On Your Mark, Get Set, Go! How to Mark in Rehearsal (and When Not To)

        Anyone who has worked with me knows I am guilty. I have a really hard time marking in rehearsal, and I almost always end up singing full voice all the way through the process. Some of that is enthusiasm, some of it is adrenaline, and a lot of it is simply loving the music. Still, it’s a habit I’m actively trying to get better at.

For readers who may not know what marking is, it’s one of the most essential tools a singer has for surviving long rehearsal periods. It’s how we save our voices through many, many hours of singing. Why would a singer need to do that? Isn’t it our job to be able to sing for hours on end? Yes—but it’s also our job to maintain a healthy voice, and a voice that doesn’t sound tired.

Right now, I’m firmly in gigland. I’m rehearsing Lucia di Lammermoor with Opera York (opening February 27), and I’m also heading to Owen Sound this week to rehearse and perform a special Valentine’s concert with the Georgian Bay Symphony Orchestra under the baton of Jeffrey Pollock. I’m thrilled to be making music again with my pals Matt Chittick and Jonathan Kirby—the three of us have rich history in Toronto's Scene, but we really came together a couple of summers ago at the Kincardine Festival—and I’m always happy to get the band back together. Especially when my character’s death isn’t just part of the hang. Katy Clark will also be joining us, and it’s shaping up to be a really beautiful program.

With all of that singing on the horizon, this feels like the perfect moment to talk about marking: what it is, why it matters, when to do it—and when not to.

What Is Marking?

At its core, marking means intentionally not singing at full voice during rehearsal. Instead of giving one hundred percent vocal output, you use a reduced version of the voice to communicate notes, rhythm, text, intention, and musical shape—without full physical commitment.

Marking can look different depending on the singer, the repertoire, and the rehearsal. Sometimes it’s singing lightly, sometimes it’s speaking rhythms, dropping an octave, or my favorite; Thespian Speaking! Ultimately the text is the true driver of the show, and speaking your lines in rhythm in a higher floaty tone really gets the job done when you're preserving the voice. 

Marking is not checking out. You’re still staging, absorbing cues, refining musical choices, and building the character. You’re simply choosing to protect the instrument while doing so. For many singers (myself included), this is a learned skill. We’re trained to give generously and to show up fully—and sometimes that instinct works directly against long-term vocal health.

Why Would a Singer Need to Mark?

Because the voice isn’t like a piano or a violin—you can’t put it back in its case at the end of the day. You also need your voice for everyday day exchanges. 

Rehearsal schedules can be long, repetitive, and cumulative. You might sing the same high passage ten times in one staging rehearsal, then again in music rehearsal, then again at home “just to check.” Each repetition might feel manageable on its own, but the total vocal load adds up quickly.

Marking helps prevent vocal fatigue and swelling, keeps the voice consistent over a long rehearsal period, and allows you to arrive at performances sounding fresh rather than worn down. It also lowers the risk of injury during particularly demanding weeks.

“But Isn’t It Your Job to Be Able to Sing for Hours on End?”

Yes—and also, no.

It is our job to build stamina, technique, and resilience. We train for years to sing demanding repertoire under pressure. But it is not our job to sing at full volume, intensity, and extension at all times. I had one singing lesson many years ago that gave this advice; You can't be a cheerleader, dear. 

Think of elite athletes. They don’t sprint every drill or max out every workout. They train strategically so peak performance happens at the right moment. Singing works the same way.

A tired voice may still produce sound, but it often loses clarity, flexibility, pitch stability, and expressive nuance. The true mark of professionalism isn’t how heroically you sing in rehearsal—it’s how reliably and healthily you deliver when it counts.

And yes, I say this as someone who still struggles with marking. I blame the composers who seem personally invested in testing the limits of my self-control. But I’m not 20 years old anymore, and self-preservation has officially entered the chat. Lucia plus symphony concerts, travel, winter air, and long days? That’s when smart marking stops being a suggestion and starts being non-negotiable.

When Not to Mark

Marking is a tool—not a blanket rule. You can't mark the whole time. This is especially true when working with new groups. They'll think you can't sing!

Full voice is important when you’re testing stamina in a planned sing-through, checking balance with orchestra or ensemble, or running the role to assess endurance and recovery. It’s also essential in later rehearsals, when performance conditions are being simulated and you need accurate feedback from your body. Per rehearsal, sing crucial points of the show with your full voice at least once. 

My Struggle

Marking in coloratura is actually the hardest part for me. Fast coloratura feels a bit like running the 100-metre dash—you wouldn’t walk it to practice. Keeping it in shape is essential, so not doing it can feel vaguely stupid. I’ll be honest: I often don’t mark coloratura because I genuinely believe that the more you do it, the stronger and more reliable it becomes. The same goes for high notes.

Sure, you can sing endless high notes in the practice room—or in that one magical stairwell with the incredible acoustic when no one’s around—but that’s not the same as singing them when there are 500 people watching. You don’t have to sing every high note in rehearsal. You just don’t. But—and this is important—if a particular high note makes you nervous, then you absolutely should do it. Avoiding it solves exactly nothing. Confidence doesn’t come from pretending the moment isn’t coming; it comes from meeting it head-on, at least often enough that your body knows it can be trusted.

Final Thoughts

Marking is a professional skill—one that supports longevity, consistency, and artistry.

I’m still learning to rein it in. I love singing. I love the music...but sometimes my enthusiasm gets the better of my common sense. The longer I do this work, the more I understand that protecting the voice isn’t about holding back—it’s about showing up, night after night, with something still left to give.

Stay up-to-date with my performance schedule by visiting my website!

Before the Mad Scene last year with Southern Ontario Lyric Opera production of Lucia di Lammermoor.