OPERA SINGER REACTS TO REALITY TV ＂OPERA SINGER＂ ｜｜ What I REALLY think!!
Episode Stats
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133.97597
Summary
In this episode, I'm reacting to some of my favourite British and American opera singers and pop singers. I'll be taking a look at what they're singing and why they sound the way they do. I hope you enjoy this episode and leave your thoughts in the comments below!
Transcript
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Hello beautiful ladies, and welcome to today's video where I'm going to be
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reacting to Britain's Got Talent opera singers.
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I wanted to start a series of reacting to opera singers, pop singers. Leave me
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suggestions in the comments below about who you'd like me to react to and what
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my thoughts are as a trained opera singer of all of these different people.
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And I figured I would start off with some singers who call themselves opera
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singers that go on Britain's Got Talent or America's Got Talent and just kind of
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take a look and see what they're doing and if I think that they're actually
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representative of opera singers. Now I want to be clear from the beginning, I
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don't want to be mean here. None of this is going to be, oh my gosh that's horrible
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kind of a reaction. What kind of things are they doing that don't look really
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technically correct as an opera singer or why do they sound the way that they do?
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Whatever it may be. So we're going to start off with this video on YouTube and
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it's titled, Nervous Welsh Opera Singer Gets Golden Buzzer. So let's see what this is.
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They're very excited clearly and it seems that they've miked the friends in the
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Hello. Who are you my love? I'm Gruffydd Wynne Roberts. I'm Welsh. I'm 22 and I live in a small island
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called Anglesea in North Wales with, with, with, with Manan. Oh fantastic. What's your
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grandma's name? Manan's called Alwenna. That's a great name. Alwenna. And why don't you live with your mum and dad?
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Um, well I don't, uh, I, I, um, sorry, um, I live with Manan because, um, uh, I haven't known my father till I was 16.
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Um, and, uh, yeah, this is quite hard. Sorry. Um, yeah.
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Are you going to sing? Yeah, I'm going to sing for you today yet.
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I just love this guy. He's so sweet. Oh, and I feel so sad for him, but it's so nice that he lives with his grandmother.
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So the first thing I want to say is that he has such a beautiful tone. I love the
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color of his voice, the timbre, but clearly a he's very very nervous and b
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what you'll see is that he's very close to the microphone and he's comfortable
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being that close to the microphone and he's not supporting with his body in a
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way that an opera singer would. Most opera singers actually need to take a
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step back from a microphone because they already resonate so much that it can
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kind of blow out your speakers. So he's singing very much from kind of here up
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and he's not singing with his body. Now don't get me wrong, that would be perfect
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for performances where you are singing with the microphone and he's not really
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trying to sing opera, but I also love this choice of song so let's keep going.
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Okay, Simon stopped it. This is dramatic. Let's see what happens.
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Okay, Griffin, I want to say something to you. Okay. Because you're very nervous. Yeah. This
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was very cold and mechanical for me. I sense there's more in there. I want to hear that warmth,
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that richness. I want you to just let go for a second. Okay. What else you got?
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I've got Ness and Dorma. So of course he's gonna sing Ness and Dorma because
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that's what they always do on these shows. I've seen women come out and sing Ness and
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Dorma. This is, Ness and Dorma is for a man. It's not written for a woman. So they want the
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crowd pleaser. They want if they're gonna choose him that the audience goes crazy. So yeah, they're
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pushing for the standards for Ness and Dorma, for the one that gets people on their feet. I might skip
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So you can definitely hear how nervous he is. You can hear there's a little bit of a,
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more of a shake in his vibrato than that's there naturally. And I think that's probably just nerves.
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What's also interesting to note is that he really has a very natural way of singing where he's very
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comfortable in the higher parts of his voice and the lower parts of his voice. But again,
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he's just not supporting in the way that an opera singer would support. He's kind of singing a little
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bit more from just this part of his body. He's not using his ribs and his muscles in the lower part of
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his frame to give him the strength and body to support, which he's going to need as he goes higher.
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So we'll see if he can kind of make that work. But as you go higher in the voice, you actually need
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more support from your body because it's these two tiny little muscles in your larynx that have
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to vibrate very quickly and be able to phonate as you get higher. And if your body's not supporting
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you, then you'll just fall apart. So he may not fall apart, but it might just not sound as great.
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So there you might notice he's just a tiny bit sharp. That can happen when you're nervous. You will push
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the air instead of just letting the air flow, and that will push your actual note a little bit too
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I just want to point out there that at that point he does something that opera singers do not do,
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that kind of like, uh, we don't do that. We like to have clean lines all the way through,
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especially with an aria like this. So you can see he's got a little bit more pop training maybe
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than classical training, or he's just been listening to pop more than he's been listening to opera.
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So I'm just gonna stop right there on the high note.
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You can definitely see he's got the pitches, he's got the voice, and with some training
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But it's just clear that he doesn't have the body to support him up there, so it's just
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a little bit strained, a little bit pushed, a little bit forced, whereas if he was using
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his air properly and he was using his body to support him, it would be so easy for him.
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He clearly has the notes, so it's just kind of interesting to see that.
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He does that pop thing again there, just pointing it out.
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But it's stressful for me as an opera singer because if I was in that position where it
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was like squeaking it out, I would be very on edge.
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It's really a cool thing that he is able to sing and do what he does with what it seems
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like maybe he doesn't have very much or any formal training and that's really cool.
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But if he just had his body support him, if he had the right teacher, oh my gosh, this
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And I hope that he does find a teacher or have a teacher who can help him learn how to actually
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It's just right now it's a lot of natural talent with not a lot of training.
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So I think that it's a pretty cool thing that this guy was able to go up on Britain's Got
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And I love that these kinds of things inspire people to listen to more opera because I mean
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Nessun Dorma is beautiful and Pavarotti singing it is amazing.
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And if it gets more people interested in opera, I'm all for it.
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It just seems to me that he needs a little bit more training and then he would be perfect.
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It's always fascinating to me to see what people think opera singers are and I like to kind
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of keep the record straight just because he is singing opera and he's singing beautifully,
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He doesn't know how to support his body because if he were to sing an entire opera, he would
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probably get very tired very quickly and you need to be able to sustain this level of singing
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The reason I want to do this is to teach you guys more about how opera works, why opera singers
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need to be trained the way that they do, and what the difference is for you.
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So let me know in the comments down below who else you'd like me to take a look at, whether
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it be pop singers or America's Got Talent or The Voice or whoever it is, I'd love to
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