Music tells us a story whether it uses words or not. If we love it, it touches us at the core of our being. It generates emotion of one kind or another and takes us on a journey; time stands still because we are truly experiencing only that moment.
Here are more points on what a live performer’s obligation is to the amazing process of performing:
- The first of the ten maxims of believable singing acting as David Ostwald calls them in his amazing and spot on book, “Acting for Singers”, is, “Your characters believe they are real people.” I hope that statement shakes you up enough to use his principles. Duplicating an action or emotion exactly as you or someone else has already done, leaves little room for being in the moment, and loses the sense of your characters spontaneity. Mr. Ostwald adds, “Focus instead on revivifying the sources of your characters’ actions and feelings as developed in the rehearsal process; respond in the present, and you will achieve a new – subtly different – success.” It’s your job to experiment and explore with what the composer and librettist have given you musically and text wise, so you can make it uniquely your own. Part of this process is to call on your own past experiences to help you find the right emotional path honestly, realistically and sincerely as you portray the character. The exact situation may not be something you have yet experienced, but you will be able to find a similar emotional state in your memory banks. In the beginning of rehearsals you may find yourself going beyond that point of simply portraying an emotion to engaging in it fully which will undoubtedly affect your vocal production, but that is OK. The idea is to experience it and be able to observe how it is affecting your body movements and the color of your voice so you can duplicate it authentically without allowing the feeling to overwhelm your vocal production. It’s a fine balancing point that gets better with experience, and is a line you the performer can never cross once you are performing a piece. One must be able to remain true to oneself, the composer, and the dramatic identity of the piece. You want the audience to experience the deep emotion of your character through your actions. When you the performer get too caught up in the emotion, the audience doesn’t get to experience it. So, whether it is comedy or drama, your job is to take the audience on a wild and crazy journey and return them safely at the end of the performance.
- Often, words are repeated over and over again. It is the performer’s job to find a new emotional significance for each repeated word. It’s amazing how being able to do this, no matter how subtle the change, does change the inflection of what is being said. Often, if a phrase is being repeated only once or twice, it is enough to say to yourself between them, “I said” and then sing the next identical phrase. They will magically each carry their own specific meaning.
- How often does one have trouble connecting to a coloratura cadenza? Many of you probably already do this, but if you write out an actual dialogue keeping it in character of course, for each of the notes within the cadenza it becomes so much easier to memorize and sing with ease. When these pieces were written, it was up the each singer to come up with their own cadenzas. It could get out of hand as the competition between singers cadenzas became more important than the story. I want to encourage those that sing this style of music to try your own hand at creating your own cadenzas; it’s what is called “scat” in the jazz world. Could start a new, interesting, and exciting trend.
- Whether comedy or drama, notice where the emotional intention of an upcoming scene may require some type of physical or vocal action on your part to help the audience transition to a musical, rhythmic or dramatic mood change. This helps reinforce the seamless movement of the drama within a piece and allows the audience to understand that something new and exciting is about to happen.
- Breathing is a large part of the expression and drama for a singer. Breaths can say all kinds of things. They can contribute to a phrase sounding wispy and breathy, to being Verisimo dramatic. A quick inhale and holding of the breath can help keep the audience in suspense until you utter the next sound or just exhale. Conversely, not taking a noticeable breath at the end of a phrase allows the audience to take an emotional break and usually denotes the end of a specific thought or emotion. Not all musical rests in music require a breath. Often they are used as stop breaths denoting a crying or laughing effect within a phrase. As was suggested earlier, drama within singing may occasionally require some not so beautiful singing. What is important is to satisfy the musical and emotional intent of a phrase.
- Listen to recordings and watch DVD’s of several different performers doing the same opera or piece. Notice how they inner act with the music of the composer. How well do they move physically to help connect the emotional musical dots? Do they use their voices to tell the story, not just sing the notes written? What moves you when you listen and experience a production? Analyze what it is that you love about a particular performer; notice their ease of telling the story through the sound of their voice, how their bodies move to the music, how they relate to the other characters and how that is congruent with intention of the music. How well do they become one with the heart and mind of the composer and his music?
- It seems to me that there are many budding professionals that worry about expressing the style of music. One does not change ones vocal technique to make this happen. Every composer has his own style of writing no matter what historical period his/her music was written in. Luckily for us, changing styles happens automatically by simply being true to the note values and expressing the dynamic markings of each different composer while continuing to sing with our own voice using vocal technique.
Feeling everything you can about whatever music you are involved in is fundamental to being able to express yourself fully which can take many different forms. Music is a very collaborative effort between performer and the audience. There is a synergy that is created when it is done well that is indescribable, in the moment and touches one deep within. It’s as if our hearts, souls, and minds are melding with what the composer has created to help take us on that amazing journey. We feel the music, rhythms, beat, and story. What the music is telling you is unlike any other experience; it is immediate and priceless.
So, this is your call to action! Don’t just read and hear the words on the page, get up and try some of these suggestions. Often we stop ourselves because we become inhibited and afraid to express our real selves. Sometimes we just go through the motions and think that is enough. Sometimes we get lazy instead of doing the real work because we are too tired from living our everyday life. However, I know from my own experience that when you start incorporating these suggestions and techniques, you feel excited, alive, and well. You have a real purpose to pursue and feel empowered.
Ciao until next time, Carol
