Vocal Technique and Quality Analysis - Let It Go - Sabrina Weckerlin and Samantha Barks.
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- Äas pĆidĂĄn 19. 04. 2024
- Stylistic differences between German and British vocal technique and qualities.
Julian (German Vocal Coach at an Acting University) and I discuss the main differences.
We get very carried away! it is a long one!
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Ich finde es cool, dass mal jemand eine Analyse von Samantha & Sabrina macht, aber hÀtte man nicht die Wetten Dass ?! Performance von Sabrina nehmen können ? Die war definitiv live und hÀtte besser zur Analyse gepasst als die gewÀhlte Performance von Sabrina.
Dabei interessiert mich: wie oft habt ihr beiden Sabrina live gesehen ?
Aber ja, deutsch & englisch ist halt auch nicht gleich. Schwer bis unmöglich zu vergleichen & jede(r) hat seine eigene Technikđđ.
Hey! Leider waren viele performances nicht live from Sabrina. Ich hatte schon lange gesucht. Das war eine die wenigen die Live waren.
Ja wir haben sie beide schon 2 oder 3 x gesehen. Wir meinen nichts böse, sie hat eine hervorragende Stimme. Sie benutzt nur sehr viel schrei belt und das war eben die Diskussion was der Geschmack unterscheidet zwischen England und Deutschland. â€ïž Sie ist eine mega performer!
@@ZoeStibiVocalCoach tatsĂ€chlich ist die Wetten Dass ?! Performance von ihr live. Sie wurde gebeten, den Auftritt zu lip syncen und hat gesagt entweder es ist live oder sie macht es nicht. Von daher ist die Performance auf jedenfall schonmal vergleichbar. Ăbrigens gibt es auf CZcams unzĂ€hlige Videos, wo sie on Stage in Costume ist und die Videos kann man eher mit der Performance von Samantha vergleichen, als das hier ausgesuchte Konzert.
Hier mal ein Link zu einem der Performances: czcams.com/video/AqLJMxrFcuA/video.htmlsi=YepgiMwOdbTmi3xe
@@inhumanship5871hey , also wo du dass mit dem es ist live oder sie macht es nicht gehört hast keine Ahnung, aber wetten dass war tatsĂ€chlich nicht live. Also keine Ahnung woher du das hast aber nein es war nicht live es gibt Probenvideos mit der 1:1 gleichen Audio. Von daher nein. Aber ich muss dir recht geben dieser Auftritt macht ihr Stimme schlechter als sie ist nicht nur weil es auĂerhalb ihrer BĂŒhne ist und sie dort sowieso anders singt in ner anderen Version als im Theater nein auch die TonqualitĂ€t von Mikro & Co ist viel schlechter. Es gibt so viele Videos live von ihr aus dem Theater die sind viel besser. Auch wenn ich Willemijn viel besser finde aber Sabrina war auch echt richtig gut ich durfte sie 2x erleben, GĂ€nsehaut.
I'd love to see you react to Lillian's cover of 'Mon Legionnairé' on the voice France. His voice is amazing, and the song is downright beautiful.
Please react to Bebe Rexha sabotage song
I like Barks, though I'm not actually a fan of her on Let It Go, and I think the musical itself lacks a lot of what is typically expected in theatre (though this is probably because profits were considered first and foremost when deciding to stage it, so entirety of the blame can't be put on the cast I admit). I think she's fine vocally from the 1st chorus onwards, but I don't actually like her first verse because I don't think she's as polished when singing in dolce style in comparison to the rest of the performance. Also, just as a personal preference, I'm really not keen on the glottal uses ("mauw-in", "to-nigh", etc.) and there's a lot of other modifications which are extremely British in everyday speech, but for a song like this I think the decision to sing in an estuary dialect isn't very fitting if you're portraying a princess.
I think it also falls victim to the problem of forgetting that this isn't just a studio recording, but a theatre performance - so not only must the vocal be correct, but the acting needs to be present too and this is where it falls flat overall (and I think why I have trouble connecting with Barks' performance really, because she's a capable vocalist but the overall delivery just isn't working for me). That first verse of Let It Go is all about a highly emotive point of self-reflection, and the acting completely misses the mark unfortunately. Not an easy task to emote when you're stationary, but it is necessary nonetheless when you're in the West End.
It reminds me quite a lot of her time as Eponine in Les Mis; when she took over from Salonga (who in my opinion is a stellar example of gold standard in theatre, brilliant vocalist and a brilliant performer), she would start her title song On My Own in RP dialect, though after just 4 bars of the vocal she falls out of RP and goes back into an estuary dialect where it doesn't sound as convincing to the character. Then on the anniversary recording, you can see that producers and directors really worked hard with Barks to get her very focused on nailing the correct RP dialect (which they did), but when she comes back to the stage it's as if she gives up on it all - and I think that's a shame because when it comes to theatre performances, you are only as strong as your weakest link in the chain (whether that's singing, dancing, acting), and Barks' acting really diminishes her singing and I'm not sure if anyone around her is telling her like it is that the acting needs work.
Anyway back to the Let It Go performance lol. I will say that Barks has a really good belt and when she's in a full modal voice it's very well supported (aside from when she's trying to sing dolce, that is). At times though it does sound like she's either trying to force a vibrato, or repress a vibrato, and I'm not entirely sure which of the two it is but one or the other is happening at moments.
Only two things I wish were slightly different towards the end are:
1. I think she held onto that D ("girl") slightly too long, that note is not the climax but merely just a teaser, and she leant too far into it because we hear that D note a lot in these closing bars and it oversaturates it.
2. "The cold never bothered me - *breath* - anyway" - that breath does not need to be there, and it splices the musical climax. I wish it was done all in one breath.
By contrast, her melisma through C-B-A-G on "day" was really well done.
Also, alternatively if a singer was determined they wanted to keep some emphasis on the D in the earlier bars, one thing they could opt to do would be to really ramp up the final note to be a proper show stopper in its own right; so instead of sticking on that D and staying there, put in a glissando and slide that all the way up to G, it would set the bar high and above the film version for sure and you can never go wrong with a nice G5 climax.
try reacting to VoicePlay! its an acapella group that is going to blow you away
Would love to!
Please react to Bebe Rexha sabotage song
Please react to Bebe Rexha sabotage song
Please react to Bebe Rexha sabotage song