Caitlin Craig VRH October 10, 2013

Emily Floyd: I see a lot of improvement in her breath, but I still sense that she is holding her breath, rather than feeling those happy dump moments.  I think she still could use some more release lower in her body.  Diction seemed to be fairly accurate, but I did notice the word "ihr" was pronounced incorrectly.  I liked her smile, and active face, but I think her expression could've been even more specific in telling the story of Der Sandmann because of storybook-like text (i.e. the sack of sand, sprinkling the sand into the eyes of the sleepy children, etc.).  Overall I can see improvement in Emily every time she sings, and it's exciting.

Sam Meredith: Sam seemed a bit nervous in his breath, and ran out of air towards the end of some of his phrases.  Because of his lack of air, I could see him squeezing his lower back.  Sam has a warm, free, and easy timbre, but it seemed a little forced, which I think was due to his lack of the release in his breath.  As for diction, I cannot make an educated comment.  It sounded good!  In our partner practice sessions we have been dancing to find that connection to his lower body, and it has worked well to release his sound, and make the phrasing more meaningful.  But I felt like he didn't find that place during his performance.  He needs to remember that waltz-like tempo or sensation in his body, to gain a better connection and release in his breath.

Ashton: Breath seemed to be high and contrived.  I wanted more of a grounded-ness to her breath and sound.  The timbre was quite breathy, nasal, and perhaps thin at times.  Diction wasn't clear, and phrasing lacked importance.  I think she could definitely use her consonants to really gain some energy and momentum in her phrasing, as well as gaining an emotional connection to what she is singing.

Randy Welbaum: Breaths seemed to be high and shallow.  I did notice that his chest would fall towards the ends of his phrases.  I also sensed some tension in the back of his neck, as well as his curved posture.  I think it would be good for his breath and timbre to roll his shoulders back, and open his chest.  Timbre seemed a bit nasal, which isn't uncommon in Musical Theater, but I think he could have used some more height in the soft palate, to improve some of his intonation and resonance.  Expression wasn't terrible, but I didn't sense that it was overly genuine, or had a specific purpose.