Breathing: I have always seen a good release in her front abdomen, but I don't get the sense of breathing ribs outward (sideways). Just a guess though
Intonation: Her pitch suffers when the resonance gets buried. I notice this especially on [a] vowels, which are particularly swallowed. It's frustrating, because her pitch suffers so much on the vowels she hasn't mastered yet.
Timbre: I enjoying it more and more as she trains. Cool!
Diction: Not as specific as I wanted. Nothing incorrect that I could detect though. I would like to hear her dig into the consonants as a tool to get the space you want for each vowel. Perhaps that is the next step after establishing a good model for molar separation. After you can successfully get the molar space you want without thinking, you can possibly dig into the consonants and flip right back to the space on the vowel. Hannah, tell me if this doesn't make sense, I want to be able to explain this.
Expressiveness: I could tell she was definitely not focusing on it, but I wish that even when she was focusing on her technique, her posture and character was professional and in the position of peforming. I agreed with Cindy's opinion about stillness
Masterclass Improvement: I was confused by Cindy's advice, because I thought that she was already on a good track with molar separation. Did she need more? It's probably just an issue of exaggeration. I think she showed great concentration though.
Taylee Beckstead
Breathing: I saw an encouraging outward and sidewards expansion, that looked good to me.
Intonation: I think her pitch problems will improve with an improvement in breath and resonance placement.
Timbre: I hear such potential for something that could be very pleasant. But it's restricted, in a cage.
Diction: The French could use some improvement. "heure" is more open in my mind than the way she sang it. She was also not especially particular in her consonants. I didn't love the schwas either.
Expressiveness: Extraneous hand movement, body swaying, and eyebrow movement. Especially of this still of a piece. Her performances just don't seem genuine to me in general, and I think she is distracted by her own voice. I wish also that there was a greater sense of line.
Overall Performance: I think she has a great potential to be a very coordinated and confident performer, but she has to get rid of the squirmies and the eyebrows that mean nothing!
Name: LaeKin Burgess
Breathing: Her body just looked tense to
me.
Intonation: Again, her pitch problems aren’t
mental problems, but breath problems I think. The first pitch is particularly flat, and I think she perhaps didn’t have a clear idea in her head of how high it needs to be at
first.
Timbre: I noticed my favorite part of her
tone on the vowel [o], especially in your middle. Find what feels so yummy in
that, and transfer that. I might
be wrong though. The beauty of her natural tone is interrupted by notes that have no vibrato. Every note should shine and spin!
Diction: I wasn’t thinking about this on this
performance.
Expressiveness: I want to hear some excitement in
your introduction that tells me this is going to be good! I think your facial expression matched
the piece, but your body also looked afraid. Confident body and scared face would be better! Very powerful eyes though!
Masterclass Improvement: It seemed that LaeKin needs a
greater sense of error detection.
She didn’t seem (to me, I wasn’t in her head) to understand what her
body was doing.
Overall Performance: Not bad!
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