A Vocal Muse

Today’s muse is one of those times we say, “only in America.” I went from singing country music and hymns in the Baptist Church to studying opera and singing medieval to modern compositions. It’s fascinating how it all makes sense.

My new student elevator speech is about how the study of Italian vocal technique can improve singing in many styles of music. “Bel canto,” associated with the Italian singing school, means “beautiful singing” and aims to express human emotions beautifully. This style  of tone production emerged in the early 1800s with composers like Gioachino Rossini who emphasized vocal expression and virtuosity.

I’m drawn to how the human voice expresses emotions and conveying emotions, especially in the theater arts requires training. For example, in order to act angry, the actor or singer-actor in performance cannot actually be in a state of anger. Have you ever felt your throat sore after crying or yelling? The same muscles that make these expressions are the same muscles we need to relax for clear singing or speaking.

Ute Hagen’s book “Respect for Acting” suggests assigning emotional history to objects on set, a practice beneficial for singers too. The goal is to imagine as many details as possible, making you more spontaneous and responsive in the moment. Hence, the performer prepares a text so that they are able to feel  emotion without physically surrendering or being overwhelmed by it. 

When asked what’s most important in opera, Rossini famously said, “three things: the voice, the voice, and the voice.” But I propose that context is equally important. This realization came to me while studying and performing opera and early music. Here’s how I got there.

I’ve always sung. At five, I eagerly awaited piano lessons, determined to pursue singing. My parents supported me, but they were surprised when I chose Indiana University to study opera. With some evidence of musical and vocal talent and plenty of self-doubt, I began studying music. I wanted to discover my strengths, learn new skills, and trust myself. Trusting myself was, perhaps, most challenging. Often, it seems I relied on blind faith to persevere. And, I give gratitude daily that at this time a college education was affordable.

In grad school, Thomas Binkley placed me in Early Music Singers with top grad students. During a rehearsal, Binkley found me scared and crying and said, “Someone is trying to steal your poetry!” How affirming it was that I had a teacher who believed in me.
Around this same time Madame Virginia Zeani, the renowned European soprano, offered me a spot in her studio at Indiana University Bloomington. The day she accepted me I felt like I was living my dream. 

I began my Italian vocal journey with Madame Zeani, while Binkley assigned me to read and outline 17th-19th century vocal treatises by Manuel Garcia, Pier F. Tosi, G.B. Lamperti, and B. Bacilly. This comprehensive approach allowed me to explore singing in various musical styles, from medieval passions to Renaissance polyphony, Baroque opera and oratorio, and the romantic composers such as, Wagner and Verdi. Binkley taught me to identify stylistic differences and gave me performance opportunities in historically informed music. He emphasized reading extensively, seeking original manuscripts, and attempting to read from the composer’s own hand to make informed artistic decisions.

As a singer, understanding the text, its meaning, and the context in which it’s spoken is crucial. Consider the historical context, occasion, event, purpose, and space where the song is delivered. Then, is your voice to carry in a grand hall with modern orchestra or concert grand piano? Or, are you projecting in an intimate salon with a harpsichord, Baroque organ? Gathering this information enhances imagination and is part of the singer’s preparation.

Vocal training allows us to become aware of how we use our voice which, in essence, is our entire body and self. In the best sense training increases our ability to observe ourselves so that we can improve our skills. The awareness of our sensations, intentions, and imagination serves to enhance our vocal freedom. 

Next up: how somatic educational approaches, like the Feldenkrais Method® improve performance. 
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