Thank you Peggy, Margaret and Kerubino,
I really had the same question in mind at one time and
I needed the reply that came from Peggy. I do believe
the more solid the technique the less sensitive I am
to criticism as well. I am very much a knock your
socks off personality as well and have found that
Peggy's advice is 100% correct. Growing in my
technique and understanding of the voice there is less
need to be sensitive and a great deal more confidence
in myself the more I understand and learn.
Thanks again Peggy,
s
--- Margaret Harrison <peggyh@i...> wrote:
> kerubiino wrote:
>
> > This may look like a frivolous question but it is
> not.
> > I have been wondering for a while what would be
> the ideal mental
> > constitution for a singer. I seem to have
> recurring difficulties
> > because I am a 'full throttle' kind of person and
> it affects my
> > attack (too heavy), my fortes (too loud) and my
> ego (sensitive to
> > criticism). I know these are areas that I should
> work at, but some of
> > it seems to be in my nature.
>
> No offense, but I think that's silly. When you've
> got your
> vocal technique in hand, and you will if you stick
> with it,
> you'll be able to manage your voice to express
> yourself in
> song the way only YOU can. You'll also be less
> "sensitive
> to criticism" when you have a better sense of your
> value as
> a singer. What you have to offer, which nobody else
> has,
> because there's only one YOU. This will come with
> time,
> good teaching/learning, and perseverence (which is
> not the
> same as patience).
>
> Is patience a virtue? It certainly can be. Or it
> can lead
> to complacency. I once took one of these management
> training courses, and in one self-assessment
> exercise this
> idea stuck with me, and I think it's SO true. Our
> strengths
> are also our weaknesses. In other words, what we're
> each
> individually best at can be our worst trait when
> taken too
> far.
>
> And I believe vice versa. Renee Fleming was in an
> Opera
> News interview with the great Broadway and cabaret
> singer
> Barbara Cook, and RF commented that her great
> facility in
> learning music has led her to take on too many roles
> too
> quickly, and she valued the way BC's lack of music
> "skills"
> forced her to work music as demanding as that
> written for
> Cunegonde in Candide into her voice by learning it
> note by
> note with painstaking repetition.
>
> (And to hear Barbara Cook sing live at the KC, as I
> did last
> month, I could believe it. Barbara Cook is age 73
> or
> something, but looks at least 10 years younger, and
> sang an
> hour-plus one-woman show, no intermission, with not
> a HINT
> of a wobble in her voice, no matter how low in her
> voice she
> sang, how soft or loud, or how high - a sustained
> high B
> Flat in one song 2/3 the way through the program was
> amazing. The audience went wild, and she commented -
> that
> was a good note, wasn't it? When I was young, they
> used to
> pop them right out. But now I have to think about
> it. AND
> she can communicate song text like no other singer
> in
> English can today, classical or pop, in my opinion.)
>
> Peggy
>
> --
> Margaret Harrison, Alexandria, Virginia, USA
> "Music for a While Shall All Your Cares Beguile"
> mailto:peggyh@i...
>
>
>
>
>
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