Happy?

This past week I've felt "happy" about singing in a way I haven't for several months.

First of all I'm getting to sing "Schlafe Mein Liebster" at the 9 am service a week from Sunday. (I would prefer singing during communion at 11 because getting up at 6 is hard, especially as I work at home and rarely get up that early any more) but getting to sing it at all is a privilege. The choir director made some unusual cuts in it so I can get to sing part of the "B" section and then go back and sing some of the "A" section as well.

And he heartily approved my plan to work with the violinist.

In one of my earlier posts I referred to wanting a "gimmick" that would set me apart from the herd. Well, I would hardly call Bach a "gimmick"!! but it's a niche. Bach wrote tons of arias for alto and soprano 2, most of which don't go above an E (but don't go too far below the staff either) but which require excellent breath control, agility, and a trill, all of which I have. This field is not as crowded, say, as the Amneris field and it's a repertoire I can continue to sing indefinitely as it's mostly performed in concert and, leaving vocal issues aside, the fact that babelicious as I look, it's obvious that I have a very hard time with stairs, running, or high heels, is a strike against me in costume opera.

My teacher agrees with me that this is a good thing for me to focus on, as it's a repertoire I enjoy singing and it's less nerve-wracking than trying to sing phrases up to a B flat in numbers requiring a lot of stamina. I told him I was worried that I would lose my upper register if I don't use it and he said first of all, I should continue my vocal exercises that go up to a high C (he agrees I shouldn't sing above a B flat in public) and keep working now and again on my arias and other opera scenes so if there's an opportunity I can pull one out and showcase it in a concert. (And who knows about that Carmen? If the tenor is serious he can find me a venue. )