<p>Listen to one of my songs? :]</p>
<p>Edit: I have four recorded for the pre-lims.</p>
<p>They don’t allow links to YouTube, etc on here, for security reasons. I’d say that this is something that should be between you and your voice teacher, who knows your abilities and which schools would be a good fit. A word of caution though- don’t get too caught up in voice type as a young singer. It’s really too early in the game to determine if indeed you are a dramtic soprano and certainly too early to ascertain if you will remain one after a few year in college!</p>
<p>If you announce in your audition packet that you, as an incoming freshman (presumably just out of high school), are a dramatic soprano, the assumption on the part of the audition committee will be that you are pushing your voice. An incoming undergraduate female voice should only be designated as soprano or mezzo soprano, and even then that may be incorrect. If your voice sounds much more mature than your age, chances are something is not being approached appropriately…there are rare exceptions to this. Just because you can make some whomping sounds does not mean you can nor should sustain them through out your range. Patience…</p>
<p>Thank you Lorelei, you put that very well and your words should be memorized by every young lady as they begin this journey!
Girls voices can and do undergo changes in the late teens ( many famous opera singers, too, have moved from mezzo to soprano roles or vice versa,during the course of their careers). It’s becoming more common now for girls to simply put down “female voice” on an audition sheet. Those listening can hear what’s in there and know if it fits their needs.
Since each school teaches their own “method”, they know which types will fit well with their style, and that is often why a certain student is accepted by “school B” and not “school A”.
If it wouldn’t cause the board administrators so much hassle, I would say that I am changing my board moniker, because my mezzo D is changing once again and its really unclear as to where she will settle. That may not be known for years, which I understand is fairly common among girls with “larger” voices. Can you add to or elaborate upon that, Lorelei?</p>
<p>Oooops! I should have mentioned a few things. I am 24 years old and a transfer student. I took some time off of school to perform at the BSO and the Met. My voice changed years ago and would be exciting if it changed again!</p>
<p>Even so, catharsis, at 24, you should be concentrating on your lyrical line, ease, range and connection…not power and deep, dark, or edgy color. Those ingredients are functions of vocal maturity and evolved vocal efficiency, as well as native resonance structure. I heard a young woman this past winter who had been a regional finalist for MET auditions, 24 years old, singing Verdi and other heavier verismo soprano arias. She has a wonderful voice, made glorious sounds, but she lacked ease, line, legato, control, nuance, all of those things which are part of learning how to manage the voice. Fortunately she has been taken in hand by someone she respects enough to listen to what she is being told, which conflicts with what her previous teacher had encouraged her to be singing. She has no shot of survival any other way. </p>
<p>There are two different ingredients necessary for dramatic singers (if this is what you mean by “larger” voices, Mezzo’sMom): a rich, dark, and yet brilliant timbre (this is as much a product of your gene pool as your technique…pick the right parents); AND the physical strength to maintain dramatic intensity in the sound, pour it on, with long firm glottal closures as part of the vibratory cycle, along with the bodily strength and connection to support the sound. None of these are “willable”…just wanting to do or be a dramatic singer, even if it suits the soul of the performer, is not enough, and it can ruin the overeager or pushed singer. </p>
<p>About the mezzo versus soprano decision…it depends on range, color/timbre, tessitura comfort, and where the peaks are in the voice, where the voice can satisfy a dramatic phrase healthily. Tessitura comfort is the most basic issue, IMHO, and color/timbre is the most deceptive…sounding like a soprano does not mean one can sustain the music written for that voice type.</p>
<p>Brava Lorelei! your knowledge and wisdom continues to amaze me!</p>
<p>Good luck in your journey catharsis :)</p>
<p>It seems that the so-called “large” voices are often abused in younger years. My D’s private voice teacher from high school has often heard her soprano students lament losing parts to girls their age who they assume are blessed with a larger voice. She warns them that girls with those voices must learn to fight to protect those voices or they can be ruined early on. It seems that too many teachers and opera directors are not above being tempted to push those girls into repertoire that is inappropriate and the basics are neglected.</p>
<p>OTOH, voice used in productions at any level must project enough to be heard. If a high school production uses a full exposed orchestra in a large hall and expects the singers to cut over all those acoustical obstacles…it will be rough. Sensible selections of repertory on the part of the teachers and directors is a moral imperative, IMHO.</p>