The Schmooze

A relatively relaxed week in Stuttgart started with a last second step-in to a Stage and Orchestra rehearsal and finished with an audition in Potsdam. Between those I was very happy to be able to spend a few days with Mrs Elwin here in Stuttgart and also excited to visit Berlin for the first time.

Cosi

The rehearsal process for Cosi is now at an end. The opening night is tomorrow evening and so over the last week we have had the last two stage and orchestra rehearsals, the House Dress rehearsal and then the General Rehearsal (otherwise known as the Final or Dress rehearsal).  There was also a matinee event, introducing the new production of Cosi to the public, at which the three of us covers sang.

Luckily for me, stage and orchestra rehearsal 4, on Saturday morning, fell close enough to a performance of Rosenkavalier for the main tenor that he only sang the first two hours of it. So I was called upon from the auditorium, and had an extremely enjoyable hour of singing the finale of Act 1 Cosi with the Orchestra. I was then somewhat surprised but equally excited to have the chance to sing Ferrando’s aria ‘Un aura amorosa’ with the orchestra, a really great experience.

Having finally been confirmed as a full cover for the show, not just musical cover as initially planned, I had two addition rehearsals. A great coaching with a lady I have taken some time to warm to as a coach, and a three hour staging rehearsal on the rehearsal set with just me, one of the wonderful assistant directors, a pianist and the language coach (and the wife watching).  I have a huge amount of respect for the assistant directors, they are often the glue that sticks the piece together. They are always at hand, writing down everything that happens, trying to interpret what the Director shouts at them during run-throughs, dealing with the chorus, dealing with the covers, dealing with the set and props and so on. Everything seems to go through them to an extent. We are lucky to have a team of great assistants here in Stuttgart.

More travel

At the end of the week the final round of auditions for ZAV finally arrived. As those who have been following this blog may remember, I auditioned for ZAV in Munich back in February, this was then followed by a second round of auditions in Cologne in March. Having then been selected as one of the final ten singers, the final round happened yesterday in Potsdam.

On the way to Potsdam I stayed in Berlin, my first time in this most historic of cities. As an unashamed history –geek I was very happy that my bus from Tegel airport passed through the centre of the town, past the Recihstags building, the Brandenburg gate, the Berlin Dome, the TV tower, Deutsche Oper and many more places. It is a shame that I did not have longer to explore.

ZAV

ZAV stands for Zentrale Auslands- und Fachvermittlung, with the other title of Bundesagentur für Arbeit. They are a state agency who coordinate potential employers with potential employees. In terms of an Opera singer, they act as an agent for singers who audition for them, and have strong contact with most of the opera houses in Germany. Having made it to the final round meant that I sang in a concert-audition in front of a selection of Invited casting directors, Intendant (Heads of Opera houses) and conductors.

For many reasons this is a fantastic opportunity.

Despite having the cost of having auditioned in Munich, Cologne and Potsdam, the equivalent cost of singing to each of the 20 or so opera companies present would be huge. Conservatively I would suggest that each audition trip from Stuttgart costs about 150/200 Euro in travel, accommodation and so on. So whereas getting to the final round of ZAV will have cost me somewhere in the region of 500 euro in expenses, traveling around Germany singing to all 20 opera companies would have cost me thousands. This is not money I have and I am fortunate to have raised enough support to afford to do any auditions.

Cost aside, it is very difficult to actually get auditions, particularly without an agent. Inevitably casting directors and intendant go through agencies to find singers so to have a state agency like ZAV who can do this work for people like me is great.

The set up of the audition is very much pro the singer. I know that I have been pre-selected, through two rounds of auditions, I am being put forward in a positive light from the start. I also knew that not all the opera houses will be looking for a young tenor, some may, some may specifically look for a young Lyric like me.

For me I also knew that this was not the end of the world. I have work next year in Stuttgart, I also have an early but developing relationship with an agent, so all good. In stark contrast to the auditions of 2013 where I strangled myself with fear of failure, this time I felt liberated by the opportunity.

The music

The repertoire chosen for the audition was done so in consultation with ZAV themselves. They had liked a Verdi aria I sang to them, some Donizetti too, they had disliked a Mozart aria which Stuttgart employed me on the back of. So there were quite a few options.

In the end I settled for following the advice of an agent who auditioned us all in Stuttgart a few months ago, that being that at the moment I would be ideally cast across Germany as a Mozart specialist. This is fine with me, I love Mozart, I have loved being involved with Cosi and enjoyed singing Die Zauberflote a few years ago. So if that is how to best sell myself at this stage that’s great.

With this decision in mind, I chose to sing Gluck’s beautiful aria from ‘Iphigenie en Tauride’ – ‘Unis de la plus tendre’, an aria that was introduced to me by a very good friend about 6 years ago and one that I have been waiting to use. The other aria I sang was Don Ottavio’s ‘Il Mio Tesoro’ from Don Giovanni. Neither aria is particularly taxing, neither challenge me like some of the Bel Canto repertoire that I am so keen to sing, but both can show the beauty of a voice, the legato, coloratura, ease (or otherwise) of the upper middle register of the voice. So good, safe, audition arias.

The Schmooze

Following the concert-audition, all ten of us singers were taken to the foyer of the Hans Otto Theater 

(a beautiful, modern theatre, set on the water front) to meet any Intendant or Casting directors who wanted to talk to us.

This moment of the process I call the schmooze (an American term!). The schmooze also occurs after opening nights of shows, after concerts, at competitions and many other events. There are singers in the world who excel at the schmooze. The ability to charm potential future employers with wit, intelligence and so on. There are naturals who everyone loves to talk to and then there are those who hate it, look uncomfortable, want to go home as soon as possible.

In a world of building relationships and networking, schmoozing is an important skill to have.

Unfortunately my German is not good, so I relied on some of the ZAV team to introduce me to the houses that were interested, and I stood there nodding along, answering the questions as best I could but without any of the charm that a native speaker would have. (note to self, must improve my German!!)

Excitingly, though, and without the skills of German schmoozing, a number of opera houses expressed an interest in me, one is even looking for a Mozart tenor, so a successful day.

Friends

It was lovely, as ever, to meet some more new singers at this audition day. There were singers from all over the world, me being the only English native speaker. There were two South-Koreans, one Chilean, a Swiss-Italian girl, one Romanian, three German singers, me (the Brit) and a Portuguese soprano.

In fact the Portuguese Soprano was Sonia Grane, who I studied with for all 4 years of my time at the Royal Academy of Music. She was Pamina to my Tamino (Die Zauberflote), was Gilda to my Duke (in a scene from Rigoletto) and it was lovely to hear and see her again. She is about to jump-in to Ariadne at Deutsche Oper, where she is in the Opera Studio, and just performed Blonde in Die Entfuhrung aus Serail. It’s great to see things are going so well for her.

Next

With Cosi performances starting I now move onto the last project of the season, covering Borsa in Rigoletto. This week there are also the final two performances of Jommelli’s Vologeso, including tonight.

I’ll let you know how it all goes.

See you next time.

On the Bench

To use a sporting analogy, something I have been trying to steer clear of for the last 8 months, this week I have been back on the substitutes bench, hoping for my team to continue well without me but also itching for a chance to show more of what I can do. I guess one could some up the whole year like that and it is fair to say that I am looking forward to being first pick, main team, even the star striker, in the future. This is an opera style apprenticeship after all and it would be odd for me to not want to develop from here.

Don’t blink

With my place in the reserve team firmly established this week, I have almost exclusively been watching rehearsals on stage. Stage and Piano rehearsals first, then the Piano Dress rehearsal and in the last couple of days Stage and Orchestra rehearsals.

As with other productions here, the last couple of weeks, in the theatre itself, are a chance to see the many people who together create the production. 4/5 weeks in a rehearsal room with 6 soloists, the conductor, director, a few assistants, a pianist, occasionally the design team, stage managers and of course the covers (woohoo!!) can easily make one forget that there are so many other people working on the project behind the scenes. Many of these people will watch the Piano Dress before once again sliding into the shadows of their costume department or lighting box or stage technical department and so on.  

One difficulty for a cover when the rehearsals go on stage is the lack of rehearsal intimacy. In the rehearsal room one can always hear whats happening, decisions being made, changes in staging, character discussions and the like. Once on stage these changes and discussions happen less frequently, and less obviously until some point in a rehearsal you suddenly notice that your character is not where he should be from your notes. Is this a change? Has he made a mistake? Did I write the wrong thing down? And the pencil and rubber are rapidly put into action to update what you have.

Next week

Away from Cosi, I have been preparing for the final ZAV audition in Potsdam a week today. As you may remember, I have done two auditions for ZAV, the state artist agency, this year, a first round in Munich and a second in Cologne. Now, finally, we have reached the final round which takes the form of a concert and features ten singers. I’m delighted to be joined in this concert by a friend from music college, she was my Pamina when we did the Magic Flute in fact, and look forward to hearing her sing again.

I will be singing one Gluck aria ‘Unis des la plus Tendre’ and one Mozart, ‘Il Mio Tesoro’ from Don Giovanni. Quite solid, safe choices, firmly placing me in the middle of my current voice classification, or Fach. I felt this was important, particularly as the audition is in front of a large selection of Intendant and Casting Directors from across the German speaking Opera world. Though I can sing heavier repertoire, and will do in the future, I felt on this occasion that these choices were the right ones. It is also not a bad idea to let people make their own choices about your future.

Four left

Unless I get on stage as cover for Cosi Fan Tutte or Rigoletto, I have only four performances left in Stuttgart. All four are the Jommelli opera, Berenike, including this evening.

It will have been 41 performances in the season after tonight. That’s a lot of time spent wearing make-up. It is also a lot of time learning ones craft through actual performance. Not to say that music 

college isn’t useful, but in four years at music college I performed on the theatre stage no more than 15 times. I am very much match fit these days, back to the sporting analogy, no lack of match practise here, and it’s a good feeling!

Whilst I mention music college, another friend from my studies has a survey for classical singers about their training. If you are a fellow singer, why not have a look and fill it out.Classical Singer Survey

In the meantime, hope you all have a good week.

Tom 

Inspirations

This is the first chance I have had to write the weeks blog, some 36 hours later than usual!! I have, though, been immersed in the world of Mozart/Da Ponte and Houvardas (our Director) with rehearsals for Cosi Fan Tutte.

Following yet another May national holiday on Thursday, I had planned for a relatively relaxed start to Friday morning. This would include a 10.30 rehearsal watching a Stage and Piano rehearsal of Cosi and then a relaxed afternoon learning a bit of music, doing some exercise and maybe grabbing food with friends/colleagues.

In practise, the 930 call from the Opera House on Friday morning, informing me of the tenor’s sickness, meant for a far from relaxing day as I rushed to work, quickly looked through my notes, jumped into whatever costume I could find and performed a run through of Act 1 on the main stage, with a run of Act 2 following this morning.  This having only rehearsed a few scenes from Act 1 about four weeks ago and having missed a week of watching rehearsals due to rehearsing and performing two other productions during this same period.

Production Challenges

As I have mentioned before, there are many challenges to jumping in as a cover and so I am happy with how the two rehearsals went.

The biggest challenge in this production is that most of the characters have very little time off stage. This is a challenge for the main cast anyway, with little time to rest between scenes/big arias, but as a cover it means there is no chance to split the opera up into sections and be reminded of what is coming in the following scene by an assistant director in the wings. In fact it means that a cover has to try and remember over 3 hours of relatively specific movements having often only ever seen them being done from a distance, in the rehearsal room.

Inevitably I found this prospect quite daunting. Added to this, it was the first time I have tested my ability to memorise three hours of music and Italian words. It is also by far the most I will have had to sing on that stage, with the other roles sung this year being so small. And then the casting director , head of the opera studio AND intendant were all sat in the auditorium.  Inevitably I was a bit nervous, it was hard not to see this as a great opportunity to show that I can sing the bigger roles on the main stage.  

With the acts split over the two mornings I was able to fit in an additional coaching for Act 2 yesterday afternoon and then many hours trying to make sure that Act 2 was indeed memorised, including the infamous Mozart finale! I was also able to speak with some of those who were watching Act 1 and get a bit of feedback.

Addictive feedback

I have such an addiction to getting peoples approval, hoping to impress them, hear they like my singing, thought my acting was great and so on, that it is often the first thing I do after a performance or, in this case, rehearsal. I have been like this ever since I was a boy.

It was probably ingrained into my personality when I was a choirboy at St. Paul’s Cathedral, where our Director of Music was always demanding of perfection. He demanded a lot of us as 7 – 13 year olds, telling us that he treated us like professional musicians when we were in the cathedral and that it was our job to justify that treatment. He would recognise hard work, praise good singing and get angry when things went wrong. There was a hierarchy, a number system in which everyone knew where they stood. The Director would give solos to the best singers and good marks to those who worked hardest, and then bad marks for such things as making mistakes and messing around in rehearsals or the services. All in all it was a system that encouraged competitiveness and a drive for positive feedback. I was obsessed with getting good marks and getting solos and of just impressing our Director of Music. I remember being quite distraught when the whole choir was given a bad mark, my first one for years and a negative against the 80+ good marks I had accrued that year. I also remember exactly the number of solos I did as a boy, and most of the feedback the Director of Music gave me after each one.

Cosi Feedback

So straight out of the costume and rehearsal stage, I went to the head of the Opera Studio for some feedback. It is not her place to speak about the production, that’s for the Director and his assistants, but she gave me some useful notes about how I sounded in the auditorium: ‘A bit quieter than everyone else’, and made a few comments about how my character came across: ‘I could tell when you were Ferrando and when you were Thomas’.

This meant that this morning, when it came to the Act 2 run through, I had some personal goals to aim at. Firstly, make sure I am not holding back, or under singing in the space and, secondly, make sure my characterisation comes out more throughout the rehearsal.

Sure enough, when the Act 2 rehearsal finished I again rushed out for feedback.

This time: ‘the voice sounded much fuller in the auditorium and I could read your character more’.

Result!

Colleagues

In such an ensemble piece as Cosi Fan Tutte, having a weak link doesn’t really work. I know this full well, and so was extremely grateful to the five other singers for pushing a pulling me into the right places at the right time. I was only too aware that this was an important stage of the rehearsal process for them, a run through a few days before the Piano Dress Rehearsal and the start of Stage and Orchestra rehearsals.

I felt very lucky, as ever, to hear these people singing up close and, if I wasn’t already going to be attending, I would definitely get tickets for the show to hear some very beautiful Mozart singing.

One colleague who I am particularly grateful to, and have had to get used to, is the prompt. As I wrote very early on in my time here, we have a prompt in most rehearsals here in Stuttgart and they are really great. It took my some time to get used to and the initial shouting at me with my next line usually resulted in confusion rather than being more sure of my lines. Now, though, I am delighted to have them there. They usually sit very near to the stage, with a music stand, light, and a score, quietly speaking the first couple of words of lines when they are needed, or when the singer gives them the nod, or if there is an awkwardly long pause. For Cosi this is an amazing help. Ferrando probably sings on 250 of the 400 pages, there are quite a painful number of words to memorise in addition to trying to remember the staging, so to have the security blanket of the prompt is really a life saver.

What else

Away from Cosi, the busy life of the Opera house continues.

Last weekend we had the fourth performance of Jommeli’s Berenike, following a two month pause.  Unfortunately our counter tenor was taken ill so we have the assistant director acting the role and a jump-in singing from the orchestral pit. This weekend the tenor is unwell, so the same assistant director will be acting a different role and my old friend, Stuart Jackson, who was in the Opera studio here last year and studied with me at the Royal Academy of Music, will be singing the role from the pit.

Stuart had a few jump-in’s whilst he was in the Opera studio last year and is becoming quite an expert on such occasions. He is also quite an expert at serious board games, such as Agricula, Dominion and Spartacus, and I joined him and two other friends to be beaten by him at these on Thursday. A nice relaxing evening.

Inspriation

The blog week (Friday to Friday) started with me attending the final performance of Rameau’s Platee in an amazing production by Calixto Bieto here at Stuttgart. It really was quite a spectacle and it is obvious to me that Bieto demands a huge amount of his performers.

I was most struck by the remarkable and inspirational performance in the title role by Scottish Tenor, Thomas Walker. This is fiendish role, with High C’s all over the place, coloratura, huge dynamic range and all whilst in a dress and high heels. It was really a great performance and I was only too happy to tell him so afterwards.

One link that Thomas Walker and I have is that he also studied under my old teacher Ryland Davies, another inspiration and someone who I have been listening to a lot this week in his recording of Ferrando in Cosi Fan Tutte from the 1970’s. It is a shame I can’t have him here in Stuttgart coaching me through the role that he made his own.

Malcolm Bothwell

Another inspiration in my life sadly passed away this week. Malcolm Bothwell, a school friend of my Father’s and family friend ever since, sadly lost his battle with cancer and passed away in France, where he had lived for much of his life, last weekend.

Malcolm was a singer, composer and musician specialising in early sacred music but with a keen interest in numerous styles. When I saw him as an adult we would always talk about music and he was interested in how my singing was developing, particularly the change of focus from choral singer to opera singer a few years ago. He was generous and kind, hosting us as a family at his house south of Orleans on a number of occasions and also making the trip over to attend both my wedding in April 2012 and my older sisters wedding a year or so earlier.

As a child Malcolm would make me laugh, almost uncontrollably, he was an entertainer and performer and my abiding memory will be of the joy and energy he would bring to the occasion. I am very happy to have known him.

Here is a link to a clip of him singing and playing that my Father uploaded to souncloud this week. https://soundcloud.com/elwincockett/from-the-eastern-mountains

I hope you enjoy it.

Until next time….

More to life than Mozart?

I won’t bore or upset you all with a long discussion about this mornings developments in UK politics. Whether you are happy or not about the result, I hope that the political scene going forward is a positive, pro-active and hopeful one rather than the fearful and negative one of the last few months. I also hope that the new Government will appreciate the huge benefit, financially and otherwise, that a well-funded Arts sector brings.

There is a danger that if I start to write much more about the politics of the Arts in society I will be going off topic for this blog but, as you can imagine, it is something I am passionate about and may one day lead me towards a more politically active life, whatever that might mean. We shall see….. First things first, a career in Opera!!

Back and Forward

This week has been a bit busier and engaging at the Opera house with rehearsals and coachings for three different operas.  

The Jomelli opera, ‘Il Vologeso’ we did a few months ago, (you may remember it as the opera I bring my immense stage-hand skills to) is back for six more performance. Two of these will be filmed for a DVD release and will probably find itself onto YouTube at some point, as most things seem to.  So we have had a few rehearsals just to make sure everyone remembers what they are doing. 

Unfortunately one of the singers is unwell so a late replacement has been brought over from London to sing the role from the side of the stage while the assistant director acts it. The reputation that British singers of being able to learn music quickly is often a useful one for ‘jump in’ opportunities.

Cosi Fan Tutte rehearsals have now, mostly, moved onto the stage and so for some of the week I have been sat in the stalls of our lovely theatre, watching the production fit into its proper home. Despite quite impressive rehearsal sets and costumes, there are always little changes and challenges when the production goes on stage, as I have mentioned before. With the opening night not for another three weeks we are lucky here to have plenty of time for these issues to be ironed out.

I have not been called upon to jump in since the first week of Cosi rehearsals and this has given me the time to learn Act 2 a bit better. The fear of some of the ten page long recitative sections has now subsided and I find myself singing random lines of text as I walk around town, so have been getting a few more funny looks than usual.

The third production I am preparing for is Verdi’s Rigoletto with the role of Borsa being my final covering role this season. It’s fair to say I am probably a tiny bit behind where I would like to be in terms of preparation for the role, nothing that a few hours in a room and a piano won’t sort out.

Summer Stuttgart

The sun has been shining brightly most of the week and I have used the good weather to fit in some nice park runs. Over 30km run so far this week, not bad going and it is helping me get back on the fitness wagon.

The good weather has also been a big help for the ‘International Flick Festival 2015’ which has been in town, with a large screen set up in the main square showing various animated films, including Toy Story 2.

I love the cinema and films in general and find it’s a good way to relax.

Far away

A few years ago I was having a singing lesson with Dennis O’Neill in Cardiff, in a lovely big house not too far from the cricket ground. It was a bright day, not unlike the weather here this week, and I commented how nice it was to be there. He agreed and then, and I will never forget him telling me this, said:

                ‘it’s lovely to come back to, being an opera singer is incredibly lonely, I’m lucky to have this but I haven’t been here very much’

Fortunately I have been in this one place for the last 8 months, and I have made some friends here, but, particularly leaving my wife back in England, I have found times in Germany incredibly isolated and alone. Something I am going to have to learn to deal with.

The cinema helps, even if I go alone which is something I do in England too.

But further to the question of this blog, So I want to be an Opera Singer? There are always further questions. How much? How much am I willing to sacrifice? How long am I willing to have no money and live away from wife, family and friends? How ambitious am I? What makes me happy? What am I without the singing? What else could I do?

It isn’t compulsory to be an Opera singer. I have chosen to be here in some hope that I will have a career develop and that this career will be fulfilling artistically, emotionally and financially enough to have an actual life outside of the music. Would I be better off getting a job in London, earning better money, being at home, doing music on the side? Would I miss the stage, the music, the audiences?

Well I am still here, I still think this is the right way for me, my wife and I, and for our future. But I think it is important to have those questions being asked of us – there is, after all, more to life than Mozart!

Until next time.

Have a good week.

The Bells The Bells

This week has been very similar to last week. Sitting at the back of a rehearsal room, watching the new production of Cosi Fan Tutte develop. Not really much to say about it, apart from today I am not watching rehearsals develop because it’s a national holiday. Mayday. Most things are closed, including the Opera house and there are a few festival type events set up for the weekend ahead.

I didn’t realise it would be a day off. Back home we save up the Mayday holiday for the following Monday, and I had assumed that this was a cross borders agreement. But no.

One aspect of Stuttgart that isn’t ‘off’ today are the bells. So many church bells, ringing at every conceivably relevant time – like 5 minutes before half past 6, and then again at half past 6 and then probably 5 minutes after half past 6 just to make sure. It doesn’t help that my room happens to be within spitting distance of a bell tower, not that I have tested the distance out like that. I won’t miss them when I leave.

Stuttgart

Aside from the bells, Stuttgart definitely still has a charm to it.

I love the big park. Whether it is raining, snowing or mildly warm, I really like how close my flat is to it and how I can walk to both the Opera house and the rehearsal venue via it. There are some cool water features throughout Stuttgart, including big fountains directly in front of the Opera house.

I like the small and easily accessible nature of the centre of town with the mixture of old and new buildings, art galleries’, museums and lots of shops. The city is helped by the UBahn, or underground train network, which is quick, cheap and very convenient for me. The trains only every seem to be very busy when the football is on, otherwise I can almost always get a seat.

Compared to London, the selection of restaurants here is limited. There are a few Chinese places scattered around. There isn’t a good Indian restaurant here, that I have found, and there seem to be more kebab shops than anything else. The gourmet burger revolution hasn’t hit town yet and no one has shown me where to get a good milkshake. There are a selection of standard Italian places, on a level with some of the UK chains, and a few steak places which I can’t afford. The bread is very good...

In terms of doing my weekly shop, generally the quality of supermarkets is lower than in the UK. I always make the trek to the other side of the town centre to Edeka, which for me is the most like a UK supermarket you are going to find. Having said that, food here is cheap. The options are the very cheap, Lidl or Pennymarkt, or the cheap places, Rewe and Edeka, or the genuinely expensive places in the centre of town that are more like Harrods food hall than anything else.

One of the best finds for me has been a little independent sports shop, on Clawer Str. which downstairs has an amazing selection of football boots, all spread out on shelves for one to appreciate. They have special edition Nikes from the last two world cups, loads of extremely limited edition Adidas boots and a pair of shop assistants who, it seems, have no idea how good their collection is. Fortunately I have no money, or I would buy half the shop.

What else

Last weeks blog was brought to you from my flat in England, where I was for the weekend to celebrate my third wedding anniversary. On Friday I also fitted in a visit to Andrew Procter at Physio Ed in Harley Street.

Andrew is a voice release expert, otherwise known as Laryngeal massage. Such massages focus on your neck, jaw, tongue and larynx and are far from comfortable. I last saw Andrew a few weeks after I initially lost my voice back in April 2013 (read my first blog post to learn more) and I wasn’t sure of the benefits of the massage at the time because it took a further 4 months to get my voice back properly.

I decided that, seeing as I feel in a good place vocally at the moment and I am also aware of past tensions that might creep back into my voice, I should just pop in for a check-up. Thankfully everything is fine and Andrew was in fact very happy with how much more relaxed my muscles are from two years ago.

I came back to Stuttgart on Monday afternoon and was straight into the watching of rehearsals. Apart from that I have had a couple of coachings on Borsa in Rigoletto which I cover in June/July, and have spent a lot of time trying to memorise Act 2 of Cosi Fan Tutte.

If you have any memorising advice do let me know, there are just so many words!!

So many words which I must get back to infact…..

Have a great week.

Until next time!