Mikam Keeling: The sternum was collapsing, which effected her breath management. She had a breathy timbre because the posture made her push out the air rather than us it to create the inner space. The lack of free flowing breath made her voice seem less flexible and free in line. I think that the french would seem more authentic if she used more closed vowels, and the pucker of the lips. Cindy asked her: "what do you want and why?". It is important to find the intention behind your character and use that to propel the music.
Liz Tait: Liz had a lot of great things happening with the contour and line of the voice. Overall it seemed fairly flexible and free. I did see some unnecessary shoulder movement. French sounded great. Cindy's take-aways: "Leave yourself behind, and let your breath go."
Allen Stevens: His neck looked tense, w/the turtle neck. Posture seemed quite upright. I think a wider stance would aid him in breathing deeper, and finding a release and connection in his body. I would like him to think in terms of phrases, and less note by note articulation. It would free the sound, and make the message much more meaningful/coherent.
Shalayna Guisao: I liked her confident stance during her introduction and beginning of the piece. But I could hear and see a lack of energy underneath the surface. The less connected the accompaniment the more less connected her sound became. I think that Shalayna is capable of maintaining that confidence of sound and energy despite the circumstances around her. Trust your practice! Cindy's take-aways: "Cry like your constipated." to bring the vocal chords together. This improved her timbre drastically.
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