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Show Thoughts for Young Singers. By Theodore Bjorksten. If you cannot feel your cannot sing feelingly, however much natural warmth , your voice may j possess (for-to the beauty of tone must be added variety of color, the right accentuation, etc.. in order to convey the right impression). But if you literally feel what you sing you will come to grief iu many instances. The strong singing artist sings with his intellect, just as the successful actor portrays por-trays his characters through his intellectual understanding under-standing of the different emotions ond moods of the respective characters. If the prima donna should actually .feel' Marguerite's Mar-guerite's passion and despair every time she sings that pirt of her impersonation of Goethe's, and Gounod's heroine, she will not be long lived. She i will collapse, physically and mentally, just as did Marguerite. ' You will not become a versatile interpreter in song simply by studying the songs or parts that suit your particular voice. It is through . studying, study-ing, besides, the great writers of poetry and prose, thinking and feeling with them, that you will expand ex-pand your imagination and intensify your perception percep-tion of. and sympathy for the impulses and emotions emo-tions that have ruled the lives which have been found worthy to be crystallized and immortalized in literature and mu-ic. Wise is that singer who. not, satisfied with what others have created in word and song,, for himself observes and sympathizes with the actual heartaches, heart-aches, passion, joys and despairs of his own day, and fortunate her or she who has been honored with disappointments, struggles, trials and tribulations of heart and mind. Such a one will not only draw upon the imagination, but will have as an invaluable invalu-able companion in arms his personal experiences. Clear and vigrant pronounciation and enunci-. ation of the words are essential for good singing. The vowel is the body of the word, the consonant its wings. Give to both due attention, and . the word will reach both heart the and niind of your audience. In one way there is no better training for any singer than to listen to a master violinist's playing. play-ing. Your legato singing cannot' but benefit, thereby. ' ' . . . - |