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Notes from a vocal journey #3

Having spent valuable time learning vocal technique with Ilse Wolf in her Chiswick studio, she earnestly sent me out into the world to "do as much singing as you can possibly manage". I think she felt that it was time to just get on with it, and to gather experience - put the technique learned to the test.

And so I did, grasping an opportunity to sing Papagena (Mozart's The Magic Flute) with a local opera workshop group, stepping in at the last minute to fill the shoes of a soprano who had had to drop out of the production. Beyond that I sang Polly Peachum (Gay's The Beggar's Opera), Susanna (Mozart's The Marriage of Figaro) Magda (Menotti's The Consul) and the title role of Louise (Charpentier's opera of the same name) to name but a few. It was very fulfilling and great fun; somehow I managed to achieve this while negotiating the not small demands that a marriage, parenting two small children and running a household can bring.

But I was hooked. I knew there was always more vocal work to be done. I wanted - needed - to improve.

In 1986 I went to my first Summer Music Summer School. Always my champion, and keen to help, my father paid the fees. I'd not experienced anything like it at all since student days at Dartington College of Arts. There was a real buzz to be among so many singers and musicians. Eight days, and a full timetable of recital, oratorio and opera classes in which to participate. And, of course, there was vocal technique, too.

That first year, I was assigned to Margaret Lensky for vocal technique. I can't remember what I sang for her, although I seem to have a vague recollection of Mozart's 'Vado, ma dove?' - that long first sung note on 'Va' and being asked to sing it more questioningly, being made to run into the room as though I had something important to say, to ask ... Sadly I have no notes from that actual class, but other pointers were given:

"Vowels - do they need to be mouthed? We make them by shape of the tongue and back of the mouth. Loose and with a lovely feeling of roundness."

" Keep the weight in the heels. Confidence!"

Yikes.

I sang 'Silent Noon' for Jonathan Hinden who had very exacting standards in terms of wringing the last bit out of every song, but in a paradoxical understated way:

"Just sing the words and the music; let the music say it for you..."

" 'Dragonfly' ... not strict time, more like recitative. Projection and communication. Take time and SELL it."

" 'Sunsearched' ... this is the still heart of the song."

I also encountered Paul Hamburger for whom I sang Bizet's 'Chanson d'Avril' - a song with so MANY words - and who I shall always remember told me:

"It really is not necessary to sing from memory if you are not at ease with remembering! Use the music. Otherwise technique and words go, so that we continually pump the memory at their expense."

It was a whole new world, rich with fabulous exposure and opportunity to learn; a wonderful way to further hone my craft.

I returned to Summer Music Summer School the following year for more; I was again in Margaret Lensky's vocal technique class, earnestly trying to interpret her words and meaning about the jaw, the breath, language and posture:

"Don't leave your body behind, make it work for you, feel strong and well balanced; yet you do need a certain tension..."

During the course of the week, there developed a wave of interest in one technique class in particular; singers were flocking to it where their timetables would allow. It seemed that all were welcome, never mind who you'd been given as your mentor for the week.

Intrigued, I went along to an afternoon session.

The room was packed. I squeezed my way in while everyone sang exercises in unison, directed from the front of the room by the tutor sitting at the piano. He was very direct and charismatic. And good-looking. He really knew what he was talking about, interpreted his ideas well. And his pianistic skills ... were amazing.

This was the first time I saw David Harper in action.

The following year, 1988, I signed up for his technique class, quite decidedly.

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