“There’s a prejudice against this in the industry; an idea that, unless you’re near the end of a very successful international career, you really shouldn’t be doing anything professionally other than singing and maybe teaching a few lessons or giving a few master classes here and there. Somehow, if you aren’t singing ALL THE TIME you aren’t serious, or successful, or something. Producers aren’t the only ones guilty of this belief; we singers spend a lot of time aggrandizing our workload for the benefit of colleagues, as well,” writes Cindy Sadler in her recent post The Secret Lives of Singers.
I read on nodding throughout the entire post and I bet you will too. Singers arrange their lives and their income streams around being a musician. In the present day, it can be near impossible for all but the most successful singers to earn a total income simply from singing. In fact, I admittedly advocate for emerging divas to diversify their income streams (see: 29 Days to Diva: Day 16 — Get a Side Gig.) It is important for us to disallow ourselves from feeding the illusion that Cindy mentions to ourselves, to our closest friends and family, to our agents, and to the general public. It was disenchanting to me when I first started working and could not figure out how “everyone else” was doing it. How could those other singers pay their students loans on those fees? How are they getting health insurance? How this, how that, etc. etc. etc… We all have our secret lives but I encourage you to comment on Cindy’s post and disclose a few of the ways that you make it work.
It all begins with the heartbeat. At least, eighth blackbird‘s recent performance at the Atlas Performing Arts Center in Washington D.C. on Saturday night did. Specifically, an amplified heartbeat and Yvonne Lam‘s (violin) amplified breathing to lead in to the opening half of the program — four love songs, three arranged by ensemble members, on two sides of the pendulum of time. The Grammy-winning new music group ensemble out of Chicago also premiered Amy Beth Kirsten‘s stunning, musical fantasy ”Colombine’s Paradise Theatre” this weekend.
Richard Parry‘s “Duo for Heart and Breath” (2012) opened the love song set with its rising pitches in piano and violin reminiscent of the minimalism in which Arvo Pärt delights. “The idea is less about ‘performing’,” the composer is quoted in the program notes, “and more about directly translating into music the subtle, naturally varying internal rhythms of the individual players.” The last piece of the set, Lisa Kaplan‘s arrangement (2009) of Bon Iver‘s “Babys”, also makes subtle use of varying rhythm. A steady pulsing rhythm emanates from Kaplan at the piano and is joined by Timothy Munro (flute) playing toy piano and the rhythmic relationship is Matthew Duvall (percussion) while it is the strings that soar above with the romantic melodies.
Sandwiched between these two thoroughly contemporary pieces were new arrangements, both by Timothy Munro, of two beloved 17th century pieces. Claudio Monteverdi‘s “Lamento della ninfa” and Carlo Gesualdo‘s “Moro, lasso, al mio duolo” both explore the sorrow of love and loss. Munro played with the sonic textures by including the subdued qualities of the viola and the alto flute but also by including a section that turns to a sense of a medieval minstrel show complete with a frame drum, the toy piano, and Nicholas Photinos transforming the cello into guitar sounds. Similar to the vocal tradition in madrigals of the time, Munro skillfully wrote for the instruments to delicately emerge on the same pitch as another instrument faded away time and again.
Amy Beth Kirsten has a radically distinctive compositional style. Her newest work for eighth blackbird, “Colombine’s Paradise Theatre” (2010-2013), is the fullest expression of her vision as a composer to date. Encompassing instrumental performance, acting, choreographed movement, and vocalism, she envisioned a comprehensive artwork that is utterly mesmerizing in performance. The 60-minute work directed by Mark DeChiazza was captivating throughout. It is simply unlike anything I have ever seen before.
“Colombine’s Paradise Theatre” is based on the commedia dell’arte style of theater which has its roots in 16th century Italy and relies on specific characters symbolized by the mask and garb historically worn by that fictional individual.
And our explanation must begin with the eternal triangle of Pierrot, Columbine and Harlequin… Pierrot, at least in modern times, wears a black skullcap, white floppy pants and jacket, a pale, gaunt makeup. Harlequin wears tights, designed in contrasting diamonds of color, often spangled and carries a stick. Columbine is sumptuously and sensually adorned. The naïve, defenseless, moonstruck Pierrot adores the lovely Columbine, who has wit and feeling enough to appreciate his worth but is too light-minded to resist the coarse and brutal Harlequin, who is himself bound to Pierrot in a mocking, rueful, treacherous comradeship. – from Triumph of Pierrot: The Commedia Dell’Arte and the Modern Imagination by Martin Green, John Swan
Kirsten’s work is a musical fantasy that is inspired by the commedia tradition but takes on its own language, form, and color (or lack thereof.) The stage, also designed by DeChiazza, is set with the piano in the center surrounded by a playing space delineated by percussion instruments and some chairs draped in that tell-tale diamond pattern. The fibers of the ‘storybook poem’ begin to weave as a solitary column of light illumines Colombine, played by Kaplan, lying on the stage. The poignant lighting design, by Mary Ellen Stebbins, allowed for unexpected shifts and changes by the players on stage. Kirsten uses the audible inhalation and exhalation of breath to add emotional meaning as well as specific musical/sound elements. Colombine is wooed by Harlequin, played by Munro, about the stage from place to place. Munro is a fantastic Harlequin because he is able to use the full range of his lanky body and expressive voice to physically persuade Colombine’s movements. He sings, “I bind her here in the moonless night I wind her I alone can touch her pain I alone can know my Colombine again…”
While it is not absolutely essential to know the elements of the commedia dell’arte style to enjoy this performance, it helps to have an understanding of the exaggerated physicality that accompanies the acting to be swept up in the story. Lam, Munro, and Michael Maccaferri (clarinet) were plausibly committed to these corporeal affectations especially with their instruments in hand. In one of the movements, Lam and Kaplan sit together at the piano and play as though in a ballet of arms and hands – leaving one unsure of whether Colombine is being tormented or soothed. In a rather quiet moment, Duvall releases the bass drum from its hanging spot – lit like a full moon – and brings it downstage center to play a tender duet juxtaposed with Kaplan responding at the toy piano.
Kirsten plays with time as much as she does sound textures. There is always a sense of forward motion in “Colombine’s Paradise Theatre” but it never rushes anywhere. There are plenty of places for breath, for pause, perhaps even a chance to catch again that heartbeat the audience heard in the first moments of eighth blackbird’s performance.
"Ein Fragment muss gleich einem kleinen Kunstwerke von der umgebenden Welt ganz abgesondert und in sich selbst vollendet sein wie ein Igel." - Friedrich Schlegel from Athenaeum¹
[A fragment should be like a little work of art, complete in itself and separated from the rest of the universe like a hedgehog.]
A fragment is not simply just a short piece. It must be a splinter of the larger work that lives in relation to all the other slivers preceding and following it. György Kurtág’s Kafka Fragments op. 24 exhibits hints of the traditional song cycle. As in lieder, the vocalist has a heightened commitment to the German poetry/text while the violin takes the place of the traditional piano accompaniment. The violin, similarly to Schubert’s piano in “Die schöne Müllerin (Op. 25, D. 795), is its own character exposing different emotions which color the spoken thoughts in the vocal line. Kurtág’s compositional style is the ebb away from song cycle writing like Schubert’s. However, the highly stylized text from a single author is the flow back to the traditional form. So who are these men, Kafka and Kurtág, whose words and music have created this challenging and substantial concert work which Martha Morrison Muehleisen (violin), Karen Yasinsky (animator, video artist), and I are performing in January at the Atlas in D.C.?
Who is Franz Kafka?
Born in 1883, Franz Kafka has become a readily recognized name due to his enormous impact on Western art and literature. The Czech-born German novelist was raised in Prague and went to law school. After completing school, he worked for a law office and insurance company while writing in his scant spare time. Around 1907 he contracted tuberculosis and moved around to live in various health facilities.
The central experience of Kafka’s life, it seems, was a manifold alienation—as a speaker of German in a Czech city, as a Jew among German and Czech Gentiles in a period of ardent nationalism, as a man full of doubts and an unquenched thirst for faith among conventional “liberal” Jews, as a born writer among people with business interests, as a sick man among the healthy, and as a timid and neurasthenic lover in exacting erotic relationships. ²
Growing up with a tyrannical father and his later inability to sustain healthy romantic relationships seemed to have led to a natural disposition to write about man’s search for identity. Kafka’s main characters are often on a hero’s journey in which they must surmount multiple obstacles to reach their goal and their identities are revealed in contrast to the situations along the way. It is his ability to delineate the loneliness and estrangement of the individual in an uncaring world that makes his short fiction stand out in its time. In fact, it is also this ability that has morphed Kafka’s name from proper noun to proper adjective — ‘Kafkaesque’ — in the lexicon.
Kafka’s writing was in itself fragmentary. He relied on unemphatic and concise language – which aligned itself with the rise of absurdist genres popular in Prague and Vienna. It is this cutting-to-the-quick nature of Kafka’s writing that Kurtág explores musically in Kafka Fragments.
Who is György Kurtág?
Born in February 1926, less than two years after Kafka’s death in June 1924, György Kurtág has risen to be a leader in European classical music. As mentioned last week, his music is not as well-known in the United States but not for its lack of high quality, integrity, and refinement. Significantly, he is the only composer with international recognition that has survived Hungary’s communist regime during the time from 1949–1989. Béla Bartók was an early and important influence on Kurtág who received recognition first as a pianist, having taken lessons from the age of 5, especially when playing Bartók’s works. During those years before he moved to Paris, music from the West was quite limited. It was his time in Paris that allowed him to explore more works by composers such as Webern while continuing his affection for Bartók’s music.
It is interesting to note that Kurtág became well-known as a répétiteur, coaching singers and instrumentalists at the Bartók Music School as well as Hungary’s National Philharmonia, before his work as a composer was spotlighted. One of the reasons that his musical works may not be as well-known in the States could be that he writes with extreme care and great effort. At the age of 59 in 1985, his output had only increased to opus 23 – with some of his works being unfinished or withdrawn for revision. When he composed opus 24, Kafka-Fragmente, in 1985 it became his “longest grouping of aphoristic pieces into a defined ‘whole’” yet.³
Kurtág has an intimate understanding of the voice and explores its limits in many of his works. It is this intimate understanding, obviously born from years as a vocal coach, that makes his writing in Kafka Fragments difficult but never impossible. There is an inherent need and struggle to communicate in his vocal compositions that make them challenging but attractive to performers and audience alike.
Who is the Audience for Kafka Fragments?
Challenging music or art is not meant to be spiteful or to make you feel stupid. This type of art recognizes, like Kafka recognized, the world can be desolate, alienating, and destructive at times. But, this composition and its performances show that we are not alone with that understanding of the human experience. You, our audience, are experience seekers. You don’t always need to be spoon-fed a story but rather appreciate being shepherded through a performance. An audience for Kafka Fragments values devotion to unique performances. Therefore, I hope you will join us in January for what we are working very hard to make a unique and valuable performance to share with you.
Do you agree? Disagree? Are you our audience? Join us on Facebook. Tweet me @mezzoihnen or use the hashtag #KafkaFrag when sharing these posts.
¹Hyde, Martha. “Paradoxical Forms: Kafka, Kurtág and the Twentieth-Century Musical Fragment” Journal of the Kafka Society of America 2004: 29.
²Encyclopedia of Philosophy Ed. Donald M. Borchert. Vol. 5. 2nd ed. Detroit: Macmillan Reference USA, 2006. p5-6. COPYRIGHT 2006 Gale, Cengage Learning
³Rachel Beckles Willson. “Kurtág, György.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 15 Nov. 2013. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/15695>.
- kafka-fragmente: Telling a Historical Fiction through Chamber Music (sybariticsinger.com)
“Opera really only exists in the moment that it’s being performed and opening night is like being shot out of a cannon,” remarked American composer Jake Heggie to Wednesday evening’s audience in the sold-out Terrace Theater at the Kennedy Center. He and Francesca Zambello, Washington National Opera Artistic Director, agreed on how vital a workshop experience can be for new operas. American Opera Initiative is WNO’s comprehensive new commissioning program created specifically to “stimulate, enrich and ensure the future of contemporary American opera.” The three composer/librettist teams – Jennifer Bellor and Elizabeth Reeves, Michael Gilbertson and Caroline McGraw, and Joshua Bornfield and Caitlin Vincent – created three original 20-minute works which explored the diversity of the American experience. The composers and librettists then worked with Heggie, librettist Mark Campbell, conductor Anne Manson, and singers from the WNO’s Domingo-Cafritz Young Artist Program to workshop their operas and ultimately brought them to life in concert format.
Opening the evening with Bellor and Reeves’ “Duffy’s Cut“, Norman Garrett‘s resonant baritone filled the theatre immediately as the haunted blacksmith Malachi Harris. Patrick O’Halloran (John Ruddy), Shantelle Przybylo (Catherine Burns), and Tim Augustin (John Burns) made up a pseudo-Greek chorus of the ghosts of immigrant Irish railroad workers. The title, “Duffy’s Cut”, refers to their Pennsylvania work camp from which the workers tried to flee when cholera broke out. Over the course of the work, Malachi realizes that his boss, Phillip Duffy, is responsible and that he is coercing Malachi to cover up the deaths. Soloman Howard as Duffy expertly contrasted his vocal color – displaying a hard and cold as flint bass – to that of Garrett’s warmth. To this taste, the score could employ more intervals of rest between major decisions as when Malachi chose how to mark the workers’ graves. Nevertheless, interspersing the libretto with an Irish folksong (composed by Bellor as part of the opera) offered other opportunities for crystalline, legato singing.
Zambello told the audience that the only required thematic element for the composer/librettist teams was choosing a uniquely American story. Librettist Caroline McGraw remembered that the inspiration for their American story came to her while watching the news coverage of the Boston Marathon bombing. She recalled how struck she was by the talking heads being on-screen for hours upon hours “saying nothing.” While not directly related to the Boston tragedy, McGraw and Michael Gilbertson‘s opera “Breaking” follows an overzealous features reporter who wants to spice up her ho-hum special interest pieces and dreams of catching a breaking news piece. Gilbertson’s short prelude to the work even evoked a sense of a broadcast news ident. Deborah Nansteel, as the reporter Johanna, enunciated her text clearly with a glimmering, rich mezzo sound. Wei Wu (Sam) helped raise the excitement and tension in their duet, largely in unisons, on the scene at a post office wherein hostages are held. Johanna’s character collides with Zoe, the sterling Jacqueline Echols, whose brother is held hostage inside the building. This human interaction with grief stirs Johanna’s feelings to reconsider her eagerness. After the scene changed to Johanna’s home, Patrick O’Halloran (Davey) altered the pace of the opera with softness which allowed Nansteel a touchingly solitary aria at the end of the work.
The last 20-minute opera of the evening seemed to explore more of the introduction and rising action inherent in a short story. “Uncle Alex” composed by Joshua Bornfield and libretto written by Caitlin Vincent settles on three immigrants passing through Ellis Island during 1907 and their one auspicious interaction with an immigration inspector. Tim Augustin played a gruff, authoritative inspector who calls out loudly, “Next! Next in line!” beginning his interaction with Yuri Gorodetski (Jacob Eingold), Deborah Nansteel (Anna Eingold), and the Eingold’s new-found friend Alex Margolis played by Christian Bowers. Taking time to dig into the introduction and rising action allowed Bornfield to write diverse vocal textures and colors for the singers, especially in the plaintive, satiny solo for Nansteel – “We made it. We’re here. Just a few steps away from the dream of America.” – floating over Gorodetski’s formulaic recitation of his script for the immigration inspectors “My name is Jacob Eingold.” Likewise, there is an effective duet at the end of the opera for Bowers and Augustin which draws parallels to America’s history as a nation of immigrants which Augustin perfectly underscored by motioning to the audience with his final, “Next! Next in line!“
As new music lovers everywhere understand, it is not just about the première of the piece but its longevity. As Heggie mentioned, “opera exists in the moment it’s being performed.” All three teams agreed that these operas worked best in their 20-minute forms and have no immediate plans to expand on the stories. However, it would be a joy to see these new works live on in scenes programs alongside more traditional fare. These young teams should feel proud and opera fans would be smart to keep an eye out for their work in the future.
Also part of the WNO’s American Opera Initiative is their upcoming hour-long production of “An American Soldier” composed by Huang Ruo and libretto by David Henry Hwang. This completed staged work will be presented in on June 13 and 14, 2014 directed by David Paul and Steven Jarvi will conduct the chamber orchestra. More info on “An American Soldier” can be found on the Kennedy Center’s website.
- in performance: Two Standout Debuts in Washington National’s “Forza” (sybariticsinger.com)
When it comes to literary heroines, readers have a proprietary sense of the version they imagined. What happens to them after the last page has been turned? The door clicks shut. Or, another door opens. Nora, In the Great Outdoors picks up where Henrik Ibsen’s play A Doll’s House left its audience: the moment immediately after Nora breaks away from the door and into an unknown world. On a stark stage, featuring simply a single door and chair amidst roughly a dozen vertical light poles, Emily Pulley as Nora begins to plead her case to the UrbanArias audience assembled on Friday night for opening night of She, After – two one-act operas composed by Daniel Felsenfeld. The second opera, Alice in the Time of the Jabberwock, is based on short story by Robert Coover and features Pulley, as Alice, after having undergone a strange transformation in which she is still a young girl in a grown woman’s body.
Felsenfeld does not provide a long introduction for Nora. She ‘exits’ the door somewhat frantic and breathless after having made the decision to leave. She exhorts herself in quasi-parlando to just “breathe” which provides a substantial emotional introduction for the audience. Felsenfeld’s score does not shy away from dissonance to accentuate these emotional circumstances but there is also a permeating sense of stasis throughout Nora. Pulley’s diction was impressive in both one acts. Never leaving one wondering about the text, each consonant cut to the last row in Artisphere’s Black Box Theatre. However, I would have exchanged a louder dynamic for a freer sound from Pulley during some of the high, quiet moments.
One of the interesting elements of a single performer show is the decision whether or not to engage the audience directly. Pulley effectively broke the fourth wall throughout – especially in Nora. She demands of the audience, “Are you mesmerized?” as well as being able to turn inward during moments in which she contemplates, “Some mistakes take years to make – others only minutes – which one is this?” Felsenfeld’s Nora does not experience the same triumphs that Laura Kieler, the real-life inspiration for the character, achieved. This is a much darker story that asks the audience to contrast their imagined version with the version created for this production.
The chamber interlude between the two pieces was quite tender. Jenifer Kim (violin), Sean Neidlinger (cello), and R. Timothy McReynolds (piano) took the opportunity to show their seamless collaborative sound.
A mocking two-voice chorus electronically projected into the theatre sings, “You are old Mother Alice, you are old” as a reworking of the “You Are Old, Father William” poem from Carroll’s Alice’s Adventures in Wonderland to begin Felsenfeld’s Alice in the Time of the Jabberwock. The score for Alice is much more animated than Nora. She sings, “My chest is as crinkly as funeral crepe… I’m growing a mustache… I’ve got little purple doodles all over my legs…” While mostly funny and cartoonish, there is a real sense of the loss that comes from growing older. Beth Greenberg, Stage Director, said in the post-show talk-back that she considered the monstrous, devious Jabberwock to be a representation of time. There was poignancy to Pulley’s Alice especially toward the end of the work when she sang, “that pretty little girl has gone away and left me and I’m now just another extinct and imbecilic old creature stumbling around in Wonderland.”
Both Nora, In the Great Outdoors and Alice in the Time of the Jabberwock are opportunities to confront these favorite characters and recast them as more complex – more human. UrbanArias has three more opportunities (Friday, November 15 at 8 p.m., Saturday, November 16 at 8 p.m. and Sunday, November 17 at 2 p.m.) to see this thought-provoking production. Don’t miss them.
In January 2014, I will be performing one of my wish list pieces with the wonderful violinist Martha Morrison Muehleisen. Kafka-Fragmente is a characteristic cycle of 40 tiny movements which we will be performing at the Atlas Performing Arts Center in Washington D.C. We are telling a historical fiction of Junko Tabei, the first woman to climb Mt. Everest, using the complex score of Kafka-Fragmente Op. 24 by György Kurtág to narrate her struggles. Through voice (Megan Ihnen), violin (Martha Morrison Muehleisen), and hand-drawn animations (Karen Yasinsky) we will explore the futility and triumph of the path as metaphor for the human experience. The composition includes a wide variety of musical sounds – some inspired by folk melodies – others range from whispers to shrieks. Anyone who has struggled to find their own external, or internal, mountaintop experience will feel a kinship with this performance.
What is Kafka Fragments?
Kafka-Fragmente Op. 24 is György Kurtág’s setting of forty short excerpts from Franz Kafka‘s diaries, notebooks, and communiqués. Although the Hungarian composer Kurtág does not have as much notoriety in the States, this work is considered one of the most challenging masterworks of the late twentieth century. Jeremy Eichler has written about Kurtág, “His relatively small body of work contains music of flinty surfaces and fierce emotional compression. He is a master of the aphorism, the terse bundle of notes whose intense Webernian concision can mask vast landscapes of raw and disarmingly personal expression. Listening to his music is like peering at the ocean through a keyhole.” Approximately an hour in length, Kafka-Fragmente explores incredibly diverse sounds and asks much from the performers as well as the audience. The forty settings range from twenty seconds to seven minutes and offer incredible insight into both Kurtág and Kafka’s writing and opportunities for the audience’s own introspection.
“Listening to Kurtág’s music is like peering at the ocean through a keyhole.” – Jeremy Eichler [Click to Tweet This]
Why Historical Fiction?
Martha actually approached me in October of 2011 about working on Kafka-Fragmente together and over time it has morphed into the project that we will be presenting on the New Music Series curated by Armando Bayolo at the Atlas Performing Arts Center in January. Martha and I chatted about the work over multiple coffees and flurries of Facebook messages and emails and the ideas seemed to become more clear. We thought it would be helpful to stage and perform the work if it had a slight narrative arc similar to how Dawn Upshaw and Peter Sellers envisioned the work for their celebrated 2008 Carnegie Hall performance.¹ It would be inauthentic to choose a similar story though so through more conversations we landed on Junko Tabei, the first woman to climb Mount Everest on May 16, 1975, as our narrative inspiration.What is historical fiction? Books or stories in the historical fiction genre blend actual historical facts with fiction. “Historical fiction can take readers to times and places that it would otherwise be impossible to visit. Such fiction can give us a window into the mind of famous historical figures or let us see what it was like to be an ordinary person during a pivotal historical event. While there’s no denying the value of a good biography or nonfiction book about history, pairing such texts with a fictional story can be a great way to make history more accessible and more appealing for some readers.”²
The Kafka texts that Kurtág chose often return to this idea of “the path” and walking or marching. For example, Teil II – “Der wahre Weg” which is an homage to Pierre Boulez reads, ” The true path goes by way of a rope that is suspended not high up, but rather just above the ground. Its purpose seems to be more to make one stumble than to be walked on.” In late 2012, I wrote to Martha, “I get the sense that collectively these texts are about striving for something, loneliness, and walking/traveling as metaphor for life.” It was this understanding of the text that has solidified our physical performance of Kafka-Fragmente as a historical fiction of Junko Tabei’s amazing journey.
These texts are about striving for something, loneliness, and walking as a metaphor for life. [Click to Tweet This]
As we continued to brainstorm, we alighted on the idea of including a visual component beyond just the live performers. We approached Karen Yasinsky who is a Mid-Atlantic-based artist who specializes in animations and drawings that she also uses in video installations. Her animations have been screened worldwide at various venues and film festivals including Museum of Modern Art, the New York Film Festival’s Views from the Avant Garde and the International Film Festival Rotterdam. She is the recipient of a Guggenheim Fellowship, a Baker Award and is a fellow of the American Academy in Berlin and the American Academy in Rome. When we originally shared our ideas with Karen she mentioned that she actually saw the Dawn Upshaw and Peter Sellars production when they visited the American Academy in Rome. It was meant to be! Working with a visual artist has been such a thrilling new experience for both Martha and me. It has opened us to new ideas and new ways to see our performance in context and I am incredibly excited to share that with you.
Artists often work in solitude – burning the midnight oil to make sure they can present their work for one performance or a short run in a gallery. It has been enlightening to see this project come together since 2011 with all of the life changes that happen during that time and I want to be able to share the whole process with friends, family, and others that are working on their own long-term projects.
What Happens Next?
This performance is truly one-of-a-kind and I do not want it to happen in a vacuum. It is a special opportunity for me to collaborate with Martha and Karen on this challenging and inspiring work. We will need help though. We will need help spreading the word so that the work we have put in to this project since 2011 can continue to grow. Can you help us? Can you help us by inviting your friends who are interested in one-of-a-kind experiences to our Facebook event? Already know you’re going? You can purchase tickets right now through Atlas. Finally, we need your help to amplify our efforts. Will you help us by sharing this post? Have an idea you want to share with us? Tweet me at @mezzoihnen or share with the hashtag #KafkaFrag.
Keep an eye out for more Kafka-Fragmente blog posts right here on the Sybaritic Singer.
Here we are! Happy to announce that the Sybaritic Singer has been nominated for the 2013 Mobbies in both the Best Community Blog and Best Entertainment Blog. Since the Sybaritic Singer launched in April in 2010, it has been a pleasure to write about the classical, contemporary classical, opera, and general diva happenings in the Mid-Atlantic area. I appreciate your support and look forward to writing many more posts – but I need your vote to win! Please check out the list and cast your vote here: http://data.baltimoresun.com/mobbies/2013/