Note-worthy Experiences Music Studio
F E A T U R E
Interview with Alicia Britton
F E A T U R E
Interview with Alicia Britton
How old were you when you first got interested in music, and when did you start piano lessons?
I always say that I was born into a spotlight and never wanted out of it! I’ve been performing since I could walk and speak. I started official piano lessons at 6 years old, and though I was always singing, the age requirement for professional voice lessons—way back when!— was 14, so that’s when I began studying art song and opera. At 8, I started to lapse on practicing and my parents gave me the “start practicing or it’s over” ultimatum, and I chose to continue to play. School wasn’t the best experience for me, so my childhood and teenage years consisted of college style practicing—after school to dinner, and from dinner until the house needed to be quiet so everyone could sleep. When I was 12 I got my first real piano and I still own it!
Did you (or do you) play any other instruments?
I am able to play anything with keys, and I have spent time in particular with flute and alto & tenor saxophone. Strings are not my forte, but I’m slowly integrating ukulele and bass guitar. I play Balinese gamelan, various Latin American percussion, and I am now a solid pop vocalist after having coloratura operatic training for my bachelor’s degree.
Who were some of your most inspiring teachers?
To be honest, I haven’t had the best experience with instructors. When I was in high school, I lived too far from instructors that would teach at my level, so I was self-taught from ages 12-19. The experiences I have had certainly were an influence on my choice to teach and my pedagogical strategies. Not every performer is a teacher, and I love doing both. I take pride in both, and I give 100% to both. I want my students to love lessons, to take pride in practice and take pride in their accomplishments.
What is your favorite genre of music to play? To sing? To listen to? My musical preferences are eclectic, considering I am currently in a masters program for ethnomusicology. I adore playing classical piano. I’ll sing anything. And I listen to genres across the globe—though I avoid modern country, say post-Patsy Kline and prime-time Johnny Cash. If I’m driving, my go-to genres are late 80s-90’s hip-hop and R&B and Latin American music: Ranchero, Banda, Reggaeton, Salsa, Merengue, Bachata. I love world music—African; Indian; Indonesian and others. I especially love Edith Piaf, Rodrigo Amarante, Lauryn Hill, and Mary J. Blige.
How often did you practice when you were a kid and how have your practices changed since you became a professional?
Above was my childhood story. In college, piano was my secondary, so I only practiced 4 hours a day, 4-5 days a week, depending on the repertoire. As a professional, I play the piano very rarely in public unless it’s to accompany, so I mainly play for my compositions. When I need to play as an accompanist, I prepare about a week ahead of time. Warm ups are essential for voice work. When I’m in a show, singing or acting, I take special care of my voice, but when I’m not prepping for a gig or in a run of shows, I usually take a break and do more singing than warming.
What was your most memorable music performance?
I was Ronnette in “Little Shop of Horrors.” I hated the dancing but it felt so good to wail on stage. I also performed in Carnegie Hall and Lincoln Center with the Symphonic Choir and New York Philharmonic during my undergrad. We did Mahler’s 2nd, and though it wasn’t the usual way of performing the work, the choir was on stage for the entire duration of the piece. There were 200 singers and after sitting impeccably idle for 7 movements, we had to come into the 8th movement at pppp! We ended up starting with every other person singing, but still, it was a bizarre demand, but incredible experience.
What do you like most about teaching young musicians?
Young musicians have a lot going on in their lives that they have no control over. I like teaching them because as much that needs to get done in a lesson, I like them to have some freedom over song choices and activities for the day. My favorite part is when parents tell me that after starting lessons, their children are improving socially, academically, and personally in other areas of their lives. I love promoting confidence and helping them realize that the simple pieces they are playing at first, are actually really beautiful pieces of music.
What is your best advice to students who want to learn a new instrument or improve their singing?
I hate using the word practice, so I’ll say play. It’s essential to play outside of lessons. It’s essential to listen to music and sing along to practice harmonizing. Stop listening to singers (if you are the same gender) of the songs they want to sing so that they maintain their individuality. When frustration hits and doesn’t subside, it’s probably time to take a break. If you start making mistakes you’ve never made before and it’s not improving within a few minutes, it’s probably time to take a break. It’s not about force, it’s about enjoying the music and discovering what it is about each piece that makes you tick.
When you’re not performing or teaching, what other hobbies or interests do you have?
I have a huge interest in sound studies. I am an activist for mental health, an actor and a movie buff. I am a yogi, a cycle instructor, and a gym rat. I read The New Yorker, Atlantic and Time to keep up, and I love any non- fiction or classic literature. I love fine dining, but I also love to cook. And I attend comedy shows regularly; Boston has a pretty cool comedy scene.
Read more about Alicia on her teacher page.
I always say that I was born into a spotlight and never wanted out of it! I’ve been performing since I could walk and speak. I started official piano lessons at 6 years old, and though I was always singing, the age requirement for professional voice lessons—way back when!— was 14, so that’s when I began studying art song and opera. At 8, I started to lapse on practicing and my parents gave me the “start practicing or it’s over” ultimatum, and I chose to continue to play. School wasn’t the best experience for me, so my childhood and teenage years consisted of college style practicing—after school to dinner, and from dinner until the house needed to be quiet so everyone could sleep. When I was 12 I got my first real piano and I still own it!
Did you (or do you) play any other instruments?
I am able to play anything with keys, and I have spent time in particular with flute and alto & tenor saxophone. Strings are not my forte, but I’m slowly integrating ukulele and bass guitar. I play Balinese gamelan, various Latin American percussion, and I am now a solid pop vocalist after having coloratura operatic training for my bachelor’s degree.
Who were some of your most inspiring teachers?
To be honest, I haven’t had the best experience with instructors. When I was in high school, I lived too far from instructors that would teach at my level, so I was self-taught from ages 12-19. The experiences I have had certainly were an influence on my choice to teach and my pedagogical strategies. Not every performer is a teacher, and I love doing both. I take pride in both, and I give 100% to both. I want my students to love lessons, to take pride in practice and take pride in their accomplishments.
What is your favorite genre of music to play? To sing? To listen to? My musical preferences are eclectic, considering I am currently in a masters program for ethnomusicology. I adore playing classical piano. I’ll sing anything. And I listen to genres across the globe—though I avoid modern country, say post-Patsy Kline and prime-time Johnny Cash. If I’m driving, my go-to genres are late 80s-90’s hip-hop and R&B and Latin American music: Ranchero, Banda, Reggaeton, Salsa, Merengue, Bachata. I love world music—African; Indian; Indonesian and others. I especially love Edith Piaf, Rodrigo Amarante, Lauryn Hill, and Mary J. Blige.
How often did you practice when you were a kid and how have your practices changed since you became a professional?
Above was my childhood story. In college, piano was my secondary, so I only practiced 4 hours a day, 4-5 days a week, depending on the repertoire. As a professional, I play the piano very rarely in public unless it’s to accompany, so I mainly play for my compositions. When I need to play as an accompanist, I prepare about a week ahead of time. Warm ups are essential for voice work. When I’m in a show, singing or acting, I take special care of my voice, but when I’m not prepping for a gig or in a run of shows, I usually take a break and do more singing than warming.
What was your most memorable music performance?
I was Ronnette in “Little Shop of Horrors.” I hated the dancing but it felt so good to wail on stage. I also performed in Carnegie Hall and Lincoln Center with the Symphonic Choir and New York Philharmonic during my undergrad. We did Mahler’s 2nd, and though it wasn’t the usual way of performing the work, the choir was on stage for the entire duration of the piece. There were 200 singers and after sitting impeccably idle for 7 movements, we had to come into the 8th movement at pppp! We ended up starting with every other person singing, but still, it was a bizarre demand, but incredible experience.
What do you like most about teaching young musicians?
Young musicians have a lot going on in their lives that they have no control over. I like teaching them because as much that needs to get done in a lesson, I like them to have some freedom over song choices and activities for the day. My favorite part is when parents tell me that after starting lessons, their children are improving socially, academically, and personally in other areas of their lives. I love promoting confidence and helping them realize that the simple pieces they are playing at first, are actually really beautiful pieces of music.
What is your best advice to students who want to learn a new instrument or improve their singing?
I hate using the word practice, so I’ll say play. It’s essential to play outside of lessons. It’s essential to listen to music and sing along to practice harmonizing. Stop listening to singers (if you are the same gender) of the songs they want to sing so that they maintain their individuality. When frustration hits and doesn’t subside, it’s probably time to take a break. If you start making mistakes you’ve never made before and it’s not improving within a few minutes, it’s probably time to take a break. It’s not about force, it’s about enjoying the music and discovering what it is about each piece that makes you tick.
When you’re not performing or teaching, what other hobbies or interests do you have?
I have a huge interest in sound studies. I am an activist for mental health, an actor and a movie buff. I am a yogi, a cycle instructor, and a gym rat. I read The New Yorker, Atlantic and Time to keep up, and I love any non- fiction or classic literature. I love fine dining, but I also love to cook. And I attend comedy shows regularly; Boston has a pretty cool comedy scene.
Read more about Alicia on her teacher page.
