A Handbook of Vocal Technique - Part I - Introduction

There has been so much written about vocal technique and yet, the necessity to contribute to the immense inundation of terminologies, and “musts” and “must-nots”, overcomes my hesitation.

Why does one read so much about correct vocal technique and, yet, hears so many singers who cannot control their voices?  Why can’t they just turn the black notes on the pages into expressive emotional feeling combined with an optimal tonal sound?  And if one hears an expressive singer, why can he often not control the voice he is using?  In my experience, there are many misconceptions about singing technique, bad combinations of ideas, and inadequate and incorrect vocal exercises to support the studio work.

I have begun my book on vocal technique in the German language for two reasons mainly:  there is not as much pedagogical material being written in Germany as there is in the States, but also, because there is such a widespread niveau of poor singing.  There are so many singers who are taught to “belly breathe”, depress their tongues to get more “room” in the throat, color their vowels with unfortunate tense-ridden sounds, all causing tight throats, wobbly tones, and lack of range. 

I’m currently translating my German book on vocal technique and pedagogy into English and, over the next weeks and months, will be publishing some of my writings on the website.  Perhaps you will find some of my ideas on singing to be new, whilst others might already be familiar to you.  Whatever the case might be, it is my sincere hope that my many years of experience as a professional opera singer, as well as a vocal teacher at the Conservatory of Mainz and the University of Mainz, will make these pedagogical posts an exciting, but also a challenging resource for singer, fellow pedagogues, and music enthusiasts!

I have given many master classes in the United States, as well as teaching privately. Problems of American singers are sometimes similar to the above. However, I do find that in the US, problems often arise as a result of inadequate breathing techniques (often too little support). Very often the singer laments that he is taught technique theoretically, but - “please tell me how to sing”!

The technical basics include correct posture and positioning of the head, correct body muscular response, the feeling of inhalation of tones, an optimal opening of the upper pharynx and correct vocal exercises. Combined with other factors, such as a relaxed jaw, a forward placement of the tongue (using an “ng” position or a “ja” or “tha”), etc., I will try to lead you through this technique in the coming entries.

• Author and date: Brenda Roberts (2008-09-26)
• Permalink: A Handbook of Vocal Technique - Part I - Introduction
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Honoring Wolfgang Wagner’s Life’s Achievement, August 26, 2008

Elbow on elbow, past and present, together we were gathered to honor Wolfgang Wagner and his life’s work.  Bayreuth singers, conductors, musicians who had ever performed in Bayreuth were invited to be a part of this historic event.  Uniting us all was not only the desire to serve art “idealistically” in Bayreuth, but also being a part of the “Family”.  Wolfgang Wagner, fatherly, took pride in wanting us to feel a part of the Bayreuth family.  We were to put aside thoughts of financial riches and our own personal glories.  This, most all of us did willingly.  Bayreuth was a great experience.  The ultimate workshop.

We showed our invitations at the gate and were then allowed to enter the secured rehearsal stage, where the event took place.  Right in back of me was Bernd Weikl, with whom I had sung a number of times the role of Salome (he was Jochanaan, of course) at the Vienna State Opera.  We had also sung Britten’s War Requiem together in the Bonn Beethoven Halle, as well as being in Bayreuth at the same time.

I talked shortly with Christian Thielemann, under whose baton I had sung Venus in Tannhäuser at the Nürnberg Opera.  At the celebration, he conducted an excerpt from Meistersinger.

Wolfgang Wagner was honored with a superb speech, expounding his personal, professional and artistic qualities:  his life’s achievements.  Here with Eva Wagner-Pasquier and Wagner family.

After this long morning, I did attend the Parsival performance.  It was interesting to be on the other side of the stage, looking in from outside.  It was also very nice to be recognized by the audience and give out autogramms!

The high point was still to come:  Maestro Berislav Klobucar was also staying at my hotel and we were able to talk at great length!  Under Maestro Klobucar’s baton, I sang Elektra at the Chicago Lyric Opera, and Dyer’s Wife in Frau ohne Schatten and Elektra at the Stockholm Opera.  What a happy reunion!

I shall never forget this historic event and was honored to be a part of it!

• Author and date: Brenda Roberts (2008-09-07)
• Permalink: Honoring Wolfgang Wagner’s Life’s Achievement, August 26, 2008
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