Music Notes on the Sitzprobe

Well done, all! Siztproben are always stressful and I thank you for your
attention and patience with the process. I know it all sounds so different. On we go!

Chrisse the Wonderful

Sitzprobe is a German term used in opera and musical theatre to describe a
seated rehearsal—
the literal translation of Sitzprobe—where the singers sing with the orchestra,
focusing attention on integrating the two groups.

#1a ENSEMBLE - all bass voices do “you’d best depart”.  We need just a bit more sound.
If the last note in that phrase is too low, take it up.  I may change this back to just Duncan
after I hear it with amplification.  

#2 MISS SHINGLE - check your notes at m. 119

#2a - MONTE - check your pronunciation of “the” 

#3 SIBELLA - “Monte, that’s just right.” Get to the ‘just’ in tempo; only hold “just”

ORCHESTRA - tempo can be brisker; she's flitting all over the place in this number.

#4 MONTE m. 135 - 138 all those notes are even.  You are dotting the first one and
it muddies the waters.  Please compare your interp with the actual rhythm.
You are taking a lot of rhythmic liberties in this song, some of which are ok, but
some of which don’t fit with the orchestration and make the lyrics unclear. 
Try to adhere to the rhythm that’s written.

At m. 166 wait until the orchestra note fades before you do the pick up note to 167

#5 ENSEMBLE - “Monte Navarro - FULL STOP - you know you...etc.” 
Don’t make me name names!

#6 JP - m. 20, wait for cue  from Professor Caldwell to go on. 
let’s try to get together to work timing of certain phrases, such as M 75-88;
a bit slower and contemplative at m. 122

ORCHESTRA - a bit of an easier tempo at m. 122; contemplative 

#7a ENSEMBLE/VO   m. 24- ...in one moment my life was changed forever”
orchestra comes to full stop. 

M. 26 -  Then there’s a change of music, so start the line “I now had a series…”
at this music change.  

M. 29 Then another full stop to insert the Clerk’s line…”or you’ll be getting the chuck.” 

M. 30 The music begins again and the dialog continues through…

M. 46C - “I discreetly observed their comings and goings..

M. 49 - music change to intro Assy and Evie - start dialog.  

ORCHESTRA play VAMP at m. 49 X2 then go on at m. 50; Ritard at m. 68-69

#8 JP - check melody at m. 12-13, watch pitch; check timing at m. 80

#11 PHOEBE - keep up with the tempo in this number. 
Also, please chart your breathing patterns so you are not breathing
at incongruous times, such as right before the last word in a sentence. 
Plan the breaths and take them the same way every time. I’ll help if you want. See me.

#12 ENSEMBLE - Notes!!!!!!!!!!!!!!!

#13g ORCHESTRA  VAMP @ M. 12 then cue MONTE for #13h with 4 loud beats

#13h  EZRA - wait until the music stops altogether before you speak at m. 17  “heart attack”

M. 32 JP let a couple of measures go by before you start to speak!! 

M. 32F - ORCHESTRA - definitive cadence at 32F AFTER “How astounding” 

 m. 37 can go faster!

#15a JP m. 12-18  let’s review

#16 MONTE - check your notes at m. 11 make sure that ‘C’ is accurate;
@ m. 77 beat one is dotted - use that for a breath.

#17 PHOEBE - check rhythm at m. 3, 4, 6 - 

#19 MONTE - m. 14 don’t slow down.

#21 ORCHESTRA - faster - molto agitato

#22b - MAG/GUARD/INSPECTOR - “Fate must” needs to be faster;
pay attention to the overall tempo there. 

ALL There is no slow down from here to the end until the last phrase