All music majors complete their studies with a senior recital covering the major historical styles and languages of art song. This either sounds simple (you have learned piles of repertoire—just pick something!) or daunting (you have learned piles of repertoire—how do you narrow it down?). I tell my students that a well-planned recital is like a good meal—begin with hors d’oeuvres, then move on to salad, soup, and main course. You might prefer the main course before the salad—it’s your meal—and it is lovely to unwind with dessert or a little café (musically). If you do not connect to a song, do not program it. Seek out music you love to sing and that fulfills your degree requirements.
You generally cannot go wrong programming your music chronologically. Early music is a solid opener—whether you are singing Dowland or Handel, get accustomed to the acoustics and settle your nerves with music that warms your voice technically. The second piece on your program should be something you absolutely love and/or a showpiece. During the first song, your audience is settling in, just as you are. They are noticing your dress/suit, the pianist, the aesthetic of the hall, etc. But by the second song or set, they are ready to truly listen.
The rest of your recital should be placed in an order that you can transition with technical prowess. Program your most demanding music where you can make a strong impression. A short intermission is always a great idea—don’t be snapchatting! Just take a moment to focus on upcoming music and hydrate. As you sing your recital, you are sharing a piece of your soul through music. No one will tell you this is easy, but by being prepared and not procrastinating, you will be able to own the stage and enjoy your performance.
Planning the right repertoire in an order that suits your voice is a difficult task—thus, we call it “the art of the recital.” Like any art form, there are nuances that make your recital unique, so seek rep you love, rep you need, and rep that suits your voice.
Ask professors for advice on writing program notes. Each set of music needs a concise essay of introduction. These notes should not be too long or too general. Specific facts about the composer’s ideas, the premieres, the poets, and the unique musical components for each set will give your audience more reason to engage in your performance. Include translations for all songs in foreign languages and be sure to cite sources if you do not translate the song yourself (plagiarism = cheating). As students, these notes often go in your academic file, so provide accurate information and proofread carefully.
5 Tips for Choosing Repertoire
• Ask your teacher. Your teacher knows your voice and will suggest repertoire that shows your strengths. Check NATS and NATSAA guidelines for recital competitions. These are the highest standards voice teachers use collectively to police repertoire for training students.
• Research your music beyond YouTube. Read books like The Art of the Recital by Shirlee Emmons and Stanley Sonntag and Song: A Guide to Art Song Style and Literature by Carol Kimball. Watch clips of masterclasses by Joyce DiDonato (our reigning Drama Queen), performances of Jonas Kaufmann, or advice from collaborative pianists, coaches, or conductors. Search blogs for insightful tips from world-class singers such as Natalie Dessay’s interview on the Carnegie Hall blog post. Attend masterclasses and collect gems of information from all the teaching artists you encounter. Be sure to check www.ArtSongCentral.com for free music downloads, translations, and IPA. These are just a few examples of sources that provide essential information.
• Song cycles are a wonderful opportunity to develop musical thematic material within a section of your recital; however, a set of songs can work well with different composers when there is some thematic, poetic, or structural sequence. Pay attention to the poetry. You might find that you have two or three French song settings of Verlaine or German settings of Goethe. Find out about your poets’ historical influence on the composers. This basic research is important for your performance and writing program notes. Recitals are more complex than opera roles because a large part of your performance is open to interpretation. As a classical singing artist, your imagination makes your performance your own. To interpret art song, singers begin with the music and the text. Language and historical context are clues to honing performance practice with good taste.
• Concert arias can be a compelling recital highlight. “Party arias” are not often programmed on song recitals—except as an encore or to fill a gap between transitional styles. Devote your time and energy to the art song requirements for your degree. If your teacher approves a famous aria for the recital, practice it like it is the only thing on the program—you don’t want to crash and burn on the one tune everyone can hum.
• Attend recitals! You will hear songs and discover composers and styles that inspire you at recitals of all levels. Voice majors should attend every voice recital at school—this makes you a better colleague and you will see how recitals flow, from the stage entrance to the final bow. If you are not in a big city, then research famous singers on recital tours and plan a road trip. Learn from the masters and hold yourself to the professional standard you see and hear on those stages.
5 Tips for Your Recital Semester
• Communicate with your pianist. Singers are nothing without collaborative pianists in recital. Give your pianist copies of music that are perfect (don’t cut off anything from the page). Ask your pianist how they prefer copies—front/back, single sided, hole punched, etc. Save them the menial tasks of preparing the binder, if possible. Discuss payment, rehearsal dates, dress rehearsal, etc., and prepare an appropriate thank you note or gift on the date of the recital.
• Ask your teacher for practice advice. You are in training for a vocal marathon. If this is your first recital, you will benefit from singing in masterclasses, studio classes, NATS, the subway, or anywhere you can. Performing from memory is the best practice you will do to solidify your music and allow yourself time for character work. Run song cycles in order, rehearse half the program at a time and possibly perform your entire recital for your family/church/friends before the big day when your professors are in attendance. Daily practice is mandatory as you memorize your program. Woe is the singer that leaves songs unmemorized until the last week. Remember that art songs are a workout for your vocal folds, your body, and your concentration. Oversinging or vocal fatigue should be discussed with you teacher. You want to be in your best vocal shape on recital day: well practiced, well prepared, well rested, and ready to perform.
• Make your venue arrangements early and confirm dates, times, and logistics for both recital and dress rehearsal. Ask your department secretary if the school tunes the piano or if that is your responsibility. Chairs, ushers, and programs are all on your to-do list. Your secretary has helped countless students before you and can make this process smooth, so follow all official advice and say “thank you.” If you will host a reception after your recital, book the space and find out if there are forbidden drinks before you buy out Costco. A reception is lovely, but it is not a big deal if you are a struggling student with limited cash. Your audience is coming to hear you sing, not to eat a free cookie. Whether you are hosting a reception or not, speak positively to as many people as you can after the recital. Be gracious to your audience and yourself. Don’t point out what didn’t go well—most of your audience won’t notice anyway.
• Plan your gown/suit early so you can make alterations, run to the dry cleaner, learn to tie your bowtie, shop for proper shoes, etc. A recitalist wants to look and sound great on stage, so plan ahead to avoid needless stress about a hem or a haircut on your recital day.
• Write, rewrite, and proofread your program notes. Academic recitals typically follow school protocol for formatting and specific wording. Whether you hand in your program to a secretary or print your own, you will need to adhere to school guidelines. Print your materials well in advance so you aren’t formatting and cursing your laptop the night before your recital. If you include a thank you section at the end of your program notes, thank your teacher first—it is the classy thing to do. Your teacher has invested four or more years of his or her career in your training. A simple, sincere thank you note is priceless. You will likely be asking your teacher for letters of recommendation, grad school advice, or more lessons after your degree. Sincere gratitude (and diva/tenor tantrums) are remembered long past your recital date—so work hard, play nice, and help us help you!
