Seattle Choral Company Blog

SCC Spotlight on SCC and PNB: Wheels and Circles

noreply@blogger.com (Seattle Choral Company) — Thu, 12 Apr 2012 22:56:00 +0000

O Fortuna! It is the Seattle Choral Company’s good fortune to be performing with the Pacific Northwest Ballet in its April 13–22 run of Carmina Burana at McCaw Hall. It’s the fourth time we’ve performed Carmina with PNB, following shows in 1998, 2004, and 2007. In this month’s SCC Spotlight, we asked SCC conductor and artistic director Freddie Coleman to tell us more about this captivating collaboration.

How did SCC’s partnership with PNB get started? I was called in the spring of 1998 by Stewart Kershaw, then PNB’s music director and conductor, who said PNB needed a chorus to handle the next run of Carmina Burana. Of course, we were honored to be invited. We had worked with PNB’s assistant music director and pianist, Allan Dameron, on a few of our annual New Year’s Eve performances of Carmina Burana at the 5th Avenue Theatre, and he said he was very impressed with us. I think that may have led to PNB calling on us for its own stage production.

Can you describe the choir’s setup and what the singers are wearing? The chorus is situated far upstage, suspended in a large cradle resembling a big black box [see picture above]. We climb a short ladder to enter the cradle, one row at a time. We form three rows, seventy-two singers in all. We can gaze at the entire ballet from upstage, while dancers can freely enter and exit underneath us. The design of the ballet requires that each singer wear white makeup and a black garment with a hood that covers the upper body and the hair. From the audience, we look like anonymous medieval monks.

What is it like to be onstage with the dancers? At the start, the initial drumbeat of “O Fortuna” signals that the curtain is going up. At that same moment, we sing our first chord and see the conductor for the first time. It happens that fast. We sing the first chorus while looking through a huge suspended Wheel of Fortune, which rises while we are singing. The entire ballet is performed literally underneath the Wheel. At the finale, the Wheel returns to its original position while the entire corps de ballet dances in a swirl of concentric rings below. It really takes the breath away, it is so spectacular to watch!

The choir experienced some unexpected excitement during a performance in 1998. What happened? I was in the audience and couldn’t see anything amiss, due to the perspective, but when I went backstage to offer congratulations, I was met with singers who were bewildered and somewhat upset. It turns out that right before curtain, one of the several straps holding the cradle into position had broken. The singers were never in danger; we were assured that if life and limb were threatened, they would have stopped the performance then and there. However, this strap had a positioning function that helped to keep the cradle in its place. The cradle began to rock forward and backward . . . slowly . . . during the entire ballet! Some singers reported that they were near nausea. Everyone was a bit on guard, yet the performance went off without a single hitch. Now that’s professionalism.

What does the SCC like best about performing with the PNB? The SCC likes being a part of large professional productions, and the people at PNB treat us so graciously. It’s thrilling to sing this exciting work before so many people, and at the end, after all the dancers have received their just applause, the audience just explodes when it’s time for the SCC to receive its applause! The experience is enormously gratifying and rewarding.

Are there any other interesting tidbits about our PNB performances of Carmina? Well, ahem . . . I can tell you that front-row positions in the choir cradle are very coveted. Being able to look out and down directly below is a real treat. At the beginning of the ballet, the men of the corps take their places in a big ring, lying on their stomachs, forming a circle of some of the most gorgeous behinds in town!

You mentioned that your experience with PNB has come full circle. What do you mean by that? As it happens, I was in the house during a dress rehearsal at McCaw Hall in 1998. I met up with the founding artistic directors of PNB, Francia Russell and Kent Stowell. (This production of Carmina Burana was choreographed by Mr. Stowell.) I shared with them that the last time I had met them was in their old facility at the Good Shepherd Center in Wallingford. It was in the late ’70s, and the pair had just arrived from Frankfurt, Germany, to take on responsibilities of the then-fledgling PNB. I was an intermediate dance student at that time, and I had to audition for them to gain continuance at the school. They asked me to see them in their office, whereupon they told me, “If you want to get anywhere in the dance field, you’re going to have to double up on your classwork and forego all distractions.” This meant that I had to choose between a dance career and a career in music. The rest is history, with some interim tears shed.

And so I shared this story with Francia—that I had come “full circle,” so to speak, to end up as a guest artist of Pacific Northwest Ballet! Yes, sometimes you can “go home.” Our singers sent Kent and Francia a bouquet of flowers after the highly successful opening night. Later I received a letter on PNB letterhead that reads as follows:

Dear Fred and Singers of the Seattle Choral Company,
Thank you for the beautiful flowers and congratulations on an electrifying opening night! We were thrilled with the burst of energy you gave to your performance. The dancers responded to your music with incredible enthusiasm, and together, with the orchestra, you re-created for our audience the brilliant spectacle that is Carmina Burana.
All of us at PNB thank you!
Sincerely,
Kent and Francia

This letter is framed in my office, and bears the gold signatures of the entire chorus, along with soloists Paul Karaitis and Catherine Haight, and Maestro Stewart Kershaw.

SCC Spotlight on Phil Demaree: Music Director of SCC’s Annual Dinner Show

noreply@blogger.com (Seattle Choral Company) — Sat, 17 Mar 2012 20:19:00 +0000

One of the things that makes the SCC’s annual auction different (and, dare we say, better) than most other benefits in the Seattle area is our dinner show. Not only will you be dazzled by the voices of our talented SCC singers but you’ll also be wowed by the energetic band. Each year the music for our show is arranged by critically acclaimed jazz musician Phil Demaree, who just happens to be married to SCC alto and board member Kathy Demaree. You’ll usually find Phil in the background, conducting the show while coolly plucking his stand-up bass, but we asked him to come out onto center stage for a short interview.

Where were you born? How long have you lived in the Seattle area? I was born in Berkeley, California, in the ’60s (which may explain a few things) but grew up in Boulder, Colorado. After about eight years on the road I relocated to Seattle, in 1989.

When did you start working with the Seattle Choral Company on its auction shows? I believe the Moulin Rouge show was my first, in 2005.

What has been your favorite auction show so far? I think my favorite show was the Silver Screen show, because in addition to doing some great music from the movies, we got to feature Dick Foley, local TV host and member of the famed folk singing group The Brothers Four, on a number that he actually got to sing at the Oscars in 1961. Plus we got to do the Pink Panther theme.

What are the highlights of this year’s show, Blue Hawaii? My favorite number is the last medley of “I’ll Remember You” and “Over the Rainbow.” It’s very wistful, and I think it came out well.

How did you decide which songs to include? Bing.com. :-) I found a site that listed the top 50 Hawaiian songs of all time, and found most of the numbers I used for the show listed there. Most of them I had heard before, so I tried to stay with the ones most people are familiar with. “Lovely Hula Hands” is one that I used to play at a little restaurant in Boulder when I was in high school. It was owned by a great guy named Fred, and I learned all the standards from playing with him. They had a waitress who was Hawaiian, and Fred would sing that song and she would dance the hula. My concept of the whole show is to try and recapture that relaxed, friendly atmosphere we had at Fred’s Restaurant.

What is your process when you’re arranging/composing music? Well, I spend a lot of time listening and playing the show through in my head to get a feel for the flow and what kind of sound I’m looking for. Then I will sketch it out on the computer and add the vocal harmonies. I sometimes use the piano, but mostly I just write it into the computer and have it play it back and tweak it as I go.

Do you have any surprises planned for this year’s show? Maybe . . .

What can you tell us about the other musicians you’ll be playing with? Brian Olendorf (piano) and Greg Williamson (drums) have been with us since I started doing the SCC shows, and they are great to work with. They have the experience of playing these shows, so they understand the pacing, and they're flexible enough to handle it when things go astray. Doug Zanger (guitar) is with us for the first time, and he is also a great player, and understands the different feels that the show needs.

Where did you study music? I come from a musical family, in that my dad was a great pianist and my mother a ballet teacher. I didn’t really study anywhere in particular, although I did go to the University of Northern Colorado for three years and played in the jazz program there. Other than that, it was just playing gigs and learning as I went. As I mentioned earlier, I spent a lot of time playing down at Fred’s, and I learned a lot of what I know from that experience.

When did you first learn to play the bass? I started on piano when I was 6, but my dad was my piano teacher, so that’s why I quit. :-) I then played guitar, but my friend Willis was a much better guitarist, and my brother played bass and violin. So I started borrowing whichever bass my brother wasn’t using, and I’ve been playing ever since. I guess I eased into playing bass when I was about 12.

What is the first piece of music you composed? Wow, that’s going back a ways. When I was in high school my friend Willis and I helped write a musical for this guy who used to do a summer theater workshop in a barn outside of Boulder. The kids from the neighborhood would build the sets and run the lights and act in the show. It was based on a children’s book about a pig keeper (as I recall).

What do you do when you’re not working with the SCC? I’ve been at Microsoft for almost 18 years now, so that takes up my days. I play less than I used to, but I still play down at Tula’s, in Seattle, on Sunday nights with the Jim Cutler Jazz Orchestra, and on the third Tuesday of the month with Roadside Attraction. I also play with a trio—Trish, Hans & Phil—at Bake’s Place, which is currently in Issaquah but moving to downtown Bellevue.

What do you like best about the Seattle Choral Company auction? Seeing the show come together and having it come out better than I had imagined in my head.

Editor's note: This year's dinner show, auction, and dance, Blue Hawaii, is scheduled for Saturday, May 12, 2012, at the Hyatt Regency Bellevue. For tickets and more information, please click here.

SCC Spotlight: 30 Years of Musical Memories

noreply@blogger.com (Seattle Choral Company) — Thu, 16 Feb 2012 03:24:00 +0000

While looking forward to the year ahead, members of the Seattle Choral Company are also looking back, reflecting on the choir’s 30 years. With that in mind, we asked six longtime singers to share their musical memories—from the hilarious to the sublime. Read on to learn the answers to the questions below, plus why all six singers say you shouldn’t miss our June performances of Rachmaninov Vespers.

What happened when the lights went out?
When was the choir joined onstage by the Muppets?
Who was the performer who caused a stir when he was late?
Where did the group sing with a piano mounted on a bicycle?
Why did a man give one of the singers a special gift during the Soviet tour?
How did conductor Freddie Coleman lose his “memory”?

SUZANNE COLEMAN, SOPRANO 2

How many years have you been singing with SCC? 30 years.

What do you do when you’re not singing? I appraise commercial real estate.

Of all the concerts you’ve sung with SCC, which is your favorite? When we performed Morten Lauridsen’s Lux Aeterna, because the composer was in the audience, all the singers and instrumentalists gave their very best, and for one of those rare moments, magic happened.

Any other memorable moments? We were performing Giuseppe Verdi’s Four Sacred Pieces at Blessed Sacrament, which is a very dark church. We brought in additional lighting that proved to be too much for the church’s old electrical system. Suddenly all the lights went out, and for about the next eight bars we all continued on as if nothing happened. But of course, eventually, everything came to a halt as if a car had run out of gas and was coasting to a stop. I must say the audience was very patient while the sexton went searching in the basement for the fuse box.

How has the choir changed over the years? The level of professionalism has continued to rise during all our years together. Freddie continues to push us for greater excellence, and the singers keep honing their skills.

What are you most looking forward to this year? The Rachmaninov Vespers is an all-time favorite of mine. I believe this will be our third performance of this work. In my opinion, this work is the crowning glory of Russian Orthodox music. It’s haunting, and I always feel like we should be singing it by candlelight.

BRUCE DODGE, BARITONE

How many years have you been singing with SCC? I've sung for 29 years in SCC.

What do you do when you’re not singing? I’m retired, so I have lots of time. I spend time babysitting my 4-year-old granddaughter. I walk my dog every morning to the dog park. I love to ski, bike, hike, golf, and do yoga.

Of all the concerts you’ve sung with SCC, which is your favorite? My favorite concert was a Christmas concert at St. Alphonsus Church in Ballard, where we sang a commissioned work called “December” by the composer Rick Vale. I love the different styles he wrote in and the pictures of winter he created with his words and the music.

Any other memorable moments? When we were on the Soviet tour, I was on a bus with several members of the touring group including Freddie Coleman. I saw this old man and gave him one of our Seattle Choral Company tour buttons. He fished into his pocket and gave me this old, old pocket knife. Freddie translated what he said: "This is a gift to you for the time when we were friends.” It brought tears to my eyes.

How has the choir changed over the years? The big change I noticed in the choir is when Freddie came back from a workshop with Robert Shaw. The standards seemed to be raised much higher. Freddie demanded more of us with more challenging music and goals to be met. I've noticed each year the new singers that have joined have an excellence about them. I feel still very privileged to have a good enough voice to sing with this wonderful choir.

What are you most looking forward to this year? I'm looking forward to two things. The first is recording the Christmas album in Bastyr Chapel. I've been involved in all the SCC’s recording projects, and I'm excited about recording once again. Secondly, I'm looking forward to the Rachmaninov concert in the spring. I love to sing music by the Russian composers and hear those wonderful low bass notes. It brings me back to our Soviet Union trip.

LORI HENDRY, ALTO I

How many years have you been singing with SCC? Since 1985.

What do you do when you’re not singing? Hang out with my wonderful family—my amazingly supportive husband, Pete (former SCC board president and current board member), and Alex (16), Maddie (15), and Jennie (12). I love cooking and entertaining, and I’m a commercial insurance account coordinator/broker.

Of all the concerts you’ve sung with SCC, which is your favorite? I was incredibly moved by our recent performance at the AIDS memorial at Saint Mark’s Cathedral. The event was such an amazing outpouring of community support and fellowship, and our music was able to help set the tone and embody the spirit of the evening. It was a very emotional and uplifting evening. Another would be a concert we sang in Russia in 1986. We performed a concert at a vacation resort of sorts, and the people were so appreciative. They remembered the Americans from World War II and spoke very warmly of them. This was also shortly after the Chernobyl nuclear accident and a very difficult time for the Russian people. I remember them trying to give us bread as we were going back into our tour bus and saying, “We love Americans.”

Any other memorable moments? Sublime: Listening to Doc Severinsen practice in the stairwell at Benaroya Hall prior to a Christmas performance.
Hilarious: Freddie losing his "memory" in Darling Harbor, Sydney, Australia, in 1988. We were singing "Memory" from Cats, and his music blew away into the harbor.
Emotional: When we were recording our first CD at Saint Mark's in the middle of the night during the summer of 1994, I was pregnant with my son, Alex. I began feeling him move for the first time while we were singing. That music will always have a very special place in my heart.

How has the choir changed over the years? I would like to say how the choir has remained the same over the years. One of the most special things about the SCC is the quality and character of the members. From the moment I joined the group, it felt like one big family. We have always come together to make music, and the quality of the music has improved tremendously over the years. However, the friendship and sense of welcome and community are something that is very special and can't always be found in other organizations.

What are you most looking forward to this year? I am very much looking forward to the Rachmaninov Vespers. It is one of my favorite pieces to sing, and the music transports me to a very special place.

CHERYL LOTZ, ALTO 2

How many years have you been singing with SCC? I have been singing in the SCC since summer 1983, and I believe I have sung in more concerts than any other member—close to 85 concerts. We used to have a summer sing in addition to our regular season.

What do you do when you’re not singing? I have retired from commercial real estate appraisal. Now I get to putter around, cook, work out, hike, visit with friends, weave, travel, and read—interrupted by the occasional housework.

Of all the concerts you’ve sung with SCC, which is your favorite? I have many favorites. My all-time favorite was our debut at Benaroya Hall, which highlighted music from the movies. We had a huge orchestra and the house sold out.

Many current singers likely do not know that we performed a series of pop concerts at Meany Hall in the late ’80s. I was company manager at the time, and at one pop concert I arranged for a huge rainbow of balloons to arch the stage. We were accompanied by a number of volunteers in Muppet costumes. I think I broke the production bank on that one.

Another favorite was a famous opera chorus concert. We dressed in costume, complete with wigs, and had about nine guest soloists. All of these concerts were sell-outs. There are so many memories. Our spring concert in 1984 featured “The Seasons” and a number by PDQ Bach. The choir marched down the center aisle wearing aprons and carrying kitchen utensils.

The most bizarre concert involved a blue-lit stage and a set of modern dancers. One of the dancers, as I recall, got the call time wrong and showed up late.

[Note from Maestro Freddie Coleman: The above concert was a performance of “The Hymn of Jesus” by Gustav Holst. We collaborated with the Co-Motion Dance Company and sang the work with 14 dancers in front of us (Jesus, Sophia, and the 12 apostles). As it happened, one of the apostles got his call time wrong and arrived late onstage. The dance/music was already in progress. He merely melded himself in with the others. Members of the audience who noticed this remarked, "Oh, that must have been Judas!"]

How has the choir changed over the years? We have come a long way in maturity over the years and now have found our musical core. I think early year musical content was aimed at a potpourri of musical genres meant to entertain more than to inspire. The musicality of the group has increased tremendously with more emphasis on producing a consistent sound.

What are you most looking forward to this year? I am looking forward to the spring concert. I love to sing in Russian, and the Rachmaninov Vespers is one of my favorite pieces to sing.

Anything else you’d like to add? My mother used to say, “Where would you be without the choir?” I would have missed a richness in my life and a whole family of friends.

RICK LUNDQUIST, TENOR I

How many years have you been singing with SCC? I started with the choir in 1987, so this is approximately the 25^th season, and I have tried to be a part of at least one concert a year.

What do you do when you’re not singing? I am a wildlife biologist by training, and I work for a small environmental consulting firm, Raedeke Associates, in Seattle. I live with my wife, Joan (former accompanist and assistant director for the SCC) and our youngest daughter, Sarah, in Mountlake Terrace. Sarah is a junior at Mountlake Terrace High School and is becoming quite a good flutist in the Chamber Winds band. Our older children, Eric and Heidi, are away at college most of the year. Eric is a senior majoring in trumpet performance at Pacific Lutheran University, and Heidi is a sophomore at Western Washington University. I love birdwatching, hiking, gardening, and playing golf when I can. I am the treasurer (and more often than not, the cantor) at our church, Immanuel Lutheran in Seattle, where Joan is the music director. As the old hymn says, “How can I keep from singing?”

Of all the concerts you’ve sung with SCC, which is your favorite? It’s impossible to choose just one, because each one is different. One that was particularly meaningful for me was the first time we did the Messiah. I had sung some of the choruses before, but never the whole work. It was a great experience!

Any other memorable moments? One of the most memorable experiences was the first time we did Franz Biebl’s “Ave Maria.” It is still one of my favorite pieces of music, just heavenly.

One of my favorite memories comes from the choir’s trip to Australia in 1988. We performed at the World Expo in Brisbane. However, the actual place we had to perform was a bit lacking in some of the amenities. I will never forget the piano that Joan accompanied us on—it was mounted on a bicycle! What a great trip—Sydney, Brisbane, Cairns, with visits to the Opera House, the World Expo and Gold Coast, a hike through the tropical forest, and snorkeling at the Great Barrier Reef.

How has the choir changed over the years? The choir as a group has improved over the years, much quicker to learn pieces of music. We have benefitted greatly from all that Freddie has taught us about vocal production as a group, singing in many different languages, and making real music. I think we especially moved forward after Fred was able to attend a choral workshop with Robert Shaw—and he was able to pass along what he learned from a true American Master. Having never had formal music training, I have learned a lot over the years.

What are you most looking forward to this year? Probably the Rachmaninov Vespers, as well as the auction.

PETER THOMPSON, BASS

How many years have you been singing with SCC? Off and on for 26 years.

What do you do when you’re not singing? I hike, travel, ski, sing with other groups, and volunteer for other nonprofits.

Of all the concerts you’ve sung with SCC, which is your favorite? Philip Glass’s Itaipú was my fave, but there are so many others too. Glass was new to me, and the theme appealed as I fancy myself a conservation nut! All of the Carminas with the Pacific Northwest Ballet were thrilling. Isn’t it a little like ice cream? Isn’t (wasn’t) it all tasty?

Any other memorable moments? I am usually elated on leaving a rehearsal, and always so after a performance. This choir has consistently performed well, though sometimes much better than at others. This fact has made for dozens of sublime moments.

How has the choir changed over the years? The singers have gotten younger and younger! Some seem so young they must have just learned to walk!

What are you most looking forward to this year? Performing the All-Night Vigil like a Russian! Passionately, tenderly, artistically—and with a solid low B♭at the end of the Kievan chant.

SCC Spotlight on Bethany Man, Harpist

noreply@blogger.com (Seattle Choral Company) — Thu, 10 Nov 2011 21:48:00 +0000

When it comes to making beautiful holiday music, one of the SCC’s secret weapons is harpist Bethany Man. In this month’s SCC Spotlight, we asked the talented Kirkland native to share her favorite music, memorable onstage moments, and the most challenging thing about playing the harp. You’ll also hear about the exotic place she and her husband met—and about her very first (and very long) performance of “Here Comes the Bride.”

When did you start playing with the Seattle Choral Company? I have been playing with SCC for about seven years. I think my first concert was a spring concert at Saint Mark's Cathedral that featured Roxanna Panufnik’s Westminster Mass for choir and two harps.

What have been your favorite SCC performances so far? The Christmas concerts have definitely become a favorite tradition of mine. Freddie Coleman puts together such beautiful concerts. Every year my family asks me to tell them which of my many concerts they should come to during the holiday season, and I always tell them that the SCC’s A Cathedral Christmas concert should not be missed. One of the most memorable was in 2009. The choir sang an a cappella version of Biebl’s “Ave Maria.” In every performance, you could have heard a pin drop in the cathedral; it was mesmerizing. Another favorite was the SCC’s collaboration with the Bells of the Sound handbell ensemble.

What is your favorite piece in this year’s A Cathedral Christmas concert? The Frank Ferko work, A Festival of Carols. I loved playing it with SCC in 2005, and I'm so excited that Freddie decided to do it again. It’s beautiful for its harp/choral combination. From the harp perspective, it's challenging as well. The communication between choir and harp must be exactly precise. It's beyond playing/singing notes on a page; we really have to feel the music or it doesn't work. Specifically, Ferko's “Go, Tell It on The Mountain.” Keeps us on our toes!

Where did you study music? I studied privately for many years with Lynne Wainwright Palmer, and I attended university at Saint Mary's College in Notre Dame, Indiana. During college, I discovered I had a passion for classic literature and writing, so I actually majored in English literature with a music minor.

What is the first harp solo you remember playing? I think I was about nine years old when I did my first “professional gig.” I was so nervous. No one had told me to cut the music when the bride reached the altar, so her “Here Comes the Bride” was about five minutes long. I remember thinking that I must have been doing a great job, because people kept looking over at me while I was playing. I still look back and laugh at that.

You must have played for a lot of weddings. Any idea how many? Quite a few :) To guess, a couple hundred.

What is the ideal age to start taking harp lessons? I teach harp and piano lessons. For young children, it very much depends on the child. It is up to the parent and teacher to determine if a child is ready. I require at least two years of piano lessons before accepting harp students. The piano is the only instrument that you can literally see everything laid out in front of you. It is a great stepping stone for moving to other instruments. When adults come to me for harp or piano lessons, it's a completely different approach. It's something they are really making effort to pursue; it's not like their parents are “making them take lessons.” But for kids and adults, I try to meet them where they are and help them get as much as possible out of their desire to integrate music into their lives.

How hard is it to learn to play the harp? So often people ask me if the harp is the hardest instrument. I respond that every instrument has its individual challenges. For the harp, you have both treble and bass clef, which is similar to the piano and the organ. The seven pedals on the bottom that change the key are an added challenge. Also, the classical harp has a very intricate hand position that feels very unnatural to the novice. All of those combined do make the harp quite the undertaking. It is not the instrument you can just “try out”; you must be committed to investing a considerable amount of time before you may see tangible results. And. of course, you don't find harps lying around as much as you would a piano, for example. You're on your own for your instrument, so that furthers the commitment.

What is the most challenging thing about being a harpist? The best thing? The most challenging thing—and the best thing—is being THE harpist. When you're in a symphony, there is a violin section, or a wind section. There is no harp section. On the rare occasion, there may be two harps on stage, but most of the time you're on your own. When the conductor is talking about the harp, you're it, you are the section. There is no way to blend in; you are completely exposed. It's a lot of pressure, but then again, you are THE harpist; you get all the credit for a job well done!

What kind of harp do you have, and how do you get it from place to place? I have two; I call them my first children. I have a Lyon & Healy 17 Gold and a Lyon & Healy 23 Gold. When my husband met me, he asked why I didn't want to play the flute. To transport it, I just put it in the back of my SUV and off I go. It is, of course, a process to haul it around, but I'm certainly used to it by now.

Other than harp and piano, do you play any other instruments? In my next life I will play the cello, the French horn, and the clarinet.

What are your favorite choral works? Holst’s Choral Hymns from the Rig Veda, Rutter’s “Dancing Day,” “Carol of the Bells,” and my alma mater, “The Bells of Saint Mary's,” which gives me goose bumps every time I hear it.

What is your favorite harp music? I love the big, showy performance pieces. Fauré’s Impromptu and Handel’s Harp Concerto in B-flat Major (in its entirety, with the Grandjany cadenza) jump to mind first. I also like anything Christmas, and I love playing the classic pieces that make people stop and take notice. Every time I play Rachmaninov's 18th Variation, or “Danny Boy,” or “Ave Maria,” heads always turn and I hear, “Oh, I love that song!”

What other music do you like? I love the fusion of orchestra and pop. I just wrapped recording The Legend of Zelda 25th Anniversary Special Orchestra CD. That music was so fun to play because it speaks to people who might not seek out classical music, but attracts symphony lovers as well.

What you do when you’re not playing/teaching the harp? I'm a wife and a mom. My three-year-old daughter keeps me very busy. Between being a stay-at-home mom, teaching 20+ students, and performing on a regular basis, I'm quite busy. So, whenever there is any free time, I make spending time with my family a priority.

What is something we might be surprised to learn about you? I used to work on the Queen Elizabeth 2 (QE2) cruise liner. I was the harpist, sailing the globe for three years. I met my husband on board; he was a bartender. :) We just celebrated our five-year anniversary! It's very special for us that we share the same memories of our adventures around the world.

Other than playing on the QE2, what is your most unusual onstage experience? I performed with Josh Groban at Key Arena, Portland, and Vancouver. For his stage, the harp had to be hoisted up on a pulley through a very narrow opening. It was set so the orchestra was sort of “funneling” around the band on stage. It was pretty precarious, but a very fun gig.

Any memorable moments from the SCC’s A Cathedral Christmas concert last year? I really had to work on keeping myself focused on my part. I kept finding myself watching the sitar player, Josh Feinberg. That haunting sound was unlike I had ever heard. I can say this now—I almost missed a couple of entrances because I was watching him play. Hopefully, Freddie didn't notice!

What do you like most about the Seattle Choral Company? I know that when I walk in to rehearsal I will be welcomed. It always feels nice to come back. And I can count on the fact that the concerts will be not only beautiful, but solid. The caliber of quality is second to none. As I've worked with SCC over the years, the standards of performance have only gone up. The group supports each other, onstage and off. The obvious respect that the choir has for their director, and he for them, is a key point. Everybody wants to give their best for each other, and that is what makes SCC so consistently excellent. It's hard to say in words, but even when I'm not playing, I love watching the group work together—going through the process of shaping pieces, adding color, bringing their individual perspectives to create the end product.

Do you have any solo performances coming up? I will be all over Seattle and the Eastside during the holidays, performing at various company venues, as well as symphony and church concerts. One of these days, I would love to put together a solo concert of my favorite harp performance pieces. Stay tuned!

Meet Our New Board President, Carrie McManis

noreply@blogger.com (Seattle Choral Company) — Thu, 27 Oct 2011 23:05:00 +0000

Carrie McManis joined the Seattle Choral Company in 2009 and quickly became an involved and dedicated member of the choir. She was soon elected to the SCC Board of Directors, where she served as board treasurer before being promoted to board president this month.

Carrie has been involved in the performing arts since a very young age. She has studied voice and guitar, performing with a variety of groups, from classical to folk rock. One of her most memorable performances was singing Mahler’s Symphony No. 2 in Mexico City with Orquesta Sinfónica de Minería, the New York Choral Society, and two other choirs from Mexico. She says, “I made new lifelong friends in Mexico City and can’t wait to visit again.”

Currently Vice President of Tax for Eddie Bauer, Carrie previously worked for Russell Investments. She has a BS in sociology from the University of Louisville, a law degree from the University of San Francisco, and a Master of Laws in Taxation from the University of Washington.

Over the years, Carrie has helped a variety of nonprofit organizations with their financial, tax, and legal needs. She enjoys helping nonprofits create, track, and achieve their financial and charitable goals. She strongly believes in the importance of developing and sustaining the arts and environment in our local community.

Carrie grew up Olympia, Washington, and now lives with her husband of fifteen years, Tod, and their two sons, ages 11 and 14, in their new home in Kenmore. The boys attend the Clearwater School in Bothell, where the students are involved in running the school. In their free time, the family enjoys horseback trail riding at the family ranch, camping, and traveling around the Northwest. The family also enjoys traveling to sunny weather, visiting favorite places in Mexico.

Carrie and Tod are gardeners extraordinaire. They are creating an urban homestead at their new home, which will include ornamental gardens, a fruit orchard, vegetable garden, a few chickens, and bees to help the gardens flourish. They also enjoy canning, and preparing organic, farm-to-table gourmet meals.

Somehow Carrie also finds the time to knit, design knitted goods, make patterns, and spin her own yarn with wool from the sheep and goats on the family ranch. She once even taught second graders to knit. “It was a great life lesson for me,” she says. “If you can teach eight-year-olds to knit, you can definitely teach adults how to read a financial statement!”

Look for Carrie in our first soprano section, and please welcome her in her new role as Seattle Choral Company board president.

New Singers Join the SCC

noreply@blogger.com (Seattle Choral Company) — Thu, 27 Oct 2011 05:56:00 +0000

This season we are pleased to have added a number of accomplished new singers to our ranks. We asked them to share a bit about themselves so that other singers and friends of the SCC can learn more about them. Look for additional member profiles in the future.

LELAND JOHNSON, BARITONE

Prior to singing with the SCC, Leland sang with the Chancel Choir at Saint Andrew's Church in Bellevue. During college, he sang with the choruses of VanderCook College of Music in Chicago, and before that, with the choir of Holy Cross Church in Libertyville, Illinois.

When not singing, Leland works as a software developer for IMDb (the Internet Movie Database).

He is most looking forward to singing Bob Chilcott’s Advent Antiphons. “It's one of the most interesting and technically challenging pieces I've done in the past few years,” he said. “It's also one of those pieces that sounds completely different once you're in the concert space.”

JIM HOWETH, TENOR II

Prior to moving to Washington this past summer, Jim sang with several groups in Southern California—the Long Beach Chorale & Chamber Orchestra, Men Alive, Bel Canto (a subgroup of Men Alive), and the Gay Men's Chorus of Los Angeles. He also performed as a guest singer for a number of different church, college, and community choral groups.

When not singing, Jim is enjoying and caring for his infant twin sons, born in June of this year.

He enjoys working hard at rehearsals and learning how to be a better singer each and every week. “I'm most looking forward to feeling like I am able to contribute something positive to SCC's overall sound when we perform for a paying audience,” he said. “Plus, the repertoire for this season is all very interesting, so I'm excited to have the opportunity to sing it with such a talented ensemble.”

CHERYL WHITENER, ALTO II

Prior to joining the SCC, Cheryl sang with The Washingtonians, Cambialaria, Broadway Salutes Lincoln Center at Avery Fisher Hall, and the Nathan Eckstein Senior Choir.

When not singing, she spends her time as a mother, daughter, sister, golfer, actress, singer, and dancer (in her youth).

She is most looking forward to making beautiful music with SCC!

GREG BLOCH, TENOR II

Prior to singing with the SCC, did graduate work in historical musicology at UC Berkeley, and sang with the University Chorus and occasionally also with the Chamber Chorus.

When not singing, Greg reports that he is looking for a job. He has done freelance graphic design and copywriting work, and enjoys cooking and baking.

He is particularly looking forward to singing Bruckner’s Mass No. 2 in E minor in the spring. He is also looking forward to singing again after taking a break after graduate school.

JUSTIN FERRIS, TENOR I

Justin graduated from Pacific Lutheran University in 2010 with a BA in philosophy. At PLU, he sang in the Choir of the West, PLUtonic, and the University Men's Chorus. In addition to the SCC, he also sings with the Tacoma Symphony Chorus, Illumni Men's Chorale, and Choral Arts, as well as in various operas and musicals when time presents itself.

In the very little time he has when not singing, Justin likes to dance. He also plays the harp, when one is available.

He is most looking forward to the unique opportunities offered to the SCC, which he hopes will include more work for movies, video games, and ballet productions.

MICHAEL KELLY, TENOR I

Michael is joining the SCC after an eight-year hiatus from singing. “I can't tell you how excited I am to be involved in choral music again,” he said.

When not singing, Michael is a commissioned officer of the United States Public Health Service, currently detailed to the Bureau of Prisons as a clinical pharmacist at the Federal Detention Center in SeaTac. He loves spending time enjoying the outdoors, backpacking, and fishing.

He is most looking forward to having a great creative outlet and being part of a wonderfully talented group of singers who share his love for music and singing.

CLARK MCGUFFIE, BASS II

Clark most recently sang with the Esoterics, and has also sung with The Washingtonians and the Seattle Opera Chorus. In addition to choral music, he has performed around the region in musical theatre productions at the Village Theatre and ACT.

When he’s not singing, Clark is food service director for the Google campus in Kirkland. He has worked extensively in the restaurant field for 22 years.

Clark is looking forward to joining the SCC because it is an established musical organization and has a good rehearsal schedule.

SCC Spotlight on Annie Brooks, SCC’s New Accompanist

noreply@blogger.com (Seattle Choral Company) — Thu, 13 Oct 2011 22:38:00 +0000

This month we shine the spotlight on our rehearsal accompanist, Annie Brooks. While she’s new to us this year, she’s certainly not new to playing the piano. Read on to learn more about her experience, her favorite piece in the SCC’s upcoming holiday concert, and her next solo piano performance.

How long have you lived in Seattle? I was born in Seattle and grew up just north of Seattle, between Lynnwood and Mukilteo. I went to school in Bellingham, where I met my husband, David, who is also a pianist. He is currently getting his master’s degree at UW, and we moved here only a year ago.

How old were you when you started playing the piano? I started learning piano when I was in kindergarten.

What was your first piano solo? I can't quite remember the first solo I ever played, but I do remember the time I played an arrangement of "A Whole New World" from Disney's Aladdin. I think I was in third grade at the time, and I thought I was the real deal because it had a lot of accidentals and key changes. Also, "A Whole New World" is kind of an awesome song.

Where did you study piano? I earned my bachelor’s degree in music from Western Washington University, where I studied with Jeffrey Gilliam. In fact, I still drive up to Bellingham to take lessons with him occasionally, since I'm about to audition for master’s programs.

What was your first job? My very first job was at a gift store in Bellingham. There were so many days where hardly anybody would come into the shop, and we had to polish the silver jewelry for hours on end. Then I got my first church job, and shortly thereafter, a choir accompanist position.

Did you always know that you wanted to be a professional musician? Not at all! When I first started learning piano, it was nothing but a pastime. I had teachers who would try to push me to practice every day (yes, that's how uncommitted I was) and for many hours, and I always rebelled, because I thought it ruined the fun. I just wanted to play the music, not practice it! I would spend my practice time reading through reams and reams of music. It's really how I became acquainted with a lot of pieces.

What is your favorite piano piece? Hmm . . . I'd have to say the piece that I always enjoy practicing and performing would be Busoni's transcription of the Bach violin piece "Chaconne" from his Suite in D minor. It's stately and regal but with prayerful and bombastic moments as well—worth a listen for everybody! It's impossible not to like, I think. Personally, I like the piano transcription better than the original . . . is that sacrilege?

What kind of piano do you have? As students still living in an apartment, David and I are not quite ready to own a real acoustic piano, but we do have our hands on a nice, sturdy Roland. Digital pianos have come a long way, and this one makes for a great practice instrument—that never goes out of tune!

How did you first hear about the Seattle Choral Company? I've definitely seen the SCC in performances with the Seattle Symphony in the past, but I can't remember when that first was.

What’s the best thing about being an accompanist? I'd really say it's the large volumes of music and the variety of people that you get to play for, and also the fact that your role changes from situation to situation. It keeps things interesting. I play for many students in instrumental studios around Seattle, but I also get to play for professional musicians. When playing for young students, you become more of a coach; you help them along with the music and make sure they are doing what their teacher would want them to. With peers/professionals, it's a collaborative experience, where you are both/all working towards representing the music in the best way possible.

What’s your favorite piece of the music the SCC is performing in A Cathedral Christmas this December? I think that the [Jackson Berkey] arrangement of “Il est né le divin enfant” is really neat, with the Bolero rhythms underneath and the unexpected harmonies.

What are your favorite choral works overall? My all-time favorite is probably Beethoven's Choral Fantasy—not to be confused with the Ninth Symphony, which I also love. The chorus doesn't get much of a role until the end, but it's great. Vaughan Williams's Dona Nobis Pacem is one that I really enjoyed playing with the WWU Concert Choir. Also, Mozart's Mass in C minor, and Palestrina's Pope Marcellus Mass (so beautiful!).

What else do you like to listen to? When I'm not listening to classical music, I enjoy listening to Nat King Cole, but my tastes aren't really much more diverse than that!

If you could meet any musician, who would it be and why? I don't know if I'd like to meet him, but I would have loved to see Liszt play. I hear he was very charismatic and put on quite a show. I would have liked to see what the fuss was all about.

Do you play any other instruments? I played cello for a number of years in my school orchestras. I was mostly self-taught, and I wasn't very good, but I could play in tune and watch a conductor, so they kept me around!

Are you also a singer? I love to sing. I’m an alto, but I don't think my voice is very pretty!

What are you doing when you’re not accompanying the Seattle Choral Company? I play with Northwest Girlchoir, Lake City Christian Church, and many private studios around Seattle. In my spare time, I like doing arts and crafts, reading, and taking very long walks that end at food-type destinations.

Do you have any solo performances coming up? On Sunday, November 13, at 4:00 p.m., I will be playing a concert of some of my audition repertoire at Lake City Christian Church.

Anything else you’d like to add? I am very excited to be working with everyone here. It seems like a very fun group!

SCC Spotlight on Tim Chapin, SCC Auction Chair and Baritone

noreply@blogger.com (Seattle Choral Company) — Sun, 01 May 2011 17:14:00 +0000

This month we shine the spotlight on Tim Chapin, SCC baritone and our auction chair for the last six years. We are extremely fortunate to have Tim planning auctions on our behalf. He’s a professional benefit auctioneer and auction consultant for nonprofit organizations across the country. Our auctions would not be nearly as successful without him!

How long he has been working in the auction world: I have been working with charity organizations since 1991. That was the year I helped organize my high school choir auction. It became a profession in 1996 when I first was paid as a contractor. I loved it so much I decided to start a business around it.

Where he was born: I was born in the building that became Amazon.com’s world headquarters, on top of First Hill. (It was a Group Health hospital back in 1974.) I grew up on Education Hill in Redmond—before Microsoft moved in.

His first job: My first real job was a counterperson at a local electronics repair firm in Redmond. First music-related job was the manager of a local sheet music store called Virtuoso.

Childhood experiences that might have indicated he was destined to become involved in nonprofit fund-raising: Well, I was involved in fund-raisers both at my church and at my school when I was growing up, and I certainly sold my share of magazines, candy bars, and raffle tickets. But once I attended and helped organize that first auction for my high school choir, I was hooked! None of those other fund-raisers even came close to the amount of money the auction made. Sure it was more time-intensive, but the result yield on the other end was totally worth the extra work involved.

Other activities and interests: I very much enjoy cooking and baking in my spare time . . . but only with a recipe in hand.

Something we might be surprised to learn about him: I am by nature an introvert. I am uncomfortable in large crowd situations, yet I surround myself with large crowds at all of these events.

His favorite SCC auction so far: My favorite SCC auction so far was Carnival in Rio. I think the theme carried itself very well, the show was fantastic, and we definitely stepped the event up a level.

The most exciting auction moments he can recall: The first year the head table sold in the live auction for more than fair market value was an especially exciting year. Also, the first year we broke $5,000 in our dessert dash!

His favorite part about being auction chair: My favorite part of the auction is seeing the members succeed at this massive fund-raising event and seeing all the smiles on their faces when they realize that they can do it!

The most challenging part about being auction chair: The most difficult part of this is sometimes life distractions get in the way and I can’t put as much time as needed into the work, so I have to lean on my fantastic group of committee chairs a little more than I’d prefer.

What makes Seattle Choral Company’s auctions special: We are one of the few auctions in the Seattle area (and there are many auctions here) that have a dinner show. Most have 25–40 minutes of talking before the live auction begins, but we have such a talented group of performers and musicians at our disposal, and I’m thrilled that we are able to take advantage of that. Our dinner show was made even more exciting when we started involving the larger choir in a couple of the numbers each year.

Why our auction is so important: The SCC depends upon the auction every year to bridge the funding gap between what comes in from concert ticket revenues and what it costs to continue our operations on an annual basis. 35% of our operating budget must be raised on that one night, so it is imperative that the guests and the members know how important it is to our mission that the event succeed.

How he has seen SCC auctions change over the years: We started out in church meeting halls, and slowly moved to bigger and better venues. The last move from the Seattle Design Center to the Hyatt Regency was the best move of all. Our volunteers can now focus on setting up the items and rehearsing instead of worrying about moving and skirting tables. We are in a central location close to shopping and restaurants, and there are hotel rooms above us, so when the event is over our guests can go right upstairs if they choose.

Surprises he has planned for this year’s auction on May 7: Well, as far as items are concerned, the online catalog is up and available to be viewed, so no surprises there per se, but some returning friends of the Seattle Choral Company are flying in to help us celebrate this 25^th anniversary year for the auction—one from as far away as Panama!

Seattle Choral Company Seeks New Members

noreply@blogger.com (Seattle Choral Company) — Sat, 09 Apr 2011 04:40:00 +0000

We need you! We are happy to announce auditions for singers throughout the spring and summer for our upcoming 30^th Anniversary Season. Auditions are held by appointment, for experienced choral singers, now through September 2, 2011. Voices of all categories are welcome to audition. This spring, tenors and basses are particularly encouraged to audition.

We are scheduling rehearsals in May for a new CD release, “A Cathedral Christmas,” which will be performed live in December of 2011. The upcoming subscription season will include four major concert productions:

“A Cathedral Christmas,” featuring Bob Chilcott’s “Advent Antiphons,” Frank Ferko’s “A Festival of Carols,” and Andrea Gabrieli’s “Magnificat a 12.” Concert dates are December 3, 9, and 10, 2011.

“New Year’s Eve with the Seattle Choral Company,” featuring Carl Orff’s “Carmina Burana.” The concert is slated for New Year’s Eve, December 31, 2011.

“Classics Concert,” including J.S. Bach’s motet, “Lobet den Herrn,” Felix Mendelssohn’s “Drei Kirchenmusiken Op. 23,” and Anton Bruckner’s “Mass No. 2 in E minor.” The concert will be on March 31, 2012.

“Vespers,” featuring the “Vespers” by Sergei Rachmaninoff. Concert dates are June 2, 8, and 9, 2012.

All members are expected to have extensive choral experience, and to submit an audition application. At the audition, applicants will be expected to read music well and to demonstrate advanced choral singing skills. Prepared solos are not necessary.

To contact the Seattle Choral Company for an audition appointment, please call SCC Artistic Director, Freddie Coleman, at (206) 365-8765, ext 3, or go to www.seattlechoralcompany.org to download the audition application.

SCC Spotlight on Stephen Creswell

noreply@blogger.com (Seattle Choral Company) — Sun, 03 Apr 2011 19:11:00 +0000

One of the things that makes the Seattle Choral Company unique is our mission to serve the community as a "symphonic choir." That means, of course, that much of our repertoire requires performing with an orchestra. We are extremely fortunate to work with some of the most talented instrumentalists in the Seattle area, including Stephen Creswell, concertmaster of the SCC Orchestra. In this month’s SCC Spotlight, you’ll learn all about Stephen, what he has to say about our April 9 concert, and much more!

What is your role with SCC? I usually play concertmaster, or lead violinist, in every Seattle Choral Company program that includes an orchestra. Beforehand, I help find the players who fill our string sections, as well as prepare the parts with appropriate bowing and other markings so the orchestra can rehearse more efficiently.

How long have you played with SCC? I am just entering into my lucky seventh year playing with SCC. Nearly up to a dozen different programs, or twenty concerts or so.

What makes the SCC Orchestra special? It's the combination of the flexibility and the good-natured musicianship of freelance musicians here in the area that makes the SCC Orchestra special. Although the orchestra's size and personnel shift over time, there is an amazing continuity in the dozens of players who have worked even longer than myself on the Seattle scene, and who return periodically or regularly to join SCC for concerts. Plus, it's a group that meets irregularly but each time knows how to focus on the same task: to accompany and support the voices of SCC with beauty and panache.

What is the most challenging thing about being concertmaster? I used to think it was all about playing extremely precisely and making that playing clear to the rest of the orchestra, but now I realize the greater challenge is to provide a model of how the music is being made, in real time, while absolutely listening with every pore and maximum patience. This is absolutely necessary, to encourage each player and musician to be on the same wavelength, rather than trying to insist on it.

Where did you grow up? Born in Chicago, keeping to the Midwest until my early twenties, I eventually spent a few years in Toronto, Canada, and nearly a decade on the East Coast, before settling here in the Pacific Northwest.

What is the first solo you remember playing, and how old were you when you played it? It was the Marcello sonata, originally for cello or oboe and piano. There was definitely stage fright involved, but it was a lot of fun sharing the music with people.

Where did you study music? I studied with a wonderful teacher, Lyman Bodman, in East Lansing, Michigan. He introduced me to members of the Juilliard String Quartet, told me stories about meeting famous composers, such as Castelnuovo-Tedesco, plus he owned one of 19th-century conductor Hans von Bülow's cigar boxes. Later I studied with Abe Skernick, at Indiana University; he grew up in Brooklyn but also hobnobbed with Hindemith. And I afterward studied at the Curtis Institute in Philadelphia, where the Guarneri Quartet taught. All this prepared me to look at music first through the eyes of chamber music, and from a composer's view. It's a less-common preference, but complements other musicians' perspectives in a useful way.

What kind of violin do you have? My instrument is an eleven-year-old David T. Van Zandt, made right here in Seattle (in Ballard, actually).

How many instruments do you play, and what are they? I also play period-style (baroque/classical) instruments, a violin and a viola; additionally I own a viola built in the early 80s by Jon van Kouwenhoven.

Do you like to sing? If so, what voice part are you? I sing, but mostly to myself and my students. I use a falsetto to demonstrate tone colors, but it's not very reliable. My full voice is actually down in the bass-baritone range.

What are your favorite performances with SCC so far? I fondly remember the Mozart-reorchestrated version of Handel's Messiah that was the first show I helped provide a full orchestra for. But each year brings unique pieces and experiences. The Vaughn Williams Serenade to Music was memorable; it sounded fantastic in the acoustics of Benaroya Hall. There are the pieces with organ, like Fauré's Requiem, which was also at Benaroya and featured the fabulous Clint Kraus at the keyboard plus a superb double viola section in the orchestra. Earlier this season, it was a treat to perform a sonically multicultural work, at both Bastyr and St. Mark's, composed by Eric Whitacre and featuring sitar soloist Josh Feinberg.

Our April 9 concert features Haydn’s Lord Nelson Mass, Handel’s Coronation Anthem No. 3, and Monteverdi’s Magnificat Primo. Which is your favorite? What should the audience listen for? This particular program features music that is particularly well-crafted, and in three very different styles. Handel's music has the most straightforward and grandly casual communication, Haydn's the most subtlety, and Monteverdi's Magnificat a primal, Beethovenian directness.

I would certainly recommend listening to the Lord Nelson Mass as a succession of linked musical paintings, each with its communicative set of pigments, subjects (both pastoral landscapes and human tableaux), and distinctive gilt frames. The work comes from late in Haydn's career, though it represents him still at the height of his powers. So if it doesn't bowl you over with its subtleties, it’s likely to simply bowl you over anyway. He was a master of hiding the perfect within the good. Keep listening.

Coincidentally, my very first performance with SCC also featured music by Monteverdi—from the same collection of motets and other sacred settings!

What other music do you like? I am especially fond of the structures and expressions—and the musicians!—of jazz. There's something great about early Bollywood music soundtracks, the way they blend classical Hindustani elements and popular styles and no-holds-barred emotive singing. And, I try to keep up with contemporary music, both the commercial varieties and the new music made for classical instruments/voices.

What you do when you’re not playing with SCC (jobs, activities, interests)? I love reading.

What was your first job of any kind? I was a busboy at a restaurant built into an old US Post Office, called the PanTree. I got minimum wage and a putative 15% of the tips the waitstaff collected.

What is something we might be surprised to learn about you? Well, just when I got out of college, I nearly tried out for an US Armed Forces band, but if you knew how much I loved singing the "Star-Spangled Banner" when I was five years old, maybe that's not so surprising. (By the way, I have never flubbed up the words.)

If you could meet any composer, who would it be and why? It probably would be quite nice to meet Joe Haydn. He didn't have the outsize personality of Mozart, or the beautiful mind of Bach, but that's what intrigues me about meeting in person. One could pick up things about him from little gestures or habits or asides that in reality have been lost to history. Plus, I could really use a good lesson in string-quartet writing.

What is the craziest thing you’ve ever had to do onstage? In Tacoma, I once played electric viola in a new music piece in which the pianist "killed" the percussionist; to restore matters for proper bows at the end, my instructions in the score were to play a special melody, spin my bow in the air as with a magical incantation, and "resurrect" the percussionist back to life. It was weird but fun.

What do you like most about the Seattle Choral Company? From my perspective, the group seems to function like clockwork every time, coming together, being ready for concerts, primed to sing—but for every concert SCC is ready to be in the moment and deliver musically whatever is there, bringing life to the notes and words hidden in their folders. Toi, toi, toi!

SCC Wows New Audience – Video Gamers

noreply@blogger.com (Seattle Choral Company) — Wed, 23 Feb 2011 19:46:00 +0000

By Fred Dent, SCC Baritone

“Best concert I’ve ever been to!”

“I’ve never seen a live orchestra before—can’t wait for the next time!”

“The choir was awesome. I didn’t know real people sang on my video games!”

Those are comments from people in the audience when the Seattle Choral Company returned to the Paramount Theatre on January 22 to perform in Video Games Live™ (also known as VGL by those in the know) for the second time. VGL has been touring the world since its debut at the Hollywood Bowl in July of 2005, playing to packed houses at over 60 concerts a year.

In 2009 the Seattle Choral Company was invited to participate in the VGL multimedia extravaganza for a sold-out house at the Paramount Theatre, performing the wildly anticipated world premiere of the music for Halo 3. At this concert, the SCC helped present the world premiere of the music for Defiant, the next installment for the popular Halo: Reach game, to be released later this year.

The VGL shows bring to life popular games through classically arranged orchestral and choral settings combined with interactive video displays of the games, audience participation, and interviews with some of the legendary people who make the games possible. The audience is encouraged to cheer, shout, react, and participate in the entire show, creating an electrifying evening of games, multimedia presentations, light shows, and live performances of favorite gaming music.

In the words of Tommy Tallarico, VGL producer/master of ceremonies, guitarist, and pioneer of video game music, “Video Games Live bridges a gap for entertainment by exposing new generations of music lovers and fans to the symphonic orchestral experience while also providing a completely new and unique experience for families and/or non-gamers.” For the Seattle Choral Company, it was also an opportunity for classically trained musicians to perform in a new and exciting genre to audiences who may never otherwise experience a live orchestra and chorus performance. VGL spans the gulf between pop-culture entertainment and classical music in an exciting, electrifying, and unique concert experience, exposing young people to the world of live, classical-style performing arts.

This performance was conducted by arranger and composer Wataru Hokoyama, and featured Tommy Tallarico on electric guitar and Laura Intravia on vocals and flute. The audience also met two local Halo composers, Marty O’Donnell and Michael Salvatori, along with Ralph Baer, the creator of the first TV video game, Magnavox Odyssey, patented in 1972, who was interviewed live via Skype. The audience greeted all of them with loud cheers and applause, like national heroes.

The show was preceded by a crowd-pleasing costume contest, won by a very young Super Mario, setting the tone for the concert. The program opened with “Classic Arcade,” an overture celebrating video-game history, starting with the ping-pong bleeps of Pong, Atari’s original video game. The overture blends themes from video games with classics like “Flight of the Valkyries” from Richard Wagner’s opera Die Walküre (perhaps better known to the VGL audience as the music from the Bugs Bunny cartoon classic “What’s Opera, Doc?”). Meanwhile, game videos played on overhead screens amid an exciting light show. The program featured music from Assassin’s Creed, Tron, Snake Eater, Chrono Trigger, Super Mario Brothers, Halo 3, the world premiere of Halo Reach, and the popular “One Winged Angel” from Final Fantasy.

Audience members were invited onstage twice during the show to play video games projected live onto the overhead screens, accompanied by the orchestra and chorus. The adroit orchestra kept up with constantly changing game sequences with instant replays, score cuts, and reprises as Frogger attempted to cross busy thoroughfares guided by a very capable 11-year-old boy, appropriately dressed in a fluorescent frog-green sweatshirt. Later an audience member played Guitar Hero to the tune “Jump,” this time accompanied by electric guitar, orchestra, and the chorus. Seattle DJ Dan Crowdus, The Icarus Kid, joined the show after intermission to present his unique remixes of video-game sounds, creating new songs and rhythms.

The orchestra and choir members were able to relax and just plain have fun performing. The choir dramatically stood for the last four measures of the 226-measure opening “Classic Arcade” just to shout “Hey” after the orchestra cut off as if to say, “We’re here too!” During “Jump” Tommy Tallarico jammed with an orchestra cellist rock-and-roll style while the choir made Maestro Hokoyama grin by jumping and shouting “Jump” on cue several times. Cheers from the audience for their favorite melodies or characters appearing overhead during the performances brought smiles to the faces of everyone on stage.

We had fun, the orchestra had fun, the soloists had fun; but more importantly, the audience had the “time of our lives.”

SCC Spotlight on Kimberly Russ

noreply@blogger.com (Seattle Choral Company) — Tue, 15 Feb 2011 19:22:00 +0000

One of the MVPs of the SCC is often not onstage with us during concerts, but we wouldn't be nearly as prepared without her. This month’s “SCC Spotlight” features our rehearsal pianist, Kim Russ. Kim flawlessly accompanies us—sometimes playing more parts at once than you would think was humanly possible. She also patiently plays our parts when we're still learning notes.

Role with SCC: I am the rehearsal pianist for the Seattle Choral Company.

Hometown: I was born in Tampa, Florida, but grew up in Orlando.

How she first heard about SCC: From my dear pianist friend, Jennifer Bowman, who suggested that Freddie call me to audition for the position.

Her piano: I have a Kawai KG-2C.

Her favorite piano piece: Any music of Frédéric Chopin.

Her favorite choral works: Any that are performed well.

What she’s been listening to lately: I will listen to most anything. I particularly enjoy KUOW’s “The Swing Years and Beyond,” every Saturday evening, 7 p.m.–midnight. This is quite relaxing for me. I love traditional big band music, Frank Sinatra, Mel Tormé, Ella Fitzgerald. I also enjoy some rap, and I am becoming more interested in country music.

What it’s like to be an accompanist: The most difficult thing is being able to read “open score,” when there are many lines to read at the same time. The best thing is the exposure one receives to so much repertoire. The most important thing to being a good "accompanist" is being able to sight-read. This helps speed up the learning process and is handy if you don't receive the music ahead of time. I prefer to use the term collaborative pianist as opposed to accompanist. I learned this term while studying in New York City at Juilliard. It is more politically correct in terms of acknowledging pianists as instrumental musicians. However, I am not snooty about it. After all, if Gerald Moore was unashamed, I can live with that too.

How your collaborative piano degree prepared you for the work you do now: More repertoire exposure, learning music at a fast pace, working with others in preparation for classes and performances. Juilliard also has a class that all keyboard players must take called Keyboard Skills. This was a useful class in that they taught many fundamentals of playing the keyboard: transposition, reading open score, sight-reading techniques, etc.

What she does when she’s not rehearsing or performing with SCC: My main job is as Resident Pianist for the Seattle Symphony. I also am the rehearsal pianist for the "other chorus" in Seattle. I do many freelance jobs as well, such as recitals, recordings, and the like. Occasionally, I perform as soloist with some of the local and regional orchestras.

Favorite SCC performance so far: I enjoyed the Town Hall performance of Joplin's Treemonisha.

When she started playing the piano: I was five years old when my aunt took me to begin piano lessons.

Her first solo: I suppose “Für Elise” by Beethoven is the first memorable performance as a child. It is a popular one.

Composer or pianist she’d like to meet: Well, I am very lucky, because I get to meet famous composers, pianists, and conductors every week at the symphony. One I feel was memorable to meet and interact/play with was Rostropovich. He gave me a nickname, Kimuchka.

Her first job: My first job was in high school. I was a cashier at the local Publix supermarket. I remember how excited I was to be making $3.85 an hour.

Other instruments she plays: I play the celeste, harpsichord, synthesizers, and occasionally organ at the symphony. I played the flute in middle school for about two years. Made All-County Band. Woohoo!

Her singing background: I like to sing but have been told I probably shouldn't. ;-) I would probably want to sing Alto I.

The most exciting or unusual place she has ever played the piano: Under a tent outside in the pouring down rain last summer for the Snoqualmie Valley Music Festival at Mountain Meadows Farm. It was really, really wet.

How many times she practices a piece of music before she performs it: Too many to count.

The longest stretch of time that she has gone without playing the piano: I stopped playing for about two years in my mid-twenties. Difficult time of life.

Advice for those learning to play the piano: Stick with it. Whether planning to pursue it as a career or not, the discipline of study requires that we be diligent in consistency and continuity. Too many people just quit things if they don't feel they are good at them.

What she likes most about the Seattle Choral Company: I love that the Seattle Choral Company continues to improve every season. I suppose this goes along with the last question about learning. The other aspect I love is the sense of family.

Her dream vacation: At this point in my life, there are still so many different places I would love to travel. There are many places in Europe I have yet to go. I have always wanted to visit Hawaii. But, I suppose the best vacation is one where I can eat what I want, do what I want when I want, and not have to work.

SCC Spotlight on Carmina Burana Tenor Soloist Paul Karaitis

noreply@blogger.com (Seattle Choral Company) — Thu, 16 Dec 2010 02:13:00 +0000

The Seattle Choral Company’s many performances of Carmina Burana over the years have left us with many memories—from heavenly to hilarious. In this month’s “SCC Spotlight,” tenor soloist Paul Karaitis, aka the Swan, shares his favorite Carmina moments. Read on to learn about the rubber chicken episode, Skippy the Wonder-Lobster, and the swinging chorus platform!

How many times have you sung Carmina Burana with the Seattle Choral Company? Well, let's see . . . I would have to think somewhere in the number of several hundred times (like, say, at least 200?). My total for all lifetime performances is closing in on around 1,000 at this point. If I wanted to give you the exact number of SCC gigs, I probably could, but that would mean looking into my archives, which is a rather scary undertaking.

What year did you sing Carmina with SCC for the first time? Something in my memory says back in The Previous Century . . . namely, within the first couple of seasons of the company's existence, so that would have been at least 1982 or '83. I can claim quite a long association as a guest performer with SCC—my first performance of any sort was doing Gilbert & Sullivan's Trial by Jury, back when SCC was still known as the City of Light Choir.

What do you like best about Carmina? Oh, all of it! The rhythms, the orchestral shadings, the massed choral numbers, the solos, the erotic poetry . . . the whole delicious spätzele enchilada! There's truly something in it for everyone.

What is your solo—"Olim lacus colueram"—about? This solo is one of the few examples of "life after death" in the arts. Basically, it is a now-dead swan reminiscing from the afterlife about how once he used to be a beautiful bird; after that, he tells of what it's like being roasted on a spit, and the final verse is his reaction to being served up on a platter to hordes of hungry patrons in a tavern. The stuff of nightmares, indeed!

What is the best thing about playing a roasted swan? The worst part? Best thing? Well, if one is a tenor, it's the only solo one has to sing in the entire work; pretty easy. The worst? That it's just one solo.

What do you have to do to prepare for such a challenging—and very high—aria? Me? Not a single thing. The aria is the easiest thing in my repertoire; always has been. Yes, I am a freak. But that's just me—'Not Your Usual Tenor Soloist'!

What are you some of your favorite experiences singing Carmina with SCC? Hands down, almost any time we did it at the 5th Avenue Theatre; those were always very special, memorable times.

Some of us have heard rumors of a “rubber chicken episode”! What’s that all about? Ahhhh, yes. The Infamous Episode. One of my most-favorite memories. One year, in keeping with my tradition of putting some little shtick into the solo, I realized I'd never used a rubber chicken while singing the thing. That had to be remedied one year. Before going onstage, I secreted said chicken in my tailcoat under my armpit, and when the third verse came around, I whipped the chicken out and sang to it, then walked offstage cradling it like a little baby. Obviously, there are still people out there who remember it! (I'm always reminded of it because the chicken has taken roost on top of the grandfather clock in my hallway.)

Have you thrown in other bits of comedy over the years? Surely you jest—I am a tenor! But seriously, folks . . . of course! My other favorite, beyond the chicken, was the one-time appearance (at the 5^th Avenue) of "Skippy the Wonder-Lobster." This was a huge (at least two to three feet long), lifelike, bright-red plastic lobster, which was the mascot that lived on top of the stage manager's console. I saw it there at the first rehearsal and thought it would work out well in some fashion for Carmina. So the night of the performance at intermission, I had the stage manager preset Skippy onstage behind the monitor in front of my chair under a large white napkin; just before the third verse of my solo, I bent down, picked up Skippy, whipped off the napkin, and sang to it, much to the delight of the audience. I then walked offstage in full view of everyone, petting it consolingly as I went. There are many other amusing bits, including miming various bathroom functions, plus the usual feigned shock and horror that have established my hold on the role of the Swan in the concert world.

Are you planning any surprises for the upcoming SCC production on New Year’s Eve? Well . . . that would be letting the rubber chicken out of the bag, now wouldn't it? You'll just have to show up and see what happens!

Can you share with us some memorable moments from singing Carmina with SCC and the Pacific Northwest Ballet? Sure! Over the course of almost 20 years' performing that work with PNB, there are many. Of course, I had the best entrance of any of the vocal soloists: I was carried in standing up on the shoulders of the male corps de ballet—you couldn't miss me. Every performance with PNB was special, not only due to the lighting and effects, but the massive Wheel of Fortune hanging unmistakably over our heads (it weighed at least three tons and was so large it needed its own 747 to carry it everywhere we went!). The set would almost always get a huge round of applause every time the curtain went up at the beginning—and rightly so, it was impressive.

Do you remember the time that something went wrong with one of the cables holding up the platform that the SCC was on? The singers were swinging back and forth above the dancers, but the show went on. Yes—that was during a performance with PNB at the Opera House. Apparently, one of the many (like over 15) steel guy-wires tethering the chorus platform snapped after the platform had been hoisted into place, just before the curtain went up, causing the platform to sway back and forth until the momentum stopped. I noticed it swinging when I'd gone to the side of the stage to watch the opening number and remember thinking, "Uhm, gee . . . I don't think THAT'S supposed to happen!" There was really no danger of anything bad happening, because there were many fail-safe cables in place to prevent an accident, but I'm sure it was not a fun moment for anyone in the chorus!

What do you like most about the Seattle Choral Company? Your commitment to performance and communication as a group has always been amazing, to not only myself but many of my colleagues who have performed with you over the years. Don't ever stop!

Anything else you'd like to add? Nothing beyond paraphrasing a certain fixture on the Seattle concert scene: It's gonna be a great show. Don't miss it!

New Docent Program To Be Launched This Christmas

noreply@blogger.com (Seattle Choral Company) — Sun, 21 Nov 2010 21:57:00 +0000

This year, when you come to “A Cathedral Christmas,” we encourage you to arrive one hour before the performance. At that time, you will be greeted by members of the Seattle Choral Company who will be playing a new role. For the first time, our singers will serve as docents, who will guide you through our hands-on lobby displays, giving you in-person information about our concert music, our guest artists, and the Seattle Choral Company itself.

“Audiences today want to learn much more about the concert experience,” shares SCC conductor Freddie Coleman. “This is the age of reality TV, and people like getting inside information about the making of the music, how the preparation has affected the lives of our singers, and what to listen for during the concert. Program notes are fine and have their place, but we hope that by talking directly to our performers and guest artists, the music will be heard on a whole new level. I really hope that listeners will enjoy this new concert feature.”

After hearing from our singer-docents, you can enjoy a carol sing-along, led by Maestro Freddie Coleman! The sing-along will start one-half hour prior to concert time.

Christmas Venues Hold Memories for the SCC

noreply@blogger.com (Seattle Choral Company) — Sun, 21 Nov 2010 21:51:00 +0000

We are pleased to present “A Cathedral Christmas” for the third consecutive year in the magical, spacious acoustics of Seattle’s Saint Mark’s Cathedral. The cathedral holds a number of musical memories for the SCC, beginning with the recording of our first commercial CD, “The Moon Is Silently Singing,” in 1994. We have also presented the Seattle premieres of some important choral works there, including Arvo P ärt’s “Te Deum,” Roxanna Panufnik’s “Westminster Mass,” and Bern Herbolsheimer’s “Dos Sueños,” which was composed to be sung at Saint Mark’s by the SCC.

This holiday season, we are excited to unveil yet another major choral work for our Seattle audience at the cathedral—Eric Whitacre’s dreamy soundscape “Winter,” featuring Portland sitar virtuoso Josh Feinberg. The cathedral’s six-second reverberation time makes it the perfect venue for this engrossing journey in sound.

Our Eastside production of “A Cathedral Christmas” takes us to Bastyr University Chapel in Kenmore for a second year. Listeners love the bright acoustics at this intimate and ornate venue. Formerly a Catholic sanctuary, the Bastyr Chapel remains one of the Eastside’s primary concert halls. The SCC recorded “Carmina Burana” in the chapel in 1990, and over the years following, we have made many recordings there for the Hollywood film industry.

SCC Spotlight on Ann Schlagenhauf

noreply@blogger.com (Seattle Choral Company) — Tue, 16 Nov 2010 20:42:00 +0000

It’s not just the musicians onstage who make the Seattle Choral Company a success. We couldn’t do what we do without all of our amazing volunteers behind the scenes! This month we shine the spotlight on Ann Schlagenhauf, the recipient of SCC’s 2010 Community Service Award.

Years of involvement with SCC: I’ve been an avid fan for 17 years and a volunteer for about 12 years.

Current role with SCC: Lobby experience manager

Other volunteer jobs with SCC: I have done ticket sales/will call for performances at Benaroya Hall, the 5^th Avenue Theatre, Town Hall, and Meany Hall. I have also volunteered as an usher and lobby coordinator for many concerts. For several years, I assisted with setup of the silent auction, and the last two years (with some wonderful assistance), I designed and installed the live auction preview. Helping with the live auction is a lot of fun. I find myself thinking about props as soon as the theme is announced. I’m so glad I can participate.

How she first heard about SCC: In 1993 my husband, Jerry (SCC tenor), and I were invited to hear the SCC production of the Brahms Requiem. After the concert, we both thought that it would be a wonderful group for Jerry to sing with. He auditioned, and the rest is history!

What she does when she’s not helping the SCC: For over 22 years I have worked at the University of Washington Medical Center’s Division of Gynecologic Oncology as an administrative assistant. I work with six busy academic physicians/surgeons/researchers and administer the fellowship program. The work is fascinating. The physicians like to say I run their lives, but I really try not to. Outside of work, I love art—color, texture, form. I have a project room at home where I like to play at being artistic.

Musical background: I am not at all musical. I took piano lessons for four years as a child, but when my parents finally had to shut the door after hearing “Tammy” too many times, I decided to give up the piano as a career choice. In grammar school I recall that when I was called up to sing as part of a group to determine which part of the chorus I would be in, I merely mouthed the words. My father was an avid jazz enthusiast and had a complete drum set, which he played at every opportunity. Jazz was the only music we listened to. It was my husband who first introduced me to classical/choral music through his own choral work in high school. I still love listening to him sing!

Most interesting behind-the scenes moment with SCC: I really cannot pinpoint just one moment. Working in the lobby on the displays and coordinating activities in the lobby keeps me very busy, and all the moments just fly by. However, blowing the circuits at Bastyr with our hot apple cider and moving the urns from one outlet to another so the cider would be hot and ready for concertgoers was a memorable challenge. We’re hoping not to repeat that this year!

What she likes most about SCC: The opportunity to listen to the music. I am not always familiar with the works to be performed but am fortunate to be able to listen to the practice CDs while we commute to work. By concert time, I am truly excited to hear how SCC will wow the audience with their voices. Freddie’s choices of music, staging, etc, amaze me. How talented that man is!

Her favorite SCC performance so far: The Fauré Requiem is my favorite. It brings tears to my eyes each and every time.

What she’s looking forward to this season: I look forward to it all. I enjoy preparing the displays, doing a little research to learn about the composer and the music to be performed. I am very excited that SCC will be performing “Carmina Burana” again this New Year’s Eve. I’ve missed the annual performances.

Other volunteer jobs: I have worked with the Edmonds Arts Festival for over 20 years in a variety of roles, from president to director of the artists’ booths on the field to the juried show inside the old Frances Anderson Center in downtown Edmonds.

With so many worthwhile nonprofits out there, why she chooses to spend her time volunteering for SCC: The group under Freddie’s direction has brought an amazing collection of magnificent choral works to the community. I cannot imagine being without it—it certainly stirs my soul, as it clearly does for each singer.

Why others should sign up to volunteer with SCC: Why not? It’s a fun, dedicated group of people. I can’t think there are many other opportunities to be surrounded by such talent. Being able to hear the concerts free as a volunteer is just icing on the cake!

SCC Selected as Guest Artists for Children’s Hospital Benefit

noreply@blogger.com (Seattle Choral Company) — Mon, 25 Oct 2010 05:52:00 +0000

Mateo Messina

On November 5 at Benaroya Hall, the Seattle Choral Company will appear in “Primal Symphony,” the thirteenth annual Symphony Guild benefit concert for Seattle Children’s Hospital. Also performing will be “American Idol” first runner-up Blake Lewis, known best for his beatboxing; Seattle rock band Barcelona; and 13-year-old singing sensation Claire Nordstrom.

“Primal Symphony” is the creation of film and television composer Mateo Messina. Each year for the last twelve years, Messina has composed and debuted a special work for the Seattle Children’s Hospital benefit concert. A native Seattleite now living in Hollywood, Messina won a Grammy in 2009 for his soundtrack of the movie “Juno,” and has received “best score” awards at film festivals all over the world. His inimitable style of songwriting and composition has earned him accolades throughout the film and recording industry.

Proceeds from the concert benefit uncompensated care at the hospital, which ensures that all children in our region are cared for regardless of their families' ability to pay. Other local music groups will also be onstage, including the Northwest Boychoir, the Northwest Chorale, the Seattle Men’s Chorus, and the Northwest Symphony Orchestra. More information.

Friday, November 5
8:00 p.m.
Benaroya Hall

SCC Spotlight on Singers Jason Brittsan and Jennifer Ceresa

noreply@blogger.com (Seattle Choral Company) — Thu, 14 Oct 2010 21:37:00 +0000

Ever wondered what our singers do when they’re not performing with the Seattle Choral Company? Each month we’ll shine a spotlight on some of our singers, staff, and volunteers to let you behind the scenes of their onstage and offstage lives. This month we feature Jason Brittsan and Jennifer Ceresa, our soloists for A Cathedral Christmas.

SPOTLIGHT ON JASON BRITTSAN

Roles with SCC: Baritone, webmaster, and vice president of the board of directors

Year he joined SCC: 1999

Hometown: Convoy, Ohio (aka a very small town—my nearest neighbor was about a mile away)

Why he chose to sing with SCC: I love the variety of programming that we do! In the past few years, we've done a wide range of classical works in different languages. We've also done tango, Celtic, video games, musicals, and more.

What he’s been listening to lately: Well . . . there’s the concert study CD, of course. Also Pink Martini, Linda Eder, Paris Combo, and Chet Baker.

What he does when he’s not singing with SCC: I work at Microsoft as a senior program manager on the Exchange product team. I also do some website work on the side. (Check out http://www.seattlechoralcompany.org.) I sing and do solo work with a few other groups, including Illumni Men’s Chorale. I love to cook. I also love wine. I’ve recently gone back to exercising. It was necessary because of the eating and drinking!

Favorite SCC performance so far: Fauré Requiem and the Lauridsen Lux Aeterna concert

Something you might be surprised to learn about him: When I was looking at colleges, I was dead set on majoring in vocal performance. My dad strongly encouraged me to do a double major. So I started as a double major in vocal performance and computer science at Millikin University in Decatur, Illinois. Partway though my sophomore year, I decided that I really loved music, but I didn’t want to make it a full-time career; making it a full-time job was killing my love for music. So I decided to major just in computer science and get a minor in music. Now I get to do what I love for work and play. Thanks for the good advice, Dad!

First solo: I was probably about five or six years old when I sang my first solo in church. The first classical solo I sang was in junior high for the Ohio Music Education Association Solo and Ensemble Contest. I sang “Now Shines the Fullest Splendor of Heaven” from Haydn’s Creation.

Crazy onstage moment: In college, I sang the role of Bartolo in The Marriage of Figaro. We wore white makeup and period costumes—including pointed shoes with tall heels. Learning to walk in heels was a new experience for me. I fell down quite a few times!

First job: I was a busboy and host at Bob Evans during my junior year of high school. Between high school and college, I was a survey assistant at the Paulding County Engineer’s Office (in other words, I walked through ditches all summer and held up a surveying post).

Foods he couldn’t live without: Italian food. I love spaghetti and meatballs! And if you want the best spaghetti and meatballs recipe in the world, check out Gourmet magazine’s website: http://www.gourmet.com/recipes/2000s/2009/01/spaghetti-and-meatballs.

Other instruments he plays: Piano and tenor saxophone (from a long time ago).

Most unusual place he’s ever sung: When you join the Exchange team at Microsoft, they introduce you at a team all-hands meeting. They ask you to introduce yourself, and either talk about your favorite movie or sing a song. I blanked on picking a favorite movie, so I led the group in a rousing chorus of “Jingle Bells.” Later I learned that no one had ever picked the singing option.

Dream vacation: I’d love to travel in Europe for a few months. I love Italy, Germany, and Austria, and would like to visit France and more of Central Europe.

What he likes most about SCC: I really enjoy the people of the SCC! They're great people who care about making beautiful music together.

SPOTLIGHT ON JENNIFER CERESA

Roles with SCC: Assistant director, resident soprano soloist, and vocal coach

Year she joined SCC: 2007

Hometown: Boise, Idaho

Why she chose to sing with SCC: I was introduced to the Seattle Choral Company by one of the other resident soloists, who was also a longtime friend from college. I filled in as a soprano for a recording session the chorus did one summer, and was then interested in working with the group on a regular basis. I auditioned for Freddie, and here I am!

What she’s been listening to lately: Michael Bublé, movie soundtracks, various opera arias, Joni Mitchell, Diana Krall, Celtic music, and Greg Laswell.

What she’s doing when she’s not singing with SCC: I am a single mom to four busy kids. I sing with the Seattle Opera Chorus, teach private voice and piano, and teach voice for Pierce College; conduct my church choir; and fill my duties as a soccer mom times three. If I had any spare time, I would go for long drives, do some swimming, sing more, and maybe find a new hobby.

Favorite SCC performance so far: Brahms Requiem

Something you might be surprised to learn about her: I taught myself how to play the piano, and spent five years playing jazz piano for the school choirs.

First solo: I was three years old, and I sang "I'm Gettin' Nuthin' for Christmas" at our church Christmas party.

Crazy onstage moment: While singing in the chorus for Seattle Opera's Pearl Fishers production, we had to do a slow-motion drop to the floor and sing one of our choruses sprawled out on the floor, slithering like snakes. Didn't expect to be doing that in opera!

First job: Working in the salad bar and floral department at Albertsons.

Foods she couldn’t live without: Coke, pasta, and chocolate.

Other instruments she plays: Piano, a little organ, viola, and violin.

Most unusual place she’s ever sung: I haven't sung anywhere that unusual, but I did work as a singing waitress at an Italian restaurant in college.

Dream vacation: Italy!

What she likes most about SCC: The thing I enjoy most about the SCC is the people. The chorus really does function much like a family. I have enjoyed working with a group of people who are genuinely eager to learn and grow, to think and work and push themselves to achieve greater levels of singing and music-making. Most of all, I have personally benefitted from having so much love and support and friendship from the members of the choir. They are wonderful people who love and respect one another, and are united in purpose in their quest to make beautiful music and share that with others. It doesn't get any better than that!

Preparations

noreply@blogger.com (Seattle Choral Company) — Tue, 13 Apr 2010 22:39:00 +0000

As the members of the Seattle Choral Company gather on April 6th for our regular Tuesday night rehearsal, we are less than a month away from singing Ein deutsches Requiem (A German Requiem) at Benaroya Hall. We brought in video and still cameras to record our rehearsal to share a bit of an inside look at our rehearsal with you and with each other. The three minute movie has excerpts of us singing from the first movement: "Blessed are they that mourn: for they shall be comforted." This is fitting as we remember our colleague Robin Lynn Hall, a longtime member of the Seattle Choral Company who passed away, last December.

In Memory...

noreply@blogger.com (Seattle Choral Company) — Tue, 19 Jan 2010 06:19:00 +0000

In memory of Robin Lynn Hall, Seattle Choral Company 1st Soprano who passed away from breast cancer on December 29, 2009.

We thank you for your musicianship, your commitment to the Seattle Choral Company and most of all, your lovely, strong soprano voice. May you sing evermore in heaven, and may you continue to inspire us to achieve those moments in song when time seems to stand still and our audience is taken to a place of peace and joy.

Goodbye dear friend. We will all miss you.

Looking back and looking ahead...

noreply@blogger.com (Seattle Choral Company) — Thu, 05 Nov 2009 15:21:00 +0000

A few thoughts on last season’s Great Mass by Mozart and looking ahead to holiday performances

Being in a choir is kind of like being in a revolving door – you spin around in rehearsals for a while, jump off for a performance, and then jump back in again for rehearsals for the next stop. The last stop was for Mozart’s Great Mass in C Minor, performed last April at Benaroya Hall, and at present we are spinning around through intensive rehearsals for our next stop in December for a series of what will be spectacular holiday concerts.

Mozart’s Great Mass was the last mass Mozart wrote, reputedly to celebrate his marriage to Constanze Weber. It was unfinished at his death, but was later completed in 2004 by Mozart scholar Robert D. Levin. It presents, therefore, a series of unique challenges as the completed work, with the movements by Mr. Levin, adds different tonalities and styles which clearly embrace but also diverge from Mozart’s stylings. Last April, regardless of the authorship of the music, from the first notes of the Kyrie to the Dona Nobis Pacem, the orchestra and choir delivered a stunning performance, greatly enhanced by the contributions of soloists Jennifer Ceresa (Soprano I), Juliana Rambaldi (Soprano II), Christopher J. McCafferty (Tenor), and Victor Benedetti (Baritone). In the spring, the SCC will undertake another great work, this time Ein deutsches Requiem by Johannes Brahms.

After a respite over the summer, the SCC reconvened this fall with a new season’s programming, starting with the upcoming holiday concerts. On December 5th, the choir will perform at the Bastyr University Chapel in Kenmore and on December 11th and 12th at St. Mark’s Cathedral on Capitol Hill, offering A Cathedral Christmas. Both venues offer spectacular acoustics for a holiday program composed of glorious music for women's and men's voices as well as for the full SCC chorus.

The program consists of Holiday classics including traditional favorites in contemporary settings as well as some less known but equally enjoyable holiday music. Among those you may not know, but appealing to the Scandinavian heritage that permeates Seattle, is a song performed by the men of the SCC, Jõulud Tulevad by Veljo Tormis. In all honesty, it feels and sounds like a drinking song, but what would the holiday season be without a bit of warm holiday cheer? The treble voices of the choir are featured on A Ceremony of Carols by Benjamin Britten, with text from medieval Christmas carols, which he wrote during a month-long Atlantic crossing. Always a favorite, the SCC will also be performing Franz Biebl’s setting of Ave Maria, which was originally scored for men’s voices but later rearranged by the composer himself for full choir.

The choir will also perform Over the Skies of Israel, a piece written by Robert Seely for Seattle’s own Men’s Chorus in 1999. In 2002, the SCC premiered a new arrangement by Mr. Seely for full choir, and we are again proud to be performing this work, a reflection on the spirit and prayers of Hanukah. Joining the chorus as guest artists will be harpist, Bethany Man, the Bells of the Sound hand bell choir, and organist Thomas Joyce.

We hope you will be able to join us for these wonderful performances which, I can guarantee, will provide a few moments of respite, reflection, and enjoyment during the always busy holiday season.

~James Newton, Tenor

SCC SINGS STAR WARS!

noreply@blogger.com (Seattle Choral Company) — Fri, 16 Oct 2009 03:24:00 +0000

I’m sitting on the bus with about 50 other SCC singers, just arriving in Tacoma to pick up a few more as we head down to Portland for our second Star Wars in Concert performance. Last night we had the time of our lives, performing with an 85-piece orchestra and Anthony (C-3PO) Daniels in a grab-the-edge-of-your-seats multi-media light speed trip through the galaxy. Complete with flames, lasers, movie clips, a colossal HD jumbotron screen, and Mr. Daniels’ impeccably delivered narration, the show described the entire Star Wars saga, as the orchestra and singers (us) sent the listeners into orbit.

We arrived around 4 pm and wove through the backstage choked with cables and impressive looking equipment that took up at about 12 semi-trailers. Before our call we had time to wander around and see the immense size of everything involved in this production. The video clip at the bottom of this post shows what it looked like before the audience was there- a pale imitation of the actual performance! But if you really want to see fireworks from the audience's perspective, check it out, this is us at Key Arena*!

It took more time to get us lined up and into our seats than to rehearse our 2 numbers. (Why is it always so hard for choirs to line up?) To our surprise, the conductor, Mark Watters, did not ask for a repeat, courageously assuming we knew what we were doing and would behave like professionals. Of course! Then we had time to tour the lobby which had Star Wars displays of costumes and props such as the guns they used for different characters, and any number of video screens showing the growth of ideas from sketches to fantastic animals and space vehicles used in the various shows.

Finally it was show time! We lined up more quickly, and moved onstage through a dense CO2 fog, with scrim-type curtains surrounding the stage. We all wondered exactly how they would part so the audience could see us, and watched in amazement as some of the scrims whisked up to the ceiling and others dropped to the floor. The audience went nuts about that time, and when the main Star Wars theme came on, the noise was deafening. Then it was our cue. It’s always a bit nerve-wracking singing with a strange conductor and this time was no exception. The music is not difficult in terms of notes, but the rhythms of John Williams are very complex and the orchestral score kept us on our toes, counting, counting, counting. But it did go much better than the rehearsal and we got wildly enthusiastic applause and cheers. As we waited through the first half of the program for our second piece, we could hear Mr. Daniels’ narration but couldn’t really understand what he was saying. We were aware of images above us and to the side of us, but really didn’t have any idea just how much of a sensory blast the audience was getting. I’m glad we now have someone’s video of The Duel of the Fates (see link above)

It was over too soon. We exited at intermission and quite a few of us took advantage of comp tickets and stayed to watch the second half. It was a mind-boggling experience to see what we’d been a part of. And now we get to do it all over again in Portland!

~Ann Griffin, Alto

*a little legal note: the YouTube video embedded above was NOT taken by the SCC or any of it's members. The video below, which illustrates the size and magnitude of the space, however, was taken by me. :-)

Teaser, or Get Ready for 2009-2010

noreply@blogger.com (Seattle Choral Company) — Wed, 10 Jun 2009 04:28:00 +0000

Well kids, it looks like next season is going to be quite something! We have two spectacular concerts lined up, and some really exciting things in the works. Be sure to check back to the Seattle Choral Company website regularly, and just for you out there in the blogosphere, here is a sneak peek at the "look" for next year's Seattle Choral Company Auction... Isn't that DeLovely? ;-)

Keep the Music Coming!

~Kathy, Soprano

The SCC Auction – a great time and successful event!

noreply@blogger.com (Seattle Choral Company) — Tue, 19 May 2009 00:46:00 +0000

This past Saturday, the SCC put on its annual fundraising event, the basics of which was discussed on this page previously. It’s an amazing evening that has more things to coordinate than a wedding, more people working at it than a convention, and more stress involved than having to move across country (if for no other reason than if this event doesn’t do well, the SCC would be, in all honesty, in tough straits financially).

The Mambo Italiano, as the auction/dinner/show was known, came off better than even the most optimistic forecasts. First and foremost, the bottom line: our incredibly generous guests made the auction one of the most successful ever and ensured that the SCC will continue on in these tough economic times. To them I’d like to say, and I think I can do so safely on behalf of the entire choir, it’s staff and friends, a most sincere thank you. Without your support, quite simply, the SCC would cease to be, and no one wants that, I don’t think.

As for the evening itself, it was, in no uncertain terms, a heck of a lot of fun! For starters, many of the guests got in the spirit of things and came in outfits to fit the theme. The silent auction provided great opportunities for everyone to get involved, and the live auction was incredibly energetic and enjoyably competitive. The band, led by bassists and arranger Phil Demeree was, to put it mildly, fantastic. And while I may be biased since I was in the show, but the singers did a great job with some real Ratpack-era Italian American classics. After getting to know this music I can see why many households have a picture of Sinatra right next to their picture of the Pope!!

Moreover, the true generosity of donors and buyers alike came to the forefront, and some did on the spot as items were added to the live auction while it was on-going. For example, our Director, Fred Coleman and his partner, Randy Fisher, annually donate an incredible dinner for ten in their home. As two bidders battled back and forth for the honor of enjoying this meal, Randy and Fred decided on the spot to add a second such dinner so both parties could win, and win they did! [Now I just have to figure out how to get myself invited…… ;-) ]

Across the board, from the staff of the Bellevue Hyatt Regency where the event was held, to the lights and sound crews, to the performers and Phil and the rest of the band, and most important to the folks who volunteered so much of their time to set up the actual auction, a "yes we can!" spirit permeated the evening to make it the incredible success it was. Not a bad way to get a great meal, a fantastic show, enjoy some great company, and to come home, with or without having won anything in the auction, knowing that you had supported an incredible and important arts organization in Seattle!

Oh, and one last thing: there is no rest for the weary, however, as planning for next year’s auction is already underway. The theme, you ask? Well, let’s put it this way, “It’s Delovely.” If you like Cole Porter, this could the event for you!

~James Newton, Tenor

History & Mystery of the "Great" Mass

noreply@blogger.com (Seattle Choral Company) — Sat, 18 Apr 2009 20:49:00 +0000