At the closing Liederabend of our 2018 Vienna: Language of Lieder program (in the Bösendorfer Saal of the Mozart “Figaro” Haus), I gave our ten brilliant students the following ten “gifts.” At that time (June 23, 2018), the list was delivered as a monologue. Here it is written and revised, for your consideration.
[NB: These tasks are sequential; each is to some degree dependent on the previous ones.]
- Commit to and enjoy the challenge of consistent, progressive work on yourself and your skills. You must be in it for “the long haul.”
- Become the strongest musician you can possibly be. This effort must be constantly addressed, and complacency must be avoided. Mastering another instrument (e.g., piano) and exploring that repertoire will make it less likely for vocal issues to distract you from honestly evaluating your musicianship. Much of what is perceived as vocal problems is actually a “software failure,” in that the voice is not given clear commands by the inner ear, due to weak musical skills. In other words, don’t always blame bad singing on poor vocal technique.
- Read as a poet, not in a monotone, non-personalized voice. Merely pretending to be expressive puts you on track for specific interpretive choices. You must choose to be expressive in order to express.
- Enjoy the ongoing discovery of interplay between text and music, the essence of meaningful, effective, and beautiful singing. Never be simply a “sound machine.” Yes, there are times in vocalization (at every level of development) when the sound itself is explored, but this kind of work is not a final stage.
- See the page, hear the music, feel meaning, release beauty.
- Commit to artistic choices. The willingness to do so reflects and requires personal courage.
- Be willing to take risks.
- Enjoy the sound of your own voice, and how it feels to release your own, authentic sound. Merely making the appropriate sound is not enough. The sound of the voice itself is a major vehicle for expression, not only specific musical/textual choices.
- Know your technique(s) so well that you almost never think about it in performance. Performance is not about working hard, remembering to push all the right buttons.
- Know yourself so well that you need “check in” only occasionally. It is the immature and undisciplined artist who constantly disappears from the audience’s view in order to search for him/herself. A secure artistic foundation is a base of operation, constantly supporting the performance.
BONUS: Repeat frequently.