I am writing this blog post to capture a moment in time. A sort of diary so that hopefully I never forget (once things go back to normal again) how things were at one time. How things changed, and evolved into whatever they are going to become...

It is January 2021. The world is not as we know it. There is a pandemic going on. It has been going on since March 2020. That is 10 months without a live concert. For someone who would normally be performing several times a week, that is a very weird thing to experience. I have been on "standby" the whole year. Ready to go back to work. Maybe by next week, next month, by Christmas everything will go back to normal. But that never happened. When you are poised in one moment of time, waiting to go back to work, you can not commit yourself to any new projects (personal or professional) because you are never fully free and able to switch off.

And yet, amidst all this madness, during a severely restrictive lockdown in Belgium (whilst things are even stricter in the UK currently), Opera Ballet Vlaanderen were able to safely put together a physically distanced concert and live stream it.
There was hand sanitiser everywhere. They even gave each of us a bottle of the stuff so that any germs on our hands could be killed regularly. The orchestra were only permitted into the backstage areas of the opera house. The choir were only allowed into the audience areas of the opera house. This helped to space us out and prevent to many people in one area. We were all allocated specific seats that had been measured, for the choir at least 3 meters apart from the next person. We were given specific face masks that had been designed for singers, so that they would hold their shape when we inhaled. The masks were to catch any watch droplets that might be emitted from our mouths while performing. You have to assume that anyone could be infected and shelter all individuals from each other.
We had designated "covid safety officers" who's entire purpose was to monitor that everyone was at all times at least 1.5m away from each other, and correctly following all the new rules. Safety first.

There was no audience in the room. It is not permitted. Unless it is your job and you are being paid, you were not allowed to even enter the building. Instead for a small fee of 10 euros, you could buy a ticket to the concert and watch it from the comfort of your own home. This meant that the choir had to clap after each piece, and even clap after their own singing. It is very strange to perform a piece of music and to be greeted by silence afterwards. Very strange.

Despite all this, we triumphed in putting together the first concert of 2021. We hope for many more, and pray that one day we will laugh when we think back to this time; the lessons we learned, and the gratitude for those lessons.

No better title than 'Finally 2021' for a festive concert that has to make us forget 2020 as soon as possible.

The cast, originally foreseen for performance of Tristan und Isolde, looks impressive. Tenor Michael Weinius and soprano Carla Filipcic Holm both make their debut with Opera Ballet Vlaanderen, while mezzo-soprano Raehann Bryce-Davis and bas Goran Juric happily return to our house. Musical director Alejo Pérez is leading them together with, for the first time since March, the (almost) full orchestra and chorus in a programme full of repertoire to wallow. With excerpts from Mozart's Die Zauberflöte, Beethoven's Fidelio and Verdi's Macbeth upto Wagner's stronger Die Walküre and Lohengrin and Berlioz' Damnation de Faust, all ingredients are there to start 2021 in a radiant way. This concert is offered as a paid live stream.

Length: 1 hour 20 min   This is an online performance. Ticket buyers will receive an e-mail half an hour before the performance with the link where they can watch the performance. You can watch the performance through the link until 2 weeks after the premiere.

​https://www.operaballet.be/en/programme/2020-2021/finally-2021?fbclid=IwAR2QVxOC5gX2ECNNXHqHiZ_x427CLqHOWmG630pm-KbHQ-amkX5OG8ZataI 

​The American choreographer Kyle Abraham subtly depicts the injustice, sorrow and despair that were expressed in Rossini's Willow Song. The poetic images, the joy of the encounters between the dancers and their hopeful looks offer a way out. Because hope brings life!

Concept and choreography: Kyle Abraham
Music: Gioachino Rossini - "Assisa a' piè d'un salice" from Otello
Arrangement and harp: Arielle Valibouse
Soprano: Jennifer Coleman
Dance: Claudio Cangialosi, Mikio Kato, Ruka Nakagawa, Lateef Williams

"And never again let the air repeat the sound of my lament." Thus ends the third verse of Rossini's famous and poignant aria from Otello, known as the Willow Song. When the African war hero Otello and his lover Desdemona are dispersed by Jago's jealous and xenophobic intrigues, Desdemona is left alone. She remembers Isaura, who, like her, was unhappy in love and mourned her fate under a willow tree.

For this video, the harpist of Orchestra Opera Ballet Vlaanderen Arielle Valibouse created a poetic arrangement for harp of one of the most beloved arias in the repertoire, which in this video is sung in a heartfelt way by soprano and member of the OBV Choir Jennifer Coleman. Choreographer and rising star Kyle Abraham created a moving choreography for four of our dancers: Claudio Cangialosi, Mikio Kato, Ruka Nakagawa and Lateef Williams.

Opera Ballet Vlaanderen is a leading performing arts organization that creates opera, dance and concert for all ages in Ghent and Antwerp. The program includes new creations, forgotten masterpieces and well-known titles from opera and dance history.

It was fun to be back at work after 6 months away. What can I say, only that I feel incredibly privileged to have the job that I do. That I had the chance to sing with the choir and orchestra at OBV in Gent Opera House during the corona crisis in 2020. Very few performers will have had any opportunities this year, which made me savour this small project even more. It was strange having to adapt to all the safety measures, but I did feel very safe while working. The orchestra were spread out from each other on the theatre stage, while us chorus members were sat in the stalls 3-5 meters apart from the next nearest colleague. We also had to sing with face masks on, which, I doubt I will ever get used to.

Repertoire:
 Franz Joseph Haydn: "Sie raises herauf, die Sonne" from Die Jahreszeiten
 Henry Purcell: "When I am laid in earth" & With drooping winds "from Dido and Aeneas
 Giacomo Puccini: "Zoemkoor" from Madama Butterfly
 Claudio Monteverdi: opening bars from Orfeo (only for parade orchestra: adaptation by Steven Prengels)

The idea of the project was to record a backing track that can be used later for live musicians to be able to perform along to for the parade performances planned for October. These performances will be open air, and moving through the streets in Antwerp and Gent. So it would be very easy for the live musicians to lose contact with each other in these circumstances, but with the recordings, it will make it easier for the performers, and also for the audience to hear a pre-mixed balance of audio.

https://operaballet.be/en/programme/2020-2021/comfort-parade

The Comfort Parade is an open-air performance by Opera Ballet Vlaanderen, directed by filmmaker Lukas Dhont and theatre maker Dounia Mahammed. Exceptional times call for exceptional forms and gestures. This parade is, therefore, neither an opera, a ballet, a film or a play. But De Troostparade will certainly spark astonishment and aims to provide comfort where comfort is needed. It is a pageant of beauty that gently glides by.

During the Comfort Parade, favourites from the opera repertoire will be played by our orchestra, alternated with brand-new compositions by Steven Prengels. Singers from the Opera Ballet Vlaanderen Chorus, Children's Chorus and Young Ensemble will sing and play. Dancers from our company will perform a choreography by Sidi Larbi Cherkaoui about having to keep distance, by necessity.

With masses of beauty and in accordance with all safety regulations, the artists of Opera Ballet Vlaanderen will move at walking pace through the streets of Flanders this autumn.
ANTWERP - 25th October 2020
GENT - 31st October 2020

I actually started this blog post on the 23rd March 2020. But I never got round to finishing it, because well, things just kept on changing. It's interesting how this year every week there seemed to be a whole new set of rules to follow. 

So you may have heard about this global Pandemic thingy that's been going on this year, something to do with a virus called Covid-19. Well, it has right royally ruined the arts, music, performances and sport - as well as basically everything (apart from Amazon, they seem to be doing well). Anyway, this year I was supposed to be busy in the chorus at Opera Vlaanderen. We were one week away from the public dress rehearsal and opening night of our next production 'Choeur 2020'; a fusion of the best chorus anthems by Wagner and Verdi. Until one night at 10:30pm on the 11th March, when we received an email instructing us not to go back in to work in the morning. At the time I just thought that it would be for one week, then maybe a month, but it continues, and it's currently been over 6 months already...

Do I think that the Arts are going to change forever because of Covid-19? Yes and No.

Yes, I think we will have to start making adjustments to our way of life as a whole. Hopefully people will have better personal hygiene now, hand sanitiser will be more readily available, and face masks will become a much more normal everyday accessory in everyday life. I can't imagine people wanting to wear masks all the time when the laws and restrictions are lifted. We may adopt a more Asian cultural approach to covering our face; in that if people are feeling unwell, out of respect to others, it may become standard practice to cover your mouth and nose when out in public. It also may mean that some people choose to stay at home if they are feeling unwell, when previously they may have continued about their daily lives.

However, the main point I want to make is that NO, I don't think the arts are going to change forever. Performers are hungrier than ever to perform after months and months of quiet time, and audiences are thirsty to be entertained. Nothing beats the thrill of live performance. They can film 'Hamilton' the musical and put it onto Disney+ for people to watch on their TV's at home, but it will be nothing like the experience of going to see the show live in London or New York, when, hopefully it returns.
There has been plenty of sad news about shows and theatres that have prematurely had to close for financial reasons due to covid. I was very shocked and saddened when I learned that The Phantom of the Opera would be ending as we know it. But then I read on their website, that they have just signed a new 50-year lease on the theatre, and that they will come back with new sets, costumes, direction and a new life for the show. Maybe it will be even better once it returns. Maybe somehow, Covid will shake up the industry, and have given creatives some time to re-coupe and replan their next creative projects, or (in the case of Phantom) their past projects too.

I am deeply saddened and concerned for my colleagues and fellow creatives. Financially, 2020 has taken a huge burden on people I know. Many of my opera singing friends across the world have had to abandon their regular performing contracts completely and find new ways to earn a living. But that's ok. When the world is ready, they will still have all the skills that they had before (plus some new ones), and they can go back to their past creative lives should they want to. Some performers may not return to the arts after this. But, if that is the case, then maybe 2020 just provided them with the necessary thinking time to reflect on their lives, values and make new decisions. Like a catalyst.

Good luck to everyone right now. I hope that you can find the courage to stay strong. I wish you good health and I can't wait to see you all creating and performing in the near future. I will sing again, and I will be in an audience many many more times - I'm sure of it. Opera will be returning at Opera Ballet Vlaanderen. They have assured us many times of their plans to start putting on productions again in 2021. I am fortunate to have such a thoughtful and supportive company in these challenging times. We are adapting, but the show must go on! This is not the end of the Arts.

See you soon in a theatre or opera house,

​Jennifer x

This is one of the most spectacular productions I have ever been a part of. Visually there is so much going on on stage. The set rotates to show 2 sides, the first is a medieval colourful village based on the waterside buildings in Gent. The second is Gent's Gravensteen (castle) with a huge baby eating monster emerging out of it. Then we have some truly extraordinary costumes. My costume is a full length one shouldered dress with an exadurated shoulder and sleeve. On the front is a painted Picasso-esque face in green, blue and lilac. And then the hair and makeup - underneath a huge black beehive wig with fringe, my face is painted completely white with deep green eyebrows and lips and a curved line down my cheek connecting them. Every single person on stage is completely different. The costume and makeup department have really excelled themselves in this visual explosion of colour. 

Der Schmied von Gent is the last opera by the Austrian composer Franz Schreker. Schreker, who in the 1910s and early ‘twenties’ was one of the most frequently performed opera composers in the German-speaking part of Europe, had to stand by and watch as the emerging Nazism increasingly boycotted his music. Indeed, Der Schmied von Gent soon disappeared from the bill following its premiere in Berlin in 1932. Opera Ballet Vlaanderen turns the spotlight on this forgotten opera, the story of which starts on Ajuinlei in Ghent.

The German director Ersan Mondtag, known for his expressive, politically charged and provocative theatre, is the perfect match for Schreker’s Grosse Zauberoper. He will be making his opera debut with Der Schmied. Musical director Alejo Pérez takes on a score that shows a remarkable, late change of style in Schreker’s oeuvre as it shifts from the sensual post-romanticism of earlier works to neo-baroque and new realism. Der Schmied, which Schreker explicitly intended as a new type of folk opera, fully illustrates the stylistic versatility and virtuosity of the composer.

The source of inspiration for the opera was the Belgian author Charles De Coster. He transformed the old folk tale of ‘Smidje Smee’ and placed it in the 16th century, during the Spanish domination of Flanders. Smee is the most powerful blacksmith in Ghent, who does good business with the occupier, but who has never renounced his past as a freedom fighter and patriot. When he is betrayed he loses his forge. But the devil makes him an attractive proposition: seven years of abundance, happiness and unlimited productivity.

Time and again Smee tries to prevent hell from entering his life, but it is the seductive devil Astarte who is really in control. Ersan Mondtag connects the folk story, around a Faustian pact, with dark pages from Belgian history, and unexpectedly builds a bridge with the current debate about decolonization.

Length: 2 hours 35 min, incl. intermisson   German with Dutch and English surtitles  

https://operaballet.be/en/programme/2019-2020/der-schmied-von-gent

Here is the first sneak peak of one of the songs from the new album I recorded with Operose. I can't wait for the full album to be released. I really feel that the band has come a long way since our first album. We've just had our first reviews come in of the pre-release that we sent out, and the first one to come back is simply incredible!

http://getreadytorock.me.uk/blog/2020/01/album-review-serpentyne-operose/?fbclid=IwAR0T60IbNtjiK5Xqlep3jhYxeowtXWmi8vR7a9dnZk5Ys9YJOHsa9SZgBfk

and

https://metalplanetmusic.com/2020/01/album-review-operose-into-the-starlight/?fbclid=IwAR0sDp2SGLPKeQkg4eBBnUdPBloP-l3w5fBVFeWDkB2edxbGNz8dgHPGzVg

"Operose have gone their own route and in sophomore release ‘Oceans Of Starlight’ have released one of finest collisions between metal and opera since Wagner wrote ‘Ride of the Valkyrie’. In fact, this album is the natural progression to that very track as, if you ever wondered what the sound of a mass attack by the Valkyrie would be like, look no further. Taking things to another level entirely, Operose seem to have struck the perfect balance between bombast and beauty, each track being a titanic essay in the burgeoning subgenre.
Whilst opera generally starts with an overture, there is no such preamble with Operose as they kick straight into the dramatic and epic ‘Battle Swan’, guitars with the power of a tank, drums spitting out fast and furious and choral stabs that act as a base for the glorious voice of Jennifer Coleman. The frantic ‘Oceans of Starlight’ follows in a similar vein and this maritime tale certain has way more class than the wonderfully unhinged sea shanties of Alestorm but is definitely as entertaining. There is a real understanding of storytelling inherent in opera and this translates really well on the release as the pounding and visceral instrumentation heightens the drama.
Things slow slightly with the majestic ‘Lost Horizon’, all huge vocals from Coleman float deliriously across the gentle but powerful playing of guitarist Joe McGurk, drummer Steve Hauxwell and bass player Mike Bridge. Each plays to their own strength and what would potentially seem be an odd pairing of styles somehow works beautifully as each part of the jigsaw slots into place for the extraordinary picture. ‘This Life of Mine’ is another less kinetic track that focusses on the songwriting above all and follows a more traditional path that turns down some of the heightened elements.
‘Nothing Left’ also focusses on melody above the all-out attack and ‘On Sleeping Tides’ is full of string effects on the keys, piano and choral vocals that build up the atmosphere that is speaks of beauty with a hidden and very faint otherworldliness. Things ramp up again with the prog metal stylings of ‘Octavian’, a galloping and constantly changing feast of moods before the album closes with the epic (in all senses of the word) ‘The Actium Suite’. A rush of baroque keys leads to a flurry of flying digits up and down the fretboard and the two instruments dual throughout before the glorious and triumphant finish. You don’t need to like opera to enjoy this release, although it would certainly be a bonus, all you need to have is an appreciation of some incredible and groundbreaking music that will beguile, intrigue and thrill you. Music to get lost in. **** " 

​Review by Paul Monkhouse for MPM

Well here it is... It's taken me a long time to write this blog post. It's been over a month now since we last performed on VTM's Belgium's got Talent for the Semi-final. I finally feel like I might be able to attempt to put into words what an incredible experience it was.

It's important to begin by stating that we were both absolutely petrified about speaking Flemish on national television. After living in Belgium for such a short amount of time, neither of us feel confident in our speaking abilities yet. So for us, our biggest challenge was being able to hold meaningful and articulate conversation in a language that we had a very limited ability in. Reisha and I had created a list of all of the possible questions that we thought might come up and prepared answers in advance to each and every single one of them. We then translated this all into Dutch using good 'ole trusty Google Translate. And then once we had a rough guide for what to say, we ran these by some of our Flemish speaking colleagues so that they could help us with pronunciation tips,  vocabulary and grammar. Prepare, prepare, prepare. We didn't want to humiliate ourselves on National television. I was far more nervous about the speaking and interview part than I was about the actual singing.

With regards to the Semi-final, we have had lots of feedback to say "why did you pick that song?", "Why did you pick those dresses?" and "How did you make the decisions?". The truth is that we didn't really make any decisions for ourselves at all. The TV producers chose this song after we performed a selection of 9 songs to them. This was the one they said that they thought was best for us. Then a stylist asked for our dress sizes. We didn't have any idea what we would wear until we turned up on the day, and these were our only option. I'm not sure I would ever choose a dress with a cape attached for myself to wear normally (to quote The incredibles movie "NO CAPES!"), but it was quite fun swooshing around on stage wearing it.
We also didn't have a say in the choreography (yes we were choreographed to stand still). Every single look into or away from a camera lens was choreographed. Our smile to each other at the end of the introduction was choreographed. Even our hug with each other after we finished singing was choreographed. Ever bar had a purpose and we had set musical queues to remember. 

It was my first time singing with an in ear playback system. This was kind of like singing to a live recording of yourself in some bluetooth earphones. It felt weird. I wasn't used to it. Especially because I am used to only hearing my own voice in my own head - but this time I could also hear Reisha's voice in there too. We got to sing it through three times in rehearsals. I'm not sure I quite got used to it by the time of the performance, but it was a lot less distracting.

Then when the moment to sing finally came, it was over so quickly. I'm pretty sure that I had an out of body experience. All I remember of it (and this is the part that I hope stays with me forever), is looking out into the audience as the introduction started playing, and seeing 40 of our friends and family dancing around and waving homemade flags and banners at us that they had made. That made me smile. It made me feel so loved. 

So yes, I really enjoyed my time singing on Belgium's got Talent, but the most important part was how supported I felt by my friends, family and colleagues. And how supported I felt sharing the stage and singing with one of my best friends - she is so funny and talented and she inspires me to do great things. So thank you to everyone who came to the studio to support us live in the audience. Thank you to our families who travelled all the way from England to Belgium to be there. Thank you to everyone who watched at home and enjoyed our performance. Thank you to everyone who took the time to vote for us. And thank you to Reisha for being an amazing friend.

​J x

​
​

TO WATCH LIVE:
FIRST CREATE AN ACCOUNT ON THE VTM WEBSITE.
To watch live, on the vtm.be homepage
Click the BLACK button in the pink/red banner (top left) that says “Kijk op VTM Go”.

Then, click at the top centre the button that says “LIVE”

Show is aired on the 13th December at 8:40pm Belgian Time (7.40pm UK time)

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TO WATCH ON CATCHUP:
FIRST CREATE AN ACCOUNT ON THE VTM WEBSITE.
To watch on catch up, click this link:
https://vtm.be/vtmgo/belgiums-got-talent~p259d489c-f49a-4482-bda9-f1d0c5d07de1

You want to watch us on Season 6, Episode 13. Show 6

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TO VOTE:
FIRST CREATE AN ACCOUNT ON THE VTM WEBSITE.
You can vote online via this link - ONLY directly after the show has finished at around 10.30pm until midnight (Belgian time) [or 9.30pm-11pm UK time] on the same day. - There is limited time to vote.

Here is the link:
https://vtm.be/belgiums-got-talent/stem/

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TO FIRST CREATE AN ACCOUNT / REGISTER
How to register online to watch/vote for our semi-final performance on Belgium's got Talent on Friday 13th December @8:40pm Belgian time (7:40 UK time).
I recommend creating an account for the channel VTM in advance.
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How to create an account to watch Belgium's got Talent online:
Create an account to watch online:
Go to https://vtm.be

Click the circle button with a head an shoulders shape in it in the top left hand corner.
Or it is the white text that says “Regesteren” next to the white button that says “Aanmelden” on the top right.

Note: I made these instructions using my iPad. It may be different on other devices.
If you get stuck, use GOOGLE TRANSLATE to help you.
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A log in screen should open.
Click on the small pink text that says “Registreren” [register]
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A new log in opens that says:
“Vul je even je e-mailadres in? Dan kunnen we direct verder.”
[Enter your e-mail address? Then we can proceed immediately.]

Enter your email address in the box that says “E-mailadres” 
Enter the same email address AGAIN in the box that says “E-mailadres bevestiging” [confirm email]
Click the red/pink button “Volgende” [next]

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A message will come up saying:
“Zegeuhm, hoe zal ik het zeggen… Ik zie dat je nog geen account hebt. ‘k Zal met spoed eentje aanmaken voor jou ;)”
[Hey, how shall I say… I see you don’t have an account yet. I will urgently create one for you]

“Wat is jouw voornaam en familienaam?” [What is your first name and surname?]
Enter your first name in the box “Voornaam”
Enter your surname in the box “Naam”

Click the red/pink button “Volgende” [next]
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A message will come up saying “ *Yourname*, toffe naam.” [cool name]

“Safety first nu. Welk supergeheim wachtwoord ga je gebruiken voor je account?”
[Safety first now. Which super secret password will you use for your account?]

Create a password in the box:
“Wachtwoord (minimaal 8 karakters)” [Password (min 8 characters)]
Repeat the same password in the box that says: "Wachtwoord bevestiging” [confirm password]
If you want to see what you are typing click “Toon wachtwoord” [Show password]

Click the red/pink button “Volgende” [next]
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A message will come up saying “In Welk land soon je?” [In which country do you live?]”
From the drop down menu for “Land” [Country]
Select “Belgie” [Belgium]

Click the red/pink button “Volgende” [next]

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A message will come up saying “Volgend vraagje: Waar woon je eigenlijk?” [next question: Where are you actually living?”
You only need to fill out the boxes “Postcode” and “Woonplats”
In the box named “Postcode” enter: 
9000

In the box named “Woonplaats” [Residence] enter:
Gent
Click the red/pink button “Volgende” [next]

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A message will come up saying “Ah, het prachtige Gent.” [Ah, the beautiful Ghent.]
“En wat is je geboortedatum?” [And what is your birthday]
Enter your birthday or any date in the boxes
​“Geboortedag” [Day of birth]
“Geboortemaand” [Month of birth]
“Geboortejaar” [Year of birth]

Click the red/pink button “Volgende” [next]

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A message will come up saying “ ’t Staat op onze verjaardagskalender!” [It is on our birthday calendar]

Next it asks for your “Telefoonnummer” [Telephone number]
You don’t have to enter anything.

Click the red/pink button “Volgende” [next]

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A message will come up saying “Met welk geslacht identificeer jij je?” [Which gender do you identify with?]

M= Mann [male]
V= Vrouw [female]
X= [don’t want to say / other]

Click any of the options and then
Click the red/pink button “Volgende” [next]

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A message will come up saying
“We houden je graag op de hoogte van nieuwe programma’s, acties en exclusieve uitnodigingen. Geef aan als je dit graag wil.”
[We would like to keep you informed of new programs, promotions and exclusive invitations. Indicate if you would like this.]

Don’t tick the box. You don’t want spam.
Click the red/pink button “Volgende” [next]

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A message will come up saying “Hopla… je account is klaar!” [Yay… your account is ready]
“Enkel nog de algemene voorwaarden en privacy policy aanvaarden en je kan verder” [Only accept the general terms and conditions and privacy policy and you can continue]

Tick the little box to accept the terms and conditions.
Click the red/pink button “Bevestig” [Confirm]

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A message will appear:
“ We hebben je een verificatiemail gestuurd. Ga naar je mailbox en verifieer je e-mailadres.”
[We have sent you a verification email. Go to your mailbox and verify your email address.]

It also says “Heb je geen e-mail ontvangen op *youremailaddress* ?” [Have you not received your e-mail at *youremailaddress* ?]
In pink it says:
“Stuur hem nog eens uit” [Send it out again]
“Ik heb een foutje gemaakt, dit is mijn mailadres niet” [I have made a mistake this is not my email address]

Fingers crossed you got it right.

Click the black button “Volgende” [Next]
You will be taken back to the VTM website.

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Go to your email. You should have an email from “VTM” titled “Bevestig je registratie” [Confirm your registration]

Open the email.

Click on the blue button that says “Bevestig en start met kijken” [Confirm and start with watching]

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Congratulations you have created an account so that you can watch live or on catch up and vote.

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