Katharine McPhee’s Backstage With Bryan Interview

I thought I would add a blog topic featuring Katharine McPhee’s Backstage With Bryan interview.

It was filmed after her outstanding performance of her new single,“Terrified”, on the Tonight Show With Jay Leno. The number was written by American Idol Judge Kara DioGuardi.

Katharine’s voice and presence continues to impress me; she is an extraordinary artist.

And look at her new hairstyle! If I styled my hair like that I would scare everyone around me but, with her exquisite facial features, it looks beautiful.

You can watch her performance on YouTube. You will not be disappointed. It is absolutely wonderful.

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About Masterclass Lady

Rosanne (Giallonardo) Simunovic began her musical career in Timmins, Ontario. She studied piano with Anne Pizzale and later, at an advanced level, with Soeur Anita Vaugeois (Sister Cecile of Les Soeurs De L’Assomption in Timmins). Her vocal and accompaniment skills were nurtured by her aunt, the late Dorothea Mascioli. When Rosanne graduated from O’Gorman High School, she moved on to the University of Toronto where she continued her piano and vocal studies while attaining a Bachelor of Arts Degree. She was hired as a piano accompanist for several musical companies, most notably, the National Ballet Of Canada. She presently holds an A.R.C.T. Teacher’s Diploma in Voice from the Royal Conservatory of Music in Toronto. Rosanne has studied choral conducting with numerous well known Canadian Conductors, including Wayne Riddell of Montreal, Quebec and the internationally renowned Dr. Elmer Iseler. She has been a founding member of numerous community-based arts organizations: the Timmins Arts Council, later known as Arts & Culture Timmins, the Timmins Symphony Orchestra, and, the Timmins Youth Singers…as well as the TYS Alumnus choir, the Timmins Concert Singers. In 1987, she was also selected to be the conductor of the Timmins Board Of Education Choir, comprised of talented students from Grades 5 to 8. In 1988, she was elected to the Board Of Directors of the Ontario Choral Federation (now known as Choirs Ontario), where she served as Chair of the Festivals Committee for six consecutive seasons. In 1996, in honour of the Ontario Choral Federation’s 25th Anniversary, Rosanne was selected as one of 25 recipients of the OCF’s Distinguished Service Award for outstanding contribution to the choral art. The ceremony was presided by Lieutenant Governor, Hal Jackman. In November 1997, Rosanne Simunovic was selected by the Rotary Club Of Timmins to receive the prestigious Paul Harris Award for her years of dedication to the artistic development of young musical talent in Timmins. In August of 2002, Rosanne Simunovic was selected by the Board Of Directors of Choirs Ontario to serve as Conductor of both the Provincial Junior and Teen Choir Camps, now renamed in honour of the Camp Benefactors, Don and Lillian Wright. In November 2002, Rosanne was the one of the recipients of the Commemorative Medal for the Golden Jubilee of Queen Elizabeth II, honouring her work in the development of the arts in Timmins. Under Rosanne Simunovic’s direction, the Timmins Youth Singers and the Timmins Concert Singers have been featured in numerous choral festivals and performing opportunities outside of Timmins. In 1985, they were selected to partici

4 Responses to “Katharine McPhee’s Backstage With Bryan Interview”

  1. I’m happy for the tremendous Katharine has made. I really admire the candor she’s displayed in recent interviews about her vocal deficiencies, and I definitely hear the difference that “learning to breathe” has had in her voice. She’s much more connected in her middle register now. Here are some quotes from interviews that might interesting you:

    I read that you recently re-watched some of your “Idol” performances. What did you think, in retrospect?
    I mean, you’re not gonna have a great week every week, but honestly, I was surprised how bad some of them were. Maybe in the moment people didn’t think they were bad, but looking back at how much I’ve grown… I could see where I was uncomfortable, where I was pushing, where it wasn’t about the simple storytelling of the song, it was about trying to perform, and that really doesn’t work. It’s not about selling the song, it’s about telling the story. I really wasn’t a developed singer and didn’t have much performing skills. When I’m on stage now, the simple act of breathing through the songs and being able to control my voice more [means] I’ve grown a lot, and “Idol” really worked that growth. Coming off of that show was a lot of growth, my first record was part of that growth, traveling around and doing gigs and little radio shows around the country—all that literally taught me how to be a recording artist.


    And what about Andrea? What kind of advice has he shared?

    Well, one of the things he told me when we first started recording was, “You need to learn how to breathe.” [laughing] He said, “I can hear in your voice, it’s very tired.” I said, “I am tired, Andrea. I’ve been singing so much.” He said, “Your voice is weak. You don’t know how to sing yet. You’ll learn one day.” He said, “When I first started to sing, I lost my voice all the time because I didn’t know how to breathe.” The last time I saw him, he said, “You’ve learned to breathe.” I said, “Yeah, I think I have. I’ve been working on breathing and not holding all my attention while I’m singing in my throat.” Because, really, singing does come from your breath, and Andrea was one of those people who let me know that I was doing it improperly. And, not a bad person to learn it from.

    As I was reading through the various press releases for your sophomore album, one particular quote caught my eye: “Having a big voice, I had to realize that singing high notes didn’t equal artistry.” When did you have this epiphany? And how did that affect the musical style on Unbroken?

    I guess it wasn’t a one-moment epiphany. Part of it was going back, looking back at old performances on Idol and just thinking, “Ooh! Wow! That sounded a little screechy. Why didn’t I lower the key one step?” Something as simple as that. Also, sometimes I see myself really struggling, working on a song. I’m just working on a particular note and it’s so difficult and I know it shouldn’t be this hard. Of course, singing is hard and it takes a lot of discipline and practice, but I’m thinking, “If I just lower the key a little bit, then it will be so much better.” All voices are different, and I think going to see other people perform—watching them—it wasn’t even about the highest note they could sing. Yes, it’s always incredible to see Celine Dion hit those high notes. The time you were most moved was when they did that one, little riff that links straight to your heart. And it just really moved you. So, I guess for me, it was just a process of really learning myself as an artist, because when I was on Idol I was trying to be an actress. I was going out on auditions, and I just sang all the time in the house. I wasn’t quite sure how you get a record deal. I wasn’t focused on going on Idol and saying, “If I make a record, I’m going to make this record.” I didn’t have that knowledge of myself as a singing artist at that point in my life. Being able to go through the process of making my first record and then now making my second record, I’ve really had the time to figure out where I fit as an artist. So I think this record really reflects the process that I’ve gone through.



  2. *tremendous progress

    Pesky typos. =P


  3. J- thank you so much for adding this information in your comments about Katharine. It was very informative and enlightening. I will have to read the complete interview.


  4. Have you reviewed Katharine’s album “Unbroken.” I was looking forward to what you thought of it.


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