In J.K. Rowling’s acclaimed children’s series about the adventures of the young wizard Harry Potter, the opening session of the first school term at Hogwarts ends with the entire student body singing the school song. After a magical evening of talking hats, enchanted ceilings that look like the night sky, food that magically appears on platters, and flying ghosts that walk through walls, Hogwarts Headmaster Dumbledore makes the following statement at the end of the singing: “Ah, music! A magic beyond all we do here!”
I am, unfortunately, old enough that I no longer truly believe in magic—but my active imagination can quickly get caught up in the make-believe world of Harry, his friends Ron and Hermione, and Hogwarts. Dumbledore’s observation, however, has caused me to reflect on a magical reality that I have experienced first hand: making music.
We have just returned from the Second Annual Classical Singer Convention in New York City, and are already moving ahead with plans for a bigger and better convention in 2006! This year’s convention offered opportunities a-plenty to get out there and sing—from the coveted Spotlight Recital times, to singing in the View restaurant and Broadway Lounge, to participating in Master Classes, to competing in the AudComps, to singing the National Anthem at the Mets Game! Watching so many singers in one place for four days, doing what they love, was another great reminder to me of the magic of what we do.
But making music isn’t always magical, is it? And what makes the difference? The answer to that question can often seem elusive.
Many elements must come together to create a magical musical moment: text, melody, phrasing, dynamics, expression, inner monologue, gestures—the list goes on and on. It is the combination of so many essential elements, after hours and hours of preparation, that makes the magic.
Singers must rely on outside sources of knowledge to achieve such a level. Voice teachers, coaches, and conductors are all invaluable contributors to what every singer hopes will result in a magical product. In this issue, we salute one of those sources: coaches.
In our cover story, soprano Christine Brewer speaks to the importance of the marriage of text and music. She underlines the importance of working with a good coach, even suggesting that if singers can’t afford both coach and teacher, they should alternate between the two! She shares how her deep relationship with the text results in making the music magical.
A singer’s understanding of the character, feeling and mood of a piece, and the ability to portray them through singing and acting, also is essential to the magic. Richard Crittenden addresses this issue in his interpretation of Menotti’s “Monica’s Waltz.” His ideas about characterization and dramatization can be applied to whatever piece you’re currently striving to make magical.
Perhaps the most important element in your magical music package is heart—a deep love for making the music and an appreciation for the ability to do so, at whatever level you find yourself. Joan Dornemann, our 2005 Coach of the Year, exhibits that kind of heart and love for her work. That’s why she never tires of her job, but instead, describes it as exhilarating! It’s that heart that keeps us all in this business, even after rejection and defeat. Once you’ve experienced the magic, it’s hard to imagine doing anything else!
So this month, take a moment to thank that coach in your life. And take a moment to evaluate your attitude and abilities. What elements are you missing to create the magic? Perhaps the criticism that is inevitable in this business has caused you to forget the power of music. If so, take some time to ponder the magical reality that you are lucky enough to be a part of: making music!
—Sara Thomas, Senior Editor
