Opera and Alexander Technique: What are the connections?
The ASO Newsletter - 35th Edition
Helping you stay connected to Alexander Technique related research
Introduction
Gaby Minnes Brandes and Michele A. Capalbo
(5 Video clips accompany the text below)
In this month’s blog, we explore the connections between Alexander Technique and opera singing. In the Bedford Lecture (1934) FM Alexander spoke about the importance of how we use the human instrument: “we ourselves are the instrument - each one of us is the instrument - by means of which whatever we are doing is done” (Alexander, 1995, p. 170). Singing is an innate way of communication and when done well requires very little effort as long as “the instrument” is used well. However, opera singing is challenging, placing higher demands on the “instrument”.
How do opera singers apply Alexander Technique in their preparation for performing vocally, and when they perform. Singing is described as an athletic endeavour by contemporary voice pedagogues (Leborgne & Rosenberg, 2014). Although this description has been applied to singers generally, operatic singing differs from other musical genres in one fundamental way. Opera singers must project into a substantially sized performance space, over a large orchestra and other cast members, without amplification. It is undeniable that this type of singing requires adequate amplitude, often perceived as simply singing very loudly.
Jones’ early singer research described the acoustic phenomenon including “increased richness of the overtones” (1972, p. 214), results later replicated by Richmond (1996). Recently, Alexander Technique intervention research confirmed enhanced energy in the frequencies most efficacious for operatic singing, as well as a boost in overall sound pressure levels (volume) over time (Capalbo & Glasner, 2023). In brief, the data suggest that enhanced energy in the higher formants lends an acoustic advantage requiring less physical effort than merely trying to sing with as much volume as possible.
To more fully appreciate vocal changes, it’s important to understand that operatic singing is more than vocalizing at high amplitudes. This style is identified by its ringing timbre, vocal clarity, and consistently even vibrato (Ekholm, Papagiannis & Chagnon, 1998). It’s worth considering all three elements when viewing the corresponding clips. However, a good starting place is to notice acoustic shifts, through an improved vocal ring or increased brilliance, which the research suggests is the most noticeable and immediate change.
How does this affect our understanding of our work with singers? It seems that improved coordination, attained through conscious awareness, leads indirectly to spontaneous improvements in acoustic efficiency. As effort is reduced, singers have greater freedom to explore the artistic and technical demands inherent in operatic style singing.
In this blog we demonstrate an ongoing investigation into opera singing, as we review the ways in which Alexander Technique provides a framework for systematic explorations of the use of voice.
We speak with two opera singers: Brittany St. Claire, who is at the beginning of her career and has just completed her Master’s degree in Voice at the University of British Columbia, and Shana White, who is a seasoned singer, completed her Master’s degree a while ago and has performed over many years. Both Shana and Brittany reflect on their experiences singing before they had AT lessons, and while studying the technique as they work on their art and craft of singing opera. They share their experiences about the ways in which AT enhances their explorations in the practice room, in daily activities and lastly, when they perform.
Shana speaks about learning about the body and specifically how to release excessive tension, which in turn, helps her with singing. “Singers use the most difficult instrument”, Shana says. Singers serve as the instrument that makes sound and their ability to use their voice well and communicate through singing depends on the quality of their use of themselves.
Brittany speaks about the AT in the practice room, as a framework for practising that is “methodical and at the same time gentle”. In her Alexander lessons, working on a challenging piece of music is in a low-stakes environment, chunking it to smaller units, working on each chunk separately, and then putting them together without end-gaining. Brittany also speaks about identifying her emotional responses to challenging new music, attending to these responses, and learning how to translate feedback received in a rehearsal into a workable plan that takes into account use and function, coordination, and breath and moves away from habitual reactivity.
Shana and Brittany recall what singing was like before they had Alexander lessons.
They speak about the improved quality of their sound and their growing awareness of their bodies as they study AT. They have learned to discern if they tighten, hold their breath, lift their shoulders, to name a few common habits, and are now better able to maintain their coordination as they sing. Brittany speaks about learning to achieve the desired sound without excessive use of muscles and Shana speaks about breathing. They suggest that Alexander lessons serve as a laboratory for experimenting with voice production through the lens of sound and coordination, similar to FM Alexander who knew when he was using himself well when he had his full voice in reciting. “After I had worked on this plan for a considerable time, I became free from my tendency to revert to my wrong habitual use in reciting, and the marked effect of this upon my functioning convinced me that I was at last on the right track, for once free from this tendency, I also became free from the throaty and vocal trouble and from the respiratory and nasal difficulties with which I had been beset from birth” (2001, pp. 47-48).
In the blog, each singer demonstrates how she works with voice on her own and with the support of an Alexander teacher through the application of AT concepts.
Both Brittany and Shana share their routines in their “warm-ups” as they integrate AT concepts into their practice. Shana speaks about paying attention to how she is standing. She looks for grounding and support when she warms up. She speaks about feeling open and moving with ease, all enhancing her awareness of her breathing.
Brittany’s warm-ups provide her with the space to observe and analyze what she needs to focus on. She asks herself how she can be supported in movement and in using her voice as she executes simple vocal exercises to enhance her resonance.
They both seek being able to sing with the least amount of muscle tension, and they both emphasise the communicative aspects of sound-making.
Brittany describes how she approaches a new piece of music she is learning. She listens to it, works on text and interpretation, moving back and forth between working on technical elements and considering the performance that is ahead. Gaby suggests articulating a clear intention for each practice session, and choosing a small section to work on together. She reminds Brittany that she has ample time to work on the aria. Gaby draws Brittany’s attention to the importance of maintaining attention all through the practice. When Brittany moves towards the piano to find a note before singing, Gaby asks her if she was aware of how she leaned towards the piano. Each moment provides an opportunity for awareness and choice, moving from habitual unconscious movement to a directed and conscious one. Gaby invites Brittany to reflect on her singing before they work with hands-on as she sings. They identify the habits around preparation to sing, holding some tension in the neck, and together, with hands-on work, Brittany is encouraged to change. They attend to “catching” the preparation, inhibiting and making conscious choices. On some occasions the singer identifies habitual patterns and at other times the AT teacher identifies what is less obvious to the singer. Then they work on the “means-whereby” sound is produced together.
When Shana begins singing, she is unaware of clearing her throat, an unconscious part of her preparation to sing. Once she becomes aware of it, she is able to stop, and start singing. When reflecting on her singing, Shana speaks about her intention to maintain a sense of expansion and not excessive tension. She thinks about being anchored and maintaining an image of the body as a barrel. Gaby and Shana speak about the communicative aspects of singing. Gaby invites Shana to consider the song she chose to sing. Oftentimes singers don’t have a choice of repertoire, but when they do, their choice impacts how and what they sing. Both Brittany and Shana make sounds, pause, reflect on the sound they produced in their Alexander lessons and on their own. They highlight how their AT lessons provide a systematic framework to engage in their art and craft of making music through the use of their voice.
We finish this blog post with footage of both Shana and Brittany performing to illustrate them both putting their AT learning into practice in the performance setting.
We appreciate the contributions of Shana and Brittany to this blog: their willingness to share and reflect on their preparation to sing, working with an AT teacher and performing. They share their challenges and joy in singing opera.
References
Alexander, F.M. (1995). Articles and Lectures, Mouritz.
Alexander, F.M. (2001). The Use of the Self, Orion Books Ltd.
Leborgne, W.D. & Rosenberg, M.D. (2014). The Vocal Athlete, Plural Publishing Inc.
Jones, F.P. (1972). ‘Voice Production as a Function of Head Balance in Singers’ The Journal of Psychology, 82:2, pp. 209-215.
Richmond, P.G. (1996). A Spectral Analysis of Breathing Efficiency and Vocal Production in Singers before and after Alexander Technique Lessons. Unpublished author manuscript.
Capalbo, M.A & Glasner, J.D. (2023). ‘Acoustic Analysis of Alexander Technique Intervention: A Longitudinal Case’ The Voice Foundation’s 52nd Annual Symposium: Care of the Professional Voice, 4th June, 2023, Vocal Pedagogy Presentation.
Ekholm, E., Papagiannis, G.C. & Chagnon, F.P. (1998). ‘Relating Objective Measurements to Expert Evaluation of Voice Quality in Western Classical Singing: Critical Perceptual Parameters’ Journal of Voice, 12(2), pp. 182-196.
About
Gabriella Minnes Brandes, Ph.D., has been teaching the Alexander Technique for over 30 years. She has maintained an active practice at the Alexander Technique Centre in Vancouver. She has been invited to run Alexander workshops for musicians, singers, and horseback riders, engineers (among others) as well as workshops for Alexander teachers. For over a decade she taught the Alexander Technique in the Theatre department at Capilano University. She was the founder and co-director of the Vancouver School of the Alexander Technique, a three-year CANSTAT recognized school that ran for close to twenty years. Her research interests focus on connections between creativity, music making, performance and the application of concepts of the Alexander Technique. She is currently collaborating with Alexander teachers from the US, UK and the Netherlands to study the Alexander Technique and Mindfulness-Based Approaches in Stress Management. Informed by her Ph.D. in education, Gaby is also interested in articulating how current theories of learning relate to concepts of Alexander Technique. Gaby works extensively in collaboration with musicians, voice, movement and acting instructors. She is continuing to hone her skills as a teacher and communicator. She is an active member of the Canadian Society of Teachers of the Alexander Technique and served on the Board of Directors, also a member of the Society of Teachers of the Alexander Technique (UK), the American Society of Teachers of the Alexander Technique, and Alexander Technique International, where she currently serves as a Board Director. For more information: https://sites.google.com/view/alexandertechniquecentre
Michele A. Capalbo, BM (Performance), MA (Voice Pedagogy), M.AmSAT: A Canadian singer with over two decades of international performance experience in opera and concert, Michele specializes in the music of Verdi and Puccini. She is the recipient of multiple singing awards including the top prize from the Liederkranz Foundation award in New York City, and the George London Foundation Canadian singer award, as well as several career grants from the Canada Council and Vancouver Opera Guild. She is an active adjudicator, lecturer and teacher. In 2018, she was certified in the Alexander Technique by the Dimon Institute in New York City. Michele has received two Mouritz Awards for articles related to voice and the Alexander Technique. Both articles were subsequently published in the AmSAT Journal and are expected to be included in the inaugural issue of the peer-reviewed Alexander Journal. She has presented workshops hosted by both the voice and Alexander Technique communities through The Voice Foundation Symposium and AmSAT’s Annual Conference and General Meeting. As an active voice researcher, Michele has presented her and voice centered research into the Alexander Technique at the Pan American Vocology Association Symposium, 2021 and at the Voice Foundation Symposium, 2023. Her most recent research related to post-intervention acoustic shifts in the singing voice will be published in the peer-reviewed Journal of Voice at a future date. Michele’s private voice studio, located in the New York City area, focuses on the integration of the Alexander Technique and singing. For more information: https://www.michelecapalbo.com/
Thank You
Thank you for being here and supporting research on the Alexander Technique and its teaching. Special thanks to Gabriella Minnes Brandes, Michele A. Capalbo, Shana White, and Brittany St. Claire for their insightful and generous contributions to this post, and to Erica Donnison for her work. To all community members who have contributed so far, thank you! Your work is appreciated and making a difference.
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