Allergies and Singing in Summer! Do you feel like you 'suddenly have allergies'? Is it affecting your singing?

"I am sick again" or "Is it me or are allergies just awful this year?"  I keep hearing these questions from my students in voice lessons.  Many don't think they have allergies because they have not had them before.  Maybe they are just more sensitive to allergic tendencies now that they are singing regularly and depend on their bodies as their instruments.  Others know they do and for some reason the way they have dealt with them in the past is not working this year.

I was astonished when I read an article in my May 2014 Self Magazine entitled "Are These Making You Sick?".  I too have been feeling my allergies act up and actively starting using a Neti Pot to help combat my symptoms, but here was actually proof that we are not nuts!  Skyrocketing allergen levels may be to blame.  Why?

Climate conditions have changed making plants like ragweed pollinate earlier and die later according to Leonard Bielory, MD, professor at Rutgers University.  If pollen is being produced earlier and last longer, there is more time for it to bug you.

Think about all of the severe types of weather we have encountered in the last couple of years:  in the Northeast we have had many severe thunderstorms, a weird hail storm, an extremely cold and wet winter, Superstorm Sandy last summer, the weather abnormalities keep adding up. In the case of Sandy, Dr. Bielory says "the storm saturated the ground and provided extra nutrients that acted like steroids on many pollen-bearing plants."

In cities, now urban planners are adding trees to the environment which shed lots of pollen.

In summary, more (quantity and types) of pollen are being added to the environment for longer periods of time so you may find yourself with itchy eyes, running nose, and congestion (the number of seasonal allergy sufferers has DOUBLED in the last 2 decades according to the Asthma and Allergy Foundation of America).

Crazy but true, so okay, now what can you DO to help yourself?

Pay attention to your body and its signals.  If you are starting to feel your allergy symptoms respond to them by:

- Wash your hands (and hair) frequently and don't rub your eyes

- Minimize outdoor time at peak pollen times (first thing in the morning)

- Eat well  (salmon and walnuts, arugula, kale, cilantro, onions, radicchio may help prevent immune cells from releasing histamines which may reduce your symptoms)

- Drink your H20 and try a little green tea

- Pay attention to any foods which make your throat itchy or irritated. What is in the food may cross-react with the allergens in the air.  (ragweed allergy- may be sensitive to cantaloupe, zucchini, cucumbers or birchwood allergy you may be sensitive to carrots, celery, parsley, apples)  Food allergies are a completely different subject but you may be sensitive due to your airborne allergies!

- Find your triggers (either by paying attention to when you sneeze or get that allergy test!)

- Be vigilent about cleaning  triggers can be indoor airborne allergens or things brought in from outside)

- Use saline nose spray or a neti pot to rinse out allergens trapped in your nose.  Find an allergy medicine to help you if that alone does not do the trick

- Get lots of sleep and try to reduce your stress levels.  Meditation or yoga may actually help reduce inflammation!

Allergies when not taken care of slowly turn to colds or sinus infections which cause even more problems.  Take care of yourself from the onset of your allergy symptoms so you can continue to sing with ease!  Also, rest assured, you are not crazy if you feel like you 'suddenly have allergies'.

Analyze This! Musical Theater (or Opera) is Not My Passion. WHY Should I Learn the Music? What Analyzing the Music Can Do for You!

There are so many styles and facets of singing that people often wonder, "Why should I learn this style of music?  Why will it benefit me?"  I often get asked that question when I present a young student with a musical theater or folk song piece.  Many jump at the chance to do Broadway but balk at the concept that it is 'legit' or from the Rogers and Hammerstein era or a song that they have never heard before.  It is not what they are familiar with, so why should they learn that style?  I like to re-phrase the question to be 'Why Not?' and 'What can I learn from it?'.

Specifically, one can learn so much from working on a song from musical theater.  Not only are we learning the notes and lyrics, but we delve into character development and what we are trying to convey or communicate (dramaturgy)!  It is often an easier avenue to approach these concepts through musical theater than folk song or art songs or opera.  It is often a great caveat to operatic study as the voice develops, matures, and helps the student to understand the value of the study of the opera as a whole not just their individual aria.  We dig deeper than just the notes on the page and make the difference of "mediocre and truly great performers" (in all realms of musical performance). (Classical Singer, 10/2009)  If we start with our own native language when studying character and historical study of a song (or aria), we can start a complicated analysis process with something that is easy to relate to for a beginning student.  We just have to carefully select the repertoire so that it is vocally and age appropriate.

To understand the seriousness of this kind of study, let's visit the practice of dramaturgy in opera houses.  If an opera house is very lucky, they have their own dramaturg coach.  If not, a very good director who understands the process.  Study of this nature helps to identify questions of who what , when, where, why, and how, and place each singer's role in the context of the opera as a whole.  If you look at the music from all angles- music history, socio-cultural context, and where the material comes from (a poet or original libretto) you can fully 'inhabit' their characters.  Read more about this process at "Analyze This" Classical Singer, October 2009.

This is a brilliant concept!  Full research of a musical piece give the most benefit to authentically perform any role or repertoire of choice.  If you get under the skin of the text and make it second nature and part of you physically, it catches the whole audience (even the squirming 10 year old!). Through research you find the true roots of the music and then can add your own interpretation.  It is the ultimate to prepare a role (opera or musical theater) or song in general!

In operatic study, we read the libretto (full script), translate it word for word (or interpret the older English translation), study the composer's true intent of how he set the words to the music, form ideas of the character and stylize and characterize the music (of course after we have learned all of the pitches and rhythms).  Why not do this with other repertoire before our voices are developed enough to sing opera?

If we start with our native language we skip one step but still need to interpret the poetry and lyrics. If we start this study with more contemporary literature or literature that has topics that are easy to relate to, we can create a process of how we learn vocal literature and authentically perform it- make the difference between an okay performance and a GREAT performance.  As voice study progresses and the repertoire difficulty level increases we then can apply the process and be motivated to research and understand music and repertoire history of long ago that might be difficult to understand in early study. Think of it this way, we don't start reading Shakespeare as we first learn to read, but read stories of young girls and boys that we can relate to.

In today's world, opera is a regarded as musical theater because 'just stand there and sing' doesn't exist. You must act and do it well to get that role!  So by doing dramatugic study of all of our songs we are doing ourselves and our audiences a favor! Not only do we learn the ins and outs of what the composer really was trying to communicate, but we can deliver it to our audience with full gusto!

If you can learn to fully inhabit a role by this kind of study it 'adds another layer to the onion' that unfolds to the audience as an outstanding performance!  Give it a try and see what happens to your performance!

Should I Sing in the Next Voice Recital? Benefits to Doing it!

"Should I sing in the next voice recital?" I often get asked.  The answer is a resounding' "Yes!"

Why Sing for my Voice Studio's Recital?  There are many benefits!

- An Opportunity to Share With Others: You get a chance to share the music you have been working on. - Learning Attention to Detail: You go through the process of fine tuning a piece to the point that you are comfortable singing it in front of others.
- Communication Skills: You learn how to truly communicate the meaning of a song in performance.
- Memoriziation:  You learn HOW you best memorize and truly internalize a piece of music.
-Performance Anxiety Relief: The more you perform, the better you learn to adapt to your body's response to nerves and therefore the easier it gets.
-Your Happiness:  You did it! It felt good to sing in front of others!  You saw your mom smiling and your dad clapping for you!  Your teacher was proud!
-Hearing others voices lifted in song:  It is so good to hear and watch others singing.  You are exposed to new music or hear an old favorite.  You get to see the joy others have in singing.  You may hear a song you know you want to sing in the future (tell your teacher).
-Historical and Cultural Understanding:  You learn the history of the song you are singing, the culture of a variety of different styles of singing, and learn from others performances.
-Community: It is part of the community of the voice studio in which you take lessons. Be a part of it as you learn something from every performance.
-Preparation for the future:  Singing 1 or 2 songs on a group recital now prepares you for a future recital that is just yours or singing a solo song in the next musical theater production.
-It is fun!  Admit it, even if you are a little nervous.


Why Not Sing?

There are few reasons not to, but if you are brand new to the studio and in the beginning stages of voice lessons, maybe you forego this performance.  If you have had a recent vocal injury and are taking voice lessons to rehabilitate your voice. Attend the recital anyway to reap the benefits of listening to others doing the same thing as you and to meet others in the studio!

You love to sing, so go out and do it!  Happy Singing!

Act Up in Auditions - Move but have it make sense!

When auditioning, you are always aspiring to do the right thing and the best thing to land that role or solo. There is an ongoing dispute if someone should act out the piece they sing or stand still. The answer?  Neither, be natural and go with what makes sense.  Make any motion or movement that you make MEAN something, not just be oh, I am going to move my arms now.  Motions should have a purpose and help show you understand what you are saying in the song.  The level to which each auditor thinks a person should move varies, but most agree you should act when singing an audition.

In an article from Classical Singer Magazine, many directors spoke candidly about what they like to see in an audition.  It is helpful to think about these things when preparing that next audition or a student to do an audition.  Here are some of the quotes we should take to heart:

Singers should always demonstrate acting in their audition. Acting doesn't imply taking over the entire room.  It simply means being committed to story telling.  James Marvel, Stage Director

Acting involves knowing what you are saying and why you are saying it at that particular moment.  The singer should know what her or she wants to say in the aria and share it in a way that the audience will know it. Ellen Rievman, NYC Acting coach

Thoughts should appear on the face externally (seeing someone or some object in the room) or internally (seeing something in your mind or reflecting on something).  These change from phrase to phrase and thought to thought.  Thoughts must precede gestures, and gestures must precede the words coming out of the singer's mouth.  They are not naturally simultaneous. 
Dan Montez, Director of Taconic Opera

Include the audience somehow.  Communicate naturally and unselfconsciously.  This may mean you look someone in the eye or not. Brian Dickie, Chicago Opera Theater

95% of singers use meaningless gestures during an audition.  Dan Montez  Don't be one of them.

Take the time to interpret your music and figure out where and when you might move based on the text. Make movement mean something, not just flailing your arms.  It is important to have an outside perspective when working out motions.  Work with an acting or drama coach or ask you sister or roommate to listen and watch you sing and get their input.  Less is often more.  Use your dynamics to express and make your movements truly because you are expressing the text.  Simple and clean while using a little bit of space are good mottoes.  Ultimately, the people at the audition are going to listen to your voice, but it is helpful for them to know you are comfortable on stage.

Find out more about acting and singing by asking your voice teacher or acting teacher to work on connecting the two!

Audition- Raise the Bar on Your Quality Audition

Auditions can be a daunting thing or not!  An audition is what you make of it.  It is another opportunity to share what you do well with potential employers or casting auditors.  What you do to prepare and what you do in the audition room both matter!  Make the most of it by doing the following:



1.  Preparation
 - Rehearse, rehearse, rehearse and be prepared beyond your wildest dreams.
 - Know the audition piece inside and out musically and dramatically
 - Be accountable to present your BEST from making sure the language and music are well coached and the dramatic qualities of your pieces are exceptional.

2. Think of the Audition as a First Date - Put on your best clothes and be a good host!
 - You want to make a good impression, so dress appropriately for the character and make eye contact when you shake hands with the auditors.
 - Make the auditors comfortable in your presence
 - SMILE and bring positive energy into the room
 - You want the auditors to know you will be fun and pleasant to work with- show it!
 - Be kind to your accompanist - they are your best ally in the room
 - If you are well-prepared,confident, and determined to have fun in the audition, you won't have time to think about being nervous.

3. Auditions have changed- Don't just stand and sing- MOVE
 - It's okay to move around and act out your audition piece
 - Move with confidence so they can really see what you are expressing
 - Movement will also free your voice and keep wobbly legs from nerves under control

4. Know Yourself
 - What are your strengths as a person and as a singer?  Be honest with yourself and then bring those attributes to the table.  Take time to find your strengths.

At an audition where you select the repertoire, pick it carefully:
   * If you are funny, make sure you have a couple of comedic selections in your repertoire
   * If you know you sing faster songs best, start with an Allegro selection
   * If you know you express sadness well in singing, start with a depressing aria

At an audition where they select  one song to sing:
   * Research the music. Know it's history so you can act it out accurately
   * Make it YOURS from there and add your own personality/interpretation
   * Be your (funny, happy, pleasant) self in the room no matter what!

You make the most of each audition by bringing your best prepared dish (song) to the table and letting the auditors feast on (listen to) the knowledge that you are talented and will be a pleasure with which to work.  Happy Auditioning!

A Masterclass? What is it and why should I (or my child) sing in one?

A Masterclass?  What is it and why should I (or my child) sing in one?  This is a very common question I receive as a voice teacher.  A Masterclass is exactly what it sounds like, a chance to work in a class (group) environment with a master (teacher) of the subject.

Many national conventions, Voice Foundation, National Association of Teachers of Singing, Music Educators National Convention, run masterclasses for those attending.  Some are large and for the whole convention, some are small and individualized focusing on one specific topic.  Teachers and singers can visit the masterclasses of the most interest to them in workshops made of all masterclasses such as are held at the Voice Foundation Convention.  Colleges often offer their music majors masterclasses or studio performance class on a weekly basis.  It unifies the studio, gives them a chance (and responsibility) to perform often and is an essential part to the performing experience.

In the independent voice studio, it is difficult to schedule a masterclass, but very important to the process of developing performing singers.  In a singing masterclass, students are given an opportunity to perform in front of others as if it is a real performance.  Then the teacher (or master) works with each individual on the song that was presented, teaching them in front of the other students or attendees. It is a great opportunity for all.  I try to plan a few each year in my studio.

The singer gets extra performance practice and more time with their current teacher (or visiting clinician).  They can work on getting over the nerves of singing in front of others in a comfortable environment.  They get practice emoting the text to an actual audience instead of to themselves in the mirror and experience what nerves may do to them.  The singer also gets practice at following direction of the new clinician and trying something out or work with their voice teacher in a different environment.

The audience gets to learn from watching the teacher instruct others.  They may learn something that the teacher has yet to say to them or hear it in a different way that clicks! They get to hear the difference in another singer's sound when the student follows instructions regarding interpretation or breath support. Or see the difference in a singer's appearance when communicating the text (and the change in the sound).   It is an educational opportunity in which much can be accomplished and learned!  Plus everyone gets to know one another a little more!

The teacher gets to teach many students at once and see how different students react to different instruction.  It also gives the teacher a chance to address specific ideas regarding singing that cannot be addressed in a regular lesson.  For example, I will often add a yoga component or acting games to a masterclass to show students how they can positively impact singing and performing.

I have recently begun asking my students what their favorite part of a masterclass is.  I have heard a variety of responses from "I learned I don't really have to be nervous to sing in front of others, if I just focus on what I am really saying in the song" to "Yoga has such an impact on freeing up my voice" to "I really enjoyed hearing the variety of repertoire sung by others."  Although the responses vary, one thought is ringing true:  Masterclasses are fun and you can learn a lot from singing in and attending them.  Read more about masterclasses at Susan Anders Brizick Voice Studio Happenings

The next time the opportunity presents itself, I encourage you to sing (or go to) that masterclass! You never know what you might learn.  Let me know some of your experiences with masterclasses and why you like them!

Spring in full bloom- How do you keep the practicing going? Create new goals to keep momentum

Spring is here and you want to get outside!  Who has time to practice?  We have all been bitten by the bug called spring fever and want to be outside.  I love being outside and have to keep myself focused too.  How do keep yourself practicing through spring and summer?  It's important and you may have a little more time in these months with less school work or shorter hours at work.

Here are some creative ways to do it:

1. Set new goals for yourself.
- Learn that new aria or song that you fell in love with.
- Get 4-6 audition songs of a variety of styles and tempi up to the level that you can pull them out for any audition
-Work on your stage fright by performing more often- volunteer to sing a solo at church, sign up for a singing class or summer program that includes a performance

2. Get involved in a summer program or summer production
- Not only will you have fun, but it will keep you motivated to practice and keep you singing
-Work on audition material for the program or production

3. Remember all that you learned and worked on throughout the year.  Don't let it wither over a few months of not singing.

4.  Try working on a new aspect of your singing.  Try a new style.  It may invigorate your soul.

5. Give yourself a break every so often. It is healthy to take a vacation (a week or two) not a 3 month holiday away.


Okay, I hear you- but it is so nice outside!  I'd rather.....

You can do this.  It is important to keep continuity (and yet allow yourself a short break or mental health days:-)  Use your time management and plan out a time when you will practice. What works best for you?

-Will it be right after you get up in the morning/before you go out to the pool?
-Will it be right after you get home from work and before you go outside to relax with your family?
-One or two days a week, practice silently at lunch by analyzing the text of that new song, clearly establishing those breaths, and memorizing it.
-Go outside and sing.  Practice in your backyard.  You never know whose day you may brighten or what bird may join you in song!

Try it and get creative.  We make sacrifices as singers and artists, but what we sacrifice the most is success if we do not keep up with our craft.  Enjoy your times (and days) in the sun, but be true to your musician and find time to keep up with your singing!

What are your ideas for how to keep yourself singing with spring fever and the lazy days of summer?