
How to Sing Over an Orchestra (Without a Mic)
Episode 70 | 2m 30sVideo has Closed Captions
Renowned opera singer prepares for a performance with Nashville Opera.
Renowned for his luxurious voice, confidence, and style, Kyle Albertson debuts with Nashville Opera in the role of Sheriff Jack Rance for Puccini's The Girl of the Golden West. But what does it take to prepare his instrument so that it soars above the orchestra and reaches his audience without the aid of microphones? Here's your chance to find out!
Problems playing video? | Closed Captioning Feedback
Problems playing video? | Closed Captioning Feedback
Arts Break is a local public television program presented by WNPT

How to Sing Over an Orchestra (Without a Mic)
Episode 70 | 2m 30sVideo has Closed Captions
Renowned for his luxurious voice, confidence, and style, Kyle Albertson debuts with Nashville Opera in the role of Sheriff Jack Rance for Puccini's The Girl of the Golden West. But what does it take to prepare his instrument so that it soars above the orchestra and reaches his audience without the aid of microphones? Here's your chance to find out!
Problems playing video? | Closed Captioning Feedback
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Providing Support for PBS.org
Learn Moreabout PBS online sponsorship- Practice and preparation allows you to perform.
Without practice and preparation, there is no performance There's no winging it.
Practice and preparation is all the hard work you put in before the performance.
My name is Kyle Albertson.
I'm an opera singer.
I'm here at Nashville Opera singing Jack Rance in Fanciulla del West.
Preparing for a performance takes months to get to this point, and it's about putting into play what we've already rehearsed, what we've already practiced.
Thank you, much.
Thank you.
When we get to day of the show, it's much like an athlete getting ready for a big game.
It's a lot of stretching.
We do put our voices through a lot of stretching to warm ourselves up so that when we get on stage, we're at our peak.
Ah... What I like to do when I'm warming up, starting to stretch, for lack of a better term, simple sighs that I do with my voice, just to check in to make sure they're fine.
Hmm, hmm.
Once I realize that that's all in line, that there's nothing blocking or stuck in my cords, then I start to rev up the machine, as I call it, make sure that it's all in line, resonant and will carry over the orchestra and out into the house without the need of microphones.
I find the most challenging and the most interesting part of this business is taking the different composers and the words that they, they put on the page, and creating a character, a 3D character that I can put on stage and the audience can relate to and understand without even knowing what I'm saying.
In Italian.
I love at the end of a show when I come out on stage where I can find out if I did a good job or not.
Whether they appreciate my work, and to hear those applause and hear the appreciation they give me as a person and a performer, it's what sustains me going on in the business.
It's about them.
It's about the audience, them having the opportunity to have an experience that changes them or entertains them.
So I'm just happy to be on stage and I love it when they tell me that I've done a good job.
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