Lovely rant, Isabelle!
But surely we could squeeze some language training in there too? North
American singers so often have mediocre German, Bad French, ridiculous
Russian and Italian with those funny dipthongs in 'em. It's easier to whack
this out of 'em while they're young! john
At 10:50 AM 6/12/00 -0700, you wrote:
...
>Yes, it's ideal to have it all, but you have to pour
>ALL your energy and time into learning the technique
>in the beginning. If you still have free time when
>you're not practicing, taking lessons, listening to
>your tapes, scrutinizing old recordings to hear and
>feel what great singers are doing technically, reading
>the books about the differing vocal schools, keeping a
>technical journal for writing down your thoughts and
>repertoire and new concepts and what you felt worked
>during that day's lesson, going over your repertoire
>mentally and imagining what your current concepts
>should feel like (singing without singing), getting
>enough sleep and water and exercise for your voice --
>if you still have free time during this technical
>process, study your languages. But for heaven's sake,
>if you aren't doing all this because you are spending
>the time taking acting classes and theory and piano
>and history and gesticulation classes and
>lieder-repertoire classes and audition workshops and
>coachings -- you are walking before you can crawl!
>After you are in control of your voice and can sing
>every note in your range correctly (not perfectly, but
>correctly), and have the ability to create effects
>(soft, loud, colors, diction) without cheating or
>compromising your tonal quality -- THEN jump into the
>rest of the package. But don't sacrifice the first
>step because you're so busy with all the polish!
...
>Isabelle B., getting all worked up again...
John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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