----- Original Message ----- From: "Isabelle Bracamonte" <ibracamonte@y...> To: <vocalist-temporary@egroups.com> Sent: 25 September 2000 02:37 Subject: [vocalist-temporary] some more about me
> What's my master plan? Study technically for the next > year or so; then continue to study, adding in > coachings, while performing in small houses far away > from the limelight (preferably in Europe, travelling > out for a role and returning afterward). I should > have my technique together enough to add in the role > performance aspect of training in a year or two. At > 27 or 28, as a ballpark figure, audition for the > apprenticeships (Merola, Houston, Met, Chicago) and do > the young artist program circuit. After that -- luck, > determination, hard work, a solid technique, and it's > a lifelong climb. > > More questions? > > Isabelle B. > > ===== > Isabelle Bracamonte > San Francisco, CA > ibracamonte@y... >
Are you suggesting that Europe is out of the limelight? One big "Harumph!!!" No, only kidding, I realise what you mean. You know, I could get away from it all in a back water like the west coast of USA :-)
On a not entirely unrelated note, I'm listening to a CD whilst typing this. It's John Taylor with John Surman, Ambleside Days. John Taylor is a pianist from Manchester, UK. He is mostly self taught, and is a phenomenal talent (and having met him, is completely modest about it too!) I heard some recordings of him from many years ago when first he ventured out into the limelight, and let me tell you he was no-where near as technically accomplished as he is now, and he never tried to play beyond himself. (It's all improvised by the way). Now I realise that a pianist is not going to physically damage his intrument by playing in public before he is ready (unless the audience riot, that is!) However, listening to such a musician can be an important lesson. JT was not "perfect" when he came into the public space. He did however restrict his playing to what he could manage. I believe that the important thing when singing is not to try and become perfect behind closed doors, and then try to launch yourself into the big time. I think it is important to try the waters, sing roles that you are capable of at your stage of technical development, and don't try to overstretch. I was like you, only a couple of years ago, (although I am now 29). I was determined not to let anyone hear me sing with any glitches. I then decided just to go along and sing with a local opera chorus (we're doing Turandot in November). Immediately I got attention from other singers, commenting on the richness and power of my voice. Nobody mentioned the odd glitch through the passaggio in technically difficult passages. The main thing is that I was concentrating so much on the negatives (that I hadn;t got right yet), and ignoring how much I have achieved in the past 5 years. Now, with the regular singing and support from other singers, I am making better technical progress than I ever did behind closed doors.
Maybe you'll find time to find this odd island, just to the left of that backwater called Europe, when you come across for your visit.
God Bless
Colin
Colin Reed, tenor Newark, UK
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