When I mention that I am a classically trained singer, people almost always ask if I’ve “recorded anything”.
Yes and no.
I do have some studio work under my belt but with the exception of one solo experience, all my recording work has been an ensemble effort. Studio work just not the type of singing that I do. I mainly sing on a stage solo or in choirs and ensambles. I have done a lot of opera, oratorio and musical theater work but almost no studio recording. I have HUGE respect for people who do this kind of singing. There is a reason that they are called “recording artists”. You have mics that are hugely sensitive and can pick up subtle differences and nuances and effects, whereas the type of singing onstage is veeeeery different. Remember when I wrote my very lengthy, “Oh, HAI! I am back from the dead!” post about a month ago? (Holy cow, have I been back that long? The time, it does fly.) In it I mentioned that while I was away in my self-imposed exile, I decided to go and tool around in a recording studio for a couple of hours.
It was so fun.
I deliberately chose 4 songs that had different aspects of things that would be very challenging to me. I’m not really sure WHY I decided that, other than well…I really wanted to step out of my comfort zone and see what happened.
So, I recorded 2 musical theater pieces and 2 covers from ADELE’s awesome new album 21. Let’s get the musicals out of the way first. Musical theater is not really ‘out of my comfort zone’ but the two songs I picked to record most certainly were. Y’all have already heard “I dreamed a dream”. (I only recently learned how to belt and the style of singing is different from a pure classical approach. Widening the “E” vowel, for example.)
This one is from my favorite musical, The Secret Garden.
I love this song so much.
Not only is it gorgeous but it has tremendous personal meaning to me. I have said from the time I was 15 that if I ever had a girl, her name without question, would be Lily. If I could play ANY character, it would be that one. From the FIRST note I heard, I was in love with her role. Sadly…she is my exact vocal opposite.
I always imagined the casting description for the role of the ghostly Lily to call for a “Petite yet willowy, traditionally beautiful, lyric soprano who can waltz and not breathe for 3 hours at a time.”
This song is a bit deceptive. It doesn’t sound that hard to pull off but it’s actually one of the more asskickingly difficult pieces out there to sing. Your voice has to MOVE and you have VERY little time to breathe. Oh, and it has to be sweet and pure and kinda…ghostly? (She is singing to her destroyed and stuck-in-his-grief husband and begging him to move one with his life to raise their son and be happy after she has died. SOB!)
Anyway, it’s a great song but hooo boy! is it ever a struggle for a voice like mine to sing. My voice is like….thick thick molasses. It is very dark, very rich and it moves very slowly.I have the range to play Lily no sweat (I have almost a 4 octave performable range. Higher if you’re just vocalizing.) but it is the sweet, pure and clean sound I lack, even when I try very hard to be all those things.
Because I am meant to be an alto.
When people group themselves as an alto or soprano (or tenor or bass) one of the things I hear quite often from women in choirs is an INSISTANCE!!! that THEY! ARE! SOPRANOS! because THEY! CAN!! HIT!!! THAT!!!! NOTE!!!!!!
“Hitting” the note?
Not the biggest qualifying factor, y’all.
Sure, range DOES come in to play, but the thing that determines your place in the SATB scale is the QUALITY of that note you are hitting.
A perfect first soprano should be able to hit high notes and have them RING. Have good control in her upper register and be comfortable floating in the rafters.
That?
IS NOT ME.
I can (and have many times) hit a high “C” onstage.
When I have done so, I have been dressed in a habit, playing The Reverend Mother in a production of The Sound of Music or wearing viking horns and a metal bra and it is is NOT a soft, lilting sound.
You could stop a herd of buffaloes with it.
MY money notes are in the basement. I a great character role (or dude) but I would LOVE to play the lilting Lilyesque characters even if only once.
Will never happen.
SO?
I lived out my fantasy in a recording booth.
(Keep in mind this is not what my classical voice sounds like but it is as close as you’re likely to get here online since you won’t be hearing any of my live performances. You’ll never hear a classical recording from me. I don’t have the money to hire an orchestra or get the studio time I would need to make it perfect. This doesn’t have to be perfect but if I recorded classically, I’d want it that way.)
The huge irony of this?
My voice did.not.work. the day I recorded.
It was insane.
I had to have one of the best musical theater vocal coaches I know (Hi, Debbie Ditton of Providence, Utah) come to the studio to very gingerly and very carefully warm me up. It took a half an hour to even be able to produce sound in about 5 notes smack dab in my middle range.
Which is unheard of for me.
The areas where I sail through I literally couldn’t sing.
SOUND DID NOT COME OUT.
I have heard accounts of athletes and dancers who suddenly have an injury and they say how frustrating it is because they had ALWAYS been able to rely on their bodies responding how they needed them to. It was the exact same with my voice.
I wanted to punch a hole in the wall I was so beyond frustrated.
But.
We managed to get a couple of vocalizes that helped break me through it enough to record (postponing was not an option)> Even though I can hear the struggle in my voice (since ya know, it’s mine) it’s so beyond what I thought it was going to sound like when we started warming up that I’m happy, no, thrilled with how it came off all things considered. (DO wish I had the ability to buffalo stampede the last note but nope, not gonna happen that day!)
And ya know…we only had an hour, so woot!
Honestly, it’s a testament to Debbie’s ability to hear what my voice needed to work and my training.
While it was so much fun and I am glad I had an hour of being a soprano-poser?
I remain an alto.
Happily.



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