Art song can be just as dramatic as opera.
You may be skeptical as you read these words. You may even view the art song recital as an academic exercise that you endured just to get through your music degree. I’ve been persuaded into thinking otherwise—after two weeks in Malibu, Calif. at Songfest 2005.
I attended the professional program at Songfest, “The Complete Recitalist.” One incredible aspect of this particular program: both John Harbison and Jake Hegge, esteemed American composers, were in residence for several days. Harbison held classes on several of his cycles: Mirabai Songs, Simple Daylight, Flashes and Illuminationsand the Milosz Songs. Likewise, Hegge taught classes about his song groups, including Natural Selection, Paper Wings, Eve-Song and Thoughts Unspoken.
Through my exposure to the faculty and some fine singers, I experienced the following revelations:
1.The song recital is theater.
Your audience is there to be entertained. These folks have made a deliberate decision to sit and listen to you sing for more than an hour, and they deserve some sort of edification, don’t you think?
Consider hiring a director to oversee your vision. He can ensure that you are communicating the drama of each song.
Block certain songs—pay close attention to your movements and gestures, as you would if you were acting in an opera. In other words, appeal to the audience’s visual sense.
Have you ever considered a multimedia recital? Think about incorporating costumes, projected photographs, artwork or dance into your recital. These enhancements are all easily accomplished and can add an extra kick to your program.
During the 2000-2001 Lincoln Center season, American mezzo-soprano Lorraine Hunt Lieberson premiered a staged version of two Bach cantatas, Ich habe genug (No. 82) and Meine herze schwimmt im blut (No. 199). Hunt Lieberson collaborated with director Peter Sellars for this recital to convey strong images of dying and repentance.
While singing Cantata No. 82, for example, she became a terminally ill woman and wore a hospital gown and medical tubes. This groundbreaking “monodrama” was so well received that it is still being performed. Incorporating this kind of theatrical aspect to song recitals will keep the art form vital and relevant.
2. Open your mind to new approaches in recital programming and presentation.
Established traditions in society and on stage are breaking down. Develop innovative programs and explore talking to your audience during the recital. Make a connection with the audience. Speak to them; convey your humanity to them. Break down the “fourth wall” during your recital and connect with your audience.
Before singing a particular song, you could explain the significance it has for you, or tell a compelling story associated with the piece. Give your own translation of the text. Reveal the setting of the song, so that your audience can picture a scenario before you even begin to sing.
3. Inflection, inflection, inflection!
This was collaborative pianist Martin Katz’s mantra during Songfest. The text is of ultimate importance in art song. Take the time to recite your text with meaningful emphasis and inflection before ever singing it.
For example, in an instance within a Schumann song when you are faced with consecutive notes of equal duration, think twice about how to sing them with inflection in mind. In addition, Katz suggested several questions to research when singing in a foreign language:
• Is this an inflected language?
• Are the consonants in this language used for expression?
• Are there double consonants or glottal attacks in this language?
• Do you know the word-for-word translation of the song? What is the word for “and”? (This is an opportunity for continuity and breath.) What is the word for “but”? (This is an opportunity for contrast.)
4. To work with a living composer is golden.
I had the wonderful opportunity to hear John Harbison speak about and coach singers on his own songs. I was amazed by his attention to rhythmic accuracy, to color in the voice and piano, and to effective text declamation.
Likewise, listening to Jake Hegge speak gave me a sharper sensitivity to the composer’s ideas about a text, and to the circumstances surrounding the composition of a song. The most stunning revelation to me: Although a composer may have composed with the voice of a specific singer in mind, he wants you to sing the song with your distinctive voice. Don’t just imitate a recording—bring something new to it and create a unique interpretation of the song.
5. Attempt to gain greater understanding about a song that seems remote or antiquated by associating it with a more popular song or personal anecdote.
I attended a master class—titled “Whose Art Song is it Anyway?”—taught by Judith Kellock, a soprano and pedagogue highly regarded for her stellar interpretation of contemporary song. During the class Kellock encouraged each singer to pair her art song with a folk song, popular song, or musical theatre selection (in the singer’s vernacular language) that conveyed a similar sentiment to the art song being performed. In one case, a singer paired Schumann’s “Schöne Fremde” with “Isn’t it Romantic?” by Rodgers and Hart. Singing both songs in succession helped many singers achieve better insight into their Schumann, Strauss or Purcell songs.
The moral here? It is essential that you make a connection to each song you sing, and integrate a piece of yourself into the singing of it.
6. Broaden your knowledge of repertoire at every opportunity.
OK, be honest. Did you program your recital, or did you choose your arias because they were readily available in an anthology? When was the last time you went to the music library to pour through dusty scores and discover something that’s not in an anthology?
How many Donizetti and Bellini arias go unsung because they aren’t included in those repertoire collections that everybody’s toting around? What an exciting prospect, to do such research and discover a song or aria that is rarely heard!
7. Respect your pianist.
Performing art song means that you are part of a duo. The role of the pianist cannot be overstated. Sometimes the piano creates a mood or atmosphere in the song. Other times it is actually another character in the music.
As a singer, you should listen and react to what the pianist is playing. Does the song include an introduction, interlude or postlude? Why did the composer incorporate them, and how can you interpret them? Likewise, if the piece begins without an introduction, the composer did so with a dramatic purpose in mind.
Collaborating with a pianist who loves art song as you do can have a tremendous impact on the performance. Your pianist’s playing will affect your breath, your dynamic level, your tempo, and your entire interpretation. Be kind to your pianist and appreciate his or her role on the concert stage.
8. Singing is not just about resonance and volume.
When it comes to singing, it’s easy to fall into the mindset that bigger is better. On the contrary, in our master classes, Katz advocated supported piano singing, when appropriate, time and time again. He advocated varied dynamics, varied vocal color, and finesse. Once you can tackle this technically, it’s fun to experiment with dynamics in your singing and avoid the monochromaticisim that comes with singing loudly all the time. It’s more interesting for your audience too.
9. Achieving mastery in the art of singing entails discipline, wisdom, love, and ultimately, surrender, in performance.
This is a personal conclusion that I came to while in California through reading and thinking about the art of singing. The discipline of singing is the practice, study, and care of our bodies, so that we are in an optimum condition to sing. The wisdom comes through experience and patience, knowing that we will improve with perseverance.
Love of singing and love for the music must be present to convey something special to the audience. Finally, once all of this is in place we hope to surrender our inhibitions, worries, and ego, and enjoy the ride. The goal is to relish the performance, and trust in ourselves and in what comes through us.
10. Promote American art song!
Singing is a vocation. As musicians, we have the pleasure of entertaining and educating others about our art. We can also choose to promote American art song and opera in any way that occurs to us.
Think of yourself as not only an artist, but also a patron, advocate, and champion of American art song. Seek out composers in your city and perform their music. Save your money and commission a song from a composer you admire.
If you don’t do it, who will?
So many of these ideas and concepts I had learned before, but Songfest provided me an opportunity to rediscover them. Perhaps the most valuable insight I gained was the realization that art song can be just as compelling as any opera scene. The combination of skill and effective communication will keep our audiences engaged and art song vital.
