You wrote:
>This is an interesting debate. Certainly, I have found that maintaining
>the attitude of a moan while producing classical voice helps maintain the
>posture while allowing for more facile articulation. I also believe that
a
>good singer will convey in the voice the emotion that is appropriate. One
>of my favorite examples is Maria Callas singing "O mio babbino" where she
>sounds like an adolescent girl. In speech, the listener does this without
>thinking even if the language is not intelligible. Also, I have found that
>producing the voice with the conviction that you believe what you are
>saying helps fluency in situations of high stress (e.g., a presentation to
>a room full of your peers). If you sound like you are unsure, then the
>listeners believe (on some level) that you're fear is because you don't
>really know.
Dear John, Reg, mike and Vocalistmates,
I agree. Yet, I also get the image of two boys on the same football
team debating whether it is they who are supposed to win the game, or
whether it is the other team who is suppose to lose. To me, it seems that
feeling the music is a good thing as long as one's own feelings don't
subvert the performance; it is the composer's feelings that are to be
conveyed. At a masterclass taught by Sanford Sylvan and David Gordon on
Baroque music, one lesson was that the singer is not the messenger; the
composer is. The singer and the music together are the message.
2 cents from the novice,
GWendel
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