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Garrett Harris
Garrett Harris
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The Students Sing
It shows that a singer is self-conscious and in a relaxed setting that's endearing--aka we've all been there. In a concert setting, a self-conscious singer is a disaster!
— October 14, 2011 11:39 a.m.
Survive or Thrive in the Arts
Next post will be about them singing for me. No YouTube but here's my myspace which I haven't used in years.
http://www.myspace.com/garrettharris
Three pieces there--all from about 6 years ago? Crap! Time to get some updated material.
— October 11, 2011 3:55 p.m.
Bonita Trio
It was so much fun!
— September 28, 2011 2:02 p.m.
Dirty Stain - Bach Collegium's Mozart Requiem
Thank you Nan!
— September 22, 2011 4:14 p.m.
Dirty Stain - Bach Collegium's Mozart Requiem
Eric that's great info on BCSD! I'm still going to push back a little. By all means, bring in outside talent in order to grow. I'm not opposed to bringing in artists who are clearly superior. I like hearing great music. Again, if the soloist had been incredible, or even above average, I would have been first in line to say so. Why spend resources on soloists who may or may not be as good as locals? There are no travel expenses for locals. Local singers can be more flexible with the rehearsal schedule as well. Here's what it boils down to. How does the BCSD handle feedback aka criticism? Did I make any valid points? If so, examine them and get better. Ignore anything you thought was over-the-top or came from a lack of knowledge on my part. I admit I was too critical of the chorus. The major vocal imbalance came from the soloists singing the chorus parts--specifically the tenor soloist. The fact that the soloists sang the chorus parts tells me that the local singers weren't even trusted to handle the chorus part on their own. Give me a break.
— September 22, 2011 2:24 p.m.
Dirty Stain - Bach Collegium's Mozart Requiem
I think I understand what you're getting at if you're referring to the "buzzy", overtone quality that can be produced by a strong group singing straight tone. It can have a shattering effective when used in the proper repertoire. I agree with you there but Mozart's Requiem is not one of those pieces. Regarding the Sanctus and strained tone. I said, "At times this creates a thin, strained tone that can be unpleasant." The key part of the phrase being "At times." "While BCSD’s namesake is “local” to you, the rest of the country would consider it a national group whose performances are focused in the Southern California region. How many basset horn players do you know in the San Diego? - none. This is not a critique on SD, which I love, but Mr. Valenzuela has the choice to hire anyone who can convey the his artistic vision. Perhaps SD didn’t have the soloists (instrumental or vocal) he was looking for, or more practically, they were not available? Perhaps more “locals” should audition for Mr. Valenzuela." If BCSD is considered a national group, that's very impressive. Now find a venue to match a national presence and fill it with patrons. A national group means you consistently perform nationally or patrons travel from across the nation to hear you. Hence San Diego Opera's "International Season". Patrons travel from other nations (Mexico) to attend San Diego Opera performances. The point I'm trying to make is that if out-town-talent is brought in it needs to be great. The instrumentalists were great. The main difference between hiring orchestras and singers is the strength of the union. Point of fact: I know that some of the chorus volunteered and were not paid at all. Maestro Valenzuela does have the choice to hire whomever he pleases and I have the choice to say the soloist stained an otherwise excellent concert and that a local quartet would have been more appropriate--and you have the choice to disagree! The Mozart caption is from the editor. Previously, the Mozart caption advised me to stop complaining and sing it the way he wrote it. It's supposed to be lighthearted. Thank you so much for putting in the effort to comment. If I were to write the review over, I would remove the phrase, "consistently annoying." That was not well thought out and was unfair to the chorus.
— September 21, 2011 9:17 p.m.
Dirty Stain - Bach Collegium's Mozart Requiem
"You decided that the soloists were essentially a bunch of out-of-town barnyard animals who didn’t warrant EVER being heard by the San Diego audience. Is this what you are trying to convey to us?" I did not decide the soloists were barnyard animals. I do claim they don't warrant EVER being heard by the San Diego audience. "Apparently, being a singer yourself (from what I can surmise online), I’m surprised you would go to such lengths to negate their hard work, whether you liked it or not. Do you want to be called “average,” “mediocre,” “terrible” or “lazy?” Couldn’t you find better words to describe what you felt?" Yes, I am a singer myself. How hard the soloists worked has nothing to do with anything. Do I want to be called average, mediocre, terrible, or lazy? Of course not. You're adding lazy to list but in context it goes with mediocre. To say a baritone sounds like a lazy tenor has nothing to do with anything except the quality of the tone. The quality of his voice sounded like a tenor to me. Since the tenor voice is the most difficult to produce on a consistent basis, he could be a lazy tenor pretending to be a baritone. I've heard similar opinions about singers as prominent as Fischer-Dieskau. Here are some better words. Average = pedestrian. Mediocre = fair to middling. Terrible = disturbing. "Many musicians, especially in choral settings, whether it be Josquin or something newly composed last week, aim to control this factor to bring multiple layers of color. That same color, which apparently blew you away in the Sanctus, you inconsistently described as a “strained tone”." What multiple layers of color did you hear at the concert? I did not once hear the chorus or soloists make a choice based on color. Of the soloists, I would venture that only the mezzo had a choice as to what color to produce, perhaps the baritone as well. The other two had glaring registration issues. By registration issues I mean they were both head-register dominant which is why their voices disappeared through the middle and lower ranges. It is also why their voices weren't interesting. There was NO color because the chest-register was nonexistent. We like to throw the "vocal color" term out there as if any singer can do it. Very few singers have developed enough of their voice to make a conscious choice of color. I'm not sure how to write a review that includes suggesting two of the soloists need additional voice lessons. To be honest, that is my opinion. They are afraid to sing the bottom and therefor their voices are underdeveloped. There is no evidence that Mozart wrote for singers who had registration issues. Some of his tenor music is more inline with Wagner and is consider appropriate for young heldentenors--the most difficult of the tenor voice types to produce!
— September 21, 2011 9:17 p.m.
Dirty Stain - Bach Collegium's Mozart Requiem
sms9798 before we get started, I just want to say that this is a conversation I would enjoy having with you. The online format can make tone challenging so please understand that I'm not trying to be argumentative. I am taking the time to try to clarify some of the points you've made. One of the overriding goals of my writing this blog is to raise the average patron's awareness of what great singing is. Sometimes that means pointing out examples of singing that I don't think is great. I had to break this up into three replies because of the character limitations. "In looking at your review at a closer level, I want to point some inconsistencies that even the average reader would pick up on. You mention that the BCSD chorus as being “thrilling” and “confident and clear.” I said rhythmically thrilling. Being confident and clear has nothing to do with vocal color. I did say it was a rare chance to hear a chorus of only competent singers. Hence rhythmically thrilling, confident and clear. The chorus, through no fault of their own, was out of balance. The balance was tenor dominant at times. As a rather loud tenor myself, it kills me to say that. The tenor soloist was singing the chorus parts and his tone cut like a knife. My guess is that the overall sound would have been better without him singing the chorus parts. I should mention that all the soloists sang the chorus parts but there was only one voice that stuck out of the choral texture.
— September 21, 2011 9:11 p.m.
Dirty Stain - Bach Collegium's Mozart Requiem
I understand that these are not first time soloists with BCSD...which in my opinion only exacerbates the situation. I'm not sure I was being snarky. I was more frustrated than anything else because the rest of the performance was so magnificent. In my opinion what damages a critic's credibility is calling terrible okay, mediocre good, and average great. I think bringing in out-town singers requires them to be great. I don't care if it's SDO, SD Symphony, Lyric Opera, The Old Globe, or CCT, if they bring in artists from across the country I'm going to expect them to be better than local performers. There were zero great singers in the solo quartet. Had the singers been local, I certainly would have been more forgiving. Thank you for engaging with a comment SanDiegoSinger. It is always welcome and I am grateful.
— September 21, 2011 10:54 a.m.
Mooncake
Thanks for doing the foot work on that!
— September 16, 2011 12:50 p.m.
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This Week’s
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This Week’s
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The Students Sing
It shows that a singer is self-conscious and in a relaxed setting that's endearing--aka we've all been there. In a concert setting, a self-conscious singer is a disaster!— October 14, 2011 11:39 a.m.
Survive or Thrive in the Arts
Next post will be about them singing for me. No YouTube but here's my myspace which I haven't used in years. http://www.myspace.com/garrettharris Three pieces there--all from about 6 years ago? Crap! Time to get some updated material.— October 11, 2011 3:55 p.m.
Bonita Trio
It was so much fun!— September 28, 2011 2:02 p.m.
Dirty Stain - Bach Collegium's Mozart Requiem
Thank you Nan!— September 22, 2011 4:14 p.m.
Dirty Stain - Bach Collegium's Mozart Requiem
Eric that's great info on BCSD! I'm still going to push back a little. By all means, bring in outside talent in order to grow. I'm not opposed to bringing in artists who are clearly superior. I like hearing great music. Again, if the soloist had been incredible, or even above average, I would have been first in line to say so. Why spend resources on soloists who may or may not be as good as locals? There are no travel expenses for locals. Local singers can be more flexible with the rehearsal schedule as well. Here's what it boils down to. How does the BCSD handle feedback aka criticism? Did I make any valid points? If so, examine them and get better. Ignore anything you thought was over-the-top or came from a lack of knowledge on my part. I admit I was too critical of the chorus. The major vocal imbalance came from the soloists singing the chorus parts--specifically the tenor soloist. The fact that the soloists sang the chorus parts tells me that the local singers weren't even trusted to handle the chorus part on their own. Give me a break.— September 22, 2011 2:24 p.m.
Dirty Stain - Bach Collegium's Mozart Requiem
I think I understand what you're getting at if you're referring to the "buzzy", overtone quality that can be produced by a strong group singing straight tone. It can have a shattering effective when used in the proper repertoire. I agree with you there but Mozart's Requiem is not one of those pieces. Regarding the Sanctus and strained tone. I said, "At times this creates a thin, strained tone that can be unpleasant." The key part of the phrase being "At times." "While BCSD’s namesake is “local” to you, the rest of the country would consider it a national group whose performances are focused in the Southern California region. How many basset horn players do you know in the San Diego? - none. This is not a critique on SD, which I love, but Mr. Valenzuela has the choice to hire anyone who can convey the his artistic vision. Perhaps SD didn’t have the soloists (instrumental or vocal) he was looking for, or more practically, they were not available? Perhaps more “locals” should audition for Mr. Valenzuela." If BCSD is considered a national group, that's very impressive. Now find a venue to match a national presence and fill it with patrons. A national group means you consistently perform nationally or patrons travel from across the nation to hear you. Hence San Diego Opera's "International Season". Patrons travel from other nations (Mexico) to attend San Diego Opera performances. The point I'm trying to make is that if out-town-talent is brought in it needs to be great. The instrumentalists were great. The main difference between hiring orchestras and singers is the strength of the union. Point of fact: I know that some of the chorus volunteered and were not paid at all. Maestro Valenzuela does have the choice to hire whomever he pleases and I have the choice to say the soloist stained an otherwise excellent concert and that a local quartet would have been more appropriate--and you have the choice to disagree! The Mozart caption is from the editor. Previously, the Mozart caption advised me to stop complaining and sing it the way he wrote it. It's supposed to be lighthearted. Thank you so much for putting in the effort to comment. If I were to write the review over, I would remove the phrase, "consistently annoying." That was not well thought out and was unfair to the chorus.— September 21, 2011 9:17 p.m.
Dirty Stain - Bach Collegium's Mozart Requiem
"You decided that the soloists were essentially a bunch of out-of-town barnyard animals who didn’t warrant EVER being heard by the San Diego audience. Is this what you are trying to convey to us?" I did not decide the soloists were barnyard animals. I do claim they don't warrant EVER being heard by the San Diego audience. "Apparently, being a singer yourself (from what I can surmise online), I’m surprised you would go to such lengths to negate their hard work, whether you liked it or not. Do you want to be called “average,” “mediocre,” “terrible” or “lazy?” Couldn’t you find better words to describe what you felt?" Yes, I am a singer myself. How hard the soloists worked has nothing to do with anything. Do I want to be called average, mediocre, terrible, or lazy? Of course not. You're adding lazy to list but in context it goes with mediocre. To say a baritone sounds like a lazy tenor has nothing to do with anything except the quality of the tone. The quality of his voice sounded like a tenor to me. Since the tenor voice is the most difficult to produce on a consistent basis, he could be a lazy tenor pretending to be a baritone. I've heard similar opinions about singers as prominent as Fischer-Dieskau. Here are some better words. Average = pedestrian. Mediocre = fair to middling. Terrible = disturbing. "Many musicians, especially in choral settings, whether it be Josquin or something newly composed last week, aim to control this factor to bring multiple layers of color. That same color, which apparently blew you away in the Sanctus, you inconsistently described as a “strained tone”." What multiple layers of color did you hear at the concert? I did not once hear the chorus or soloists make a choice based on color. Of the soloists, I would venture that only the mezzo had a choice as to what color to produce, perhaps the baritone as well. The other two had glaring registration issues. By registration issues I mean they were both head-register dominant which is why their voices disappeared through the middle and lower ranges. It is also why their voices weren't interesting. There was NO color because the chest-register was nonexistent. We like to throw the "vocal color" term out there as if any singer can do it. Very few singers have developed enough of their voice to make a conscious choice of color. I'm not sure how to write a review that includes suggesting two of the soloists need additional voice lessons. To be honest, that is my opinion. They are afraid to sing the bottom and therefor their voices are underdeveloped. There is no evidence that Mozart wrote for singers who had registration issues. Some of his tenor music is more inline with Wagner and is consider appropriate for young heldentenors--the most difficult of the tenor voice types to produce!— September 21, 2011 9:17 p.m.
Dirty Stain - Bach Collegium's Mozart Requiem
sms9798 before we get started, I just want to say that this is a conversation I would enjoy having with you. The online format can make tone challenging so please understand that I'm not trying to be argumentative. I am taking the time to try to clarify some of the points you've made. One of the overriding goals of my writing this blog is to raise the average patron's awareness of what great singing is. Sometimes that means pointing out examples of singing that I don't think is great. I had to break this up into three replies because of the character limitations. "In looking at your review at a closer level, I want to point some inconsistencies that even the average reader would pick up on. You mention that the BCSD chorus as being “thrilling” and “confident and clear.” I said rhythmically thrilling. Being confident and clear has nothing to do with vocal color. I did say it was a rare chance to hear a chorus of only competent singers. Hence rhythmically thrilling, confident and clear. The chorus, through no fault of their own, was out of balance. The balance was tenor dominant at times. As a rather loud tenor myself, it kills me to say that. The tenor soloist was singing the chorus parts and his tone cut like a knife. My guess is that the overall sound would have been better without him singing the chorus parts. I should mention that all the soloists sang the chorus parts but there was only one voice that stuck out of the choral texture.— September 21, 2011 9:11 p.m.
Dirty Stain - Bach Collegium's Mozart Requiem
I understand that these are not first time soloists with BCSD...which in my opinion only exacerbates the situation. I'm not sure I was being snarky. I was more frustrated than anything else because the rest of the performance was so magnificent. In my opinion what damages a critic's credibility is calling terrible okay, mediocre good, and average great. I think bringing in out-town singers requires them to be great. I don't care if it's SDO, SD Symphony, Lyric Opera, The Old Globe, or CCT, if they bring in artists from across the country I'm going to expect them to be better than local performers. There were zero great singers in the solo quartet. Had the singers been local, I certainly would have been more forgiving. Thank you for engaging with a comment SanDiegoSinger. It is always welcome and I am grateful.— September 21, 2011 10:54 a.m.
Mooncake
Thanks for doing the foot work on that!— September 16, 2011 12:50 p.m.