Voice lesson update
Oct. 22nd, 2007 09:56 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
rhuTonight was my first lesson in the songbook rather than the Vaccai exercise book. I had prepared Alma del core (Caldara), which is a beautiful aria.
Good: My teacher complimented my attention to technical detail, such as following the written dynamics and maintaining breath support all the way to the end of the long held notes at the ends of phrases. Yay, me! (These are the sorts of details which drive me crazy when my choral brethren and schwestren neglect them, so it's good for the ego to find out that I am in fact as punctilious about them as I thought I was.)
Needs work: Technical accuracy will only get me so far. I need to discover the passion of the lyrics so that I can turn the artifice into art. I need to turn the technique that I am consciously executing into subconscious muscle memory to make it seem effortless, and so that I can devote my conscious mind to the interpretation of the music.
For next week I'm supposed to prepare an even more passionate text, Amarilli, mia bela (Caccini) which will depend a lot on my mastering two things: an emotional pathos underlying the breathing, and baroque ornamentation.
My teacher is eager to have me consider signing up for a recital, perhaps performing a duet with another of her adult students. That's awfully flattering, but at this point I think it would be a distraction.
Good: My teacher complimented my attention to technical detail, such as following the written dynamics and maintaining breath support all the way to the end of the long held notes at the ends of phrases. Yay, me! (These are the sorts of details which drive me crazy when my choral brethren and schwestren neglect them, so it's good for the ego to find out that I am in fact as punctilious about them as I thought I was.)
Needs work: Technical accuracy will only get me so far. I need to discover the passion of the lyrics so that I can turn the artifice into art. I need to turn the technique that I am consciously executing into subconscious muscle memory to make it seem effortless, and so that I can devote my conscious mind to the interpretation of the music.
For next week I'm supposed to prepare an even more passionate text, Amarilli, mia bela (Caccini) which will depend a lot on my mastering two things: an emotional pathos underlying the breathing, and baroque ornamentation.
My teacher is eager to have me consider signing up for a recital, perhaps performing a duet with another of her adult students. That's awfully flattering, but at this point I think it would be a distraction.