Hmm, rousing choral renditions to do with fishermen always remind me more of
South West (ie May Day in Padstow) than the bleaker image of the eastern
coastline that Britten brings. This may be splitting hairs to a non-native
(or even many natives :-)
Pears is always an interesting point. I'm not sure that his vocal style per
se was what Britten was attracted to, more his musicality (although I admit
that the one is the vehicle for the other.) Britten made a quote in a 1967
interview (I can't remember the exact wording, but I have some of it on
video somewhere). Something along the lines of "what is special about a
singer is that their instrument is part of them, and comes directly and
honestly from them". Later he also says "I loathe what is usually referred
to as a 'beautiful voice'. It's like an over ripe peach that has nothing to
say." I think therefore that Britten was probably more interested in what
Pears had to say than his particular vocal technique. Just look at other
singers who Britten championed (although not to the extent of Pears.
Personal relationships did play a part here, obviously). Robert Tear was
helped early in his career by Britten. Tear is Welsh (note your earlier
comments), and whilst still very individual and perhaps flawed, certainly
not the same manner of voice as Pears. Also Dietrich Fischer Dieskau.
Again, very different in vocal production, but maybe with a similar
musicality.
I am not going to argue that Pears had some sort of ideal voice, far from
it. My own vocal production, as an English tenor, is very differently made
up. However, I love singing the music written for Pears, and do not feel
hampered, or weighed down by Nationalistic millstones because of it. There
is a lot more to Britten than Pears. One could say the same about the
reverse relationship too.
Colin
Colin Reed, tenor
Newark, UK
----- Original Message -----
From: "Reg Boyle" <bandb@n...>
To: <vocalist-temporary@yahoogroups.com>
Sent: 21 October 2002 05:46
Subject: Re: [vocalist] Re: beloved concert halls, and Exclusiveness
> Thanks for all that Colin. The Pears Britten images I
> carry from my youth began at school with a rousing
> choral rendition of The Fishermen of England so your
> description of the East Coast along with those of
> the Britten/Pears Grimes, are very well sketched in
> my colonial mind. It will be interesting to compare
> with the reality.
>
> While in the Pears arena, I regard his vocal production
> as an illustration of Englishness and if I may be so
> bold, an example of how a peculiar, (not to say defective)
> technique can still succeed as long as the musicality
> exists, which it clearly does.
> I gather that Britten regarded Pears vocal style to be
> some sort of ideal that suited his image of English
> operatic need. I'd be interested to hear the opinions of
> our Welsh singers in this regard.
>
> I know that is a bit forthright but I feel you might
> agree that Pears production fits the description of
> an over controlled choral performer. Very English and
> from the point of view of Brittens vocal evaluation, more
> than a little exclusive.
> Is that TOO strong? :)
>
> Regards Reg.
>
>
>
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