Crossover Repertoire (part one)

 Classical Soprano seeking manageable musical theatre song to perform so she can have a glass of wine, eat some chocolate and not worry about singing in another language

cross·o·ver 

/ˈkrôsˌōvər/

noun

1. the process of achieving success in a different field or style, especially in popular music

We’ve all heard the term “crossover artist” before but what does that mean? In laymen’s terms, it means that a performer can be trained and often classified in one “type” of music, i.e. opera, musical theatre, pop, etc. But we’re seeing more and more artists crossover into multiple genres (think Kelli O’Hara at the Met, Sara Bareilles on Broadway, Reneé Fleming recording a jazz album, etc.) 

I’m a big fan of crossover because a) I do it a lot and b) it pushes singers to learn to step outside their comfort zone and learn more about what our incredible instruments can learn to do! 

But perhaps you’re a trained opera singer trying to sing musical theatre? Perhaps you’re a pop singer trying to learn a more legit style? It’s sometimes hard to find the right repertoire to start with in order to get that muscle memory and vocal vocabulary as part of your new and improved “norm”. Switching back and fourth between genres can seem daunting at times, but trust me - it’s all your voice, it’s all the same approach, just with different vowels, different sensations and different diction. 

Let’s start with classical sopranos who want to crossover into musical theatre…

There is a lot of incentive here for classical singers to get in touch with their MT style, since many opera houses are doing musicals as part of their seasons. So let’s start with the most obvious choices for finding good musical theatre repertoire for the classically trained soprano:

• Rodgers and Hammerstein
• Stephen Sondheim
• Jerome Kern
• Marc Blitzstein
• Kurt Weill
• Ricky Ian Gordon
• Lerner and Loewe
• Harnick and Bock
• Schmidt and Jones
• Leonard Bernstein
• Frank Loesser
• Adam Guettel 

Just go on a deep dive into these composers and you’ll find a plethora of songs that are well suited a classical sound. 

But, here are some of my favorites that are slightly more off the beaten path. (It’s okay if you just want to sing “Vanilla Ice Cream” but you better do it damn well, since 500 girls in front of you will be doing the same thing!)

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You just want some schmaltz!!!

"The Song is You" - Music in the Air - Jerome Kern

You've got a little bit of quirk…

"Inside Out" - A Gentleman's Guide to Love and Murder - Steven Lutvak

You’re the ingenue type…

"What Will It Be For Me?" - Regina - Marc Blitzstein

You’re ready to play the Mom roles...

"Almost Real" - The Bridges of Madison County - Jason Robert Brown

You just want to be peppy!

Wonderful, Wonderful Day - Seven Brides for Seven Brothers Johnny Mercer and Gene DePaul

You want all the drama (hello again Kelli!) 

"Is It Too Late" - My Life with Albertine - Ricky Ian Gordon 

You're just want the most beautiful poetry…

"Tavern" - Will Reynolds (poetry by Edna St. Vincent Millay)

References: 

(available in all voice types)

• Musical Theatre for Classical Singers 
• Sondheim for Singers 
• Bernstein for Singers
• Rodgers and Hammerstein Anthology

Please comment with your favorite videos and tracks for classical crossover sopranos! (more to come for other voice types)

Practically Perfect Practice (Pt. 1 Taking Risks!)

 During this very strange time, where there is little to no performing opportunities, I’ve been exploring ways to keep honing my craft and remembering that I actually enjoy singing (in addition to it being my livelihood)

 So I’ve spent many an evening hunched over my piano (I mean playing with perfect posture) or locked in my walk in closet with my dog, belting out songs I’ve always had in the back of my mind as “one day, I’d really like to sing that song for something”. 

In the absence of a stream of things to prep for specific gigs, auditions, roles, etc it’s opened up my brain to just sing and discover new ways of using my voice that normally I don’t even try because I’m focused on something I have to sing, the next day or the next week. 

But practicing can be very tedious, boring, unfruitful if we don’t get creative! Plus….

Do you ever feel like you do your best performing in your car, your shower, or a practice room? And then ask yourself, why don’t my amazing Christina Aguilera riffs or Cecilia Bartoli ornaments translate into a performance environment.

Here are some thoughts to spice up your practicing and make the ever present stress of WHAT HAPPENS WHEN WE RETURN TO IN PERSON AUDITIONS a little bit easier… 

Risky Practicing! 

I was in a show once with the great Wagernian tenor Jay Hunter Morris - in addition to giving me love life advice, he coined the phrase I have carried with me for years “Be Mighty”. He applied that to many walks of the artistic life, including challenging your own skills. Have a little faith that your voice can do more than you think it can, and just give it whirl. Just SEE if you can sing an aria, belt an F, riff like Beyonce. You’ll never know unless you try. 

You know when the best time to crack that belt, squawk that high note or totally butcher a chest to head flip? Probably not onstage with hundreds of people watching or in an audition room where you’re trying to prove to a room full of people you’ll be consistent in your role 8 times a week. 

Let's avoid doing this in an audition room

But, if we always sang in a way that was comfortable, easy, and safe we would become fairly boring, fairly quickly and significantly slow down our ability to learn new skills, expand repertoire and conquer new genres. I’m not saying go into your closet (where I’ve been doing the vast majority of my practice during covid) and belt out something you have no idea how to approach that causes tension, strain or fatigue to your cords, please don’t. But I am talking about these moments. 

“Hmm, I really want to belt that note instead of flipping into my head voice”. 

“I know that to belt I need to adjust the placement, narrow the cords and modify the vowel. We talked about how to do that in lessons.” 

“Now let’s me just see if I can” - attempt #1 - a disaster. *Slight adjustment, looks at notes from lesson. - Attempt #2 - much better, engages the rest of the body and continues to reinforce what feels good and right for a belt at that note and attempt #3 GO FOR IT and LOOK you learned how to belt. 

But it would have been much easier to just flip it right? But then you would have never figured out that you can indeed belt it instead.

All of that is to say, practice being a little risky - its an exciting way to sing. Of course, only with good technique, knowledge and vocal/body awareness, but pushing yourself in lessons and practicing is the only way to keep growing as a singer and gather the confidence you need to make those same seemingly risky decisions in a high pressure situation. Because heck, when push comes to shove if you’re nervous and attempt a vocal maneuver you haven’t hashed out in a practice room - it is VERY likely that will end in a bottle of wine and a pint of Ben and Jerry’s at home in your apartment. (Or a miraculous feat of nature you never expected and can’t figure out how to repeat!) 

So now - off to your cars, your showers and your practice room to find our what amazing new things you can do with your voice so you can blow their socks off when we're back out there singing uncomfortably loud very close to peoples faces. 

You after your amazing audition.