The most important reason to study Garcia is to develop an easy way of singing. His method is common sense and natural. There is no forcing or using silly tricks. Garcia’s singing exercises, if practised with determination, provide everything that is needed for singing. His singing books are available free on the internet. Here isContinue reading “The most important reason to study Garcia”
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Sustainable Operatic Singing vs Unsustainable
Here are three examples of my singing. The first two examples are sustainable. I can sing for hours on end and the next day I am ready to sing again. In fact, the first example is basically sight singing and was recorded at the end of hours of practice. The voice is as fresh asContinue reading “Sustainable Operatic Singing vs Unsustainable”
What sort of tone should an Opera Singer make?
Over Lockdown, I tore my vocal technique apart. I questioned everything. Changed a lot. Kept a lot. Fortunately, I was taught well and, even though I didn’t grasp everything at the time, my past teachers’ words are in my ears. Now, I am putting the pieces together to form a whole. How do I knowContinue reading “What sort of tone should an Opera Singer make?”
Demo of page 71 of Garcia’s ‘Art of Singing’
On page 71, Garcia teaches us how to sing plain passages. In this post, I am going to try out his instructions on a short passage from Lucia’s Mad Scene. See the audio files below. Plain Style Garcia writes, on page 71 of his Treatise, ‘”..chief resources are – steadiness of voice, true intonation, choiceContinue reading “Demo of page 71 of Garcia’s ‘Art of Singing’”
Tracing Porpora
In 2021, I will be performing live. All of these concerts are building upon the techniques I am studying in historical vocal pedagogy. These live concerts are listed on this website. One of these concerts is called “Tracing Porpora”. This concert will be performed in May 2021, with Dr John Linker at the Christchurch TransitionalContinue reading “Tracing Porpora”
Using the phone to improve singing
South Africa has seen one of the strictest and longest Lockdowns in the World. Since Covid-19 began to isolate us all, I have used this time to refresh my voice. Alongside the historical pedagogy, historical recordings and my own insights from practice, I have used the phone to record every note. In this way, theContinue reading “Using the phone to improve singing”
Don’t overthink!
This week my singing reached a new stage. A stage I never thought possible. I sang through the 17 minute Mad Scene from Lucia di Lammermoor in the studio effortlessly. Even faults evident in my Lockdown Concerts earlier this year had disappeared. There was no tension. To my ear, as I sang, I sounded kindContinue reading “Don’t overthink!”
To whom, am I singing?
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 ofContinue reading “To whom, am I singing?”
Becoming an Opera Singer – planning
I am enjoying a book at the moment called “Great Singers on the Art of Singing” by James Francis Cook. One of the fascinating things I am noticing is that some of the Great Singers were self-taught. Galli-Curci, pictured above, one of the greatest singers of all time, was largely self-taught. Other examples were CharlesContinue reading “Becoming an Opera Singer – planning”
Practising
If practice is left for any odd minutes when you do not particularly want to do anything else, you will never get very far. Dame Nellie Melba, Melba Method, page 14. During Covid-19 I have begun the steps to transform myself into a coloratura soprano, mainly for the purpose of retraining myself into the 19thContinue reading “Practising”
Deborah Wai Kapohe 