Funny how this resonates with me…



So here is the list of questions that I will be asking myself after each rehearsal I have, for these following two weeks. 

1) What sections did I spend time on?

2) Did I leave anything out? If so, why?

3) Did I “mix it up”? Starting places and practice basics.

4) What is my purpose for each thing I do?

5) Was one more effective then the other? 

6) How was my time management?


Question 2

I would say that when I am performing I analyze every sound and movement I make, thus engaging the left side of my brain more then my right. This in turn, turns my performance experience into a “headache”, and I end up judging everything. When I say everything, I mean it. I even become aware of the audience’s reactions. This is an issue in my studies because I not only do it when I sing, but when I take tests or do anything which involves grading. So in answer to this question, I am more left brained and analytical. I must find BALANCE! Funny that I found this out, that I am “left” brained, because I always thought I was a “righty”. But I am not an automatic processing type of gal…

question 1

1) For a performer to “speak” to me, I have to become completely involved in the performance. To be involved in a performance, I have to lose track of time and not notice the mistakes. For example when I watch Leontyne Price’s final performance of “O patria mia”, I always tear up at the end and get shivers. She captivates me, leaving me with no words that can describe my experience. There is something about the timbre of her voice and orchestration that seems to transfer my consciousness into a different realm. Now how is an audience moved? That depends on the audience and the energy that is flowing through them. Energy is transferred from both the audience to performer, and from performer to audience. When an audience is “caught in the moment”, it is usually represented by stillness in their listening and then loud/wild applause after. But it also depends on the setting, for example at a rock concert, people are engaged with the performer when they begin to mimmick the performers actions, such as dancing around and reflecting the music…

Body Map

YAY! I figured out how to download this onto my blog!


In my body map I focused on the leg muscles and core.  This is probably because I think of them as my “foundation”, my legs are thick and muscular…now this is not only a thought but a reality for me. My legs have always been strong then my arms, and I have always been aware of my pelvis bone and hip region. I guess that this would show that I am aware that my instrument starts low inside of me, almost how my passion for music starts at the beginning of my life…




Senior Repertoire :)

This is what Professor Acord and I have so far, total this is 14 songs, and next semester we will add the last 2. 

Smanie Implacabili- Mozart

Chacun a son gout- Strauss

Cruda Sorte- Rossini

Va! Laisse couler mes Larmes- Massenet

Must The Winter Come so Soon- Barber

Five Greek Songs- Ravel

Four Cabaret Songs about Love- Britten


Good example of a student…


This young woman is a very good example for me. There are things about this performance that I wish to be more like and things that I know I do not want to be like. For example, I really admire how she kept the same “voice” the entire song. What I mean by this, is as a young singer sometimes it is hard to keep a consistent sound. At least for me, I am always finding different ways how to use my instrument and sometimes I do this while I am performing…bad habit. Speaking of bad habits, one of heres was that she moved her body WAY too much in the beginning..but that of course could of been nerves. Nevertheless, this is something that I am working on, finding a balance between still and movement. No one wants to watch a board perform, but no one wants to get sea sick either…

Agnes Baltsa


there are too many things about this performance that I do not like, that I couldn’t make a list like I did for Stephanie…there are 3 critical issues for me about this performance.
1) Costume distraction, her white puffy sleeves seem to be not only in the audiences way, but her own and the conductor.
2) For the majority of the performance she looks drunk.
3) On the coloratura she sounds like she is a human machine gun, her air is intense.