Raziela:  I don't think anyone can give you that advice, because body language and facial expression must be YOUR OWN, and come from your own feelings about the music and your ensemble.

 

The problems you describe must be dealt with in rehearsal.  And of course in your concert warmups and pre-concert talk.  Once you are on stage it's too late.  And I really hate to imagine Tom Carter's reaction to your thought of "disciplining" a choir on stage.  Nothing I can think of would be more destructive to the music.  But I have known conductors (years ago, at least) who were complete dictators and who used fear of consequences to keep their singers in line, something I neither could nor would ever do.

 

Robert Shaw could express more with a single glance than most people with a temper tantrum, but you always knew it was about the music and nothing else.

 

All the best,

John

 

 

 Hello, Raziela.

 

 Here are a few things that I do with my choirs that certainly help them feel comfortable on stage.  As John said, you ultimately have to do things your own way, and your singers have to be really clear on what is expected of them on stage before performance day.

 

1.  I make sure they are comfortable with and confident about singing the repertoire.  We memorize everything (we do jazz, pop, Latin & contemporary stuff, which lends itself to that approach).  Bottom line: they've got to know the music!

 

2. I try to recreate the stage presentation at rehearsal, usually at least 4 to 6 weeks ahead - sometimes sooner if we've got some special choreography or staging.  This means knowing how big the space is, deciding where people will stand, using the risers (not always possible if you don't have your own, but at least pretend they are there!)  Then there are no surprises once we're actually on stage.

 

3.  If I am conducting, they know they need to look at ME - not the audience - even if it's a show tune.  They should understand that the audience then is watching us have the experience of singing a song together, and there is an exchange between the choir and myself.  There may be exceptions to this rule, but they would be orchestrated ahead of time.

 

4.  I know that if they are watching me they will reflect what I am giving to them, so if I am relaxed, breathe with them, support them, and guide them through the emotions and musical intricacies of each piece, they should give me back the same feeling.

 

5.  They know our job is to tell the story of the song - this should put the right expression on their face if they mean it!  And I try to have that expression on my face, too.

 

6.  They know how they will get on and off stage, and we practice that.

 

7.  We rehearse our bow.

 

I'm sure there is more, but these popped into my mind first.  Hope you find these few thoughts helpful.

 

Sincerely,

Paula Roberts

Edmonton, AB

 

 

 Hello, again.

 

To answer your question, John, for me, mouthing all of the words distracts me from listening, although sometimes on an expressive phrase I may mouth a few if I am moved to do so!  I am not opposed, however, to helping my groups remember the words in places where there is a good chance that at least some of them will get them wrong, and have been doing so in rehearsal. In these cases, I usually mouth a key word in advance of the phrase rather than mouthing the words along with them.  There have even been times when I've held up a little sign with the correct word on it!  They kept blowing one word that was really bugging me, so my sign really got their attention.  It worked like a charm!  I try to encourage my singers to get rid of the music as soon as possible so that they get in enough practice in singing from memory.  Too early, however, and we run the risk of people singing the right words, but making up their own harmony - but at least they're listening!  I recently did make one exception to my practice of not mouthing all the words and that was for our performance of "I Sing, You Sing" by Anders Edenroth.  It is an extremely clever piece that for most of the tune has no single voice singing an entire phrase.  Each part has only one of word in most sentences (you really have to hear it to get what I mean.  It is performed by the Real Group, if you haven't heard it. I think it's on youtube.)  I ended up almost doing more with my mouth than with my hands because when I said each word it was like conducting each entrance and helped me to feel and demonstrate the phrases better.  So, my policy on just about anything like this is, "Never say never!"  But in general, I do think the conductor is of more benefit to the group when he or she is free to shape phrases, help with entrances & cutoffs, etc, rather than be relied upon for the words.

 

Paula