Vocalist.org archive


From:  "Colin Reed" <colin-reed@l...>
Date:  Wed Sep 27, 2000  12:13 am
Subject:  Re: [vocalist-temporary] some more about me



----- 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


emusic.com