SEPTEMBER 2010

TOOLS OF THE TRADE

When a mechanic, plumber, electrician, etc. ... shows up at a job-site, he/she is usually resplendent in suitable work-garb with a label over the left breast-pocket with name and title thereto affixed and an appropriate tool box in hand. When a singer arrives at an audition, suitably attired and coifed, the “tool-box” of choice is generally a briefcase wherein is contained pictures of self, a resume’ of some consequence–with a few notices to substantiate same–and a selection of music representative of the singer’s vocal prowess and achievement. Repertoire ... and ones command of same, is that instrument necessary to elicit respect and at least stimulate curiosity to set one above the throng, the body of pieces known or regularly performed by the performer, to perhaps grease the slide a tad on an initial interview of audition.

Since my particular teaching technique routinely raises the vocal levels of my professionals/students exponentially in a dramatically shorter time than they usually have experienced with their previous teachers ... one truth becomes painfully evident; their respective vocal abilities quickly begin to far out-distance their current repertoire!

A case in point ... yesterday, I had a meeting with a baritone I worked with at USC-University of Southern California–ten years ago. He was a baritone with a beautiful sound, but no useable high notes beyond a shaky high F. In our first session, I showed him how to sing a solid high A flat. At the time, he had not even signed up for the “opera” chorus. Three months later, he was given the role of John Proctor, the baritone lead, in the school’s production of The Crucible. Subsequently, he sang the baritone leads in the school’s next four operatic productions, which included the challenging role of Gianni Schicchi in the opera of the same name, one that I included in my days as principle baritone of the New York City Opera.

Then, for a while, he chose another route vocally, that steered him down a crooked path for a time. A year ago February ... I straightened out that path and he bounded forth with newly found confidence ... only to have his enthusiasm dampened by the economic downturn. He began working on his high–high voice and is now quite comfortable with C’s and D’s. Our conversation turned to repertoire and he allowed he only had been working on arias ... and had not added even one role in the tenor repertoire to his resume’ ... So, all dressed up for the dance ... and no orchestra!

But–never waste a teaching opportunity–what of the most important benefit garnered in the learning of an operatic role, assuming that is your choice for your career? What might that be, you rightly and readily ask?

When one only learns the arias, the “show/show-off songs” in an opera, one can easily become a slave to the pursuit of perfection while singing of the piece ... and lose the “tree” ... within the forest. The beauty of learning the whole opera is that most of the music is essentially dialogue most often written to further the plot and, set to great music, is arguably some of the best vocal music ever written. Take my favorite opera. La Bohème, by Giacomo Puccini, for instance. There’s not a badly written phrase in the whole magnificent work. And ... much of it is “conversation on pitch!” ... exquisitely written but not delineated, as are the arias, as the much anticipated “piece(s) de resistance!” While the lines are still soaring and beautifully written and encourage the best that you have to sing them ... they are in the main ... just dialogue to further the plot of the story--to encourage a spot of perspective here.

For some thoughts on how to make the best use of your time in accomplishing this wonderful process ... I’ll continue in next months segment.

I apologize for the tardiness of this month’s piece ... With the surprise of finding the big ol’ cancer in my upper left lobe, the removal of same and the continuing radiation therapy ...



January 2016 - JOHNNY CARSON Part 2

JULY 10 -
JOIN A CHORUS

JUNE 10 - HI THERE SINGERS!
 

MAY 10 - SINGING IS WORK

APRIL 10 - THE FIVE “C’s!”

MARCH 10 - LEARNING REPERTOIRE

FEBRUARY 10 - THE TIGHT JAW

JANUARY 10 - BALANCING THE VOICE

DECEMBER 09 - LOVE CAN REIGN - LINK

NOVEMBER 09 - ABSENCE OF EXCESSIVE TENSION

OCTOBER 09 - YOUR OTHER BEST FRIEND - YOUR MIRROR

SEPTEMBER 09 - EVERYONE CAN SING!

AUGUST 09 - LATENT HERNIAS AND OTHER SUPPORT PROBLEMS

JULY 09 - PRINCE IMRAN RAZA STATESMAN/ROCK STAR

JUNE 09 - ANOTHER NATURAL SINGER - DAVID BURKE

MAY 09 -DISCOVERY OF VOIC
E

APRIL 09 - I'M SICK, BUT I HAVE TO PERFORM TONIGHT  Part 2

MARCH 09 - I'M SICK, BUT I HAVE TO PERFORM TONIGHT

FEBRUARY 09 - SINGING IN ENGLISH

JANUARY 09 - GETTING AN AGENT AND/OR MANAGER (Part 4)

DECEMBER 08 - GETTING AN AGENT AND/OR MANAGER (Part 3)

NOVEMBER 08 -
GETTING AN AGENT AND/OR MANAGER (Part 2)

OCTOBER 08 - GETTING AN AGENT AND/OR MANAGER (Part 1)

SEPTEMBER 08 - HEAVY BREATHING ADVISED FOR JOCKS

AUGUST 08 -  THE VAGARIES OF AUDITIONS AND AUDITIONING (Part 3)

JULY 08 -
THE VAGARIES OF AUDITIONS AND AUDITIONING (Part 2)

JUNE 08 -
THE VAGARIES OF AUDITIONS AND AUDITIONING (Part 1)

MAY 08 - ABSENCE OF TENSION

APRIL 08 -
THE FLAT TONGUE TECHNIQUE AND HOW DO YOU MAKE A VOWEL

MARCH 08  - THE VOICE COACHING THAT  MADE MY CAREER

FEBRUARY 08 - WHAT ARE YOU SINGING?

JANUARY 08 -
VIBRATO/WOBBLE

DECEMBER 07 - BREATHING REVISITED

NOVEMBER  07 - HOW TO KILL A COLD IN FIVE DAYS

OCTOBER 07 - A BIT MORE SUPPORT

SEPTEMBER 07 - MORE SUPPORT

AUGUST 07 - INTRO & BREATHING/SUPPORT