Last weekend one of my students took part in a Masterclass with Audrey Hyland at the Junior Royal Academy of Music. This was a fantastic opportunity for the students to get new and alternative insights into singing and learn from observing each other. It was also an opportunity for the singing teachers to sit back and listen objectively to the performances given, and see their students react to new and different approaches. The whole afternoon was a real pleasure, and Audrey had a couple of very useful thoughts to do with preparing for performance, and I have been discussing them with some of my St Helen’s pupils this week.
Audrey talked a lot about the preparation for performance, something which many of the singers at my school will be considering in basic terms in their Performance Classes this year. Beyond the basic stage craft issues (perhaps more on this another time!), Audrey encouraged each student to approach every song they are singing with the question ‘WHY’? : Why has the composer chosen to set this text? Why have they written the introduction in they way they have? Why is it in that key? Why is there a rest in that phrase? Why does the melody move in that direction at that point? Why does it speed up or slow down there? Why are the dynamics marked as they are?…
There are two significant benefits of approaching a song in this way: The first is that this kind of thought leads to a naturally heightened sense of observation and retention of musical detail. If the singer is observing performance markings, phrasing, musical line and other details in the score immediately, they will get a much more accurate idea of the shape and feel of the song – even if they have yet to sing it. When they come to reading it through for the first few times they are more likely to think about the piece musically – and consequently it will still sound musical, even if the odd note or rhythm is a little uncertain.
Secondly, if a song is approached in this fashion it is much easier for the singer to get to the ‘nitty-gritty’ of what the song is about, and to understand the mood they are trying to create quickly. I always try and encourage my students to think about what their song is about as soon as they are given the music, and despite me discussing this with each of them every time we approach a new piece, it is amazing how few of them consider the words before prompted to do so. If a singer has not engaged with the text in an analytical manner, and reached conclusions about the emotional journey of the text and the mood of the piece then they will never be able to convince an audience that they are singing with true emotional connection.
As someone who works primarily with young singers (under the age of 25ish) I am only too aware of the negative effects of endless practical work on the voice. For young voices, much practice could and should be done away from the piano, without making any sound. Singers who analyse and absorb the musical map of the score and internalise the text will find that practice in a more traditional sense becomes more speedy and far more effective. They will also be able to sing with a real emotional connection in performance, confident that the text is burned into their brain and their technique is solid. At this point they can let go, and concentrate on the present emotion, meaning every word as if it has just come to them that moment. It is these performances which take the breath away!