Hey, it's me!

So, about a month ago, I had my second Temple Square recital. It is the most wonderful space in which to sing. The acoustics are beautiful, the people that are the semi-MC’s are always kind and ever helpful and, pending you getting it approved, they will give you a recording of the recital, free of charge. Also, it is a beautiful venue.

Exhibits A, B & C*

the organ, up close...kinda

front of the organ from the front of the stage

fun shot of the trompettes

The lead up to this recital is the stuff of which movies are made: My original pianist’s father was having heart problems, and was on the list for a new heart. She had seen him about 2 weeks prior to the recital. The following week, she got a call saying that something had happened, so I was told to find someone who would be on standby, should things take a turn for the worse. Now 1.5 weeks before the recital, I got the dreaded text saying that she would not be there, as they (the family) signed a DNR for her father, and she would be leaving immediately. Now came the real fun part of trying to find an accompanist who would be able to handle the music I had programmed. I tried everyone that I had asked to be standby if they were willing, and no fruit came of that tree; I broadened my search to friends who knew other pianists, to no avail. Finally, I called my handler at Temple Square Performances to let her know of the situation. At this point, I was ready to call it off and had made my peace with that fact. She, however, was not ready to throw in the towel. She gave me names to contact, and still nothing was coming together. Lots of people were willing, but none were available, either for the performance or to rehearse, which was paramount for the music I had. Week of, on Wednesday night, I was really willing to cancel, as nothing was working, and I thought we were out of options. Thursday morning, I get a call, and she has found someone, I should call her and coordinate. So, I did, and it turns out she could do the performance, but only have 1 rehearsal, and on the day of, a couple of hours prior. Also, it was her anniversary. And she was slightly concerned with the repertoire. So, she was out. I get a call about an hour later, saying she had found someone else who will definitely work, and will be available that night AND Friday to rehearse. So, I call her, and it everything is hunky dory. This pianist, Shelley Astle, was wonderful and deserves a special place in heaven: she had less than 48 hours from receiving the music to the end of the performance. All in all, I would give my performance an 8/10, because, like most times, there are things I’d like to fix or do over again, but Shelley was definitely a 10/10 given the time constraints she was given.

When I arrived, they still had the choir risers set up from the prior night. Despite sometimes playing a big ol’ high maintenance singer, I am pretty low key. As such, this wasn’t a big deal to me, but my handlers were making this a much larger issue than it really needed to be, and because the risers were all behind the piano they were not effecting me in the slightest. So, they are all flustered and get someone to move everything (about an hour before the performance), and then they come talk to me again in the green room while I’m practicing, informing me that there was no one there to record my concert, despite all other parties being told otherwise. So, they call the person in charge of AV, and she didn’t even know that there was a concert that night (whoops). So, they go someone who was mostly aware of what to do in this venue, but, since they weren’t uber familiar with it, they would be unable to use the mics that were already there, and would have to use mics on stands. Again, doesn’t matter to me how it gets done-these kinds of details are largely unimportant to me (what a singer, right?) When I went upstairs to the stage, I was slightly alarmed to see a mic no more than 3 feet from my mouth. The tech assured me that it was turned down so it wouldn’t buzz and such. In addition to this mic, the piano got one, which made me feel much better about the outcome of this recital, so each mic could be adjusted separately in the final mix. Anyway, the recording turned out wonderful, and I’m happy with how I sound(most of the time), which, as a singer, doesn’t always happen. đŸ™‚

Below are some pictures from other friends*:

Blah, blah, blah

Bowing at the end

more bowing

For those that are interested, the program was:

I hear an army, Op. 10, No. 3 – Samuel Barber

Misero! O sogno…Aura, che intorno spiri, K. 431 – Wolfgang Amadeus Mozart

Three Songs by Browning, Op. 44 – Amy Beach

  1. Ah, love, but a day!
  2. I send my heart up to thee
  3. The year’s at the spring

Comfort ye, my people…Ev’ry valley shall be exalted from Messiah, HWV 25 – Georg Friderich Händel

Comment, disaient-ils, S. 276 – Franz Liszt

Enfant, si j’Ă©tais roi, S. 283

Oh! quand je dors, S. 282

Dover Beach – Richard Faith


ENCORE: Blah, blah, blah – George Gershwin

For those of you that would like to listen, here is a link that will let you download the whole recital:

If you’d like notes/translations, just send me an email, and I’ll be happy to send you a copy. Hope you enjoy it!

*All of the pictures here were taken on cell phones, as everyone, including myself, forgot to bring a camera. Whoops!


I am in the planning stages of starting a new [classical music] concert series here in Salt Lake. Unfortunately, I cannot come up with a name for said series that I am really in love with, which is why I have asked you here…


  1. Location: Utah Museum of Fine Arts (UMFA)
  2. Day/Time: Sunday afternoons (not every one though)
  3. Usual performers: advanced students/groups at the University of Utah, former students beginning a career, or other professionals/groups in the area
  4. Usual programming: heavily classical, but also, possibly 1 jazz concert a season

Ideally, this name would incorporate the fact that the series is at an art museum and that it is a classical music/jazz series.