But the throat just kind of falls into line once you realize in your head what it is. You got to remember the musicality of a character you're going to do.
Sentiment: NEGATIVE
Sometimes a role might be difficult on my throat.
Many composers today don't know what the human throat is.
You'd have a good voice, if it ever came out of your throat.
As a singer, you can't hear what's coming out of your throat; you're only hearing it from the inside, so you need a trusted person who knows how your voice works. It's like a car. You take it to the same mechanic because they know it inside out, and every time you get it back, it works fantastic.
I can picture the character in my head, and the voice just comes out.
I don't get in there and create a character. It's more of a voice that I hear living inside the music.
The voice is an instrument that you really must take time to develop. It's like a good red wine Give it time.
I feel when acting, I am sometimes overly self-conscious; I think, 'Going, no, don't, put your eyebrow back where it was and, you know, turn to the left.' You know, I'm sort of very consciously adopting this character. But with music, I don't know. I found it was a question of just closing my eyes and just sort of letting things come out.
When you have to get into the character each morning, give it your voice, your face, it was torture.
It always helps me connect with characters, to think about what music they respond to.
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