BLOG.

Adonis says hi, everyone. Kaia would say hi too, but she just went home. We can now tell you the 5 movements of Couperin's Vingt-cinquieme order...just ask. Haha. Gotta love listening exams.

So, there's lots to tell, but not enough time. First and foremost, news from the girbles:

1) got a great picture of Rachel ("Bug") and her beau! Oooh so exciting.
2) Twisha has lost her voice, but found her fingers on the keyboard, and typed me a very long and exciting email, which I loved! Fanks, Twish!

So, other news, one more full week of class left. I can't believe it! Lots of stressors already over. Refering to my last list, the main news of the week is that I had a lesson with my "actual" voice teacher, Ms. Wise, who is now back from sabbatical. A few things are going to have to change regarding my technique, and also some new things I've learned this semester (eek), and we made a decision that my singing for Mr. Effron would be a little premature. So, I had to suck in my pride and write him a polite email explaining the situation, and cancelling. Thank goodness, Ms. Wise also called him, and explained to him, and put in lots of good words for me. Phew! Gotta love Ms. Wise. So, yeah, I was a little dissapointed, but it seems that I have my "coloratura" label back, so that's good in general. I'm only 22 (23 in 3 weeks exactly) and am an opera baby. Just what I always wanted. This leads to the question of the year:

Why in the 1920's-1950's did the opera world accept young singers singing main arias? Why could those vocalists sing the hell out of most any exciting role at age 20 at the MET, where now we can't even sing something -ina and -etta ish (my label for all soubrettish like roles) without someone thinking it's just too premature...or having the feeling that everyone and their mother (and sister, and niece, and granddaughter) are singing those same 4 arias? ......

Ok. Time for bed. Make a wish, it's 11:11~