J~~~~~~~~~~~~~~

I found Tamaki just before the show started. He and I chatted until two acts before cue, which is when I began my meditation and introspection routine. He interrupted me. Not cool. But, I suppose I should let him know my routine now.

"Yes, Tamaki?"

"Are you alright, Miss Mooreson?" Poor guy looks so concerned. Aw.

"I'm just fine. I few minutes before cue, I have a quiet time to reflect and get in the right frame of mind. I also do some praying because I need it each time I perform."

"Oh. Well, I'll let you get back to it."

When cue was called, Tamaki and I went behind the curtain. The stage was almost completely black as we waited for the curtain to rise after the monologue would end, but I was able to make out a seated figure just on the other side of my marked spot. As the curtain went up, I got a good look at who it was.

K~~~~~~~~~~~~~~

I ran in the backstage entrance with my case, found an unoccupied corner near the wing, and began unpacking my cello. Miss Mooreson's cue was about to be called, and I still hadn't told a stage hand to set a stand and chair out for me. The monologue was about to start. I needed to move faster.

As soon as I found a stagehand, I followed him on stage and arranged placement of the stand and chair and put my music down. I strode offstage and started tuning my instrument. Once that was accomplished, I went back to my newly acquired position on stage and waited.

I could see Tamaki and Miss Mooreson's silhouettes in the half light of the lowered curtain, and I could sense her eyes trained on me until the curtain started to rise. Her stare was a bit unnerving, to say the least.

J~~~~~~~~~~~~~~

Kyoya was seated with cello, stand, and score of my music! What the heck! I didn't have time to question him. The curtain was up, and the spotlights were on. On with the show.

Kyoya lifted his bow and cued Tamaki. I was shocked, but I new this arrangement and so counted the measures to my entrance. As I listened to Kyoya's playing, I was pleasantly surprised, but the true test would be the second song in the opus. We performed the aria's sensuous harmonies together, and I became just another instrument in the ensemble. It will forever amaze me that the voice really is a beautiful and essential instrument. No time to philosophize.

I gave the rest of the vocalise section my full attention. I knew it was beautiful: I could tell from the audience's completely silent reaction. There wasn't even a cough. (That's a big deal.) As we finished the first section and I relaxed just enough to let the boys know to prepare the second, I caught a flash of a certain shady professor in the wings. I swept the feeling of unease away and shifted my feet. Kyoya raised his bow at the subtle cue, and then he and Tamaki were off to the races. I was really shocked as this time the four measures of introduction were incredibly fast. About seven clicks faster than I'd ever sung it for performance. I'd never felt my lips or tongue move so fast outside of the practice room. I'd practiced this piece at this speed once for kicks, but swore never to do it again. Here's hoping!

Kyoya's bow fairly skipped and skidded across the strings during the running passages; and if I had seen Tamaki's hand, I know his fingers must have been greased lightning. My tongue felt like it was flying!

The tricky part was coming up. It had always been the hardest part for me: the duple-triple meter, the off-set accompaniment, the barely there melody. Not easy. But, as Kyoya started it off, I felt at ease. It went without a hitch. And, the faster pace took the labor out of it for me. Thank you!

K~~~~~~~~~~~~~~

I lifted my bow and cued Tamaki. We played the introduction like old music fellows. To tell the truth, we rarely ever played together. This was the first time in years I had even considered picking up my instrument to play with anyone at all. I stopped thinking about the past and released myself to the flood of sound that I was helping create. I reveled in the mix of concentration and abandon, talent and practice, and artistry and calculation required to perform on this level.

When Miss Mooreson reached the climax of the aria, I thought I might need to stop playing just to listen to the absolute beauty of music. She's like a queen of song. I didn't have time to ponder her ability as she had given the cue for the second movement. I think I may have taken it a bit too fast, but as neither Tamaki nor Miss Mooreson had a problem keeping up, I didn't feel guilty.

J~~~~~~~~~~~~~~

The final section flew passed. As I sang the final high c and Kyoya and Tamaki lifted their hands from their instruments, I knew. There was a pause of awe. I knew that pause, I had experienced it before. It was the most gratifying moment of electrified silence in all of musical history, a moment all musicians long for and relish. You, the performer, know that the audience is amazed, wants to clap, but also wants to savor and save the performance for just a little longer, to bask in it. Then the magic passes, and thunderous applause salute you and your troupe.

I gestured for Tamaki and Kyoya to stand, and we bowed in tandem. The applause were so enthusiastic that we took a second bow. I then walked off stage followed by my accompanists.