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Into the Pit

Atlas Performing Arts Center, H street NE in Washington DC

We have examined and rehearsed each aria and recitative, becoming familiar with the words of Sedaine and the music of Monsigny. Our singers have brought character and passion to the roles and though none of the musicians would say that this is music of great genius, we respond to its charm, easy flowing melodies, historical interest, and particularly to Ryan Brown’s “right on” concept of the work. #

Opera Lafayette musicians in the pit

Performing with singers in a concert setting allows for contact between vocalist and accompanists. Loretta O’Sullivan and I are able to look at the lips of the singer to match his or her T or B or d or AHHHHH, with chords that need to support and harmonize the text and melody. The singer’s breath patterns, all somewhat unique, are clear for us and we can accommodate those needs. A good continuo group is flexible and can serve each singer’s talents and requirements. There is great satisfaction in performing vocal music because of this relationship. But in the pit, we see and even hear almost nothing! Is there staging? We only hear the footfalls above us. Are there words? We can make out only 2 or 3. #

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