Working out the sound of a crow’s caw, the pair seemed ready for their spotlight - at the most stylish comedy hour ever. “I obviously don’t want Anthony to feel uncomfortable, or that he’s going to be in any way undermined or not feel that he’s going to be seen at his best, so we’ve been establishing points where things definitely have to happen,” Bond said. Still, Bond pointed out that there is a safety net. “But it’s challenging because I am always looking for structure and Viv is always like, ‘Don’t box me in because it’s not going to be as good,’” Costanzo said. “I want to uphold and cherish the tradition, but in order to make it feel alive, it needs some kind of being in the moment and spontaneity.” “Sometimes my frustration with opera is that all spontaneity dies in pursuit of perfection,” he said.
Costanzo, on the other hand, is used to the precision of classical music, where every note and step is carefully planned. “I’m going to come out, they’re going to see me, I’m going to milk it for a moment,” Bond said at one point, describing an entrance.
“I listen to opera singers try to sing pop and it’s so lame, because inevitably they wind up trying to sing some classical arrangement to a pop song.”ĭuring a recent rehearsal, Bond often left space for future improvisation. “I was like, how do I take an application of this voice and technique that feels honest and that sings the song?” Costanzo said.
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Some of the songs are duets, like Peter Gabriel and Kate Bush’s “Don’t Give Up.” Some are solos in conversation with each other, such as when an aria from Purcell’s “The Fairy Queen” segues into the early-20th-century ditty “There Are Fairies at the Bottom of Our Garden.” Some are classics from the cabaret repertoire, like “I’m Always Chasing Rainbows.” And some are the kind of free associations in which Kiki and Herb used to specialize, like a surprisingly effective medley of “Dido’s Lament” - also by Purcell - and Dido’s “White Flag.” “It didn’t occur to me that Anthony’s voice would make Viv’s voice feel rich and kind and wise in this way, and that Viv would make Anthony sound even more ethereal.”īond, Costanzo and Bartlett came up with a wide range of material. “When the idea was pitched to me, it sounded a bit like a fun joke,” he said in a video call. Ann’s.Īt first, even the longtime Bond collaborator Thomas Bartlett - who is the show’s music director and producer of the album version of “Octave,” which comes out in January - was skeptical. A similar encounter of disparate influences and high and low culture (or at least what audiences associate with high and low), flavored with vaudevillian touches, will now be played out at St. The inspiration for “Only an Octave Apart,” and the title number, came from a pop-culture footnote: a television special that Carol Burnett and Beverly Sills recorded at the Met in 1976.