boy in Cornwall, England, through several military conflicts, including the Vietnam war, to his role as Vice President of Security for Morgan Stanley in the South Tower of the World Trade Center.
I will be creating the role of Rick's wife, Susan Rescorla.
Performance dates are this September 10th, 13th, 18th, 21th, 24th, 27th and 30th. Please click on this link www.sfopera.com/offer and enter the code: HOSFAF to receive a 20% friends and family discount on your ticket purchase.
Hope to see you at the opera!
I will be creating the role of Rick's wife, Susan Rescorla.
Performance dates are this September 10th, 13th, 18th, 21th, 24th, 27th and 30th. Please click on this link www.sfopera.com/offer and enter the code: HOSFAF to receive a 20% friends and family discount on your ticket purchase.
Hope to see you at the opera!