Degas’s father listening to Lorenzo Pagans playing the guitar by Edgar Degas, (French 1834 – 1917) about 1869 – 1872. Image downloaded from the Museum of Fine Arts, Boston.
This week, I pondered why I sounded so dreadful singing the Sei Ariette by Giuliani, written for voice and guitar/piano. I ran through a checklist in my mind – in tune? tempi? words? Then it occurred to me. To whom, am I singing? I answered this question by imagining a hall full of hundreds of people. And, this was the problem.
Above, we see the masterpiece by Degas. We see intimacy. We see Lorenzo Pagans, a tenor, playing the guitar to Degas’s father who is listening intently.
The next day, I imagined myself, singing to one person who was listening intently. I had no need for egotistical concerns of ‘do they like my sound’ or ‘can they hear my guitar ok?’. Rather, I sang to a person who believed ‘your voice and guitar is enough’. This person had never heard 20th Century music, let alone a rock band. The world was a quieter place. This intimacy in performance demands Bel Canto technique and faith.
I recorded my attempt. I was pleasantly surprised. Giuliani’s Sei Ariette came alive. The songs were elegant. And, I was using a fraction of my voice. It was a revelation. Thanks to Degas.
I am a professional classical singer with strong crossover ability. I have been in the music business since my graduation from University in 1994.
In addition to singing, I have been trained to a high level in classical guitar and brass. My guitar playing enables me to self accompany; I perform professionally as a self-accompanied singer. My brass playing facilitates my playing of Taonga Puoro (traditional Māori instruments).
I have begun to focus on my YouTube channel now that my studio is full. I have called this channel 'The Complete Singer' because I am not only a singer, but also a teacher and singer-songwriter; I write songs professionally as well as for relaxation.
I believe that old fashioned singing techniques, developed over hundreds of years in Italy, should form the foundation of good singing. I practice exercises daily from books written by Garcia, Marchesi and Melba. In addition to these exercises, I add modern singing exercises. Therefore, this forms the basis of my teaching.
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Deborah Wai Kapohe 