Kaylee Borchert
-beautiful tone and vibrato (most of the time); would more vibrancy on every note
-would love more intentional phrasing and levels based on the words
-more focus in every vowel; don't let it fall out of the "ping"
-more intentional breath support could help the vibrato wobble less near the end of the piece
Allison Orton
-lots of extra air in the tone, especially in the lower notes
-pulling back and swallowing the tone in the 2nd passaggio
-great moments of resonance; make sure every vowel stays in that resonance
Camryn Rasmussen
-tone sounds a little unsupported and pressed in the throat; lowering the shoulders could help
-some parts are more supported by the body than others; I can tell when it's unsupported by the airy and shaky vibrato
-would love more vibrancy on every note
Anna Small
-very beautiful tone, however, something in the back of the throat seems to be inhibiting it
-extra air in the tone (how do we teach young singers to use their breath more efficiently?)
-would love more focus and "bite" in the tone, especially in the lower range (focus the vowels!)
Annika Stevenson
-lots of extra air in the tone
-would love for the tone to "cut" through the piano more
-tone seems a little overly dark at the moment; bring the tone "forward" without losing the smooth jazz feel
Tori Turner
-diction is pretty clear and understandable, especially in the lower range
-vibrato is nice, but is strained in the larynx (her whole head shakes when she uses vibrato)
-transition into first passaggio seems controlled, but could be more blended (bring more "chest" into the "head voice")
-focus the vowel in the "head voice" sections so it doesn't get lost in the back of the throat
-really appreciate the character choices and commitment to the story telling (think it helps with focusing tone)
Hope Weaver
-focus the vowels on the lower notes and bring more of your "speaking" voice into them
-find more grounding in your stance
-seemed to sing whole song in first passaggio, would love more "chest voice" throughout
Saige Barlow
-tone seems have some excess nasality
-would find a tone that resembles your speaking voice more
-love the dramatic choices and color changes
-don't let the belt get trapped in the back of the throat
Kayla Winkel
-more active breath support will help you get through longer phrases
-high notes sound a little bit like a choral soprano; would love more focus in the vowels and vibrancy
-very floaty sound, but don't let it get lost in the throat
Alyssa Burton
-beautiful dark tone, but don't let it get lost in the throat (the tone a path "up and out")
-love the legato and "swoony" feeling (very appropriate for golden age musical theater)
-phrases seems a little short, could be a sign of lack of breath support/efficiency of breath
Emme Corry
-this song seems too low for this singer (tone needs to be more focused and closer to her speaking tone)
-don't swallow the tone when leaping into the first passaggio
-would love more "chest" voice in the more powerful sections of the song
-would love some more moments of actual "forte" (didn't go above a mezzopiano)
Caden Webb
-great resonance and robust tone (especially for a freshman)
-would love for the tone to cut more (especially when performing with Layton)
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