Tenor Talk: Let's Talk Vocal Technique! Ft. Special Guest: Andrew Owens
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- čas přidán 13. 06. 2024
- Tenor Talk: Let's Talk Vocal Technique!
Featuring Special Guest: American Tenor, Andrew Owens
Recorded Online Skype Session - "Tips on how to Sing with the Tenor Voice."
American tenor Andrew Owens, whom the Irish Times described as having a “ringing top register, and easy fluidity to bel-canto writing,” has quickly built a reputation as a promising singer of his generation, exhibiting a beautiful Italianate timbre, soaring top notes, and effortless agility. In the 2021-2022 season, he joins Opernhaus Zürich as a member of their ensemble, performing Itulbo in Bellini’s Il pirata, Arturo in Lucia di Lammermoor, Beppe in I Pagliacci, and Telémachos in Evers’ Die Odyssee, among other roles.
In the 2020-2021 season, Mr. Owens made his house debut at Opernhaus Zürich as Arturo in Lucia di Lammermoor, and returned to Theater an der Wien for role debuts as Jakob Glock in Prokofiev’s Der Feurige Engel as well as Basilio. The previous season, he made his house debut at Irish National Opera as Don Ramiro in La Cenerentola, returned to Theater an der Wien as First Jew in Salome, and in concert, sang Handel’s Messiah with the North Carolina Symphony.
Concert engagements of past seasons include the tenor solo in The Genius of Mozart at the National Concert Hall, Dublin, with the RTÉ Symphony Orchestra; Handel’s Messiah with both the United States Naval Academy in Annapolis, Maryland, and the Eugene Symphony in Oregon; Beethoven’s Symphony No. 9 with the Bamberg Symphony Orchestra; Schumann’s Szenen aus Goethes Faust with the Cleveland Orchestra; Haydn’s The Seasons and First Japanese Emissary in Stravinsky’s Le Rossignol with the Salzburg Festival; and appearances in a Rossini gala concert at the Munich Opera Festival. He has also performed Don Ottavio in a concert version of Don Giovanni with the Annapolis Chamber Orchestra and Puccini’s Messa di Gloria with the Annapolis Chorale, and made appaerances with the Greensboro Symphony Orchestra and Greensboro Oratorio Society. He made his New York City recital debut with the New York Festival of Song in a program entitled Spanish Gold: Songs of the Iberian Peninsula at Merkin Hall.
Mr. Owens has had the opportunity to collaborate with some of the world’s most prestigious conductors and directors including James Conlon, Nikolaus Harnoncourt, Bertrand de Billy, Franz Welser-Möst, Ari Pelto, Martin André, Christopher Larkin, George Manahan, Sian Edwards, Moshé Leiser, Patrice Caurier, Peter Konwitschny, Richard Jones, Keith Warner, David Bösch, and Riccardo Frizza.
Mr. Owens is an award recipient from the Marilyn Horne Foundation, won 1st place and honors at the Mario Lanza Competition for Tenors in New York City and Philadelphia, respectively, and is the recipient of the Iris Henwood Richards Apprentice Artist Award at Central City Opera. He is a graduate of the Oberlin Conservatory of Music and the Maryland Opera Studio. Other training programs included the Salzburg Festival Young Singers Project and Music Academy of the West Voice Program. Mr. Owens is a native of Bucks County, Pennsylvania and studies with Jack Li Vigni.
Follow Andrew Owens: imgartists.com/roster/andrew-...
Tickets to Cincinnati Opera LiverPool Oratorio: www.cincinnatiopera.org/liver...
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I can't stress how much being civilized is need when it comes to singing technique. Too many feel free to bash (and only bash) other singers through the cloak of anonymity and at the end of the day won't care to have a respectful conversation about what is better and worse approach to singing.
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Agreed. I just dipped my toe into the singing world (I am not a singer, just curious) and the opera (and sometimes theater) singing community is the most toxic I've ever seen. There seems to be no 'good-enough' technique, everyone pursues the best technique sacrificing expressiveness and in general a good sound. I like good technique, but it's so discouraging seeing people trashing well established singers just because there is a video about their chest move a little on a particular note or similar marginal points. I get it when there is a constant risk involved and you have to project well, but what if the performer have been performing in opera houses for 30 years without injury (and sounding good)? Isn't that good enough?
@@ajtatosmano2I think for the most part people are civilized. It's human nature for critics to voice their opinion and this is just life. Most artists expect this and take it with a grain of salt. Pavarotti cracked on a high note and afterwards respected those who booed him.
We Stan Andrew Owens. A FANTASTIC performer and nice guy on top.
Thank you so much . Struggling in my middle 40’ to sing more easily as a tenor. Such an inspiration .
Wow! That was a wealth of wonderful tips and experience! Love your civilized, kind and caring approach. Thank you so much! :)
Jose, it would be great for you to formulate a tenor opera training program.
Thank you both! The world needs more tenors so keep passing the knowledge. Really enjoyed your sincere approach and insights about your personal journeys as singers.
Thank you for this excellent tenor talk!👌🎵🤌🗣️
Great interview and conversation! Thanks guys!
Thanks! Amazing information for tenors! Really useful!
Great stuff! Interesting that Andrew doesn't do vowel modification for 'eh'. I had 2 lessons with Fisichella when I was living in Catania and he had me modify eh to ee, or at least 'sing eh in the position of ee'. He was a bit intimidating as a teacher xD
I should’ve explained it better Lol.. I definitely do have to modify, but I should say that I’m not going for a particular modified vowel. I’m just trying to track the resonance and harmonics and following that path I ascend. Does that make sense?
@@tenorandrewowens yes, I think so. I guess for you it's more a question of "passive vowel modification" like Bozeman talks about!
Swedish tenor here. Wonderful guys. Thanks!
Omg this is amazing ❤❤❤❤❤❤❤
Thank you Jose and Andrew for doing this, priceless content!
I love these videos. I wish we had a space like this for Bass/Baritones. Because Tenors arent the only people who think about the voice neurotically
Absolutely brilliant. Thank you! Praise God for this gift you have given. I learned so much subtlety about how to grow as a singer. Thank you!!
Love it
Thank you so much for this seriously. So many gems dropped with practical immediate applications. I began training voice as a baritone in undergrad at 18, and now at 25 I am now a developing tenor. This was such a fascinating discussion, and I could relate to so many anecdotes in regard to growth and process.
Thank you for all the lessons Jose. You have help me so much in this little dream...Sing like Tenor
Andrew Owens, NICEEEE~!!!
Genial!!! Muchas gracias. Ver a dos grandes cantantes hablar sinceramente y sin complicaciones aún de sus propios procesos es destacable. Nuevamente muchas gracias!!!
Really enjoyed your teaching.
Love your videos Jose!!! You help a looooot!
That’s a very interesting conversation, guys! Thank you! That discussions always give new ideas.
Good job, Sir!!!
muy buen video!!! una vez más!! son tips para escucharlos y desmenuzarlos para poder sacar todo el provecho. muchas gracias.
¡Increíble, maestros! Mil gracias por esta clase magistral que, como pocas veces, logra aterrizar de una manera muy clara y digerible esos conceptos tan esquivos para los que estamos formándonos como tenores. De aplaudir la generosidad con la que comparten lo que les tomó años, por no decir que décadas, en descubrir e interiorizar. Y qué mejor que heredado de grandes maestros como los profesores Livigni, Marint y Fisichella. Sin duda ustedes dos son de lo mejor que tiene hoy por hoy la arena operática internacional. ¡Sigue así con el gran contenido, Jose! Un saludo desde Colombia
Great stuff guys!
Really appreciate this video. Many thing you two spoke about is where I’m sitting in my self made singing journey. Understanding how to engage tilt, how to envision sound production around the “ball”, forward/backward, keeping jaw tongue loose, the lower tummy tuck. I need to watch this video again.
And I’m so glad to see who this singer is, I’ve always wondered since I saw the video with Salvatore Fisichella. And it turns out he’s just a really nice guy that can sing incredibly
Extraordinario espacio.. gracias
Amazing video! Would love to hear your thoughts on vibrato and regulating vibrato through the registers. Your falsetto into head voice tip is already helping me hugely in releasing tension. Thanks!
“Aperto ma coperto” open but covered…not “closed” to say closed is always dangerous when speaking to young singers
I know him from even from before! Andrew is great.
48 year old tenor. Still cant seem to figure out the low larynx without pressing on the chords and the arytenoids getting tired. Back of the tongue pressing down. Wanting to get a long sound but I am getting super frustrated with the struggle.
Very inspiring talk. Great sounds for mimikry. I would add a very important topic when it comes to text articulation in singing.. mostly when it is much text or languages that tend to have loose vowels like german ( ungespannt gespannte Vokale, Auslaut) or polish (ą ę) and many consonants.. for me the vaccai technique is helpfull. but singing a german Lied You also have to look for good consonant performance while still singing legato and all on a stable breath..
Also it is interesting what are your mothertongue dialects (as polish and german mothertongue speaker i find it helpful to integrate a slight american english accent or italian accent into speech for tuning my speaking in a way that is closer to singing) and personal speaking habits depending on your character uprising roles you play in daily life (being the nice guy, being introvert extrovert? Very ambitious overthinker or naiv phlegmatic Etc)
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Hi Jose, you've talked about keeping the larynx low when singing above the passaggio, however I can keep this position until I'm singing above the staff. In this case I can feel the larynx raise still. Will this happen anyway when singing higher pitches, or is there still something I'm not quite getting still?
There is so much here of value. Thank you for putting it together and for sharing your skills and experiences. After being misdiagnosed as a baritone I'm just learning to sing tenor (at the age of 68!). I'm fortunate to have a teacher who is trained in bel canto going back to Enrico Rosati, and much of what she says is also reflected in your comments today. For me it's been a big challenge to discover my head voice, as for most of my life I simply didn't sing above the passaggio and didn't know how to transition to head voice. But it's coming - last weekend I sang Je Crois Entendre Encore at a student recital and it was not terrible😲. Expanding the head voice to include chest voice is still something I don't know how to do, but I'll try the gentle exercises you describe.
I am in the same boat as you, about half your age, but never sang in and above my passaggio.
We’re looking forward to the unedited version. 😂
One blip in the internet connection and one blip in a voce finta attempt.. Lol
😂
I use to read Tenor Talk Blog every day.... it was basically a bible for tenors... too bad it's been lost
Great talk. Another tip for the space and tongue route relaxation..tonguetip between the wisdom teeth and sing . Both sides .sounds ugly ..but than relax and sing normally
What so what is this narrowing in the passaggio? Is it not the cover, is it different from the cover?
Nobody knows how fisichella gets that open but covered sound to work. I think its his voice characteristic and thats it. Some tenors can sing G open and sound good some others dont
Only tenors are recognised it seems makes it harder for other voices
No wonder singers get disheartened
Nah.. we’re just more neurotic, so you hear about us more ;)
@@tenorandrewowens you might get a laugh out of this
Old movie I saw this about a group of Opera singers on an Ocean liner sorry I can’t remember the name of it.
Soprano in conversation
Tenor , that’s not a voice it’s a disease
I am a soprano and all of this content has helped me! The passagio for me is higher but the techniques and shifts of muscles all applies. It is incredibly helpful
If you sing base, I do not know the technique for low notes! But don’t be discounted! Base is BEAUTIFUL! The low notes are the best.
The technique is the same for all voices tho