A Voice, a Vision, an Adventure!
Welcome to the ramblings of an international opera singer as she travels the world, searching for beauty and possibility in the world and on its stages.
I absolutely love it. I posted this on Twitter, but I'm going to say it again. You are such an inspiration to a young singer like me. You are a constant picture of grace and kindness. My question for a vlog is: What is your advice to young singers when looking at graduate programs? Is there anything you wish someone had told you when you were a student?
Great great idea Joyce, i sent you my first questions already!
Oh Joyce!!! I already said it so many times, but it is so true: you will never, never stop to amaze us (and please don't!). Congratulations on your new way of communicating with us! Your first posting is SOooo kind and funny! It's just wonderful how much time you devote to your public and to the aspirant singers amongst them. Can't think of any urging questions right now. Just hope you will repeat Adalgisa (which I sadly missed) very soon. And looking forward to a reunion with your ardent Idamante on Friday as a tribute to Sir Charles. Toi, toi, toi already!
Hi Yankeediva, that's a GOOOOD idea to start a Q&A conversation by video!I have to confess that my question won't interest everybody around the world, but still: After your tremendous performance as Adalgisa in Salzburg, wouldn't it be a temptation to play this role together with Edita Gruberova again here in Munich at the Staatsoper? There is a production which is staged from time to time with THE Norma, and it would be fantastic if Ms Gruberova was joined by THE Adalgisa...
Dear Joyce, this is a brilliat idea and and such a beautiful post! Please, do continue with these!! As others already have said, your talent and efforts for communication are truly amazing (LOVE your tweets, by the way).As a non - musician, here is my question: "What is on your iPod?" I am asking this not in order to pry into your private life, but because I am sure your answer may give all of us tons of good stuff to discover and follow up.Looking forward to the recital on Sunday!
I totally agree with you, it's difficult to choose between so many lovely characters... My question is how do you know you can sing, let's say Maria Stuarda, three years ahead... Can you plan your role debuts with that time in advance...?
Great idea! Good luck with sorting through the questions. If I send any in you could file under pot pouree
As written on this blog, Bellini's music might be the most beautiful of all times with its perfect and simple melodies. How do you bring yourself to sing modern music? How do you find a way to enjoy modern music?
Joyce! Such a lovely moment. I love "Piano -Vocal" recital. Ta!
Joyce -Great vlog. Really enjoyed it.BTW, I just got to starting Donna Leon's newest Brunetti novel and lo and behold, the dedication is "For Joyce DiDonato". How cool is that? Do you know Donna Leon?Thanks.Anne
Hi Joyce!I'm a young (19) mezzo-soprano who is learning her first opera role (Clarina from Rossini's La Cambiale). I've had quite a bit of experience with arias and art songs but I've never learned a entire role before. What are some routines, tips and tricks of the trade you use when tackling a new role-- not just the musical aspect but also the dramatic/acting side? Thanks so much for being so generous with your knowledge and willing to help us youngsters out! I'm sure you get this a lot but you're my favourite! (Wow, hope that didn't sound creepy. >_>)-Rachel
I am not a musician but an avid music listener and I do have a question for you. I've heard comments about "mezzo" Rosina and "soprano" Rosina. Are there different scores for these? I have the same question about Norma and Elena. I heard Cecilia Bartoli sing Norma in Dortmund a few weeks ago (a few days after hearing your marvelous performance in La donna del lago) and I have an old DVD with the soprano June Anderson as Elena. I know that some singers fudge high and/or low notes in some arias but are there different "official" versions?I will not be following your vlog, though I really enjoyed vlog number 1, because I can read a lot faster than you can talk and I can have music on while reading. That may be a generation thing. I don't like to listen to audio-books either.
Dear JoyceLoved the 'in conversation with' yesterday, particularly the advice you gave to the young music student and your sheer enthusiasm for music - my partner and I almost burst into applause at one point! I didn't get time to ask a question but I'm working on one for your Vlog (beware, Ana. Maria Strada del Po gets a name check!)If you have any free time and fancy seeing a show, I'd highly recommend the excellent actor Simon Callow in 'The Man from Stratford' (guess who that's about!). Another (free) show I saw yesterday was 'An Audience with Schumann-Heink', a one woman show about the great contralto that was rather enjoyable.Looking forward to Idomeneo and your sing recital!Best wishesJamie
Dear Joyce, I'm 24 years old, a voice student in graduate school, and to earn money on the side - like you did (thank you for Vlog #2!) - occasionally, I waitress at a fine dining restaurant. However, this has turned into a mini opera gig! I sing opera arias up close and personal for restaurant-goers/opera lovers! It is a very unique gig and quite satisfying for me to sing for people, some who have never listened to opera before or who may not have the chance to see live opera. One of the challenges of working at a restaurant in this capacity is that I find myself talking A LOT (forse troppo??) with the customers and answering their various questions about opera. For example, I typically sing arias and talk with customers for 6 straight hours (when the restaurant is packed -- it can get LOUD!!) My voice is always quite tired at the end, but a night's sleep always heals it. My question is: what did you do to keep your singing (AND speaking) voice hoarse-free, blip-free, and crack-free after hours of conversing with customers? Also, this question applies to your current profession because you face the same challenges - talking with colleagues/directors/fans/family/friends/phone calls,etc. with long rehearsals and/or performances? How do you ensure not to tire your voice out in a long rehearsal if you know you have a performance in the evening? Do you have a limit to how many hours you practice a day? Do you have a lot of speaking voice left after singing your most vocally challenging roles? Also, in the final aria of "La Donna del Lago," how do you sing such FABULOUS low notes after singing the ENTIRE opera? Maybe it's because I'm a soprano, but I notice that my low notes disappear once I sing in the stratosphere! I know that mezzos are able to take their head voices lower, so perhaps I’m only able to sing those tones in chest. Thank you again for providing endless joy, wisdom, insight, beauty, and love to all of us -- whether it's through your blog, your vlog, your twitter, and most importantly -- your recordings and performances. I can't wait to see you in "Le Comte Ory" at the MET! No matter what you do, you leave me in awe of what an incredible human being and artist you are, and you give me so much hope about a "scary" business. You are a true humble diva, and thus, you are my favorite. ☺
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