Getting there, getting there.  We have now leaped over the hurdle of rehearsing with the orchestras for the first time.   Nope, that wasn't a typo.  We have two orchestras; one front right of the stage, the other behind.  There are some SUPER-COOL effects, when the sound swishes from one to the other.  You can virtually see it flying around at certain points.  Amazing.

Anyway, I think the orchestral rehearsals were interesting for everyone involved.  The orchestral score without singers, and the singers without orchestra, lacked a definite something, but as soon as that something got involved, everyone's ears automatically perked up, thinking, oh yes, this could be GOOD.

Some particular moments stand out.  The back-and-forth note-passing of bass clarinet and saxophone in the Banquet Scene which sounds absolutely like trance music (and is much more understandable as such; slightly more than 120 beats per minute, main accent on the offbeat).  The unvoiced notes on, for example, flutes, which end up sounding like heavy breathing.  Certain little "this is a private party" moments for the backstage brass (who evidently thought I was nuts when I suggested this, by the way.)  Glorious interchange between the beautifully-played cello in front and my part in my mad scene.  Ahhh, of such things is job satisfaction truly made. 

One of the most interesting aspects of this was the sudden rush of nerves I was swamped with before each new section with orchestra.  Evidently I am more worried than my conscious self would admit to about sounding good in front of colleagues I respect.

And in this respect I jüst heard today that the composer will be attending the premiere on the 21st.  No stress there, then...