Emily Floyd: Your face was really connected with the piece and you looked confident in what you were doing except for the one hiccup. Your chest was collapsing at the ends of phrases so watch out for that. Some of the vowels sounded a little swallowed like "oh" in "do-do" but you had better resonance on brighter vowels. Work on unifying those vowels. I wished I could have heard more dynamic contrast in this piece but Thomas helped you a lot with that when he told you to "think one dynamic level above the piano". Your timbre was much more focused after that and it helped with the connection to the higher note that was disconnected at first. I loved Tom's comment "Piano is not a volume threshold, but a color. Piano needs to sit on a Forte body" also "Be prepared for the body to resonate in different places, but stay on the same vowel".
Sarah Boucher: Very quiet breaths but there were some catchy, last second breaths that didn't let you fill up. During the long interludes you should prepare more so you're not caught flat-footed. You have SUCH a colorful timbre, I love it. When he helped you with deep, relaxed breaths a lot of the other issues just fixed themselves. Lovely performance. BREATHING MATTERS.
Sarah Lowe: You have a very bright and easy to listen to timbre, and there's a lot of vitality in your voice. I couldn't understand the words until you'd said them several times first. I need to hear more consonants ("C" on "clap" and "cupid") and some of your tall vowels were distracting and made the words hard to get (clap sounded like clop). I couldn't tell where your focus was with this piece, whether this was sad or happy or where each phrase was headed, it sounded homogenous. Thomas helped a lot when he helped you find some happy energy-that was a night and day difference for the better. Work on finding focus for your face, eyes, and body too because a lot of the movement was distracting and your eyes shifted a lot. Great vitality, just find it a focus.
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