The Perfecting of Young Singers

When the lyric singer is in the course of becoming a professional, the first stage, and not the least in the vocal process, is the construction of the instrument. This step often turns out to be taken a bit too rapidly and artists who have a beautiful voice, talent for the stage, and an excellent level of musicianship, sometimes prematurely envision roles that their « instrument » is still not able to support. Conversely, great voices must be encouraged in their early years to sing works that suit them, well before presenting them on stage, and not to limit themselves to a repertoire where they can neither develop themselves nor be competitive.

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First, we make sure that vocal production is healthy and correctly supported with clear and precise consciousness of the respiratory movements related to singing, while we also observe posture and propose appropriate exercises to ameliorate these two aspects.

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There isn’t question in this domain of separating art and technique, as beautiful sound is always the emanation of an interior movement of body and soul; it is seriously damaging for the voice to be separated from the vital movement of energy. Young artists who at first wish to be « very good in technique » make an error in reason here, which is quickly  abandoned when they find the pleasure of associating artistic intention with vocal results, the voice being the reward of the « vocal gesture »…

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Among other elements, the passage identification (passage from low to medium, and from high medium to high) of a voice that is not « squeezed » will permit precise definition or verification - by some specific exercises - of the voice’s register, because numerous young singers remain for years with a persistent question as to the register of their voices. This risks creating personal insecurity and creating programs that are too incoherent to stimulate a positive reflex on the part of theater directors or agents at the time of auditions and competitions.

 

We gradually approach what is difficult, in proposing new works as you evolve and in simultaneously working on technique and on interpretation in an unseparable way, so as to constitute a varied repertoire composed of melodies, oratorio airs and some opera extracts. The singer’s general culture is essential here, as his capacity for the « creation » of sounds, of musical phrases and of colors will evolve in the course of listening to lyric pieces, on which he will work, as well as symphonic music, piano repertoire, instrumentals and world music, which are inexhaustible sources of sound colors and rhythmic « understanding. » Playing an instrument is recommended whatever the age of the singer, just as regular frequentation of opera halls, theaters and concert venues.

 

At the end of our work, singers will be able to present to their employers a coherent lyric repertoire which respects their range, as well as the style and interpretation traditions which have been communicated to them. We establish together suitable programs for each new recruitment, audition or competition, taking into account the physical qualities and theatrical capabilities of each person. It is important on a visual level that the voice, the physical appearance, the acting and the proposed role create a convincing image, that of a complete artist: generous, committed….and ready to be an artist!