1) Voice lessons have not come up to my expectations

Question : 1) Voice lessons have not come up to my expectations : 2007966

1) Voice lessons have not come up to my expectations of what they should be. I thought Professor Rosman's methods, goals, and repertoire would be predictable, conservative and stuffy. I didn't think those methods, goals and repertoire would be startling, different and thoroughly unconventional. I knew Rosman's methods were unusual at my first lesson when I first began taking them in September of 1990. I knew that when he asked me to pretend that I could only make grunts and that I had no control of my jaw muscles. Another time I knew his methods were unusual when I had to say "Unique New York" as I sang scales. At one lesson I even had to sing all my songs with "brr" as my only word. But Rosman's goals for me were not for all intents and purposes to make me sound like an opera singer. Rosman wanted me to enjoy singing. He taught this way due to the fact that he wanted me to learn good technique.  Good technique included learning to support my voice with good air flow, and to sing the words as I would speak them. Because I wanted to sound like a torch singer with a big band,  he didn't make me sing opera or art songs. In my opinion, however, the Italian and French songs he had me sing greatly helped to stretch my voice's range and build my repertoire. Voice lessons have thus not come up to my expectations by virtue of the fact that they were not what I expected, but unexpectedly fun.

2) Due to the fact that the National Ballet of Canada is preparing to stage its last season at the Hummingbird Centre in Toronto, its founding and history have become the focus of much national attention. The driving force at all times in the early years behind the world-famous company was Celia Franca. Celia Franca's energy and drive was also behind the gaining of a national mandate for the National Ballet. Celia Franca and other ballet enthusiasts began the company by drawing dancers from across the country, touring across the country, and, therefore, furthering the creation of a 'national base' for the company of dancers. Celia Franca and her directors, in point of fact, also insisted on staging the 'classics', and in preforming the 'classics'; they also insisted on the dancers living up to the most demanding, internationally-accepted standards. By virtue of the fact that they had little financial support, they could not tour their stage performances as often as they thought would have been appropriate. Founding of the National Ballet School in 1959, for the purpose of training dancers in order to meet these internationally-accepted standards, and the adoption of the O'Keefe Centre (now known as the Hummingbird Centre) in Toronto, in the final analysis, gave the foundation needed for the company to establish itself fully.

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English 2 Years Ago 354 Views
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