Words, words, words!

As we get closer to the vocal juries and class finals that come with the end of the semester, the focus of our preparation shifts. Once the notes have been learned, the text has been processed, the technical challenges have been addressed, and it's all been memorized, we can delve more completely into the expression of the music.

Of course, we don't have to wait until this point in the process to experiment with different expressive options, but this is a necessary step that requires an equal—if not greater—degree of attention as any other element of performance.

I recently read some good advice on how to approach this aspect of preparation from American operatic composer Jake Heggie in an interview in Classical Singer magazine. In his early years as a composer, Heggie was told by mentors that he was being "too reverent with the text" in his music. They told him that his musical settings did not make it clear how he felt about the text as a composer.

Although Heggie believed he was simply being respectful to the poets, he eventually realized, "you've got to mess with [the text], or why bother?" He then began to consider a series of questions:

"What is the point of setting it? Why not just recite it? What do you want as a performer or as a composer? What is the ache in the middle of it that is causing you to declaim it in a different way?"

Heggie poses several other questions that he feels singers could apply to their approach to music and text:

"How do you feel about this? What do these words mean to you? What do these notes mean to you? What does that rest mean to you? Why do you think that is there? How do the words and music fit together, and what does it mean to you?"

Sometimes our biggest challenge as singers is to reconcile a lyricist's words with a composer's notes with our own feelings about both. In my mind, one way we can judge the value of a song is to consider how well the composer's musical language expresses or enhances the ideas found within a poet's or lyricist's words.

As performers, our job is not simply to be an empty vessel through which other people's ideas flow. Rather, it is to filter those ideas through our personal experiences, perspectives, and abilities and to then infuse the words and music with our own unique spirit. I believe this is how we add our "voice" to the music, which is arguably the most critical aspect of any performance.

How has your practicing been this week? What can you do in the coming weeks to add your particular voice to the songs you are preparing?

Now go practice.