Substance over Style

Well, today I'm trying to get some music back in my head. As I become more mature (a euphemism for saying I'm getting older), I find this to be a slightly more difficult task than it was for my younger self. My memory's not as rock solid as it once was- some would say I'm delusional, and that my memory was never too solid to start with...but then, that just proves my point, doesn't it?- and all the nuance that composers put in seemingly just to trip you up is hard to retain. (I know: variety is the spice of life, but why does Mozart have to be so darn hot?)

In some ways, though, things are easier, now. I'm far more musical, having years more experience under my belt, and I've inevitably picked up a few tricks that serve me well from time to time.

All this has made me think: Why are more experienced artists cast aside for younger ones? Experience in performance can not be overvalued, yet every day we hear of green performers- and I don't mean envious- replacing established stars. This is a great loss for everyone, not least the public, whose expectations are slowly lowering as a performer with years of artistry is cast aside to the curb in favor of a fresh, young face who barely knows his right from his left.

In recognizing how I've changed through the years as an artist, I can see where I've improved and where I've declined. I cherish the areas in which I've grown, I bemoan the things that I've lost, and I accept that this is process is inevitable.

Younger artists, though, are ignorant of this: they only know the now, since they have as yet no significant past experience to think back upon. As such, they are typically brash and confident, if not subtle and experienced. This certainty appeals to many. Unfortunately, this world of ours seems to be much more drawn to confidence, now, than to actual ability: we're becoming more and more an image-based, rather than substance-based, culture.

Now, image is not a bad thing- it's simply not the only thing. We need to be sure to impress people with substance, and then perhaps they won't think any less of us simply because we've lost our brashness and replaced it with artistry.

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About the author: Ralph Schatzki has been a lawyer and a teacher but always remains an opera singer, husband and father. He tries to sing whenever he can and to promote great music and singing throughout our world.

http://www.ralphschatzki.com
http://www.la-coffee-melodie-suite.com

Where do we go from here?

So, the economy is in a recession, and arts funding is being cut or even eliminated. Opera companies and symphonies are filing for bankruptcy, and the public loses more and more of its cultural treasures every day.

Hardest hit, in a way, are the performers themselves. Audiences move on and organizations disappear or restructure, but artists and musicians still have to survive, both financially and spiritually. With so many outlets becoming unavailable, though, what are they to do?

If live musical performances were more valued, of course, the problem would be less acute. The movie industry is hardly in financial straits, simply because the cinema is so well-entrenched in society. Television appears to be here for the long haul, as well.

Unfortunately, live performance doesn't have the cultural foothold that cinema or television do. Part of this is due to other economic realities. (Movies and television programs are mass-marketed, and all one needs is a way to play them in order to enjoy. Live performances are- well- of course, live, and require the actual performers to be present!)

Yet, there are still- and always have been- local performing arts groups that satisfy a community's hunger for the excitement that only live performance can bring; although even these, too, are now feeling the pinch of tightening purse strings. But while the larger of these entities- symphonies and opera companies- may or may not be able to survive, it is the perfect opportunity for smaller organizations and individuals to fill the void.

New times call for new methods, however, so no one should expect “business as usual.” Novel approaches and cost-cutting will be the norm, and those who are content to sit back and play the game the old way will not be at all successful; especially considering that those ways are what got us to where we are today.

Still, I am guardedly optimistic that a new generation of art lovers will be born from this economic crisis, for the necessity that will motivate diligent artists will prompt them to reach out to any group they can, to demonstrate in ever-more intimate, and therefore effective, fashion the unique power that live performance can bring. It is now up to the artists to carry out this important mission.

By Ralph Schatzki
For La CoffeeMelodie Suite

Acknowledge the ART within your heart.
Make the MUSIC from your soul.

Singers Unite! - by Ralph Schatzki

http://www.meetup.com/Classical-Opera-Musicians-of-the-Lehigh-Valley-COMLV/

I've posted before about how singers have to take the initiative in creating performance opportunities for themselves and their audiences. Not only is it good business practice, but it is such a unique privilege to be able to bring great music into peoples' lives. There's nothing quite like a live performance to enrich the soul.

Still, musicians often feel that they are “against the world” in their endeavor to perform. Let's face it: it's not as if the want-ads are full of job listings for freelance performers, and audiences aren't usually beating down our doors clamoring for us to perform.

There's a bred-in-the-bone distrust of fellow musicians, as well: in the past, the few jobs that were available were fiercely fought over, and musicians would often try to keep whatever information they had secreted away from others in an effort to remove their competition and hold onto their precious domains.

Now, the competition-cooperation dichotomy is one that truly fascinates me, and I could devote many, many chapters of a book to its discussion. Don't worry: I'm not going to subject you to that, here. What I will say, however, is that we should make a clear distinction between jobs that are advertised versus ones we create.

When the Metropolitan Opera throws out a casting call, you'd be a fool to inform your five closest rivals. After all, you want to be the best singer that gets heard. This is the traditional way of thinking about getting hired.

In creating jobs, however, we are not in competition with each other at all. In fact, there is tremendous strength in numbers that only our cooperative efforts can bring about. If singers can get together and brainstorm various ideas about how to generate performance opportunities, it's the better for all of us. We can introduce each other to our acquaintances thereby generating a large audience base, and we can be there to troubleshoot each others' ideas.

Remember that your product is unique, so there's no need to worry that someone will preempt your product. If I buy a Mercedes today, that means I won't buy a BMW tomorrow. But if I go to a soprano's recital on Thursday it doesn't mean that I'm done with recitals until I get a new one, and that the baritone's performance on Sunday is off-limits.

It's a rough world out there, and we need friends to help weather the storm. Don't be one of those artists who sits on the sidelines and complains about the unfairness of it all, and how you don't get a chance to perform. Take charge, and along with your colleagues band together to strengthen the community of artists wherever you find yourself. It's not only in your best interests, but your duty to the Art.

http://www.pradichaya.com/coffeemelodieandcommunity.aspx

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Atists: Pradichaya Gafaae Poonyarit & Ralph Schatzki






















Les melodies d'operas

Contents: O mio babbino caro
Abendlich strahlt der Sonne Auge
Io son l'umile ancella
Vision fugitive
Depuis le jour
O Carlo ascolta
Col sorriso d'innocenza
I've got a ram Goliath
La ci darem la mano






























































Don Quichotte & Classic Show Tune Favorites

Contents:
Wunderbar
Some enchanted evening
The impossible dream
Show me
I could have danced all night
Chanson romanesque
Chanson epique
Chanson a boire





























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Opera as Sushi...Yummy!!!!!

by Ralph Schatzki -www.ralphschatzki.com

Opera. Just the word itself conjures up images of overweight people in horned helmets, singing at the top of their lungs in a language no one understands. To top it off, people dress up in their finest clothing to attend, pay exorbitant prices for non-refundable tickets and look down their noses at everyone else!

Who in their right mind would want to go to an opera when there are so many alternatives? TV, movies and video games are all cheaper, easier to get to, and usually in English. Not to mention, if your friends ever found out you went to the “opera”- you have to say it with your best imitation of a hoity-toity accent- they'd never let you live it down. It's much easier to find camaraderie in front of an NFL game, drinking beer and yelling at the screen, or going shopping with your friends and talking about the latest gossip.

Remember when you were a child and your mom put some strange looking plate of food in front of you and said, “Just try it- you might like it.” Sometimes you did and sometimes you didn't, but at least you tried. Occasionally, too, something that you disliked initially became something to cherish: it “grew” on you. For example, some people don't like sushi at all while others find it irresistible. Still others have developed a taste for it over time.

Not your typical sushi, but they look yummy!

Uhhh...I think we found nemo - just kidding!! I love how food can go beyond taste, it's a visual art form. Opera is audio art, visual art, and art for the soul.

This is not sushi, but I can't help putting an opera theme to it: In the front row stand Calaf and Turandot, and we have Ping, Pang, Pong - members of the royal court, as well as the townsfolk in the back row.

In this way, opera is a lot like food. Sure, opera's not for everyone, and a lot of people know at least enough about it to realize they want nothing to do with it, but just because your best friend doesn't like something doesn't mean you won't, either. Like any matter of taste, we each have to make up our own mind about it, and we can only do that by trying.

I've known a lot of people who swore they would never eat raw fish and are now true sushi lovers. It is the same with opera, as well. Many, who had earlier expressed their disdain for it, saw an opera and fell in love at first sight. Others developed their appreciation over time. You might be one of the former- “try it, you'll like it”- or one of the latter, who takes great pride in having accomplished something worthwhile (remember: we take the most pride in those things we work hard for).

Opera is not simple: it is the common effort of so many accomplished artists toward a single goal. This is why it is so difficult, and also why it is so rewarding. You may not like it at all, and that's your prerogative, but you owe it to yourself to try it, at least once.

But who knows? You may be one of those who really likes the flavor. You'll never know until you make the effort.

So, have a bite. It's what your mom would say.

Today's blog - A Singer's Plea, by Ralph Schatzki

I'm giving the keyboard over to Ralph - my dearest baritone. This is something that you may find interesting ..or not :)

A Singer's Plea

It's tough to be a singer. I'm not looking for sympathy, necessarily, but a little understanding- just a little- would be nice.

We have a passion- a compulsion- that cannot be denied. Everyone sings, and in a way that's part of the problem, but we have to sing.

Other musicians are compensated for their time and labor. It is apparent to everyone that a performance entails a lot of work: learning and practicing music means hours and hours in a practice room beforehand. Can you imagine asking a pianist to perform for free? Or a trumpeter?

Now, I have nothing against pianists and trumpeters- they deserve to make a living from their hard work; yet, when singers ask to be compensated they are looked at askance, as if they have incredible temerity. “How dare you want to be compensated to sing?” is the common reaction to a singer's request to be paid.

Why is this?

I think a couple of factors come into play, here: First, as I said, everyone sings. Some only hum in the car on the way to work, others are shower singers, some are amateur performers and (the masochistic) are professionals. Therefore, a lot of people believe that it is not a skill deserving remuneration.

Can you play the oboe? Can you diagnose your strange rash? Can you dunk over Yao Ming? No? Well, that's why those who can get paid to do so.

Never mind that there's a world of difference between Luciano Pavarotti and the tone deaf homeless guy on the subway.

Now, of course it's not that simple. Luciano Pavarotti was paid very well to sing. And, of course, most of us have played basketball, but since we're not great it becomes a purely avocational exercise. The second factor, though, taken in conjunction with the first, I believe, explains the problem:

Singers- unlike other musicians- deal with uniqueness all the time. Each of us has a unique instrument, and is therefore evaluated exclusively via subjective criteria. We can pretty much tell whether a basketball player is good, and we can even tell- to a significant degree, at least- which pianist is good. A basketball player either makes a shot or he doesn't. A pianist hits the right note or he doesn't (I know- there's more to it than just that).

Now, Michael Jordan and Wilt Chamberlain were both great. I don't know who was greater, but any such debate has some semblance of objectivity since each put a standard-sized ball through a standard-sized hoop.

Vladimir Horowitz and Arthur Rubinstein were tremendous pianists. I don't know who was better, but they both played the same instrument so such a discussion makes some sense.

This rationale doesn't hold for singers. Some people think Maria Callas was the greatest singer who ever lived, and others can't stand to even listen to her. Can we really compare her, in any objective manner, to Zinka Milanov? They were both singers, yes, but they played different instruments. Maria played Callas, and Zinka played Milanov.

Singers work harder, in fact, than other musicians, since we not only have to deal with the added component of language but are also subject to the vagaries of individuality. We have to build our instruments as well, in addition to performing on them, and they are constantly changing on top of that.

And yes, we are “musicians.” I can't tell you how many times I have heard the phrase “singers and musicians,” as if we are exclusive of them. The worst example of this was at a concert where the organizers, solely as a means to prevent paying the singers, wrote in the program that they were “paying the musicians, but the singers were donating their voices!”

If we hone our craft and instrument for years, and practice for hours to prepare for a performance, are we less-deserving than Michael Jordan, Maria Callas or Vladimir Horowitz? This is the hard work that turns an avocational performance into a professional one.

Of course, I can practice for years and never get paid to play basketball, just as many singers can practice for years and not get paid, but there was never any question that Michael Jordan would get paid for his skills. I just don't want any and all discussions with singers to begin automatically with the assumption that their efforts aren't worthy of compensation.

About Ralph Schatzki: http://www.ralphschatzki.com

CoffeeMelodie - Reaching for the Star --our first official Music Educational Outreach Program at Easton Area High School

My alma mater - Easton Area High School

After pestering my high school music director a little more than a few times, he found a slot for me to come in for a day to give my presentation and to work with the students.

I was exhilarated. What a thrill to go back to my old high school, walking the same hallway to the familiar choir department. The building has been renovated, and the choir room now is where the band room used to be, and new rooms were added for voice lab, piano lab, theory, and composition classes. I'm sure a lot of effort and perseverance of one particular person whom I regard as my very first mentor went into making it all happen. I saw the same two small practice rooms through glass windows - an electric keyboard was an addition in one of the rooms. The memories came pouring back - even the smell was the same as I remember! I almost see myself hanging out in the hall with my friends waiting for the bell to ring so we could go to choir - except that this time I wasn't a part of the group. The students gave me quick glances and went back to their conversations. They all are so young, so vibrant and so eager to join the world out there. Immediately my energy tank got filled up, the grogginess of having to get up at five went away. My outreach program is a new addition to my organization - which is, also, new. CoffeeMelodie is my baby. I decided a few months back that since the Lehigh Valley , PA is where my baritone (my DH Ralph Schatzki) and I make our residence, this is where we will make the most out of our musical knowledge. I feel that both my baritone and I have a great deal of life experience, been there and done that, and it's time to pass this knowledge to and share such a wonderful experience with other people who have the same desire and passion and the love of performing arts as we do.

They may not be aware of that yet, but there's no harm in our introducing, poking, teasing, stirring, searching, and, building the love of the music. I have a strong need to do what I can to produce lovers of music - whether they will end up being singers/performers, directors/conductors, instrumentalists, or anyone on the music producing industry side, all the way to fans and audiences. My baritone and I, we are two idealists with strong principles. It doesn't matter that we are only two individuals, we've got to start somewhere - and this is where we start!

Thanks to my high school choir director Ed Milisits, not only did he insert my program into the busy routine of his, and his colleagues - Pete Descher and John Shilanskis- but he also sent a young pianist - Mike Nelson, a high school sophomore- on short notice to work with us on accompanying our pieces. We guided him through our three pieces in the aspect of "vocal accompaniment - how to - the crash course" as best we could within the short period we had. The result turned out really well. I'm sure Mike will agree with me that, now that he has three pieces under his belt, he is able to accompany them any time. Kudos to you, Mike!

We were to give a presentation in the first period choir which is 10th through 12th grades (7:20 am) and the freshman choir (around 9'ish am) and to conduct three classes of voice lab (8'ish, 10'ish, and 11'ish) My concern was the time factor. As any opera singer, or any singer, the body is my instrument: I carry it with me everywhere I go, and I make sure to take very good care of it. Because this was my first official CoffeeMelodie outreach program, I spent a good amount of time on the preparation, which had an unfortunate drawback on my body - I was excited, nervous, and, most definitely anxious - it involved in tossing and turning the night before so I ended up with only two hours of sleep. I didn't let that get in the way and managed to give myself a very thoughftul and careful twenty minute warm-up session before we rushed out and dropped off my youngest daughter off at my adopted parents' house (I adopted them). After I checked in at the front desk I went to the choir room and was told that there was still a meeting going on. I was directed to another room where Mike was rehearsing the pieces and I managed to vocalize for a few more minutes before I proceeded to the choir room. Seeing young faces perked me up. Mr. Milisits let us know beforehand that he kept our coming as a surprise to the students. He also asked our son Brendan who is a senior this year to introduce us. They were surprised, alright! We started the program. The size of the choir is around 180 people - as big as I remember. When the freshman choir is added it becomes almost 250 people - I wonder how many risers they use for a concert?!?! I recognized some students as Brendan's friends. I had on the program "La ci darem la mano" that Ralph and I shared, followed by the ever so popular aria "O mio babbino caro" which works wonders every time - though Lauretta is not my calling card, but then again, neither is Zerlina. Ralph presented "Some enchanted evening" as our last piece. Thank goodness that both my baritone and I were singing well. I wasn't worried about him, it never ceases to amaze me that he wakes up, hums a few notes, and is warmed up and good to go. As for me, it normally takes some time for the throat to remember its soprano-ness. Not yesterday, I was able to get into my soprano-dom and did my soprano thing at the crack of dawn - phew!!! Instead of laying out the story (boring), after each piece, we asked students what they saw, how they felt the piece was saying to them, along with questions such as - from what style or period the piece is, who they thought wrote the piece, etc., then we added just enough info and kept it light. What an enthusiastic group!!! The students were eager to participate. They were responsive, and quite knowledgeable, and, most definitely, curious. Afterwards, we answered some questions and concluded our programs. EAHS music department has a very good group of talent, and I believe that I saw some students who will further their study in music beyond high school. Wow!!!! It was a big success. We felt that we had touched each and everyone of them a little here and there, to various degrees. We are hopeful that what we did helped spark a beginning of new love (if not already) and desire in music in these beautiful young people. We look forward to seeing them again soon. As far as our outreach program, this was a beautiful beginning, and we hope that we will have more opportunities to offer it to other schools in our neighborhood. This is the beginning of something wonderful and we continue going after our dream and reaching for that very star.

Thank you EAHS choir members, thank you Pete and John. Big thanks to Mike and Brendan. And, Mr Milisits, thank you for telling me to go after my dream, and for believing in me.