Sarah,
I just found that I didn't send this (weeks ago!); forgive me!
I suppose there is still a school of thought (as opposed to a school of
singing) which equates the appearance of effort with drama or profundity,
but since I didn't see Ms. Podles I don't know if that would apply to her
or not. This is perhaps related: In coaching for a concert of opera
excerpts I'm being encouraged to enunciate more than my natural inclination
and it really seems to help the ease of tone production. My previous
approach to singing has approximated the German stereotype, but I'm now
being forced to re-think many things in a more Italianate mode - which I
don't mind at all because, although it's the German repertoire that's
closest to my heart, this seems to be working. Notably, the tricky concept
of 'singing as you speak' is making more sense to me - actually taking the
trouble to allow the actual vowels to come through, instead of my
(successful, but limited) practice of leaning in this direction or that
from a basic 'uh'. john
At 07:57 PM 10/30/00 +0000, you wrote:
...
>John -
>
>What I found was that her technique hampered her ability to
>communicate the words, and the way she expressed herself musically.
>Yes, she was expressive - but it seemed rather over the top, simply
>based on the all the work she had to do in order to *make* her
>sound. Does this make sense?
>
>Sarah
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John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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