AboutPamela Thomas Expertise Questions on Opera performance, repertoire, vocal technique, acting for opera. I have some 20 years experience in opera in both leading roles and chorus. I have sung with New York City Opera since 1981. I have studied voice in NYC for over 20 years and have also taught technique and coached singers in acting.
I am a college voice major (freshman) from South Africa, my fach is lyric baritone. I recently changed teachers and have noticed a big difference in technique which I was hoping you could clarify for me and other AllExperts users :
I was originally trained to lift the soft pallate, open the throat and place the sound high and forward in the mask - my teacher always said 'follow the buzz when you sing', referring to the sensation of the sound resonating in the mask. My new teacher does not allow lifting the soft palette or placing the sound, claiming that this is against the principles of Bel Canto singing. Instead, he suggests that i should allow the sound to place itsself, resonating in the chest on low notes and in the throat and head for high notes automatically. He emphasises support and the italian vowels as the most important aspects of singing.
The problem is, I think my sound has become very dull and 'throaty' using these new techniques, and I struggle to sustain notes. Also, it is very hard on the voice and I find myself having a sore throat after a lesson or after reheaersing. Could you clarify which technique is more widely used, and which is recommended for classical voice students? In South Africa, my old teacher is a lot more famous (and younger) than my new teacher, and he was trained in the US and Italy, whereas my new teacher was trained in Germany. Perhaps there are different styles of opera singing in those countries?
Thank you very much for taking the time to read my question!
Answer Hi Stephan,
Given what you've said about your teachers as well as your response to their techniques - I would go with your first teacher. I don't think you should have a sore throat or struggle to sustain notes if you are singing correctly. While I don't believe in forcing everything into the "mask" you do need that resonance to sing correctly. But you also need the palette up and the larynx down and the throat and jaw relaxed to open the voice and "round out the sound". It sounds like you need another teacher who can put the 2 ideas together.
I don't think about "placing" the voice. But I do use chest and throat resonance along with the "mask" resonance. If you voice is too far back in your throat - try singing with your upper teeth showing - so if you are singing a vowel and your upper lip covers your teeth - if you uncover them I think you will see a chance in resonance.
But really, are there other teachers you could investigate? However, I haven't heard you sing so it is hard for me to really see what you are doing... but given what you've told me I would go with your first teacher for now.
