UGHHHHH….Pathos….You feel it in your bones when they relay their pain to you on stage.  How can you be someone who does that?  The conveyor of depth and raw emotion.  How can you make it real for your audience?  Maria Callas is my Idol for this.  She moves me theatrically more then anyone I have ever heard.

Take a moment and watch her perform this aria Vissi D’arte from Verdi’s Tosca.  The first moment you see her, before she has even opened her mouth to sing, you know that she is consumed with the emotion of the character.  You can’t even imagine that she is a character and not just unlocking her true self in front of the audience.  She is so vulnerable in her expression.  She is the ultimate conveyor of Pathos.

How can you learn from her?  Well what she was Raw.  Raw in her emotion, no matter what your genre of singing that is something you should try and tap into.  Whether you are singing about love, bliss, or heart ache.

Maria Callas was a Genius performer and could make anyone feel her Pathos within seconds of seeing her face.  Please enjoy Callas and learn from from her:   http://www.youtube.com/watch?v=1ZXwz0gj5fY

Pathos is a term from Greek mythology.  As quoted from wikipedia “Pathos is often associated with emotional appeal. But a better equivalent might be appeal to the audience’s sympathies and imagination. An appeal to pathos causes an audience not just to respond emotionally but to identify with the writer’s point of view – to feel what the writer feels. In this sense, pathos evokes a meaning implicit in the verb ‘to suffer’ – to feel pain imaginatively. Perhaps the most common way of conveying a pathetic appeal is through narrative or story, which can turn the abstractions of logic into something palpable and present. The values, beliefs, and understandings of the writer are implicit in the story and conveyed imaginatively to the reader. Pathos thus refers to both the emotional and the imaginative impact of the message on an audience, the power with which the writer’s message moves the audience to decision or action.”

For more in depth study of the term Pathos please check out:http://en.wikipedia.org/wiki/Pathos

written by Ariella Vaccarino creator of Voice Lessons To Go (singing lessons on CD) and author of Vocalize!

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As I have watched American Idol for some added blog inspiration this season, I am really feeling for the singers during their judgement from the panelists.  It brings back a lot of memories for me as a singer when it comes to receiving conflicting advice from your mentors.  It can be extremely confusing to the “green” and even not so “green” singer.  What do you take to heart, what do you learn from, and what do you ignore?

When 4 people are giving you conflicting advice, or even 2 people what do you do?

It is a very hard position to be in as a singer because we want so much to please the people in charge.  We need the job, we want to keep the job, and we have to get the next job.  Think of all the pressure and opinions one singing gig may have:  your teacher, any opposing teachers on your technique, your conductor, your coach, your pianist, your band members, or director, or choreographer, your producer, your agent, your parent, your boyfriend, the music critic, the audience…

Everyone has an opinion on how you should sing and what you should do to make yourself better.  Whether they are talking about your technique, your song choice, your fach (vocal category), your personal style, or your genre of choice.

This is a really tough position to be in.  For example on American Idol last night Randy told Katie Stevens that she was singing perfectly in her R&B genre while Simon Cowell said she was a country singer.  This is a young girl who is very talented who needs to find her way receiving conflicting advice by two highly acclaimed professionals.  How is she supposed to deal with that?

That is a lot of pressure.  All you can do singers is pick a few people to trust who have a great record of experience that you respect and listen to them.  Then take it all in and listen to your gut.  The truth is, it is you standing up there, being judged.  You need to feel 100% true to how you are presenting what you’ve got inside from the truest voice to the most honest emotions conveyed.  You have to be happy with your outfit and your own hair style.  You need to feel connected to your song choice and cozy in your genre selection.

At the end of the day, when the lights come down, the answer is in your gut and instinct. Use a few wise people to help guide you to that true place.  You are the one to receive the acclaim or critique of your performance no matter who told you to do what.  So own your decisions and choices, but make sure you do so with a professional positive attitude.

-I can guarantee you that you will be judged for them.

Sing well people!

written by Ariella Vaccarino creator of Voice Lessons To Go (singing lessons on CD) and author of Vocalize!

Want a professional opinion of how you sound?  Sign up for my Vocal Assessment. Then send me a link or mp3 of you singing (audio/or audio visual) with your questions and I will get back to you with my feedback right away.

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I LOVE receiving and posting your comments.  Please let me know what you think

Yes, we all do and will continue to make dumb mistakes in life.  But just remember in the singing business you will always be remembered for those dumb mistakes, so try and avoid them by being professional at all points of your career.

Here are a couple of my own stupid move confessionals of mine.  Perhaps admitting them to the “public” will help free me of them!

The stupid young singer I was- (totally embarrassing to admit)

Out of college I was given a lot of work by different opera companies, I didn’t realize what a big deal that was.  I was very young to the business, during that time and I became overwhelmed by all that needed to be done.  With all my responsibilities, I pulled out of a production that I was supposed to understudy the lead in because it didn’t seem important to me and I really just didn’t want to do it with all the other work I had going on.

What I should have done was declined the offer from the beginning graciously, but I was too uncomfortable to say no.  I kept thinking I would some how deal with it.  I never even opened the score to learn the music and then pulled out just before rehearsals started claiming personal reasons.

This was sooo dumb of me, and so irresponsible. I was so self absorbed (normal for that age but…)  it was just to understudy the part so somehow I felt it was ok at the time.  That forever marked me with that company. Something I would never ever do today, but yet years later I will be remembered as a flake by them.

You must remember that your actions effect everyone around you, not just yourself.

After that last minute drop out of mine, someone was sent in a scurry to find a replacement.  And then some other poor singer had to rush and learn a part.  Totally not fair of me.  I’m sorry for that!

My senior Recital

To contrary belief, the world does NOT revolve around you

Being an Opera singer was my whole focus and world for many years.  When I was a senior at USC I had a senior recital.  This was my main event in school a full length recital that I performed with accompaniment full stage my own program etc…  This was my whole focus- lived and breathed it.

Anyway, the recital went great, and I filled the theater.  But, there were a few people at that time in my life that I had been working under regularly in the music business doing concerts, mentoring with etc…  Some of these people did not attend my concert and I was extremely hurt.  I would even say I felt betrayed by them for not attending.  As a result, I held a “childish” grudge against them, was cold and sulky when I saw them, tried to make them feel guilty etc…  HOW LAME I WAS!

These musicians were older than me and professionals with their own lives and families.  I could not comprehend them not attending my marvelous event on a Saturday night.  But in fact, it was not their responsiblitiy to be there.  I can see now, how hard it would have been for them to attend every concert of every musician that they new and that it really was not a big deal on their spectrum, even though I am sure they had wished me their best.

I should have just sent them a copy with a big smile, and left it at that with no expectations of them watching it.  It proved me to be unprofessional that I took it so personally them not being at my concert.

The truth is, not everyone is going to be your fan. Let your fans be your fans, but never pressure that out of someone.  You don’t want to come off bratty, and childish.

The better you get, and the more concerts you give, the more people will come.  You should not have to beg for it.  I probably am the opposite at this point to a fault.  I rarely let people know, (unless they are on a fan mailing list), that I am performing because I don’t want anyone to feel that pressure in our friendships to attend my concert.  I never want anyone to feel obligated.

All in all, these events happened, but they are not isolated, and I am sure there are many more I’ve done. The impression you give once stays with people.  I still encounter these people in different capacitites years later now and I always feel a bit dumb and “young” around them as a result of my dumb actions in the past even though I have had many years of experience and success in my own life.

Remember, you never know how these people will be in your life in the future and to whom they may spread these stories.  Try and keep your reputation squeaky clean.  Be professional at all times.

Do you have any sage advice on dumb acts that have stuck to you?  Come on, help our readers prevent your own mistakes by sharing them with us!  I would love to hear back from you!

written by Ariella Vaccarino creator of Voice Lessons To Go (singing lessons on CD) and author of Vocalize!

Want to receive immediate feedback on how you are singing from me?  Sign up for my Vocal Assessment. Then send me a link or mp3 of you singing (audio/or audio visual) with your questions and I will get back to you with my advice right away.

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At a certain level of singing, there will be a lot of good people auditioning for your role/band, or trying to get that same record contract.  When everyone is talented, prepared, professional, and looking good what can make some singers pop from the pool of others?

Your sound.  Your unique sound.  Your vocal timbre. No imitations allowed.

Can you force a unique sound?  Not in my opinion.  To me it is the difference between the great choral soprano as opposed to the Diva soloist.  You are born with a unique sound which you hope not many other people have.  I am not saying this is your only route in , so if you are a great singer with a more “common” voice don’t fret, there is still much to be done and conquered for you. such as vocal styling, image, good song writing, personality, stage presence etc…

But, if you are someone who possesses that unique timbre you are a lucky one.  If you are unclear as to what I mean by Vocal Timbre, please refer to a past blog I wrote:   Vocal Timbre Blog

When you posses a truly unique sound, the minute you open your mouth to sing people know its you without looking.  Think of Tom Waits, Frank Sinatra, Bjork, Maria Callas, Barbara Streisand, Edith Piaf, Maria Carey, Pavarotti, Paul Simon, Elton John, Bruce Springsteen- just to name a few.  They are all identifiable by the first note they sing.  That is something truly great to posses.  If you have it, congratulations.

You can’t force it though, it never sounds genuine when you do.  Singing is not about impersonating a sound that you like, rather freeing your own unique sound.  Make sure when you sing that you are being true to yourself, not following Brittany Spears or Miley Sirus on the radio.  Take song, sound, and tone, and make it your own. Let your voice out.

This can be more complicated then it sounds.  I often spend a lot of time peeling back layers of “impersonating sound” off of my students till we found their own true voice.  I can understand how it happens, you receive so much audio input over time that you may not even know you are imitating someone.

So think about it the next time you warm up and sing.  Go bare of other influences and let your own natural tone release.  You may just find that you have your own unique one of a kind gem in your own larynx!

written by: Ariella Vaccarino creator of Voice Lessons TO GO (singing lessons on CD), and author of Vocalize!

Want my opinion on your own voice?  Sign up for a  Vocal Assessment on my site.  Then send me a link to your voice with your questions and I’ll get back to you with my feedback right away.

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First of all, I’d like to thank American Idol for giving me such fuel for my blogs.  They are really helping to make my job easy!

Last night watching the men again, I was ignited by Aaron Kelly’s performance of ” My Girl” .  I am not going to be commenting specifically on him, he did a good job and is only 16 so perhaps he did an amazing job.  But what I did notice first and foremost about his performance was that he performed the first two verses of his song exactly the same.  And that is an improvement he needs to work on and a great subject to blog and discuss for all singers who are going to do any type of performing.

Making a song interesting to listen to.

In general a song is made up of verse and chorus repeating.  So what can you do to make that verse or chorus pop from a repeating one?  There are several things to think about when approaching your song such as: intention, dynamics, emotion, and melody variation.

Like an actor a singer needs to perform a song like a monologue, finding the beats and the intention to each phrase.  Consider this is type of blocking that you need to do in your mind before you sing the piece.

Intention-

Who are you singing to?  What is the difference in your intention from the first time you deliver a verse and the second.  For example:  the first time you may want to be getting their attention with your words, the second time you may want them to really be listening.  Or, the first time you may be just opening up and the second you may be singing from your whole heart with resolve.  These different intentions need to show themselves and they can do so in a few different ways:

Dynamics- Simply, your volume.  For a love song a quiet intro may be a sign of your vulnerability and a louder repeat a sign of your resolve.  For a “you hurt me song”  starting on a sorrowful quiet and switching to an angry loud “fed up” verse can show growth in your song journey.

Emotions- Your first verse may be timid, the second, holding nothing back out of desperation.  The first first may be coy, the second down right sexy, etc…

Body Language- You can start sitting on a stool, then stand for the second verse, or start standing at a microphone then hold it for verse two.

Melody- You can play with one verse over the other, adding runs, holding out a note, or changing up the line.

There are many things that you can do to a song.  But you need to plan for it like an actor.  That will take you to a higher step then just someone who can sing pretty.  We as singers need to tell stories.  Use your resources of dynamics, emotions, body language and melody to help you do so.

Sing well people!

written by Ariella Vaccarino creatof of Voice Lessons To Go (singing lessons on CD) and author of Vocalize!

-want to receive immediate feedback on how you are singing from me?  Sign up for my Vocal Assessment.  Then send me a link or mp3 of  you singing (audio/ or audio visual) with your questions and I will get back to you with my advice right away.

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Correct singing posture is three told fold: first- It makes you look appealing, second- you need it to set your body up so that the voice sails out freely, and third- it sets you up to ground yourself so that your free voice is deeply rooted and grounded in sound giving you more color, projection, and volume.

Singing posture for looking good:

Nobody wants to look at a slouching singer.  Your posture should give off an air of confidence that is warm and friendly.  Think of three strings.  The first pulls you straight up from your sternum, the second pulls up from the back of the head, and the third pulls down from the tail bone. You are long and tall.

The aligned singer:

We are not standing to up like a ballerina, rather “a proud tree”.  Think of your feet “the roots” rooted in the ground, your body the truck is the support for your head which should be free to release the sound like leaves free in the wind- your voice just sails out free.

The grounded singer:

Now that you are confident and aligned beautifully, you need to add some grub and oomph to that sound. Think of yourself (not letting go of the previous ideas rather adding to them), as a prize fighter.  Add a little bend in your knee feel tough- no one should be able to to knock you down physically.  Your muscles in you feet and legs are strong and alert so that when you hit a note, you hit it with the support of all of your body as well as the ground beneath.

Sing strong!

Ariella Vaccarino creator of Voice Lessons To Go (singing lessons on CD), and aulthor of Vocalize!

Looking for some professional feedback on your own singing?  Sign up for my Vocal Assessment.  Send me a link to your voice with your questions and I will get back to you right away.

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I am inspired to write this after watching the guy last night with the thick rimmed glasses who was in a group that had all kinds of issues be cut.  He then asked the judges to give him another chance due to everything they went through… they didn’t care, their decision was made.  He had his shot.  That was it.  Judges don’t have time to hold your hand through an audition experience.  Time is money.

So sad and cold singers, but it is true there are NO EXCUSES when it comes to your performances and auditions.  Nobody cares until you are famous if you have a valid excuse or not, especially not at an audition when you are a complete unknown.

Judges are looking at you as a “singer”- someone who can pull off a note, song, job.  Not as a person with a soul, needs,  and feelings.  They honestly don’t have time to care as cruel as that sounds.  It is is the truth.

It also is not anything personal.  It is just the business of singing. All they care about is that you CAN pull it off, no matter the circumstances. Remember your impression will last with them, no matter what excuse may be behind it.

So like the guy on American Idol who was stuck in a tough group.  You just have to make things work, no matter what when it comes to crunch time. It is easy now to advise him.  I wasn’t up all night in a high pressure once in a life time situation stuck in a group filled with drama.

But as a “seasoned” professional I would say what would have been most important for him and any of them to do, is to stay emotionally detached from all the drama.  Get through the rehearsal and then no matter what for the performance be a professional.  He needed to Sing His Butt off like there would never be another opportunity, walk the routine proud, and commit to the harmonies bad- or good.  Judges are looking for professionalism and confidence from a positive person, not someone who is battered down by pressure.

It may not have been a fair hand dealt to him or anyone else cut from group night (not my favorite of the auditions they do, but good for ratings), but is was dealt.  And in life as singers we are constantly dealt things that aren’t fair: Songs that are boring, in the wrong genre, wrong tessitura, dumb directing, bad partners, ugly costumes, late night rehearsals, no rehearsals, bad pianists, cold dressing rooms, dry ice surrounding us when we sing, bad acoustics, no water back stage, empty audiences…. I could go on and on.

Again though, there are no excuses.  You will make an impression no matter what.  So own it-  you can go home after and pour all your excuses to your family and friends that is what they are for.

And feel free to write me about them, I am happy to help you work through them and help you to figure out how to prevent them your voice teacher is a great resource for empathy!

written by Ariella Vaccarino creator of Voice Lessons TO GO (singing lessons on CD), and author of Vocalize!

follow me on twitter:http://www.twitter.com/singingvltg

Want feedback on your own voice?  Sign up for Your Vocal Assessment on my site, then send me a link to or mp3 of your voice with your questions and I will give you my professional assessment right away.

It is one thing to sing  your line to a piano part or to a CD.  Often when we sing to other music we are able to sing freer because we can loose our inhibitions somewhat in the accompaniment, but we can also be using the accompaniment as a crutch for our ear…

I was hit by this the other day when I was at a rehearsal for an upcoming concert of new music.  The piece I am singing is new to my voice and I have been learning it by playing the piano part of the voice out on the piano and singing to it.  Since the piece was so new I hadn’t had much time to look at the orchestration to see what everyone else was going to be playing while I was to be singing my line.

I really felt insecure on my part at the rehearsal.  My vocal line was no where to be heard except coming out of my mouth.  Nothing in the accompaniment played or really supported my part.  My part had been written like one of the instruments in the chamber ensemble, standing completely on its own like the flute, violin, or viola.

I hadn’t sung something like this in a while and honestly I had forgotten to prepare correctly for it.  Often I am singing to orchestration or piano accompaniment that is supporting my voice part, playing predictable chords underneath and giving me a real cushion to the melody.

I was able to pull off the rehearsal, but I was not secure on my line.  I immediately came home and “re-practiced” the piece singing out my lines acapella and playing the piano parts of the other instruments learning their cues. It was not a completely pitch centered line when I first started and I kept having to check my starting notes, but after a bit, I was prepared.

So don’t forget, not only should you learn your music with accompaniment,  you should turn off the accompaniment and sing through your lines making sure that you are secure on your intervals in your phrases and your starting notes on new ones.  This will give your line more beauty as you are more confident to sing them correctly without any sort of crutch.  (I forgot to head my own advice on this one, but I am glad I got through it so I can be prepared better next rehearsal, and hoping help you all avoid the same situation!)

A practiced singer is a professional one!

written by: Ariella Vaccarino creator of Voice lessons To GO (singing lessons on CD) and author of Vocalize!

Want to find out what you need to work on before your next audition? Sign up for my Your Vocal Assessment, where you send me a link or mp3 to your voice with your questions and I get back to you with my professional feedback right away.

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