The people who accuse her parents of pushing her,
nothing could be further from the truth. Yes, they assist her, but
this is HER dream. She does NOT have a pushy stage mother or Parents. Her parents' interest is not in making money off her, either. Their first
priority is seeing that she doesn't sing in a way that would
permanently damage her voice. If you listen to her, you'll hear that
she NEVER "belts" in the upper modal ("normal") register, which is the
main way children damage their voices. She is not being "pushed" by
her teachers or parents sound a certain way; she has simply sui
generis developed her unusual voice.
Jackie's vocal advisor, Yvie Burnett, is a proponent of the Estill
method, which (as you no doubt know, since you are evidently vocal
experts) is known to be gentle on children. It does not focus on
breath support, assuming the singer will learn that elsewhere. Even
so, if you observe Jackie over time, you will see how much her breath
support has improved over the years.
To be sure, Jackie has technical flaws. Her lungs are still small,
requiring frequent breaths & interrupting her phrasing. Adult singers
with full-size lungs obviously also have greater power & depth to
their voices. Her diction on her high notes needs work. She
is unpolished, sometimes inconsistent. She has a mild chin waggle,
which is problematic for SOME vocalists as they age. She shown us very
little of the high, rapid coloratura-type flexibility that lots of
young soubrette & light lyric sopranos have. She uses amplification,
though this is because her parents have been advised against singing
without it until after puberty.
Jackie's technical skills, however, far outweigh her problems. Her
portamento is 2nd to none. She is superb at hiding her passaggi (or
passaggios in English), which she does as well as any opera star in
the world, & better than many. As you no doubt know, passaggi are
emphasized in some types of singing, including yodeling, Bulgarian
folk singing, & some bluesy pop, but in western classical singing
they're suppressed. One can only occasionally heard HINTS of passaggi
on a couple of Jackie's songs, e.g. Ave Maria (Bach-Gounod) & All I
Ask of You, on "downsloping" passages of portamento.
The timbre of Jackie's modal & loft (called "falsetto" by the
scientists) registers have become very, very similar, again, better
than many opera stars. It's now at least as easy for me to hear (e.g.)
Renée Fleming's passaggi & modal-loft transitions as it is to hear
Jackie's; this is true for opera stars of the past as well. Skill in
suppressing passaggi & making modal & loft registers sound similar
allows what you may call "voix mixte," the mis-named "middle register"
in females. (If you agree that "register" is a laryngeal phenomenon
only, the "middle register" doesn't exist. In modal register, the
whole cords vibrate; in loft register, only the mucosal edges of the
cords vibrate. There's nothing in between, which is what the science
tells us.) Opera singers work for years to be able to do these things.
Jackie can do them at 11, with seeming ease. Adults may have more
powerful voices, but for Jackie's size, her rounded vocal color (or
"colour," since you wrote "theatre") & full timbre are nothing short
of astonishing, incredible, perhaps even "impossible." If you listen
to the above-mentioned OMBC, you'll hear the beginnings of low
laryngeal technique, as well as "covering" in the loft register.
Still, all her technical things are really beside the point, because
they're not Jackie's strength. Her technical skills are merely
astonishing. Jackie's strength is the emotional connection she has
with her music & her audience. Has there ever been a singer, of any
age in any genre of any era, whose emotional connections are stronger
than Jackie's? Look around her audiences: you have NEVER seen so many
people at so many concerts WEEPING. Jackie simply makes people CRY,
often uncontrollably, & they frequently don't even know why. She even
makes big bad bikers burst into tears. She reaches in, touches their
souls & melts their hearts. The minor arm movements that seem to
bother you so much are only a small part of this emotional
communication. Some say she's an old soul, or has been touched
directly by God, or is the reincarnation of Jenny Lind (the 19th
century "Swedish Nightingale"), or is the female Orpheus.
At most of her concerts, Jackie doesn't just get standing ovations
after every performance, she often gets them after every SONG. Jackie
did a concert in Houston for Brilliant Lectures a few months ago where
she sang 7 songs & got 7 standing O's. They told her that had never
happened to them before, & their previous guest singers had included
Julie Andrews, a pretty good pop singer, Diana Ross, a pretty good
Motown/R&B singer, & Renée Fleming, a pretty good opera/whatever
singer. All 3 of them were at least semi-arguably the best in the
world at one time or another in their respective genres, yet in terms
of audience response, Jackie outsang them all. She was 10 - TEN!
Of course that should be simply IMPOSSIBLE. How can a little girl
POSSIBLY be as good at communicating emotion as a 40 year old opera,
pop, blues, gospel or country (or whatever) singer? How can she
communicate emotions she hasn't even had yet? Well, there she is. Scan
her audiences, & you'll see it.
It's the combination of her astonishing, "almost impossible" technical
skill & her "utterly impossible" skill at emotional communication that
makes Jackie arguably the most talented young "pure" vocalist in the
history of the world (or at least in the history of recorded music in
the western world). Jenny Lind, who was said to "make grown men cry,"
is the only possible comparison, & barring time travel into the past,
we'll never know if she was this good this young.
Denying Jackie her chance at singing for the world is very much like
saying in Vienna in 1766-67 "Oh, Amadeus, go & play with your friends
in the mud; leave the music ...