Kaylee Ann Simmons: Quiet breaths were good but I think posture prevented them from being as full and expansive as we want. One leg was forward and bent at the knee which contributed to the disconnect from your body. The timbre was very light and pretty, almost music box like, which fit this song very well. With more body connection I think it will help with a stronger timbre and help to connect the phrases to make them more fluid. Some of the phrases sounded a little percussive with the french but breath connection and phrasing I believe will help with that.
Sam Meredith: I love your suspenders, first of all. Open, resonant sound, but with some of the high notes it sounded forced or pressed. Watch for some wrong notes or intonation on one of the descending phrases. Your posture looked a little closed with your hands in front and your chest pulled toward the front. We want that gorilla-like chest openness. The sound is good I just wish I could see your eyes! The eyes are the window to your expression and when you close them you exclude us/the listener from that emotion. Open those eyes!
Ashton Lindsay: Looked scared/nervous from the get-go. Singing was on and off the voice with a underenergized breathy quality. I love the song choice but I couldn't tell if it was happy or sad because of the lack of facial expression. Don't look at the ground, look up! Molars were pretty close together and the mouth needed to open up. A taller, more open posture would help get body into your sound.
Randy Wellbaum: Shoulders move up and down a little during breathing and the head turns a lot from side to side, but I loved the soft, warm tone with this piece. Be careful that vowels don't get too wide on higher notes. Work on connecting that open, lower timbre from your chest to your higher register.
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