My first little blog…
Visiting Eschenbach, Switzerland with JP & Tanji
Hello friends!
I’ve never written blog posts, but what better time to start!?
After years of being relatively inactive and passive online, I’ve come to realise that there is much more to keep everyone updated on: Backstage wins and losses. Challenges with music. What I get up to while travelling. The list goes on.
I thought I would start with my recent contract with Opernhaus Zürich on the L’Orfeo production!
This production of L’Orfeo was premiered last year. The cast was so excellent and it became very obvious that we had a wonderful energy together. Overwhelmingly, all of my cast members were incredibly talented and well experienced in the Monteverdi style. I have had imposter’s syndrome in the past, but while rehearsing the opera last season, I felt it immensely.
Performing as La Speranza; Krystian Adams performs as Orfeo. 📸: Monika Rittershaus
I had the same feeling as learning how to drive manual after having driven automatic my whole life... but surrounded by Nascar drivers. I know how to sing… but I never sang Monteverdi professionally, and here I was surrounded by the world’s best. It was humbling.
I had the completely wrong impression of how Monteverdi was meant to be sung. Or maybe not wrong exactly, but let’s just say there are two camps when it comes to this style among the Monteverdi experts (or so I understand, don’t @ me!) :
Rhythmically precise and faithful to the score
Rhythmically free and flowing with the language
Had I known there were two camps, maybe I would have prepared for both. My ignorance was against me. I went all in on camp two, but it turns out that going from free and flexible back to strict and exact is harder than the other way around. And uhhh… we were doing option one 🙃🙃🙃 That took some quick re-learning. As someone who hates being unprepared, I really didn’t enjoy that moment.
Once I had locked into the rhythmic style our conductor wanted, the second step was to implement the vocal technique, for which I was also ignorant. Our conductor wanted a lot of straight-tone and word painting. He encouraged pop-like singing, scoops, glides. It took a while to get the hang of, but once I got the style into my voice, I began to feel a lot more free. We ended up having a great run, despite my rocky start.
Performing as Proserpina, goddess of the underworld; Mirco Palazzi as Plutone, Miriam Kutrowatz as Euridice. 📸: Monika Rittershaus
Moving into this year’s remount, everyone on the production was the exact same; both on and off-stage. It felt like we all had a blip in time and everyone came back slightly different. I came back with a dog, my friend Miriam went from blonde to red hair, Krystian had a moustache… you get the idea. It was a joy to come back and see everyone after a year. All of us felt more comfortable after having performed in this production 11 times the year prior. Rehearsals went very smoothly this time around and there was a real sense of pride and joy surrounding this show. The rest of our time was just enjoying what the city has to offer.
The best thing about being in Zurich in the summer? The lake! We would often head to the lakeside for a little apéro and picnic or dip our feet in the water. It was sooo refreshing. With the European heatwave in full swing this June, it was a genuine life saver!
Yes, Zurich is expensive. But it is still one of my favorite cities. It is incredibly clean, people are smiling, and the history is lush and fascinating. It might not feel this way at first, but it is actually a very progressive city that is generally very welcoming towards international people. I know this is an unpopular opinion, but… it’s mine, and you’re reading my blog 😈
A male colleague of mine told me how much he loves being in Zurich because he can wear makeup without fear. Whereas in his home city, people are getting attacked and even killed for the same thing. The queer community is thriving in a vibrant an beautiful way.
Performing in Andres Homoki farewell gala. They decided to use the same dress for Proserpina since I didn’t bring a gown with me!
Nearing the end of my contract, I was visiting with the KBB (aka scheduling office) when I ran into the casting director. She was looking for a replacement for the Cenerentola Act 1 finale in their Gala honouring Andreas Homoki as he leaves his position as Intendant this season. I had recently performed the Cenerentola ensemble in Munich, so it was an easy “yes” from me. It was such a fun experience to jump in for a little excerpt. Such a fun surprise and I’m always up for a bit of excitement!
Back to L’Orfeo! That last performance felt especially emotional. We were saying goodbye throughout the opera, and by the time the curtain came down, several of us were in tears. Last year we knew we’d all be working together again. This time, there are no plans for another round. That made it all the more meaningful.
One of the things I love about the career as a freelance artist, however, is that everything is temporary. If the experience is bad, it’s temporary. If it’s good, it forever lasts as a wonderful memory. This production definitely falls under the category of the latter 🥰
I will really miss this cast. It is one of those weird little heartaches that come with the profession, but I am holding on to the hope that we will find ways to work together again in the future.
Until next time Zürich!!! ❤️❤️❤️❤️❤️❤️
~ Simone
