Words of Encouragement from Nicole Cabell: Appreciate the things that make you authentic and unique.
Internationally acclaimed soprano and Eastman faculty member Nicole Cabell will conduct a masterclass at the CS Convention on Sunday, May 25 at 11:00 AM. I visited with Ms. Cabell in April to talk about her approach to masterclasses and our conversation took some interesting turns.
Let me jump right in and ask the question I’m sure the singers are wondering. What are you hoping to hear and see from the participants in your class?
On a phycological/spiritual level, I’m always hoping to see someone enjoying the act of singing, who is fully into it, telling a story and participating in a really authentic way. I want to hear something unique, something personal. This can be a stressful career path. And so many times you have people who are really afraid and that fear can sometimes be obvious in a masterclass or an audition. We all want to see that you chose to do this because you want to do this and that you love it. And of course, on a strictly selfish level, I want to see potential talent, voices we can recruit, and people we want to work with not just at Eastman, but I also work at Chautauqua and other summer programs. I want to hear singers we can stay in touch with and get them working with us in the future.
How do you approach your responsibilities as a clinician, what is your philosophy?
That’s a great question because it can be so crazy; what do you do in 20 minutes? Typically, I’ll have participants sing their piece in its entirely first, because everybody needs the performing experience singing in front of a new crowd, that’s part of the masterclass experience. I’ll usually ask them if they have something that they really find difficult in a piece that they’re performing so I’ll listen for that, and maybe we can find a couple of options to add to their toolbox. I always start by telling them what I’m hearing. They’re getting a really good education from their teachers so my whole job during a masterclass is to add a couple of more screw drives and pliers to their toolbox so they can use it or they can decide they don’t want to use it. Often times I will work interpretively but I don’t want to always fall back on that; they’re paying money for these masterclasses and I feel that my job is to be as specific as possible.
How would you suggest the singers prepare for this experience?
For those students who have never sung on a masterclass before, they need to talk to their teacher about the structure of a masterclass; how it runs, how each singer is given a number and you wait your turn, then you get up and announce your piece, then you sing the entirety of your piece, and then you work. On a physical level, the student should prepare themselves the way they would for any performance. It’s important to make sure that they’re not speaking so much before the class that their voice goes out. They are going to meet a lot of new friends at the convention, but they can’t be so excited that they talk so much that by the time they sing, their voice is gone.
That’s a hard-won lesson. Finally, the singers need to realize that they may be singing for someone who might have some influence, and the audience could have members who are influential people who they might sing for in the future. Treat this opportunity with respect. Treat it like any performance, that you’re there to entertain the audience and then you can switch your mind to receptivity mode. Try not to be argumentative, but share your opinions and speak freely if you find that something doesn’t feel good or is difficult. That is really helpful for a clinician.
Obviously, know your music, know your translation if you’re singing in a foreign language, every word, because you will probably be asked, “What does this word mean and how might you express it better?” If it’s an operatic aria, know everything you can about the piece so you can easily talk about what that piece is about. Know about the poet and the librettist.
Dress so that you are comfortable moving, because this is not just a performance, it is an educational experience during which you might be asked to do physical exercise Don’t show up in jeans and tennis shoes. Talk to your teacher about what is professional attire that allows you to express yourself, but also wear clothes that you can move in.
Be respectful of the clinician and know something about the clinician before you are in the class.
And if something goes wrong?
The first thing you should never do is let us know that you made a mistake. Do not project through a grimace, or letting your body kind of collapse into defeat, or an eye roll, or an “oh shoot!” because 90% of the time we won’t be able to tell. And then, be resilient! Those cracks and flubs happen to professionals all the time. What’s most important is how you move on. Sometimes you go on stage and everything is perfect and you have a little something happen, say you forget your words; you cannot let that ruin the rest of the performance.
Do you have some final advice for the singers attending the convention?
Be yourself. You are going to spend this weekend with hundreds of other singers and it’s going to be very tempting to compare yourself with other singers. You are endowed with something very special and unique. Your instrument is the only instrument that sounds like that in this entire world. Your soul and how you express your music, you’re the only one who can do that. So really try to honor yourself, honor what you can do that is uniquely special. If you love to sing high really indulge in that, and let your voice out, pick music that really showcases that.
Likewise, if you love to sing fast, pick a piece that shows agility and really try to enjoy singing that because it’s something you do that is special. If you really love singing from the heart and diving into the poetry, pick music that gives you the chance to express that. This is your chance to really honor your personal gifts, and to really appreciate the things that make you authentic and unique.
