I think a huge part of what I do is acceptance: of uncontrollable circumstances (humidity/lack thereof), of physical limitations (bodily fatigue), and of structural happenstances (limited availability of roles).
It can be moderately disheartening to work particularly hard without feeling as if any progress has been made, even though I know it's entirely irrational to expect tangible differences in technique with each and every practice. Some days are just meant to be spent honing and building strength to prepare for a big breakthrough to come. I just wish those days could feel a little more satisfying.
The good: It looks like I'll be taking on a student. Possibly very soon!
The bad: The San Diego Opera Chorus is taking on a minimal number of females for next season :(
The meh: I sound the same as I did yesterday.
For the next few days, I will be laying aside the Donington text I've been reading (the smaller book on opera history) and diving purely into readings on pedagogy. If I'm going to be tackling my very first beginner, I'd better do it right. It's one thing to instill some technique on college-aged music-hobbyists. It's something else to build a good foundation for a budding youngster. This terrifies me more than any stage commitment ever has. I want to do right by this kiddo and impart as much as I can possibly offer her.
Of course this entails me not coming off as the child-phobic jerkface that I am. Cultivating some patience. Empathizing with the strengths and weaknesses of others. I've never been much of a softy (just ask the sopranos i was section leader of back in choir...) and I could probably use some practice in the subtle arts of gentle instruction and free-flowing encouragement. Nix that. I could definitely use some practice in the aforementioned. Jennifer, this could be the challenge of a lifetime.
If anything, I hope I end up just like Phil :)
Subscribe to:
Post Comments (Atom)
Posts
No comments:
Post a Comment