The sach aria, this scene will forever be in my memory. Wish my FAVA beans a great new year!:)
I will be singing a recital at the Atria senior living facility in March or April. The program will include 6 aria/art song from Mozart and Bellini. A while back we did a series of recitals in hospitals, nursing homes and assisted living facilities in DE and PA, I miss the fun of doing it!
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)
Lots of rehearsals on this one! However there will be not excessive flash showing! :) Love everything about the piece and excited for the opening night!
I did Olympia's "les oiseaux dans la charmille" (the Doll Song) from Les Contes d'Hoffmann for both classes and I totally forgot to introduce myself :P My students and friends from DCAD also came to see it which was awesome!
To see the program calendar in France, see FAVA FRANCEfor the list of singers and concert dates!
Two opera master classes for singers and auditor at the Opera Theater of Curtis Institute. We have 12 talented singers as well as auditors coming from Uarts, University of Delaware and SJU.
Upon getting the score for La Belle Hélène, I got a last minute show with Amici Opera company for Falstaff, so drop everything and onto Meg in Falstaff!! Thanks to the husbands who work hard and keep things in order for the singing wives..!
Going forward with FAVA's summer program in Paris and Périgord-- with an unexpected scholarship!
Singing Tosca and Aida this month and April, lots and lots to prepare!
Singers! Do you have super supportive wives, husbands, kids and friends? Show your appreciation by not being a diva for one day! ;) Hugs and a big thank you to my husband, minbeste venn, publikumogkjærligheten i mittliv,TAKK! :)
It's busy with the capital B for us since the end of the summer.
I'll be understudying 3 operas- (Gretel) Hansel& Gretel, (Zerlina)Don Giovanni and (High Priest)Aida with NY Opera Forum, I will also be singing the role of the Shepherdess in Tosca. All this is happening between now and April 2014--talking about deadlines! I'm excited, nervous and above all, can't wait to sing!
An extraordinary singer, Richard Angas passed away unexpectedly yesterday in England. Our deepest condolences to the Angas family and the singing community. Rest in peace, Richard.
Yesterday I had a coaching session where I was told to "sing ah-s with a smile to bring out it's expression". While I understand that it is the expression which brings the life and vibrancy to a piece, I don't believe one can constantly sing with a smile, it takes many muscles to form a motion such as a smile, and that would be extra work for singers when muscles are suppose to be "engaged" and not tightened. Today I tried practicing with an "artificial smile", some of the sound came out beautiful but I might have over-done it. Now I have a fatigued, sore and thickened cord. Em, lesson learned.
Each singer has his/her natural vertebrato and tune, and the most important key in opera-singing is that the voice can not be put on stress at any time, it must surf with vibrancy and energy, all of which requires a solid foundation and good training. Technique is what we survive on, along with hard work and self confidence. When performing in front of hundreds of people, when you feel like you are about to have a heart attack, remember, this is done everyday and hundreds of years by many many singers--BREATH, SUPPORT AND PROJECT. :)
