Briefly

I'm prepping five scores at once right now. Four of them are for San Diego Opera. I start work there in December but I want to have my scores ready to work by the time I walk into prep there. The fifth is this "Merry Widow" I'm doing in Dallas come next week. Prepping consists of adding tabs so I can flip to specific scenes easily, marking in any cuts we are doing, and highlighting each character's vocal line in a different color so I can quickly tell who should be singing what line on any given page. It's a lot of tedious busy work but completely necessary for me to do my job later on.

Incidentally I've been watching a lot of "Law and Order SVU" while madly highlighting and tabbing...

John took me on a Hornblower Dinner Cruise tonight through the San Diego Bay. It was a terrific evening and we both deserved it so much after a whole week of not feeling so hot. We didn't really date much before attaching each other at the hip so it's nice to go out on a bona fide date every once in a while. We dressed up, drank champagne, stood along the railing letting the wind hit us in the face and ate cheesecake. The only thing we didn't do is dance. John doesn't dance. I may have to see about fixing that...

Monday I have to pack for another five weeks away.

I don't wanna. (stamps foot impetuously).

Box o' Music

I picked up, literally, a box of scores the other day from San Diego Opera. A whole season's worth of music from "Aida" to "Tannhäuser." It was interesting to see them all kind of dumped in a box - heavy and a bit ungainly - as I lugged it out to my car and thought about when I was actually going to start working on these.

Right now I'm working on "Agrippina," the opera I'm staging for Lillian Groag at City Opera in September. I know this piece like the back of my hand but the set I've worked on is different than the set for New York, and so it takes more preparation than if I was walking into the exact same scenario. Most of the concept is the same, but entrances and exits have switched around and there are some gags, etc. that can't be executed with this scenery. It's a slow process of comparison, but I am armed with paperwork and video galore, so it will eventually come together.

Gluck's "Orphée," which I'm actually beginning sooner than the rest of these operas, is the easiest to prepare because it's never been done before. I've done as much on this score as I can at this juncture. I have a relatively detailed scene breakdown, I've highlighted all of the text, I've listened to the opera 4000 times and I've put together a preliminary schedule. Everything else will have to wait until I'm in rehearsals next week. I leave for Cooperstown on Sunday.

There are so many other things I'd like to work on right now, but my opera preparation seems to dominate my time. I have, of course, become somewhat obsessed with Flickr, so that's taken up the rest of my free time, and in the middle we have quality time with John and the cats.

Sunday morning is a backwards dive off of the high dive into a pool I've never seen before. I love that moment and it scares the crap out of me every time. All I can assume is that the pool has water, though I have no idea how deep or what temperature.