NEWSLETTER
August, 2007 #003
In this Month's Newsletter...
Phrase
“Am I afraid of high notes? Of course I am afraid? What sane man is not?”
"Learning music by reading about it is like making love by mail.”
“You don't need any brains to listen to music.”
“I want to be famous everywhere.”
“In opera, as with any performing art, to be in great demand and to command high fees you must be good of course, but you must also be famous. The two are different things.”
“If your body is not in shape to sing [from the diaphragm] you will push and push but keep falling back on your throat to make the sound. This will ruin your voice.”
“I remember quite well that 10,000 audience sang with us three on the spot, and ever since then, I always thought the Chinese audience are the greatest audience,”
Luciano Pavarotti(qpd) |
|
|
A Quick Word
The Technique Of Full Throated Singing
By Robert McFarland.
In the Opera world of Theaters from 2,000 seats and larger, the requirement of the “A” role Artists is to be able sing over the large orchestras with sometimes difficult acoustics while at the same to providing subtle acting along with a total range of dynamics without the use of a microphone.This has always required the Artist to have the thorough knowledge of the full-throated operatic technique.
The Full-throated Operatic vocal technique requires the singer to relax the throat inward – collapsing the voice, lower throat and chest region – thus eliminating any high support or leverage from the upper abdomen upward.
By creating space in the pharynx and palatal area, which most of us learned in our early years of vocal study, this inevitably creates tension and capturing the sound within us rather than the sound rebounding out of us through the hard palate.It is very important NOT to focus the voice – so as to place the sound forward – BUT – to allow it to rebound forward and letting it focus rather than forcing any focus.The singing should begin below the breath and this connection should never be broken – even when singing through the passagio into the upper passagio – this connection is absolutely imperative keeping the throat, larynx & vocal chords from strain.
The “Old School Vocal Training” from Sydney Dietsch & Samuel Margolis were absolute in having the Opera Vocalist NOT WORK with the use of muscular levering in the larynx, throat, reaching, or tension in the upper torso.The absolute resolve was always a technique of singing by depending on energy from below the breath – between the hips and lower abdomen.
Many Blessings!
Robert McFarland
The International Dramatic Baritone & Agent Robert McFarland will continue to post articles each month on helpful hints which will assure the Artist vocal vitality throughout his or her career!
News
McFarland Artists Management International - McFAMI - is hearing auditions until August 31st for artists in all vocal fachs. Please send résumé, bio, head shot and contact information to robemacfar@comcast.net or to 14 Stafford Place. Sicklerville, NJ 08081. For more information please call 312-805-2600 or visit www.McFarlandArtists.com
Notes
Send your comments and articles to mcfami@mcfarlandartists.com
Tips
Drink up to 8-10 glasses of pure water every day (any caffeinated drink does not count). Water thins your mucus and lubricates your vocal cords like oil lubricates a car engine. Thick mucous causes friction and trauma to vocal cords. More water, less friction, less trauma, better voice.
Ads
"The Voice Studio": The international opera recording artist performer and voice teacher Robert McFarland is accepting serious, talented artists who on an audition basis only for "The Voice Studio". Maestro Robert McFarland is accepting committed artists who need to work through vocal problems. Studio in Philadelphia, PA; South New Jersey; and New York, NY.
To book a lesson or to obtain more information, please call 312-805-2600 or email Mr. McFarland at voicestudio@mcfarlandartists.com |
|
|
