Category: Personal

I recently realized that my lifetime struggles with singing mirror exactly my lifetime struggles with self-acceptance and self-expression. What a cliché.

From the age of 5 or 6, singing was a source of joy, of wings for me. Apparently, my rendition at the age of 6 of My Favorite Things, from The Sound of Music was notable enough that my camp counselor pulled over some of her counselor friends for a repeat performance. But just as I was always scanning my family, friends and peers for cues that I wasn’t quite up to par, I was also always very sensitive to any negative criticism about my singing, and it always trumped whatever genuine smiles I also sometimes elicited. At my Bat Mitzvah, one of my 13 year old guests told me after the ceremony that the Kiddush was not meant to be sung with vibrato. Not ever having had a voice lesson, (or even really understanding what vibrato was) whatever vibrato I had was naturally present, but apparently that was a bad thing. It didn’t help that during my high school years the choral director was an ornery old man with a bad temper and no business working with students. He called me out once in front of the entire choir for singing nasally. He had me sing the phrase “Christe eleison” over and over, slamming his baton each time while he mocked me with an excessively nasal rendition, but never bothering to explain to me how to open the sound. Mercifully, after the third time, I magically, and without any understanding of what I was doing differently, landed on an a clear resonant sound, and he actually raised his arms and proclaimed “Hallelujah!” I understood, of course, that everyone’s mortification was not due to my nasal singing, but due to the dreadful awareness that this could have just as easily been them being humiliated. But I also understood that there was something pathetic, inferior, about my singing. I doubted it constantly.

The problem was, of course, I cared too much. Singing made me soar. It gave me a means to express my heart, my understanding of pain, love, sauciness, peace, and confusion. And somehow, it also became an offering of myself, so that any shortcomings or rejections were a dagger into my own breast.

I sought voice lessons with extremely unqualified people, who taught me no technique whatsoever, and was consistently placed in the second soprano or even alto sections of choirs, due to the vocal strain I’d exhibit whenever I tried to go into the soprano range. The problem with this was that I had no strength in the alto range either, and so, with a weak sound, limited range and no understanding of my abilities, I lamely persisted, trying to achieve flight, still sensing just out of reach a joy like no other, and yet also feeling clipped, inadequate, and confused as well. In other words, singing became a very emotionally fraught activity for me. A minefield. I was as sensitive and wounded as I was determined.

For a few years, I seemed to find my place. I sang with an a cappella group in college, doing standards with complex harmonies. My group, The Chattertocks, had an old-fashioned sound, and provided a home for my particular kind of singing, gentle and sweet. As my confidence grew, a few friends of mine noticed and actually told me that I had a beautiful voice, making me happier than they could ever imagine. But once I graduated from college and went into the larger world, my singing tapered off dramatically. I had none of the training or technique for classical singing, the only kind I found available for amateurs, and a short stint with a chamber choir was nothing but a continual fight for my life. In one strange moment, the conductor pointed out to the entire group how I was the only one on my part who consistently came in at the proper time, and how this should shame them all since I the weakest at sight reading and had the least musicianship of the bunch. Yikes.

Then two developments occurred that contributed to my shutting down. One was that my new husband didn’t seem to enjoy my singing very much. He told me fairly early on in our relationship that when I dreamily sang standards to myself in the car in his presence it was a presumptuous imposition and he’d prefer it if I stopped. The other was that my daughter began singing at the age of 4 and had the voice of an angel. Many years later she told me that it was my singing to her at night that instilled a love of singing in her own heart, but all I could see was that she was a young and vulnerable little girl whose only area of unquestionable confidence was her lovely voice. My focus shifted almost completely to celebration of her unfettered expression. As she grew and faced the painful challenges from being a wonderfully peculiar outlier on the bell curve of uniformity, her singing was something that called to everyone, awkward outliers and popular middlings alike. Even the most scornful peers and parents were moved and had to grant her this acknowledgment – she had a beautiful instrument and naturally knew how to play it like a master. I was so happy for her; she got everything I ever wanted for myself–people to feel something when she sang – and it made her happy as well. I encouraged immediately her interest in private voice lessons, and to this day cannot recall whether that interest generated from a seed planted by her middle school chorus teacher, came to my daughter on its own out of her love of singing, or was all but assured by my constant praise of her voice, and the beaming smile on my face only and barely kept in check by my desire to ensure that my dear girl wouldn’t forget how to remain humble. I never risked diminishing her by conveying that I thought my voice came anywhere near hers, and indeed I never believed that it did. And I daresay, she grew to become as confident in her sound as she was in her face, the other possession of hers that stopped people in their tracks. Which is to say, she became vain. And I was helpless to curb it because I knew she was right. Her own high opinion of her voice was the truth. She was that good. But her vanity and her impatience with lesser practitioners led her to criticize my occasional forays into song and to point out where she could do a better job. It was a one-two punch: Keep your own bird’s song quiet so as not to detract from your child’s, and then hear her chide you for your failings in voice. The vulnerability and honesty in my voice – the expression woven into the notes of my love for her, or whatever particular emotion I dared offer- did not seem to affect her. She heard only the uneven support, the slight wobbling, the occasional sharp or the collapse of the palette.

So, with my less than enthusiastic husband and virtuoso daughter, I stayed more or less silent for over 20 years.

Then about 5 years ago things began to change. One night at synagogue services I was approached by the conductor of the choir and the lead cantorial soloist. To my secret delight, the conductor told me that the soloist had heard my voice, having been standing close to where I sat, and had gone to directly to her afterward to tell her that the choir should recruit me. I was all at once happy beyond reasoning and also humbled, for the soloist who pronounced this had a beautiful voice indeed. The next thing I knew, with my children grown enough for me to make the time for rehearsals and services, I was in the choir. That led me to me sitting at one of the choir services near a woman I knew loosely from various activities at the synagogue. When we talked about what led each of us to the choir this woman mentioned she was getting voice lessons from someone she recommended highly, and she encouraged me to think about getting lessons as well, if I were seriously interested in reviving my singing. And so I called the voice teacher and began private lessons. These things don’t happen by accident. I must have really wanted to sing.

Over 5 years later, I am still studying with the same teacher. This wonderful woman, a professional singer and cantor, trained at the best music schools in the country, immediately understood things about my voice that no one else seemed to: I didn’t know how to use it and I was blocked. She helped me unlock an entire additional octave in the soprano range, where I actually belonged, simply by patiently and kindly showing me how to let go of my tightened tensed throat and jaw and my deep-rooted fear. At first, at recitals, I was so afraid to sing in front of others that my heart palpitated and I grew white as a sheet. But I persevered. I persevered without little more than an extracted and somewhat strained compliment from my husband or a careful remark from my daughter, encouraging but with the spectre of all the things she wasn’t saying (and let me know without words that she wasn’t).   I stopped asking them to attend my recitals and chose to believe my teacher’s insistence that I had a gift to give others. I just needed to accept it for what it was and use it how it was meant to be used, instead of trying to emulate or compare myself to other singers and believing always that I fell short.   My dear sisters would occasionally come to hear me sing, smiling and silent but always nodding, fully present and encouraging for the earnest and clearly important struggle, even while they perhaps wished I wasn’t quite so invested and therefore so easily crushed, and even though they might have been hard-pressed, if someone asked them, why it was so painfully important to me. And over the years, little by little I could sing with less and less of the constriction I had always brought. I began asking for, and receiving parts in choir songs. I was asked to sing at my friend’s occasional religious celebrations in her home for the Jewish holidays of Sukkot, Chanukah and Shavuot, and listeners would approach me afterward to tell my how lovely my singing was. The conductor of the synagogue choir invited me to join an elite women’s choir she directed, and the next thing I knew, I was challenging myself and enjoying the stretch for works by Handel, Thompson, and Rachmaninoff. And slowly, ever so slowly, I grew to appreciate that I did have something others enjoyed. A sweetness, an old-fashioned yearning that carried my heart across, and they began telling me that I moved them. They did not focus on the technical failures, the occasional dropped support or forward sounding note. They focused on what I could do for them, and, sure enough, that’s what I began to focus on as well.

The final breakthrough came to me about a year ago. It dawned on me that when I let go completely of the fear, I indeed connected – both with my voice and with the audience. When it became about them instead of about me, I was freed. I was able to stop worrying about all that I couldn’t do, all that my mistakes revealed about my inadequacies, and just feel that sense of joy that comes from laying it all out there and, becoming a vessel for the listeners to willingly sip from. I could see them clutch at their hearts or mist up. And the more I saw their honest and receiving reactions, the more comfortable I was revealing my voice. The emotion, the vulnerability, the aching. It wasn’t a frightened plea for acceptance anymore; it was a brave gift. People enjoy singers and songs because they express baldly and without abashment all the emotions we feel constrained from expressing ourselves. When listening to a singer communicate a broken heart, or confusion, or flirtation, or over the moon love, people lose themselves and allow themselves to feel what they otherwise might disguise during actual communication. Once I understood that, once I understood that most people are just as constricted and afraid as I had always been, I could feel more at ease revealing not just my voice but who I am.

For this opening up of my voice paralleled in time my slow but insistent opening up (or perhaps reopening) of my nature. And the more I relaxed and revealed without embarrassment that true nature –my giggling, my honest appraisals of what was being said or what I was observing, my desire for friendship or my off-beat sensibilities – the more it seemed that people reacted favorably. More favorably, it turns out, than they did when I tried to blend, tried to remain unseen, smooth and flawless. I discovered that far from being alone in my pained self-thwarting, I was in a sea of people who stay muted because they, too, are afraid to be found wanting. They hang back not because they don’t like warmth and playfulness, but because they don’t want to be branded foolish or undignified or weak. And when I offer myself without nervousness, without dread of rejection, without standing there like a mirror that calls attention to the fears in all of us, it puts them at ease and they respond.

I’ve heard time and again that singing is one of the most vulnerable activities one can do, and, for me at least, that is true. So is being one’s self. And though this journey to my true voice was very long and painful, I don’t regret the time it took or all the misgivings.

I am instead just so happy to take a deep breath and know that I’ve found it.