In a message dated 5/11/01 3:29:07 AM, MFoxy9795@a... writes:
<< what is the virtue in being "time-efficient" if you are supposedly a
serious
classical musician??? >>
You're kidding, right? I've had many times when the need to learn difficult
music almost, or literally, overnight has arisen. There's no time to get to
your coach or teacher--or even an accompanist who can just play the notes for
you. In those cases, a recording can be very helpful.
Learning from recordings can have its pitfalls, and I try to approach a new
piece with "virgin ears" if at all possible--but sometimes it's not. For
example, when I've already heard a song or an aria performed, and decide that
I like it enough to add to my repertoire. By that time, I pretty much "know"
the tune (if there is one!)
Other potential uses--for mistakes that you are having a difficult time
correcting, listening to a recording that you KNOW to be correct can be
valuable.
I've also found it helpful to practice my blocking by moving with a recording
while mouthing the text. It gives me a good idea of how much time I have to
get from point A to point B on the stage, and helps me to get the music more
into my body and gestures.
Sometimes if a particular piece just doesn't want to "settle in" vocally, it
can be helpful to sing along with a recording of another singer. I'm not sure
why, but that has sometimes worked for me.
It's also helpful, when learning a role, to hear what other interpreters have
done, where they have breathed, stylistic choices, interpretation of text,
etc. It's very important, however, after listening, to do the work to create
your own individual interpretation.
One more word about the use of recordings. I study with someone who has sat
in on countless recording sessions with many of the greats (Sutherland,
Caballe, Domingo etc) and have been told that sometimes artists will do thing
son recordings--take an EXTREMELY long phrase in one breath, for
example--that they would NEVER attempt onstage--just to demonstrate that they
can. (And of course, many singers will record repertoire that would be
totally unsuitable for them on the opera or concert stage.)
Splicing is also very common--engineers can make one little squeaked-out note
into a gorgeous, long high C, for example.
I mention this because I know that many singers--particularly younger
singers--will attempt to do things that they've heard on recordings, and
literally set themselves up for failure or disappointment.
Judy
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