Welcome to my first blog posting. I thought I would use this format to discuss what interests me, and hopefully, it will be of some interest to you too. Because I am a singer and voice teacher, my posts will be mostly about singing and good performance practice. Please feel free to leave a comment or send me an e mail.
Some time ago, I attended the annual vocal showcase at a prominent local conservatory. I was struck by what worked and what didn't work in performance. All the performances were dramatically committed, and all the singers were talented; but there was a certain problem. Presenting opera in a concert situation requires a balance between the staging we rightfully expect in a full production, and a sense of the conventions of the recital format. Dressed in a beautiful white strapless gown, one performer sank to the floor to mourn her dead father. In a concert situation with piano, don't end up on the floor. No matter how heartfelt your performance, breaking the rules of the game can make the noblest tragic intention inadvertently funny. With this kind of effect, you may be doing violence to the unwritten rules of context. Figure out the rules of the game, and observe them; if you choose to push pass the accepted boundaries of the medium, do so deliberately, and with consciousness of your audience's expectation. See you next time,
Dr. Joel Katz
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I read somewhere that the "ee" vowel, correctly produced, is the foundation of singing. And therein lies the problem. I spent my whole career as a singer unhappy with my "ee" vowel. It was either too shallow, too "spread" or too dark. I never could get the balance right. The best singers seemed to produce it without spreading the mouth and with considerable space in the jaw. It was clearly "ee" but had all the beauty of "ah". One teacher advised me to feel my tongue at my upper teeth on both sides. That just made me uncomfortably tight. Dropping the jaw made the vowel more like "ih", too neutral, too heavy and too far from speech. Eventually I realized that for a good "ee", the one that can become the foundation of your singing, the jaw has to be released rather than dropped. It is the quality of the released opening that is important, not so much the quantity. Of utmost importance is the feeling of "hollowne...
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