FWIW,
There are 3 things that I'd suggest:
1) Usually, the problem note is not the high note itself but the note
before, and the way we place it. Vocalize on the phrase and stop on the note
before high B. Analyze it - too much chest, not enough chest, too heavy, too
reedy, underpowered (not enough support), overpowered (too pushed), relaxed
body, tensions in the body, etc. Now, vocalize only on two last notes paying
attention to the things above. Gradually add one more note going backwards
until you cover the whole phrase. Vocalize using - a) your best vowel; b)
all the vowels - different ones on each note; c) different rhythms - helps a
lot to pay attention to the placement and preparation of each note; d) if
your phrase is to be sung legato practice it staccato, and vice versa; e)
siren sound.
2) Do not sing the consonant on the high B, sing it on the note before,
attaching it quickly to the previous word. That way you start the high note
on a vowel - resulting with your throat being open, and the soft palate
raised. Or, if the context of the aria allows it, on the last few notes do
not sing the word(s) at all but just sing vowel [a]. On the high notes, it's
done quite often.
3) If you are not doing it already, use the imagery. It's difficult to give
someone else the right image that will work for them. What works for me in
such case is the image of a parachute. I imagine that I have a parachute
attached to the back of my head. It opens gradually as I go up the phrase,
and fully - with a big "kaboom" - on the high note. It gives me the feeling
of openness, suspension and floating, as well as, unconsciously I guess,
creates even more space at the soft palate. Also, concentrating on the
image, I do not "try" to manipulate my high notes, I just let them float
with the "parachute". Sometimes trying too hard defeats the purpose.
mariella,
Canada
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