Does not compute

The role of the opera singer is two-fold. One must be a constant student willing to listen, learn and have others offer advice on how to improve our gifts. But then when it comes time to perform, one must take the reins like an artist trusting their instincts by doing what feels (physically and mentally) right.

It is often the case that those charged with offering their opinion come with their own ideas and if you trust what they tell you and see that the advice offered sparks a great response from your colleagues, then it is certainly worth taking into consideration. It is our job to incorporate all the advice from teachers, coaches, diction experts, conductors and directors and mix that information into our batter of our own take on the role vocally and dramatically. It can be tough when someone gives a bit of criticism that doesn’t quite make sense not because the advice is bad, but because the way in which it is said may not make sense based on the singer’s perception.

Just like the search for an ideal voice teacher, one must find a teacher with whom they not only respect and trust, but whose way of describing something connects with the singer. Many teachers will teach similar techniques, but how one disseminates that information makes all the difference in the world. The same holds true for taking in suggestions from coaches, directors and conductors. Many are offering ways in which to improve a singer’s performance, but singers, just like the individuality of their voices, have individual ways of processing “fixes.” Some are able to make the adjustment right on the spot, while others need time to digest it. I have found that I am willing to try anything in rehearsal, but if something feels foreign or more difficult I will find a way to negotiate for what works better. Since I can’t hear what others hear, I have come to fully trust my Digital Voice Recorder. After a recent diction coaching where I was told to make some changes and I did on the spot and received great praise, I was told the next day that I had reverted to my “old ways.” I was bit surprised because internally it felt exactly like what had been asked of me. I left the rehearsal very confused. Luckily I had recorded it and while I did not hear what that person had mentioned, I DID hear things that I felt I could do to clear up my diction.

As a singer, I have to remember that while I wish I were perfect, I am a work in progress. I am either trying to perfect technique, language, drama or style. We also have to contend with the opinions of others and sometimes those opinions are in direct conflict. A wonderful example of this is that the review I received from a recent production of “Die Fledermaus”, which praised my performance, but said my “German diction was wanting.” By contrast a Native German speaker and opera singer reached out to me after the same performance and told me my diction was “Superb!...miles above the rest of the cast.” I had to laugh because these two people, at the same performance, heard two completely different things. It reminded me that I can only do what I can do and some will love it and others will not be as responsive. Regardless of the opinions around me, I must trust myself.

We all want to be the best. We’ve trained, auditioned, sacrificed and worked so hard. Those around us also want us to do well and many will give us their point of view on how to do so and yet, sometimes the information may not “compute.” In truth, we have to have confidence, a pair of ears we trust and more than anything else the ability to take advice and criticism and make them work for us. Because we are the artist who is out there we have to, like Leontyne Price said, “Love our voice” and have complete and utter faith in our talent and our preparation. The journey of an opera singer is to sort through everything that is said to and about us and simply learn the best way to communicate the story through our unique instrument using all the tools we have in that moment.

Peace,

Eric