Expert: Sean Martinfield - 7/18/2006

Question
My 14 year old daughter's interested in musical theatre, has a beautiful, high soprano voice and has been studying with a "classical" teacher.  She's been strongly advised to get a different kind of vocal training for "broadway" singing which includes "belting" and stretching your range.  Her classical teacher, of course, opposes this adamantly.  Can you help us understand these different approaches to vocal training/technique and whether a classical teacher is the wrong choice for someone solely interested in musical theater.  Thanks!

Answer
Hello, Cathy –

Thank you for the question.  My apologies for the delayed response.

Given that your daughter is 14, there is no single right or wrong answer to this question.  If your daughter were my client it would be because you and I had already had this discussion – and because we had included the following considerations.

If your daughter is interested in trying out for her high school's forthcoming semester's musical production (also assuming she knows what the musical will be), then my job is to get her ready to audition for both the available soprano role(s) and the soprano ensemble.  An audition generally includes having two selections, i.e., one ballad and one up-tempo, prepared and ready to be presented.  Ideally, they are by the same composer of that show or one who writes in a similar vein.  In this case, I am going to verify that she is in fact a soprano and, if so, provide her exercises to strengthen and balance her soprano range.  I will then coach her through her audition choices.

If you and your daughter are among those musically-oriented-families where (for generations) everyone is highly experienced and degreed and with scrapbooks piled high all over the house (as are their friends and associates, etc.) and – again at age 14 – through much exposure, recordings, going to performances, watching PBS broadcasts, blah-blah – she is determined to become a star in Musical Theatre, then it's because she KNOWS the Broadway Soprano repertoire and would rather die than not be able to sing it.  In this case, I am STILL going to verify that she is in fact a soprano and, if so, provide her exercises to strengthen and balance her soprano range.  I will then coach her through all of that repertoire and – assuming the high school has something scheduled where she can apply her training and enthusiasm – I will get her ready to compete against all the other sopranos – bearing in mind that the Senior sopranos are going to have first crack at the Lead Roles, etc.

On the other hand, given the same above "family scene", if your daughter is determined to sing "Mimi" in LA BOHEME (or any other familiar or "standard" operatic soprano role) then I am going to have both her and you understand that what really-really has to happen is that she first become the best musician in town.  That includes knowing how to read music and to be able to play the piano.  She must be able to play her own melodic line and to understand and apply Music Theory 101.  Without this fundamental knowledge, you and she will be forever in a money pit.  I would also demand that she be involved in a regular and structured program of athletic activity, i.e., track, gymnastics, soccer, etc., and dance.  Without the discipline, figure and strength of an Olympic Centerfold – she will never be able to compete for a scholarship to a world class conservatory (such as the one we have here in San Francisco), because, as my first private vocal coach used to say, "Sopranos are a dime-a-dozen."

Then I'm going to insist that she start studying French, Italian and German.  The vast majority of Classical Training is dependent upon absolutely perfect pronunciation of whatever language, including English, in which the material is set.  Then it's about finding every opportunity in town where she can perform as a "Classical Soprano" and preparing her / aligning her with Organizations affiliated with the nearest resident Symphony, Opera and Conservatory.  Here in San Francisco, that would be the San Francisco Girls Chorus.  I promise you – the most amazing group of young women she would want to join and you to support.  In addition to their own concerts, the Girls Chorus performs and records with the San Francisco Symphony – itself at the top of the world's best.

Bottom line – it's always about the available opportunity, acquired skills, and the ability to compete.  There are some Broadway/Operetta soprano roles, i.e., "Marian" (THE MUSIC MAN), "Cunegonde" (CANDIDE), "Marsinah" (KISMET), "Magnolia" (SHOW BOAT), "Johanna" (SWEENY TODD), etc., where exposure to "classical training" can certainly be useful.  But, those opportunities are few and far between and a Broadway Soprano will always be on the verge of starvation and forever living with you while waiting for such opportunities to come along.  Again, she must be equally adept as a dancer.  Without superior dancing skills, no matter the voice category, she will never get past the dance audition to then go to the singing audition.  Moreover, if she could ever land such a role, and as an Equity performer, she is still looking at the lowest paying job in all the Performing Arts.  Given the current Broadway scene and the Popular Music Business in general, such a life would be the last I would wish upon anyone with a "beautiful, high soprano voice".

All of the above is in relationship to (possibly) being a soprano – even at 14.
Have you ever watched the musical films starring Deanna Durbin or Jane Powell?  Very young film star sopranos.  Watch the early films of Jeanette MacDonald – LOVE ME TONIGHT, THE MERRY WIDOW, and ROSE-MARIE.  Also check out the musical films of Ann Blyth – KISMET, ROSE-MARIE (re-make), and THE STUDENT PRINCE.  Again, classically-oriented roles – but, seldom if ever done.

Who knows what the future holds in terms of budding composers writing for legitimate sopranos?  On the Broadway scene – I wouldn't build my life around it if I were her.

If at 14 your daughter demonstrated the range of a Standard Broadway Alto and would rather die than not sing the repertoire of all Standard Broadway Altos – including the roles designated to Alto Belters – and, again, the collective YOU is this informed musical family and everyone agrees that "Opera is just not in the cards for this girl", then we would not be having this discussion.  In this case, the last person to coach your daughter is a "Classical Vocal Teacher".  They don't get it.

The voice of "Classical Singers" is trained in time-honored European-based methodologies enabling the singer to fill a 3,000+ seat Opera House without a microphone and soar above a complete orchestra blaring in front of them – and for concert situations, behind them.  They must have excellent foreign language skills and be versed in a wide-variety of Classical Repertoire.

The voice of contemporary Broadway singers goes into one (sometimes two) body mics.  Many of these same singers could also succeed in the very latest of Pop/Rock.  None of them can or want to cross the street to sing "Madama Butterfly".


Most sincerely,
Seán Martinfield
Music & Theatre Critic, THE SAN FRANCISCO SENTINEL:
http://www.sanfranciscosentinel.com/news_in_brief/martinfield_060531.shtml
E-Mail: http://www.geocities.com/broadwaybelters