As singers we are always thrown into new environments to perform.
Some theaters are very 'live' or have a lot of echo or feedback, and some are 'dry' or even 'dead'. Singing outside can also be difficult at times.
Some theaters are very 'live' or have a lot of echo or feedback, and some are 'dry' or even 'dead'. Singing outside can also be difficult at times.
When we sing in a very "live" space we generally have no issues, as singers always enjoy the echo. We can stay relaxed when we feel the voice 'come back to us'. When we are in a 'dry' or 'dead' space, then we have to worry not to push our voices and stay within technique. This is where we are challenged to stay disciplined.
For me, my tendency in a dry or dead space is to push and use too much 'chest voice', thereby losing balance with the 'head voice'. If this happens, I basically get too bright a sound. This is how singers tire easily. This can also lead to the voice cracking, or even catastrophic meltdowns, depending on how technically secure the singer. (I've never had a meltdown, thank Goodness!)
For me, my tendency in a dry or dead space is to push and use too much 'chest voice', thereby losing balance with the 'head voice'. If this happens, I basically get too bright a sound. This is how singers tire easily. This can also lead to the voice cracking, or even catastrophic meltdowns, depending on how technically secure the singer. (I've never had a meltdown, thank Goodness!)
In my case, I make doubly sure that I am staying on the breath, the sound is forward, and that every single phrase is well supported and the air flow out of my lungs is constant. I also am more aware every time I sing in or through the passaggio. and make sure my voice will co-ordinate (some people say cover) at the right time, thereby keeping balance in the registers.
I was lucky to take part in Texas Opera Theater tours when I was younger. We would be in 25 -30 different cities in a six week period, and each theater was different.
I learned at a young age the necessity of adapting to the different acoustics. This was good training for when I started singing in different theaters all over the world.
I learned at a young age the necessity of adapting to the different acoustics. This was good training for when I started singing in different theaters all over the world.
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