Isabelle wrote:
>If you listen to more > than one recording (say, a variety of recordings from > the 1920s through the 2000s) there is no danger of > imitating a particular performer's style or > mannerisms. [snip] Another useful situation might be when learning a piece on tremendously short notice -- but, again, it is so much more time-efficient for a singer with a good, quick ear (as most singers have) to listen through a couple of times and then have it.
COMMENT: But at what cost? When I was just starting out, I found out right away that listening to any number of recordings of a piece while I was learing it *did* have a huge influence on the way I sang it - technically and musically. Yes, one should always work with one's strengths (if you learn by ear, don't ignore that asset), but building essential skills is vital. Sight-reading is essential, there's no two ways about it. It's part of being a musician.
For a long time, the work I was getting was almost totally in new music because I was one of the few sopranos around who could read the stuff and learn it. I can be counted on to premiere a piece on almost no notice, if necessary, because I can sight-read. And I've created roles with great freedom of interpretation because I didn't have anyone else's to influence me. That's not to say that I don't do my own Pamina, for instance, but I take great pride in learning roles on my own. And I never have to take them to a coach to get notes pounded into my head. I listen to recordings only after I've learned the piece and have my own ideas about it.
Isabelle, I always enjoy your posts and about 95% of the time I feel you have expressed my thoughts better than I could. But this time I must disagree!
Susan Schneider
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