August 25: Working on breathing exercises.

Have noticed that I struggle to release all the air

that I take in; I tend to have a great deal left over after my exhalations. Seems to be less of a
problem when seated than when standing, however.
August 26: Problem with releasing air persists. I think it has something to do with control; Im
not getting the sharp hiss that I want. More of a half-hearted fizzling noise. Need to work on
breathing from the diaphragm.
August 27: Am starting to feel more comfortable with the breathing, and have started applying
some of the techniques to songs that Ive learned in the past. Not very much mustnt learn
these things wrong. It isnt quite working yet. We shall see how things progress
August 28: Worked today with Taryn; wanted to hear some of her input and learn some of the
tricks that helped her during her lessons. I think that envisioning breathing from the back is
helpful, for some reason. Beats me why
August 29: Business as usual; not much to report. If anything, I felt like I was able to achieve a
little more expansion of the rib cage on my 8 count legato inhales today. That was good! I also
felt that I got the air a little lower. Hard to explain how that actually feels
August 30: Finally managing to control exhalations better. On my legato sip/hiss exercises, Im
definitely finding that I can usually release all my air by the end of the count. The staccato
exercises continue to make themselves difficult. Planning to give those special attention.

August 31: Practice today was cut short; ended up having to go to a meeting for a Marketing
Research project. However, while practicing, noted that I felt a little light headed. Not entirely
sure why? Perhaps I was exhaling too rapidly.
September 1: No real notable progress today. Practice was pretty uneventful, and went pretty
well! Definitely feeling increased flexibility and strength. I can tell that I have a higher breath
capacity now. The balloon can simply hold more.
September 2 and 3: Practiced applying new breathing techniques to songs again. Definitely felt
a difference this time. Ive been told that when your Adams apple jumps when you try to hit a
high note, youre singing from the throat. I definitely noted that it didnt do that on notes that
had previously been a strain when I sang from the core.
September 4: Felt pretty sick today and had to stay down after classes. Did some breathing
exercises in the evening, but only a few repetitions of the different exercises. Did some work on
the catch breath; I was doing some reading online and a lot of the authors suggested that you
work on your catch breath for long phrases in songs.
September 5: Tomorrow, Im going to be running around like a crazy person all day and will not
have a chance to practice. So today Im doing extra. Hence the longer entry. Had something of a
breakthrough today. I really felt the diaphragm drop when I inhaled. I now know how to get
that feeling, where it gets out of the way to make room for the air. That was very satisfying to
get sorted out. Also had a good day as far as breath control. I never seemed to have a bunch of
air left after my exhalation.
September 6: As mentioned yesterday, didnt get a chance to practice. Crazy day.

September 7: Another pretty uneventful day. Once again, practice was a little shorter than
usual. We ended up filming for almost six hours and then had to rush to church. I got back in
time to get in some work, however! Continued to work on catch breaths and my hee hee hee
exhales. It went well!
September 8: Given some more food for thought in my lesson today. Particularly like all of the
word pictures that Mrs. M. uses to describe various techniques. It helps me to visualize these
things. Am definitely finding more success now that I can picture the small strip of muscle
below my navel swooping up to support the sound. Also liked the idea of the string fastened
to the inside of my stomach that pulled backward; another helpful one.
September 9: As per Mrs. M.s request, I focused even more on my catch breath today, and on
being conscious of the openness of the sound that I produced on the hee syllables. Definitely
struggling with that. My throat tends to naturally tense up when producing the e vowel
sound.
September 10: Still having troubles with the e. I sang a few songs to see if thats a problem
when Im singing, and it certainly seems to be. I discovered that when Im singing I
subconsciously change any e noise to an ay noise so as NOT to strain my throat. Im
assuming that Ive just learned to do that wrong and will have to re-evaluate my technique.
September 11: Have definitely made progress as far as breath control goes. Its very satisfying
to actually breathe OUT as much as I breathe IN with some level of consistency. I can imagine
that its vital when singing to control how much air you use on any given note, and am
therefore encouraged to see progress on that front.

September 12: Have a nasty sore throat today, and havent really gotten out of bed as of yet.
Not entirely sure Ill be practicing unless Tylenol kicks in soon.
September 13: Still pretty sick, but hanging in there. Managed to do some breath work today
and sing some songs as well! Hoping that Ill be out of the woods tomorrow. Cut short practice
because taking large breaths tended to make my throat rattle, and then Id cough.
September 14: Noticed while singing in Vespers tonight that its getting easier to combine what
Im learning about breath with actual singing. I noted, not to my surprise, that lower notes are
easier to hit as well. Usually when singing a bass line I have to growl out any F that comes along,
but it went well tonight! In practice, not much out of the ordinary happened.
September 15: Focused on the four-step breath in lessons today. Inflate, suspended animation,
release, and collapse. I do have trouble, when I practice this, with tensing up after inflating. I
can usually manage to just pause for a moment and float as we discussed in the lesson, but
sometimes I instinctively clamp down on the air so that it doesnt get away. Thatll be
something to work on.
September 16: Did some work on my two new songs today. The Impossible Dream is actually
the more challenging of the two, if only because Ive already learned it wrong and therefore
have to un-learn everything that I already know. However, Edelweiss is not without its
challenges. Its such a lilting, crooning piece that Im inclined to get lost in proper expression
and forget technique.
September 17: Seemed to fall off of the other side of the horse with Edelweiss today. Spent too
much time worrying about technique and let the piece die emotionally. Will have to work on

finding middle ground. I think it comes down to the fact that Im thinking too hard; once the
technique becomes properly engrained in my head and I dont have to consciously do
everything, I hope that I will loosen up more.
September 18: Ended up needing my full time in the practice room today for Guys and Dolls
vocal rehearsal. However, as Ive started to apply our new techniques to my songs for the show,
Ive seen HUGE improvement. At first the sound was a little off; it was my first experience with
proper vocal technique, I wasnt surprised. However, now it sounds much better.
September 19: Musical Director for Guys and Dolls got very excited today while Laura Foley and
I were rehearsing Ill Know. Apparently this breath support business works! That was very
nice to hear, since Im still a little shaky on the new legs. During practice, I continued working
on the balance between technique and expression, and returned to the old breathing exercises.
Those still feel good!
September 20: Down for the count today. Worried that Im not sleeping enough or some such. I
seem to have a perpetual cold.
September 21-22: Same story. Still down and out. Running a low temperature now. Going to
make a run on Zerbe to see what they can do for me.
September 23: Feeling better (finally). Got out of bed and made it to classes today, and got in a
good practice session. Actually, not singing for a few days helped me a lot. I was able to be
more objective in my self-evaluation because I didnt expect it to sound one way or the other.

September 24 25: Spent these days on The Impossible Dream. One thing that has me a little
confused: how do proficient singers produce such rapidly vacillating vibrato? I know you can
cheat it in a number of ways, but its my understanding that it just happens when youre
singing right. It does happen for me, but its very slow and sounds almost cumbersome.
September 26-27: Spent time on Edelweiss and the four stage breath. Im working on
incorporating that idea of never really collapsing till youre DONE into my music. Also spent
some time breaking Edelweiss into phrases so that I know where to breathe in. Problem Ive
encountered. When I keep swooping up for each note, I get an almost percussive quality to
my voice. Like each note is punctuated. Im assuming that Im doing something wrong
September 28: Had a rough practice session today. I didnt sleep much last night and therefore
didnt feel at the top of my game. I find that when Im low-energy I have trouble really filling up
with air. I tend to get about three quarters of the way there and flop. Thats something to work
on in the future.
September 29: Breakthrough in lesson today! THATS whats meant by raise your hard pallet.
That was very helpful to get. I now see more clearly what we mean when we say sing into that
space. When you breathe in through your nose and envision lifting your hard pallet behind
your front teeth, that space just sort of creates itself. I do find, however, that sometimes my
soft pallet rises too. And if I dont get it under control, I yawn. Or maybe Im just tired.
September 30: Another good Guys and Dolls rehearsal today. Working on My Time of Day and
Ive Never Been in Love. Both sound way better than they did after auditions. Im something
approaching shocked that they ever cast me when I sounded like I did I had a dashed nasal

quality to my voice. Its a real pleasure to see that finally going away. Its plagued me for a good
long time. Definitely felt that I was able to start filling the space with those notes, and didnt
trampoline my way around phrases.
October 1: Lets hope everybody woke up Green Day last night. Terrible joke, I apologize. At
least its vaguely related to music. That might be a charitable classification for GD, but I try to
be nice. Practiced breathing today. Ive been falling down on my breathing exercises since Im
inclined to jump right into singing. Definitely need to start working on it more. It sure does help.
October 2: Had a good talk with Terin Kelsey today about high notes. Ive noticed that theres a
point at which I can sing notes but cant sing them right. My range exceeds my technical
abilities roundabout an F#. I wondered why, and he explained it pretty well. Im not really
singing those notes. Im yelling them tonally. I think hes right. However, Id like to work on
extending my upper range. Things to discuss with Mrs. M.
October 3: Allergy fit today made singing tough. Heaven knows why its kicking in NOW. All the
plants are DYING. I thought that pollen was supposed to go floating about when they were
going to seed. Ah well, such is life. All in all though, a good day. Spent a lot of time on my music
for Guys and Dolls and saw further improvement. Annie Polka and I worked on phrasing for My
Time of Day last night and its been a big help.
October 4: Really starting to see improvements in phrasing, especially on Edelweiss. I could
hear myself doing the trampoline that Mrs. M. mentioned, and managed to conquer it pretty
effectively today. Im definitely starting to get a feel for each phrase as a whole instead of each
note as a piece. Thats been a big help. I dont get that nasty percussive tone now.

October 5: Busy day; didnt get in as much practice as I would have liked. By the time I had
some breathing room, PEW was closed and the roomies were abed. As a result, I focused on
breathing rather than singing. Went well, all told! Continue feeling the breath going lower;
hard to explain. It also feels weightier. Looking forward to lesson tomorrow.
October 6: Started doing more work on The Impossible Dream today. While I didnt notice my
platform in the throat while working on Edelweiss, Im very conscious of it now. Especially on
the This is my quest phrase. I definitely feel a lot of tension, my tongue is doing wonky
things, and I feel my Adams apple jumping on high notes. Im not entirely sure why; I dont
struggle singing Es. However, now that Im attempting to do so while utilizing proper
technique, its becoming very difficult. I think my breath support isnt low enough, but I cant
seem to GET it that low. Going to work more on flexibility breathing exercises in an attempt to
expand that pocket.
October 7: The same problems persist. I feel that, when trying to hit higher notes with proper
technique, my sound is very strained. I know that if I were in fact using proper technique that
would certainly not be the case. I can only assume that I am doing something wrong. It
definitely feels wrong, Im just not sure what to change to make it feel RIGHT. I have been
focusing on the throat platform and the relaxed tongue. I will continue to attempt tweaks and
see what happens! Planning to focus on the living, moving instrument feeling tomorrow. The
tube does feel pretty static.
October 8: Used today to focus on Edelweiss and Guys and Dolls material. I dont want to
neglect Edelweiss as I continue to work on The Impossible Dream. I was bemused to find that

hitting higher notes in my Guys and Dolls songs is significantly easier than hitting them in T.I.D.;
I imagine that Ive just had more practice with the Guys and Dolls material and am therefore
better at utilizing my air? Or maybe I was having off days at the beginning of the week. I am a
wee bit raspy. The changing weather and dry air are death on the lungs.
October 9: Had a long vocal rehearsal tonight for G&D in which I focused on Luck be a Lady. Its
going well; hitting high notes is much easier when theyre at the top of an ascending scale.
Managed to get the throat platform under control the third time through, focused on putting
the air behind my front teeth, and worked on raising my hard pallet. Thats still an odd
concept; Im having some trouble acclimating to it.
October 10: I was clever enough to drink a large soda before practicing today. The
consequential dryness in the throat was something approaching nightmarish. I ended up
focusing primarily on breathing rather than on actual vocal work, because when I tried to sing
my voice kept cracking. Im not entirely sure why; I used to be able to sing passably after
drinking sugar and caffeine as long as I drank some warm water afterward. Not today, however.
I also found that Im struggling to breathe properly. I think Im getting too caught up in the finer
details and am forgetting all this big picture business.
October 11: Continued breath work today; saw some improvement. Definitely lost a lot of
flexibility while I was focusing on relaxed throat and tongue. Must remember to keep up with
this! It made a positively miraculous difference after my first lesson. It would be a pity to go
forgetting it now. Im also starting to watch myself sing in the mirror, and have noticed that my
tongue likes to do weird things. I have no clue why, but sometimes I curl the entire front back

into my throat. Thats something to work on, as I can only assume that it doesnt do anything
good for my sound
October 12: Had an academic crisis today: analysis due that I was unaware of. Didnt get in any
practicing. Did get my analysis done, however. Ill be careful not to miss a day again; that was
pretty weak on my part. Organizational flop.
At this point, my computer crashed and deleted my files. I recovered this section of the
journal, because I emailed it to myself in order to print it at the TLC. Since I know that I need to
keep track of my progress, and since I dont have journals available to document that progress, I
have prepared a reflection paper detailing the specific things that Ive worked on over the
course of the semester, as well as struggles that Ive had with specific songs and technical
breakthroughs that have helped me overcome those struggles.
The first song that I worked on this semester was Rodgers and Hammersteins
Edelweiss, from The Sound of Music. I was glad that I got a chance to work with such a simple
song so early on; it is not melodically challenging, it is a familiar piece of music, and each note is
comfortably situated in my baritone range. My biggest struggle while working with Edelweiss
was, I imagine, every voice students biggest struggle when starting lessons: un-learning all the
things that Id been doing wrong for a very long time. I had never employed proper breathing
technique, nor had I used anything remotely akin to proper breath support during my hours
spent in the practice rooms throughout the course of the past three years. I would frequently
find myself signing from the throat, and would be forced to stop myself and start over. Early on,
it was difficult for me to tell whether or not I was signing properly. I learned from Dave Baron

that if you can feel your Adams Apple jump up in your throat when you sing a high note, youre
supporting from the wrong spot. I would run Edelweiss time and time again, my index finger
pressed against my neck, willing it to stay still. Finally, I started to see progress. It was very
satisfying. Notes carried more power, my throat didnt start to scratch, and I could sing for
hours at a time instead of minutes at a time.
The next song that I tackled was The Impossible Dream from the 1965 Broadway
Musical, The Man of La Mancha. This song was probably the hardest that Ive worked on all
semester. The range was not particularly challenging; if I had a rough day, I managed to get up
to the higher notes alright. The rhythm was not terribly complicated, and I had no trouble
picking it out on the piano. My trouble with this song came from my long background in musical
theater. I always understood that this was a Broadway song, and always wanted to sing it as
such. I wanted the power, gravitas, grandiose phrasing, etc. that come with long years of
disciplined practice, and I wanted them now. I had always loved this song, and had spent many
hours perfecting it in PEW during the past year. I had achieved the sound that I wanted, with
a great deal of tweaking and fudging. It was very hard to let go of the sound that I wanted in
order to do it right. I understood then, and still understand today, that the only way to truly
achieve a pure, powerful sound is to employ proper technique (if one has any inclination to do
any singing after the age of forty), but it was a tough sacrifice. Another problem that arose was
also the product of my musical theater background. I found that, while working on The
Impossible Dream, I struggled with notes that were not difficult to hit in other pieces. I had a
tendency to tighten up, to clench. I did not understand why until much later, but as Ive
revisited the piece, I have discovered the cause of my trouble. I have always been taught that

emotion cannot be skin deep in theatrical performances. You have to let emotion wash over
you, flow through you, redefine you as Harold Guskin writes in his How to Stop Acting, widely
considered the finest acting handbook currently in print. However, Guskin is writing about
theater. He does not touch on musical theater. I began to realize that, while singing The
Impossible Dream, I was allowing emotion to take over. I focused on expression rather than
technique. I let emotion dictate the sound. The trouble with emotion is, it often results in
tightness and lack of control. I have been struggling with this for most of the semester. I am
investing time and effort in this class and in the music department for a number of reasons, but
first among them is my desire to someday pursue musical theater. I know that my love for
theater ultimately stems from the fact that I can truly feel what characters are feeling. I can
enjoy a totally immersive experience. In the words of Atticus Finch from Harper Lees To Kill a
Mockingbird, I can put on a mans shoes and walk around in them. That has been one of my
greatest delights since I was a very little boy sitting up in bed with a tattered copy of The
Hobbit. However, Ive done some research and discovered what a number of musical theater
artists refer to as the out of body technique. They are able to divorce emotion from their
bodies; they described it as a true out of body experience, in which their emotional nature
becomes sentient, departs from the body, and allows the body to operate totally freely. It
sounds like some truly bizarre, borderline mystical nonsense, but a number of very talented
performers swear by it. Among them are Bernadette Peters, Ramin Karimloo, Norm Lewis and
Robert Westenberg. I have toyed with the technique while practicing songs for my jury, with
some good results. I will explore it further as I continue in my musical education!

The next two songs that I encountered were This Nearly was Mine, from Rodgers and
Hammersteins South Pacific, and Vittoria! Mio Core by Giacomo Carissimi. I was very familiar
with This Nearly was Mine, and was thrilled to give it a whirl. I had not yet encountered Vittoria,
but being something of a Europhile, was thrilled to tackle some Italian opera. This Nearly was
Mine was a breakthrough piece for me. It was while working on that particular song that I
discovered the importance of the position of the tongue. I can still remember the lesson in
which Mrs. McFarland told me to rest the tongue against my bottom teeth, and picture the
bump somewhere near the front rather than in the back. I could suddenly envision the
space that much better, and understood what she meant by the megaphone effect. That
has served me well since then, and I often find that when Im having troubles with a piece, it
comes back to the positioning of the tongue. This Nearly Was Mine was also helpful for me in
that it taught me to employ constant support to phrases. For instance, when Emil sings, Only
to fly as day flies from moonlight, the singer has to support a long phrase on a single breath. It
taught me to economize; to use deep, strong support only when I needed it. It also showed me
the importance of not over-singing. It was tempting to belt out that line, but it was not
appropriate given the context. This song also served as a call to return to my roots. By roots, I
mean my first lesson. I was, at this point, getting swamped with details. Tongue positioning,
creating the space, employing the proper swoop. I was losing sight of the foundation:
breathing. I started working on my breath work more faithfully, and devoted a lot of time to
proper breath positioning. This has served me very well during this entire semester, and Im
glad that I was reminded of it while working on this piece.

Vittoria was a particularly enjoyable song, particularly since it was the first piece that I
received as an assignment that I had never worked on outside of class. The Impossible Dream
was an old standard, I had performed Edelweiss at a recital in high school, and every selfrespecting baritone has taken a crack at This Nearly was Mine. However, I had never
encountered Vittoria, and was able to approach it without any presuppositions or erroneous
preconceptions. It was an interesting song to tackle for a number of reasons. First of all, it
stretched my range down. I am unaccustomed to singing notes that are low for me; having
always fancied myself a baritone-tenor (whether Im right or not we can leave to debate) and
have therefore spent most of my time attempting to strengthen my upper range. However, I
found that working on my lower range ultimately helped me develop my upper range. I
suppose that its like going to the gym. If you dont work on your legs, you cant work on your
arms as effectively. You have to develop the entire instrument rather than a mere part of the
whole. I was also challenged to employ dynamics within a phrase. I find that, once I find that my
breath support is well established within a phrase, Im nervous to change anything for fear of
messing it up. Its an irrational fear, but it plagues me. This does not allow for any level of
variance in volume within a phrase. Therefore, whenever a song called for a crescendo or
decrescendo, I broke the phrase, took a catch breath, and moved my support in order to
achieve more or less volume. Vittoria forced me to stop cheating. The sciolta that ascends,
descends, turns, swells, then fades does not allow for any break or catch. I learned to sing
through the phrase, keeping my breath support constant, and finally managed to achieve the
dynamic variance called for in the sheet music.

The next piece that I was assigned was Whither Must I Wander, from Ralph Vaughan
Williams Songs of Travel. This was another piece that, like Vittoria, I had never worked on
before. I had heard it performed on a number of occasions, but had never spent any time on it
myself. This piece challenged me more than any that I had yet encountered during lessons. The
timing was a struggle; I often missed dotted eighth notes followed by sixteenth notes and
assigned each the same value. However, I managed to surmount that obstacle without a great
deal of difficulty. The real problem that I encountered with this piece was the strain that it put
on my range. An E had never proved difficult for me before, but I struggled to hit the note
with proper support. It was difficult to get the breath low enough, and Im still encountering
difficulties on that front. I also find that I have a great deal of trouble with long es and short Is.
Therefore, birds come and cry there and twitter in the chimney has always been a difficult
one for me. In order to surmount this obstacle, I have focused on proper breath positioning. I
learned in my last lesson that I have a tendency to belly breathe, and do not pay enough
attention to expanding in all directions. I have therefore spent a number of hours working on
breathing exercises, emphasizing the expansion of the back of my ribcage. This has proved
helpful, and I find that I have less problems with the higher notes. I also find that this piece
lends itself to emotional interpretation at the expense of technique (which remains one of my
chief failings as a vocalist). I have to constantly remind myself to relax and let the instrument
work rather than tensing up and forcing the sound by use of my throat. I have a tendency to
close the trap door during this piece, and have spent a number of hours attempting to
conquer that impulse.

I was then assigned another of Emils songs from South Pacific: Some Enchanted
Evening. This may be my favorite piece that I worked on this semester. For whatever reason, I
find that I do not struggle with support, phrasing, dynamics, emotion, or tongue positioning
whilst working on this piece. I believe that the relaxed tempo and lilting melody serve to sooth
my nerves, and I can therefore avoid my tendency to allow emotion to compromise the
instrument. Once I manage that, the rest of the puzzle pieces tend to fall into place. While
journaling several weeks ago, I remember trying to think of some obstacle or impediment that
Id managed to conquer while rehearsing this piece. I drew a blank. This song was smooth
sailing from day one! I was glad to find a piece that lent itself so well to my range and quality of
voice, and was especially pleased at the opportunity to explore the expression and emotion in
the piece without worrying about technical errors. This has become a favorite of mine this
semester, and I look forward to working on it in the future as I continue to learn and develop as
a vocalist!
The final piece that I worked on this semester was Antonio Caldaras Alma del Core. This
was another piece that I had never heard, and I was eager to begin. I sat down to sing through it
for the first time, and listened to a rendition by Luciano Pavarotti. I remember thinking, as the
accompanist began playing, that it seemed odd to set an Italian madrigal to what sounded like
one of Bachs minuets. I have never managed to entirely shake that first impression. I cannot
say that it doesnt work; it certainly works! However, it still strikes me as strange. As I began
to practice the piece, I remember struggling with timing. I always felt that I was entering
somewhere in the middle of a phrase. I still find myself thinking that the pause between the
final dorero in each verse and the alma del core at the beginning of the next verse seems

shorter than it ought to be. However, that was a very manageable obstacle to overcome. The
real trouble came with phrasing. I had a great deal of trouble finding places to breathe in this
song. I believe that my musical theater background is to blame. I find that I have a tendency to
tie phrases together, even when theyre separate thoughts. That is standard procedure on the
stage; if you have air left, dont break! I can manage this in musicals because I speak English. I
know that if I employ proper inflection and dynamics, I can end a thought and begin a new one
in the same breath. However, that is not kosher when one is performing classical operatic
pieces. The creative liberties that one takes whilst performing musical theater are not
acceptable when performing classical music. I became conscious of this after several days of
frustration and breathlessness, and began to work on phrasing. I started to rest where the rests
were written, to breathe when there was a change in tone or a new thought, and found that
the piece became much more manageable. This proved to be a challenging piece, but an
important one. It taught me a valuable lesson that I might not have learned otherwise!
In conclusion: my struggles this year have been shallow breathing or belly breathing, the
trap-door in the throat, improper tongue positioning and consequent tension, improper
phrasing and consequent problems with conservation of air, and overall tension as a result of
emotional reactivity to songs. However, I have seen marked improvement in each of these
areas! I have found that I can breathe deeper every week, and support from lower down. I have
managed to get the trap door under control, at least most of the time, and have found that it
has increased my vocal endurance by a significant margin! I have especially enjoyed the
freedom and openness that comes with proper tongue positioning, and have become very
conscious of relaxing the tongue in the mouth. I have developed the ability to shape a phrase

properly, and have noticed a resultant increase in breath control. I still struggle with allowing
emotion to compromise my instrument and cause me to become tense, but I will continue to
work on it next semester! I am excited to see what next year brings, and look forward to
developing as a vocalist and as a musician.
Thank you for all of your guidance and support during this semester, and apologies for
this less-than-kosher journal/essay hybrid. I hope that, if nothing else, it serves to demonstrate
that I did indeed learn something, and that I gave some careful consideration to my assigned
pieces. Merry Christmas to you, and warmest thanks. I look forward to continuing to work with
you during these next two years!
Sincerely,
John Laurie

Assigned Pieces:
1. Edelweiss, Rodgers and Hammerstein, 1959
2. The Impossible Dream, Mitch Leigh, 1965
3. This Nearly was Mine, Rodgers and Hammerstein, 1949
4. Vittoria! Mio Core, Giacomo Carissimi, 1653
5. Whither Must I Wander, Ralph Vaughan Williams, 1902
6. Some Enchanted Evening, Rodgers and Hammerstein, 1949
7. Alma del Core, Antonio Caldara, c. 1720