<p>A good program should be able to train a legit singer to do mix belt or supported belt. In fact, many programs prefer to be the ones to train as they will train properly in a way that won’t ruin or damage the voice, or establish bad habits. Maybe it’s a good question for the program should your D be in the lucky position to choose between schools–if you are legit singers, does the program train you to sing in a variety of styles to increase marketability?</p>
<p>I am one of the coauthors of the article posted above. The reality of it is that there are not a lot of jobs out there for sopranos. The research project was a six month effort that logged 1,238 audition notices for singers age 18-24 (the age of most current or recently graduated MTs). In that demographic, there are not many jobs for sopranos that can be found through auditions in NYC. The percentage is 5% but the actual number is 59 out of 1,238 auditions. The article is peer reviewed, meaning the research methods and data have been vetted by other researchers. This is the reality of what is going on in NYC.</p>
<p>Now is there truly no room for sopranos? Not if they can also belt. Those who also belt commonly call themselves “soprano w/ belt” and they are EXTREMELY marketable. They can basically do everything. Now a soprano w/ belt will not usually have the power to sing Elphaba, but their voices are more than capable of handling the vast majority of roles for mix belters. If they can’t belt, I personally think they are in trouble. I cannot ethically recommend the musical theatre major for a soprano who does not belt and does not want to learn how to. I feel like I am setting them up for a very disappointing career. </p>
<p>Those of us who are not producing the shows have no say in any of this. They produce what audiences want. I have a colleague in NYC who serves as a vocal consultant and vocal coach for many Broadway shows and has done so for around 30 years. He says that audiences no longer want to hear women singing above a high G, so they lower the keys of soprano songs to fit audience preferences. Is that 100% accurate? I’m not sure it is. But I trust his opinion, he works one on one with the producers who fund these shows. So if the producers think that the soprano voice no longer sells, they are not going to invest in it. </p>
<p>My wife is a soprano, I truly feel the pain. But she has learned to belt and does so quite well and she can still sing her operatic soprano rep. It can be done, but it takes specialized training, with techniques that are specific to contemporary styles, and diligent practice.</p>
<p>~VT</p>
<p>@veritasmt - well aren’t you the little detective?! She is in fact singing GABG, and she has gotten some very good feedback from it. Even the reaction from people waiting in the halls has been something to see, For example, she did a walk-in for LIPA (Liverpool), where there were many other people milling around, talking, waiting for their turn. When she hit the high E flat a few bars from the end the crowd went quiet and still. The British lady at the LIPA table said “well THAT got their attention.” It was really satisfying to see.</p>
<p>She started with a new private voice coach last summer who taught her about the mechanics and physiology of singing. She had never learned this before, and it really changed the way she sang. He reluctantly agreed to teach her how to belt, and he reminds her all the time to “protect your instrument.” We know that she’s going to get lots of belt/mix training in college, so for now it’s a matter of finding the right college that accepts her for who she is.</p>
<p>Several schools were very interested in her during Chicago and have continued to show their interest via email/facebook. I gotta say that it is a huge relief after all of the worry that we’ve gone through during the last few months. One verbal offer so far, but no written offers. She has 3 auditions yet to go, so we’re holding our breath. I don’t want to jinx anything by naming names yet. Call me superstitious. </p>
<p>@cheeseheadmike, LOL, I didn’t have to detect anything. Like I said, my D is a legit soprano, and GABG is the most well known MT song that hits that sustained E flat above high C. It’s also got something ridiculous like over 20 high Cs, and is a well-known Kristin Chenoweth song (although I think it made Barbara Cook famous). I think everyone with a legit soprano daughter must know this song. It’s not so much that E flat that makes it so hard, but doing the “ha-ha’s” correctly. And acting it well and with a comic flair. Nevertheless, it is a difficult song.</p>
<p>@veritasmt - sorry, my dry sense of humor. I can tell you that until last fall I had never heard of the song, but I own a machine shop so what do I know?</p>
<p>You’re right, doing the ha-ha’s correctly is the trick. Her acting coach told her straight away that if she couldn’t get them right she would fail. He was also concerned about her doing someone else’s “signature song”, but she does not in any way try to imitate Kristin Chenoweth. Who could?</p>
<p>You’re right…no one can be Kristin! Glad your D is finding success with the song. I look forward to celebrating her acceptances with the rest of the CC community!</p>
<p>To change the subject a bit, I personally think Barbara Cook does a far better job with Glitter than Kristen Chenoweth. And she originated the role. Did your D hear a recording of Barbara Cook as well, cheeseheadmike? (love the name btw!)</p>
<p>Yes, Barbara Cook, June Anderson, Natalie Dessay. </p>