> No ritard in Schubert. I have heard this, too, by
> teachers and pianists. But in most of the recordings
> I have, the pianist slows down at least a little in
> the final moments of Schubert songs. What is your
> experience or opinion about this? The songs sound so
> abrupt if you finish at the clip of the rest of the
> song.
Comment: I agree with no ornamentation in Mozart because he wrote it
perfectly, so why change genius? It drives me crazy to hear cadenzas
that Mozart didn't write on fermatas in his arias... aargh!!! Likewise
changing his melody, as sometimes is done, for example "or sai chi
l'onOre" Mozart's melodies are perfect as is and shouldn't be
changed... IMO.
Schubert wrote in any ritards he wanted, and I don't think it's good to
add too many, except at the end of the song, which needs it because we
have become accustomed to it (Die Schone Mullerin; Gretchen am
Spinnrade) Schumann has more flexiblity of tempo (Frauenliebe und
Leben)
> Don't 'act' as you would in opera with Lieder.
> This means that lieder should be more understated?
Comment: Why not? Communication is visual as well as auditory. You
have to keep the audience's interest. We've got MTV which changes the
visual aspect every second or more. I would like to see more acting in
recitals... more freedom to move providing it didn't interfere with the
voice and story and is tasteful.
> Always breathe through your nose. I have had
> trouble with this -- it seems to set the resonance up
> too thinly (don't know how else to describe it) if I
> breathe through the nose.
Comment: Not enough time to always breathe through the nose. I like
breathing through the nose when possible and it does set things up
fairly narrowly and focused. May help to relax and open the throat as
Richard Miller has stated in S.O.S.
> Open your mouth for all notes, low and high. We've
> been having a discussion about pianissimo singing
> (which, in my experience, is a whittling-away of the
> tone until a very small, focused, breathLESS sound is
> all that's left -- pulling the breath out of the sound
> as it gets smaller and softer), and many people have
> mentioned that they close the mouth when bringing the
> dynamic down. I have seen many people close the mouth
> when singing in the lower range, as well. I wonder
> why she would advocate a very open mouth at all times?
>
Comment: I don't agree that you should open the mouth for all notes...
to do so in the passaggio to the same degree you would on higher pitches
= death. I was recently studying Mirella Freni in the video of Ernani.
She opens her mouth pretty far! She opens on the top side of her voice,
only using width on the extreme top, and on the bottom, but not too much
in the passaggio. She doesn't open as far when she sings softly,
either... it's more "covered."
Forte to piano for me there is not that much change, just a little turn
of the volume dial. Piano = compact, barely singing a full tone. Must
still have the whole instrument engaged even when singing the softest
tones or it doesn't sound like the same person.
Just some thoughts...
Gina
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