You’re a vocal coach collaborating with a choreographer. How can you ensure your stage performance is a hit?

Good vocal technique and dance technique are kindred spirits. One need not cancel the other out. However, a choreographer should be cognizant of putting a performer in an awkward position that is not advantageous to producing their voice. Given that, great collaborations with music directors/vocal coaches and choreographers are best when all are on the same page with the music and story. Great composers and lyricists are usually on point with the drama and movement of a song or number. A good choreographer will tap into this innate rhythm and desire to move. The truly great ones like Agnes DeMille or Jerome Robbins broke new ground on how characters expressed those moments. Give and take is essential.

Good vocal technique and dance technique ensure that the stage directions can be realised. Artists want to express themselves and convey their own style - this is also only possible to a limited extent without technology. And, of course, a show is not a one-man show, but a performance by the entire ensemble. Good, clear communication and people management skills are a good basis for a professional result.

Sometimes vocal coaches and choreographers might need to teach each other. For example, in our show choir music, most verses and choruses are 8 bars or 16 bars long. But our choreographer had prepared the dance in 10 or 12 (or other random number) measure segments, so the dance steps didn’t align well with the music. The vocal coach needed to communicate and even teach the choreographer about how the songs were structured.

To adhere to the choreography without losing ones personal flair and personality. It is a fine balance between teamwork and ones personal style. The audience is wanting a balance between visual and vocal performance. It is important to not overthink expectation. The performance also needs to remain genuine and create a relationship between the performer and the audience. Staying in shape does help and vocal exercises and keeping hydrated. Warm up the voice, before a show. My vocal coach hammered that into my gray matter. The message should align with the songs. The mood should also reflect the songs and what the music projects. The style of the show is where you can become creative.

Tiene que haber un tiempo de ensayo con el talento y después mostrar resultados al coreografía para que ensamble los resultados

Good vocal coaches and choreographers are open to insights from each other. The vocal coach can discuss the current technical facility/capacity of each singer in the production - while choreographers can talk about their goals for the show, including pacing, intricacy of steps during each song, and so forth. A great vocal coach will incorporate movement into musical coachings, thereby helping condition each singer to the pace of the movements and dance steps they need to master once they work with the choreographer. Likewise, a great choreographer will help ensure that both vocal quality and choreography work together so that neither part suffers during the production.

Comenzar por lo mas complejo o difícil y que tome más tiempo, para después soltarlo y después ver las partes más sencillas para ir fluyendo en el montaje

I don't always organize my rehearsals the same: it depends on the artistry demand of the work itself. Here are some tips: 1) don't always start at the beginning. 2) demand personal work from the artists outside the rehearsal. Although it's nice to work with someone who keeps you informed, as long as it works with the vocal/musical demands all the visuals it's the choreographer's ground.

Vocalización grupal e interpretación de solos , después revisar escenas donde interactúan juntos Pueden llegar antes del ensayo y preparar materiales individuales o quedarse al final

Individualization cannot be overstated. Each performer needs a tailored instruction, based on their strengths, weaknesses and preferences. offer varied warm-ups, exercises and feedback as and when needed. Celebrate their successes and support them through challenges.

El coreógrafo tiene libertad con los intérpretes de mostrar materiales a partir de la improvisación, Llegar a acuerdos que sean repetibles para que el interprete reconozca el camino por donde llegó a ese resultado

Each performer has his / her style. By giving the performer their existing script and seeing if the words connect to their part of the world how would they use it in their daily passages. Then work on repeating the lines adding meaning and personal journey makes it powerful and natural.

In my experience, it's imperative to move actively during vocal coaching. If the choreography is brisk and complex, then the vocal coach should know what is expected and help each singer condition him/herself at every opportunity. Right from the start of coachings, it's important to incorporate energized breath work so that vocal technique never suffers. At the same time, communicate well and often with the choreographer to help manage expectations on both sides. I once had a director emphasize that singers should be "hot to the touch" before they ever step onstage, not only so they are in the best condition to sing and dance well, but also so that they immediately come alive and transmit that critical energy to their audience.

In my experience working in theater with actors or dancers, there is often new approaches to tap into. It would be great to observe what the choreographer had been using to warm up dancers/actors. Often times there is not enough time to effectively engage in vocal exercises. I would introduce them to their voices by doing certain warm ups coupled with brain integration movements adding a little vocal improv. As we move towards successful integration with greater vocal expression and freedom, I would guide the dancers/actors through some pharyngeal sounds in a playful childlike format.

It's important to keep in mind different approaches to improvisation: some artists can do it intuitively in the moment, some need more work. Even spontaneous improvisations need to be perfected and interiorized. This is true to both dance and voice.

Cada ensayo debe tener un avance claro, Los intérpretes deben ayudar Incluso tomar foto y video con vestuario para ir haciendo publicidad

Also, to keep motivation high it might be good to consider ideas and perspectives from the people in the group. Sometimes our own perspectives are limited.

Feedback is the avenue for improved packages. Always ensure evaluation and feedback are integrated into project itinerary. Accept criticisms and be constructive in your critiques.

A good performance is extremely subjective and depends on a lot of factors. However, if the focus is on the voice, you must pay attention to your modulation and manage your pauses well.

Always be grateful for everyone's effort, every rehearsal and show! Stay humble... but at the same time be mindful of your own work!

I would recommend another evaluation more towards the beginning (for instance step 2). To understand what the people in the group already know and what their respective strengths and weaknesses are could be helpful.

I think it's important in this process to start by laying out your expectations for practice, both monitored by yourself and individual practice at home by the artist. The dinner can't just be successful flying by the seat of their pants. There's an established method for learning, memorizing and polishing the music they want to perform. Following that formula takes away much of the stress that is inherently part of this activity and ensures a better performance and experience for the musician