Up and out at an ungodly hour (8-8:30am) for Ophelia Forever rehearsal at Chamber Arts in Berkeley, with oboe in tow. As first half-hour is costuming/staging, have time to warm up and actually determine that I can still play, so, when pianist Keisuke Nakagoshi arrives, am ready to somehow conduct and play, sometimes simultaneously, at other times conducting with oboe in either hand (left during long intervals, right during short), or, alternately, treating Amy Beth Kirsten's score more as the improvisational chamber piece it often is, and letting our wonderful singers C.A., Megan, and Cary off the conductorial leash, so to speak. During a break, play Keisuke the Moses piece with all the babies....
Upon return, Harriet and I put the address labels on hundreds of Opera Apocalypse postcards (e.g. 750 heading off to East Bay), while watching The Irish R.M. (as in "Resident Magistrate").
Mission accomplished, so to speak (although hesitate to use any expression that the worst U.S. president in history has evoked), finish orchestrating Moses and Aaron: II. Barcarolle "Woman Conceived" and begin same for III. Battle "And He Spied" (locrian minimalist / rap / rock after Aaron Copland's Fanfare for the Common Man, orchestrated as that composer's Billy the Kid: Gunbattle).
