Expert: Sean Martinfield - 6/20/2010

Question
QUESTION: Hello, I am a 21, almost 22 y/o aspiring opera singer. I have been singing as an amateur my whole life and started my classical training about 2 months ago. My voice teacher is my music teacher at my community college and she is amazing. I have never felt better about confidence in my singing. Now, we are starting to work on basic art songs for my upcoming audition for an undergraduate music school entrance audition.

I sing tenor in my choral (again, she is my choral teacher as well). However, within the last two months of vocal lessons, she insists that I am a baritone. A very high, lyrical one, she believes (not 100% sure, because 1.) My age, 2.) my lack of vocal training). She said she will start giving me low tenor songs to work with later to work with. The thing is that I believe am indeed am NOT a baritone of any caliber, but in fact a true leggiero tenor. Even before starting to be vocally trained I was studying vocal pedagogy on my own. And came across many reputable articles of the uniqueness of the leggiero tenor voice. Practically everything she explained screams what these articles say. Many leggiero tenors are indeed "misfached" as lyric baritones or dramatic tenors because of their strong chest voice registers and I can go surprisingly quite low, to a low F says my teacher. My teacher says I "flip" into falsetto when I am around high G, G-sharp/A-flat. When i am indeed singing in full-voice. It was always hard for me to go high because I used my stronger chest voice, etc.  

http://operalab.org/archives/1841
http://www.voiceteacher.com/leggiero_tenor.html

Here are some of the articles I have read.

My plight is what I should do. I trust her judgment she as indeed a wonderful voice teacher, but even a great teacher can overlook this voice type or any for that matter. Should I just let the "chips fall where they may"? Let her feel out my voice more? Or should I eventually say something? I know I just started and everyone has there own opinions but I don't to be misfached and have my voice be destroyed in the future. Thank you for your help.

ANSWER: Hello, Antoine –

Thank you for contacting me. I appreciate all the information.

You will never be satisfied until you get a reputable second opinion. Start at the top.

Is there a major league opera company near you? Is it associated with advanced training programs? Here in San Francisco we have the Merola Opera Program and the Adler Fellows. Both are highly competitive opportunities. Some of the singers have professional representation. All of them have degrees in Music. Whenever possible, they are worked into the Opera season's calendar, appearing in a variety of supporting roles. They also cover lead roles.

It's all about being properly trained. It's all about being totally versed in the roles that you will most likely sing in the World Class Arena and those you can get away with in smaller venues. The ultimate Answer about your true vocal fach must come from the public performance of the repertoire written for it. For example, at an audition or vocal competition. Against very-sure baritones and tenors of all stripes. The tenor leggiero and the lyric tenor know what repertoire they share in common. When it comes time for contract negotiations, their agents say "no" to a role that is not within their client's true (as in, universally recognized) vocal fach. Simple.

You are nearing 22. It's not too late too start, but it's way-past fooling around time. Most aspiring opera singers your age received their undergraduate Degree this month. Let me give you permission to hold onto your money. Stop giving it to someone you don't completely trust. While you're weighing all this out – consider the advantages of working with a male coach. There is a whole wealth of information a fellow tenor can share with you during a one-on-one coaching session.

I am a vocal coach to working singers in the San Francisco Bay Area.  When you want to book an appointment, contact me through Craig's List. This week’s connection is: http://sfbay.craigslist.org/sfc/lss/1784488999.html. I am also the Editor and Publisher of SanFranciscoSentinel.com. All my articles and interviews provide a link to my personal e-mail.

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Best regards,
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---------- FOLLOW-UP ----------

QUESTION: Thank you for the reply and helpful information.

So you would suggest seeing a male vocal instructor. Does he "have" to be a tenor? I'm guessing you would advise to find a voice teacher that I can fully trust? Also, if what you mean by "advanced training program" in a local opera house is like a young artist program then, yes, there are some. But I might to late for this season and would have to wait a few months for the new season to start. And, as you stated at my age, I shouldn't be fooling around, you have any advice on what I should do to "catch-up" towards other that are more trained than I? Thank you.

Answer
Hi, Antoine –

Thank you for getting back to me.

From your previous question – you seem to be on the right track. You are trying to get into a music school. You know the requirements for the audition. Is your material competitive? Have you performed it somewhere else? Does it truly demonstrate the best aspects of your tenor range? Are you ready to take the Music Theory test?

I know that most music conservatories discourage outside coaching and will fire you if you break that contract. If you get accepted into the school, then that solves the problem about how to handle your situation with your present teacher.

At some point, a tenor needs to work with another tenor.

What is Plan B? What will you do this coming fall if you are not accepted?

Keep studying the repertoire. The more you know about the vocal demands of the repertoire and the singers who have succeeded with it, the better-equipped you will be for making a plan and dealing with all kinds of decisions and choices.

My very best to you.

Seán Martinfield
SanFranciscoSentinel.com