Do a little every day. A few minutes is enough, if you stick at it. john
At 07:57 PM 7/9/00 -0500, you wrote:
>And on the flip side, if you cannot sight read well in an audition, don't
>figure on getting called back no matter how well you thought you sang &
>how complimentary the "auditioneer" was about your singing &/or
>repetoire. I can sight read okay until my knees are knocking in an
>audition. Any suggestions as to how to overcome that would be welcome!
>
>Pat
>
>On Thu, 29 Jun 2000 20:34:09 -0400 Naomi Gurt Lind <omigurt@s...>
>writes:
>> I've enjoyed the discussion about what musical skills (sight reading,
>> score
>> reading, piano, etc.) a singer should cultivate. Isabelle, as
>> always, your
>> question shows a high degree of professionalism, motivation, and
>> intelligence.
>>
>> One point that may have relevance to some of you: this discussion
>> has
>> focused mainly on the ambitions of the opera singer to function well
>> at the
>> big-house level. A difficult truth is that many highly-qualified
>> singers
>> do not have the opportunity to work in that context. Many of us do
>> freelance work and even some professional choral singing. (I know,
>> I know,
>> some of you are saying you'll *never* sing chorally, it's terrible
>> for your
>> voice, you're the best singer in your conservatory and you'll
>> definitely be
>> solo all the way. I hope you're right but remember that everyone
>> else is
>> saying the same thing to him or herself!)
>>
>> Anyway, in the context of a freelance career, sightsinging skill is
>> *imperative*. And to the extent that pianistic ability helps you
>> learn
>> music quickly, it too is imperative. I won't bore you with war
>> stories,
>> but I can say honestly that my musicianship (sightsinging in
>> particular)
>> has gotten me jobs, even when I was less than ideally prepared for
>> auditions.
>>
>> It's something to think about, anyway.
>>
>> Naomi
>>
>>
>>
>>
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John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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