From a visual artist to an emerging opera singer, of pitch and fright.

When I was a child I loved singing-- just plain singing with a total disregard of sound.  I would seize any opportunity to belt out whatever existed in my head, to literally anybody. I think that started to changed as I grew older. The sense of "freeness" started to disappear and I began feeling a lot more conscious to the how others perceive me.

 Operatic singing is perhaps the most challenging profession one should dream to acquire.  Like many professions, first you need to have some gift and drive, then you need a good mentor who can point you to the next best direction. From there on, hopefully your voice teacher isn't a quack but rather someone who helps you establishing ALL good habits, so there won't be years of regret and the need of technical corrections.

People often ask-- is operatic singing THAT difficult? If it comes out of our very flashy bodies, it cannot be more unfathomable than rocket science. I would answer- YES & NO. "Yes" being everyone has an instrument, and with proper training everyone can sing something, just like everyone can draw a circle or solve an simple mathematical equation. "No" being--what about the rest? The diction, the emotion and the belief to what you're trying to convey in this (most likely) complete foreign language? Now imagine you're doing ALL that on a stage, with one eye on the maestro and the other on the foreheads of the audiences.  One must have the technique, the stamina, the thick skin and most importantly, patience, to challenge such "impossible" career. However once all is in place, the reward can so rich and fulfilling, that even though this world is filled with hardship and competitions and perpetual disappointment, people keep doing it.

Since my first viewing on Gilda, I have come a long way in operatic singing, but there are still SO MUCH to learn, it's scary. These days my main quest is conquering stage fright.  Before there is stage, there is AUDITION (den den den!) And I am terrified of auditions. This evil creation comes from the need to pre-exam the level of artistry before any production so the "best" (or the most fitted) can be selected to put together the spectacle. But really it give the ones in charge the chance and pleasure  to peep through their applicant's most insecure and vulnerable side--it's like a pageant but only happens to one at a time.  Imagine that you're singing out of place, out of time and there are at least 3 pairs of eyes judging you from head to toe based on some of the most subjective objectives, all while you pretend to kill yourself, or have fallen in love for the first place....don't break the 4th wall.. But hey, Beverly Sills had to audition 6 times for NY city opera, so everyone goes through it.

 Being an emerging singer is really tough, you've out grown the amateur level, but the road to becoming professional is still long and tough, you try the lead but are always put to the smaller roles, you try the smaller roles but are cast to chorus...you feel apologetic for dreaming that "big some day"....The truth is, the fright NEVER GOES AWAY, however it gets better as you're more secure on technique as well as learning to be more prepared on your material. Good news everyone, IT DOES GET BETTER! JUST KEEP DOING IT!

One musician, out of so many in opera singing that I can most relate and admire, is Joyce Didonato. Here's a link to what she thinks of "stage fright". Also click HERE for "The Singer's Audition Handbook" by Claudia Friedlander (you do need to log in to access the post)

Bonne chance!!