The Classical Voice Studio of Diana Farrell

Monday, June 7, 2021 by Diana Farrell | THOUGHTS FROM THE STUDIO

Dana School of Music, Youngstown State University 2007

 

What do you like about your own voice? What do you L O V E  about your voice? What do you do reeeeeally well? These questions are HARD to answer and I make each new student I take on think about these questions. Having an answer doesn’t make you narcissistic or egotistical. After all, no one knows your instrument the way you do because no one can *feel* what you feel (physically or emotionally, but I'm talking physical sensation here). The things that I think are special about my own voice have changed over the years but that is part of the joy of this singing journey! The more you master your own instrument, the more exciting you can be in your storytelling and the more ownership you feel over the communication choices you're making with your audience. Please use the comment section to tell me while your voice is so awesome!

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Monday, May 24, 2021 by Diana Farrell | THOUGHTS FROM THE STUDIO

People who know me well know that I have a love of learning and collecting foreign language words that have no single word translation in English. A lot of times these are feelings or situations that are universally experienced and of such value that they require a succinct and referable word for certain languages or cultures. One that I was reminded of this week (and I'm thinking of framing from my little studio wall) is the Greek word, meraki. 

Meraki (n.) /mɛɹ̩ɑki/ To do something with soul, creativity, for love; to put something of yourself into your work.

#Meraki is something I think all creatives begin their artistic exploration with, but many of us lose as we move into a more serious observation of technique and execution. Singing is so much about breathing and using our bodies to express ideas. I constantly beg my students to find their own examples of memory or sensation to consider when working through a new technique or passage. Sometimes it's artistic and sometimes it's simply recalling our bodily response to a moment or experience. That is how to keep your music alive, even when you are focusing on a tough technical excerpt or exercise. We must use our humanity to literally breathe life into what we are doing. Oftentimes it makes the technical undertaking easier to repeat properly and gives us our "why" behind those grueling moments. How have your life experiences informed your creative practice lately? Please share!

📷: As Magda Sorel with Sandra Ross as Mother, PC Jeff Ridenour, designer for 2017's The Consul with Nightingale Opera Theatre

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Monday, May 17, 2021 by Diana Farrell | THOUGHTS FROM THE STUDIO

Let's talk about #Shame. I've sung plenty of not beautiful notes. I've even sung some of them in public and on stage, gasps! Am I proud of them, of course not. We do our best to always present our most perfect performance. We craft our lines and phrases to tell stories, we study the orchestral score to find what other parts of the music are helping to tell our story - even if it is not a moment where our character sings -  but there's always going to be one of those days where a moment gets away from you. I cannot stress enough letting yourself be overcome with shame will absolutely murder the rest of your performance! All you can do is look forward to the next one and continue to tell your story. When we get in our heads an hour bodies on autopilot the rest of our performance is sure to suffer and more than likely we will have another oops moment and that is how we will be remembered. The only way to work past surprises is to embrace them in practice. I often tell my students "Stop editing yourself!" If something is not perfect then we can reflect on it afterwards and ask important questions to ensure it doesn't happen again in the future: did I prepare for this note properly? Was I focused on the through idea of the line or was I overwhelmed by a spot that gives me anxiety? Does this section feel different in my voice when I am ill, overtired, etc? Allowing these moments to happen in practice gives us the opportunity to make a plan so we are not cut off guard in front of an audience. Shame is a thief of joy and creativity. Embrace your mistakes to learn from them and see how they help you grow.

📷: Me as Lady Macbeth, when her shame finally gets the best of her and drives her insane! Don't let this happen to you 🤣

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Monday, May 10, 2021 by Diana Farrell | THOUGHTS FROM THE STUDIO

In honor of Mother's Day, and since her birthday is next week, I thought I'd celebrate my Mama here  

I'm grateful for my mom. Obviously. That's a pretty broad statement so I'll focus on one reason why I'm so lucky to have the mom I do: She is such a gifted and competent dancer. I always took her talent for granted growing up. As a child I had no appreciation for the years of study, practice, creativity, and effort she cultivated throughout her life, but I'm so fortunate to have learned from her. Her focus, her grace, her dedication, her mastery, her desire to always learn and always improve were qualities that she taught by example and have guided me in all my musical and performing endeavors. Beyond enforcing lessons about commitment, reliability, and resilience, the most important lesson she ever taught me as an artist was to "use *all* the music." I remember watching her hold a pose and even while standing still she was dancing with every inhalation. That use of legato, story telling, and pure technique... such mature lessons for myself and her hundreds of young students, but such vital elements to experience as a young performer.  People always ask if I come from a musical family. My mom usually makes a joke about my dad doing a mean Louis Armstrong impression and then jokingly sings a sour note herself, but I know now that I was receiving some sophisticated musical training at a young age, even if she didn't know she was providing it. I'm so grateful to have you as an inspiration,J Janet Farrell.

#justkeepdancing #useallthemusic #pointyourtoes #count! #imustpracticeeveryday

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