s02e13: Actually, I’m a clarinet

Klára Kolonits

Today’s topic is an evergreen, they wrote books about it and the discussion is still ongoing: Does passaggio exist? Does a mid-register area exist? Or maybe more than one? During warmup, how do we approach more problematic places? Is it possible to develop an even timbre throughout the whole voice range or are we always going to hear these “shifts”? What is the parallel between a female voice and a wind instrument, and does it exist also in the case of male singers? At the end, I share a trick that I use to make my voice arrive to the last row of the audience of Erkel Theatre that has more than two thousand seats

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