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Acting in Plays, Singing/"re-training" the voice for American pop

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Expert: - 2/11/2009


Question
You mention in your informative profile that after singing Bel Canto, you retrained your voice. My 15 yr old daughter is a budding soprano, receiving classical training to expand her head voice, but she's interested in singing in a more "belty" pop /Broadway style too.  Can you shed some light on how you "re-trained" and incorporated new techniques with Bel Canto?
Thanks!!  Sandy in RI

Answer
Hello, Sandra –

Thank you for the question.

Classical training is not about expanding the "head voice".  Many people use the term "classical training" but not everyone means the same thing.  Classical vocal training is about preparing for a career in classical vocal literature which includes opera, the symphonic repertoire, art songs, oratorio, etc.  This variety of singer performs without a microphone in huge concert halls.  Our opera house here in San Francisco packs in more than 3300 patrons. Today's professional pop or Broadway performer works in a wholly-other set of circumstances and never without a microphone.

I trained in Bel Canto for more than a decade.  I studied and performed the Classical repertoire written for my vocal category.  I was already a pianist and an actor before my first voice lesson at 18.  Thus, I brought a lot to the table with my first vocal coach.  Within a very short period of time I knew I wanted to concentrate on opera and the concert repertoire.  My training included studying the three major languages – Italian, French, and German.  Comparatively speaking, each one of those languages has remarkably different sounds – and next to whatever variety of English you want to talk about – an endless list of subtle differences.  Classical training is about the performance of classical literature, anywhere in the world.  It has very little association with the commercial demands of musical theatre – including being the best dancer you know – and virtually nothing to do with any form of pop music.  Thus, "belting" is not something one lightly incorporates into Bel Canto.

If your daughter wants a career as a classical soprano, then her energy and focus must be directed toward getting into a world class conservatory such as we have here in San Francisco. If she wants a career in musical theatre, then she must be in love with the Broadway repertoire written for sopranos and be a fabulously-trained dancer.

As a professional vocal coach I work with a lot of former classical singers who want to move out of that literature and into standard and pop American music, including musical theatre. The adjustments are enormous and don't happen overnight.  It helps when the singer is on fire about the music and/or the roles that may be suited to them – just as they were when making the decision to pursue the Classical arena.

Bottom line – a theatrical singing career is based on opportunity and having what it takes to withstand the audition experience.  In the pop world, the singer is the Product.  Success is based on individual Identity and material they have written or has been written for them – based on their individual "sound" and sexual appeal.  None of them have an understudy.

I am a professional singing teacher and vocal coach in San Francisco.  When you want to book an appointment, contact me through Craig's List – http://sfbay.craigslist.org/sfc/lss/1030053071.html
I am also the fine arts critc for SanFranciscoSentinel.com.  All my articles and interviews provide a link to my personal e-mail.

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Acting in Plays, Singing

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Sean Martinfield

Expertise

I am a professional vocal coach in San Francisco. In addition to answers from a previous web site (Askme.com - where my "tag" was "VocalCoach") I have published over 2000 responses related to vocal training - particularly as it relates to Musical Theatre and Opera. I have 24 years of experience as Personal Trainer to singers and actors in the San Francisco Bay Area. I sang professionally for 20 years and know what it means to live the life of a musician. I can determine your voice category, i.e., Tenor, Baritone, Bass, Soprano, Mezzo-Soprano, Alto, Alto Belter, etc., and how to broaden and strengthen your range. Need an audition song for a Broadway Musical? I will give you suggestions that are appropriate to your vocal category and to requirements specified in the audition notice. I have also created a vocal methodology, "The Belter`s Method". It will enable those in Musical Theatre to practice more efficiently because it focuses on the demands of professional performers as well as to those auditioning for school and community productions, and as University and Conservatory performing arts majors. If what you want is a better voice and more control over your career moves and choices, contact me. Also, as the Editor of SanFranciscoSentinel.com, it is my privilege to review productions at the San Francisco Opera, Ballet and Symphony, as well as Broadway National Tours booked into San Francisco's Orpheum, Golden Gate and Curran Theatres. I also review works by A.C.T (the American Conservatory Theatre) and Magic Theatre. I cover select films, tributes and retrospects, and various international film festivals – particulary those booked into The City's opulent Castro Theatre – including the LGBT Frameline Festival, International Film Festival, Silent Film Festival, Jewish Film Festival, etc. For private vocal instruction, I can be contacted through SanFranciscoSentinel.com. Look under: Seán Martinfield, Sentinel Editor and Publisher.

Experience

As a vocal coach, I work primarily with singers and actors throughout the San Francisco Bay Area. My students range from absolute beginners to working professionals, from pre-schoolers to senior citizens. The vast majority of my clients come to me through recommendation. I know how to identify any singer's vocal category, i.e., soprano, tenor, alto, baritone, etc. I know how to muscle-up every singer's vocal range and to expand it beyond conventional definitions. I have developed a vocal methodology for those who want to know how to belt, THE BELTER'S METHOD. As a singer who spent half of his career doing Bel Canto, I know that classical or Italian methodologies do not work in Standard American music. Bel Canto cannot be "adapted" to meet the needs of contemporary American music, including the demands of the Musical Theatre. There are a number of major components to my work as a vocal coach. The first is to identify the client's vocal category and to strengthen and maximize the vocal range accordingly. Then it's about teaching a reliable vocal workout that will enable the client to gain better control of their musicianship. That includes scale work to expand the vocal range and to improve placement, breath control, and diction. Then we work on material for the audition portfolio, the immediate job or assignment, a recording session, etc. My task to is to better equip singers and actors who are hoping to or relying upon their performance skills and vocal endurance to maintain a career in the Performing Arts. My clients regularly appear in cabarets and musical productions throughout the San Francisco Bay Area. Some have worked in New York and gone on National Tours. For more information, Contact me at: Broadwaybelters@yahoo.com

Education/Credentials
San Francisco State University – BA in Theatre Arts; graduate work in Theatre, Philosophy, and Comparative Reiligion. Pacific School of Religion, Berkeley – Graduate work in Ethics

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