24-year-outdated Simon Yang of South Korea is anxious. This is specially apparent in the actuality that he isn’t going to look energized at all. He stands in a dark match in the centre of the phase of the auditorium of the College of Salzburg in front of the most sought-immediately after opera tenor in the globe, the 55-year-previous Piotr Beczala, today in jeans and a blue jacket. He gave a learn course inside the competition, the last party of which is now open up to the community. This is component of the normal festival choices and followers commonly get even nearer to their stars. Students are frequently just equipment.
With Beczala almost everything is various, he does not waste time introducing himself, he just teaches. And she has it all. The additional kindly the teacher addresses the college student to ease the situation, the extra the disciple’s spine appears to be to harden. The voice sounds a minor softer, he sings the beautifully lyrical tenor aria “Un aura amorosa” from the opera “Cosi supporter tutti” by Wolfgang Amadé Mozart. For times they have been functioning collectively in the grasp class. Yang is insecure and swallows half of the leading note. “You will not have to sing large C,” Beczala says with a successful smile, “will not incorporate any additional tension, consider to stick to 1 shade.”
Beczala’s finest teacher? He was a pianist
Barely any singer is aware of just what is crucial in experienced lessons. Beczala himself researched in Katowice for six decades, “and then I started about with a private singing teacher,” he claims later on in an job interview. Curiously, he was not a singer, but the pianist Dale Fundling of the Mozarteum in Salzburg. “A singing teacher has a massive disadvantage: singing alone,” says Beczala. “This means that he compares what he would like to realize with his university student him with himself.” And since it is very unusual for a singing instructor to shine on stage, doubts, complications and insecurities are also transmitted with the lessons.
With Beczala, on the other hand, it is pure vocal strategy, “the engine that has to run, which must supply the needed functionality”. Beczala loves car comparisons. “The musical is up to the singer, the trainer has to get treatment of the approach. The training procedure in the japanese states, Poland, Russia, Lithuania delivers superior, there are also improved singing instructors who do not set themselves in the foreground, but really try out to do something with the college student. “
—Piotr Beczala can be witnessed on phase as Radames this yr in Salzburg, Elena Stikhina and Aida in this production.
(Photo: SF / Ruth Walz / SF / Ruth Walz)
—
Scholar Yang now starts more than, following all the instructions of the learn. A disciplined university student, but Beczala desires additional. Whilst Yang sings, the trainer approaches from a length, stares at the scholar, from time to time he comes even closer to bring some motion to the university student and especially to his singing. He advises the pupil to narrow the “o” a little: “You are likely to get also large. It would be excellent with Verdi, but not with Mozart.” The question of vowel coloring becomes even far more significant, because in this aria Mozart barely provides the singer a chance to catch his breath.
So he has to make area for it by shortening the sentences and lengthening the pauses. According to Beczala’s psychological make-up, a single must retain the same vocal audio for the close and the new commencing. This obscures the pause. The full lesson usually takes spot at this stage of element. Beczala desires to make students conscious that they know what they are doing each and every second. You should make a decision no matter if you want to start out a new accent with a repeated tone or not, “but nothing at all in in between”. Absolutely nothing indecisive, no arbitrariness. “You greater promote the superior be aware, then you can hear your self sing and allow the stop go.”
The younger singers are still left to fend for themselves in the commencing
This conveys an angle that has a concrete impact on the audio. “You are quite musical,” claims Beczala, “and that is your challenge.” In other phrases: organic expertise stops an consciousness of the problem from producing, which is required if you want to sing skillfully. You have to hold an eye on the critical times of an aria that are vital, on which the complete piece stands or falls. You want to know how to get the conductor and accompanying orchestra to slow down or velocity up tempo by shaping a phrase.
Even although Beczala’s students are usually ready for the stage, there is nonetheless a lot to discover past tunes. Youthful singers currently are on their possess rather early and need to have to see how they proceed sensibly to establish their voice and not wreck it. Why vocal coaching in Central Europe is not in superior form. Many professors indulge in additional or considerably less effectively-launched aesthetic discourses, though the university student hopes for complex assist. “The mistaken repertoire is often utilized for training,” suggests Beczala. When you start with Schubert, Schumann and Brahms, you can not understand sure complex things, in particular in relation to the seem of the voice. The do the job is different, it truly is like Components 1 and rallies, it can be not the similar matter “.
Sad to say, there are now instruction traditions which, in Beczala’s encounter, tend to hinder good vocal instruction. Above all, the subdivision into the topics of opera, oratorio, singing and instructor teaching is counterproductive. But even attempting to imitate wonderful voices is a useless finish. That’s why Beczala does not sing anything. “You can have function types, I oriented myself on Fritz Wunderlich and I still listen to a great deal of singers nowadays, but if you definitely attempt to be the new Corelli or anyone else, then that’s the beginning of the finish.” Beczala prefers to proper faults alternatively than demonstrate them off. “If the university student understands the dilemma, he can carry out my suggestions for a answer. It is incredibly significant that he understands how his voice will work.” And it can take time.
Even when the vocal instrument is finished, as is the circumstance right now with a 24-12 months-old, you nonetheless have to master how to participate in it. In the earlier, as in instrumental classes, you labored each day on your experiments, which are now thought of out of date. “But you can rarely envision how significantly treatment you ended up with your voice nowadays. You have researched for 6 a long time with no going on stage. Currently, even as a college student, you are engaged in opera productions, much too frequently and too normally for roles that are way too large a repertoire , as well remarkable – there is no additional time for healthy advancement. It has turn into a tough organization. ” But of class it constantly has been.
–
