Hidden virtuosity: The choral soprano in the studio

Abstract

Although the notion that "choral singing ruins your voice" has become less prevalent, there still remains a certain discipline divide between soloists and choristers. Voice teachers take great care to give relevant technical instructions and appropriate solo repertoire to their developing students. Choral singers on the other hand, often receive little or no technical instruction yet are asked to sing music that can, in certain ways, and especially for choral sopranos, be much more challenging than standard soloist repertoire. Looking at some exemplary solo arias in comparison with complementary choral writing, this paper evaluates the vocal demands placed on choral and solo sopranos in a classical music context. It also investigates how pedagogues may ensure greater vocal freedom within the choral rehearsal and performance spaces. It is suggested that through better collaboration between voice teachers and conductors, a rehearsal technique may be developed that benefits both the solo and choral singer. It is further argued that pedagogues should work on choral music with the same commitment in the studio as they do with solo repertoire, engage more actively with the choral world and broaden the musical scope of vocal tuition.