25 January, 2008


Had a coaching with a new-to-me coach today--known for coaching the bel canto style, in any piece, and REALLY focusing on legato.
I was totally into it.
This particular coach warned me that some singers just don't like it, don't like the style, and don't mesh--and never come back. But I feel like I want to come back every week!

It was one of those coachings where I felt like I improved things in the coaching, but also came out with a lot to think about, and also ways to work on and continue to improve what we began--even when I'm not at the piano with this particular person.

The short of it is, no one ever asks to hear my Italian pieces, except for Oscar.
Maybe it's because I don't sound so lyric-y, as the light lyrics singing the rep, maybe not.
I've attributed it to the fact that once I start with a great German of French or freakishly high, coloratura, etc. piece, they will ask for my Mozart- which happens to also be high and in German. But it also shows legato line.
And that's why they don't ask for the Norina, Amina, Rosina (in F)...and frankly, I don't offer it that much either, knowing that those are long-ish, and I think I show myself better in other pieces that have "line", but are not necessarily Italian bel canto.

So it's been something that I've definitely not worked on as much as I COULD have...but for good reason- I have not been asked to sing any of those roles (until now) and my slightly more lyric sounding soprano friends sing those pieces at auditions so I've never bothered to be in direct competition with this rep., sticking instead to my favored French and German.
But, the time has come.
I do have the voice to sing it, as I was reminded of today after a few simple lines of singing, and loving what I was singing.
And it's not about vocal weight or color. It's what I can bring to these roles, and how I can make the beauty of voice match the poetic intention.

Things to remember:
Vibrate the air (naturally) always. From note to note, through the vowels and the consonants. Through the doubles. Voice or unvoiced. It's just ONE air. It stops for nothing.
Take time for the poetic cadence. 3 eighth notes in a row never sound like three eighth notes in a row, because one of them is the most important part of the syllable, word, or phrase.
ONE or TWO dynamics per phrase and definitely per cadenza.
I don't need to show anything but what is written on the page.


And to reiterate, ONE vibrated breath throughout. It's more freeing, but also way more scary than getting to control it the way I sometimes like to do. But it feels so good when it comes out that way. No effort at all.

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