Round One Recordings & Comments

Jamie Muscato

"Let's Face The Music And Dance "
from Follow The Fleet

Amy says: "I absolutely love this song; it's one of my favorites. I love how you just absorbed the style of the piece. I also loved the way your voice just opened up, especially towards the end. This was a very strong performance. Great job!"

Helen says: "This was a much better choice of repertoire for you than the last round. I have a feeling that it would have been better put up a key, as while you didn't struggle with the low notes, they didn't have the same energy as the middle and upper register. You have a good sense of the overall shape of the piece, which is unusual in someone so young. I think you're going to go places, Jamie. Well done!"

Ray says: "Yes! He shoots! He scores! Really great choice of song and really great job of singing it! Hmmm. That young romantic thing seems to work much better. This is a great choice also because the song is not defined by age and you brought your own essence to it! The only way to go!"

Marie Rivest

"You're Getting To Be A Habit With Me"
from 42nd Street

Amy says: "I like the nice, easy approach to the song. It sounded like it was easy for you, which we all know means you worked EXTRA hard! :) I really liked your tone, and the high notes at the beginning seemed to flow easy, but they seemed a little more forced at the end. Make sure you keep your breath below you for the whole time. But overall, a really nice performance!"

Helen says: "Pitch is solid and the mood was captured really well, but I'm concerned: I can hear quite a lot of tightness in your voice. You need to rely on your breath support rather than your throat to get volume. Relax your throat and shoulders and keep it open. Make your core do all the work. I'm telling you this now, because I think if you work on it, you might have a better chance of getting through the competition and you'll definitely have more longevity with regard to your voice."

Ray says: "You seem to have a knack for picking songs that really favor you. Love the sound and the ease with which you use it. Remember that the breath flow for the middle range of your voice should be the same on the top and the bottom of it. You'll create much less strain if you you're aware of pushing either at the top or the bottom of your register. Love your interpretation and I'm enjoying your voice and style."

Rebecca Smith

"I Wish I Were In Love Again"
from Babes In Arms

Amy says: "Nice, easy feel to this! Be careful with the track, I think you were behind it at times. There was a nice open feel to your high notes and you had excellent diction. Very nice performance, just don't let that track get the best of you!"

Helen says: "This song was suitably optimistic. I'd like you to vary what you do with the song as you go through: not necessarily improvisation, but ensure each verse tells a different part of the story. Your timing was better with this track. Excellent diction, and good clarity. You need a little more breath support, but you are on your way here."

Ray says: "What a lovely voice. I still can't believe that it's comng from a 16 year old. In so many ways it's an advantage and in so many ways it's a drawback. I'm hoping you're working with someone on song selection and interpretation because although you sing this song and this style beautifully you have no idea what you're singing about. Take a long look at those words and ask yourself if you've experienced even a small protion of that. If the answer is no then be sure to look at the material before you choose. But what a lovely voice!"

Jessica Mennella

"Nice Work If You Can Get It"
from Crazy For You

Amy says: "I love this song. I like how you took some liberties to make it your own. Great. I think it maybe should have been a little higher for you to avoid some pitch issues, but good job overall!!!"

Helen says: "Great bottom notes, though you could probably have taken it up a key or two. The style was very different with this piece to the last one, which showed your versitility. You could have played with the swing a little more. If anything, it was a little too accurate and I think you could handle some improvisation."

Ray says: "Lovely voice (self taught? Wow!) and a nice grasp of the material. The key was too low because if you can sing Eva you can sing anything! LOL! Let's not forget to bring the voice closer than the accompaniment but you've done a great job with this one. Let's hear one with more fire!"

Joe Amato

"Night And Day"
from Gay Divorcee

Amy says: "I think this song is great for you; I think it was a touch low, but I know you are kind of bound to the track. I also think you could pop the energy level up a little bit, just to show some of that great "Joe" personality we saw in the Qualification round. I thought the 2nd half did you better justice. Keep up the great work!"

Helen says: "This song suited your crooner style better than your last choice. The pitch is coming just under the note sometimes, which is a shame because the interpretation is solid. You need to use your breath support more to alleviate this issue. The interesting thing was that it didn't seem to affect your sustained notes too much. Thanks for choosing this song."

Ray says: "I had more problems with this song than with the first round. The sustained notes become a little off pitch and I think the key is too low. And the danger of using a big band soundtrack is that you have to match the energy of the track. Look for songs (in a higher key) that allow you to take advantage of your personality and show your strengths. I'm thinking a song like "High Hopes"...or that style. Go get 'em!"

Pamela Wong

"Anything Goes"
from Anything Goes

Amy says: "I loved this jazzy version--it really seemed to suit you! Since it was more jazzy, I would have liked a smoother feel in some of the sections, but you have a great, modern musical theatre sound. Great work!"

Helen says: "Those long lines are hard to get through, but you managed them well. I really liked your interpretation. There was enough variety to keep me interested. This voice is really interesting and I'm looking forward to hearing more of you! You have real energy and it shows through the performance."

Ray says: "I really enjoy your voice! It has an interesting blend of maturity and coquette that makes my ears perk up. You were having trouble with those long phrases and some of the held notes. Here's the solution; always slightly crescendo or decrescendo a held note (don't just let it sit) and you can take breaths in any long phrase as long as it doesn't interrupt the text (got a comma? stick in a breath). Lovin' what you're doin'! "

Claire LeBorgne

"Johnny One Note"
from Babes In Arms

Amy says: "Once you got going, you were going! I think you need to just make sure that you are fully warmed up before you start, so we get the same sound throughout. Great choice of songs and a nice, full voice."

Helen says: "Your "one note" was handled really well with great use of vibrato. It felt like it was really going somewhere, which is not easy at all! This is a lovely voice, but I think you could have told the story even better by colouring the words more."

Ray says: "What a lovely, rich, lucious voice. No problem there! But here's a nice little trick for you. The style of singing this era was based on the notion that the voice was an instrument like any other in the orchestra. The section of this song starting with"cats and dogs" was not meant to sing as a beautiful phrase. Chop up each syllable and make the notes in this section as short as possible...you'll love the effect and so will your audience. Great job!"

Jessica Miller

"Anything Goes"
from Anything Goes

Amy says: "This was a nice, jazzy version. I think you need to make sure know the actual notes and establish them before you put your own style on because it's so well known. Be very careful of your pitching. Keep going!"

Helen says: "If you want to vary the melody, it's customary to do it straight (as per the music) during the first verse and chorus and then feel free to improvise after that. You need to establish the song first. I found the pitch variants in this piece too distracting to enjoy your voice."

Ray says: "Jessica, my darling, such a beautiful resonant voice but you would have served yourself a hundred times better had you learned the correct notes. A nice voice is never enough. Make sure you use some help before submitting these recordings. I'm sure there are professionals or instructors available to you. You don't have to fly alone...let people help you! Chin up! Let's give another try!"

Annie Forrest

"Always True To You In My Fashion"
from Kiss Me Kate

Amy says: "You had a great style to this song. Your stylings really fit the accompaniment track you had. That was great! I loved how you really acted through the song, including hearing some laughter through your singing! Great job!"

Helen says: "This is a marathon of a song and I can't believe you did the whole thing. The story was told well and there was nice contrast throughout. Be careful of how you produce your lower notes - sometimes they are a little distorted. Just let them happen naturally. What an effort!"

Ray says: "You are well on your way to that professional status you so covet. Lovely voice, great shifting between that belt and delicate tones, great understanding of text...what else can I say?! The ladies are putting on quite a show on the site. Great job!"

Chelsea A Kreines

"I Can Cook Too"
from On The Town

Amy says: "I really appreciated your attention to the diction, and I could tell you had really practiced this. I loved the way your top notes opened up. Remember to always make sure you know what the song is about and capture the spirit of the character. Singing beautifully is only half of the battle in the musical theatre!"

Helen says: "Be careful of those top notes - some were a bit too forced. Style was solid, but I think you needed to tell the story more: sing the subtext, not just the text. This is a sassy song, and while you sang it well, you didn't really perform it enough for me. You needed much more attitude. I think song choice is a real issue for you, Chelsea and I'd like to see you pick something that really suits you next round."

Ray says: "Girl, you can sing. You are NOT only 16...you are a 16 going on 40. Still lovin that lower register and enjoying the joy that infuses your songs. NOW. Ask yourself this...is she really talking about "cooking" or something else. Because if she's talking about something else you better get into that pan and fry! You know what I'm talkin' about. Use knowledge as well as singing. Tell the story! Great Job!"

Kathleen Sera

"Nice Work If You Can Get It"
from Crazy For You

Amy says: "Again, I love this song. The two of you who chose it must know that one of my all time favorite professional roles is Polly in CRAZY FOR YOU! :) Just kidding. I thought this key was great for you. You have such a sweet, ingenue sound to your voice. It's delightful. Nice job!"

Helen says: "I would like a bit more spunk for this song. Your voice is gorgeous, but I think you were too sweet here."

Ray says: "What a lovely sound and sweet delivery. You're doing very nicely in this competition and I'm looking forward to what you'll offer us next."

Erik Scott

"Cheek To Cheek"
from Top Hat

Amy says: "Nice job! You have a great feel for this song. Be careful that your early attacks aren't too abrupt, keep that great easy feel throughout the entire phrase. You captured the spirit just beautifully! I loved how you opened up the top notes in this round. Keep it up!"

Helen says: "There was too much difference in the sound between the verse and chorus. You need a bit more consistency - it sounded like two different songs. The voice production was good, though. Did you do your own whistling? If so, that was very cool."

Ray says: "Loved almost everything about this recording. You have a great feel for the style vocally and such a nice clear voice. I had problems with the jarring shift in vocal qualiity in the second section. Unless the song calls for it you'll probably not want to make a style shift that radical. Subtlety is good. Loved those high notes at the end. When you have long sections of 'dance break' it doesn't hurt to occasionally interject a lyric and vary the whistle with humming. And that tuxedo looks great on you! LOL! Nice job."

Matt Newhard

"Night And Day"
from Gay Divorcee

Amy says: "I liked how you put your own take on this classic. It was very free and easy. It was maybe a bit too low, but again, it's all about us being trapped by the tracks! You really opened it right up in the last half of the song--great energy! I would have liked a more forward "ay" sound on the very last note--that one really goes on forever, doesn't it?? Keep up the great work!"

Helen says: "This is the kind of voice that makes girls fall at your feet, I bet! I'm loving the vibrato and warmth. This was so different to the last round as well. You really are versitile! A couple of pitch issues, which I wasn't expecting, but overall a solid performance."

Ray says: "Nice! I love those swingy tracks and you did a great job with the style. You've got the right voice for this style of music. There were a few pitch problems, nothing big. Good range, nice low end and you opened nicely on the end. Don't be afraid of those long held notes and make sure they don't stay in one spot. Again, as I've said before...think of the note slightly crescendoing. Keep swingin', mister!"

Angela Merrithew

"Anything Goes"
from Anything Goes

Amy says: "You have a great voice, but I think this song was not a great choice for you. Putting character into perspective, Reno is not a "pretty" singer. This song is definitely telling a story, and setting her backstory as well. Singing well in the musical theatre is only half the battle, we have to act the role as well, and sometimes that means not using our prettiest voice. But do not misunderstand me--yours is DEFINITELY a pretty one! I would just like you to pick songs that show that off better!"

Helen says: "You made some very clever decisions about when and where to breathe here. It really helped you to tell the story without wearing yourself out! The balance between you and your accompaniment was very good, which allowed me to really appreciate your sound and interpretation. I think you could have had even more fun with this song, but it was a good job."

Ray says: "Ray says: Really lovely voice. That resonance was delightful but my feeling is that you're being a little too safe on this song. It's bouncy and uptempo and you're voicing opinions that you feel strongly about. Don't forget what you're singing about! Read the text and sing the song based on that! Loved the sound and nice accompaniment!"

Megan Herzing

"I've Got Rhythm"
from Crazy For You

Amy says: "You have such a fun, bubbly sound. You need to make sure that you have the notes correct since EVERYONE knows this song, even if it's a jazzy arrangement, at least for the first time through. I am fascinated with your middle voice--it's clear and strong. Work on bringing that sound up your register with your breath support and proper placement. Great work!"

Helen says: "Stick to the written melody for the first verse and chorus and then if you want to vary the melody, feel free to improvise after that. Your variation was the same throughout, which detracted from the overall shape of the song. However, you are cute and have spunk, which I like."

Ray says: "Megan, you are just adorable in this context and captured the spirit perfectly. Your voice quality is so right for so many musicals. Now the BUT! This is one of the most well known songs in the history of Musical Theatre. That means, in the first verse, the notes and the rhythms have to be PERFECT! After that, it's all yours. If you don't get it right in the first verse people like myself will wonder if you really know the song. That bubbly spirit will take you a long way but don't forget to do your homework! Great job."

Kaitlyn Stobbe

"I'm A Stranger Here Myself"
from One Touch of Venus

Amy says: "Absolutely fantastic song choice. I loved your voice in this piece--very connected and clear, while some great acting was happening all the while! Great!"

Helen says: " I really liked your interpretation and your storytelling. Your musical intuition is spot on and your voice is so mature and developed for your age. You have a bright future, Kaitlyn!"

Ray says: "Absolutely perfect combination of vocal technique, style and interpretation. That's the way I would expect that song to be sung on Broadway. The beautiful relaxed clarity and understanding of the text sends you to the top of my list! Bravo! Unbelievably great for a 16 year old."

Tabitha Judy

"A Fine Romance"

Amy says: "I feel like you were made for this genre! Great song choice! Very jazzy, great acting. Fantastic!"

Helen says: "You captured the irony and wit of the piece well. Great character! Try to support your top notes a little more and keep them open. What a whimsical performance. Nicely done."

Ray says: "Perfectly pouty! A perfect example of how experience can shape a song through the understanding of the text. You have the perfect voice for this style of song and kiss that stage fright BUH-BYE!"

Michael Campbell

"Lullaby Of Broadway"
from 42nd Street

Amy says: "You picked a nice song for yourself--work for a little better balance between accompaniment and singing in the future, but I know how challenging that can be! I loved the build throughout the song. Nice!"

Helen says: "You've gone the opposite way with the balance - this time the keys are too soft! Hopefully you'll get it right next round. I love your sound in this song. It seems so easy and natural, which of course, means you've worked darn hard to make it sound like that! Well done."

Ray says: "Whew! That's a tall drink of water at the end ain't it? It may have been a bit of a struggle but I'll never fault you for giving it total commitment. You captured the style and sounded just right 'til the very end. As I recall, you can accompany yourself so choose a key the shows you off to best advantage. Good work."