Trust Yourself: A Talk with Arbender Robinson

How do you not lose technique in the moment on stage?

It’s trust. I think you have to trust that the technique is going to be there and go back later and fix something if it’s not.

When you get up and go to the bathroom, you don’t think ‘let me put my feet on the ground and walk forward.’ We trust that the technique of walking is there and if I trip, we go back and try again.

Your job is to simply perform the story. The technique is naturally going to be there. And after you finish, you say ‘maybe I can adjust and fix this'.

Sometimes we work so hard with technique it becomes about connecting the dots instead of telling the story. That’s not what the composer wants. Trust that the technique is there and tell the story your way. Honestly connect with it from your own point of view.

Sometimes we teach performance and technique separately. When people study with me it is rare that we do technique. It’s a performance so we can go back later and fix the technique.

How do you endure the mental and physical toll of eight shows a week?

Yes, eight shows a week along with tech and organic storytelling! Singing in a rehearsal room versus performing on a stage or in a concert hall are all different skill sets.

In a concert, I can belt and sing at double forte because I’m only performing once. In a rehearsal, the work is highly calculated and monitored so I can be exactly the same. This way, the technical engineer can adjust for the actual performance later. In a performance, I don’t do crazy belting, but mix instead. In performance every day is high repetition but low rate. 

But sometimes you still have to sound “big” on stage? How do you maintain that and your vocal health?

Yes. How far back can my pianissimo be but have it sound like a mezzo forte to the audience? I know I have to give more diction when I’m singing softer. That way, the words are crisp and make an impact without laying heavy on my voice. I’m not going to give you a triple forte!