Soprano Natalie Brown* enjoyed singing in her university concert choir, so she was confused and frustrated when her studio voice teacher cautioned her to “just flap your jaws” in choir, to avoid vocal tiredness. Later, after Natalie completed a coveted young artist program, she jumped at the chance to accept a full-year contract to sing with an opera chorus. “I was broke, and I saw chorus work as a way to save as much money as possible for the following audition season. It was a great job!” she says, “but my teacher was deeply shocked, and disapproved of my decision.” Even after Natalie won some competitions and found management, a subtle rift remained between her and the voice teacher. “ I believe strongly that it was [caused by] my decision to go into the chorus–it was proof to her that I wasn’t ‘serious’ about my career.”
Now, a decade later, it is becoming more acceptable for trained classical singers to cross over into several genres of singing–opera, musical theater, choral, and jazz. In fact, the singer of the 21st century is expected to be versatile. Timothy Caldwell, a respected voice teacher, author and clinician, says, “We all have our preferred genres and styles, but as professionals we ought to strive to [sing] reasonably well in many different styles. I help my students develop the techniques that allow them the most versatility.”
Soprano Lynda Lacy, who sang for three seasons with The Robert Shaw Festival Singers, agrees that singers are adopting “broader career philosophies, not limiting themselves to one avenue of performing.” Even singers who consider themselves primarily opera singers or soloists can regularly be found in professional ensembles, or as paid section-leaders in amateur or church choruses.
What is a healthy choral sound and technique for trained soloists? Dale Warland, founder of the premiere professional ensemble, The Dale Warland Singers, believes that a healthy choral sound is one which results from singing “freely and unforced, utilizing a solid technique–not a ‘concocted’ production. It is a pleasant tone in every tessitura and at all dynamic levels.” In his view, there is no essential difference between a “choral” voice and a “solo” voice: “The function (i.e., singing a solo or participating in an ensemble) dictates the approach, and the final vocal result. The difference is an attitude–or mental approach.”
Timothy Caldwell agrees that the difference between the choral and solo voice is usually not in the technique, but rather in the attitude and perception of the singer. “I say ‘usually,’ because there is also the destructive use of the voice that can occur in some choirs, due to the conductor’s insistence on using ‘straight’ or ‘white’ sounds. Several years ago the Academy of Vocal Scientists published a broadside in the Journal of Singing, in which they declared that ‘straight’ tones were harmful to singers. This was validation of the voice teachers’ opinions. I have yet to find a reputable voice teacher who advocates the straight, immature tones that certain schools of choral conductors use. This is an area of disagreement that continues to generate a great deal of controversy.”
“In the straight-tone debate,” says Lynda Lacy, “imperfect perception is a significant issue.” What someone hears or perceives as senza vibrato may not actually be devoid of vibrato. She tells of two colleagues (both professional choral singers, one also a conductor) who were listening to a recording. The consensus was that the soprano section, at one point, was senza vibrato. Nonsense. “As one of the sopranos on the recording, I assert that what was sung was a well-modulated tone with a minimum of vibrato. Most singers utilized a spin on the tone.” Inexperienced singers, however, when asked to sing with less (or no) vibrato may lose all of the color and spin in the tone. “The singer may also lose the ability to temper the pitch within the chord, as well as the technique and flexibility to sing expressively,” says Lacy. ‘The resultant sound will be strident, out of tune–certainly not what the conductor had in mind.”
The experienced solo/ensemble singer with a solid technique and understanding of vocal color, music history and performance practice will adjust the sound to the music being sung. “I expect a professional member of my ensemble to have the skills and singing technique to produce a result that meets the vocal demands of any style of music,” says Warland. “That may mean moderate vibrato or “non-vibrato”; a rich warm tone, or a thin light sound. A solid technique is essential.” Caldwell observes that every musical era has an ideal vocal sound and that sound is expressed in the manner in which the composers put their musical thought into writing: “For example, a choir singing the Verdi Requiem would, I hope, use different vocal colors than if singing a Monteverdi Mass. The vocal demands are quite different. If a choir is asked to sing Verdi with the vocal colors used in Monteverdi, there is reason to be concerned about vocal health because the choir is being asked to create forceful sounds using a ‘lighter mechanism.’ This is akin to driving a small car with a small engine in the Indianapolis 500–it may be able to keep up with the big cars for a short time, but the engine will give out quickly.” “On the other hand,” he adds, “using a large Verdi sound while singing Monteverdi, while being possible, is similar to a herd of pachyderms attempting to tip-toe lightly across the savanna.”
“So much of healthy singing and the final choral product is directly related to the conductor,” says Warland. “That includes his or her expectations, ears, sensitivity, understanding the voice as an instrument, etc.” Lacy notes that schools of music are beginning to recognize that undergraduate conducting majors need vocal pedagogy courses, but Warland cautions that some conductors with vocal “training” are the worst offenders: “Other conductors, with little vocal training, who possess and instinctive empathy for singing and strong musicianship, are masters at attaining an exciting choral sound. Every gesture of some conductors can spell tension; while others, utilizing gestures and body language that are musical and natural, create a free and inspiring tone.”
Our very language is a limitation. Words, such as “blend” and “support” are so vague as to be meaningless, or even dangerous. “‘When singers hear the word, ‘blend’, they often develop tension in their efforts to mask their own unique vocal qualities,” says Warland. “A better [word] choice is ‘ensemble,’ where vibratos, volume, and vowels are unified, but where no one ‘sells their soul’ vocally to create a perfect unison. More often than not, emphasis on the musical elements, rather than vocal elements produces ‘ensemble’.” Caldwell believes that the best way for a conductor to indicate the desired sound is to demonstrate through movement: “Conductors forget that words are a poor and inexact medium for describing sound; sound and gestures describe sound.” If a conductor asks for a lighter or heavier sound, “How light? How heavy?” Caldwell advises conducting students, “Don’t waste time and words talking about sound. Show the choir what you want.” He tells of renowned conductor Carlo Maria Giulini, who was a favorite guest conductor of the Chicago Symphony Orchestra. “He would apologize for not being able to speak English, then he would move his arms and hands in a way that communicated what he wanted. The players would nod their understanding, and proceed to change the sound.”
“Most singers have heard choir directors and voice teachers blame each other,” says Lacy. Caldwell asserts, “You are responsible for your own voice. Be proactive about when, how, and how much to sing. Drink lots of water, get lots of rest, exercise, find ways to rehearse without constantly singing. When the choral conductor schedules a long rehearsal the day before the performance, or, even worse, the day of the performance, I urge singers to behave like professional soloists: pick the spots where you or your section is exposed and you need to sing. Then do what you need to in order to save your voice for the actual performance. If the conductor says, ‘You’re too loud,’ ask to move to the back of the section; if the tessitura of a particular piece is uncomfortable, causing you to revert to bad habits, ask to switch between sections ( for example, soprano and alto) as necessary. The best choices begin with the singer feeling, and actually being, in control, and not whipsawed between voice teacher, director, and conductor. Say to yourself: “The only person who controls my voice is ME.”
* Not her real name
