tag:blogger.com,1999:blog-28463207938465924002023-11-16T11:49:35.462-04:00Lake DivaUnknownnoreply@blogger.comBlogger17125tag:blogger.com,1999:blog-2846320793846592400.post-47634931507556822552017-01-22T12:53:00.003-04:002017-01-22T12:53:50.396-04:00How to learn music in 10 easy stepsA few months ago a new student of mine was feeling frustrated with the effectiveness of their learning style. I decided to sketch out my own process in order to assist my student in having a template from which to work. Being systematic in our learning styles builds confidence and craft, and enables us to arrive more quickly to joy of expressing the music.<br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">1. </span><span style="font-size: 12px;"><span style="font-family: inherit;">LISTEN AND ASSESS</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: 12px; line-height: normal;">Take a listen to the piece to get an overall feel for it. Is it for </span><span style="font-size: 12px;">me? </span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;">Does the artist who sings the role/ song have a common voice </span></span><span style="font-family: helvetica; font-size: 12px;">quality to me? Is this important in this instance? Make note of the </span><span style="font-family: helvetica; font-size: 12px;">poetry/ storyline/ character.</span><br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">2. </span><span style="font-family: '"helvetica"'; font-size: 12px;">LOOK AND ASSESS</span><br />
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<span style="font-family: inherit;">Look at the score, this can obviously be done simultaneously with </span><span style="font-family: helvetica; font-size: 12px;">the step above. Note the tessitura, note the range, note the </span><span style="font-family: helvetica; font-size: 12px;">orchestration if applicable.</span><br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">3. DETERMINE</span><br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">Make a decision if it is a good piece for you in consultation</span> <span style="font-family: "helvetica"; font-size: 12px;">with your teacher and/or coach.It may be a great piece for you one day but developmentally not right now. </span><br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">4. MAP READING</span><br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;"> Prepare the score. Read it like a map, marking in all of the beats,</span><span style="font-family: helvetica; font-size: 12px;">highlighting the important tempo, meter , key changes etc.</span><br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">5.THE STORY</span><br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;"> Read the poem/story like a piece of literature. Write in the </span><span style="font-family: helvetica; font-size: 12px;">translation being sure that you have it word for word as well as</span><br />
<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">syntactically correct.</span><br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">6. RECITE</span><br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">Read your lines aloud numerous times to feel the language in your </span><span style="font-family: helvetica; font-size: 12px;">mouth and in your ears. Now read it in rhythm.</span><br />
<span style="font-family: "helvetica";"><span style="font-size: 12px;"><br /></span></span><span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">7. MELODY</span><br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">Learn the melody by playing it on the piano AND NOT SINGING while </span><span style="font-family: helvetica; font-size: 12px;">playing as much of the accompaniment that you can. Even just a bass </span><span style="font-family: helvetica; font-size: 12px;">line is good. Teach it to your ear first.</span><br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">8. DO RE MI</span><br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">Stand up from the piano, give yourself the first note of a phrase </span><span style="font-family: helvetica; font-size: 12px;">and try to sing it on solfege or la. Check to see how close you were, </span><span style="font-family: helvetica; font-size: 12px;">repeat as necessary. Do small increments, one page at a time. It may </span><span style="font-family: helvetica; font-size: 12px;">seem slow at first but you will learn it deeply.</span><br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">9. HANDS TOGETHER</span><br />
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<span style="font-size: 12px;"><span style="font-family: inherit;">When you feel that you have the spoken rhythm and melody parts </span></span><span style="font-family: helvetica; font-size: 12px;">accurately learned try it 'hands together'. Repeat as necessary. Be patient with </span><span style="font-family: helvetica; font-size: 12px;">yourself. Do small chunks, you will begin to see what is possible in a </span><span style="font-family: helvetica; font-size: 12px;">30 min window, a 60 min window or, believe it or not...a 10 minute window!</span><br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">10. CHARTING PROGRESS</span><br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">To aid in all of this create a chart in the front of your score ( if </span><span style="font-family: helvetica; font-size: 12px;">you are learning a whole role) listing each scene or part of a scene.</span><span style="font-family: helvetica; font-size: 12px;">Leave room to the right to make a check mark every time that you look </span><span style="font-family: helvetica; font-size: 12px;">at this part so you see what is being worked on. You can also do this for your </span><span style="font-family: helvetica; font-size: 12px;">recital program in the front of your binder. </span><br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">Make a mini chart of the bits that scare you, the bits you should sing </span><span style="font-family: helvetica; font-size: 12px;">everyday. Things may move on and off this particular chart as time </span><span style="font-family: helvetica; font-size: 12px;">goes on. For example, the scary high C in the duet needs to be </span><span style="font-family: helvetica; font-size: 12px;">'yelled' out a couple of times a day until it doesn't scare you </span><span style="font-family: helvetica; font-size: 12px;">anymore.</span><br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">Fear and nerves are abated </span><span style="font-family: helvetica; font-size: 12px;"> </span><span style="font-size: 12px;"><span style="font-family: inherit;">because you are immaculately </span></span><span style="font-family: helvetica; font-size: 12px;">prepared. Once you really have your version of the piece in hand you can listen again to </span><span style="font-family: helvetica; font-size: 12px;">a variety of recordings to compare and contrast.</span><br />
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;"><br /></span>askwendynielsenhttp://www.blogger.com/profile/16093976190976883084noreply@blogger.com0tag:blogger.com,1999:blog-2846320793846592400.post-3246213488620657752016-12-22T16:33:00.001-04:002016-12-22T16:33:06.129-04:00Ted X COCThis was a challenging project for the team at COC but we persevered and this was the final product.<br />
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<a href="https://www.youtube.com/watch?v=CO0s-H3NcNQ" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHYzT5ofM29XZkbHb-DpLfk4lxM3jviPFuUh3enC4CD_PmI3Hv_8IHeVbmQAxOiwQiv4vv1VSSrGaxYm68UjDAMUQJmYFnoQ7z-MIxqt6I5TY2ADXZ1szzrHUkvbhAjijKd85PRC64kjs/s400/TedX.jpg" width="400" /></a></div>
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Click on image above or here: <a href="https://www.youtube.com/watch?v=CO0s-H3NcNQ">https://www.youtube.com/watch?v=CO0s-H3NcNQ</a><br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2846320793846592400.post-41607693930688407182016-06-24T15:50:00.000-03:002016-06-24T16:08:57.994-03:00<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">What a blast I had choosing music for this wonderful program that CBC Radio 2 presents! A real walk down memory lane in so many ways and difficult to narrow down the list.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBwFSe9pAwff6d_2O2-3cvoW3WJZBsLpFIAdOFW4taMZI2ChIha9sP5MCeK-tLp3etISZetifIC4gMGiAcP9aQyr2k_78tYN23rE5AIMB1hlHD37NxRsA8DBJjEJnz6ND1Ixkj5YLNKyU/s1600/Wendy+Neilsen+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBwFSe9pAwff6d_2O2-3cvoW3WJZBsLpFIAdOFW4taMZI2ChIha9sP5MCeK-tLp3etISZetifIC4gMGiAcP9aQyr2k_78tYN23rE5AIMB1hlHD37NxRsA8DBJjEJnz6ND1Ixkj5YLNKyU/s320/Wendy+Neilsen+2.jpg" width="320" /></a></div>
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<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;">http://music.cbc.ca/blogs/2016/6/Soprano-Wendy-Nielsen-hosts-This-Is-My-Music </span><br />
<span style="font-family: "helvetica"; font-size: 12px; line-height: normal;"><br /></span>askwendynielsenhttp://www.blogger.com/profile/16093976190976883084noreply@blogger.com0tag:blogger.com,1999:blog-2846320793846592400.post-36874937279012675452016-01-18T08:51:00.000-04:002016-01-18T08:51:51.859-04:00First Dates and Auditions<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQRcQYhlTRf6sJG-BK4C3eSs8F9VK6BtyMviGS94j_YsRxEQNZ-JTxSfANE681nHp542n6sHwXkYRBmS_49WeHdUPRvQiwXzb2LrdsUEhkynvfiCmVFlV2O8BqL_4lIkGJ5Bohj1I7ssQ/s1600/date.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQRcQYhlTRf6sJG-BK4C3eSs8F9VK6BtyMviGS94j_YsRxEQNZ-JTxSfANE681nHp542n6sHwXkYRBmS_49WeHdUPRvQiwXzb2LrdsUEhkynvfiCmVFlV2O8BqL_4lIkGJ5Bohj1I7ssQ/s400/date.jpg" width="374" /></a></div>
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I've often joked with my students that auditions are like first dates and that many of the 'rules' are the same. You want to look and act your best but you also don't want to pretend to be someone that you are not. We, the audition panel, want to get to know you as an artist in those brief minutes at the audition so do your best to be open and relaxed.<br />
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Show us your good side! Sing a starting selection that you would be sorry that we didn't hear, something that shows us the beauty of your voice immediately. Your calling card. On Broadway after hearing your monologue and seeing if you can dance the call is 'give us your best 8 bars'. That feels rather crass to an aspiring opera singer BUT we do want to hear your best bars and the sooner the better.<br />
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Wear something in which you feel comfortable and attractive. Flashy and trendy is not the best idea, go for classic. Guys, a nice dress shirt and pants are quite acceptable these days. Suits are not necessary. Girls, a dress that goes to the knees please. You would be surprised that what looks great going out on the town( even on a first date!) simply looks inappropriate on stage. Mezzo trouser role types can certainly show up in pants if you predominately sing those type of roles. Wear shoes that you can walk in , if you are having trouble navigating the stairs as you come into the space it all seems rather unnatural.<br />
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About that first date...smile, be open, let us see you and experience your artistry.askwendynielsenhttp://www.blogger.com/profile/16093976190976883084noreply@blogger.com0tag:blogger.com,1999:blog-2846320793846592400.post-69056266586172319482014-07-21T11:45:00.000-03:002014-07-21T11:45:14.545-03:00Football and Opera: Twins separated at birth<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFDqTbB5NYnUB7tGB_RECav__M86PnTEMT7uIOc-C38wm6VHs3XwK2jNijKPZnNolGbybrQXzB-VQaXFPaZe5zF4zEeCpC-jPLATeYvc_rBScmPAYifbGwuHqwYV7UI1jnvTsoKJXlKiw/s1600/metfootball.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFDqTbB5NYnUB7tGB_RECav__M86PnTEMT7uIOc-C38wm6VHs3XwK2jNijKPZnNolGbybrQXzB-VQaXFPaZe5zF4zEeCpC-jPLATeYvc_rBScmPAYifbGwuHqwYV7UI1jnvTsoKJXlKiw/s1600/metfootball.jpg" height="320" width="400" /></a></div>
I was reminded of the topic of opera and football by a recent posting by my friend and colleague Rebecca Hass. Her post included a link to an article about the coaching style of Chuck Noll and drew parallels in terms of habit and practice as well as keeping focused on what is ahead. My son and I have long joked that the 'real' common bond between opera singers and football players is that they all have big heads! <br />
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People have been riffing on the topic of the link between football and opera for years and there are several wonderful examples of amazing people who actually have done both! Morris Robinson, the wonderful American bass, was a colleague of mine at the Met and a nicer man you will never meet. When he found out that my son was into football, he offered to chat with him a bit about it and give him some tips. He was true to his word: we snuck into List Hall at the Met ( where many a singer has sweated at an audition) and Morris showed Julian some moves. My husband snapped a pic which we proudly title "The Met Bowl" ( see stylized photo above). Morris was an offensive guard at The Citadel before he was lured to the opera stage.<br />
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Keith Miller is another Met colleague who played ball, he was a fullback for the University of Colorado and went on to play a bit in Europe and was scouted by the Denver Broncos. He has done wonderful things in terms of melding the physicality of the athlete to the opera singer. See the link below and his Puissance Training Program. Keith also helped my son on a visit to NYC by suggesting an off season training regime for him.<br />
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Thanks again to both of those great guys for their football advice and amazing singing!<br />
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The opera/football connection scored a touchdown for me one day in the studio. I was trying to find a more tangible way to explain the concept of spinning the tone in the sound column. I think we can all agree that the desired result is for the tone to be sent forward. The ( get ready for the 4 letter word) <br />
<i>B A C K</i> space concept…it seems so, so, so…counter intuitive. EUREKA! It is just like the quarterback. He wants nothing more than to get that ball down the field and yet the first thing he does when he gets the football in his hot little hands is to…back up! Why?<br />
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There are a number of reasons but the most important one is to buy time so he can really gain some trajectory with the ball. Are you with me on this? He gains perspective of the field and momentum; not to mention avoiding the defensive hulks who are on their way to sack him. If he stepped forward he would get short term gain but no long term spin and arc in his throw.<br />
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The place that the QB steps back into is called the pocket. Imagine that your sound column is the pocket, a secret place where you can observe and let your sound pick up colour and spin so that it really projects. The sound needs to bounce off the pharynx, ricochet off those fantastic cheek bones and sail to the back of the house. Hail Mary!<br />
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Rebecca's blog : <a href="https://www.facebook.com/TheResonantLife">https://www.facebook.com/TheResonantLife</a> <br />
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Morris Robinson: <a href="https://www.youtube.com/watch?v=rPUr-Lm9dMM">https://www.youtube.com/watch?v=rPUr-Lm9dMM</a><br />
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Keith Miller: <a href="http://www.keithmillerbass.com/">http://www.keithmillerbass.com</a><br />
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<br />askwendynielsenhttp://www.blogger.com/profile/16093976190976883084noreply@blogger.com0tag:blogger.com,1999:blog-2846320793846592400.post-64191021894874437602014-07-08T14:54:00.000-03:002014-07-08T14:54:14.000-03:00Competitions P.S.<div class="separator" style="clear: both; text-align: center;">
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I found the ribbon after a small search. For the record it says: New Brunswick Provincial Livestock Show 19( ahem)71. Grand Champion Team.<br />
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Thanks to Gilbert Robinson and his prize winning Jersey cattle from my home town of Harvey Station, NB for the incentive and support all those years ago!askwendynielsenhttp://www.blogger.com/profile/16093976190976883084noreply@blogger.com3tag:blogger.com,1999:blog-2846320793846592400.post-59497188326357767282014-06-26T10:14:00.001-03:002014-06-26T10:14:05.277-03:00Competitions<div class="separator" style="clear: both; text-align: center;">
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Hot on the heels of the announcement of Toronto's Dora Awards I feel the need to comment on competitions. I've been percolating on the subject for awhile and the topic certainly is an important one for singers. What is the function of competition and whom do they serve... particularly in the arts? With the World Cup of Soccer in full cry at the moment it gives one pause. Are we, in the arts, trying to compete to compete? Is it a basic human need to see who is the fastest, highest, or- heaven forbid- loudest? Ack!<br />
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This brings to the fore the main flaw in arts competitions. Aren't we all trying to create and when we focus our attention on competing for a prize isn't the natural inclination to be distracted by that quest? The Dora Awards , like the Oscars, award the prizes after the season is completed so that when the show is on it is simply an act of creation and not trying to 'win' anything other than the audiences appreciation and attendance. Is that, in and of itself, a competition?<br />
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Singing competitions…sigh. We've all been in them, many of us since our tender years in the local music festival. God bless the Kiwanis Club of Canada for perpetuating these and the many other organizations who support music festivals. I, myself, first competed with the allure of winning…a ribbon as big as my head when I was at the tender age of eight. A local farmer , and friend of my parents, heard me sing in church and told me that if I simply entered the music festival that he would give me the largest of his prize heifer ribbons( I hear you sniggering!). I succumbed to the challenge, won the class and won the ribbon that I still have to this day. The beginning for me. I realized that I had an ability that might be perceived, on a particular day, as being exceptional or at the very least ( shudder) somehow superior to those of my peers. I would be lying if I said that this music festival experience in Harvey Station, NB was not formative. I eventually 'graduated' to the Fredericton Festival and onwards. The goal of the spring music festival and the possibility of winning some money and trophies was appealing and certainly kept me motivated toward something tangible.<br />
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I returned to adjudicate the Fredericton Festival this year. It was a very interesting experience as my former voice teacher is still teaching voice there. How well I remember her observations of me in festival. She recognized that I had a competitive nature she said when she saw my side long glances when others received praise. She was right though I tried my best to hide it. Perhaps one has to have a competitive urge in order to improve but could it exist in a vacuum, that is without others to spur you on to better them?<br />
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I would like to think that with maturity I learned to compete with myself but I can't say that I always resisted the urge to see what and where other sopranos of my ilk were singing. I didn't do particularly well in the few big competitions that I did enter with a couple of exceptions. I didn't take part in the Met competition but then they didn't seem to be at the forefront as they do now. One year, when I was singing at the Met, I attended the finals and wondered how I would have fared in such a high pressure competitive situation. I have heard it said that there are certain personalities that really thrive in the competition atmosphere, I was not one of those people so I avoided most of them. I preferred to do my work and hope that I would be hired based on an audition or better yet, someone seeing and hearing me in performance.<br />
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And yet…these big competitions can be a fantastic launch for singers! Several of my students have participated in some big national and international competitions in the past year. When we discussed them afterward, both those that won and those that didn't, seemed to be aware of a certain 'it is out of my hands' kind of circumstance. There are so many factors that go into the decision making. I have a bit of insight into this now that I have been on the COC jury for the COC Ensemble Studio Competition. Several of my Canadian colleagues and former Ensemble members as well as some very recent alumni felt that they would not have fared well in such a spotlight. Indeed! On stage, at the opera house, with orchestra and not a lot of rehearsal…it takes nerves of steel and a lot of preparation to thrive. This is a typical competition scenario.<br />
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I don't think I have any particularly new insight on this topic but I will say that I council my students to focus on their own artistry and performance knowing that the outcome of the competition is a crap shoot. BUT, these competitions are often a terrific means to be heard by a wide range of people. Many a singer has not won the competition but ended up being offered work as a result of their appearance in this high profile platform.<br />
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<br />askwendynielsenhttp://www.blogger.com/profile/16093976190976883084noreply@blogger.com1tag:blogger.com,1999:blog-2846320793846592400.post-61571886062079011612014-01-05T10:03:00.000-04:002014-01-05T10:03:07.481-04:00Bully for you!<div style="font-family: Helvetica; orphans: 2; text-align: -webkit-auto; widows: 2;">
My husband’s favourite line to me of late is '<i>that's a blog, you should write about it'.</i> Often it stems from me needing to talk through a concern about </div>
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teaching and, despite not being a professional musician, he is an excellent sounding board and support to me.</div>
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This morning, on my last morning of the Christmas holidays, we were sitting in our sun-room with the wood stove fire glowing, looking out at the frozen lake while sipping our morning tea (me) and coffee (he). I had been re-reading Julia Cameron’s book 'The Artist’s Way', as well as her two subsequent books (now available in one large and heavy volume). I was reminded of one of the exercises from the first book that had really resonated with me. It was the one where you had to write about three people who had been less than supportive, or perhaps sabotaged you in your artistic growth.</div>
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I had no trouble with it at the time. The first person that came to mind was </div>
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someone from when I was a graduate student. He was a bully and while I learned a tremendous amount from him , he definitely undermined my confidence and development. I survived him. I remember he would imitate me and make fun of me. It hurt and did not open me up but rather made me more self conscious.</div>
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The exercise in the book involves writing down what was said to you and then writing what you wish you had said at the time, or that you could now say with more maturity and perspective. It seemed like such a simple thing to do but it felt soooooooo good. I also applied it to the second less-than-supportive person that came to mind. Interestingly enough, it involved a personal relationship that I had at the same time. It worked beautifully for that too. </div>
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Since then I have certainly met my share of bullies/saboteurs, many of them on the podium I regret to say. Sometimes bullies need simply to be answered, politely but firmly. I remember singing with the New York Philharmonic and the conductor was blatantly bullying one singer in particular. How I admired her resolve and her professionalism as she did her job with beauty and grace no matter what he did. Often time these bullies are simply mirroring behavior that was used on them to great effect ! The culprit that I dealt with at grad school was a former Marine…</div>
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Why not begin the New Year by de-powering those bullies of the past and/or present, looking at the other side and rejoicing in the champions of the present and future?</div>
askwendynielsenhttp://www.blogger.com/profile/16093976190976883084noreply@blogger.com1tag:blogger.com,1999:blog-2846320793846592400.post-4641956778661853672013-11-13T17:20:00.000-04:002013-11-13T17:20:21.229-04:00O Canada!During the past weekend as we observed Remembrance Day I was having several memories that didn't necessarily go with the solemnity of the occasion.Growing up my brother Erik was famous in our neighbourhood for scaring the bejinkers out of the lady next door by singing O Canada at top of his lungs into her dryer output pipe on the side of her house. Who knew that doing the laundry could elicite such strong feelings of patriotism? My son Julian, as a child, also rejoiced in his rendition of the national anthem which included the line ' O Canada, our home and <i>m</i>ative land!'. Spell check didn't like that one bit...<br />
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Which brings me to an exercise that I created and have been using with singers for quite some time now: the O Canada exercise. A number of years ago I had the pleasure and privilege of improving my teaching chops by filling in for a sabbatical leave at Mount Allison University. I did not have a lot of experience with undergraduates at the time and it was a real challenge to learn what their needs were in terms of vocal development. I wanted to impress upon them the importance of trusting thought and emotion being conveyed through tone. Because this was a young group of singers I wanted to do this through repertoire that didn't 'distract' them with complexity of the musical or linguistic variety.<br />
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I came up with the idea of having them sing O Canada which, hopefully, they had known since childhood and could sing without being self conscious . I wrote a series of situations on individual pieces of paper that they would select and then have to embody while singing. For example:<br />
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You have just been rescued from a burning building and feel relief, gratitude followed by the shock of realizing what just happened to you.<br />
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OR<br />
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You've just won a major prize and are elated then troubled as to how to spend the prize wisely.<br />
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OR<br />
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You've just broken up with your significant other, you are calm and then overcome with concern about having done the right thing.<br />
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While this is an exercise for the singer in simply letting subtext flow through you while singing a very familiar song it is also interesting for the other singers observing. They are trying to read and guess what is being portrayed. The goal, it must be said, is not to guess correctly but instead to reflect what you see and hear. We have had some big laughs as others create a whole opera in their head from what they saw and heard in O Canada.I encourage the performer not to resort to too much gesture and trying to act out the scene but rather to let the thoughts pervade their sound and see what the result is.<br />
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In the interim I have used this exercise with more advanced singers at the University of Toronto where I teach as well as at my summer program in New Brunswick. I was thwarted once when I had a singer from Bahamas who didn't know O Canada and I had to resort to Amazing Grace. It was also remarkably effective. So many interesting things come up including the unconscious instinct to change the thought with the change of harmony.<br />
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At its heart, this is an exercise in trusting your talent and allowing integration of sound and emotion to happen. Our job, as singers, is to express and allow our audiences to project onto us what they need to see and hear. This is possible only when our own subtext is supremely clear and well conveyed.askwendynielsenhttp://www.blogger.com/profile/16093976190976883084noreply@blogger.com1tag:blogger.com,1999:blog-2846320793846592400.post-6942430916533365062013-03-28T21:52:00.000-03:002013-03-28T21:52:27.452-03:00Porcine PerformanceOne of my students at the University of Toronto had a personal victory today in a group class. We were all excited for her, and the other singers were amazed to hear her confess that her secret ingredient was...(<em>drum roll please</em>)...bacon.<br />
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Earlier in the day at her private lesson we spoke about performance energy. Petunia, not her real name, was lamenting that it was difficult for her to summon performance level energy for auditions in particular. It was a bit of a sore spot because someone had suggested that she was not the kind of singer to get jobs from auditions, but likely to get jobs from jobs (i.e. being seen in performance). While this was interesting feedback it can be rather discouraging because, as a young singer, <strong>you must audition</strong>. Heck, as a professional you must audition! <br />
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You must practice performing, just as you must practice technique. Period.<br />
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Is performance energy something that is learned, cultivated, and/or put on? I think it is all of those things. I am constantly surprised at how many singers are, in fact, shy people in the 'real world'. They love being on stage but don't necessarily need to be the centre of attention wherever two or more people are gathered. Somehow our Canadian sense of discretion can get in the way too...better not show off or we will get our come-up-ance! <br />
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<em>Back to Petunia in the studio.</em> In her lesson we got her body opened up and voice flowing, but it wasn't a place she went to instinctively. She felt she was way over the top for the size of my studio and her audience of two. It wasn't, and the proof is that it became vocally easier for her. Building on this I suggested that she think about channeling someone who might inspire her to be more 'diva like'. Did she have an idea? She did. I challenged her to appear at master class and be that 'diva'.<br />
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She delivered.<br />
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Imagine the hilarity in the room when after a terrific performance of 'Una voce poco fa', for which they applauded vociferously, Petunia confessed to be channeling none other than...Miss Piggy! The other singers thought that it was some of the best singing they had heard from her; vibrant and a complete performance. Petunia was stunned. She was convinced that it was too much. It wasn't.<br />
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Petunia has a lot of stage experience and is a very talented singing actor, she just needs to bring performance level energy in an audition or rehearsal. I remember Canadian pianist/coach Michael McMahon telling me of his admiration of Maureen Forrester's rehearsal style. He said she never sang a note without complete commitment to communicating the emotional meaning. <br />
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We can learn from Miss Forrester. So often we check out from the emotional connection when trying to get a certain passage note perfect or correct technically. We forget that emotion and connection are directly linked to breath and soul. It's the very essence of what we do. <br />
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A great exercise is to assign emotions or situations to vocal exercises. Here are a few suggestions:<br />
sing that scale imaging a joyful reunion with an old friend,or that arpeggio with the dread of not knowing what the future holds or that melisma distraught at the loss of someone close to you. Keep your technique brain in close contact with your emotional brain, they might just help each other out.askwendynielsenhttp://www.blogger.com/profile/16093976190976883084noreply@blogger.com3tag:blogger.com,1999:blog-2846320793846592400.post-84878687871215042372012-06-09T10:03:00.002-03:002012-06-09T10:03:27.689-03:00Thou shalt not show up in the same gown twice !<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPV4cRDBzR34y0cuV2yLy9HNSsx6D51YIf-6Hq-wqynJHTX5GXPGkUehIGg9r2dNtpKzTfcFYPfcxNQTq2WaZOKqMPw1IEqePvcuK9vO2p0n0N2szFOjzLEnNDwfLtC6HfaCrd77OxWkA/s1600/diary.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" fba="true" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPV4cRDBzR34y0cuV2yLy9HNSsx6D51YIf-6Hq-wqynJHTX5GXPGkUehIGg9r2dNtpKzTfcFYPfcxNQTq2WaZOKqMPw1IEqePvcuK9vO2p0n0N2szFOjzLEnNDwfLtC6HfaCrd77OxWkA/s320/diary.jpg" width="320" /></a></div>
I had a singer here working with me in NB recently who is just on the cusp of a professional career. She was heading off to an audition in the US immediately afterward and I happened to casually ask her if she was keeping track of her career details in a diary. She said that while she did journal from time to time to help with personal growth she didn't keep a performance diary.<br />
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I went to my shelves and took down the four books that hold the details of my career. I have certainly kept programs, photos, reviews (or should I say rev -ewwws!), and the like.This is something different. It all began with a little flower covered book that was a gift to me from the wonderful American soprano Patricia Wells in 1991 . It was an opening night gift in Banff on the occasion of my debut in the role of Fiordiligi in Cosi fan tutte. I don't recall if Pat was the one who encouraged the performance diary or not, I certainly learned lots from her that summer! At any rate, from that point onward I kept a performance diary. The entries are factual and concise. They name the work performed, who performed with me, where, fee, the gown I wore if it was a concert, where I stayed etc. For example: <br />
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September 27, 2000<br />
Bratislava Music Festival in Slovakia<br />
Concert Hall of the Slovak Philharmonic<br />
Budapest Festival Orchestra<br />
Ivan Fischer conductor<br />
Ravel "Sheherezade"<br />
They played Dvorak 7th Symphony and Dohnanyi "Symphonic Miniatures"<br />
<em>best orchestra I have ever heard!</em><br />
I rehearsed with them in Budapest.<br />
Rust gown<br />
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Concert part of a package with Prague Autumn Festival. Ground transport and hotel provided. Total fee xxxx .<br />
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This is a typical entry in my diary and the quote in italics is unusual... they were amazing.I had never heard an orchestra play with such passion and abandon. The gypsy violin playing was clearly in their blood and the brass sound was astonishing. After speaking to the conductor, Ivan Fisher, about my reaction to the playing of his orchestra he said 'oh, I will take you to hear real gypsy music'. And off we went to an amazing restaurant where we heard the most incredible live music. But I digress! <br />
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From my first volume :<br />
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April 14, 1993<br />
Audition for Eve Queler ( her NYC apartment)<br />
for the Opera Orchestra of New York<br />
sang "Per pieta" and "Come in quest'ora bruna"<br />
Khaki silk dress<br />
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She didn't hire me.<br />
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I also kept track of lessons, their cost, interesting people that I might have met at a reception, a particularly nice or bad place that I stayed etc. It was a very handy reference tool and kept me from breaking that cardinal diva rule:<br />
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<strong><em>Thou shalt not show up in the same gown twice!</em></strong><br />
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In all seriousness, the little volumes have been extremely helpful especially this year when I needed to submit a comprehensive performance diary as part of my application to teach at the University of Toronto. I can't imagine how I would have been able to accomplish this task without my little books...and none of them are black by the way!Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-2846320793846592400.post-79112404089909982992010-06-29T07:03:00.005-03:002010-06-29T07:14:33.649-03:00Italy Inspired Vocal Musings<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiyWkN9CFl86HlPAVmGsFSYpb1lpIo2l7sqJv1zY8zcV40FwmdgOEU9nWOV6XswG575jDCUDZu-wRrhKI4lw1hkX7Z6qbFOSz84rcdQyT9DIX3d1lpQdzgpDXoIYRdUWo7IuRWjkwN5XM/s1600/Pav.jpg"><img style="WIDTH: 297px; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5488136300090842194" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiyWkN9CFl86HlPAVmGsFSYpb1lpIo2l7sqJv1zY8zcV40FwmdgOEU9nWOV6XswG575jDCUDZu-wRrhKI4lw1hkX7Z6qbFOSz84rcdQyT9DIX3d1lpQdzgpDXoIYRdUWo7IuRWjkwN5XM/s400/Pav.jpg" /></a><br /><div></div><br /><div></div><br /><div>Being in Italy is a wonderful experience and I count myself fortunate to once again be part of the faculty at the COSI program headed by Darryl Edwards. It is a terrific Canadian program which is held in the beautiful little town of Sulmona in the Abruzzo region.<br /><br />I was speaking with one of the tenors here regarding the singers that inspire him . Of course, Pavarotti's name came up. He really is the gold standard of great singing. There are many interesting clips of him on youtube not the least of which is him discussing with Marilyn Horne, Joan Sutherland ( speaking of gold standard!) and Richard Bonynge about bel canto - beautiful singing.<br /><br />I will never forget the first time I heard Pavarotti live. I was on tour with the Metropolitan Opera in Japan and I was attending a dress rehearsal for the Verdi Requiem. We were all still jet lagged but many of us in the company wanted to hear the rehearsal as we would not be able to attend the performance. Pavarotti had just arrived and was marking the rehearsal. Despite this I was able to hear him so clearly in the vast auditorium in Tokyo. It was as though he was sitting beside me whispering in my ear, such was the acoustic effect of that incredibly produced voice.<br /><br />I often say to singers that what we are trying to do in improving our technique is to carry around our own acoustic with us. We must have a sense of producing our voice so that no matter where we are singing we can feel- not hear- that we are singing well. Allowing the sound to spin in the sound column and reflect off of the resonators creates an acoustic that is similar to an orchestra playing in front of a band shell when they play outdoor concerts.<br /><br />This kind of singing creates in its listener a sense of intimacy and directness that cannot be matched. Funny, isn't it, that by ostensibly singing 'more' ( ie. with more spin and with greater freedom) we create a response in our listeners that is a palpable physical and emotional experience. When I am teaching, and a singer achieves this, it is as though they are talking to me. Clearly they are singing, but with such freedom that there is nothing interrupting their thoughts being transmitted on sound waves to my ears. The ultimate goal! The most interesting thing to me in all of this is that people get it. From the the unsophisticated listener to the opera fanatic.<br /><br />Back in Tokyo, Pav finally lets one fly and the whole theater breathed and released the built up yearning we had for him (to let us have just one glorious note). We are like a bunch of addicts waiting for our next fix!<br /><br /><strong><span style="font-size:130%;">My name is Wendy Nielsen and I am a voice addict.</span></strong><br /><br />Working toward that oft elusive goal of ultimate vocal freedom is something that I have done for most of my adult life. I continue to strive for this both with my own singing and for those singers who work with me. It is not unlike my husband's addiction to windsurfing. Every day he hopes for some wind, the conditions are rarely perfect but it sure is fun to get out there and make the best with what you have (always hoping for that perfect day).</div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2846320793846592400.post-57525918724950353732010-06-09T08:46:00.016-03:002010-06-11T10:04:27.516-03:00The Golden Ticket<p align="left"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihrM0ugguz6UUxBn-t0hWeYgQUNqPG2LOWjpuPQ_nmC2jyWKbGwMkxn4rg-nwbA304oDgtaQmwuvMjvbgYamFwzFtyqBzKsRIrn8cYquDFyZ3TBGUh3ZzqUNchdEMFcHuBcvE_45Q8mw0/s1600/golden-ticket.jpg"><img id="BLOGGER_PHOTO_ID_5481500037298945666" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 311px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihrM0ugguz6UUxBn-t0hWeYgQUNqPG2LOWjpuPQ_nmC2jyWKbGwMkxn4rg-nwbA304oDgtaQmwuvMjvbgYamFwzFtyqBzKsRIrn8cYquDFyZ3TBGUh3ZzqUNchdEMFcHuBcvE_45Q8mw0/s400/golden-ticket.jpg" border="0" /></a></p><span style="color:#ff6600;">.</span><br />I am near the end of one of my favourite times of the year. Not Christmas, not Mother's Day but the month of teaching that I do at my home in Cambridge-Narrows. We rent the cottage next door and two or three singers at a time come and work intensively with me. It is a great way to work for all, I think. I get to be at home with my family and singers get to enjoy the beauty of this place and focus on their singing. The joke is that there is little else to do in this village of 640 souls!<br /><div><div><span style="color:#ff6600;">.<br /></span></div><div>We work for a couple of hours a day; one on one. There is play time in the kayaks or hanging out in the hammock with a good book. It seems to help accelerate absorption of concepts. There appears to be a recurring theme that has come up in my teaching of late that I think is worthy of discussion. One singer in particular expressed frustration at not being able to find a teacher in Toronto who could work with her consistently. The implication: this is what was standing between her and greater success. While I appreciate the need and importance of working with a teacher who can give you good, sound vocal guidance, I suggested to her that she shouldn't be looking for <strong>THE GOLDEN TICKET.</strong></div></div><div><span style="color:#ff6600;">.</span> <div>We are all an amalgam many things including our upbringing; the teachers with whom we have worked, the experiences we have had, etc. I think one gets into dangerous territory when a teacher, or any person for that matter, begins to exert ownership over another individual. Think about personal relationships; if someone is telling you how to dress or how to behave, they are trying to create you in the image they have of you. This is not to diminish the impact of the show <em>What Not To Wear</em> - one of my favs! In all seriousness, the goal of a singer is to be the most full version of themselves in order to take to the stage and move people with music. That great quote by Marianne Williamson says this so eloquently:</div><div><span style="color:#ff6600;">.<br /></span><em>Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure...We ask ourselves, who am I to be brilliant, gorgeous, talented, fabulous? Actually, who are you not to be.</em></div><div><span style="color:#ff6600;">.</span></div><div>The <strong>job</strong> of being a singer is not the performing. The job <em>is</em> the day in/day out work of going into a practice room and working on the craft of singing. If this is something that appeals to you then go for it! You are your own creation and your uniqueness is something to be celebrated and upheld. Take all the information and advice that is given because there is value of some kind in all of it. Sort through the pile and keep what is true for you and edit the rest. It's no easy task.<br /><span style="color:#ff6600;">.</span></div><div></div><div>The paycheque is not the paycheque. The paycheque is the performance. If someone hands you a cheque afterwards, smile and know that you've been twice rewarded.</div></div>askwendynielsenhttp://www.blogger.com/profile/16093976190976883084noreply@blogger.com1tag:blogger.com,1999:blog-2846320793846592400.post-80332001754924273232010-03-24T11:17:00.009-03:002010-03-24T13:41:31.517-03:00School Tours or Encountering Greatness in MississaugaI experienced some major flashback moments last week when I was working with Calgary Opera's Emerging Artists Program. In addition to giving voice lessons to the singers I was able to head out on the road with them and enjoy their wonderful production of <em>Cinderella</em>. This is a show that was originally conceived for Opera Lyra Ottawa by the only brilliant Rob Herriot. It is a terrific knitting together of excerpts from Massenet's <em>Cendrillon</em> and Rossini's <em>Cenerentola</em> in English translation with succinct and witty dialogue carrying the plot to the ears of the listeners.<br /><br />How well I remember my school tour days at the Canadian Opera Company! We were divided into two quartets; one group travelled to Mississauga and the other went to Scarborough. Our show, as I recall, was more deliberately instructive in nature. 'This is a soprano', ' Madama Butterfly tells the story of...' etc. We sang numerous operatic excerpts at crazy hours of the morning in school gymnasiums there were lots of ear covering moments and bizarre questions...<br /><br />For our very first show we were well rehearsed and briefed on what to expect during the highly anticipated question and answer period. We were told that the children wanted to know the nitty gritty: were we married to one another, how much money we make, etc. I was elected to field the questions on that fateful first day. I invited the audience to ask questions, a hand went up and I indicated to a little girl that she could ask her question :<br /><br /><strong>"</strong> <strong>I don't have a question but</strong> <strong>I</strong> <strong>just</strong> <strong>wanted to tell</strong> <strong>you that my</strong> <strong>great grandfather wrote the libretto for Aida."</strong><br /><br />Rendered speechless, the remainder of the question period was a blur. I do remember seeing a drawing done by the precocious Angelina Ghislanzoni proudly displayed in the hallway as we left.<br />Doing school tours is a right of passage for most opera singers these days. They are a staple of young artist programs and do the 'in the trenches' work of audience building for the future. For the performer the experience is both exhausting and enriching. For the fortunate Calgary Emerging Artists they are singing real repertoire. Across Canada other programs have featured the work of Canadian composer Dean Burry who has written many wonderful children's operas that both entertain and educate audience and singer alike.<br /><br />There is simply no audience like an audience of kids. They are honest; when they love it... they love it! When they are bored... heaven help you! The student matinee that many opera houses feature is a fantastic experience. They boo the villain and scream, with the fervour typically assigned to a rock star, when they like a character.<br /><br />There is a lot of artistic and personal development to be gleaned from a school tour. There is, primarily, the opportunity to sing repertoire many times even if it is at 9:30 am! It is a gift to have a situation where you can risk a bit, i.e. try to incorporate new technical ideas and see how they work without worrying that the reviewer from Opera Canada is in the house. Learning to appreciate how a show is put together from the ground up is another benefit; the singers in Calgary help to assemble and take down the set. We need to keep in the forefront of our minds that the crew - stage hands, wardrobe people, stage managers - all work really hard to make us look good. When I was a student at UBC we had to help build the sets. I made a set of stairs and, boy, was I proud! Taking a practical course in costume or lighting design was a requirement for my Masters degree. I opted for the lighting as I had way too many bad memories from sewing machine hell in Home Ec. In the end I came to understand on a deeper level the magic of the lighting designer.<br /><br /><strong>Back in Calgary they're probably on show number twenty of thirty-two; laughing in the van while being ferried about, dining on fast food lunches, and coining terms like Cougarella.</strong> I encouraged them to keep a diary of the crazy and wonderful things that happened... from the wardrobe malfunctions for the 6' 3" mouse in a grey unitard to playing frisbee in the school gym as a 'warm up'.<br /><br />It was great for me as a voice teacher to see the singers in action. I was able to witness which technical concepts were sticking, and which were not. It was also a particular pleasure to watch the children and teachers responding to the show. You just never know what kind of an influence you might have. I remember the first time I ever heard an opera singer; it was in my grade three music class. I was completely overwhelmed by the sound of the tenor's voice singing <em>Vesti la giubba</em>...all this from a vinyl disk.<br /><br />Last week I sat in that Calgary school gym and was reminded that the power of the freely produced human voice will always move people...of all ages.askwendynielsenhttp://www.blogger.com/profile/16093976190976883084noreply@blogger.com5tag:blogger.com,1999:blog-2846320793846592400.post-17684488096814880642010-03-09T09:27:00.003-04:002010-03-09T10:01:59.628-04:00Good intentions. That is what I had when I posted my first two blogs...last year! I must ,and can only, improve.<br /><br />Last week I spent a wonderful week at the University of Toronto as a guest teacher. It was a particularly meaningful experience as I was turned down by that institution many years ago. I bring this personal story up frequently with young singers because one needs to keep perspective with regards to being rejected OR accepted by programs. I auditioned for the opera school at U of T hot on the heels of finishing my Masters at UBC. Literally, on my way home from Vancouver! Perhaps I did a poor audition, perhaps they already had many sopranos( note that I didn't use the phrase 'too many sopranos' as we all know that that situation could never exist!) who knows what could have come into play. I was too devastated to ask for feedback from the 'no' so I will never know.<br /><br />Ten months after this I screwed up my courage and auditioned for the COC chorus. I felt that it went well but there seemed to be a lot of whispering during my audition and after the U of T turn down I wasn't exactly feeling optimistic! The phone rang the next day and the person at the other end asked if I could come and sing for Mr. Mansouri ,the general director, the following day. I agreed and in a haze returned ,sang the same arias and was told although they had already selected singers for the Ensemble for the coming season they could offer me the training experience( no pay) and a full chorus contract! My life changed in that brief moment and while ,as the saying goes, the rest is history - the rest has been a life filled with the pleasure and hard work of being a singer.<br /><br />We are constantly being assessed for various reasons: suitability for a role, for a program, for a positive review and so on. It is not easy but if you can keep your own counsel and surround yourself with knowledgable people who can give you honest and supportive feedback the path becomes clearer. I remember well an early experience with a critic. Pianist Michael McMahon and I were giving several recitals in California and one was with an important series in Pasadena. I was coming off of a cold and was rather intimidated by the pressure of this particular event,honestly I felt that I had just barely covered the bases during the performance. My manager called the next day and asked if I had seen the LA Times. I braced myself for her to tell me that they were dumping me or some such other outrageous imagined horror. She told me the review was great! I went out and got a copy of the paper- it was as though my mother had written the review! I realized in that moment that if I believed it and gave it credence then I would be lying to myself and would therefore have to believe every forth coming review-good, bad, or indifferent. Thank goodness Michael was there and was able to help with the truth of what took place, a more balanced view between my 'it was a disaster' and the media's 'she is the greatest thing since chocolate'. He is on my team and is one of those people on whom I have been able to rely for the truth for many years now and I am so grateful.<br /><br />Meanwhile, back at U of T. I had a wonderful week listening and responding to the excellent singers there. Happy to be in the position of helpful experienced singer reflecting back to others beginning the journey.askwendynielsenhttp://www.blogger.com/profile/16093976190976883084noreply@blogger.com4tag:blogger.com,1999:blog-2846320793846592400.post-82060015640892014572009-05-29T09:48:00.004-03:002010-02-26T09:33:00.362-04:00Housing for singersI've often told singers with whom I am working that I am not teaching them to sing, they know how to sing already! What I am hoping to help with are their housing issues.<br /><br />What I mean by this is that the voice itself is not what is in need of training, it is the body/housing that needs to be whipped into shape. You have the voice and the physiology with which you arrived on the planet, you can't change the instrument itself any more than you can change your nose. Okay,okay surgery aside! Having said this,the musculature surrounding the vocal folds can certainly develop and change the way the voice is produced but again I am speaking of the voice itself.<br /><br />Warming up and vocalizing is about making yourself aware of opening up the 'house' and making it habitable for that voice of yours. Is the foundation low? Can you sense where the bottom of your sound is? Are you open and free through the torso? Is the sternum in a relaxed yet active mode? Do you have that crucial attic space behind the sound column? These factors create a safe and secure environment where you can now make the demands of being an opera singer.<br /><br />All of these housing issues can be aided by Alexander work, yoga, pilates -anything that takes your awareness to the fact that you are not just a singing head!askwendynielsenhttp://www.blogger.com/profile/16093976190976883084noreply@blogger.com0tag:blogger.com,1999:blog-2846320793846592400.post-10286645895369455402009-05-25T09:23:00.003-03:002009-05-25T09:50:05.992-03:00Tips for applications via recordingsFor some time now my husband has been blogging with great regularity and ingenuity.I am inspired and daunted by the whole adventure, what a great way to articulate your thoughts and get it out there into the ether! Who the heck wants to read what I think about anything!???<br /><br />If nothing else it will compel me to write with some regularity( see spousal inspiration) and it might even get me going on the long simmering book that I have been threatening to create with my friend and colleague Malcolm Balk of Alexander Technique fame.<br /><br />Of late I have been doing a lot of listening to applications for both the St Andrews Opera Workshop and a arts board on which I serve. There are many things that leap out at me from this experience. What follows is some advice on how to send and present yourself in the best light possible.<br /><br />1. Always include a cover letter that gives a quick picture of yourself and what it is you are hoping to achieve with your career or what you would like from the program etc. It doesn't need to be fancy, just clear. It should be particular to the application, ie. not a form that you send over and over. Keep one on your computer and tweak it as necessary.<br /><br />2. Make sure that your recording is clear and shows you at your best. Do not record in your bathroom! I swear that I have heard a few that must have been, no water running though...There are so many ways to get good recordings these days even with your own Ipod or other equipment. The piano needs to be in tune! Simple enough but you would be surprised.<br /><br />3. Label both the CD itself AND the case with the performers and repertoire. There are often many applicants and lots of materials. If your CD falls out of its case among the others you want to be sure that we can figure that out. Singers please note that simply out of respect you should list who the pianist or other instrumentalists are! You never know who may hear the recording and they might just be looking for a pianist too! You could even charge a finder's fee! Kidding.<br /><br />4. The first track on the recording should be you at your very best in repertoire that reveals both the beauty of your sound and your musicianship. Using something very contemporary(unless of course this is your milieu) is not advised. I want to hear a voice just role out so I can appreciate it immediately.<br /><br />5. Quality not quantity both when comes to selections on the recording and the way you list your experience on your resume. Your singing will speak for itself. I always listen first and then consult the resume later so that I won't be swayed by what I read. I want to form my own impression free of knowing whether or not you won the Met auditions in 2009.<br /><br />6. Remember that you want to reveal yourself artistically/emotionally through your singing. Yes, you want language and style and the right notes(!) to be there but come with an opinion about the music and what you want to say. I find that I notice that before anything else even on a recording.<br /><br />7. Those of us who listen to applications appreciate the difficulties in capturing an operatic voice on recording especially if you don't have EMI sound engineers at your beck and call- yet. Work for the best you can manage. You should be recording yourself regularly at lessons and rehearsals so that you know what is you at your best.<br /><br />In bocca al lupo!askwendynielsenhttp://www.blogger.com/profile/16093976190976883084noreply@blogger.com0