Oh, Internets. Let my tell you a sad story of sadness.
As I've mentioned a few times on this blog, I've been working on a new opera. It's been two years of slow, meticulous work, coming up with over an hour of music and all the lyrics. I'm really proud of what I've done and I think it might be one of the better things I've ever written. The whole piece is 98% done - I just need to work out a few of the musical transitions between scenes and that will take about a week.
And then I heard just this morning that someone has written a musical with the exact same setting, themes, and a very similar plot that's going to be produced next year, with strong hopes of a Broadway run.
And I just died a little.
So I'm weighing my options. Part of me wants to put in that last week of work, like an exhausted and broken marathon runner getting carried over the finish line to achieve a sense of closure. I'd then print it out, put it in a binder, and it would sit on a shelf next to my first opera, unproduced forever. Another part of me just wants to burn it all and scream to the sky as loud as I can. I've considered making drastic revisions to my piece, but I don't know where I'd start. The music is very specific to the setting and would be difficult to adapt.
The fact is, that the two pieces are going to be very different, but even though each was created without the knowledge of the other, comparisons will be made and I will likely lose any battle of opinions.
Woe is me, Internets. Weep for the weary artist.
Showing posts with label opera. Show all posts
Showing posts with label opera. Show all posts
Monday, December 19, 2011
Thursday, June 30, 2011
Doug' New Opera
I keep mentioning that I'm working on a new opera, but I never get a chance to mention any specifics. To catch you up: I wrote my first opera, showed it around, and nobody had the interest or resources to produce my little epic. I was just too ambitious and, even though I consider it to be one of the best things I've ever written, it will probably never be heard. Such is life.
So for my second opera, I decided to make everything as different as possible. It will be short (75 to 90 minutes, no intermission), it will be economical (four singers, an orchestra of three), and it will be portable (no set). My goal is college productions, the Cincy Fringe Festival, and/or a tour of local schools.
My manner of writing this opera is also completely different. For opera #1, I wrote a play and set it to music. It's a continuous score with recurring motifs in the tradition of Debussy. Opera #2 is a number opera – a series of individual songs connected by talking and melodrama, more like "The Magic Flute." "Postcards From Morocco" is a big structural influence as well, since it features the characters singing a series of songs to the audience. So instead of working out all the text first, I'm taking it one song at a time. Here's my process:
1. After doing all my research, I figured out what needs to be said and who needs to say it. Then I wrote out a paragraph or two in their voice, outlining what I want each character to say and what I want each song to accomplish.
2. Next, I'll write a piece of music that captures the emotion of what the character is saying.
3. Finally, I'll rephrase the paragraph into verse to fit the rhythms of the music. Often, I'll need to adjust the music a little to fit the words. It's a tailoring process.
So there's a lot of back-and forth. I've also been careful with the tone of each piece, making sure that it leads into the next piece without an abrupt jump in style. After years of composing, I've come to realize that my best energy comes at the beginning of a project. So I've decided to write this opera backwards. I wrote the introduction music first and then the finale and have been working my way backwards, song by song, with very little skipping.
I'm about two-thirds done and I have three arias and two choruses to complete. Then I can focus on the book (the talking parts), adjust the lyrics and music, and finish by writing the underscores that connect many of the songs.
So for my second opera, I decided to make everything as different as possible. It will be short (75 to 90 minutes, no intermission), it will be economical (four singers, an orchestra of three), and it will be portable (no set). My goal is college productions, the Cincy Fringe Festival, and/or a tour of local schools.
My manner of writing this opera is also completely different. For opera #1, I wrote a play and set it to music. It's a continuous score with recurring motifs in the tradition of Debussy. Opera #2 is a number opera – a series of individual songs connected by talking and melodrama, more like "The Magic Flute." "Postcards From Morocco" is a big structural influence as well, since it features the characters singing a series of songs to the audience. So instead of working out all the text first, I'm taking it one song at a time. Here's my process:
1. After doing all my research, I figured out what needs to be said and who needs to say it. Then I wrote out a paragraph or two in their voice, outlining what I want each character to say and what I want each song to accomplish.
2. Next, I'll write a piece of music that captures the emotion of what the character is saying.
3. Finally, I'll rephrase the paragraph into verse to fit the rhythms of the music. Often, I'll need to adjust the music a little to fit the words. It's a tailoring process.
So there's a lot of back-and forth. I've also been careful with the tone of each piece, making sure that it leads into the next piece without an abrupt jump in style. After years of composing, I've come to realize that my best energy comes at the beginning of a project. So I've decided to write this opera backwards. I wrote the introduction music first and then the finale and have been working my way backwards, song by song, with very little skipping.
I'm about two-thirds done and I have three arias and two choruses to complete. Then I can focus on the book (the talking parts), adjust the lyrics and music, and finish by writing the underscores that connect many of the songs.
Tuesday, June 1, 2010
A New Opera
I'm proud to announce that I've started in earnest on my second opera! It will be called "Heart Mountain" and, like my first opera, "Mata Hari," it will be an original story based around historical events.
What about the first opera, you ask? Well, it seems I was a little too ambitious with that one. It's a big three-act production with lots of roles, a chorus, and a big orchestra in the pit and no opera company wanted to/was able to risk the expense for a brand-new, untested opera. Their loss.
So I've planned this new opera to be the complete opposite in nearly every way:
Mata Hari: 4 main roles, 6 minor roles, plus a chorus (20 singers total)
Heart Mountain: 4 singers total
Mata Hari: 35 to 40-piece orchestra in the pit
Heart Mountain: Piano, 'Cello, Clarinet, all on stage with the singers
Mata Hari: Three acts, two hours
Heart Mountain: One act, 60 minutes (80 tops)
Mata Hari: Three sets
Heart Mountain: A wall. Otherwise, no sets.
Mata Hari: Declamatory style, with singing throughout. Basically a sung play.
Heart Mountain: A "number" opera with some talking between songs. The same idea as "The Magic Flute"
My idea is to make it as economical as possible, with only eight to ten people involved: four singers, three musicians, a director, and one or two technical personnel to handle lighting and stage manage. I'm writing the clarinet part for myself and it's possible that one of the singers or musicians could direct. Or the director could be a stagehand. It's something we could bring to schools or to the Cincinnati Fringe Festival in a few years. My hope is that Heart Mountain will open some doors that will lead to Mata Hari getting produced.
So far, I've done a lot of research, created the story, planned everything in an outline, and have written the introduction music and one of the songs. Instead of polishing the libretto and then adding music like I did with Mata Hari, I'm going to write the music and lyrics together, letting one inform the other as I go. I've only just begun and I'm a long way from finishing, but the first steps in a very long journey are laid out and I'm on my way!
What about the first opera, you ask? Well, it seems I was a little too ambitious with that one. It's a big three-act production with lots of roles, a chorus, and a big orchestra in the pit and no opera company wanted to/was able to risk the expense for a brand-new, untested opera. Their loss.
So I've planned this new opera to be the complete opposite in nearly every way:
Mata Hari: 4 main roles, 6 minor roles, plus a chorus (20 singers total)
Heart Mountain: 4 singers total
Mata Hari: 35 to 40-piece orchestra in the pit
Heart Mountain: Piano, 'Cello, Clarinet, all on stage with the singers
Mata Hari: Three acts, two hours
Heart Mountain: One act, 60 minutes (80 tops)
Mata Hari: Three sets
Heart Mountain: A wall. Otherwise, no sets.
Mata Hari: Declamatory style, with singing throughout. Basically a sung play.
Heart Mountain: A "number" opera with some talking between songs. The same idea as "The Magic Flute"
My idea is to make it as economical as possible, with only eight to ten people involved: four singers, three musicians, a director, and one or two technical personnel to handle lighting and stage manage. I'm writing the clarinet part for myself and it's possible that one of the singers or musicians could direct. Or the director could be a stagehand. It's something we could bring to schools or to the Cincinnati Fringe Festival in a few years. My hope is that Heart Mountain will open some doors that will lead to Mata Hari getting produced.
So far, I've done a lot of research, created the story, planned everything in an outline, and have written the introduction music and one of the songs. Instead of polishing the libretto and then adding music like I did with Mata Hari, I'm going to write the music and lyrics together, letting one inform the other as I go. I've only just begun and I'm a long way from finishing, but the first steps in a very long journey are laid out and I'm on my way!
Tuesday, January 5, 2010
Bingo!
So remember that spreadsheet that I keep with all the new music I write for the year? The one that helps me organize new pieces by difficulty level and tonality?
No? Then check this out. Or this one.
Anyhoo, just before Christmas, I finished the board, filling up every square! I now have music for beginners, intermediate level, and advanced students in major keys, minor keys, and "novelty" selections. That means that I've completed my self-imposed quota for the year and I still have about four months before I send anything off to publishers! Plus, I've been working ahead for a while which means I have extras handy. I also have previously-passed-over music that I can re-submit, so there's no lack of selection when it comes time to send music to publishers in the Spring.
Also, I found time recently to do some revisions on my opera. I adjusted the vocal lines a little bit, made the choruses a little easier to sing, completely re-worked the wind parts in the final scene, and reduced the whole thing into a piano-4-hands version that will be easier to perform while still sounding like the full orchestral score.
No? Then check this out. Or this one.
Anyhoo, just before Christmas, I finished the board, filling up every square! I now have music for beginners, intermediate level, and advanced students in major keys, minor keys, and "novelty" selections. That means that I've completed my self-imposed quota for the year and I still have about four months before I send anything off to publishers! Plus, I've been working ahead for a while which means I have extras handy. I also have previously-passed-over music that I can re-submit, so there's no lack of selection when it comes time to send music to publishers in the Spring.
Also, I found time recently to do some revisions on my opera. I adjusted the vocal lines a little bit, made the choruses a little easier to sing, completely re-worked the wind parts in the final scene, and reduced the whole thing into a piano-4-hands version that will be easier to perform while still sounding like the full orchestral score.
Thursday, December 3, 2009
Workin' On the Opera
I've been doing some more work on my opera recently. I actually finished it a few years ago, but now I'm taking some time to tweak it. The biggest problem is that I initially wrote everything directly to score and then reduced it into a piano part. Unfortunately, the multiple lines and cross-rhythms I used in the full score don't fit under two hands so well, so I've been writing a whole new reduction for four hands. It already sounds more like the orchestral score and if I ever get into a rehearsal setting, it should work much better.
I'm also revising some of the vocal lines in an effort to make the whole piece more singable.
I'm also revising some of the vocal lines in an effort to make the whole piece more singable.
Monday, July 28, 2008
Working Hard
Aside from a new round of revisions on my opera, I've started a new piece for school-level orchestra. Just like my publishers try to select a balanced catalog every year, I try to submit a balanced portfolio (thus increasing my chances of having more music selected). I usually send eight to ten new pieces every year,so once I've completed a few, it's a good idea to take a look back at what I've done and figure out what I need to write to balance things out.
The easiest way is to plot it out on a graph (yes, kids, graphs come in handy in the real world). On the X axis is style: Major Key, Minor Key, and Novelty Piece. On the Y axis: Beginner level, Intermediate, and Advanced.
Check marks in the boxes let me know that I'm lacking an Advanced/Minor Key piece and that a few Novelty pieces would round out the portfolio. So the new one I started this weekend is an advanced-level piece in c-minor, focusing on accidentals. As it's developing, I can tell that it will be different - Instead of an A-theme and B theme, etc. I think I'm going to let it develop organically like a theme-and-variations. At least that's the plan for now. So far I'm just 16 measures in.
As for the opera, I'm waiting for some books I've ordered from the library on vocal composition. I do realize that it would have been a great idea to study up BEFORE writing a massive three-act 100-minute opera, but hey, it's a learning experience. In other news, my pros showed the piano score and libretto to a big-time, well-connected opera singer and word is that she was excited by it. Fingers are still crossed!
The easiest way is to plot it out on a graph (yes, kids, graphs come in handy in the real world). On the X axis is style: Major Key, Minor Key, and Novelty Piece. On the Y axis: Beginner level, Intermediate, and Advanced.
Check marks in the boxes let me know that I'm lacking an Advanced/Minor Key piece and that a few Novelty pieces would round out the portfolio. So the new one I started this weekend is an advanced-level piece in c-minor, focusing on accidentals. As it's developing, I can tell that it will be different - Instead of an A-theme and B theme, etc. I think I'm going to let it develop organically like a theme-and-variations. At least that's the plan for now. So far I'm just 16 measures in.
As for the opera, I'm waiting for some books I've ordered from the library on vocal composition. I do realize that it would have been a great idea to study up BEFORE writing a massive three-act 100-minute opera, but hey, it's a learning experience. In other news, my pros showed the piano score and libretto to a big-time, well-connected opera singer and word is that she was excited by it. Fingers are still crossed!
Thursday, July 17, 2008
Great Meeting!
I'm stoked after a great meeting with the pros! It didn't go exactly how I had expected - I thought we'd play through the piano score and I could get some suggestions on vocal writing while discussing my philosophy on modern opera - but instead, the pros (Howard and Brad) gave me something far more valuable: encouragement.
We had a seat in their gorgeous home and discussed options for getting a production - about three steps ahead of where I thought I was with this project. They liked the libretto and they agreed that the tesseturas were in the right places, they had praise for the sense of rhythm and character and had some wonderful suggestions for vocal writing, but they were more excited to let me know about workshops, contacts, venues, and how to get a performance. In the end, Howard and Brad agreed to show my piano score and libretto around to some influential people.
My fingers are crossed and I remain cautiously optimistic. These are the first people to actually read through the libretto without giving up at page 20, which is very heartening, but even more, they really seemed to be excited by the material. Another bonus: no opera hostility. They were excited for me, which is a reaction I've been awaiting for a long time.
We'll see where it goes from here, but in the mean time, I'm making a new recording from my computer and am busy making revisions based on Howard and Brad's suggestions.
We had a seat in their gorgeous home and discussed options for getting a production - about three steps ahead of where I thought I was with this project. They liked the libretto and they agreed that the tesseturas were in the right places, they had praise for the sense of rhythm and character and had some wonderful suggestions for vocal writing, but they were more excited to let me know about workshops, contacts, venues, and how to get a performance. In the end, Howard and Brad agreed to show my piano score and libretto around to some influential people.
My fingers are crossed and I remain cautiously optimistic. These are the first people to actually read through the libretto without giving up at page 20, which is very heartening, but even more, they really seemed to be excited by the material. Another bonus: no opera hostility. They were excited for me, which is a reaction I've been awaiting for a long time.
We'll see where it goes from here, but in the mean time, I'm making a new recording from my computer and am busy making revisions based on Howard and Brad's suggestions.
Wednesday, July 9, 2008
Opera Developments
Things are progressing. Maybe.
Last week I finished a new round of revisions to make my opera more singable and then reduced the new score down to a piano part. Just as I was finishing that, one of the "pros" I've been in talks with became available to look at what I've done! This pro is a friend of a friend who is a choir director. Even better, a friend of this friend of my friend is a college opera faculty member and is also eager to look at it and help with the polish. Better still, the friend of a friend of my friend has serious connections and mentioned showing it to some big-time opera-world muckey-mucks.
I know what you're thinking and I totally agree. This road looks awfully familiar and it's hard not to get excited when everything appears to be clicking into place. We'll see how it goes - I'm staying wary, keeping my expectations low, and am taking things one step at a time. Right now we're parsing out the details of when and where to meet, but it looks like next week is likely. Hopefully, I'll have good news to report.
Last week I finished a new round of revisions to make my opera more singable and then reduced the new score down to a piano part. Just as I was finishing that, one of the "pros" I've been in talks with became available to look at what I've done! This pro is a friend of a friend who is a choir director. Even better, a friend of this friend of my friend is a college opera faculty member and is also eager to look at it and help with the polish. Better still, the friend of a friend of my friend has serious connections and mentioned showing it to some big-time opera-world muckey-mucks.
I know what you're thinking and I totally agree. This road looks awfully familiar and it's hard not to get excited when everything appears to be clicking into place. We'll see how it goes - I'm staying wary, keeping my expectations low, and am taking things one step at a time. Right now we're parsing out the details of when and where to meet, but it looks like next week is likely. Hopefully, I'll have good news to report.
Tuesday, June 24, 2008
Going Ahead With It
After getting the cold shoulder from more than a handful of vocal-music "pros," I've decided to be proactive with my opera and take a hard look at it myself.
Being an instrumentalist, I take for granted that we can hit any note out of the clear blue at any point in a piece of music and play an independent melody, but singers are a different breed. As I understand it, they need cues and hints throughout the accompaniment to stay on pitch and in place so, with this in mind, I've started revising my score. I've been adding more cues, adjusting both the accompaniment and vocal lines, and, in some especially tricky spots, letting instruments double the voices.
I hear Beethoven had the same issues.
I've worked my way through most of the first act - I plan on finishing the last scene of Act I tonight - and from there I'll make a new piano score. The hard part is going to be the choruses. I'm not sure how to handle those yet. The good news is that since starting this round of revisions, I've heard back from two of the "pros" that I've contacted. One said he could meet in about two weeks and another said she might be free in mid-July. I hope it will work out and that I'll have some newly-revised music to show them.
Being an instrumentalist, I take for granted that we can hit any note out of the clear blue at any point in a piece of music and play an independent melody, but singers are a different breed. As I understand it, they need cues and hints throughout the accompaniment to stay on pitch and in place so, with this in mind, I've started revising my score. I've been adding more cues, adjusting both the accompaniment and vocal lines, and, in some especially tricky spots, letting instruments double the voices.
I hear Beethoven had the same issues.
I've worked my way through most of the first act - I plan on finishing the last scene of Act I tonight - and from there I'll make a new piano score. The hard part is going to be the choruses. I'm not sure how to handle those yet. The good news is that since starting this round of revisions, I've heard back from two of the "pros" that I've contacted. One said he could meet in about two weeks and another said she might be free in mid-July. I hope it will work out and that I'll have some newly-revised music to show them.
Friday, June 13, 2008
Opera Hostility
I've become very apprehensive about telling people that I wrote an opera. I think it's generally recognized that
writing an opera is a lot of hard work. It's very time-consuming and requires commitment, dedication, and a lot of personal sacrifice. On top of that, it requires a variety of skills, from playwriting to music composition to orchestration, a sense of drama, and a base knowledge of history. When I started and mentioned to people that I was working on an opera, I expected the reaction to be something like "Wow, that's a lot of hard work," or even "That's quite an accomplishment."
In reality, though, when I tell people that I've written opera the reaction is usually a sneer and a snide comment. The attitude I get is "So you think you're BETTER than me!?"
For the record, I don't think I'm better than anyone. My writing an opera is not a personal attack on anyone. It's a creative, artistic achievement that I'm very proud of - not a psychological weapon. This, I think is why I've had such a hard time getting help refining the piece. Just about everyone I've approached has copped a "How Dare You" attitude. I swear I'm not trying to "take advantage" of anyone. I just want to finish this piece.
In his autobiography, Philip Glass says that in his experience, getting an opera premiered isn't hard - companies are always looking to tout a "World Premiere." The more rejection I face in just having some look at the reduced score, the more I think he's wrong. I don't want to offer my opera to companies until it's performance-ready, but once it is, will they take me seriously or will they turn their noses up? I'm holding onto my hope, but am trying to be realistic through this little ordeal. I am resolved: I will find someone to help me and I will get my opera in the best possible shape.
writing an opera is a lot of hard work. It's very time-consuming and requires commitment, dedication, and a lot of personal sacrifice. On top of that, it requires a variety of skills, from playwriting to music composition to orchestration, a sense of drama, and a base knowledge of history. When I started and mentioned to people that I was working on an opera, I expected the reaction to be something like "Wow, that's a lot of hard work," or even "That's quite an accomplishment."
In reality, though, when I tell people that I've written opera the reaction is usually a sneer and a snide comment. The attitude I get is "So you think you're BETTER than me!?"
For the record, I don't think I'm better than anyone. My writing an opera is not a personal attack on anyone. It's a creative, artistic achievement that I'm very proud of - not a psychological weapon. This, I think is why I've had such a hard time getting help refining the piece. Just about everyone I've approached has copped a "How Dare You" attitude. I swear I'm not trying to "take advantage" of anyone. I just want to finish this piece.
In his autobiography, Philip Glass says that in his experience, getting an opera premiered isn't hard - companies are always looking to tout a "World Premiere." The more rejection I face in just having some look at the reduced score, the more I think he's wrong. I don't want to offer my opera to companies until it's performance-ready, but once it is, will they take me seriously or will they turn their noses up? I'm holding onto my hope, but am trying to be realistic through this little ordeal. I am resolved: I will find someone to help me and I will get my opera in the best possible shape.
Thursday, June 12, 2008
Dissapointing News
I got a heartbreaking phone call yesterday and thought I'd share.
As you may have read, I've been working for the past few years on a new opera. As an instrumental composer, I'm not terribly familiar with writing for voices, so I've been looking for someone with a choral background to take a look at what I've done and make suggestions for making the piece more appropriate for singers. I thought I'd found that help when I contacted a professor at my alma mater. She sounded excited to help but just couldn't seem to find the time in her busy, busy schedule for me. Things got worse when she learned that I don't have a college degree in music composition (never mind the fact that I've had more success as a composer than a lot of graduates who have Composition degrees). "Call me in a week," she said, "We'll work something out." That week was extended to two, then two more, and on and on.
It's been three months now and she called yesterday to say that she is going to be out of town for the summer and that I should try calling her in October. She kicked me around for three months and now it looks like she has no interest whatsoever in spending just a few hours looking over my score. The part that upsets me most is that she has a copy of my piano score and a rough Finale recording, which will sit in her office. I should have asked for it back.
I'm determined to get this thing done, so I contacted two other professors. One seemed genuinely interested, but can't scheduling anything until mid-July (better than October!). The other hasn't responded yet. I'm not getting my hopes too high - this isn't the first (or even the second) time that people at this esteemed university have failed to follow through on their promises. It seems endemic.
I'll write more on what happend next, but I am determined to have someone look at this piece. I am determined to whip it into shape, and I am determined to get it produced on a stage.
As you may have read, I've been working for the past few years on a new opera. As an instrumental composer, I'm not terribly familiar with writing for voices, so I've been looking for someone with a choral background to take a look at what I've done and make suggestions for making the piece more appropriate for singers. I thought I'd found that help when I contacted a professor at my alma mater. She sounded excited to help but just couldn't seem to find the time in her busy, busy schedule for me. Things got worse when she learned that I don't have a college degree in music composition (never mind the fact that I've had more success as a composer than a lot of graduates who have Composition degrees). "Call me in a week," she said, "We'll work something out." That week was extended to two, then two more, and on and on.
It's been three months now and she called yesterday to say that she is going to be out of town for the summer and that I should try calling her in October. She kicked me around for three months and now it looks like she has no interest whatsoever in spending just a few hours looking over my score. The part that upsets me most is that she has a copy of my piano score and a rough Finale recording, which will sit in her office. I should have asked for it back.
I'm determined to get this thing done, so I contacted two other professors. One seemed genuinely interested, but can't scheduling anything until mid-July (better than October!). The other hasn't responded yet. I'm not getting my hopes too high - this isn't the first (or even the second) time that people at this esteemed university have failed to follow through on their promises. It seems endemic.
I'll write more on what happend next, but I am determined to have someone look at this piece. I am determined to whip it into shape, and I am determined to get it produced on a stage.
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