December 27-30, 2003: With our tour completed, we settled in to sing a series concerts at Symphony Hall in Boston. I had never even attended a concert at this legendary home of the Boston Symphony Orchestra, and just walking out on its stage was a thrill. We began our singing there with a noontime rehearsal with Boston Pops Principal Guest Conductor Bruce Hangen, whose engaging personality immediately put us at ease. The stage was absolutely full with the sixty of us chorus members on risers with the brass players seated at our left and some percussion members at our right. Only a couple of feet in front of the front row of the chorus were the French horn players. The orchestra for these concerts totalled about one hundred musicians. We sang 11 of the selections on the program, and one that we had not sung on the road was a beautiful four-part harmony arrangement of, "Carol of the Drum," which is more popularly known as, "The Little Drummer Boy." At 3:30 pm that day we sang our first concert there, and after a delicious meal inside the same building, we sang in the evening concert. Two days later (I sang in the Team "B" chorus, and we alternated days with Team "A") we were again conducted by Keith Lockhart, and then on December 30 there were changes in the program selections as this was the New Year's Eve Preview concert. One program change had the chorus dancing, not singing, as the orchestra played a medley of tunes popularized by Elvis Presley. And then when Keith said, "This is just a test," we led the audience in counting down from 10--one night early--before we began singing, "Auld Lang Syne," with the orchestra. Some orchestra and audience members donned party hats for the occasion. During the walk back to the parking garage following this last concert of ours, my fellow chorus member Shelley said to me, "I can't believe it's over." I agreed. It truly was like awakening from a wonderful dream.
December 12-21, 2003, I toured five states singing tenor in eight concerts as a member of the Holiday Chorus that sang with the Boston Pops Esplanade Orchestra. All of these concerts were conducted by Keith Lockhart. We had a very exciting, though demanding and exhausting experience, entertaining over 25,000 people over the course of the concerts. Singing in this volunteer chorus was a great privilege. One chorus member thanked Keith Lockhart, but Keith only responded by saying, "No, thank YOU." I say we are volunteers, but we enjoyed free buffet meals at every venue, and the transportation--plus the unplanned overnight at a New Jersey hotel due to a snowstorm--was provided for us free of charge too. I have so many stories about this whole experience. Needless to say it was an absolute thrill just to be on the same stage with this renowned orchestra and award-winning soloist Stephen Salters (who sadly did not join us for the Symphony Hall concerts). I addition we heard the governors of RI and NJ recite the famous poem, "A Visit from St. Nicholas," with the orchestra playing the accompaniment. I went to see my counselor--with whom I rarely meet--just to process my feelings about the whole weekend, and even though my counselor didn't know I was singing in the chorus, she had already attended one of the concerts. In addtion our local weekly newspaper--whom my wife Carolyn had encouraged our daughter Sarah to conctact-- interviewed me and featured the story on their front page in their December 11 edition. I hope to sing in this chorus again during the 2004 holiday season.
On Saturday, September 6, 2003, I drove southeast from my home in New Hampshire to the city of Boston, Massachusetts, for an audition at Symphony Hall, which is the 100-year-old home of the Boston Symphony Orchestra and the Boston Pops Orchestra. The trip went smoothly, and I arrived in only an hour and ten minutes. So while I was waiting, I walked around the neighborhood taking photos with my digital camera. This was a group audition, and I was trying out for a spot as one of the tenors in the Holiday Chorus, which tours regionally and performs along with The Boston Pops Orchestra, which is under the direction of Keith Lockhart. The audition consisted of about 25 of us singing a piece of music in Latin in four-part harmony. The chorus director then had most of us wait in the hall while he listened to four of us at a time sing the same piece as a quartet. It was a memorable experience, and I should learn soon if I was chosen. As they need 180 singers, I attended the first of 6 auditions to be held over the course of three weekends.
July 23-24, 2004: Opening night had arrived for the Bel Canto Music Festival's production of Dido and Aeneas. Our one-hour first rehearsal with the string players stretched into 2 1/2 hours; subsequently, the director extended our dinner break, allowing a full hour from 5:30-6:30 PM. A fellow cast member and I drove down the street to a sub shop, and then ate dinner together outside the dressing rooms in the basement of the century-old Franklin Opera House, a gem of a theatre showing its age due to no apparent renovations in recent years. Just after I finished eating dinner, I realized that I had not bought sandals to go with my costume. I informed the director of this, and she agreed that I would drive to a local store to purchase sandals. I did so and managed to return ten minutes before the curtain went up for Act I, which is a good thing because I was to sing in the chorus of the opening scene. I wiped perspiration from my face between scenes that night. Our dancer had expressed concern about the stage floor being slippery, and I suggested to her that the humidity might be to blame. Nevertheless, she danced flawlessly as her father, in his premiere stage appearance, watched proudly from the wings. As the four string players from the New Hampshire Symphony Orchestra struck the first chords at the beginning of Act III, I sauntered out my fellow sailor towards stage left while the beautiful "nymphs on the shore" (as per the lyrics) strode across to stage right and passed us. I sailed through my solo and then joined the other sailor with a makeshift tenor harmony, a modification because two sailors cannot sing a four-part chorus. A brief dance sequence amongst us sailors and the nymphs followed, and then we stepped off into the wings. For the final aria, the chorus hurried downstairs and underneath the audience seating area and then tip-toed up the bare, creaking stairs to the balcony to sing the final chorus. The orchestra then repeated that selection as we hurried down from the balcony, back under the audience seating area, and then backstage to be ready for our curtain call.
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November 29, 2007: During the past 6 months, I have sung solos in 10 out of the 24 morning worship services at my church, which is First Congregational Church in Pembroke, New Hampshire, USA. In addition I sang one solo at a memorial service in Concord, NH and three solos and a duet at a local wedding. I'm hoping to sing many more solos at worship services, weddings, funerals, memorial services, concerts, and wherever the Lord leads me. I thank God for these opportunities to share the gift He has given me.
July 2007: These days I'm working two non-music jobs for a total of about 60 hours per week. Although this schedule limits my performing arts opportunities, I do have four evenings off per week plus every Sunday off. Earlier this year I began worshiping at a new church, and very quickly gained attention of those seated around me during times of congregational hymns. After accepting an invitation to sing in the choir, the choir director asked me if I would be willing to sing a solo or two during the summer months. I immediately accepted. To my amazement and delight, I was scheduled to sing solos in five Sunday morning worship services and then wound up filling in for another singer for a total of six solos in one summer--more than ever for me. And members of the congregation--ages 17 to 90--continue to approach me with many wonderful compliments and words of appreciation for these solos. I thank God for leading me to a church that truly enjoys and appreciates the gift of solo-singing with which I have been blessed, and I look forward to a long association with this church, which is First Congregational Church in Pembroke, New Hampshire. Incidentally the church is less than two miles from my residence. Also this summer I sang a solo at a memorial service at the request of a former duet partner of mine, and I received many compliments during the reception that followed.
November 2006: Last month my performing arts break ended, and I began rehearsing in earnest with my fellow cast members for the classic French opera Carmen with Granite State Opera, a professional opera company based here in New Hampshire. This would be my second opera with them--I sang in L'Elisir d'Amore (The Elixer of Love) last year. But for the first time, I would be singing in French, which I had fortunately studied way back in high school. The principals included Fenlon Lamb (as Carmen), Heather Parker (Michaela), and Stephen Mark Brown (Don Jose). I was totally impressed with Fenlon's portrayal of Carmen, and Heather's singing literally brought tears to my eyes during one rehearsal. For Act III, director Phil Lauriat cast me as the guide who leads Michaela into the mountains, and that was such a thrill that I didn't even mind not singing in that act (because my character had to leave the stage and was not supposed to be among the smugglers who sang in that scene). Heather Parker, incidentally, is not only a total professional but she is also a kind and delightful woman with whom I enjoyed talking and working during the production. And all the cast and crew members were wonderful. The performances in Portsmouth, NH and Concord, NH were well-received by the audiences, and while leaving the Music Hall in Portsmouth, I over heard an audience member say to someone, "They did a fantastic job!" I'm already looking forward to singing with Granite State Opera again in the spring of 2007.
July 2006: For the past few months, the tables have been turned. After singing in the Brahms Requiem and then acting in the classic drama Inherit the Wind, it was my wife and daughters' turns, and I attended one of their performances of the Community Players of Concord's production of Romeo & Juliet. At my side was Mame stage manager Lora Grady, and the following weekend Lora and I watched some of our fellow Inherit the Wind cast members acting in RB Productions' Annie. And then in June it was time for me to see my fellow singers and actors in the annual Irene Deschenes production. I had longed to be among them on stage for this show, but for reasons unbeknownst to me, I had not been invited to participate. Still I managed to put aside my self-pity and had a great time. And of course I enjoyed some good conversation with my fellow performing artists afterwards. These days I've been putting more time into my website and doing some networking with my fellow members of the Boston Area Association of Cabaret Artists. I love having friends who share my interests in acting and singing, and I thank God for all my performing artist friends. And for the very first time, I went to a concert based on my enjoyment of a singer's website song clips. I highly recommend that you see this singer in concert and buy her CDs. She's a professional jazz vocalist who makes it all look easy--Krisanthi Pappas. Check out her website at , and be sure to listen to her song clips. Then see if she'll be performing live in concert in your area soon.
June 2005: I've just completed acting and singing in three performances of Irene Deschenes' The New Spats and Spangles, a variety show that features popular songs from the Vaudeville Era (1900-1925).... My contributions to that production included acting and singing the role of Prince Danilo in a scene from the Franz Lehar opera "The Merry Widow" while dressed in a tuxedo. The scene saw me flirting with five women in "Maxim's," and then waltzing and singing with the Merry Widow herself, Sonia, who was played by my dear friend Sue Schott, a fabulously talented singer and comedic actress and one of the sweetest and kindest people I have ever met. When a man and a woman truly enjoy each other's company, acting in roles as characters who are supposed to be in love is much easier... Following that scene, while a woman cast member sang, "The Curse of an Aching Heart," I had to rush downstairs and--in about 4 minutes--change from my tux and dress shoes to a flannel shirt and jeans with red suspenders, a red bandana, and a hat in order to be at center stage in the next number.... That number was a comedic melodrama in which I played the role of a Southern farmer named Winston White, the father of Purly White, who awaited the return of her beloved Reginald Reveille from the Yukon Gold fields. The Whites were about to lose their family farm to the "low-down, up-and-coming" Fortune Hunter. But Reginald Reveille returned to save the day just in time.... After every performance some of us gathered at a local Chinese restaurant called The Hawaiian Isle and had a great time socializing, eating, and drinking together. After the final performance, it seems like the entire cast and crew of about 40 people were present at that restaurant, and we had a fantastic time talking, laughing, hugging, taking pictures of each other, and enjoying some late-night food and drink. Then by around 1:00 AM, most of us were on our way out the door--still talking loudly and laughing as we made our way to the parking lot.... I hope to perform in another show with this same director and these fine actors again someday, though I'm well aware of the fact that it will never again be with this entire group of talented individuals.... My wife Carolyn received numerous positive remarks from the cast members and directors for her dedicated work in helping the women cast members with their hairstyles.... Your comments and questions about what I have written here are welcome at .
December 2004: Here are some of the moments from my 2004 performances that I will always treasure:
1. Singing in the Boston Pops Holiday Chorus along with the internationally-acclaimed 17-year-old soloist Hayley Westenra (). Her voice is absolutely angelic in quality, and she is the ONLY singer to ever bring tears of joy to my eyes while I was on stage with her. If you think I'm exaggerating, read the guest book entries on her website. And look for her new CD, Pure, in stores worldwide.
2. Acting in the most challenging and dramatic scene of my life--the scene in Titanic: The Musical in which my character, First Officer Murdoch, supervises the loading of the very last lifeboat. In reality Murdoch really did supervise the loading of the lifeboats on one side of the ship, so not only was it challenging but also like stepping into history. Why was it challenging? I had to sing my entire range in just a few measures, shout orders to the upper deck, gesture and move around on stage, help "passengers" down the stairs--even pulling one of them down (her idea), and then sing while running up the stairs to join about 40 other cast members on the upper deck.
August 23, 2004:
IN MEMORIUM:
RUTH A. KRUCZYNSKI
(January 14, 1930 - August 23, 2004)
My mother, who passed away unexpectly last Monday while going about her usual morning routine, was very supportive and encouraging of my musical pursuits throughout my life.
Back when I was 5 years old, my mom thought it would be fun to buy an old Victrola like the one her family used to have. So I was there and can clearly recall my mom and dad buying a 1922 Victrola at the Salvation Army Thrift Store in Worcester, Massachusetts.
Eleven years later, it was my mom who suggested that I go back to that same thrift store and buy more records because I enjoyed listening to the ones that we already had. That one Victrola and the records I collected led to my weekly radio show (first aired when I was 22)(1979-84), a monthly newspaper column (1980-82), and my singing career(beginning in 1976 when I was 19).
When I was 8, I found myself singing in the junior choir at my church because of her. Four years later, she made sure I attended a local performance of the Detroit Symphony Orchestra with other students from my school. Then at age 17, while in high school, I was selected to be among five other trumpet players playing a
memorize and harmonized trumpet fanfare while the conductor of that same orchestra walking down the stairs at the Worcester Auditorium.
My mom last heard me sing in public last December during my Worcester Centrum appearance as one of the tenors in the 80-member Holiday Chorus that sang that day (there were 160 of us in all) along with the Boston Pops Esplanade Orchestra and our conductor, Keith Lockhart.
On Friday of last week, I sang another solo--one of my mom's requests for her funeral--"On Eagle's Wings," with my hometown church's choir director playing the large, old pipe organ for accompaniment. Preceding me were my daughters Sarah, 13, and Amanda, 12, who each sang one verse of "Amazing Grace" as a solo and then sang the first verse once again together in unison. A capella. Memorized. Their idea.
Thanks, Mom, for all your support over the years and for fostering the development of my God-given talent.