December 20 - Semi-Solstice Songs

Party given by Eliza for Harriet tonight at Chamber Arts, and a good time is had by all, with Christmas carols, et. al,



and just a little time left for another orchestrated page of Samson and Delilah: XII. Dan.

November 16 - Tales from the Crypt

Off on another dangerous mission, towards splendiferous skies on I-80 West in the direction of Cordelia Junction and the Sulfur Springs Mountains,



with petrol at $2.13 in at Vallejo 5-Star and Albany Hill a seemingly appropriate abstraction of eighth notes and threes (serendipity of movement in the half-light), this time back to Oakland's Chapel of the Chimes for the final Opera Apocalypse (Amy Beth Kirsten's Ophelia Forever, John Bilotta's Quantum Mechanic, and my Antigone [sounds like a pop song] -- featuring our two shining alternate-night stars:


Eliza O'Malley and Letitia Page). Fantastic final show (despite further alterations of the playing space as compared to two days previously in the same venue), in a full house, which includes Patti and Joel Deuter, Andrew Flesher, Chris Fowler, Alexis Lane Jensen, Diana Landau, Hugh Livingston, Luis Lobos, Ken Medlen, Sheli Nan, and Mark Steidel.



After the strike, many of the cast head down Piedmont for tapas at Cesar's,



including Maria Mikheyenko, Laryssa Sadoway, Kimberley Anderman, William Loney, Megan Cullen, Eliza,


Johns Bilotta and McGrew, Mark Alburger,



Harriet March Page, Meghan Dibble, Michael and Stephanie Desnoyers,



Adam Broner,



Alexandre Jerenic, Micah Epps,



Lisa McHenry and Terrence Bennon.



Down for the count upon return, but write another two pages of orchestration for Joshua Fought the Battle: II. Shall We Gather before all of above.

October 5 - Berkeley Heroes Sandwich

,

The days are full, and this one will eventually lead to the University of California at Davis, where last Monday I caught up with the prospect of Bette's disability (via cellphone in the redwoods) and reviewed the score of Aaron Copland's Music for the Theatre for orchestrational advice.



Today begins finding the old transposition (beginning down a third on Bb from the original D) of Antigone: XII. The Pride of Oedipus for Micah (who has now joined our rehearsals as of today, above). Also, a new shifting -- m3 south -- for XX. I've Had Them Laid, plus email all the midi files to William Loney for choreography.


And, yes, the Berkeley Chamber Arts rehearsal, with our assembled forces for Antigone, including Meghan Dibble (Eurydice / Nurse), Eliza O'Malley (Antigone), Kimberley Anderman (Ismene),


directed by Harriet March Page, with Erin Lahm (Guard), Adam Broner (Chairman), Michael Desnoyers (Haemon / Guard / Messenger), Micah Epps (Creon), Terrence Bennan (Puppetmaster), Lisa McHenry (Page), and Alix Jerenic (Handmaid). Re-arriving next week are Maria Mikheyenko (Guard), Dalyte Kodzis (Handmaid), and William Loney (Guard). Perhaps I'll jump in as Guard at some point, too -- among one of our largest casts!


And Keisuke Nakagoshi at the piano, of course. John Bilata's Quantum Mechanic goes well, too, with both composer and librettist in attendance and a burgeoning subtext romance for Mrs. Schrodinger and the Mechanic. John takes the San Francisco Composers Chamber Orchestra scores to Martha Stoddard after rehearsal, as she has agreed to conduct in my stead during this scheduling times of collisions with Opera Apocalypse performances.



Afterwards, another fine singer from San Francisco Conservatory auditions for us,


then Harriet's off to Melinda's while I head home, past the Claremont Hotel,


through the Caldecott Tunnel,



to the Orinda side,


aside the Shakespeare Festival Hills,



and eventually to Davis, again, to receive instrumentation advices from the Igor Stravinsky Threni (filling tank on way back [at the least expensive price in these times and places -- $4.46 / gal] by dark, derelict trucks),



for Amazing Joseph: VI. Why Don't You Do Something?, first page of which is orchestrated upon return.

July 11 - Chamber Arts City Home

Off to Chamber Arts in the Berkeley AM (near the cavalier Claremont Hotel) to rendezvous with Eliza O'Malley,



with her in a borrowed van over the Bay Bridge to pick up the clavinova,



generously donated to San Francisco Cabaret Opera / Goat Hall Productions by Sharon Walters, from a flat toward the western margin of the city, near the Panhandle of Golden Gate Park,



then back home for page 5 part E Scene 2 Act V Mice and Men publication preparation, plus working on the Music History text at markalburgermusichistory.blogspot.com, specifically from Ralph Vaughan Williams (1872-1958) to



Edgar Varese (1883-1965).

June 29 - Audition Time and the Singing Is Easy

Here's Keisuke Nakagoshi all ready to begin round two auditions for the 2008-2009 Goat Hall / San Francisco Cabaret Opera season.


Many talented singers -- an even larger number of auditionees than last week, with more to come.


Meanwhile, here are Eliza O'Malley, Kat Cornelius, Harriet March Page, and Keisuke at ease at the end.


A swing up through Marin, past fog clearing from Mt. Tamalpais, and publication preparation of page 7 Mice and Men Act V Scene 2 C upon return.

June 13 - Waiting for Pogo

Nothing to be done when Friday the 13 falls on a Friday this month,



so here's Meghan Dibble (Estragon) and Eliza O'Malley (Vladimir) singing the opening of Waiting for Godot (with more at markalburgerworks.blogspot.com - dated February 1, 2005).




Nothing to be done but watch the beautiful/horrible/incredible documentary War/Dance (re the ongoing strifes in Northern, reaching down to Central, Uganda) with Harriet, be grateful for Crystal's safe return from such striken places as Soroti (which up to several years ago was perceived as far enough south to be secure), and mindful of the perils of the inumerable.



Nothing to be done but prepare page 20 for publication of Mice and Men, Act V, Scene 2. Hm, people waiting....

May 25 - St Gregory of Nigh Extravaganza

Nice turnout for the Tisha-Pagliacci show at St. Gregory of Nyssa, San Francisco, but first



church at same, with Sanford Dole conducting, and we decide to join his excellent choir. Sanford mentions thereafter, in passing, an upcoming concert of compositions by members on texts of the saints (the expanded SGN take) on the walls,



including William Blake, so am happy to provide a choral arrangement of Op 108 Blake House: I. To the Muses, which I will do by this Thursday evening's rehearsal.



After an interval, we gear up for the Tisha-et-al performance with Harriet March Page and Rachel Deatheridge,



Rachel's family,



and the Project Opera folks assembling --




for Johann Strauss, Jr., Die Fledermaus and Puccini La Boheme excerpts, including Rachel in the former's "Adele's Laughing Song," and



Letitia Page in the latter's La Boheme (Mimi's Act I aria),



plus Harriet in the Leonard Bernstein Candide "Old Lady's Tango" (assisted by a certain certainly uncertain caballero),



and a first-part conclusion back to Fleder "Champagne," tra-la!



Intermission with Harriet overseeing all,



including Lisa Prosek,



Sharon Walters, Kat Cornelius, and Suzanna Mizell.



The ensuing Leoncavallo Pagliacci is taken in by Suzanna and Tisha



as Eliza O'Malley frolics



and Mark Narins closes in.



After-concert party at 19th and Pennsylvania,




with fine views of the City,




280 and the new tower,



Bay Bridge,



and East Bay Hills environs...




graced by Harriet holding forth -- entertaining and



entertained.




This investigative one-eyed jack reporter can testify that



the house is well-apportioned within (right down to the amazingly mirrors)



with folliage well-proportioned without.



We make our way home, past the golden season of the North Lagoon Mountains (note those three oaks at extreme right crest -- they have a lot of character),



and make a bit of time for score publication preparation of page 8 Mice and Men, Act V, Scene 2.