I'm going to be reacting to and analyzing Sierra Boggess and ramin karimloo singing Phantom of the Opera

In sleep he sang to me

in dremas he came

that voice which calls to me

and speaks my name

Nice so she's singing a song that's generally done fairly classically

But she's letting it move down into her chest voice

That you can still sound like the classical singer if it moves into your chest voice

especially when you're doing

Classical ish musical theater type stuff

and do i dream again

for now i find

She's lightens up like crazy at the top

the phantom of the opera is there

How she pronounced that phantom (fon - tum) the Phantom of the Opera that's one way to make things sound a little bit more classical

so if she went the phantom of the opera

That's not as classical sounding traditionally as the Phantom of the Opera it it almost sounds more pretentious

But that's kind of what they look for

inside my mind

sing once again with me

jeez so much pain to his voice

our strange duet

my power over you

grows stronger yet

and though you turn from me to glance behind

the phantom of the opera is there

So now we can contrast how he said it compared to how she did when he said it he went the

Phantom of the Opera the resulting sound was a little bit more straight tone

It had some whine to it a lot of ping

He has a lot of vocal cord closure in this it's not a super light sound. It's very forward

It's together. He's not wasting very much air at all. And the vowel is helping him get that kind of ping

It's it's almost creating a Bell type shape with his mouth rather than just ah

It sounds more like a horn when he does it like this

To be honest, though

I actually kind of like how he's doing it and I think that the classical world is moving towards that

where they aren't afraid of

Having a little more presence in their sound and a little bit more ring. The classical world isn't all about backspace anymore

Those who have seen your face

So this is softer than the last time he was singing

It's not like coming in really really hard, but it still has the same amount of vocal cord closure

Which results in the same sort of tone?

It's not like this part when he goes to a softer volume ends up being completely out of the piece

it sounds like it's consistent with the rest of the piece because he's keeping his vocal cords together at the same amount and resisting the

same amount of air

My

That sound as a traditionally

Classical soprano sound it's a very round vowel

it's fairly open because at this point in their range, they're just tracking a

Fundamental harmonic, they're not trying to do a higher overtone. It's just fundamentals and

Finding that round very open sound is good for that. It's the same reason that people pull chest voice up

It's just tracking it at a different point

So it's interesting to see her go to this place this very round classical place. Where through the rest of the song

it's been classical and

Round but it still has had a little bit more vocal cord closure a little bit more

Hang on when she goes to this voice. It sounds almost like a separate voice up at the top of her range

The effect is just a very traditionally sounding classical sound

Actually as she keeps going I she has court closure through that she's not just leaking a ton of there

I think that she could connect that back down to her chest voice. She's not giving a ton of cord closure

It's a very small thin sound but it's definitely together

she spent a a lot of time stand up there

It's a lot of time spent up there and usually if you spend that much time on a high note

You'll start getting tired. The reason that she's not is she's not increasing the volume every time that she comes in

She just found oh, here's a volume that works

I'm gonna start there and keep it like that through the whole phrase and then when I come back in on the next one

I'll onset right to that volume rather than

increasing every time because if she started doing that she'd reach her limit really quickly and when you're up at about that see

That limit comes very quickly

About the HEPA thing

See how big her mouth is at that point. It still is actually a pretty thin and connected sound

It doesn't sound breathy at the top. It sounds controlled

Her mouth has to be super super wide in order to track that

Harmonic as it goes up because at a certain point there's only a few ways that you can keep

Changing the acoustic space so that it tracks that harmonic and one of them is just opening your mouth wide

so she starts by opening it down and then when she gets to that point where

Like it can't go down anymore and be comfortable. That's when it starts opening wider, but it's not like she starts. Hey

Going up to it. She starts here. Ah

And then only gets to that place at the very very top. Thank you for watching

Please like and subscribe share with your friends

If you think that they like this video go check out my website

vocal e's net if you're interested in signing up for voice lessons and

Leave a comment below of anything that you'd like me to react to in the future. Thank you