- The introduction: contrary to my theme for the day, your introduction is not the best portion of the audition for you to try and stand out. Greet the auditors with a friendly smile and "good morning/afternoon" when you walk in the door. Walk to the piano like you're walking to the front door on a hot date: thinking about the excitement of where you're going, not how you look to the auditors. To quote Charles Wright: "It's not what you look like when you're doin' what you're doin', it's what you're doin' when you're doin' what you look like you're doin'." Don't try to be unique or funny; just be you. Show your music to the pianist. If they need a tempo, just mark the first few bars; this is much better than snapping or conducting the tempo. And you can do this in plain view of the auditors; there is no need to conspire secretly with the pianist.
- Selecting words to emphasize ("Hat man nicht auch Gold"): on a copy of your music or the text, one phrase at a time, chose one, two or three words to underline. Choice can be made for dramatic intent, direction of phrase, syncopation, other reasons, or totally at random. Speak just these words then sing the complete phrase. Go back, erase the underlines and underline words you did not underline the first time. As with any exercise, listen to great singers performing the piece, focus on this aspect. Fischer-Dieskau is one great exampleto study: how does he chose to emphasize words?
- Also with the Fidelio aria we discussed singing through the 'ng' consonant. Hear how Matti Salminen articulates "und stillet das kuenste ferlangen" at 0:48.
- Breathing Exercise: About 60% of you noted that your breath was lower and easier after this exercise. It's not for everybody. One important *correction: when doing this as a partner exercise, in the first stage, the standing partner should stand over your head facing your feet, lean over and compress your upper ribs as you exhale (not stand facing you and hit your upper ribs Swedish massage style as in the single exercise. This is a breathing exercise designed for actors by Roy Hart. The complete exercise:
If this is your first time trying the exercise, let out a few long, easy sighs from the extreme top of your range (falsetto for men), allow the voice to crack if it wants, after you reach the bottom of your range, continue to expel the rest of your air.
In partners (recommended when possible):
1. One partner lies on his back on the floor. Other partner stands over prone partner's head, facing his feet. Standing partner places heels of hands on prone partner's upper ribs and compresses at a rate between 240-360 compressions per minute (eighth notes and triplets at 120 bpm). 3 reps.
2. Standing partner straddle prone partner, facing prone partner, feet at or near prone partner's hips. Lean down and compress lower ribcage in same manner during sigh. 3 reps.
3. Prone partner lift knees, place feet flat on floor. Standing partner brace top of prone partner's head so that it will not slide back. Prone partner begin sigh then lift toes while pushing down slightly on your heels as if to slide your body backward 3"-4". Because your head is braced your neck will tilt up. 3 reps.
By yourself
1. Stand with good singing posture. Sigh and take the heels of your hands and beat your upper chest Tarzan style. 3 reps.
2. With your fingers together, thumbs separate from your fingers place your hands on your lower ribs, thumbs in back, fingers in front. Sigh and compress. 3 reps.
3. Gently tilt your head up allowing jaw to open. Be very careful not to move to quickly or to move to far back. Sigh while making this motion. 3 reps.
One note: you will produce funny, involuntary noises. Allow the noises to come out.
- We are all guilty of carrying unnecessary tension when singing and in our everyday lives. In addition to practicing yoga/alexander/another body-mind centering technique, find the everday activities where you carry tension (waiting in line, texting, brushing your teeth, shaving, etc.) and carry those out without the unnecessary tension. Build in to your practice routine a focus on relaxing specific areas of tension one area (shoulders, neck, eyebrows) at a time. One week is not too long to focus on one area.
- Two of you tried performing your texts as answers to questions. It worked extremely well. (Example: I was standing in a garden, "What kind of a garden?" a garden gone to seed, "How far gone?" choked with every kind of weed. This tool can be helpful with just about any piece at any stage of preparation.
- Several of you discovered a very cut-and-dry gesture you can make at a critical dramatic point in your aria. Your vocal and dramatic technique can seem elusive and mysterious. As you progress in your voice lessons your singing gradually becomes second nature; it becomes as simple as "in order to sing that, I just to this." Your staging of audition arias should be established just as firmly. Which brings up another point I didn't discuss plainly: your audition arias need to be staged. I'll put in a little plug for director / drama coach Chuck Hudson. He supplied the quote "If in your audition you raise your elbow above your ear, you'll be the only one who did that day."
- I highly recommend observing auditions. Some young artist programs or even regional companies where you have worked may let you sit in on their auditions. Try to sit through at least 4 hours. Notice who - if anyone - stands out and what they do.
- Remember your vow: "I will stand out!"
I'm around the theater this week for rehearsals. If you have any questions about our work in the class, please don't hesitate to ask. You can also reach me at andrewbgarland@gmail.com .
There was a conspicuous lack of baritones in this class. If any baritones want me to hear their stuff, we may be able to arrange that. We should also have a baritone breakfast to talk about all the stuff that interests us the most (and others very little.)
Last but not least many thanks to Keith Chambers for playing so beautifully and supportively and for organizing this and all of the 19 ONJ masterclasses.
Thanks for this, Andrew! Really great insight from someone who is "living it", and it's very much appreciated.
ReplyDelete- Kristin Gornstein