With the annual Crypt Concert looming this Friday, last night’s rehearsal was a full performance-mode run-through of the entire programme in concert-dress.
There are several reasons for doing this: it focuses the performers, makes them step up and deliver the programme in full, and gives them an idea of the emotional geography of the running order, as well as of the stamina required to deliver it. It makes sure everyone has the right dress, has their performance folders organised, and practices the levels of concentration required to deliver each half of the concert. Granted, it’s not the same as delivering the programme in the white-heat of a public concert in front of an attentive audience, when the adrenalin is flowing and you’re alive to every nuance of the occasion – the length of the acoustics, the emotional temperature to which you respond dynamically, and so forth – but it does throw into sharp relief the commitment required in bringing the music off the page.
The first half of the rehearsal, the first half of the programme, came to a conclusion. We took a ten-minute break, reconvened, and then ran through the second half of the programme; and there was a remarkable difference between the two halves. The first had been somewhat hesitant, functional but not emotional; the second really came alive, had an emotional energy and was much more successful. Why was that, we asked ourselves ?
It became apparent that there had been a lot of nervousness when the rehearsal began with the programme’s opening piece – people had genuinely felt they were performing. That sense of needing to step up to the mark and deliver, so often talked about in rehearsal, was suddenly being asked of them; and they’d felt nervous. Attired in concert-dress, standing beneath dimmed lighting, folders at the ready, had really brought home the need to perform, rather than simply rehearse.
Once the first half was over, though, people began to feel confident in what they were doing, and re-grouping after the break, the singers were much more relaxed, and hence could perform the second half confidently, with a greater sense of musicality.
Rehearsal and practice are, of course, in part about removing uncertainties, about limiting the variables, cutting down on the unknown quantities such that you reach a level of technical and musical proficiency that allows you to concentrate instead on the nuance of in-the-moment performance. After last night’s rehearsal, we’ve removed another few. There will still be nerves on the night, but on one level we can have a new confidence in that fact that we’ve now delivered the programme; not publically, but we’ve mapped the levels of commitment, concentration and stamina required.
Here’s to Friday…