Mariah MC 11/12

Mariah MC 11/12
Maikjn: She had some unconscious movements: swinging her arms and fiddling with her fingers. The timing was a little off for the last "l'amour" in the first phrase she said it. Her timbre was great, very free and flowing. On "pran garde a twa" the intonation was a tad off but for the most part her intonation was good. She had expression but she could be more bold and specific with it. She tended to lose her breath fast and ran out for some phrases. Her phrases seemed to fade in dynamic at the end as well. In masterclass, Cindy addressed Maikjn's lack on intention. Cindy also explained that it's not about what comes out, but thinking about what to do. Cindy explained to focus on communication more in performance and trust your practice for the technique to come. Maikjn was able to add more line and lessen extra movement because of Cindy's advice.
Elizabeth Tait: Elizabeth had nice balloon breathing and a free, rich and full timbre. She tended to breath more in her chest when she got scared for a note. Her vowels could be more rounded, especially on [i] vowels. She had a great crescendo on one note that I noticed. She was a little constricted on the first high note. She tended to lick her lips often. That high D is there; she just needs to relax and trust in herself more. Cindy noticed that Elizabeth was singing with her shoulders somewhat. Cindy advised to be excited about that note and just go for it--to leave yourself behind and let the air flow. Elizabeth's tone was a lot warmer when she relaxed.
Allen Stevens: He could be a little more confident while introducing his name and piece. I noticed he had a high speaking voice compared to where he was singing. I thought this was interesting because when it came to the higher section I thought that was stronger than the rest of the piece, even though he was concerned about it. He could open his mouth more, especially in the beginning. He could relax his jaw and mouth more; it felt like he was manipulating his mouth a little. He had some shallow breathing and his timbre was light and quiet for most of the song. However, his higher range was very rich and full. Cindy asked him what he liked most and least about his singing. When Cindy had Allen sing the phrase up a step, it sounded great and I really loved his timbre. She reminded him that the key is not to see whether or not you can go higher but whether or not you without any extra tension.
Shalayna Guisao: Shalayna has a very full, rich and mature timbre. I think she could relax her hands at her sides more and add more line to the song. She was a little disconnected going into the first high note and seemed a little tight. Cindy helped her to have more accurate vowels and they worked a lot with primal sounds. She said to always have that primal uh happening on the inside while singing on the outside. They did the crying and "bi bi bi" exercises which helped Shalayna also have more free-flowing air. Cindy reminded Shalayna to soften her mouth and close the vocal folds but not press them.