Guildhall Masterclass: Gerald Finley Vocal Masterclass - Thomas Atkins
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- เผยแพร่เมื่อ 28 ส.ค. 2024
- On 16 October 2013, renowned Canadian baritone opera singer Gerald Finley visited the Guildhall School to deliver a masterclass to our Vocal Studies students.
In this film, (3 of 3), we see a performance from Masters student and tenor Thomas Atkins, followed by discussion and analysis from Gerald and the student audience.
Find out more about Vocal Studies at the Guildhall School here: www.gsmd.ac.uk/...
Wow he is teaching head voice! Unbelievable! Not just style but long lost technique!
Dmitri Z Вы абсолютно правы. Про эту технику так же говорил Паваротти, Лофорезе, Камарена, которые очень хорошие певцы.
I love this lesson ~ this teacher ~ helping the singer get to the natural essence of his voice, his "Thomas-ness" ~ something not over-worked, not pushed, a more intimate sound and conversational quality in the beginning...so much smoother than the initial performance, so much more felt ...and thankfully, so much more space for the audience to respond! I love it. Wish I knew Gerald Finley~!
"That is your voice!" Gerald Finley seems to have the same kind of humour as Thomas Hampson in his master classes and that is why I like to watch these a lot. Thomas Atkins' voice is really a pleasure to hear.
That was so interesting to listen to - and learn from - Gerald Finley is an amazing teacher...and young Thomas when you pared back that sounds, you have THE MOST beautiful and sweet voice going.
Such a good and knowledgeable teacher!
Una grande lezione di Bel Canto del Maestro Gerald Finley! Bravi!!
34:25 this is why having a good head voice is important no matter what voice type you are!
TheOtherSun this is next level explanation of technique in head, essence, training and experience! I’m tearing up hearing him teach 🙌🏾 #MasterIndeed
Great chance to hear Tom sing again, as well as insight into Guildhall's developement.
Listening to this kind of master class is so amazing. You learn so much! Finley is an incredible singer and musician.
It's so hard work to be a voice teacher! Thanks for posting this master class!
This tenor seems to have taken Finley's words to heart. He is now a spectacular - unforced - tenor! Check out his website.
A great voice, love this class too.
34:35 is amazing.
I encounter the same challenge with models as a photographer. (my opinion) I've observed that many of the singers approach the lyrics/words as notes and sounds.
Explained: They reluctantly approach learning a language as an academic requirement. Instead, as a requirement to communicate more effectively and convincingly. When I speak French, I become French and most native French speakers are amazed because my accent and mannerisms aren't foreign.
My Point: When I hear Gerald Finley receipt the lyrics, I hear an Italian cadence. You hear the Italian passionate personality in Pavarotti. Singers, especially men seem to focus on the technical aspects of the music as sounds and imitate the exactness of the passion. It's like a person imitating Aretha Franklin but not understanding that she's telling a story as experienced by a cultural woman through a cultural prism.
(the model connection is the same; imitating instead of being )
I do have to say that this tenor has an A-class voice. Large lyric instrument with Spinto qualities. I feel like he needs more presence and power in his lower voice. Like he starts truly singing when he is in the passagio and above.
I am findung your statements very good. Are you a vocal-instructor? Please excuse my bad Englisch style. :-))
Office Immobilien No! I’m a tenor.
What he is teaching in the end is called Messa di voce.
Te adoro Gerald, me sirven tanto tus indicaciones, graciasss❤
i'm a tenor and i use a falsetto a lot to find the spot for the high notes,but i never sing them in full falsetto, mixing falsetto with chest resonance doesn't mean singing on diaphragm, this is only possible in the pianissimo passages, even though you mix it,it's still disconnected. this is why he had the break.
Thank you for posting. Here are my notes. What do you love about singing it, what is the greatest challenge? Singing your best at a lower dynamic, gently caresses the ears of the listener (not our own ears). We don't sing for our enjoyment - not the listening, but the FEELING of piano. Sing beauty. e strive to make our most beautiful sound all the time. Sing the phrase on one note. No pressure, just you on an ah vowel. go for connected line, through line. Intimacy into your self - but keep breath.Think more aw (more contained, more focused, resonance in the front of the face. keep air flow and just offer YOU. There's a purity of sound, connection. No over resonance, just the essence of your voice. Think about where that sensation is for you. Sing the entire piece with that tone, feeling, there is a direct connection, there is no extra layer of "other". Keep it nice and clean. Trusting what they will do on those pitches - just pitch. Less. More conversational, not an aria... In that same smoothe offering. use breath to phonate with vibrancy. Keep the intention going. Element of preparedness. Piano means more beautiful. You don't need to prove you have low notes. Let the voice do what it really wants to do.
That tenor's falsetto is gorgeous.
Excellent teacher!
Wonderful!
Inspirational teaching
love it
canoodling by the sounds of it.
Bravissima pianista ;)
33:55
29:10
Quante cavolate che si dicono in questi Masters classe. Tutto diventa
Un one man show!! Poveri figlioli.
+S. Fiorello veramente...imbarazzante XD
Sounds like Villazon, better for him not to end like he
Why would anyone take a lesson on Italian singing from this guy? He teaches German style. The tenor would be much better off listening to a Gigli record.
What the hell is wrong with tenor? What a wobble
Singing way out of his capacity
@@baritoneblazzin1965 absolutely. And pitchy.
The studen doesn't open his mouth
+kamen kraichev ?...
So how big should he open his mouth according to your precious opinion?
the opening of the mouth depends on the individual physiology. Each singer is given an instrument that he has to discover, explore, domesticate and tame. The only important thing about opening the mouth is that he has the right opening to get the harmonics, effortless power. Not too open, and not close. If you have a little mouth, maybe you'll need to open more. And he's a tenor. :)
An enlightening instruction in technique and style but, curiously, no discussion of the libretto and the underlying emotion of each phrase, as against the simple expression of music through words. Nonetheless the singer benefits greatly from the masterclass.
Gerald Finley's own rendering of Valentine's aria, while resonant, suffers from a lack of connection with the phrasing of the French, as against singing the French words to the music. Samuel Ramey is more convincing in this respect.
Which Valentine's aria? This is Italian and it's Federico's "È la solita storia del pastore" ...