A successful opera singer goes through years of specific voice training, over ten years of every day voice practice and invests over 10,000 to 15,000 hours just as preparation to qualify for the bigger stage. The lucky ones who make it to the performing club are few.
Soprano Sophie Bevan, who was crowned young singer of the year at the 2013 International Opera Awards at the age of 29 says: “We spend long years cultivating a way of singing whereby we use our natural resonances to project our voices to thousands of people in an opera house.”
Top pop singer Celine Dion (described by many to have a ‘harmony’ voice) still takes lessons from a coach, according to one report.
We have a similar example closer home in our film music industry. Voice quality is about the only thing that will get one an entry into cinema and keep him or her there.
The pristine voice qualities of legends Lata Mangeshkar, Mohammad Rafi, P. Susheela and Yesudas are unforgettable examples of our time — their voices may be unique, but the standards that earned them enduring appeal are the same.
In Hindustani music, much of the practice revolves round developing an appealing voice timbre.
Focus on riyaz
Les sons and practice focus on voice culture, range, texture, throw, breath control, modulation and nuances, flexibility, tonal purity, pitch alignment, minimum nasal effect, optimum mix of head and chest voice and various aesthetic aspects. Their large canvas of raga elaborations provides for (and demands) such training and attainment of perfection.
It is interesting to draw parallel with the current situation in Carnatic music. Over time, the absolute voice quality has widened to allow room for deviations in many aspects. Voice is mistakenly assumed as god’s gift and not a result of careful grooming. A well-developed voice is not mandatory for a performer today. That outcome may or may not be good for the music. Notwithstanding a few outstanding voices, the rigours of maintaining a good ‘performance fit’ voice have got diluted and currently there are no standards.
Youngsters, who start to make an impact do not always focus on getting their voice right. This is a pity. What could be the reason(s)? Too many concerts (Hindustani musicians perform once or twice a month)? Lack of voice maturity? No effort to truly reflect on one’s voice quality? Unwillingness to accept coaching advice (or criticism)? Absence of focussed training? Audience that has got conditioned to ignoring voice infirmities? Improper pitching? Success in performance circuit independent of voice standards? Perhaps a bit of all of these.
The Hindustani student understands the arduous path to performing status and only genuine seekers take the plunge. That can’t be said of the Carnatic education system. Bring back the primacy of voice quality into Carnatic music stage. Don’t compromise. That’s my wish. Should be everyone else’s too, especially of teachers.
