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Classical Struggle

RubyRed3
Swing
joined:8/3/18
Swing
joined:
8/3/18
Classical Struggle#1
Posted: 8/3/18 at 6:37pm

So I’m still pretty young and entering my last year of high school. I have a very operatic sound, but can also sing Broadway music (like If I Were a Bell, On My Own, etc). I don’t really belt, just kind of modify my sound so I don’t sound ready to sing O Mio Babbino Caro. It’s kind of halfway between a belt and that.

Anyway, the main issue isn’t completely that (although belting tips are welcome ??) it’s my vibrato. It is crazy and free and I can sometimes control it at the end of the song, like hold the note, crescendo and bring it in at the end, but it’s a lot to think about. I can sing really fast because of it, even though I’m not a coloratura, but it feels like it gets in the way in my singing musical theatre.

Basically what I would like to know is if there’s a way to work on controlling when I let my vibrato come in or if it’s acceptable to have there constantly. I think it sounds strange personally, but I don’t really know. My teacher is classical, but we work on some musical theatre too. We basically do it with a somewhat classical approach unless it’s something from Phantom, and then we basically just approach it as an aria. Any insight, or tips, or advice or something would be welcome! I’m honestly just confused and while I know I could have a opera career, I love musical theatre so much more. Thanks!

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GavestonPS
Broadway Legend
joined:6/10/12
Broadway Legend
joined:
6/10/12
Classical Struggle#2
Posted: 8/4/18 at 11:39pm

Ruby, I'm bumping your thread because I think yours is a fair and interesting question. Like most posters here, however, I don't have the knowledge to advise you.

I do, however, agree that in musical theater I prefer to hear clear tones that resolve into vibrato on long notes. Liza Minnelli used to be the master of this, so you might try checking out her early recordings (certainly pre-1985).

On the other hand, listen to Betty Buckley for a singer whose vibrato is always evident, yet she succeeds equally in a musical play or in a concert or recording. No less a figure than conductor Paul Gemignani told me (in the mid-1980s) that in his opinion, Buckley was the greatest theater voice of her generation. So maybe you don't need to lose that vibrato after all.

Whatever you do, don't take MY word for anything. Keep asking around until you find a teacher who can help with this specific issue. (You don't have to give up your regular teacher.) Don't ruin what you have for something you might not even need!