KRISTINA GUTSEVA

I never stop developing professionally: I study jazz improvisation, harmony, I take online lessons from Belarusian vocal jazz improvisation teacher Volha Makushynskaya.

We sing jazz standards and sket, we practice from Bob Stoloff, Judy Niemack and Jim Snidero compilations.

We must learn constantly; the sky is the limit, especially when we speak about improvisation. It is impossible to say, “I have learned, I already know how to do everything” and stop there. You just can’t stop improving your level, expanding your vocal range, etc.

The main task for me is perfecting my musical literacy, understanding different styles and various vocal techniques. I’m working hard on the emotional component in the songs.

I am constantly looking for different vocal nuances, find new overtones in my voice and apply these in my performances.

Just singing and improving your vocal level just is not enough. So I study modern harmony, different styles, grooves and musical touches. Stylistics is a very important topic. The vocalist must know the peculiarities of the style. If you work with live musicians, you need to fit perfectly in their style.

Working with live musicians is a special, one might say, magically fascinating process. For me singing to live band is much more exciting than to backing tracks, where you don’t have as much freedom. And it is more difficult to work with phonograms, because you need to convey a living emotion, but the phonograms are pre-recorded, and you cannot change anything there.

Even the most outstanding musicians study with teachers from time to time, because we do not hear ourselves from the inside and corrections are always needed. The teacher can correct something from outside. The teacher will give you easy and comfortable solution to any problems of vocal technique. If a singer feels comfortable the voice will always sound good. View from the outside helps to achieve a better result.

Such big star as Lara Fabian, who even goes on tour with her vocal teacher, is a good illustration of this idea.

I would like to mention one important point: on the day of the concert, I usually do not eat. Firstly, food makes you feel sleepy; you are not so active anymore. Secondly, eating before singing causes the stomach to work, which causes certain problems. I drink only still water. Drinking tea or coffee result for me in non-closure of ligaments, so I avoid them on the day of the concert. Before the performance, I usually keep my voice quiet and try to focus on my feelings and relax.

It is also necessary to take into account weather conditions and follow weather forecast if your performance is going to be outdoors. In the Emirates, such concerts are often held, so you need to be prepared for any occasion and unexpected weather conditions, especially in winter, when there is strong wind and rain.

I’d like to highlight that on the day of the concert, I sing in the middle range (I don’t sing to the very heights or to the very bottom of my voice), I don’t sing aggressive or forcing way, etc. You need to leave strength for the performance, the concert itself. Performance requires a lot of emotional return. And so I must be ready physically and emotionally for what I love doing most.