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
|
|  |
