Expert: Sean Martinfield - 8/11/2009

Question
QUESTION: Hello there, I was on this website looking up information on the contralto voice and I was intrigued when I read in your "about me" that you can classify voice type. So I will "put you to the test..."

I am fourteen and have been training to be a classical singer for nearly four years. As of yet my teacher still wont classify my voice... but I am definitely either a mezzo-soprano or a contralto (He specifically told me I am not a soprano).

My total range is E2-C6, but its very hard for me to vocalise below Ab2, and also to sing the C6, so I count my range as Ab2-B5. My middle register starts at B3 and I go into head voice at E4 (Upper passagio at F5...). If its relevant I have sung a C7 using whistle register. I have a very heavy voice, but an abnormal ability to sing coloratura...

So far I have only performed three major roles in a professional production:
1)Angelina - La Cenerentola (Rossini)
2)Arsace - Semiramide (Rossini)
3)Bertarido - Rodelina (Handel)

I have also performed Arnalta... but thats not a very big role.

Given that you havent heard me I realise that it would be hard to "classify" me, but given my range and the roles I have performed what do you think I am?


ANSWER: Hello, Leila –

Thank you for the question.

No test here. At 14, I am very curious about the nature of the professional productions in which you have performed these three very different roles.

Total range translates to what can be heard in a standard size concert hall without the use of a microphone and at least with piano accompaniment. The vocal category is then proven through public performance of a variety of repertoire intended for it. Correct identification is never confined to the singer’s ability or enthusiasm to hit a certain series of notes within the course of an aria — and most definitely not at the age of 14.

You cannot include your Low E as part of your total range simply because you can access some variety of tone on a good day. The same is true with your High C. Anything above that, including something called the “whistle register”, is totally irrelevant.

You’re right. I will not classify your voice without hearing you and, more importantly, before working with you. If you were 5 years older with the same problems in your overall range and claiming the same repertoire, I would point out the obvious. The role of “Bertarido” is written for a countertenor. And with the growing surge and presence of young and stunning countertenors on the professional scene, you are now and would be in the future – wasting your time.

Given your range of Low A-flat to High B – what you must consider are the separate natures and vocal demands between “Angelina” and “Arsace”.  Angelina is a lyric mezzo-soprano. Arsace is a contralto. One voice does not sound like the other even though the roles share notes in common.

Versatility does not mean you are a novelty act – imitating sounds through a number of un-related roles. Even if your present capabilities with the aria from La Cenerentola suggested you would develop toward the lyric mezzo side, you must still expand your range and master the shifts in your voice.

That does not happen overnight. You’ll be the first to know the differences in your overall vocal texture six months from now, a year from now, two years from now.  That’s the simple impact of hormones whether you sing or not.

At 14, your vocal training should just be beginning. If you are attracted to Classical literature and, specifically, to the operatic world, then your goal for the next four years must be about gaining entry into the best Conservatory possible.

Start building your knowledge of repertoire, especially in the genre of art songs and symphonic literature. That includes the study of languages.

I am a professional singing teacher and vocal coach in San Francisco.  One of these days when you are in San Francisco and want to book an appointment, contact me through Craig's List. This week’s connection is: http://sfbay.craigslist.org/sfc/lss/1316992717.html
I am also the Editor and Publisher of www.SanFranciscoSentinel.com.  All my articles and interviews about the Performing Arts provide a link to my personal e-mail.

Download Carmen Milagro’s BlogTalkRadio interview with Seán Martinfield and jazz composer/pianist Terry Disley: Women and Legends Who Really Rock, 6/12/2009

Take a look at my You Tubes:
Lorena Feijóo - A Look at "Giselle" with Seán Martinfield
SAMSON & DELILAH – Meet Seán Martinfield
CA ACADEMY OF SCIENCES – A Preview Look with Seán Martinfield

Below are links to my recent interviews and articles about what's happening on San Francisco's cultural scene:

NORMA SHEARER – Hollywood Dreams Made Real
http://www.sanfranciscosentinel.com/?p=38082

JULIE & JULIA – Pleasing To The Palate
http://www.sanfranciscosentinel.com/?p=37855
SanFranciscoSentinel.com

THE EGYPTIAN (1954) – A Swords & Sandals Cultural Encounter at the de Young Museum
http://www.sanfranciscosentinel.com/?p=37554

JAMES JUDD – Whoop Click! Now At The Dark Room
http://www.sanfranciscosentinel.com/?p=37175

NEW CONSERVATORY THEATRE CENTER – Pride Season 2009/10
http://www.sanfranciscosentinel.com/?p=36938

FESTIVAL OPERA – Presents Charles Gounod’s FAUST
http://www.sanfranciscosentinel.com/?p=36850

SAN FRANCISCO OPERA Welcomes New Music Director – Nicola Luisotti
http://www.sanfranciscosentinel.com/?p=36453

DANCING WITH THE DRAG QUEEN STARS – Who will be crowned Champion
http://www.sanfranciscosentinel.com/?p=36249

SAN FRANCISCO JEWISH FILM FESTIVAL – Saturday and Sunday At The Castro Theatre
http://www.sanfranciscosentinel.com/?p=35970

JOHN BALDESSARI: A Print Retrospective – Now at the Legion of Honor
http://www.sanfranciscosentinel.com/?p=35799

L’AMICO FRITZ – This Week At Fort Mason
http://www.sanfranciscosentinel.com/?p=35659

JEWISH FILM FESTIVAL – 29th Anniversary Opens July 23rd at the Castro Theatre
http://www.sanfranciscosentinel.com/?p=35558

PATTY DUKE – Gala Appearance and Tribute at the Castro Theatre
http://www.sanfranciscosentinel.com/?p=35016

ANTHONY MEIER FINE ARTS – Presenting Work by Rosana Castrillo Diaz
http://www.sanfranciscosentinel.com/?p=34616

MONT ALTO MOTION PICURE ORCHESTRA – Accompanies Opening Night of the 14th Annual San Francisco Silent Film Festival
http://www.sanfranciscosentinel.com/?p=34306

14th Annual San Francisco Silent Film Festival
http://www.sanfranciscosentinel.com/?p=33250

SALLY KELLERMAN – Hot Lips for Hot Hits at The Rrazz Room
http://www.sanfranciscosentinel.com/?p=33009

TUTANKHAMUN – And The Golden Age Of Pharaohs
http://www.sanfranciscosentinel.com/?p=32878

DIANE BAKER –   Celebrating the 50th Anniversary of THE DIARY OF ANNE FRANK
http://www.sanfranciscosentinel.com/?p=32007

TOSCA - At San Francisco Opera
http://www.sanfranciscosentinel.com/?p=31546

LINDA BLAIR – With Peaches Christ, A Debut At Midnight Mass
http://www.sanfranciscosentinel.com/?p=31038

LORDS OF THE SAMURAI – Now At The Asian Art Museum
http://www.sanfranciscosentinel.com/?p=30916

AMANDA KING – AT THE RRAZZ ROOM, THIS SATURDAY NIGHT
http://www.sanfranciscosentinel.com/?p=30037

RENT: THE BROADWAY TOUR – Returns To The Curran Theatre
http://www.sanfranciscosentinel.com/?p=29872

WESLA WHITFIELD – At The Rrazz Room
http://www.sanfranciscosentinel.com/?p=29588

SPAMALOT – THE “MONTY PYTHON” MUSICAL THAT GOES LIKE THIS
http://www.sanfranciscosentinel.com/?p=29401

UP – IS UP UP UP AND AWAY!
http://www.sanfranciscosentinel.com/?p=29132

CAMERON CARPENTER – An Interview with Seán Martinfield
http://www.sanfranciscosentinel.com/?p=24462

AT LAST! – ANN HAMPTON CALLAWAY – An Interview with Seán Martinfield
http://www.sanfranciscosentinel.com/?p=27122

ANGELS AND DEMONS – A LIGHTWEIGHT CONTENDER
http://www.sanfranciscosentinel.com/?p=27338

MONTY PYTHON’S SPAMLOT – OPENS AT THE GOLDEN GATE THEATRE MAY 22ND
http://www.sanfranciscosentinel.com/?p=25339

CHAGALL AND THE ARTISTS OF THE RUSSIAN JEWISH THEATER, 1919-1949 – Now AT San Francisco’s Contemporary Jewish Museum
http://www.sanfranciscosentinel.com/?p=22321

SF LYRIC OPERA PRESENTS – RIGOLETTO
http://www.sanfranciscosentinel.com/?p=23090

Best regards,
Seán Martinfield

---------- FOLLOW-UP ----------

QUESTION: Hello again and thankyou for your response to my question. The productions in which I sang those three roles were with the State Operas 'Youth Opera,' for people under twenty-five.

That aside, I am already studying through a conservatory, doing "single studies." I dont know if they have that in San Francisco, (do they?) but it is basically instrumental lessons run through the conservatory, for people not currently studying music at the conservatory... but it isnt just for anybody, it is audition only, and for voice you can study bel canto or 'jazz.' Once I finish school I will study music performance there, or (if I can) stay with my grandmother in Rome, and study at the Academy of Saint Cecilia.

My range is most definitely Ab2-B6, and I try not to sing outside of that range in public, although I sang the E2 in public while singing the bass part of one of Gesualdos madrigals. I dont usually sing bass by the way... it was just an all female group, and I decided to sing what was written rather than sing up the octave.

ok, now to get to a new question. My teacher jokes and calls me Senesina, after the castrati Senesino, because of my ability to sing coloratura parts, and also the ability to sing very, very long phrases, but also because my upper notes (the A, B, and C) sound disconnected. If you listen to Podles sing Una Voce Poco Fa, when she was younger, when she sings the B, that is how I sound... maybe disconnected isnt the best word. Maybe "lacks depth and richness?"
Is it possible that this lack of richness will go away as my voice matures (like Podles), or are those just notes that are too high for me?


Answer
Hi, Leila –

Thank you for your response.

I am so happy to read of your studies. Just be patient and stick to the program of becoming the most informed musician on the block.

Your voice will be changing as you mature. At 14 – and with your hopes of Conservatory training – you are much too young to be freaking out about what may or may not be happening way-way down the road. Training is always in relationship to age and experience.

When you are three times your age – and singing the role of someone half that age – you will remember my advice.

Best regards,
Seán Martinfield