Brad Summers
I’m glad
that Cindy brought up your extraneous movement, because that has been a
distraction to me in the past. I
noticed that they swaying came back when you sang. Movement while singing is totally fine, as long as it
relates, and isn’t random. A
german pronunciation thing: “-fanger” doesn’t have a pronounced “g.” I would like a better [z] on “so.” It’s not [s]. This aria is so lively, and like telling children a story,
and I didn’t see that in your performance. It’s really true that your voice frees up when you are more
emotionally specific.
Luke Shepherd
Don’t drop
your voice at "George Butterworth".
I loved the line that you created.
I love the facial expression change, it was clear that you were two
different characters. You are
still leaning back a bit. The very
first note was interesting, because it seemed like you were reaching for it,
not grounding it. I was really
touched by the text, good job. You
are doing what I wish I could do, making something meaningful. I wish the first couple notes weren’t
so soft, come in a bit more recklessly.
Piano is just a color, not a dynamic. I agree with Cindy’s advice to add more “ah” to “uh.” I know it seems strange, but I think
you need to consider it. If you
sing into the consonants “under the land,” it totally helps!
Sam Meredith
I love the
line you create, but it lacks vibrancy.
I would like more closed [e] vowels. And nasalized [o] I saw nothing in your eyes, they had a
blinky and wandering problem. You
also have a slight swaying problem.
I noticed that spontaneous combustion problem as well. especially on ascending leaps. That
forming vowels immediately thing WAS SO GOOD.
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