Comfort and Consequence

You may recall that yesterday, I was questioning my music selections for a relaxed audition.  Well, I met the organist yesterday morning--a lovely fellow he is.  Friendly if a bit talkative.  I told him I had brought a variety of music with me and seemed pleased, stating he had hoped I would do so.  He suggested we go through the selections chronologically.  We began with a John Donne text set anonymously in the 16th Century, followed by an opera aria by W. A. Mozart, Ophelia's "Mad Scene" from Ambroise Thomas' Hamlet, and then some 20th Century art songs.  We skipped the Bach Magnificat.  I was surprised at how calm and at-ease I was, and the relative effortlessness of my range given my complete lack of warm-up prior.  Adrenaline can be a great thing.  Perhaps thinking of this audition as a non-event was beneficial, as well.  After all, there was no role or position at stake.

After our little sing-fest (he sight-reads well), he said he likes me.  I began to speculate.  Could that mean he likes me solely as a person?  Does he mean to imply he doesn't like my voice?  He also said he liked to work with people whose voices he could flatter with his playing.  Could he think he wouldn't (or won't choose to) flatter my voice?  We parted on good terms and I had no expectations anything further would come of our meeting.

Today I sent him a note thanking him for his time and to my surprise I received a lovely response in which he likened me to Mado Robin, and volunteered his services for recital performance and composition of new works.  Very kind compliments indeed!  My brain is whirring with excitement and I'm looking forward to future musical prospects.


Amelia said...

What a lovely compliment! You are divinely superb! Maybe I could swing something and travel to see you perform a brilliant recital performance!

Rhea said...

Sounds exciting. Again, thanks for the behind-the-scenes look at how this process works.