THE VIRGINIAN-PILOT
Copyright (c) 1995, Landmark Communications, Inc.
DATE: Thursday, December 21, 1995 TAG: 9512190101
SECTION: NORFOLK COMPASS PAGE: 02 EDITION: FINAL
SOURCE: BY DAWSON MILLS, CORRESPONDENT
LENGTH: Medium: 96 lines
Arriving at the Harrison Opera House in Norfolk to rehearse the children's chorus for the Old Dominion University Ballet Company's production of the Nutcracker, Virginia Children's Chorus director Carol T. Downing of Portsmouth found her kids jammed into a small room with soda machine, photocopier and no chairs.
A few quick conversations later, they were seated on the carpet in the spacious deserted lobby, practicing their part as the performers and orchestra rehearsed inside the theater.
There's always something unexpected, but by now Downing is used to it.
Her singers, boys and girls, are drawn from area schools and churches throughout Hampton Roads. In Pied Piper fashion, they have followed Downing's direction since 1992. Many of the 44 voices in this year's performances have been with her since the beginning.
For this season's performances in Norfolk this past Saturday, Downing was able to use the VCC, augmented by Nutcracker chorus veterans from past years when, because of scheduling conflicts, she had to recruit and train a second chorus entirely for the Nutcracker performances at Chrysler Hall and the Pavilion.
Because of scheduling problems with the Virginia Symphony Orchestra caused by the Phantom of the Opera being in town, recorded music was used at this year's performances at the Pavilion.
``Most of my singers love to do it,'' explains Downing, ``to get close to the symphony. At the Pavilion, they were split up with altos on one side and sopranos on the other, on the steps beside the orchestra pit. But at Chrysler, they were all together right behind the string section and the harpist.''
At Harrison, they were again split up but on the steps leading into the orchestra pit, where they could feel a part of the music. The sopranos were back of the strings and the harpist; the altos stood directly behind the percussion section.
The thunderous music immediately before the chorus' musical entrance, punctuated by drumbeats and cymbals, was guaranteed to keep everyone awake.
Boredom is one difficulty the 21 altos and 23 sopranos had to overcome. Their part, lasting only several minutes, comes at the end of the first act, 40 minutes into the production. Until then, they have nothing to do except be ready. Once their moment comes, other pitfalls include being distracted by the dancing of the ballerinas on stage or the snowflakes that begin to fall from high up in the theater. Split up, the two sections can't clearly see or hear each other and must carefully follow the conductor.
In each year's rehearsals, Downing warns, cautions and cajoles her singers, ages 9 to 18, about what to expect. She also leads them through their parts, separately and in unison, after a series of warm-up exercises. Downing uses the Kodaly Hand Signs, a method of teaching voice popularized by the Hungarian-born composer for whom it was named. As they practice, both hands and voices begin to flow in perfect harmony.
``The score is so accessible,'' notes Downing. ``It's particularly melodic. But there is a tempo change, from 3/4 to 2/4 time, and there is a difficult breath in it. We go over and over it so the kids can't miss that breath.''
The chorus' moment may be brief but it is important. Other productions lacking voices have tried other effects, including synthesizers, but those closest to the score are unanimous that it is not the same.
``Tchaikovsky was a genius at ballet and theater,'' explained conductor Andrews Sill of the Milwaukee Symphony and formerly with the Virginia Symphony, who was back in town to conduct this year's Nutcracker. ``When he put the chorus at the end of Act I, he knew what he wanted, a dramatic statement. He knew what he was doing. It is a transcendent moment.''
Said Istvan Ament, director of the ODU production: ``The importance of the chorus? It is part of the music. Without it, it is like a body missing an arm. It is how Tchaikovsky conceived it, with a children's chorus. Sometimes women substitute, but it is not the same. I have 15 or 20 different recordings and have never heard it done without the chorus.''
Speaking of Downing's chorus, Ament added: ``They do a fine job. She organizes them well. It is a complicated production with 80 dancers, the orchestra, chorus and stage hands. She does very well.''
Despite the hard work and discipline, the kids love working with Downing and getting to be part of the show.
Said alto Diane Maydosz, 11, of Norfolk, in her third year in the chorus: ``It makes you feel really important. It makes me feel really good to sing in front of a bunch of people. It's like a marker of Christmas. We get a note about it early; it's a reminder that Christmas is coming.''
``It's very exhilarating,'' said soprano Chris Carlson, 12, of Smithfield, another three-year veteran. ``You're recognized for just those few seconds even though you don't take a bow. Everyone's looking at you; all of a sudden there's this burst of voice. I look forward to it. I really enjoy it.''
Downing admits that, in 1992, it was all new to her. By now, both she and her singers are seasoned pros.
``You know how kids are,'' she says. ``You have to direct their energy and focus for the performance. Timing is everything. We have great parents who come and help us out. It's wonderful to work with the ballet.'' ILLUSTRATION: Photo by DAWSON MILLS
Carol Downing prepares the Virginia Children's Chorus for its
performance at the Nutcracker.
by CNB