Posted: 9/29/26 at 11:31pm
This might seem like a trivial matter, but tonight I listened to the Tony performance of "Omar Sharif" from The Band's Visit, and noticed that there was minimal vibrato in Katrina Lenk's performance. Is this common, or are there many other instances of such a vibrato-free vocal performance?
Updated On: 9/29/26 at 11:31 PM
Posted: 9/30/26 at 12:52am
Posted: 9/30/26 at 1:23am
I think the best way to look at the use of vibrato is not based on the specific song, but the actor and intention to the specific phrase. It's a choice, not a requirement, that can change the way a phrase is delivered -- more emphatic, intense passages ("blooming" towards the end) often have more vibrato applied; but that's a choice, and not a hard and fast rule. But vocal vibrato markings in scores aren't a thing; it's choice to add color to the performance.
Updated On: 9/30/26 at 01:23 AM
Posted: 9/30/26 at 4:41am
walnutoraroach said: "Vibrato, for singers who can really control it, is part of the storytelling toolkit, "
I absolutely believe this.
Choosing a couple of examples in regards to Katrina:
• I really enjoyed her vocals as Arachne being reminiscent of Bjork's vocals.
• Her Dina employs straight tone, her natural vibrato, and she also sings a trill in the final notes of "Omar Sharif" that remind me of The Bulgarian State Radio & Television Female Choir.
• I was very fortunate to work with Katrina in a production of "Cabaret". Her vocal style as Sally Bowles was similar to her Bobbi in "Company".
I have a lot of respect for Katrina's work. She uses her "storytelling toolkit" in the most creative ways.
PS: Here's an example where Katrina doesn't choose straight tone: Katrina Lenk - Could I Leave You (Follies)
Updated On: 9/30/26 at 04:41 AM
Posted: 9/30/26 at 8:19am
Posted: 10/1/26 at 6:36pm
I didn’t get to see it live, but the promotional footage I saw of “American Idiot” was almost entirely straight toned.
Posted: 10/1/26 at 8:41pm
I recall reading somewhere that Marvin Hamlisch specifically sought out singers for "They're Playing Our Song" that were entirely straight tone, because of his distaste of vibrato. And that's evident on the cast recording (both London and Broadway). Fascinating listen with that in mind.
Posted: 10/1/26 at 10:45pm
bwaylvsong1 said: "I didn’t get to see it live, but the promotional footage I saw of “American Idiot” was almost entirely straight toned."
I’d say that in general, pop/rock tends to elicit more use of straight tone.
Posted: 10/2/26 at 7:32am
That is really interesting!
Did Lucie Arnaz slip through the net when she took over or did she have/use more straight tone back then? This is coming from someone who really likes her voice, just to be clear
Posted: 10/2/26 at 3:57pm
inlovewithjerryherman said: "I recall reading somewhere that Marvin Hamlisch specifically sought out singers for"They're Playing Our Song" that were entirely straight tone, because of his distaste of vibrato. And that's evident on the cast recording (both London and Broadway). Fascinating listen with that in mind."
This is true, if you listen to the cast recording you'll find it's barely there.
Posted: 10/2/26 at 4:45pm
Jeremy Jordan has a rich vibrato - listen to his National Anthem this week - yet used it sparingly in his Floyd Collins. Contrast Jordan’s “The Call’ with the original’s, Christopher Invar’s. It seems a characterization decision, to create a vocal representative of a hardscrabble existence. Jordan soars on the show’s standalone final epiphany, the spiritually transcendent “When Glory Goes,” but before characterizes Floyd with a far more straight sound. A friend who’s a singer pointed this out when the new recording dropped.
Updated On: 10/2/26 at 04:45 PM
Posted: 10/2/26 at 4:52pm
Marge MacDougall said: "That is really interesting!
Did Lucie Arnaz slip through the net when she took over or did she have/use more straight tone back then? This is coming from someone who really likes her voice, just to be clear"
She sings the cast recording almost entirely with straight tone.
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