In this year of the Winter Olympics, we watch figure skaters trying to achieve the perfect balance of athleticism and artistry. Triple- triple combinations are required among the ladies, while the ever-elusive quadruple jump is necessary for the men to compete on an international stage. But technique is not enough, the world class skaters must also present artistically pleasing programs, as well as leave an imprint of the essence of their very being as an individual artist.
I recently attended the Fall Voice Conference in Washington, D.C. One of the keynote speakers, Joseph Stemple, Ph.D. from the College of Health Sciences of the University of Kentucky, presented a lecture entitled “Clinical Mantras and other Curiosities.” I was struck by Stemple’s discussion on vocal function. He identified one of his mantras of vocal function or subsystem mantra as the following: “Normal voice is dependent upon a relative balance of the three subsystems of vocal production; respiration, phonation, and resonance. Disturbance of one will result in compensations in the others”. This concept has been significant in my own thought and praxis, but not just with respect to the concept of vocal production. Instead, I imagine the totality of a singer/performer’s qualities: vocal technique, musical intelligence, and personal artistry as the basis for what I am calling “the vocal trinity.”
Much like the tri-partite components of Dr. Stemple’s subsystem, the vocal trinity functions most effectively when the components are equally matched. So many times, music schools emphasize “technique, technique, technique!” as the main event, when in actuality it is merely the means to a much more significant and glorious end. If we place undue emphasis on the technical means, we risk developing an unbalanced performance style that lacks the musical artistry and emotional intention of a truly transcendent and unforgettable performance—just like those Olympic athletes.
I believe, in a way, that each student should strive for this vocal trinity. By combining a solid technique, which encompasses the entire physical process of sound production, with adequate attention to the musical intelligence needed to execute what is on the page, and combining them with the personal artistry that brings the page to life, the singer will leave an indelible mark on the audience, thereby differentiating himself/herself from the thousands of other singers who came before. It is a tall order to fill, but when we are intentional about developing these 3 elements, the interplay between them enables the singer to develop his/her own unique performance signature.
Vocal technique, musical intelligence, and personal artistry as the basis for what I am calling “the vocal trinity.”
The first element of this trinity encompasses the technique that all voice teachers instill in their students. We are physical beings and our voices are part of that being: posture, released jaw and breath management, as well as many other important things. In the end, they work together to produce a beautifully spinning sound that is smooth and even, from top to bottom.
The second element is represented by the musical intelligence of the performer, which involves the execution of what the composer has written on the page: musical notation, designated tempos, dynamic markings and the storyline as revealed through language. Unlike instrumentalists, the singer has the added demand of disciplined study to ensure accurate diction, articulation and a clear understanding of every word, in order to effectively communicate what the librettist intended. Musical intelligence seeks to honor what the composer and the librettist have created.
The balance of physical technique and musical intelligence work in tandem to lay the groundwork for the emergence of personal artistry, which brings our own unique signature to a piece. Maria Callas comes to mind when I consider this element of the vocal trinity. Callas was the consummate, intelligent musician, but always left her own unique thumbprint on every performance. I remember years ago, while performing in a national tour of the show “Master Class,” a live recording of La Sonnambula from La Scala was played during the show. Oh my!!!!! The music seemed to leap off the recording and directly into the soul. La Divina was one of the greatest singer/actors that ever existed. Great technique, flawless musicianship, and the ability to make every piece she sang her own, all while touching the audience members in profound ways.
Although it seems virtually impossible to have all 3 areas in perfect balance and harmony, I believe the strength of one can illuminate and offer clues to developing a weakness in the others. For example, if my technique is unable to support the high note at the end of this aria comfortably, maybe I should step away and consider the clues the composer and librettist have left. In other words, rather than obsessing about technique at this point (e.g. jaw tension, blowing too much air or questioning body tension), instead consider what is indicated on the page with respect to dynamics. Perhaps you shouldn’t be singing forte the entire time!!! Or maybe one of the vowels could be adjusted before your ascent to the climax of the phrase. Consider looking into your emotional intention of the phrase. Is the difficult high note one of love, joy, sorrow, or death?
Consider another example- maybe you are struggling to sing the coloratura in a passage accurately. Rather than focusing on the technical issues that may be present, try taking the passage apart and practicing it at different tempos, much like a pianist would. By focusing on musical intelligence in this instance, you might also check the word required in the singing of that particular melisma; make sure you fully understand its meaning and are pronouncing it correctly. Consider the personal artistry with which you communicate your intention. Is this passage one of joy, triumph, or something else? How might you imagine yourself as the conduit of meaning for the composer and librettist?
Let’s say you have a problem with the sounds of a particular language in an aria. You might need to approach it from the technical side by asking questions regarding whether the airflow is stopping between vowels, preventing the legato from happening. Or, is the jaw chewing or perhaps just stiff, not allowing proper enunciation? Consider using the qualities of that specific language to get a more native pronunciation. For example, utilize the rolled “r” or the “ng” sound, or make sure the vowels are pure and without diphthong.
The personal artistry component, i.e. the “X” factor that produces an emotionally compelling and memorable performance, will likely be the last area to develop in a young singer. Like all good things, this element takes time and maturity. Singers are, literally, the conduits through whom the composer and librettist seek to communicate the power and emotion of their story.
But, what if you discover that you, physically, feel almost glued to the floor? Try walking around the room and let your arms be free; imagine you are speaking to a friend. This may open a door in your thought processes that helps you more clearly identify your reason for singing this piece, which in turn helps you connect emotionally to the character. You might also consider trying to exaggerate dynamics, tempo, and articulation. This exercise might be the key to unlocking your freedom to explore the musical language of that particular aria, as well as what you need to be communicating. These ideas may seem silly, but they can often be the keys to unlocking a singer’s unique signature.
We have all learned in acting class about the need to identify the who, what, when, where and why of a character or piece. If after answering these specific questions, you still find yourself unable to identify your internal reason or motive for singing a piece, take time to consider the other aspects of the vocal trinity. On the technical side of the trinity, be aware of your breath – make sure it is settled and not high. Breathe in the phrase and sing to the end. Would your character need a lighter or heavier quality for this particular aria, or is it important to be more inward and reflective? On the musical intelligence side of the trinity, one always needs to uncover what the composer and librettist seem to dictate on the page; they have provided a wonderful roadmap for the singing artist. Of course, there are no right and wrong answers here, so no sense of judgment should be placed on you. Just do your homework!!
In the end, vocal performance is truly a highly cultivated art form that takes enormous time and perseverance, much like the making of a world-class figure skater. It doesn’t happen overnight, but rather takes years of repetition and disciplined practice! By seeking to develop and balance the vocal technique, musical intelligence and personal artistry components of this vocal trinity, you will be empowered to communicate with your audience in ways that transcend mere language. Over time, you can expect your own unique, personal signature to begin to emerge in ways that can lift the human spirit! And isn’t that wonderful?
