Writing Worth Reading
Writing Worth Reading
| Format | US | UK |
|---|---|---|
| Paperback | $23.99 Buy |
This last one is a really a classic of the singing world. It was written in 1912 and for the next 70 odd years it was absolutely required reading for any singer. And no other book has ever got anywhere near to being as good as this one. He says: “Interpretation is essentially individual, individuality is a singer’s greatest asset.” People have forgotten that particular point of view. Since the record player and the CD have become available, singers have tended to listen too much to other singers, and, in the process, lose their individuality. In my view, this book really ought to be revived, and every singer read it very, very thoroughly. What he says is absolute gold dust. It’s very easy to think that singing is just about singing; but it’s not. The essence of singing is paying a great deal of attention to the tiny detail; and that’s what this book has to offer.
So, on to your last choice, Interpretation in Song by Harry Plunket Greene.
This last one is a really a classic of the singing world, and it’s not about opera in particular. It was written in 1912 and for the next 70 odd years it was absolutely required reading for any singer. And there’s never been a book like it – no other book that has ever got anywhere near to being as good as this one. He says some very interesting things, such as: “Interpretation is essentially individual, individuality is a singer’s greatest asset. Every song in the world is his property to do as he likes with, and that’s his great responsibility.” People have forgotten that particular point of view. Since the record player and the CD have become available, singers have tended to listen too much to other singers, and, in the process, lose their individuality. In my view, this book really ought to be revived, and every singer read it very, very thoroughly. He can seem a bit pompous and pretentious from time to time, but what he says is absolute gold dust.
He also uses quite a number of examples; he takes some well-known Schubert and Brahms songs to pieces, with incredible detail, and it’s that attention to detail that is so fascinating and so important. It’s very easy to think that singing is just about singing; but it’s not. The essence of singing is paying a great deal of attention to the tiny detail; and that’s what this book has to offer.
What kind of details?
Like finding a moment to take a little bit of an extra long breath, which has the effect of emphasizing what comes next, or drawing attention to what has just passed, or anticipating a conclusion, where to put little bits of emphasis, how to pick out the odd word in a particular way.
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Robert Lloyd is an opera singer who became the principal bass at the Royal Opera House, Covent Garden in 1972. He was the first British bass to sing the title role in Boris Godunov at Covent Garden and made history when he sang the role with the Kirov Opera in St Petersburg. He has performed frequently at the Metropolitan Opera, New York. He has over 70 audio and video recordings to his name, and in 1991 was created a Commander of the British Empire.
