You are not alone

I consider myself handy with digital stuff and computers, and apps, but there are just some things that I have no energy or brain capacity left to go into (like TikTok or going live on either Instagram or Facebook, and for the record to this day I still don't really get Twitter). I think I'll stick to blogging for now. I do have some social media accounts, enculding Instagram and recently I came across a few singers there with whom we share a similar story from our studies at the Conservatory. The scary thing about it, that all three of us live in different countries, and we experienced almost exactly the same bad treatment from teachers and exam committees, so it seems this wasn't a local problem, rather it is very much global.

I guess it all started with the #MeToo movement when it took its first flight and a whole discussion began about sexual abuse and exploitation, and people started to share their stories, it has started a bigger chain-reaction than anyone would have ever expected. Soon after that we started to talk about abuse in general as well: emotionally abusive behaviour, narcissistic tendencies, and all those heavy sh*t from the deepest pitches of Hell that were considered as a taboo for centuries long. It is a good thing, bad behaviour needs to be pointed and called out, we should also raise awareness to how to recognize the red flags and deal with toxic behaviour and/or people.

After hearing the stories of these lovely singers (young women, actually) on Instagram, seeing them going through the exact same hell I went through roughly 7 years ago and the ugly path of healing (that's also the date of posting my ever first entry on here), revealing and re-living traumatizing events, I felt a certain urge from deep within to offer them support, to tell them they are not alone and they are going in the right direction, that there will come a day when all the anxiety, pain, sadness, confusion and shame will be gone and they will come out of it as a stronger person. They will get to a happy place, and will be able to enjoy singing again, even if now at this very moment they think or ever thought about quitting the music industry altogether.

How on Earth is it possible that music education became a toxic environment for young musicians? It looks very much alike of those abuse-circles: the teachers of our teachers has been traumatized, so therefore they are traumatizing their pupils, and the circle goes on and on. It is important to note, that not all music teachers are toxic or emotionally abusive, just like not all people are. However there are certain type of relationships and people that can become toxic and/or abusive. We are all people after all, nobody can bear the burden of being on a pedestal all the time. Also there are musicians whom are just not fit to become a nurturing and good teacher for their students - it is true, that you can learn from their example nevertheless: the things you shouldn't do when it comes to teaching. More importantly: it has to click between student and teacher. Just like in any other relationship you need to speak the same musical language, share similar principles and have clear boundaries.

Of course, when you're young, there's a huge chance you don't have any clear boundaries set, or at least even if you have some, there's a huge chance it gets blurred in the course of time from both sides: your teacher and the school system itself is blurring the lines get you accustomed to their ways and you are blurring them too, because you respect your mentors, teachers and the school you're attending - after all, they are the ones that will give you your diploma in the end. The only problem with blurring the lines is that nobody in the relationship will see clearly, which makes the whole situation worse and worse. Both sides get impatient with eachother, and after a while there are constant arguments and conflicts. The sad thing about the whole thing is that most of the time teachers are not aware of their hurtful behaviour and/or acting out of spite, impatience or because they are simply triggered by their any other unprocessed trauma. Don't forget, they are human, just like you, and can be just as clueless as anyone can be. This of course is not an excuse for any hurtful or abusive behaviour. Whatever situation you'll ever get in, know that you deserve to be treated as a human being - no less, no more. Knowing that they are human helps you to forgive them and let go of your anger, guilt, shame and pain. Once you could forgive them, you can start building a new life based on healthy boundaries and habits, and look forward to the rest of your amazing life.

Fortunately, therapy and mental health support becomes more and more available to everyone around the globe, and the newer generation of musicians are actually not that ashamed to ask for help anymore (in general, nowadays people are more eager to go to therapy when needed than 20 years ago and it is a good thing). And truly, therapy, if you can commit yourself to it, is a wonderful thing and highly recommended to everyone. A good therapist will guide you through your little hell, ask you the right questions at the right time (very important!).

There are three Winston Churchill quotes that had inspired me on my journey to heal, and those are:

"In War: Resolution.

In Defeat: Defiance.

In Victory: Magnanimity.

In Peace: Good Will."

"If you're going through hell, keep going!"

"You will never reach your destination if you stop and throw stones at every dog that barks."

These wonderful quotes show you how you should treat people, how to handle difficult or even hellish situations, and that if you want to reach your goal, you simply cannot allow yourself the luxury of paying attention to literally everything on the way.

And finally: believe me, all that you feel right now, all those bad things, that anger, pain, confusion, guilt and shame, they will all pass. They are never here to stay, only if you hold onto them. Everything you feel right now is normal and very much real, so you have every right to feel bad and down right now - just don't stay there, please! You've just been through something that shocked you, maybe it was even tragic, or it broke your heart into a million pieces, but you survived. It is entirely up to you and only you where you're going from here. The future might be obscure, storm clouds may hide the sunshine from you, but one day the clouds will roll away, and always remember: the sun always shines behind the clouds. That is that we are thriving for. We are thriving for that life-giving and warm sunshine.

In paradisum...

Today I sang at a funeral service. This was the first funeral I had to sing since the COVID-19 outbreak. As a singer this is what I can count on for a few months, I think: funerals, Requiem, In paradisum... Somehow I was hoping for studying Ave Maria by Franz Schubert for a weddig of a friend or something, but not for a funeral.

Now I am grateful for choosing for becoming a hybrid, so the virus-crisis didn't take away all my income. Becoming independent from the music industry proves itself (again and again) as the best decision I've ever made. Having a part-time flexible job in the healthcare sector is not only rewarding and giving financial certainity, but indirectly it is making me a better singer, a better performer. I feel I have better contact with my audience and more social sensitivity when it comes to compiling programmes.

While as a singer my routine has drastically changed, at the same time as a help at home for elderly and sick people in the healthcare sector my daily routine hasn't changed much, so my life is more or less the same as before the announced self-quarantine and "work from home" policies. I cannot work from home, sorry - and not sorry. I would like to help wherever I can as long as I am on my feet and breathing. The buses, public places are deserted, sometimes I have an entire bus for my own. I'm adjusting my tasks at my clients and I wash my hands as often as I can - I work with strict hygenic rules anyway and I am careful, but now I'm taking this to another level, so I can keep on helping as long as I can.

And I sing for them. You heard me right, I sing for them - with vacuum-cleaner accompaniment. I do this all the time, but now I try to sing the songs that make me happy and calm, but also my clients - some Purcell here, some Monteverdi there... Or just try to find more and more ways to ornament the melody of Amazing grace. 
Above all I do my best to keep my calm, to remain strong and solid like a rock. That's what govenrments and the media and so many people do wrong nowadays: instead of raising awareness they are generating panic and talking about an invisible enemy. There's no enemy here, nor it is invisible. Your invisible enemy is you in your own head, your fears and demons. It is impossible to do groceries these days and follow the guidelines at the same time. Everybody is buying toilet paper, flour, hand soap, etc., but they don't buy probiotics, immune-boosters, veggies, etc.

Weird times, very weird times...

Stay at home! - they say. And you know what? It's not a bad thing to stay at home for a change. Pandemic or not, staying at home is a great thing! You can get around to read the books you always wanted to read, be productive in your own time, do stuff around the house that always should have been done. Worried about not being able to socialize? We're living in the digital era, almost everyone has a tablet or a smartphone with cameras, and an internet connection - make appointments with eachother for video calls! I know, it's not the same as getting together in the same room, but you know what? This weekend I'm going to teach a friend to cook real Hungarian "gulyás soup", and we'll cook together! Yesterday I gave a really nice singing lesson to one of my pupils, and today (after the funeral and after eating lunch) I was working on Hungarian pronounciation with my Estonian friend, Liis, who sings in Bartók Rózsái Énekegyüttes - and all these online! You can get a lot done! The world slowed down, you just have to enjoy that you can finally comprehend life as it is in real time. As for me, I experience this slow pace daily life as a blessing.
Imagine, you have an old unsolved argument with someone: now is the time to contact them and begin to figure things out, how you two could forgive eachother for good this time. Now you have the distance, you have the time to have a decent and adult conversation with eachother
It can be hellish, but you can create your paradise too, so why would you make yourself miserable and complain about not being able to go out(side)? By the way, you can still take a walk in the nature and if you have a balcony you can still sit there - that's still allowed. You can also choose to make life a living hell for the endangered group of people, by not following the guidelines, or you can plant the seed of paradise for others by following them.

And then my thoughts go back to the Requiem mass I was singing today at the funeral, and that last antiphone seems suddenly hopeful and promising a brighter future. I really do hope that withdrawing ourselves from social gatherings and being pushed to spend some time alone will teach us to appreciate and respect eachother more. That's the kind of future I imagined for myself on this Saturday afternoon, and that's the paradise I'm longing for, but until then...

In paradisum...

#IndependentWoman

Recently I was facing certain questions about myself and you know, you'd think that by the time you turn 33 years-old you already have your personality completely figured out. And I think I know pretty much who I am and I am proud of the woman I've become. I am grateful for everything I had in my life, and I am satisfied with my career as it is.

I get asked many times if I wouldn't want to have more work in the music and then I think about the 3 ensembles I manage, the 2 choirs I am conducting and another ensemble I am coaching, the churches I am doing musical duties at, and there's this foundation (Stichting Zin in Zingen) I am working with, and the projects I am doing as a guest singer occasionally and so on, and there's teaching and then I am like: Work even more? Isn't this just enough? Yeah, of course, it would be great to become rich and doing that CD recording I've been being asked in the summer whether I have one or not, but next to a part-time job and the diverse musical activities I have and my own vocal- and personal development I have hardly time for posting new entries on this blog, not to mention the fact that when I mention to my Friday date all the things I listed above just now, I get two different reactions. The first reaction is that they ask me if I'd have any room at all for a relationship being so busy, and they already assuming I don't, without me actually giving an answer to this question. The second reaction is that they don't ask this question, just assume that I'd probably don't have time for a relationship so I'd obviously wouldn't mind being treated as a hook-up material or just simply back off - what flattering options to have, isn't it? Anyway, I get assumptions and they make decisions for me without even being asked whether I'm fine with their conclusion or not (let me tell you, no woman would be satisfied or happy with a man making decisions for them - I know, this might be shocking for many! - insert sarcastic joke here). Well, for these gentlemen, whose head are full of their assumptions about me and my intentions, I have no room, no emotional energy and definately no time at all (unless they come out of their head and stop reading between my lines 😉)
So work more? I don't know, maybe. But surely not wasting time for delusional men.

The best was when I was accused of not being a feminist. Well, this made me think a little. I have always considered myself as an "equalist" when it comes to gender rights and gender gap. When I say "equalist", I mean I believe that men and women deserve to be treated as equal, since both of them belong to the human race. There shouldn't be any discrimination based on biological differences. I don't like to call myself a feminist, because then I would be considered as a feminazi as well, who hate men, and as a matter of fact I don't hate men. I love them! I love everything about them! They make great friends and some of them can be excellent lovers (I guess) and very few of them could make exceptionally good partners (the kind I am looking for, actually). In the old fashioned way, I am a true feminist, I act like one. I take pride in the fact that I pay for my monthly expenses, my rent, food on my own, and really I am the Independent Woman from the Destiny's Child song. I am super excited about the 8-week long boxing training I'm about to begin in the end of this month. I am proud of the fact that I can make it on my own without the financial support of some boyfriend or husband or anyone, actually. It's not that I wouldn't need or wouldn't want to have a relationship...

Or well, you know what?

I don't want a relationship. I want partnership. I am an equalist. I want someone with whom we treat eachother like equals. If I don't have that, I prefer to be single, because I am happy the way I am and I don't need a relationship to justify my existence or to give me the flattering status of someone's girlfriend or wife. Again, I'm not against of becoming someone's girlfriend or wife, but not in a relationship that's only relative, I want to be equal with my man. I want to build a castle with him - figuratively. Accepting eachother as we are with all our scars and flaws, laugh together, inspire, forgive and understand eachother. That's what I want...


But well, back to the singing part and music and work and such.
People usually ask me if I've ever thought about singing in a professional choir. And really, I did. I gave it a thought and decided not to do it, not only because I am terrible with auditions. I don't even hold auditions with Bartók Rózsái Együttes for the vacant places, because I don't believe in the efficiency of an audition to filter out candidates for a possible long-term cooperation.
I knew it quite soon back at the Conservatory that I don't want to do the same things fellow-singers did: going to auditions, sometimes just for the sake of doing it and not particularly to get the gig - seriously, I will never understand this madness. Once I asked a friend what is it like to go to these auditions and she told me it's like doing a singing exam at school. I was like: Eh? What's the point of that?? I think it's really rude from the professional world to keep freshly graduated singers in the student state this way. I hated singing exams! There's no way in hell I'd want to go back there! No wonder I've always been bad at auditions...
Don't get me wrong, if you like them, knock yourself out, but I'm not joining this vicious circle of sending me back to exam situations. By the way, this might be also the infected wound which the classical music world actually suffers from - but it's really just a thought.

I will never settle for something less than my goal. Not in my professional life and surely not in my private life.

So here you go:

• I am a feminist, but not a feminazi.
• I am traditional in some cases, but very radical when it comes to (social) causes I am passionate about.
• I am old fashioned, but I don't mind taking the first step.
• I love to experiment with literally anything with the right people in the right circumstances - and not only because my whole self as an early musician and performing artist revolves around experiment and new sensations all the freakin' time
• I believe and trust in God, but I'm not a religious fanatic (like those crazy people from Margaret Atwood's Gilead - a huge shout out to The Handmaid's Tale and The Testaments which is an astonishing deduction to what would happen if religious fanatics would take over in the politics)

I could go on with this list forever. Nothing in life is ever black and white.

Old habits and traditions

Today we're contemplating on old habits and traditions...

As some of you might know, next to being a singer specialized in early music I am also a choir conductor. Rather a semi-professional conductor, because I only have done a side study next to singing at the conservatory. Before I came to the Netherlands to study singing I was enrolled at the Baptista Teológiai Akadémia in Budapest (Academy of Baptist Theology) and I was a student at the church music department with the main subject choir conducting (my teacher was Gábor Oláh at that time). Before that I studied choir conducting at the Baptist Summer Course (Baptista Egyházzenei Tanfolyam) in Újpest for six or seven years, so from the age of 16 or 17 years-old I am standing in front of choirs - mostly church choirs. Also church music is the genre I feel myself at home the most. I grew up in church environments, religion and church was a part of my weekly routine (and lo! And behold! I still turned out pretty normal).

Ever since I am working with choirs and especially church choirs I come across the following sentence more and more often: "But we have always sung it this way". Whenever I hear this sentence I get a weird itch in my palms and only my respect for others stops me from bitch slapping the person who dared to state such nonsense.
First of all, as a conductor in charge I don't give a damn about previous conductors' musical interpretation and anyone expecting me to be that previous conductor is actually an expectation I will never ever fulfill. It's not that i don't care about their work, I do care and cherish their work! But they are not me and I am not them. The artistic tools, musicality and personality is not the same, so why would you stay in the past with someone who has already left for another opportunity?

Now, it's of course never about any of this expectation, but it's being used to camouflage the laziness and the fear of change.

The moment a sentence like this leaves your lips beware of the fact that your development has stopped a long ago and you don't want to grow further. In case of (church) choirs it's a sign of becoming old and an early sign of the death of the choir. Thoughts that refer to old ways and habits (whether it's a choir's or of an individual) and being comfortable with them is very dangerous.

Now, tradition might sound like a pile of old habits connected to eachother, but it's not. Tradition is a repeated activity or event that has a purpose. A purpose that's more than serving people's comfort. It makes you remember who you are, what your community has gone through, a heroic deed in respect of the hero or heroes. Or anything like this. Not all commemorations make you feel comfortable, not all of them are nice, but it's a beautiful thing to have - traditions remind you to your roots and makes you look back the road you have behind your back.
From the moment a tradition's purpose is lost or gets forgotten it becomes a habit, an empty shell, an abomination.

Old habits on the contrary have no higher purpose. If you refuse change for the fake safety old habits can offer you, at a certain point you'll loose the joy you used to feel. Kodak refused to go digital, now they are almost nowhere to be found. Blockbuster didn't take seriously the importance of online streaming and now they are gone and Netflix took over. What's the same in Kodak and Blockbuster? They refused change. They ignored the change of circumstances. They got stuck in the "We've always done it this way" and that was their doom.

Notice an old habit that has no purpose anymore? Change! Have you heard yourself recently saying that dreadful sentence "I always do it this way"? Change it! Could you take another route to your work? Take another one every once in a while on the way back home. Have you caught yourself playing or singing the same piece the same way all over again? Change the phrasing, the tempo the dynamics, anything.

Look at life and things around you like you have never seen them before! Your own experience is the greatest obstacle in your professional and personal development. Remember, it's never late to change your old habits.

I know, I quoted him many times (especially this one), but remember what Mark Twain said:
"Twenty years from now you will be more disappointed by the things that you didn't do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover. ”

Sail away from the safe harbour of your habits, even if they give you comfort and safety. Leave the conform-zone every once in a while. Challange yourself with new ways of doing your daily activities. The change doesn't have to be grand, do it little by little, step by step. Surprise yourself with spontaneous turns and moves, try out new things.

I would like to close today's thoughts with a Russian proverb: "The shark that doesn't swim drowns."

Listen! (Part 1)

I would like to dedicate a few entries to the ears. Ever since I've been busy with digging myself into Lajos Szamosi's Path to Free Singing, I am more and more interested in this curious body part, the ears and especially the process of listening. As a musician and as a singer of course you listen differently and you listen more carefully than anyone else. Before I've got to know the Szamosi Approach I was convinced that there are people who have ears for music and there are those who just simply don't have any musical hearing. There is a difference, of course, but there is nothing to do with the body part itself, it has rather a lot to do with how we use our ears, and what we are used to. Moreover, the ability of listening and our ears can be trained, although you have to be aware that the thin line that seperates professionals from amateurs, in the aspect of listening(!!), is actually very much based on your sensbility, if you dare to feel. We are not the same, not in body and certainly not in personality, and each of us have our own farthest limitations, but whether someone becomes a professional musician and/or singer or not, in the end the success will always depend on one's sensibility, sensitivity and body awareness (this last one can be learned and/or natural).

There are different perspectives of listening, and I would never confuse listening with hearing. Hearing is a passive, while listening is active and supposes that the one who listens also pays attention - hearing not necessarily comes with attention paid. 

I think almost all of us know this quote from The Little Prince by Antoine de Saint-Exupery (see above), but I'm pretty sure there are just the few among us who actually able to see with their hearts. Actually most of us doesn't even know or can tell how you can see with your heart. Of course, everyone has their interpretation on it, so let me give you mine.

In my opinion, listening is acceptance. It requires an open mind, an open attitude. If someone is truly listening to the other, their heart is open, just as their mind and accepting all the information (emotional, practical, theoretical, etc) that's been said. If listening is acceptance, than it also brings you to let go of the will to control the current situation, and that can be pretty scary. Most of the self-protecting stances begin with cutting the channels to truly listen and the flow of information coming to us. 

Listening is not only essential for musicians and singers, it is very important to every human being. Relationships (any kind of a relationships) are going wrong whenever people stop listening to eachother. You stop listening, because in the process somewhere you got hurt and in order to avoid more wounds and pain, you close yourself - for the sake of survival, purely by instict. And this is where your insticts can bring you to make a wrong decision and instead of releasing the tension, more tension is created. Such a pity. I'm not saying you have to accept everything you listen to. Eventually you'll make a selection (based on different factors) and you'll keep only the most useful information.

When you are seeing with your heart, you listen. You accept what you hear and you pay attention. Without listening, you can only see the surface and that surface is already within the reach of the Eyes. 

As for me, I'm not interested in the surface, I would like to see and feel the depths, the real beauty of existence. The surface will never satisfy me...

Spending some precious time with the audience...

I have to start by telling you, before this sentence hits bigger than it should, that it is so interesting how musicians have become elitist snobs (not everyone, but 95% of them) in the last decades. I have two conservatory diploma's, but I am sick and tired of the traditional way of performing music (nicely dressed up - preferably in black, or in a suit -; the venue doesn't really matter, any traditional musician can make a snob, elitist concert hall out of any venue). They do an excellent job, but meanwhile they are doing their best, they give a flawless performance, they forget to enjoy the whole thing (whole thing = the piece they are performing, the fact they are giving something to their audience, and all the emotions music can squeeze out of performers and listeners alike), and they also forget the fact that a flawless performance is a piece of cake for a machine as well.

Guess what? I would like to hear performing musicians make mistakes and show me they are just as much of a human beings as I am, moreover, I would like to see how they get over their mistakes. I don't care about how well you can play that piece, show me some flesh and blood, and please, please, entertain me! Make me laugh, or cry, I don't care, just make me feel alive!
Every single time I see a performer making a mistake and coming out of it, he/she becomes immediately very special to me and I will make sure I'll check out his/her performances in the future. For one single reason: for letting me see the human side of a performer. It is the madness of nowadays, that (literally) everything has to be perfect, though as far as I know only the dead are perfect, everyone else (the living) has a lot to accomplish still, right?


So... Now that this is out of our way, we can talk about spending time with your audience. I know, the paragraphs above seem nothing to do with the title of this entry, but believe me, that few paragraphs of rant will all make sense in the end.

It is funny, how we are not taught to spend time with the audience. I have met many people (singers and instrumentalists alike) who cannot say anything to the compliments and comments of their audience. We are so busy with doing our best on stage that we forget about what really matters: the people. I was also for a long-long time confused and I was at loss for words what to say when someone complimented on my performance or even shared some constructive ideas with me about it. Of course everyone comes to the final solution of saying "thank you" to these compliments and maybe a few more neutral sentences to those constructive comments. But while we are looking for this final and best solution, we really forget to spend time with our audience. Isn't listening to them after they listened to us would be at least the minimum we could do for them? Wouldn't it be the best way of figuring out how we can please their ears (and not the ears of other professional musicians)?

I used to be one of those singers who couldn't deal with her audience, and I am so happy I am not like that anymore. Also, fortunately I have been an exhibitionist person since my early childhood (showing off with my drawings, the new songs and poems I had learned, etc.), so it wasn't too difficult to reach out again to this. Now that I could (more or less) get back to this mentality, and I don't care anymore about saying something smart and artistic to my audience's words, I am able to enjoy the warm bath they are preparing for me: the compliments are the hot water, the bath oil and the bubbles, and the comments (constructive or not) are the cold water and the towel. And that's how everything stays in balance. I am happy I am finally able to enjoy their company after the concert and their happy faces make me feel satisfied - despite the mistakes I might have done.

Do you know what's good about your audience? First of all, they are cheering for you. Secondly, they forgive the mistakes you make at the concert, and they appreciate if you overcome the shock caused by this mistake. They forgive you, because you're human, just like they are. It is not bad to show your vulnerability to them - actually they love it, It is just the illusion created by music teachers that perfection and invincibility to motivate their pupils to practise enough. But if you bore them, that's something beyond recovery, I'm afraid. You can agree with me, and you can disagree, but it's true. After all, music is so much fun, so why would you keep all the fun for yourself?

Get it by your hands

"Don't beg for it, earn it! Do that and you will be rewarded."
(Eureka SeveN)

I have never been the kind of person who would be satisfied with anything that's granted. I have always found satisfaction in my achieved goals and my successfully accomplished tasks/missions when I had to really work hard for them (even if I had to perform a miracle). I would hate to be appreciated for being who I am (for my name, I mean) instead of what I do. When I told this to a dear friend of mine, he told me that it is an honorable and nice feature of one's personality, but it's also a little bit stupid. I cannot help, this is who I am, but I have to admit, I agree and disagree with him at the same time.

I agree, because it is indeed comes with more seemingly unnecessary investment (qua time, energy, money, etc.), and living on what you've already got by birth, everything that you can take for granted (thanks to your ancestors, and your name, or the position you happen to have) is much easier than to fight your way inch by inch towards your goal. But if you keep on working from the resources that you were given, you'll prevent yourself from reaching for an unimaginable success, because you cannot and you don't want to see anything else, but these resources. Of course, probably you may come up with new ideas, and manage to obtain new additional resources and connections to your current and given ones, but you'll only be able to use them until a certain limit. That's what happens also when your experience becomes a burden instead of a benefit. And anyway, who on earth like limitations in anything?

So I have to say, I firmly disagree. I am rather fond of the theory of the Greater Fool. The greater fool theory states that the price of an object is determined not by its intrinsic value, but rather by irrational beliefs and expectations of market participants. A price can be justified by a rational buyer under the belief that another party is willing to pay an even higher price. Or one may rationally have the expectation that the item can be resold to a "greater fool" later. (yes, Wikipedia is your evil friend sometimes... I wouldn't quote from Wikipedia if I wouldn't checked it carefully). The Greater Fool in my opinion is also someone who doesn't really looks for fame or the merits he may get out of anything he does. Instead of that, he leaves everything behind and leads the way through the unknown and creates new paths to follow for the ones that are coming after him. That's why he doesn't look at the price and the amount of investements he has to put into a certain project or new approach. The only thing that matters for him is that everyone who decides to follow the path he created will result something better than before. That's why he chases after his dreams (or in other words, the irrational beliefs and expectations of market participants).
The Greater Fool don't beg for success, he earns it, and get it by his hands, though sometimes he's rewarded with success.

Why is this important for a singer (or even for an instrumentalist)? Singing and working on your (vocal) development demands one to become a Greater Fool. If I would make a calculation on how much I've spent for school, singing lessons and travelling for the sake of my own education so far, I could buy a furnished house, and pay for its expenses for a few years. And on the other hand (and this is quite old argument, but still good) if I would get paid for all those hours I work on programme's, organizing concerts and projects, or just for practising, even on the minimal wage's hourly payment, I would be a millionaire. It always takes more investment in time, energy, money, etc. than it actually pays back in cash.

But just imagine: you sing a song at a concert (not even at any of those fancy concert locations, just a song after mass or anything like that), and then you see the happy faces of your audience - well, you can be sure that they will bring something nice home in their heart. Making people happy doesn't pay you in cash, and it doesn't pay off immediately, but it makes you a better person, and who knows? Maybe later on you will get an unexpectedly nice comission from someone or you'll be asked to join a project that's interesting and even pays well. NB: the other side of this coin is that you better not screw around with people, because that's also pays off, but that payment will hurt pretty bad.

Enough of complaining about you cannot do what you really would like to, and that there are no challanging projects you can join! If you really would like do something interesting, well do something interesting! Don't beg for it, earn it! Do that and you'll be rewarded.

Everything is possible (part 2)

I don't know why's that, but I am fond of paradoxons, just like this motto of mine: Everything is possible.
And now let me explain to you, what this sentence means to me: I believe that everything is possible, that I am able to sing literally anything regardless genre, style, range (obviously within the ambitus of my voice), because from an anatomic point of view, it is possible. Every fear, and limit we draw is actually between our ears, and by that I mean, that if you are open minded enough, there is no such thing as "too low" or "too high", or even "too middle" (some singers are afraid of their middle register - someone has to explain this to me what is the reason behind that).

If you think about it, singing is just muscle work and like every muscle, you can train these muscles, and if it is muscle work, you can think about singing also as a vocal work-out. The more muscle mass you have, the stronger your voice get. On the other hand, by remaining open-minded in every situation results a better access to the resonance, and also the "hidden reserves" of your instrument.

This kind of mindset also requires daring to take risks. Take the risk of failure, because if everything is possible, it is possible that it is impossible.

It is a little bit like Schrödinger's cat, which is just as alive as it is dead in that box, but you will never find out the truth unless you open the box. After all, what can you possibly loose? Will you die or will it do any harm to you if you fail at something in singing? I have never seen a singer making a mistake while making music and got hit by lightning (yes, I am exaggerating it, and I am doing it on purpose).
Of course we would like to choose for the safest and easiest solutions (except for me: there's nothing exciting and challenging about safe and easy...), because we are aftraid of getting hurt in any way, and we were taught to be careful in any circumstances (when we cross the road, ride the bike, etc.). But don't tell me, you have never enjoyed the divine mix of excitement and fear, which causes an adrenalin-rush in your body... It is just fun... So why not taking the risk and saying: everything is possible?

Interestingly enough, all those phrases that leaves a singer's lips regarding range, style and genre, those phrases are rather reflecting on their own fears. When they say - for example - "I'm a soprano, and singing below C' is too low for me", that is not showing something that this particular singer capable of, but her decision that she doesn't want to sing below C' (sad, but true, and truth can be pretty ugly sometimes). Therefore I am not really fond of putting a stamp on my forehead which shouts which voicetype I am. It is true, that I don't like to peep too high, but if I have to, I can do it, because I know my organs and muscles are able to get those high notes. Also it depends on my mood sometimes: sometimes I enjoy going all the way to my chest voice and enjoy the vibration behind my collarbone and eyes, but there are days when I am in the mood of discovering the upper limits of my voice.
This doesn't mean I don't use certain registers from time to time when I practise. I always explore my whole range, it is just how I feel about it at that very moment, and that can change from morning to afternoon.

So just like Mark Twain said: Explore. Dream. Discover. You never know what is waiting for you beyond the limits you drew for yourself. If you keep your mind open and flexible, this mindset will keep your body open and flexible.

Catering industry vs. Classical musicians

OK, not Classical Musicians... Classical Musicians and Early Musicians alike... 

I have a part-time job at a restaurant in the outskirts of Tilburg. No, I am not a perky waitress, neither helping out in the kitchen. I am on the bottom of the hierarchy: I am one of the dishwashers. Heavy physical work, but if you do it right it can bring your body some benefit (it is like a complete work out). I work here since Easter last year, and though doing the dishes doesn't match with my profession, it is good to  keep my financial basis firm and on the other hand the schedule is flexible. There's not such a high salary that would pay enough to give up such flexibility. As a musician you need this flexibility, because the amount of commissions and concerts are not frequent enough to provide you enough money to make a living. 

I am sure many of you have done this kind of job before, but comparing to other restaurants, this one is different in many ways. First of all you cannot order a meal a la carte, because they don't have a menu card. They are specialized on parties, events, catering, feasts, birthdays, weddings, receptions, etc. Three halls, a bar, and two smaller independent buildings give place to these events, and there are days when all of these are full of people and they even have more than one team going on providing catering service somewhere else. Yes, it is extreme, but I love it. It tears my body apart, because my task is not only doing the dishes, but also cleaning everything up, and put the clean stuff where they belong to (in the kitchen, or on the backroom, or wherever they have to be put). So it is not only physical job, but also requires some smart planning of logistics, fitnesse and effective quickness.

I have spent several months there until now, and I have to say that we, musicians (especially classical and early musicians) have what to learn from these people. Here's a list with some explanation to each point:

1. The customer's No.1 priority

It doesn't matter how much time and energy the chef invested in that particular dish, if it tastes awful, the customer won't pay for it. It is interesting how our audience works, and in many sense we, musicians, can be really grateful for their patience. I mean, nobody would ever let anyone to push some awful tasting food down his/her throat at a restaurant, but our public will clap no matter what we do. But no matter how much time the chef spent with that disgusting stuff, you won't eat it. Isn't this a little upside down? There's one thing in common though with restaurants with horrible food and musicians giving terrible concerts: after a short time they will loose their customers (and not only because nothing lasts forever).

2. Effective teamwork is more important than anything

During parties, dinner events and many more, waiters, waitresses, chefs and everyone in this restaurant are working in such an effective and cooperative way that the result works as a well-oiled machine and all the guests have a great time there. But when the guests are going home, this team continue to work on preparing the other day’s event, and they are helping eachother in order to finish as soon as possible. This is definitly something I am always amazed about, whenever I see it. They either learned or they behave by nature in this certain way, because they know that being an obstacle cause them nothing but trouble and misfortune (not immediate, but long-term trouble and misfortune). There is this joke about the waitress and her friend are having a conversation about a night out in town:

- Sooo... Can you make it tonight to go out in town?

- I don’t know, I have to work from 16:00 o’clock.

- And when will your shift finish?

- Finish? My shift doesn’t have an end-time...

There is no definite end-time of the shift: it finishes when the job is done.

On the level of musicians teamwork (in best cases) works until the final cadence of the concert, and then they are just looking for their own benefit. I may be wrong (I've already said that I'm not right, neither I possess the truth – nobody does actually) but musicians can be really an obstacle in eachothers development and success (more often on purpose than unintended, unfortunately). They call it competition, which is OK, if two ensembles are competing with eachother on the market, but this occurs too often among the members of an ensemble and in my point of view, that's just simply pointless and stupid. Being an obstacle in your fellow musician’s way is the same thing when a waitress’ priority is not being part of the team, but seeking her own good. Musicians and singers don’t do this because they are bad or evil people, they are doing so, because they are so busy with being an artist and with the music they are performing (especially with the interpretation they imagined behind the notes) that they are just completely clueless when it comes to behave like a human being. People (and this applies on everyone in general, this is just human nature) don’t think about long-term solutions. For some reason they are also happy with temporarly pleasures and their selfishness only brings them misery, bitterness and loneliness. They are choosing for the short-term pleasures, because long-term solutions require sacrifices, and because these sacrifices don’t pay-off immediately, and because people are impatient in general, they won’t take the risk of giving away something small for something bigger (which pays off at an unexpected and unpredictable time).
NB: Dear Singers, I have really bad news for ya... Being a singer means to take these risks and make these lesser (sometimes even seemingly bigger) sacrifices if you would like to do your thing right. Good news: it always pays off quite nicely and your reward will also stay for a life-time (if you are smart enough).

3. If the customer is happy, we are happy

This seems to be the same thing as the first one, but this actually rather points out that if you make your customer happy, it will make you (as the provider of this happines) also feel good about it. Positive feedback and positive emotions are just as important for someone who works in the catering industry as it is for you, dear performing musicians. I hear many people complaining about how they cannot make a living as a musician or as a singer (nevertheless, comparing to the Middle Ages, when musicians were the outcast of society, you can be happy about being considered as an equal human being, protected by the law as anyone else). Well, it is because you know what would make your audience happy, but you are just refusing to satisfy their needs. Of course they won’t want to listen to your mindf*cked ideas, if you don’t serve it in such way that it would get them in the mood of eating it. It’s like having sex with someone without any foreplay: a quickie can be exciting and pleasuresome from time to time, but invade your partner with only quickies and having only one-night-stands will only fuck-up your emotional life. The opposite also applies: if you serve your a little-bit of perverted ideas in an „edable”-way, even a mindf*ck will spice up your relationship with your audience. You just need to put these ideas in context and be really clear about communicating them.

 

Among this list, and to refer to someone else’s words proving we need to change our mindset about concert and/or music concepts, there you go: a really interesting, recently published article. Those, who follow my posts on Facebook, might have already seen me sharing this article, saying: I firmly believe that if one begins to think differently and voices his/her opinion, things may change things for good. (Partly that’s the reason why I am writing this blog, and also because I’m a hopeless exhibitionist craving for your attention – like every performing artist is). I had the luck to meet Brendan Walsh (the author of this article), and I was also attending his lectures Cultural entrepreneurship at the Fontys Conservatory in Tilburg. To be honest I didn’t want to go to his lectures, and I had one simple reason: in my experience, though Fontys Conservatory is an innovative institution willing to improve education with great lecture ideas, their business-related lessons during my Bachelor years were simply a disaster (guest speakers without any clue about music industry or the manners of the classical musician world). So I thought he will be just the same as his predecessors, but I was wrong. Maybe the most remarkable memory from his lectures regarding the subject of this entry when he stated something I had never imagined a performing musician would ever admit: the new generation of musicians is a threat for the generation before them. When I’ve heard him saying that I was silently applausing and rejoicing in myself, and with this statement he became (in my eyes, at least) from an entertaining teacher and presenter to someone worths pay attention to. So there it goes, a shout-out for his article: Classical Music is dead... Long live Classical Music!
NB: He mentiones a few recent attempts to make classical music a product which sells better, by putting classical music performances in new context (regarding location, dancing to classical music and such), which is (in my opinion, again) a good way to point out we need change, but until our attitude won't change, none of the results (good or bad) will hold - nevertheless, we need these pointing fingers.