I have long enjoyed Jeannie Lovetri's blog - this week's was really interesting. She makes a rather long list of all the things a singer is expected to do well. Then adds a few things for specific styles such as CCM, etc.
LoVetri Post: It's Complicated
As she says at the end - it's a wonder anyone is able get all this done!
Tuesday, September 28, 2010
Friday, September 10, 2010
Musical Constipation
I experienced one of those "breakthrough" lessons with a student today. She performs a lot of commercial-type music and was feeling "emotionally constipated" (my phrase) by classical music. She had a change of heart with (of all things) "V'adoro pupile" from Giulio Cesare by Handel. If you know Handel, you will immediately wonder how a commercial singer found a "way in" to classical music in this way.
I reminded her that singers at this time were expected to "improvise" within these arias. That improvisation, in fact, was a big part of their training. It seemed as if my student was feeling constrained by her expectation that she should "only do what is on the page." While this is true, we reminded ourselves that the piece of paper with a lot of black dots is not music. It is merely the representation of music. MUSIC is what we are creating when we sing/play. The paper is merely our road map to re-creating what the composer had in his head. We are expected to bring something of our own creative powers to the table as well and, in a way, are meant to create the music every time as if we are making it up on the spot.
It was as if a light turned on in a different room in this student's brain! (My teacher, friend and mentor Gary Race would have said that she connected with her communicator!) And I can tell you that it was a different experience hearing her sing after that moment. She still had some technical issues with the passaggio and needed to further modify some of the top notes for optimal resonance. She could use a little work on her legato. But that is not the point. She SANG.
My question now is, where did this girl get the idea in the first place that she was supposed to sing "classical" music any differently than that??? I am not taking the blame for this personally because this is our second semester working together and I have been trying to convince her to do this the entire time. But she got the idea somewhere. Was it my predecessor? I doubt that she specifically told this student that she ought to sing "classical" music in a way that was so emotionally rigid. Do we have a culture of constipation? If not, do our students think we do? Where do they get that idea?
I will grant that studying something academically has an inherent danger of sucking the life right out of it. But it isn't a foregone conclusion. Is it?
Below, I include a youtube clip from a production of Giulio Cesare in which Danielle de Niese gives a stellar performance as Cleopatra and sings the aria discussed above. The production was a Bollywood-inspired version of the story and got rave reviews from just about everyone. Ms. de Niese is admittedly not my favorite singer and this staging is a little strange out of context but one thing you CANNOT say is that her performance is boring.
Now - who do we know who is not boring AND sings beautifully at the same time? Hmmmmmmm.....
I reminded her that singers at this time were expected to "improvise" within these arias. That improvisation, in fact, was a big part of their training. It seemed as if my student was feeling constrained by her expectation that she should "only do what is on the page." While this is true, we reminded ourselves that the piece of paper with a lot of black dots is not music. It is merely the representation of music. MUSIC is what we are creating when we sing/play. The paper is merely our road map to re-creating what the composer had in his head. We are expected to bring something of our own creative powers to the table as well and, in a way, are meant to create the music every time as if we are making it up on the spot.
It was as if a light turned on in a different room in this student's brain! (My teacher, friend and mentor Gary Race would have said that she connected with her communicator!) And I can tell you that it was a different experience hearing her sing after that moment. She still had some technical issues with the passaggio and needed to further modify some of the top notes for optimal resonance. She could use a little work on her legato. But that is not the point. She SANG.
My question now is, where did this girl get the idea in the first place that she was supposed to sing "classical" music any differently than that??? I am not taking the blame for this personally because this is our second semester working together and I have been trying to convince her to do this the entire time. But she got the idea somewhere. Was it my predecessor? I doubt that she specifically told this student that she ought to sing "classical" music in a way that was so emotionally rigid. Do we have a culture of constipation? If not, do our students think we do? Where do they get that idea?
I will grant that studying something academically has an inherent danger of sucking the life right out of it. But it isn't a foregone conclusion. Is it?
Below, I include a youtube clip from a production of Giulio Cesare in which Danielle de Niese gives a stellar performance as Cleopatra and sings the aria discussed above. The production was a Bollywood-inspired version of the story and got rave reviews from just about everyone. Ms. de Niese is admittedly not my favorite singer and this staging is a little strange out of context but one thing you CANNOT say is that her performance is boring.
Now - who do we know who is not boring AND sings beautifully at the same time? Hmmmmmmm.....
Sunday, August 22, 2010
The Aging Voice in the Church Choir
Over the weekend I had the immense pleasure of teaching a class called “The Aging Voice in the Church Choir” at the SC Baptist Convention’s Worship Summit at White Oak conference center in Winnsboro, SC. This valuable conference gives church worship staff members the opportunity to take classes which will benefit them directly in church ministries. These classes ranged from how to use a sound board to Introduction to Finale music writing software to modulation on the organ to keeping control of a children’s choir.
The class I taught focused on the challenges faced by the leader of a choir which contains a significant number of aging voices. So often, worship leaders “give up” on aging voices and either write them off as unimportant and irrelevant in the wider church music ministry or simply resign themselves to the status quo, never hoping for any improvement in the basic vocal instruments at hand. Of course, neither of these scenarios is appropriate or accurate. While the aging voice does face important challenges, there are specific and practical techniques which a choir leader can employ to significantly improve the performance outcome.
Above is a copy of the presentation I gave which I include for the purposes of sharing with those who attended as well as with those who did not. Please note, the above is simply the slideshow that I presented along with the lecture. There is no sound. As always, if you have any questions please feel free to contact me.
The class I taught focused on the challenges faced by the leader of a choir which contains a significant number of aging voices. So often, worship leaders “give up” on aging voices and either write them off as unimportant and irrelevant in the wider church music ministry or simply resign themselves to the status quo, never hoping for any improvement in the basic vocal instruments at hand. Of course, neither of these scenarios is appropriate or accurate. While the aging voice does face important challenges, there are specific and practical techniques which a choir leader can employ to significantly improve the performance outcome.
Above is a copy of the presentation I gave which I include for the purposes of sharing with those who attended as well as with those who did not. Please note, the above is simply the slideshow that I presented along with the lecture. There is no sound. As always, if you have any questions please feel free to contact me.
Monday, July 5, 2010
Audition 101
Here is what I tell my students about auditioning.
1. Be prepared. Music.
This means having music memorized, music marked clearly for accompanist, having a point of view about the character. The assumption here is that you have already worked out the technical aspects of any piece that you offer for an audition and won't have to worry about that at all. An audition for a role is very different from a singing competition or an audition for entrance into a program where voice is everything. You want to present a complete package here.
2. Be prepared. Dress.
Dress appropriately. You don't want to be remembered for how you dressed for your audition - either in a good way or a bad way. You want them to remember your performance. People have VERY different ideas about what is appropriate for an audition. I have a friend who insists that all her female students wear stockings any time they sing.
This is certainly a place to use your best judgment based on specific information you might have. However, when in doubt, wear something conservative that flatters your own shape.
3. Be prepared. Information.
Know what the company wants to cast. If possible, know the upcoming season and which roles might be right for you. Bring audition repertoire that reflects an awareness of this information. People have differing opinions about whether or not to offer something from one of the shows being produced. Use your best judgment here.
4. Be prepared. Know what the company wants to hear.
In other words, be prepared with the information and repertoire that the company specifies in the audition announcement. If they say they want 16 bars of a piece of music - offer 16 bars. This is especially important for those who are used to doing opera auditions (which traditionally hear more singing) who are participating in a musical theater audition (which traditionally hear comparatively little singing). If a monologue is requested, find and prepare a spoken monologue. If a dance portion of the audition is specified, bring appropriate attire for a dance audition.
5. Be prepared. You might not get the part you want.
You might be offered a different part than you anticipated. Know before you audition whether or not you can accept larger/smaller roles. The company representatives may ask you at the audition and it is considered bad form to misrepresent yourself here.
You might not be offered a role at all. Remember, this doesn't mean that the company didn't like you or didn't think you were worth casting. It may be that they liked you but just don't think you are right for anything that they have available this season.
Are you sensing a theme here?
1. Be prepared. Music.
This means having music memorized, music marked clearly for accompanist, having a point of view about the character. The assumption here is that you have already worked out the technical aspects of any piece that you offer for an audition and won't have to worry about that at all. An audition for a role is very different from a singing competition or an audition for entrance into a program where voice is everything. You want to present a complete package here.
2. Be prepared. Dress.
Dress appropriately. You don't want to be remembered for how you dressed for your audition - either in a good way or a bad way. You want them to remember your performance. People have VERY different ideas about what is appropriate for an audition. I have a friend who insists that all her female students wear stockings any time they sing.
This is certainly a place to use your best judgment based on specific information you might have. However, when in doubt, wear something conservative that flatters your own shape.
3. Be prepared. Information.
Know what the company wants to cast. If possible, know the upcoming season and which roles might be right for you. Bring audition repertoire that reflects an awareness of this information. People have differing opinions about whether or not to offer something from one of the shows being produced. Use your best judgment here.
4. Be prepared. Know what the company wants to hear.
In other words, be prepared with the information and repertoire that the company specifies in the audition announcement. If they say they want 16 bars of a piece of music - offer 16 bars. This is especially important for those who are used to doing opera auditions (which traditionally hear more singing) who are participating in a musical theater audition (which traditionally hear comparatively little singing). If a monologue is requested, find and prepare a spoken monologue. If a dance portion of the audition is specified, bring appropriate attire for a dance audition.
5. Be prepared. You might not get the part you want.
You might be offered a different part than you anticipated. Know before you audition whether or not you can accept larger/smaller roles. The company representatives may ask you at the audition and it is considered bad form to misrepresent yourself here.
You might not be offered a role at all. Remember, this doesn't mean that the company didn't like you or didn't think you were worth casting. It may be that they liked you but just don't think you are right for anything that they have available this season.
Are you sensing a theme here?
Thursday, June 24, 2010
Aaaaaaaaahhhh - geek out!
To call the last few days a major geek out is an understatement. I have had the best time delving into about 50 cds I checked out of the library in preparation for teaching an Art Song Literature class. I have enjoyed some old favorites like
Elly Ameling:
Dietrich Fischer-Dieskau
Anne Sofie von Otter:
Olaf Bar
And new favorites such as
Gerald Finley - (wish I could have found an Art Song, but this is a great clip from Doctor Atomic)
Susan Graham:
Thomas Quasthoff:
And have even discovered some new jewels:
Bo Skovhus
(who I had heard about and seen but to whom I had yet to listen)
Solveij Kringelhorn:
Elly Ameling:
Dietrich Fischer-Dieskau
Anne Sofie von Otter:
Olaf Bar
And new favorites such as
Gerald Finley - (wish I could have found an Art Song, but this is a great clip from Doctor Atomic)
Susan Graham:
Thomas Quasthoff:
And have even discovered some new jewels:
Bo Skovhus
(who I had heard about and seen but to whom I had yet to listen)
Solveij Kringelhorn:
Friday, June 11, 2010
Getting Ready
Putting together a fun, interesting and creative recital is a challenge. Really. So-called "Academic" recitals are relatively easy. One must include certain elements in order to fulfill academic requirements. Western European languages must all be represented. Usually these recitals go in chronological order of composition. Each section is united by some element, most commonly the composer, sometimes just the language.
During the course of my student career I put together and performed approximately 10 recitals. (2 undergraduate, 2 Master's, 2 Professional Studies, 4 Doctoral) You would think that I would be more confident in my expertise at this. Alas, you would be wrong!
It is June and my first faculty recital at Clayton State University is in October. The theme is "A Woman's Life and Love" (remind you of Schumann?") The sections will be as follows:
Daughter
Sister
Mother
Lover
Looking forward to writing about each as we go.
During the course of my student career I put together and performed approximately 10 recitals. (2 undergraduate, 2 Master's, 2 Professional Studies, 4 Doctoral) You would think that I would be more confident in my expertise at this. Alas, you would be wrong!
It is June and my first faculty recital at Clayton State University is in October. The theme is "A Woman's Life and Love" (remind you of Schumann?") The sections will be as follows:
Daughter
Sister
Mother
Lover
Looking forward to writing about each as we go.
Monday, March 15, 2010
Gerald Finley, my new hero
So, I have a new hero. His name is Gerald Finley. He is a baritone. I was privileged to see and hear his recital yesterday at Clayton State's Spivey Hall. He sang Schumann Heine settings, Ravel Nature Songs, Barber songs and some Ives songs.
First the Schumann. To say that his diction was superb is simply not enough. It wasn't just that his diction was so good or that he sang really beautifully. Finley communicated the songs in a way that was simply - well, - clear. That is the best word for it. I understood the words, but more importantly, I understood the story. I can't think of a better compliment than that. Finley uses his voice at the service of the text BUT he never sings less than beautifully. How I loved it!
At the end of the recital, I looked at my watch and sincerely believed that only an hour had passed when really, it was twice that.
THEN
He gave a master class for our students at Clayton State. here are some quotable quotes.
“You sort of have a personal angle on the piece”
“The energy is not just in the making of noise but in the activity of communicating.”
“You’ve given me a beautiful picture and we’re gonna’ take the puzzle pieces out and put it back together.”
Breath – “not stopped by your throat but (moving) through your throat”
“You like to bloom into the sound – don’t be cautious, its much more satisfying for us to hear the beginning of the tone.”
“I’m gonna pretend that I’m tired but I’m still gonna SING!”
Breath – “it’s like punctuation”
“Piano is beautiful – not soft. --- So pianissimo is even MORE beautiful. Never sing anything less than beautifully.”
“Once you start the sound, there’s no going back.”
“What is bloom? It is allowing the breath to travel a little more luxuriously.”
“These (abdominal muscles) will be your friends for life. These (vocal folds) will only be your friends as long as you treat them well.”
First the Schumann. To say that his diction was superb is simply not enough. It wasn't just that his diction was so good or that he sang really beautifully. Finley communicated the songs in a way that was simply - well, - clear. That is the best word for it. I understood the words, but more importantly, I understood the story. I can't think of a better compliment than that. Finley uses his voice at the service of the text BUT he never sings less than beautifully. How I loved it!
At the end of the recital, I looked at my watch and sincerely believed that only an hour had passed when really, it was twice that.
THEN
He gave a master class for our students at Clayton State. here are some quotable quotes.
“You sort of have a personal angle on the piece”
“The energy is not just in the making of noise but in the activity of communicating.”
“You’ve given me a beautiful picture and we’re gonna’ take the puzzle pieces out and put it back together.”
Breath – “not stopped by your throat but (moving) through your throat”
“You like to bloom into the sound – don’t be cautious, its much more satisfying for us to hear the beginning of the tone.”
“I’m gonna pretend that I’m tired but I’m still gonna SING!”
Breath – “it’s like punctuation”
“Piano is beautiful – not soft. --- So pianissimo is even MORE beautiful. Never sing anything less than beautifully.”
“Once you start the sound, there’s no going back.”
“What is bloom? It is allowing the breath to travel a little more luxuriously.”
“These (abdominal muscles) will be your friends for life. These (vocal folds) will only be your friends as long as you treat them well.”
Friday, March 12, 2010
I recently had the immense pleasure of seeing my college friend Elizabeth Bishop (not the poet) sing the role of Amneris in Verdi's Aida with Atlanta Opera. Here is my gush:
What an absolute pleasure it was to hear her singing so beautifully and musically! How she uses her voice as an integral part of her acting. How healthy she sounds. How her vibrato is spot on - not to wide, not to shallow. (this is a pet peeve of mine)
I loved her characterization of Amneris as NOT a shrieking harpy - as is sometimes so easy to do. But as a woman who is unaccustomed to not getting what she wants, who genuinely loves Radames and can only direct her hurt and anger towards the only source she can think of. I love that she also heard in Verdi's music that Amneris ultimately makes peace with the lovers (although admittedly she DID sort of "win" ha!) and is really the only character who grows and changes over the course of the story. If I were telling this story, Amneris would be MY focus. By all accounts, she is technically the protagonist!
But I just can't say enough about how beautiful she sounded. I wish every one of my students could have heard her sing.
What an absolute pleasure it was to hear her singing so beautifully and musically! How she uses her voice as an integral part of her acting. How healthy she sounds. How her vibrato is spot on - not to wide, not to shallow. (this is a pet peeve of mine)
I loved her characterization of Amneris as NOT a shrieking harpy - as is sometimes so easy to do. But as a woman who is unaccustomed to not getting what she wants, who genuinely loves Radames and can only direct her hurt and anger towards the only source she can think of. I love that she also heard in Verdi's music that Amneris ultimately makes peace with the lovers (although admittedly she DID sort of "win" ha!) and is really the only character who grows and changes over the course of the story. If I were telling this story, Amneris would be MY focus. By all accounts, she is technically the protagonist!
But I just can't say enough about how beautiful she sounded. I wish every one of my students could have heard her sing.
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