While in some respects I think that it's unfair to comment on a few remarks taken out of context, I think that perhaps what Ms. Bonney meant to say is that all singing has a sexual component. Obviously, it's not all about sex, but we are such sexual animals and that fact influences so much of how we experience and respond to the world. I also believe that sex is so primal a force that it energizes singing, adds a dimension of excitement to the voice--even in music that is not, in and of itself, sexual. The comment reminds me of advice from Maria Callas--"you must make love to the music."
Oddly, though, I do not consider Ms. Bonney's singing (at least in art song literature) to be very highly sexual. I've only heard her live once, at Carnegie Hall when she sang Schumann's Frauenliebe und leben, Barber's Hermit Songs and some Britten and some Scandanavian songs, with Schumann's Mondnacht (a favorite of mine) and Morgen by Strauss as encores.
To my ears, her voice fully blossomed only in the Scandanavian songs, when it took on a wonderful full and vibrant golden qualilty that was quite stunning. The rest of the singing (particularly the German) I found to be oddly constricted and what may have been intended as virginal seemed downright sexless. There were also strange tempo choices (An meinem herzen was taken at a frenetic gallop that would have made any infant spit up immediately). She may be very different in operatic repertoire. I heard her Nannetta on the radio and thought it was lovely. But I've not heard much from this singer that I would consider highly charged sexually. Just my opinion!
Judy
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