Opera as Training for Human Rights Advocacy (and at video from last night’s performance!)

I tend to get a certain question–”Opera? How does that fit?”–a lot, particularly when marketing myself to potential employers. I usually explain that singing opera gives me a unique opportunity to get comfortable performing, engage with texts in half a dozen languages, and teaches me about effective management (because if there has ever been an unmanageable group, it is opera singers). But those answers all leave out the most important reason why my opera training helps me be a more effective advocate for human rights: because opera is about human rights.

I’ll use the opera I am in (go here to see the webcast). Dialogues of the Carmelites by Poulenc is about the lives of the nuns who were massacred in 1794 in France near the end of the revolution. More to the point, it is about human rights in a time of revolution.

1. Religious persecution

   In the opera, the Carmelites were a reflective order. As the Mother Superior says: “we are nothing but a house of prayer”. However, because they are perceived by agents of the revolution (a cadre of soldiers in this case) to be representatives of the Pope, they are treated as traitors and publicly stripped )in the final scene of Act 2 (in our version, the soldiers also attempt to steal the sacramental cup). The anti-Catholic actions of the soldiers are put into context by the captain of the guard who tells Mother Marie “In the church at home, I served two years as Sacristan. Our noble priest, I loved him like a brother–but I’ve no choice but to howl with all the wolves”. Whether motivated by fear of the mob or hatred of the church, the soldiers are engaging in religious oppression.

2. State-sponsored violence

   The soldiers are also agents of state-sponsored violence. As representatives of the revolution, they feel empowered to harass and humiliate the nuns. When the nuns are imprisoned, the jailer (also a representative of the revolution) taunts them and accuses them of being in “correspondence with our enemies”, when they were really imprisoned for having mass illegally. Even more tellingly, as the nuns are herded into a government office where they must sign their names to receive “the benefits of liberty” (access to food and housing?), a soldier tells them they will continue to be “under the watchful eye of the law”–as he says this in our production, he leers at Sister Constance (a novice) and stalks her as she rushes to sign her name. The opera shows the evils of power without accountability and how it can become state-sponsored violence.

3. Judicial corruption

   In the opera, the nuns are sentenced to death and executed without a trial by their peers, essentially murdered by committee. Before that, just before they are stripped, they are informed they have been expelled from their home “in the name of the Republic”–that is, an undemocratically elected group who used the church as a symbol of the opulence and aristocracy they hated (in this case, ignoring the willing poverty in which the nuns lived to cast them as agents of the Pope).

4. Violence against women

   While some of the nuns fight back (yours truly tries to take a soldier out when he starts to strip a friend) the opera is a story of men attacking a women’s community. The most peaceful scenes (1.3 where we are all spinning and sewing, 2.2 where we meet the new Mother Superior) are occupied solely by women. The opera makes the case that women can create their own self-sufficient communities which men (with the exception of the priest, who is allied with the women because he is celibate) see as threatening to their power and feel they must use violence to  destroy (whether by banning them as the soldiers do, or trying to force women to leave them, as Blanche’s brother does).

5. Casualties of progress

   The nuns did represent orthodoxy–as a largely sequestered order, they had an allegiance to the monarchical system which had supported them for hundreds of years. The french revolution, for all of its blood and terror, eventually brought about one of our world’s great democratic nations. But good opera, like all good history, does not lend itself to easy categories like good and bad. For me, the joy of opera is the complexity of the picture is presents. In the end, the women in the convent were restricted by their vows to a life I would never choose as a modern woman. But their life is also not one I would deny to a women who chose it freely. As Madame Lidoine reminds us as the sisters await their sentence in prison: “How could they deprive us of liberty, which we so long ago surrendered of our free will?”

Finally, here is our execution scene from last night, via a bootleg (I’m the one of the far right, who walks to the guillotine holding my sister’s hand):

Inspirational Quote:

“The arts is a life of faith, its pure faith.
People preach about faith, who have no idea what faith is.

But artists know. Artists are the lilies of the field that Jesus preached about in the Sermon of the Mount.

‘Consider the Lilies, don’t worry about what you are going to eat or wear. Consider the lilies. They toil not and spin not, and yet I say unto you, that Solomon in all his glory was not arrayed like one of these.’

The life of the artist is pure, pure faith.”

September 19, 2009. The News from Lake Wobegone, with Garrison Keillor

A Biography of a Nun (Well, a character who is a nun)

I’m in the opera (Poulenc’s Dialogues of the Carmelites). I’ve mentioned this before, but I am near finalizing the biography of my character, and wanted to share it here. I am having so much fun in rehearsal–I keep meaning to email my karate teacher to tell him how valuable being able to fall safely has been in these rehearsals! (Soldiers representing The Republic force the nuns to strip to their shifts at bayonet point, and I fight back). Anyhoo, here it is:

Biography of Sister Anne of the Cross

I have known since I was a little girl that I wanted to be the wife of God. My sister and I grew up in Paris near the Sarbonne as the only daughters of a blacksmith who only wanted sons. Most of our happiest moments were spent in the garden because it was the one place papa wouldn’t go and we loved the peaceful feel of being surrounded by a community of women.

I would always plant the peas too close together because I thought as many as possible should have the chance to live. I would have to come in and cull the young ones before they grew too close together and killed each other. I could never abide death.

Mother took us to visit our cousin in Compiègne when I was 9 and you were 11 and we saw the Carmelites and fell in love. Mother told us that “carmel” (the name of a mountain in Israel), combined the Hebrew words karem (garden) and el (God), which together meant “garden of god”.

But before we run away together, my sister fell in love with John and they were married. She was 18 and he was 22. Having no one left at home, I spent two years planning my escape, and when I turned 18 I fled north with our cousin to Compiègne, and arrived at the convent with only the clothes on my back and no food in my stomach. Though I had always found God more present in flowers than in pews, Madame de Croissy (not then the prioress, but on the make) insisted I be let in, because the garden needed tending.

Within a year of my joining the convent, my sister (now Sister Gertrude) joined my convent. Her John had been a carpenter, and died in a duel with a customer who refused to pay for a beautiful bed he had made. She chose the name Sister Gertrude to help him reach heaven—Gertrude is the saint of souls in purgatory.

We lived and gardened together for 15 years, finding peace in prayer and humble service to God

We died on July 17, 1794. My sister was 33, I was 31.

Inspirational Quote:

“This is a brief overview of how the Carmelite Monasteries of women came to be founded in this region. We have a custom of calling our Monasteries ‘Carmels’. ‘Carmel’ is a biblical word, derived from the Hebrew ‘karem’ meaning a ‘vineyard’ or ‘garden’. When the suffix ‘el’ is added for the Divine name, it takes on the meaning of ‘the garden of the Lord.’ ‘Carmel’ is also a biblical symbol for beauty and fruitfulness; it is used by the spouse in the Song of Songs (7:5) in order to praise the beauty of the Beloved. We want our Monasteries to be truly ‘gardens of the Lord.” (Quote from Carmelites.net)

YouTube and Faith

Music helps me communicate things words alone cannot. After spending a semester studying the utility of YouTube to educate (specifically as a forum for literature read aloud) it is neat to see religious conversations happening through video. More than a series of singers singing alone, the collection of religious music on YouTube is an ensemble of credos. Thanks to MeezInsider for getting me started thinking about this with Poetic Pilgrimage–Definition of a Pilgrim (or, as they called it, Hip Hop Hijabis):

YouTube serves as a forum for religious expression not only for small artists, but also famous singers like Kanye West. What I remember about the video below are the lines:

They say you can rap about anything except for Jesus
That means guns, sex, lies, video tapes
But if I talk about God my record won’t get played–Huh?
Well, let this take away from my spins
Which will probably take away from my ends
Then I hope this take away from my sins [...]

YouTube provides a (mostly) uncensored forum for discussing religion being one of them. It allows artists to find niche markets to play to, performers of like mind and faith with whom to jam. While Kanye West does not need help reaching his audience, YouTube’s community can provide support for smaller artists in finding their voices and audiences.

This mulitmedia approach to faith is not new. A scene from the 1989 Kenneth Branaugh version of Shakespeare’s Henry V reminds me of this. After the battle of Agincourt, Henry and his men are going to bury their dead page-boys. They start singing:

Non nobis, Domine, non nobis, sed nomini tuo da gloriam.

(roughly: not to us, Lord, not to us, but to your name give glory)

It is a powerful end to the movie, because there is something about music which connects and sums up and clarifies (at least for me). Including this song in a movie of a play about a historical battle seems pretty multimedia to me, but it all seems to fit together:

Music and faith have been fast friends for millennia–seeing how they interact and will continue to interact with social media will be fascinating. Whether Islamic Hip Hop, Christian Rap, or whatever the next faith/music cross turns out to be, I would be dollars for donuts that it will spread fastest and farthest on social media.

Inspirational Quote:

I’m no idealist to believe firmly in the integrity of our courts and in the jury system – that is no ideal to me, it is a living, working reality. Gentlemen, a court is no better than each man of you sitting before me on this jury. A court is only as sound as its jury, and a jury is only as sound as the men who make it up.
To Kill a Mockingbird

Sign-Language music

I have recently found a new way to use YouTube to support people with disabilities–for people who are deaf and read sign (ASL, British, etc). How do you communicate music without sound? Pairing dance and rhythmic signing with the already very expressive sign-language these three creative signers bring songs to sign language in an authentic and fascinating way. Enjoy!

Below may be my favorite signed music video.

Notice: the signer is an *amazing* dancer and also is not wearing a shirt for parts of this. Also, the song itself is about a man who is a womanizer, so the content is adultish. You can find a fascinating discussion of this performer on what it takes to “translate” a song into sign (and dance!).

Inspirational Quote:

Friend on why signing is sexy:

“I think that signing is sexy because it involves doing really complex things with your hands…”

Our Time for Our Generation

A few weeks ago, as part of a Sondheim concert, I sang “Our Time” with the Repertory Chorus. I had sung it before in high school, for graduation either my sophomore or junior year. As we were learning it, Dr Page made a point of involving us in the lyrics, and making sure we truly understood what we were singing about. A little facetiously, I drew a parallel between “Our Time” by Sondheim and “Handlebars” by the Flobots. The lyrics and videos are below for comparison.

“Handlebars” by the Flobots

“Our Time” by Stephen Sondheim

I can ride my bike with no handlebars No handlebars Look at me, look at me hands in the air like it’s good to be Alive and I’m a famous rapper even when the paths’re all crookedy I can show you how to do-si-do I can show you how to scratch a record I can take apart the remote control And I can almost put it back together I can tie a knot in a cherry stem I can tell you about Leif Ericson I know all the words to “De Colores” And “I’m Proud to be an American” Me and my friend saw a platypus Me and my friend made a comic book And guess how long it took I can do anything that I want cuz, look: I can keep rhythm with no metronome No metronome I can see your face on the telephone On the telephone Look at me Just called to say that it’s good to be Alive In such a small world All curled up with a book to read I can make money open up a thrift store I can make a living off a magazine I can design an engine sixty four Miles to a gallon of gasoline I can make new antibiotics I can make computers survive aquatic conditions I know how to run a business And I can make you wanna buy a product Movers shakers and producers Me and my friends understand the future I see the strings that control the systems I can do anything with no assistance I can lead a nation with a microphone With a microphone I can split the atoms of a molecule Of a molecule Look at me Driving and I won’t stop And it feels so good to be Alive and on top My reach is global My tower secure My cause is noble My power is pure I can hand out a million vaccinations Or let’em all die in exasperation Have’em all healed of their lacerations Have’em all killed by assassination I can make anybody go to prison Just because I don’t like’em and I can do anything with no permission I have it all under my command I can guide a missile by satellite By satellite and I can hit a target through a telescope Through a telescope and I can end the planet in a holocaust In a holocaust I can ride my bike with no handlebars No handlebars

Something is stirring, Shifting ground … It’s just begun. Edges are blurring All around, And yesterday is done. Feel the flow, Hear what’s happening: We’re what’s happening. Don’t you know? We’re the movers and we’re the shakers We’re the names in tomorrow’s papers Up to us now to show ‘em It’s our time, breathe it in: Worlds to change and worlds to win. Our turn, coming through, Me and you, pal, Me and you! Years from now, We’ll remember and we’ll come back, Buy the rooftop and hang a plaque: This is where we began, Being what we can. It’s our heads on the block, Give us room and start the clock. Our dreams coming true, Me and you, pal, Me and you! - - - - - - - - - - - - - - - - - - - - - - - -

To my mind, the central messages of both songs are the same: our generation has the power the change the future. The difference is, the Flobots see that power as dangerous and invasive, and Sondheim sees that power as positive and hopeful. In drawing my comparison, I particularly focus on the lines:

Movers shakers and producers
Me and my friends understand the future
I see the strings that control the systems
I can do anything with no assistance

and

We’re the movers and we’re the shakers
We’re the names in tomorrow’s papers [...]
Worlds to change and worlds to win.
Our turn, coming through,

I do not really think that Sondheim’s words speak for his generation or the Flobots speak for mine. I am more considering the parallels between these two pieces because I am interested in the fuller message they provide together–that the power to change the future is massively exiting (“Our Time”) and can become terrible (“Handlebars”) if handled irresponsibly.

Anyhoo, that’s enough for one day. I have to write a project proposal!

Inspirational Quote:

Christopher Morley – “There is only one success – to be able to spend your life in your own way.”

Why English Diction is Important

So, I am taking English Diction from Dr Robert Page at CMU. I am having such a blast. That is probably why I find this failblog post so funny.

Here is the video:

Here is Mariah Carey performing that song (“Without You” not “Ken Lee”)

(The actual lyrics are in the Inspirational Quote)

And so there are two lessons.

1) You should always sing with good diction, because you don’t know who is going totry to learn a piece from your recording of it.

2) When learning a song phonetically, check you pronunciation.

Inspirational Quote:

“Without You”
No I cant forget this evening
Or your face as you were leaving
But I guess thats just the way
The story goes
You always smile but in your eyes
Your sorrow shows
Yes it shows
No I cant forget tomorrow
When I think of all my sorrow
When I had you there
But then I let you go
And now its only fair
That I should let you know
What you should know

I cant live
If living is without you
I cant live
I cant give anymore
I cant live
If living is without you
I cant give
I cant give anymore

Well I cant forget this evening
Or your face as you were leaving
But I guess thats just the way
The story goes
You always smile but in your eyes
Your sorrow shows
Yes it shows

I cant live
If living is without you
I cant live
I cant give any more
I cant live
If living is without you
I cant give
I cant give anymore

Grassroots Approach to Copyright Simplification

Maybe it’s because Lawrence Lessig is on my mind–he’ll be speaking at Pitt this Thursday–but I have been thinking about the history of copyright changes. From the casual approach to authorship in Shakespeare’s time to our current complex and litigious attitudes, the relationship between authorship and copyright has been becoming more complex over time.

However now there are major authors rebelling–and doing great work while doing so. Joss Whedon, of Buffy the Vampire Slayer and Firefly fame, had an idea during last year’s writers’ strike. How about a internet musical? Since much of the contract conflict was over how writers should be paid for online distribution, he  wanted to experiment with the medium. He came up with Dr Horrible’s Sing-Along Blog. The metrics for its success are well publicized but what I found fascinating quote from the above-linked article was the new profit model Dr Horrible respresented. (Joss Whedon was the producer for Buffy, Fillion played Captain Malcolm Reyolds on Firefly:

Joss Whedon It did start out as kind of a political statement. As we got into preproduction, and the strike was over, it was more about ”Okay, we didn’t have our chance to make a bold statement, but we still have our chance to make this.” And now it’s sort of come full circle because people are talking about it as an Internet event, as a business model, as all the things that we had hoped for back when we were still carrying our picket signs. We believe, yes, it will be profitable. It’s not I am Legend, not bang out of the gate, ”Woohoo! Studios take note, we’ve all become billionaires in 30 minutes.” More just like it’s just going to keep going until, yes, we can pay everybody off and then there might be a little more there.

Fillion It’s a brand new deal. The people who created it are the people who are in control of it. It’s such a weird thing, an incredibly cool thing. I think a very interesting peek at how I think things are going to start to be: the future of entertainment, I believe.

This is obviously not the first time artists have turned to the internet to distribute content their usual distributors were being difficult. However what is super-neat about Dr Horrible is how clear the profit model appears. The actors did not get paid during production. It was obviously a labor of love for all of the cast members.

But Joss Whedon promised the cast he would try to pay them from online sales–through iTunes mostly. I watched it over Lilly’s shoulder this weekend and I watched a few clips on YouTube to confirm I wanted to purchase it. Then, driven by the knowledge that there were cast members waiting for me to buy it to get paid, I went and spent 6 dollars on iTunes to buy the whole 45 minutes musical. And it made me feel better about spending money on music than I have in a long time.

Go Joss Whedon!

Inspirational Quote:

John Lennon – “Reality leaves a lot to the imagination.”

Lost Aria Found

This is a beautiful aria I finally looked up on YouTube. I say finally because I first heard it in Flower Flour, my family’s neighborhood bakery (in Willow Glen, CA). The last weekend I was in San Jose I heard them playing this aria in the back-room of the shop. I asked them what it was and they kindly look it up, because they rock. Flower Flour is one of the most skillfully innovative non-technical businesses I have encountered. It is the partnership between a husband and wife, one of whom creates beautiful flower arrangements and the other delicious baked goods the name makes sense now, doesn’t it?).

Anyway, back to the aria. What I love about this video, is how innovative it is. Most classical music videos are staid, conservative or over-sentimental. I love the edgy approach to what could just be another sappy aria. It’s a fascinating approach–especially when viewed against the boring Renee Fleming videos.

Inspirational Quote

The only thing that saves us from the bureaucracy is inefficiency. An efficient bureaucracy is the greatest threat to liberty. – Eugene McCarthy

Songs of the Iraq War

I found this while working on my Posner Project research into good storytelling techniques. This is a soldier’s video, and I think a soldier rapping as well. Lots of cussing. It’s about the experience of member of the 82nd Airborn in the current conflict. If you look closely at the graffiti at the end, part of it says “Mosul, 2005″. There is a lot of information to be heard in this song, a lot of information about what it’s like to be a soldier today. Especially interesting/disturbing are the lines where the soldier describes having to clear houses and do crowd control.

Inspirational Quote:

Carl Sagan – “In order to make an apple pie from scratch, you must first create the universe.”

Copyright infringement? You decide.

I am learning (and in two cases relearning) arias for my new voice teacher right now. One of the techniques I picked up at Saltnote Stageworks is YouTubing songs I am learning to hear other’s interpretations and stagings for character ideas. However there is another kind of video on YouTube I have run across at least a dozen times now and was having fun thinking about. It is a video where someone (probably with way to much time on their hands) has put a video of images of a given score scrolling across the page while the music plays. Here is an example of such a video using one of my arias (Che Faro Senza Euridice):

Now, the copyright question is: is this use transformative? As the Stanford Univeristiy Libraries page says:

1. The Transformative Factor: The Purpose and Character of Your Use

In a 1994 case, the Supreme Court emphasized this first factor as being a primary indicator of fair use. At issue is whether the material has been used to help create something new, or merely copied verbatim into another work.

This one of the four questions for determining fair use–which is by definition unauthorized use of a copyrighted piece.

Anyway, there are two potential infringements in this video: the almost certainly unauthorized use of Marilyn Horne’s voice/the orchestra’s instruments on the background recording and the images of the score itself which I recognize from my own copies.

Is the work civileso put into creating images and making them scroll in perfect time to the music (assuming s/he didn’t use a program which does it automatically?) enough to make this use transformative?

You decide.

Inspirational Quote:

I don’t want to achieve immortality through my work… I want to achieve it through not dying.
Woody Allen