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Lesson time: (7min 0sec)
En esta lección, la clase magistral abre las preguntas al público, que no puede resistirse a ponerse personal con Chen Reiss.
This lesson is part of the course Cantar Mozart: arias de Fígaro, Così y La flauta mágica
Watch this lesson for free below.
Lesson transcript:
Instructor: Would anybody like to ask any questions?
So, you've covered dramatic context, character, words, and music. When you open the score for the first time, how do you go about it?
Usually, I start with the words for the simple reason that I know the music. Because usually, we sing operas that all of us know. So, if I have to sing Traviata or Carmen for the first time, I already know the melodies.
In my case, I sing a lot of Mozart operas, which I know very well. So, I definitely start with the words and with the character to see the situation, how she's feeling at this point in the opera. Then I start practicing at the piano.
Definitively, what always leads me are the words and the drama.
Audience Question: Can you tell us? Is there anything specific that you do to prepare for a performance?
After I became a mother, everything changes. I don't have time anymore to think and to worry so much about everything.
But singers have to be very disciplined to keep the voice in good shape. I cannot say in perfect shape because it's never in perfect shape. The circumstances, it's always too cold, too hot, or I've not drunk enough water, or I didn't get enough sleep.
My Routine for Performance Preparation:
Sleep:
Physical Activity:
Vocal Warm-Up:
Eating Habits:
Hydration:
As I said, when you have little kids, they distract you, and everything I just mentioned often doesn't happen. Yet, the voice somehow works!
After years of experience, I wouldn't recommend skipping these routines to beginners. If you're a beginner, be very strict:
You are, in a way, a servant of your voice.
Audience Question: Can you tell me if you do other things to keep your voice in good form day to day?
Yes! So, I definitely, like I said, do yoga and Pilates. It helps me.
Audience Question: You seem so confident in front of audiences. Do you actually get nerves, and how do you manage them?
Oh, yes, definitely! I get nervous. It's much easier to teach than to sing.
Before a big premiere, you don't want to be in the room with me. The whole week leading up to an opera premiere is very stressful.
Sometimes everything works fantastically, with a great stage director, and it's a lot of fun. But other times, the stage director has different ideas.
Coping Strategies:
I definitely feel nervous, but it's not so bad. The nerves, the adrenaline, give you energy. I love the feeling of performance!
Sometimes I get a bit heavy and bored during rehearsals, but when the audience is there, I actually sing better because I have more energy. The audience gives you energy.
Well, what a wonderful afternoon we've had. Nobody wanted it to end.
Let's express our appreciation first to Timothy. Yes.

La soprano israelí Chen Reiss ha cantado papeles protagonistas en muchos de los grandes escenarios operísticos del mundo, entre ellos: Wiener Staatsoper Bayerische Staatsoper Théâtre des Champs-Élysées Teatro alla Scala Semperoper Dresden Deutsche Oper Berlin Hamburgische Staatsoper Wiener Festwochen Maggio Musicale Fiorentino Opera Company of Philadelphia The Israeli Opera Su repertorio operístico incluye, entre otros, Pamina, Adina, Gilda, Nannetta, Oscar, Rosina, Servilia, Blonde, Susanna, Zerlina, Despina, Euridice, Marie (La Fille du régiment), Sophie (Der Rosenkavalier) y Adele. En su último álbum, "Die Nachtigall und die Rose", presenta un programa romántico junto al reconocido pianista Charles Spencer. En concierto ha actuado en Salzburgo, Lucerna, el Wiener Musikverein, Berlín, Leipzig y Múnich. Debutó en la Wiener Staatsoper en 2009 como Sophie, y desde entonces ha cantado allí papeles como Pamina, Elvira, Waldvogel, Adina, Servilia, Ilia, Xenia y Füchslein Schlaukopf. read more