I am thrilled to welcome Dr. Barbara Fox DeMaio Caprilli as a guest writer for my blog series on “Opera arias for the Twenty-Something Opera Singer.” Barbara is the perfect person to share insights into appropriate repertoire for the developing Dramatic Soprano.
Cate: Barbara, please give us an overview of your work as a dramatic soprano, so readers can get a sense of why you are a good person to write this post.
Barbara: I’ve been singing professionally since my late 20’s. I started out in a couple of YAP’s – Des Moines and Cincinnati Opera – and while I was in Cincinnati James de Blasis started assigning me “big girl” repertoire; Fiordiligi, Rosalinda, Norma, Odabella in Attila (the role that was my debut at La Scala). After Cincinnati I started studying with Nancy Stokes Milnes in New York, who suggested that I specialize in the Verdi and Puccini heroines. Through her connections I was able to coach with Paola Molinari (pianist coach for Mirella Freni and many others) who arranged for an audition with Fedeli Artists and that’s where it started. I’ve sung the Verdi and Puccini ladies all over the world. In Italy; La Scala, Verona, Caracalla, Genova, Torino, etc., and also Switzerland, Germany, France, Spain, Japan, Korea, Argentina and Norway.
I met the love of my life in 2000, and about that time I also was invited to teach in the Fondazione Toscanini YAP in Italy between gigs. After 9/11 when tourism in Italy fell off, and less work was available in Italy, I began to travel more and more. In order to have more time with my husband, I decided to start applying for teaching jobs in the US. I enjoyed teaching, and the thought of spending more time with the man I love was very appealing. Traveling all over the world is a lot of fun when you’re 30 and unmarried; a lot less when you’re 50 and the love of your life is half a world away.
In 2003 I started teaching at Salem College in Winston Salem, NC; I was constantly attending workshops and learning all I could about voice science and modern pedagogical methods. My husband encouraged me to go back to school for a doctorate in pedagogy since it was quickly becoming my passion. In 2009 I attended the LoVetri Somatic Voicework ™ workshop at Shenandoah Conservatory, and fortunately was accepted into the Shenandoah DMA Voice Pedagogy program the same year. Dr. Kathryn Green, my voice teacher, was a big help as I started going through menopause. We had both read the Jerome Hines’ book “Great Singers on Great Singing” and she suggested that doing something similar with elite singers who had gone through menopause would be a great dissertation topic. So the topic of menopause in elite singers became my thesis topic.
Cate: Many teachers and singers will be interested in your opinions as to what to listen for in a 20-something singer when it is not yet clear if she will grow into the fach of a dramatic soprano.
Barbara: Does the singer have a large chest voice? Is the voice large, not necessarily throughout the range but at least in the top and/or bottom? Does the singer have a large chest cavity and bone structure in general? Small-boned people are rarely Dramatics, although short and stocky is a possibility (look at Birgit Nilsson, for example.) Usually a big voice goes along with a big body. Young dramatics often have trouble with the primo or secondo passaggio, or both, because they have a hard time unifying their large chest voice with their head voice. Often young dramatics will have a big chest voice, a large break, and a disconnected top. Their voices take longer to develop, and sometimes don’t begin to bloom until Masters work or later.
Cate: What are some common mistakes in repertoire choices for a young dramatic?
Barbara: Young dramatics should not be given material that is too light, because music that is too light is just as damaging as material that is too heavy. Dolora Zajick once famously said that her teacher treated her as a “baby elephant” and this is, indeed, what needs to be done with a young dramatic. Keep the voice moving, but don’t assign Donizetti and Rossini arias that take her into coloratura territory, as those arias “hang” in the wrong place in the voice for a young dramatic voice. Also avoid assigning arias that are too heavy; stick with the lyric “big girl” roles such as the Mozart heroines, lyric Wagner such as Meistersinger and Tannhäuser, Puccini heroines (Mimi, not Turandot), and arias such as “Ebben, ne andro’ lontana” and “Voi lo sapete.”
Cate: What recommendations do you have for a budding dramatic sopranos in their 20′s?
Barbara: LOTS of Mozart, Fiordiligi, Countess, First Lady (not the Queen of the Night, even if she has those high notes). Pieces that allow her to work on unifying the voice, such as the Bellini, Verdi and Puccini liriche as well as the lighter Strauss and Wagner lieder, Duparc and Berlioz. Encourage what I call a “narrow” or “focused” production, head dominant, of course, but connected to “classical” chest (chest with a high soft palate production). Watch that she doesn’t develop tongue and neck tension in order to artificially darken the voice. Often young dramatics have trouble understanding that their voice will sound “light and lyric” to them when they are singing correctly, while it sounds “dark and round” to us.
Cate: Please share with us a brief overview of your recently completed thesis, especially as it pertains to things a young singer might want to know about as she ages.
Barbara: I interviewed 14 elite singers from opera and broadway and 5 singing voice specialists about the effects of menopause on the elite singing voice. I found in the literature and also in my interviews that the changes of menopause often cause, among other things, an overabundance of chest voice, which disturbs the passaggio areas of the voice. Interestingly, I found that some operatic mezzo sopranos actually lost low notes, but most of the singers reported gaining low notes and losing the top notes. Despite the common perception among singers, none of the singers I interviewed quit singing because of these changes. Some changed repertoire due to age and appearance, others started teaching as a life choice, still others left singing for family or personal reasons, but none of the women I spoke to stopped singing because of menopause. One of the singing voice specialists reported a client who stopped due to menopause, but she credited that to the singer’s reluctance to make the adjustments needed to keep singing. On a personal level, I now sing dramatic mezzo roles, character roles, and lots of recitals, specializing in the liriche written in Italy between the two world wars, one of my passions. I also sing musical theatre more often, since I am now the right age for the belting roles like Mama Rose.
Cate: Thank you Barbara! And congratulations on a long and varied career!