A short blog as I’m currently rehearsing for a recital in Leicester Cathedral today. We’re going to be giving our Italienisches Liederbuch today! Incredible songs.
Thinking about my love of German song leads me to think of an older singer, an amateur baritone that sang many principal roles when I was a kid for the local amateur societies. I would sing at the back of the chorus and Terry Wheatley would sing the main role.
He came from a family of singers-famous pros who had glittering careers. Terry stayed amateur. It was he whom I first heard sing Schubert’s Winterreise, that has led to a lifelong obsession. His Nabucco showed me that a Verdi Baritone must be noble in sound.
But what I remember most about Terry was how he would get to the rehearsal early, sit down with his glasses on his nose and study the score. He never wasted anyone’s time fluffing words or telling daft stories. Never late, always reliable.
He was a smart singer.
Whatever it is you’re attempting to do in life, it’s a pretty safe bet there are many other vying for your position. Some of us are born with enough talent to allow us to mess around during our training and still achieve all we set out to do. But not many folk are so blessed. Surely it makes sense to try to work out where we can score an advantage! For us singers, it’s all about being smart, about being the sort of singer people want to employ, be around etc.
Those lucky people you see on the stage/screen/wicket etc are not there solely because of hard work-they are there because of the right kind of hard work!
Being a smart singer is everything for us who wish to make it a profession. Here are a few tips from someone who isn’t known for intelligence, but tries hard...
(In no particular order, just random thoughts...)
Being prepared and being known to be always well prepared.
When sick not running to the rehearsal, stressing everyone out, having an announcement, putting your colleagues through hell and somehow-miraculously-singing better than ever and getting the huge applause from the audience for your bravery, whilst guaranteeing the promoter/opera house/conductor will never book you again.
Always bring a pencil to a rehearsal with the conductor. Even if he/she’s an idiot. They often do the hiring/paying.
Trying to get on with ALL of your colleagues.
Being nice to the people that write the cheques.
Learn music early enough.
Cultivating money earning opportunities. After that Saturday Messiah write to the choir, congratulate them and express a wish to sing for them again.
Not constantly posting abusive nonsense on Facebook. Nor believing that all the world shares your politics. Understanding that your public face is that-public. Also, not posting too much!
Not always singing every rehearsal, screaming through the sitzprobe, and then being voiceless when it matters... (you’d be amazed how many times this happens, and then the announcement is needed, everyone gets stressed and (of course) the singer is fine...!)
Live life to the full, be interested in all
around, enjoy parties and socialising etc. But don’t turn up to a show or an important rehearsal hungover and scratchy of voice! Also, for your career it’s probably not best to be known as a ‘lad who can hold his beer’...
Conversely don’t be a nun/monk and lecture everyone around you about healthy living. Just look after yourself.
Be nice to colleagues. Even the annoying ones.
Listen in rehearsals. Don’t treat being paid to sing as a bit of a jolly, but as a job. Dress smart enough to not look like a slob, but don’t turn up to a dance rehearsal in high heels.
Develop a second skin, a singing personality. Don’t be insulted, touchy. If you feel stress rising, retire to the loo and punch the wall. Don’t be a diva/divo.
Be nice to everyone in the theatre. The prompter or the cleaner is not lesser than you. We are all parts/cogs in a glorious machine.
On a Saturday oratorio gig, if you’re fit and healthy sing a bit of the afternoon’s rehearsal facing the choir. Let them hear what they’re getting. But don’t over-sing so theres nothing left for the evening.
Don’t loudly moan about the fee.
When a rehearsal is done, and you’re getting your notes from the director, please don’t argue every point! Or don’t discuss every point he or she makes. But DO write them all down and remember them ALL! There is nothing more boring for your colleagues than a singer who needs to be told time and time again to do the same bloody thing by an exasperated director (who will never book you again!) Just write down the director’s notes, ask questions only when you don’t understand and never ever make the mistake again!!! Please...!!!
Don’t join in with the little voices. There’s always those who wish to complain about aspects of the creative process that goes on when putting on a show. Those whispering little bitter voices in corners. Don’t join in. If there’s something wrong-speak up!
Don’t give advice unless asked for it. We all have teachers and coaches...
Don’t smell. Wash. But don’t complain if the baritone spits at you while he is singing.
Understand that you are trying to be a professional, in all matters. That the way you deport and conduct yourself is as important as the noise you make. That you wish to be employed over and over again. Understand that being the best you can be expends far beyond how good your high notes are....
I know most of these are obvious, but I’ve seen singers break these smart rules time and time and time and still time again! Heck-I have myself! And because I had to reset my career after my break I often sing with younger singers than me. I promise you, many of the finest voices of our age will never progress through the ranks of small companies, medium companies, ENO, Royal Opera etc because of so many of these rules. I know brilliant tenors who put drinking ahead of singing. Glorious sopranos who are just pains to work with.
Don’t be like them!
Be smart!
Thinking about my love of German song leads me to think of an older singer, an amateur baritone that sang many principal roles when I was a kid for the local amateur societies. I would sing at the back of the chorus and Terry Wheatley would sing the main role.
He came from a family of singers-famous pros who had glittering careers. Terry stayed amateur. It was he whom I first heard sing Schubert’s Winterreise, that has led to a lifelong obsession. His Nabucco showed me that a Verdi Baritone must be noble in sound.
But what I remember most about Terry was how he would get to the rehearsal early, sit down with his glasses on his nose and study the score. He never wasted anyone’s time fluffing words or telling daft stories. Never late, always reliable.
He was a smart singer.
Whatever it is you’re attempting to do in life, it’s a pretty safe bet there are many other vying for your position. Some of us are born with enough talent to allow us to mess around during our training and still achieve all we set out to do. But not many folk are so blessed. Surely it makes sense to try to work out where we can score an advantage! For us singers, it’s all about being smart, about being the sort of singer people want to employ, be around etc.
Those lucky people you see on the stage/screen/wicket etc are not there solely because of hard work-they are there because of the right kind of hard work!
Being a smart singer is everything for us who wish to make it a profession. Here are a few tips from someone who isn’t known for intelligence, but tries hard...
(In no particular order, just random thoughts...)
Being prepared and being known to be always well prepared.
When sick not running to the rehearsal, stressing everyone out, having an announcement, putting your colleagues through hell and somehow-miraculously-singing better than ever and getting the huge applause from the audience for your bravery, whilst guaranteeing the promoter/opera house/conductor will never book you again.
Always bring a pencil to a rehearsal with the conductor. Even if he/she’s an idiot. They often do the hiring/paying.
Trying to get on with ALL of your colleagues.
Being nice to the people that write the cheques.
Learn music early enough.
Cultivating money earning opportunities. After that Saturday Messiah write to the choir, congratulate them and express a wish to sing for them again.
Not constantly posting abusive nonsense on Facebook. Nor believing that all the world shares your politics. Understanding that your public face is that-public. Also, not posting too much!
Not always singing every rehearsal, screaming through the sitzprobe, and then being voiceless when it matters... (you’d be amazed how many times this happens, and then the announcement is needed, everyone gets stressed and (of course) the singer is fine...!)
Live life to the full, be interested in all
around, enjoy parties and socialising etc. But don’t turn up to a show or an important rehearsal hungover and scratchy of voice! Also, for your career it’s probably not best to be known as a ‘lad who can hold his beer’...
Conversely don’t be a nun/monk and lecture everyone around you about healthy living. Just look after yourself.
Be nice to colleagues. Even the annoying ones.
Listen in rehearsals. Don’t treat being paid to sing as a bit of a jolly, but as a job. Dress smart enough to not look like a slob, but don’t turn up to a dance rehearsal in high heels.
Develop a second skin, a singing personality. Don’t be insulted, touchy. If you feel stress rising, retire to the loo and punch the wall. Don’t be a diva/divo.
Be nice to everyone in the theatre. The prompter or the cleaner is not lesser than you. We are all parts/cogs in a glorious machine.
On a Saturday oratorio gig, if you’re fit and healthy sing a bit of the afternoon’s rehearsal facing the choir. Let them hear what they’re getting. But don’t over-sing so theres nothing left for the evening.
Don’t loudly moan about the fee.
When a rehearsal is done, and you’re getting your notes from the director, please don’t argue every point! Or don’t discuss every point he or she makes. But DO write them all down and remember them ALL! There is nothing more boring for your colleagues than a singer who needs to be told time and time again to do the same bloody thing by an exasperated director (who will never book you again!) Just write down the director’s notes, ask questions only when you don’t understand and never ever make the mistake again!!! Please...!!!
Don’t join in with the little voices. There’s always those who wish to complain about aspects of the creative process that goes on when putting on a show. Those whispering little bitter voices in corners. Don’t join in. If there’s something wrong-speak up!
Don’t give advice unless asked for it. We all have teachers and coaches...
Don’t smell. Wash. But don’t complain if the baritone spits at you while he is singing.
Understand that you are trying to be a professional, in all matters. That the way you deport and conduct yourself is as important as the noise you make. That you wish to be employed over and over again. Understand that being the best you can be expends far beyond how good your high notes are....
I know most of these are obvious, but I’ve seen singers break these smart rules time and time and time and still time again! Heck-I have myself! And because I had to reset my career after my break I often sing with younger singers than me. I promise you, many of the finest voices of our age will never progress through the ranks of small companies, medium companies, ENO, Royal Opera etc because of so many of these rules. I know brilliant tenors who put drinking ahead of singing. Glorious sopranos who are just pains to work with.
Don’t be like them!
Be smart!