Spotlight

The art of voice

 Interview with voice expert Nirupama Venkatesan

 

Nirupama Venkatesan, a Mumbai-based Hindustani vocalist and certified voice teacher, started her musical journey in a family deeply rooted in musical traditions at a young age. Transitioning from Carnatic to Hindustani classical music in 2016, she has collaborated with artists, embraced a universal touch, and is now studying the Jaipur-Atrauli gharana under Rutuja Lad. Beyond performances, she contributes to voiceovers and jingles for several brands.

 

As a graduate and vocal teacher of the New York Vocal Coaching (NYVC) program, Nirupama guides students of all levels. Committed to vocal wellness and music education, she leads 'All about voice,' an initiative launching soon, offering tips, workshops, and interviews to enrich the understanding of voice culture in Indian classical music.

 

Nirupama Venkatesan in conversation with Sudharshan Prasanna

 

Could you tell us a little bit about yourself? How did you get your background and initiation into music?

 

My initiation into music started when I was about two years of age. I could recognize Carnatic ragas, and my family thought I had some potential. Although I began learning informally under my parents and grandparents, I started formal training under vidwan  O.V. Subramaniam in Chennai. My great-grandfather was Salem G. Desikan (a well-known Carnatic musician of yore), so I come from that lineage. Regardless, the music environment has always been a part of my household, so that's where my musical journey started.

 

What inspired you to take up Hindustani music while hailing from a long line of established Carnatic musicians?

 

I had learned Carnatic when I was young, but there was a long hiatus in between when my family shifted to Belgaum. I began to explore and take an interest in other things in life, such as school, academics, sports, etc, although there was always an atmosphere of music around me. Several years later, when I quit my media job and decided to take up music, I was looking for a teacher. I did not consciously look out for a Carnatic or Hindustani teacher, although my parents were keen that I train in Carnatic. When I heard dhrupad for the first time, I was more inclined towards [Hindustani] - it was more about that form of music coming to me rather than me actively seeking it out.

 

What led to your voice strain, and who did you turn to for assistance in resolving your vocal issues and undergoing voice culture training?


My voice got messed up sometime in the middle of 2018-2019, and I was performing in a series of concerts in December. In one of those concerts, I realised mid-performance that my voice was completely gone. It was so bad that I couldn't even sing Sa; I struggled. The main problem was that I didn't even know why it was strained. So after the concert, I wrote to a friend saying I needed to go to a voice doctor. I then met Jaikumar,  a laryngologist in Kerala, and after visiting him, I realised that the singing technique I had been following my entire life was completely wrong! Back then, I knew nothing about the larynx, the importance of breath support, jaw position, or any such facet of voice culture. I had to start my voice journey from scratch with basic varisais, voice techniques, and vocal warm-ups. 

After that, I researched extensively on voice culture and its various aspects. Talking to people with similar voice journeys also helped as I began experimenting with different exercises, techniques, and almost anything I thought would help me improve my voice. There was no actual instruction during this time - it was just exploring and examining countless pieces of advice and exercises to see what worked. From this, I noticed improved voice quality and texture, which only spurred me to explore and get even deeper into voice culture. In 2021, I did a course on voice training from New York Vocal Coaching under my mentor Justin Stoney, which also shifted how I teach and approach the voice!

 

What aspects did you focus on in these exercises, and what approach did you employ to benefit significantly from them?

 

With vocal exercises, there is a certain element of fun - it's not a rigid practice where you're constantly thinking about 'Am I in sruti? Or is the tala correct?' or any technical aspect like that. However, what many people get wrong is that they solely focus on reaching the desired note at all costs. They will manipulate their voice to achieve that high note or explore that top range. I learned the proper technique and then got to the notes properly through these exercises.

How did applying proper technique in your practice directly enhance your music?

 When I understood every aspect of the voice, including fundamentals like posture, alignment, breathing, jaw-tongue relationship, etc., these all cumulatively added to the voice, leading to considerable improvement in just one year. I could see my stamina and vocal endurance improve by understanding why we do what we do and putting this proper technique into practice. That made me worry less about the voice and focus more on music and content, which improved my overall musical quality.

 

Does the breath vary according to which octave you are singing in?

 

Not necessarily - the exhalation needs to remain constant, especially if you are singing a phrase or sangati that involves a mix of multiple octaves. To bring that ease of singing across different ranges, one must be conscious of how they develop their breath support and maintain a constant exhalation. 

 

How does one's emotional state influence the character of one's voice, and conversely, how does the voice impact one's emotional expression?

To me, voice is everything - it defines a person. Whether it be your physical, mental, psychological, or emotional state, everything affects your voice and how you project sound. Take, for instance, a scenario where you are excited. Your voice is naturally on a higher frequency. Your breath is more rapid and shallow, which shows in the voice. When you're sad or under the weather, your voice will be down, rigid, and more in the lower frequencies. This also shows up in your breathing, which will tend to be heavier and more drawn-out. No matter what scenario you take, there is an innate connection between breath, brain (emotion), and voice.

Regularising breath will help regulate the emotional state. Meditation, deep breathing, etc, are shown to calm and soothe people when they are anxious or angry. Again, it's not like breathing well will fix emotional problems; there is some level of relation between the three aspects [breath, emotion, and voice].

 


Is there a basic routine you recommend aspiring singers follow or any basic steps one should implement daily?

 Having a routine of vocal exercises and warm-ups is a must for me and something I highly suggest to others. The voice is also a muscle, so it needs to be trained with the proper technique. 

 Some fundamental vocal exercises like trills will work for almost anyone. Whether it be lip trills, tongue trills, or any other variation, they are a must for me in improving aspects like breath support and mitigating strain in the voice. Working on a lot of different vowel-based exercises is also something that I find essential to opening up the voice. Exercises like these are something I could prescribe in good faith to most people trying to improve vocal strength. 

 

What fundamental steps should be taken to heighten awareness of the voice and its cultivation?

 

The first step should be realising there are aspects one can work on regarding their voice - not even music-wise, strictly just with the voice. For instance, I might have to work on breath support, compression, or resonance - knowing what aspects to target is the first step in improving the voice. 

 Secondly, one should seek out a dedicated voice teacher - traditional music teachers are good at what they do and at identifying that a problem exists, but training under a voice expert and learning the underlying issue will have many benefits. Understanding the anatomy and the root cause of the target area can help many students improve their technique and create a better sound.

 

Another overlooked aspect is getting enough exercise; whether it be yoga, running, or walking, staying physically fit impacts the voice and body. I practice yoga and get in an hour of cardio daily - it cannot be underestimated in terms of its potential to strengthen one's voice and body.

 

The voice is always capable of versatility - I don't like to limit myself in how much or how high or low I can sing. We are all limited in our heads as to how far the voice can go, and changing that mindset is another good step in maximising vocal potential. 

 

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