eapen leubner, tenor

I’ve been grappling with the structure of Serenade for a couple of months now.  I’m living with the poetry, looking up a lot of words (!) and trying to make up a meaningful meta-narrative that will link the poems together.  I’ve just posted a mental storyboard for the first two songs. I’m refining the subsequent songs and they all fall into the story that is being set up here.  A couple of things to note:

-this is an insight into how this song cycle works for me.  Probably not the “scholarly” approach and possibly heretical in nature.

-This technique of visualizing aids with memory and helps me add meaning to each word.

-When I’m on stage, all of this will be forgotten and I’ll just sing the music.  If I have practiced and worked hard enough, the feelings that I feel in practice will come out in my performance and voice.

- I am putting this out there to share with any collaborators on this show and as a continuation of my “serial killer” method of characterization and acting practice.  I used to do this in essay books and now I like to use tumblr.

- I’ve missed doing this with a number of shows due to very late hiring and bouncing right into rehearsals.  Here I am four months out from the performances and I have delicious space to dig in and come to the collaboration with some robust opinions.

My first “Serenade for Tenor, Horn and Strings” will take place in October,2018. For 3 months I have been learning notes and rhythms and doing some light analysis.  Over the next months, I return to my serial killer book to dive deep.  Here is what I want to explore:

After a lot of years away, I need to go back to my roots. I believe that rolling up new characters is a good first step to familiarize myself with player options. At first these characters will be single class, in the future I will explore multi classing.