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ArtsBeat: At the Royal Opera, Rosina Wears a Cast
If you've ever been in your car when suddenly the person in front of you slams on the brakes, the typical reaction is to gasp — taking a quick in breath.
"It's a natural response," says Edward Bilanchone, a long-time instructor of breath and movement using the Alexander Technique. The quick inhale brings more oxygen in and sets off a flood of hormones that heighten our senses and help us respond quickly. "It helps us survive."
The trouble comes when chronic stress sets in. Under stress, a lot of interactions start to feel like near-collisions. "It becomes a part of us and we never release out of it," says Bilanchone. When we're stressed we may cheat the exhale or even hold our breath for moments. As adults, we can develop these bad habits that interfere with the natural rhythm of breath.
"Babies breathe easily, softly," says Bilanchone. Their backs and bellies move as their diaphragms move. "It's just happening." [emphasis mine]
Babies breathe naturally because they don't know to do anything else. Unfortunately as we become older we become simultaneously more aware and more disconnected from our breath. We try not to breathe too loudly, or to let our bellies expand too much in the process. Budding dancers and athletes begin to breathe higher in their bodies to avoid side cramps. Employees stuck in cubicles breathe more shallowly or even hold their breath as they sit in meetings. Particularly in these modern times, when we spend large parts of our day in front of a computer or hunched over a desk, it's easy to develop poor breathing habits which over time begin to feel "normal."
The first thing I typically do with a new student is ask them to breathe. Often, as they inhale I see their shoulders rise and their belly move up and in. Not only is this way of breathing inefficient, it also creates tension in the upper body that makes singing more difficult. Yet because it has become a habit for them to breathe this way, when they try a diaphragmatic breath for the first time it feels strange, even wrong. I tell these students to go home and lie on the floor, couch or bed and just take a few breaths: when you're lying down, it feels natural to allow the belly to move up and down as you breathe. For some students I have even conducted part of the lesson with them singing while lying on their back.
Another good way to feel the diaphragm is to bend at the waist and place your hands on either side of the spine, just above the hips. Taking in a deep breath, students can feel the diaphragm expand against their hands as they inhale and feel it relax as they exhale. With these small movements, they start to become aware of how their body naturally breathes. Combining this breath with proper abdominal support while singing, students find that they are able to produce a fuller, clearer sound with little effort.
The Toy-Box Trio was founded in early 2007 by classical composer Harlan Glotzer while studying at Cornish College of the Arts. During Harlan's studies, he experimented with bringing different ensembles together. The Toy-Box Trio was born out of a search for an unlikely–yet musically functional–ensemble that would cause listeners to experience through-composed music in an entirely different way. The pairing of concertina, toy piano, and violoncello is reminiscent of the classical piano trio–a staple in chamber repertoire–but able to extend into the 21st century by creating a sonic landscape evocative of dusty old music boxes and haunted carnivals. The Toy-Box Trio is committed to approaching time worn ideas and concepts from unexpected, untraditional, and rarely used angles, as well as providing a light and fanciful sonic atmosphere.Saturday, June 27th - 8:00 pm
Virtually unknown to audiences in America, Paul Constantinescu (1909-1963) was one of Romania’s most cherished composers. A master of orchestral and vocal genres, Constantinescu was foremost among his generation of artists; as he infused the demands of Western counterpoint into the eccentricities of his native folk art, he breathed a new nationalism into Romanian classical music. Constantinescu’s fascinating blend of sacred, poetic, and folk influences shines through in each of his choral works.Saturday, June 27th - 8:00 pm
For this concert, The Esoterics will be joined by Romanian conductor Gabriel Dumitrescu and pianist Kevin Johnson, to perform all of Constantinescu’s compositions for chamber choir – including his setting of the orthodox liturgy, ten folksong settings, and four madrigals.
Thoroughly Modern Millie is a Tony Award-winning musical with music by Jeanine Tesori, lyrics by Dick Scanlan, and a book by Richard Morris and Scanlan. Based on the 1967 film of the same name, Thoroughly Modern Millie tells the story of a small-town girl, Millie Dillmount, who comes to New York City to marry for money instead of love – a thoroughly modern aim in 1922, when women were just entering the workforce. Millie soon begins to take to delight in the flapper lifestyle, but problems arise when she checks into a hotel owned by the leader of a white slavery ring in China.Featuring fellow student Celia Buckingham as Millie, not to mention impressive sets, lots of fun musical numbers and some excellent tap dancing.
Sacred music has arrived in America from many different directions and places, and has developed from influences just as diverse. This is not a program of music of Christianity, but a celebration of the diversity of spirituality in America in the 21st century. We’ll trace the musical paths that have led us to where we are today. South American music will include Kasar Mie la Gaji (Earth is Tired) on a sub-Saharan African text set by Venezuelan composer Alberto Grau, Salmo 150 by Brazil's Ernani Aguiar, and Hanacpachap, arranged by Oscar Escalada and believed to be the first piece of music published in the New World. North America will be well-represented as well, with Magic Songs by trail-blazing Canadian composer R. Murray Schafer, Shaker Songs arranged by Kevin Siegfried, and Deep River arranged by Swedish composer Anders Paulsson for choir and soprano saxophone and featuring saxophonist Michael Brockman.Saturday, June 13th - 7:30 pm
Virtually unknown to audiences in America, Paul Constantinescu (1909-1963) was one of Romania’s most cherished composers. A master of orchestral and vocal genres, Constantinescu was foremost among his generation of artists; as he infused the demands of Western counterpoint into the eccentricities of his native folk art, he breathed a new nationalism into Romanian classical music. Constantinescu’s fascinating blend of sacred, poetic, and folk influences shines through in each of his choral works.Saturday, June 20th - 7:00 pm
For this concert, The Esoterics will be joined by Romanian conductor Gabriel Dumitrescu and pianist Kevin Johnson, to perform all of Constantinescu’s compositions for chamber choir – including his setting of the orthodox liturgy, ten folksong settings, and four madrigals.