The Art of Choral Fixing
I create the tapestry which will best reflect the composer’s music and allow the director’s artistic vision to be accurately realised.
“I trust her judgement and advice - it always results in a great team"
Neil Ferris (Sonoro)
My Approach
At its most basic, choral fixing is simply the selection of the right voices for a project. I believe that fixing a choir is like painting a picture; it is an artform and is fundamental to the successful implementation of a director’s artistic vision.
The starting point is usually a discussion with a director about their desired sound for a particular project - they may ask for a slim sound, or a round and colourful sound, or a sound with blade, or just about any sound imaginable. The way people describe sounds and vocal colours varies, and it is my job to understand what is required, balancing different singers’ sounds together until the jigsaw pieces fit together perfectly.
Before fixing each project, I spend time with the music, and I immerse myself in that sound-world.
My job is to create the tapestry which will best reflect the composer’s music and allow the director’s artistic vision to be accurately realised. These two objectives must exist harmoniously.
I maintain continuous and open dialogues with directors whilst fixing is ongoing, discussing different combinations of voices and how I feel they work together and could benefit the choral sound as it develops for each project.
My experience as a busy working singer has allowed me to develop wide networks and get to know many singers’ voices. The creation of well-balanced sections is essential to the knitting together of the entire ensemble.
Choral fixing is a craft which requires immense experience and skill, and I am hugely privileged to enjoy this responsibility.