Voice with Julia Podcast

Dramatic Soprano, Othalie Graham, stresses staying true to your technique, especially with the pressures of the outside world, and different opinions on how a dramatic voice should sound and operate. She emphasizes the importance of knowing your own instrument, and what you should and shouldn’t be doing.

Join me for this Technique Talk where we dissect everything it means to be a dramatic soprano.

Othalie has performed with companies such as Edmonton Opera, Nashville Opera, Gran Teatro Nacional del Perú, and Asociación Cultural Romanza, in roles such as Turandot, Aida, and Lady Macbeth.

HEAR Othalie in action: https://youtu.be/cwekfaIP1fY

Voice with Julia’s Technique Talks is where we demystify conversations surrounding vocal technique with behind-the-scenes access to great singers of today. Forget what you thought you knew about singing from your pedagogy textbook. In this series, singers get real about what works, and what doesn't. Get inspired. Try these tips. Use your judgement.

Show Notes:

2:36 Othalie talks about technique through challenging roles

5:25 Othalie talks about singing at 55% instead of that 95%

8:31 Othalie Talks about what the intent change in 95 miles per hour

11:42 Othalie talks about manufacturing a dark sound

17:42 Othalie talks about the idea of a “big” voice

23:00 Othalie talks about her first voice teacher

28:38 Othalie talks about voice difficulties

34:23 Othalie talks about setting up her voice

39:13 Othalie talks about support and breath

48:00 Othalie talks about the stakes in singing

51:47 Othalie talks about her pianissimo high D ______________________________________________________________________________________________

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How poor oral resting posture impacts breathing. Compensations singers with tongue-ties and lip-ties create to produce sounds. Before/After release singing videos.

05:59 Bryce Lupoli on Breathing
01:06:16 Julia & Leah on Compensations when singing with oral tethers
01:41:47 Julia's Before & After release singing
02:04:08 The MyoFunctional Singer

The MyoFunctional Singer is a 3 month program beginning in June 2021 for singers seeking to revolutionize their technique through Myo-Function. We provide COMPLETE support for ANY point in your journey, from pre- to post- restriction release, to singers wishing to learn new techniques to up-level their singing. To read more, visit https://www.voicewithjulia.com/the-myofunctional-singer 

To book your call, visit https://voicewithjulia.as.me/discoverycall

Watch on YouTube: https://youtu.be/RBbmwcNflYo

Day One: How to identify oral tethers in singers and how having a tongue-tie or lip-tie can affect your singing- plus personal journeys!

05:30 Julia's Journey
15:58 Tongue Ties, Lip Ties, and MyoFunctional Therapy
01:19:02 Questions and Answers
01:36:00 Leah's Journey
01:47:33 Questions and Answers & Info about The MyoFunctional Singer

Voice with Julia's The MyoFunctional Singer is a 3 month program beginning in June 2021 for singers seeking to revolutionize their technique through Myo-Function. We provide COMPLETE support for ANY point in your journey, from pre- to post- restriction release, to singers wishing to learn new techniques to up-level their singing. To read more, visit https://www.voicewithjulia.com/the-myofunctional-singer

To book your call, visit https://voicewithjulia.as.me/discoverycall

Watch on Youtube: https://youtu.be/1Ubp4V1kTxk

Sitting down with Babatunde Akinboboye, Operatic Baritone & creator of the musical genre #hiphopera was like a masterclass in technical imagination. The analogies and sensations Babatunde expresses to explain vocal events is worth the watch.

A singer of diverse talents, Nigerian American Baritone, Babatunde Akinboboye is known for his enthralling stage presence. He has performed with the Los Angeles Opera, Opera San Jose, Opera Santa Barbara, Long Beach Opera, and Utah Opera. Babatunde has also debuted the roles of Drew in the Opera Works’Arts for Social Awareness Project’s world premiere production of The Discord Opera, and Zanni in the world premiere of Gloria Coates’ Stolen Identity. His most recent performances include Daggoo in LA Opera’s Moby Dick, Escamillo in Pacific Opera Project’s production of Carmen, and Lucha’s Father in The Industry’s production of Hopscotch.

As an advocate for the performance of art song and operatic works written by African, and African American composers, Mr. Akinboboye has headlined the Lagos Chamber of Commerce & Industry awards in Lagos, Nigeria performing a fusion of opera and traditional African music and has been a featured performer at both the National Association of Negro Musicians Annual Conference, as well as the African American Art Song Alliance Conference.

Babatunde’s honors include Regional Finalist of the Metropolitan Opera National Council Audition, and finalist in the International Eisteddfod Vocal Solo Competition in Llangollen, Wales.

In December of 2018, Babatunde combined his love of classical opera and hip hop and created the new genre Hip Hopera in a viral video that gained over 10 million views and was featured on Time.com, Classic FM, MSN.com and more. His debut EP “Della Citta” is now available.

Babatunde can be found at https://www.hiphoperaworld.com and https://www.babatundebaritone.com

Voice with Julia’s #techniquetalks is where we demystify conversations surrounding vocal technique with behind-the-scenes access to great singers of today. Forget what you thought you knew about singing from your pedagogy textbook. In this series, singers get real about what works, and what doesn't. Get inspired. Try these tips. Use your judgement.

Show Notes:

00:00 Babatunde Akinboboye’s Bio

03:45 The vocal journey

09:02 How to think as a creative singer

12:12 How to work on technique

16:19 How different languages affect vocal positions

19:51 How to turn the baritone voice

24:11 How to tilt the larynx

26:19 How to breathe as a singer

35:00 How to feel intention

38:18 How to sing baritone high notes

43:48 How to have good singing posture

48:32 How to sing falsetto

50:30 Babatunde talks about #hiphopera

57:22 What is your desert island vocalise

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Jennifer Larmore was one of my first opera idols, and I am so privileged to sit down with her for this episode of Technique Talks. She is so intelligent, talented, funny, and full of incredible technical advice! I hope you enjoy this conversation where we discuss breathing optimization, clear vowels, coloratura, and more!

Jennifer Larmore is an American mezzo-soprano, with a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart's La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and Covent Garden.

Hear Jennifer sing live here: https://youtu.be/ByPRpeI64Ic

She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as numerous DVDs

With her frequent collaborator Antoine Palloc, she has made many International recital tours at major cities throughout the world, as well as all the major American venues. Symphonic repertoire plays a large role in this mezzo’s career and she has enjoyed great collaborations with world orchestras under the direction of Muti, Bernstein, Runnicles, Masur, Barenboim, Bonynge, Maazel, and Osawa, to name a few.

Miss Larmore is widely known for teaching and giving master classes at the most prestigious conservatories and major cities throughout the world. Miss Larmore lives in Paris with her husband and little Opera dog Buffy.

Her book "Una Voce" is available at Barnes & Noble, Amazon, and Lulu.com and explores the world and psychology of the performer.

Show Notes:

00:00 Jennifer Larmore's Bio

8:00 How to find individual technique success

14:20 How to have a margin of error in practice and performance

18:13 How to breathe when singing

24:14 How shoulder blades assist in a singing breath

28:05 How to develop coloratura

33:27 How to manage coloratura in the passaggio

35:21 How to balance a singers registration

37:54 How to develop your voice overtime

42:12 How to manipulate your individual physiology

46:56 How to sing low notes

49:04 How to sing high notes

51:21 How to modify vowels

54:04 How to sing when you have a natural accent

57:26 What is your desert island vocalise

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Grammy nominated baritone, Jorell Williams talks about the constant refining of the voice, the visceral feelings and aural sensations of singing, and reworking his breath and how it changed his career path.

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Jorell has performed with companies such as Seattle Opera, Santa Fe Opera, Victory Hall Opera, and New York City Opera, in roles such as Dr. Falke, Nardo, Escamillo, and Figaro. He is known for premiering new works, such as his Grammy nomination of Cold Mountain by Jennifer Higdon with the Sante Fe Opera. 🎭

𝐇𝐄𝐀𝐑 Jorell in action: https://m.soundcloud.com/jwilliams-4/...

Voice with Julia’s #techniquetalks is where we demystify conversations surrounding vocal technique with 𝐛𝐞𝐡𝐢𝐧𝐝-𝐭𝐡𝐞-𝐬𝐜𝐞𝐧𝐞𝐬 𝐚𝐜𝐜𝐞𝐬𝐬 to great singers of today. Forget what you thought you knew about singing from your pedagogy textbook. In this series, singers get real about what works, and what doesn't. Get inspired. Try these tips. 𝐔𝐬𝐞 𝐲𝐨𝐮𝐫 𝐣𝐮𝐝𝐠𝐞𝐦𝐞𝐧𝐭.

Show Notes:

05:11 Jorell discusses how he approaches his technique while singing different styles of music

07:50 Jorell discusses how he breathes

10:40 Jorell discusses his mistakes with breathing

13:20 Jorell breaks down breathing

22:00 Jorell discusses falsetto

26:06 Jorell discusses overcoming vocal struggles

33:44 Jorell discusses roles that feel like they were written for his voice

35:46 Jorell discusses the sensations of a successful turn

38:07 Jorell discusses tongue position

43:21 Jorell discusses jaw tension

45:02 Jorell discusses his hardest vocal challenge

47:12 Jorell discusses process

51:50 Jorell discusses his desert island vocalise

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Baritone, Gabriel Preisser, discusses baritone technique for navigating the passaggio. He goes deep into the dangers of muscling the sound as a young baritone, and explaining the voice turning over.

Gabe has sung over 40 operatic and musical theatre roles in companies like Minnesota Opera, Cincinnati Opera, Opera Philadelphia, and Michigan Opera Theatre, in roles such as Danillo, Figaro, Billy Bigelow, and Dandini. In 2020 he sang with the Boston Modern Orchestra Project which won the Grammy-Award for best new opera recording.

WATCH Gabe in action: https://youtu.be/q1B4WUA6jAU

Voice with Julia’s #techniquetalks is where we demystify conversations surrounding vocal technique with behind-the-scenes access to great singers of today. Forget what you thought you knew about singing from your pedagogy textbook. In this series, singers get real about what works, and what doesn't. Get inspired. Try these tips. Use your judgement.

Show Notes:

6:20 Gabe discusses how he gets his voice working all-day-everyday – Technique + consistent skills

10:00 Difference between head voice, falsetto, and chest voice

12:30 Turning over the voice (what/how)

15:30 Gabe discusses the vowels that help turn over the passaggio

18:12 Gabe discusses tongue position when turning over

19:50 Gabe discusses exercises to build up breath system

24:30 Gabe discusses body alignment/posture (alexander technique, yoga)

29:50 Gabe discusses how to sing Largo as a baritone (high notes and patter/articulation)

33:23 Gabe discusses high notes and vowels

38:40 Gabe discusses low notes

41:35 Gabe discusses whistle tone vs. Falsetto

43:47 Gabe discusses coloratura

46:50 Gabe discusses contemporary vocal technique Repertoire, and cross-over

50:54 Gabe discusses hooking

52:07 Gabe discuses his most challenging cross-over role

53:30 Gabe discusses his favorite baritone vocally

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Soprano, Elizabeth Caballero, discusses technique from her perspective. She goes deep about the upper passaggio, keeping optimal registration throughout ALL your repertoire (which is the key to vocal youth), and standing your ground as a singer.

Elizabeth's luscious voice has been heard in theaters such as The Metropolitan Opera, Teatro de la Zarzuela, Staatsoper unter den Linden, and Seattle Opera, in roles such as Violetta, Mimi, Magda, and Florencia en el Amazonas.

WATCH Liz in action: https://youtu.be/5nnXY5z6TPk

Voice with Julia’s #techniquetalks is where we demystify conversations surrounding vocal technique with behind-the-scenes access to great singers of today. Forget what you thought you knew about singing from your pedagogy textbook. In this series, singers get real about what works, and what doesn't. Get inspired. Try these tips. Use your judgement.

Show Notes:

5:08 Liz discusses breath and appoggio

7:01 Breath Exercises that Liz used

9:03 Liz discusses the art of the inhale

10:40 Liz discusses balancing registration

16:19 Liz discusses the upper passaggio

18:29 Liz describes the sensations when singing high pianissimi

21:50 Liz talks about navigating high lying, passaggio singing and vowel modification

26:27 TAKE THAT BREATH.... and stand your ground

29:40 Navigating difficult performance situations and the importance of MINDSET

34:28 Liz discusses her vocal approach to different repertoire

42:10 Liz discusses how to get her voice in order on non-optimal days

45:13 Liz discusses learning and singing coloratura

47:30 Desert Island Vocalise

50:14 Liz discusses upcoming performances and career growth

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Breathing for singing can be so elusive. It should be natural (after all, girl gotta' breathe..), but somehow it can feel uncoordinated, disorganized, and messy. Mezzo, Chrystal E. Williams breaks it all down for us in practical steps to gain control of our breathing. She also drops some major TRUTH bombs about MINDSET in singing and how risk-taking NEEDS to be a priority.

A Mezzo-soprano dominating the stages in roles like Rosina to Katarina in Lady Macbeth of Mtsensk, Chrystal E. Williams is making a name for herself on the international stages such as The Metropolitan Opera, Seattle Opera, and Birmingham Opera UK. Chrystal created the role of Rebecca Parker in Schnyder’s Charlie Parker’s Yardbird, runs a scholarship recital for classical singers needing funds to attend conservatory/university, and champions the creation of new music in her duo Forrópera.

Hear Chrystal in Action: https://youtu.be/p5vpseV4vKw

Donate to the Chrystal E. Williams Scholarship Fund, "An Evening with Chrystal E." : https://www.paypal.me/CEWScholarship

Watch interview on YouTube: https://youtu.be/sdlkSwlpRP8

Voice with Julia’s #techniquetalks is where we demystify conversations surrounding vocal technique with 𝐛𝐞𝐡𝐢𝐧𝐝-𝐭𝐡𝐞-𝐬𝐜𝐞𝐧𝐞𝐬 𝐚𝐜𝐜𝐞𝐬𝐬 to great singers of today. Forget what you thought you knew about singing from your pedagogy textbook. In this series, singers get real about what works, and what doesn't. Get inspired. Try these tips. 𝐔𝐬𝐞 𝐲𝐨𝐮𝐫 𝐣𝐮𝐝𝐠𝐞𝐦𝐞𝐧𝐭.

Show Notes:

7:15 Chrystal talks about her process to prepare for singing

10:55 Chrystal talks about breath and support (including exercises)

12:48 Chrystal discusses true Inhalation must come from a place of need....

16:50 Chrystal talks about onsets & breath engagement

22:10 Why "Singing on the Breath" can be confusing

24:18 How to avoid getting "stacked" when singing fast repertoire

29:10 Chrystal talks about why you "shouldn't" breathe, even when you "can"

31:55 Chrystal talks about overcoming fear as a technical obstacle

36:40 Chrystal discusses the mental/spiritual component of technique

40:22 Chrystal talks about how the mind/body/spirit must be one to maintain focus

43:15 Chrystal talks about phonation/resonance/registration

52:23 Chrystal discusses passagi for mezzo-soprano (aka "my lovely cracks")

57:42 Chrystal discusses navigating a voice that is "zwischen-y" and not putting yourself into a box

1:02:55 Chrystal shares her "desert island vocalise"

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Andrew Owens, Tenor gets real about technique.... from cord closure, to appoggio, to singing killer high-notes, you are NOT going to want to miss this general tenor bad-a$$ery.

To HEAR Andrew in action: https://youtu.be/u3BOOuGkKmc

Voice with Julia’s #techniquetalks is where we demystify conversations surrounding vocal technique with 𝐛𝐞𝐡𝐢𝐧𝐝-𝐭𝐡𝐞-𝐬𝐜𝐞𝐧𝐞𝐬 𝐚𝐜𝐜𝐞𝐬𝐬 to great singers of today. Forget what you thought you knew about singing from your pedagogy textbook. In this series, singers get real about what works, and what doesn't. Get inspired. Try these tips. 𝐔𝐬𝐞 𝐲𝐨𝐮𝐫 𝐣𝐮𝐝𝐠𝐞𝐦𝐞𝐧𝐭.

Show Notes:

:04:09 - Breath
:09:56- Alignment in terms of Support
:12:29- Support in or Support out?
:15:45- Resonance and Registration: navigating the different registers
:20:48- Sensations in Singing
:27:30- Blending the registers
:37:10- Tongue Position
:44:00- On coloratura
:54:50- On taking on bigger repertoire
01:00:39- Desert Island Vocalise

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Stentorian Bass, Harold Wilson discusses high notes and low notes, bass repertoire, and common mistakes of young bass singers.

Harold has performed with companies such as the Metropolitan Opera, Santa Fe Opera, Palm Beach Opera, Deutsche Oper Berlin, and Staatsoper Berlin, in roles such as Basilio, Sparafucile, Ramfis, Sarastro, and Baron Ochs.

𝐖𝐀𝐓𝐂𝐇 Harold in action: https://youtu.be/haSPE4MdOP0

Voice with Julia’s #techniquetalks is where we demystify conversations surrounding vocal technique with 𝐛𝐞𝐡𝐢𝐧𝐝-𝐭𝐡𝐞-𝐬𝐜𝐞𝐧𝐞𝐬 𝐚𝐜𝐜𝐞𝐬𝐬 to great singers of today. Forget what you thought you knew about singing from your pedagogy textbook. In this series, singers get real about what works, and what doesn't. Get inspired. Try these tips. 𝐔𝐬𝐞 𝐲𝐨𝐮𝐫 𝐣𝐮𝐝𝐠𝐞𝐦𝐞𝐧𝐭.

Show Notes:

04:26 How to overcome the challenges of the bass voice

06:06 How to know if you are a bass

10:54 How to breathe when singing

15:16 How to navigate the bass voice registration

20:18 How to navigate the bass passaggio

22:40 How to sing bass high notes

25:06 How to use bass falsetto

27:27 How to lower the larynx

32:04 How to project as a bass

34:38 How to sing bass repertoire

39:45 How to sing with the breath

43:18 How to sing coloratura as a bass

45:00 How to sing “La calunnia” and Sarastro

49:56 How to navigate problems on stage

54:25 What is your desert island vocalise

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What happens when a DRAMATIC Soprano, Alexandra Loutsion, and a Mezzo, Annie Rosen, who “will crush your soul” come for a chat?

(This is a normal occurrence on Voice with Julia’s #TECHNIQUETALKS)

Alex sings the nice LADIES like Turandot, Tosca, and Elektra with companies like San Francisco Opera, Canadian Opera Company, and Pittsburgh Opera. 

Watch Alex tear it up as Turandot: https://youtu.be/NyM5ExJkU9Q

Annie rips up the stage with roles like Adalgisa, Suzuki, and Melisande and at theaters like Lyric Opera of Chicago, Deutsche Opera Berlin, The Metropolitan Opera, and sings some amazing new operas like Akhnaten and Bel Canto.

Hear Annie crush your soul: https://youtu.be/2-5AL_4NASk

Watch interview on YouTube: https://youtu.be/tuwPL-MdRVs 

Voice with Julia’s #techniquetalks is where we demystify conversations surrounding vocal technique with 𝐛𝐞𝐡𝐢𝐧𝐝-𝐭𝐡𝐞-𝐬𝐜𝐞𝐧𝐞𝐬 𝐚𝐜𝐜𝐞𝐬𝐬 to great singers of today. Forget what you thought you knew about singing from your pedagogy textbook. In this series, singers get real about what works, and what doesn't. Get inspired. Try these tips. 𝐔𝐬𝐞 𝐲𝐨𝐮𝐫 𝐣𝐮𝐝𝐠𝐞𝐦𝐞𝐧𝐭.

Show Notes:

05:23 How to breathe for singing

13:19 Practicing vocal registration

20:43 How to align chest and head voice as a singer 

26:15 How to sing contemporary music

29:22 How to navigate the passaggio 

37:10 How to sing mezzo high notes

47:23 How to sing soprano high notes 

1:00 Annie discusses her desert island vocalise

1:01:55 Alex discusses her desert island vocalise 

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