Rehearsal with singers

Rehearsal with singers needs a different approach.  The conductor should be familiar with basic pronunciation of Italian, German and French, suitable is also English and Spanish and Russian. Please see all the exercises in the 2nd  part of the method.

For deeper details about the pronunciation, the conductor should leave this to a specialized language coach. Anyhow a basic knowledge is needed as you see in the 2nd  part of the method.

The breath, the text and the eye–contact with the singerRhythmical precision with the singer
 

The breath, the text and the eye–contact with the singer

Here are typical examples where the conductor should develop to breathe and to have eye-contact with the singer.
The conductor should also know and understand very well the text in all its dramatic context.
He should sing the parts inside, so he can better understand and follow the emotional intention of the singers and transmit it to the orchestra.
Tosca: 2st act fig.51 “Vissi d’arte”
The conductor should breath with the singer before “Vissi” and “non”, he has to look at her on
“ tremendo amor”, he should have a sensibility on “quante miseria conobbi, aiuta”


Aida: 1st act: “Numi pieta”
- the conductor should breathe with the singer before “Numi” and “Amor”, he has to look at her on
“ tremendo amor”


Lehar: Giuditta: “Meine Lippen sie küssen so heiss”
- the conductor should breathe with the singer before “Meine Lippen”


Verdi: “Un ballo in maschera”: 31st act , Oscar “Volta la terra” Fig. 22
- the conductor should have good contact with the singer, trying to do the “ritenuto” together with her. Then he should breathe with the singer on the upbeat of figuration 22


Butterfly: 2st act 1st part “Un bel di vedremo” the Conductor should breathe before “Un”, and be with the singer on “da-lle” and on “la nave appare”



Mascagni: Cavalleria rusticana : Santuzza
The conductor should sing the part of Santuzza inside, so he can better understand and follow her emotional intention and transmit this through the different speeds of this aria.


Traviata: 1st act Alfredo:
- the conductor should pay attention on the syllable “mor” of Alfredo and between “palpito” and “del-“


Bellini: Norma: 1st act Norma: Casta Diva – the conductor should look to the singer, he should breathe with her together before the last “a2”


Verdi: Otello
In this section you should listen, singing inside the text and breath with the singers


G. Donizetti: Don Pasquale
The conductor has  to follow the text of Norina,  then  he should breath with Dottor Malatesta, and with Ernesto and Norina

Similar example to follow the text



W.A. Mozart: Die Zauberflöte
Follow the text of Tamino, this is most important in order to conduct clean this difficult recitative.


W.A. Mozart: Cosi fan tutte
Follow the text of Fiordiligi


W.A.Mozart: Cosi fan tutte
Act 1 no.17 Ferrando : breath with the singer before „un“


Puccini: Tosca 3rd act
- the conductor should have the sensibility of leading the singer in this rubato-section, the conductor should also breathe with the singer


Puccini: Tosca 1st act
- the conductor should breath with Tosca


Verdi: Trovatore: 1st act
- The conductor should breath with Leonora


Verdi Trovatore: End of 4th act
- The conductor should feel the text inside in order  to trasmit the emotion to  the orchestra


Puccini: Tosca 3rd act
- The conductor should follow the text of Cavaradossi and Tosca, then he should breath with Cavaradossi