That pretty much sums up the Bel Canto Chorus 2011 Tour to South America. OK, well, there is a lot more to it than that, so here's are a few of the highlights--of which there are so, so many!
Day 1: Arrival in Buenos Aires, Argentina and transfer to Colonia, Uruguay. Our first dinner was a lovely buffet of quiches, salads, and interesting small dishes. We ate, we drank, we laughed and got acquainted, and then we found out there were two more courses. Uff-da!
Then it was on to Montevideo, Uruguay! During our city tour of Montevideo we stopped at the Mercado del Puerto for a meal and I was greeted with this rump steak (pulpo) and grilled pepper for lunch. For reference, the red pepper was the size of my hand from the wrist to my fingertips. Not only was it the best steak I've ever eaten (without exaggeration!), but Coca-Cola there is made with real sugar and tastes fantastic! Yum!
Our concert in Montevideo was in the Teatro Solis with the Orquesta Filarmonica de Montevideo. It was a fantastic concert AND it was almost sold out! This was the first of four concerts and we really had a lovely time in Montevideo.
From there it was back to Colonia for a concert in the Bastion del Carmen theater, where we were greeted by two songs from a local choir and sang a second, sold out concert which included Faure's Requiem and a set of Americana, spirituals and folk songs.
Colonia is really a beautiful place and it was a pleasure to be there for a second time. There is a lighthouse in the city that you can climb up and take some fantastic pictures. I'll leave you with this picture for today and look for my next post about South America. It's hard to put such an amazing experience into words.
In choral singing, voice parts are normally listed as soprano, alto, tenor, and bass. A four-part, mixed voice choir is frequently referred to as an 'SATB choir,' where SATB is short for soprano-alto-tenor-bass. So if SATB is for a chorus of women and men, what do you think an all-women's chorus would be? Take a guess--and read on! It's an 'SA choir,' or an 'SSAA choir.' However, since all of these women's voices are notated on the treble cleff, a women's chorus is most often referred to as a Treble Choir.
You'll remember from my previous blog post that voice classification in individual singers is somewhat different than the names of voice parts in a chorus or ensemble. However, when we get to bigger concert pieces, like the Mahler Symphony No. 2, the score (sheet music) lists the soloist's voices like the choral voice parts.
Let's use the Mahler Symphony No. 2 as an example. It calls for an orchestra, an SATB choir, a soprano soloist and an alto soloist. A soprano soloist sings the soprano solo and a mezzo-soprano then sings the part of the alto. A true alto, a contralto, can also sing this part, but as you read last time, there aren't as many true contraltos as there are mezzos and their ranges are similar. That's why mezzo-sopranos so frequently sing alto.
Which is exactly what I do. I am a mezzo-soprano (my voice classification), however I sing the alto part in many oratorios and concert pieces. I sing the alto solo in Handel's Messiah, in the Pergolesi Stabat Mater, the Mozart Requiem and in Bach's Christmas Oratorio.
There are scores in which the composer calls for a mezzo-soprano soloist, in which case it's pretty clear: a mezzo-soprano sings the mezzo-soprano solo.
Do you have a question about voice parts, singing, or music? Email me and I'll answer it here on the blog!
There are times in life when I am absolutely certain, beyond a shadow of a doubt, that music, singing, movement and dancing, are how we heal ourselves. Most times it's so enjoyable to sing in a concert or to take in a performance that it's not conscious, it's not a conscious choice that you or I would go to a concert or trot off to a gig with the idea in mind, "Today I will heal people. I sing so that I may heal others." Sometimes, sure, when I know that a person who is having a hard time is attending a concert I'm singing, there is a line of thought throughout my performance that runs along...."these notes, this singing is for my friend...she shall be healed, she shall be whole..."
Most of the time, I think of the beauty of the people sitting in front of me and I wonder at their ability to take in the music, to restore their souls, to be filled by and to fill up with the music. Time gets lost and we all get lost in the music together.
Let's jump back in time for a moment. In August of 2001 I moved to New York to begin my Master's Degree in Classical Voice. I moved into a dorm room on the 14th floor of the dorm; I looked out my window and took in the magnificence of the George Washington Bridge every night. It was beautiful. Orientation finished, the school year began, and I signed up for my Opera Studio audition.
On September 11, 2001, while one plane crashed into one tower of the World Trade Center, I was half asleep. I got up and went to my friend's room to check my email and she told me that a building downtown was on fire. I thought of the NY Fire Department and their fine reputation and was comforted for the people in the building. From where we were, several miles away on the 14th floor, it didn't look as bad as it really was. As I wrote, emails from friends started to come in. They were short, very odd. "Are you OK? What happened?" "What's going on in New York City?" "Are you in Manhattan?" I heard screams from the next room and naively wrote to a friend,
"I'm fine! New York is interesting but I haven't seen much of it yet. People just screamed in the next room and there's a building on fire downtown, I need to go find out what's going on. I'll write more later."
As I walked to the room next door, I didn't know the first tower had just fallen. I didn't know I would spend the entire day there, glued to the television. I didn't know our dorm would be locked down and we would be witness to the streams of thousands of people walking up Broadway, trying to get home. I didn't know I would see taxis racing up and down Broadway all day long. I didn't know we would be watching the television as the second tower fell. And when we looked out the window, that it would be gone. And the sky...empty.
Despite the endless, oppressive presence of fear, school opened again two days later, we were allowed to leave our dorm, we went to our Opera Studio auditions, and we began to talk, at least a little bit, about healing. Denyce Graves sang at a televised memorial service in Washington D.C. and we wondered how she could ever get through it. The group of students in Opera Studio gathered and somebody said something about being so solid in your performing that you just do it, technically, or something.
I didn't get it, and I wondered how a singer could ignore her emotions and just sing? We saw some quivers in Ms. Graves' hands, we saw the focused concentration--she was grieving and healing right along with us, and it was anything but purely technical. I wondered how she felt inside.
Now I don't wonder anymore. I've been asked and have accepted to sing the Mozart Requiem on September 11, 2011 and it's been running through my mind all week. Now I have no doubt about how important it is to sing in order to heal, to grieve, and to move through whatever needs to be moved through. Now I know that singing is as vital to memorializing and grieving as water is to life. Now I know that there is so much to be sung and to be expressed and healed through music itself--that hearing music puts people at peace and calms their troubles. Music holds their hearts in a sacred time and space. Singing is a way to reach out to thousands of people at one time and put my arm around all of them and say into their ears, "It's going to be OK. It will all be OK. We are in this together and we will be OK."
YES! Just like the organist at your wedding, your child's piano teacher and your high school choir teacher, singers get paid for singing.
Singers add a special emotional, spiritual element to many occasions and they may already be working in music positions you're not aware of. Did you know that many church choirs have section leaders in the different voice parts? And that many private parties hire singers and other musicians for cocktail hours and general entertainment?
Here's a sampler list of all the different work that singers do:
- private voice lessons
- church & temple services - as soloists, as paid section leaders, as guest musicians, as choir conductors...the list goes on!
- funerals & memorial services
- receptions, both private & public - from jazz to pop, some singers sing it all!
- orchestral concerts - from symphony orchestras to chamber orchestras and from chamber ensembles to community orchestras
- educational outreach - many singers earn their entire living with fascinating programs in schools and libraries
- concerts in-the-park
- rock bands
- singing the national anthem at sporting events
- making recordings
- voice-overs & jingles
- ensembles - this can range from multi-voice ensembles like Cantus, to small ensembles for weddings and memorial services
- community choirs - conducting & administrating
- other instruments - many singers also play another instrument and many also accompany their own students in recitals and at competitions; you remember Solo & Ensemble, don't you?
- piano tunings - every piano needs a tuning at least once a year
Remember, this is just a beginning list of all the work that's out there for singers. Can you think of other work singers do? Email me and I"ll blog about it!
This is the #1 question I get asked by concert audience members and people I meet on the street.
Let's start with choir voice types. In a choir, people sit in sections: sopranos, altos, tenors, and basses. You’ll probably recognize the names soprano and alto from choir in school. This is different from an actual voice classification, as there are more of those than there are choir voice types.
There are three voice classifications for women:
- a soprano (the highest)
- a mezzo-soprano (in the middle) and
- a contralto (a/k/a alto).
So think of a mezzo-soprano as being able to sing Alto I or Soprano II and fitting into that place in between.
Sopranos are typically comfortable singing higher pitches and also for longer periods of time. Mezzo-sopranos can also sing high, but not always quite as high and mezzos may find it more challenging than a soprano. Mezzo-sopranos also sing lower than a soprano and for longer periods of time. Contraltos sing even lower than mezzo-sopranos but true contraltos don’t sing nearly as high as mezzo-sopranos and sopranos.
Also, every woman’s voice ‘shifts’ differently between the lower, middle, and upper registers (think of those like the low, middle, and high gears of a car) and some singers experience their voices in two registers, or maybe just one! Just as the clutch is different on every car, each person’s voice 'drives' and ‘shifts’ differently.
Do you remember singing in choir in school and there was always that part of a song that went higher, but it wasn’t comfortable until you sang even higher? That’s the part of our voices where we need to ‘shift’ and that is called a passaggio, an Italian word meaning ‘passage.’ Singers practice a lot so these passaggi (the plural of passaggio) aren’t too obvious for the listener.