We are so proud of your many outstanding achievements on the opera stages of Europe, especially your recent success at the Opera Bastille in Les Huguenots!!!!!!
So grateful to hear you speak about self doubt, I've been struggling with that a lot lately. I'm only 22, just about to finish my first degree, which is an academic one rather than at a conservatoire (though still in music with lots of performance opportunities) so the real world is looming, it's time to start working on the career I so desperately want as an opera singer. And it's scary, it honestly is. I don't even really know where to start. I found a place I thought I could start, had an audition, and didn't get the spot. I'm still proud that I went for it, but I feel like I'm floundering. Just need to keep trying. It's good to be reassured that everyone goes through these feelings. Thank you for all the wonderful advice you give in your videos x
Rowena Ashby don’t give up! You will likely sing many auditions that won’t lead to successful results...but we all must go through that process, and what you can take from those is the learning part of the journey!
How do you sing on the breath, allowing the voice to freely flow, as opposed to using to much vocal musculature and holding causing tightness and vocal fatigue even when you are't pushing? By the way, you are extremely inspirational. You are also very beautiful, unique and talented. I hope that you continue to bless the Opera world with your passion for performing and people with your beautiful spirit!
Ivana Butler it takes years of practice to master this but the best advice I can give is to maintain your alignment and lift in the upper torso at all times, while keeping the lower part of your torso down and planted. It should feel as if you are trying to create an extra inch of space between the bottom of your ribcage and the tip of your pelvis. It’s just a sensation, not a literal pulling apart, but this focus helps keep the body from collapsing. But as you maintain this lift, try not to arch the back and bring the chest forward; it should feel more like your spine is straightened. So no butt sticking out or boobs sticking out! Just the lift going through the center of the body. As you inhale let the ribs lift and expand, let the belly expand, and as you exhale, try to keep this feeling of expansion as long as possible. This is a basic feeling and act of “support.” The opposite would be collapse. The main focus of energy when you’re singing should be on the torso, belly, hips, back, and ribs, until it becomes habit that they are always engaged. The belly doesn’t need to be sucked in, but it should feel zipped up. Now, as you sing higher or with more air, such as when you sing forte, it helps to think of letting the belly come out just a bit, so that it doesn’t collapse inward but stays fighting for you! Once the torso action becomes solidified, you start to focus your main energy on your soft palate and resonance potential. Find vowels that work for you in different registers, play with narrower ones in your passaggio, and find out which ones allow your voice to have the most colors. Let the jaw naturally open and close as you go up in registers or sing open vowels, but don’t use it to articulate. Do that with your breath. It is hard to explain in detail in writing, but a teacher should be able to demonstrate this and make this core engagement the focus of your training, especially if you are in the habit of using your vocal musculature. I don’t want you to feel “relaxed,” I want you to feel the energy shift to where it is supposed to go, the torso and belly. If your focus of energy is on the torso’s engagement and the lift in the soft palate, the tension will decrease tremendously in your face and neck and you’ll have more control, but it takes practicing this and building the strength. Because it is not easy to do! But in the end your stamina will increase and the fatigue will decrease!
@@LisetteOropesaSoprano I apologize for replying so late! But thank you so much! I have been and will continue to practice solidifying my support and being conscious of my lifted palate and letting the breath and support do the work!
Lisette, you are awesome. Discovered you so to speak and felt in love with your performance as Miranda in the Enchanted Island and was blown away by your Manon. Loved your Sophie in Werther. Looking forward to seeing you live at Met as some point ;)
Thank you sooo much for this video and for your dedication. Please make more! I hope someday I get to hear you live (and also that you come to Argentina). Wish you the best xx
DO NOT push yourself through joint pain when running. You can push yourself through uncomfortable feelings, breathing pain, etc., but if you are having joint pain, PAY ATTENTION to it and don't injure your knees, etc.
Thank you so much for making these Q&A videos :) I'm a soprano as well and your tips are very helpful!!While waiting for ANOTHER video..I'm struggling with closed vowels such as [i], [e]..My jaws seem to tighten when I get to these vowels Do you have any advice on how to loosen(?) it up?
Mrs. Oropesa, you play the piano as well? Do you accompany yourself when you practice? Your effects with your voice as you moved your palate were very funny, and instantly made your voice much higher, which explains how sopranos sing soprano.
Hola Lisette, soy estudiante de canto y como soprano de voz un poco oscura, me cuesta llegar a los agudos. Qué me recomendarías? Muchas gracias por tu respuesta.😀
Elena Botton tienes que buscar una vocal que te sirba! Talvez [e] o [ã] esas me ayudan mucho. No trates de cantar los agudos con fuerza...siempre con el appoggio, y sospendidos con el aire
I recently listened to two clips from Abduction from the Seraglio. Is German a language you have studied, do you speak it? The singing was quite beautiful and your trills are really outstanding--a skill that seems to be lacking in a lot of singers. Matern aller arten makes a lot of demands on your upper range and articulating consonants in that area is alleged to be difficult. Traurigkeit on the other hand is more of a lament and the range is not as wide. How did you cope with all the dialog? The production appeared to be regie oriented but since I gravitate towards much but not all regie I wouldn't comment other than to ask what the boy and snake were doing while your were singing?
Timothy Cameron great question! Quite a bit, actually...it is a bit different from straight theatre of course, and in general I think singers get very little acting training, compared to how much we have to study the music. Nowadays we kind of have to learn on the job! Every director wants something completely different too, so it helps to come with an open mind but also a good set of your own ideas. Just in case there is not a good hand to guide you, or you don’t have a lot of rehearsal time to build layers.
doGreatartistsgrowontrees? You ain’t just whistlin dixie!! I am surprised I don’t ever get questions about illness/colds/flu/laryngitis. But I get toooons of questions about health!
