In this Month's Newsletter...
Audition Tour 2008
Maestro Robert McFarland was traveling from March 16th to 30th with The McFami Audition Tour, organized for his Artists at McFAMI (McFarland Artists Management International) for them to have job opportunitues. The audition tour included Pittsburgh Opera, Dayton Opera, Columbus Opera, Toledo Opera, Detroit Opera, Indianapolis Opera, Memphis Opera, Bob Jones University, Atlanta Opera, Orlando Opera, Pensacola Opera, Piedmont Opera and Opera Delaware.
All the artists (11 artists) did a marvelous job. We expect to hae the Audition Tour each year.
Photo: Regina Webster, Robert McFarland, Daniel Snodgrass, Clark Sturdevant.
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News - McFAMI Opera Concerts Season 2008-2009-
McFAMI performance division: launch their 2008-2009 McFAMI Opera Concert Series Productions .
I Pagliacci ; Amahl & the Night Visitors ; The Magic Flute ; & Rigoletto .
Each opera production will begin with a Concert Opera performance with all leading roles. Artists performing a major and minor roles will be considered for The Roster of McFarland Artists Management International (McFAMI).
Production dates will be :
I Pagliacci
Concert Performance: Rehs. - Saturdays, May / Perf. June 4th, 2008
Amahl & the Night Visitors
Concert Performance: Rehs. - Saturdays, December 2008 / Perf. November 26, 2008 December 14 & 22, 2008 (possible additional perfs.)
The Magic Flute
Concert Performance: Rehs. - Saturdays, January 2009 / Perf. January 28, 2009
Rigoletto
Concert Performance: Reh. - Saturdays, April / Perf. April 29, 2009
International Dramatic Baritone, Conductor & Director Robert McFarland
( McFAMI ) will coach the chosen Artists along with the assistance of International Coach/Accompanist Joseph Krupa .
Concert Opera Fees
Major Roles - $ 500.00
Minor Roles - $ 250.00
Contact for Audition
Pattricia S. Patino, Assistant 267 918-9752 pattriciapatino@aol.com
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!
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.
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To book a lesson or to obtain more information, please call 312-805-2600 or email Mr. McFarland at voicestudio@mcfarlandartists.com |
