HOW TO SING A SONG - online book

THE ART OF DRAMATIC AND LYRIC INTERPRETATION.

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	VOCAL TECHNIQUE                       7 able to give to his singing voice the same shades. He will become accustomed to sing as a bass with the chest (his medium, however, must be splendidly posed; this is absolutely important in singing songs) and his (head notes) will replace the ample high octave of the oper­atic singer. The singer of a song should be able to sing with the voice of a child, the voice of a boy, of a girl, of a young man, of an old man, of a brutal man, of a sweet woman, of a priest, of a soldier; his voice should have all the colors necessary to express all human feelings, all the thousand shades of human emotions, of human joys, of human sorrows, of human perplexity, all the colors necessary to illuminate the words of a text. Speaking of the supreme art of coloring the words, which in dramatic and in lyric art is of the first importance, Jules Lemaitre, the great French dramatic critic, says of the great artist Eleanora Duse, that she is a genius of interpre­tation, plastiquement et mimiquement parlant — from a plastic and mimic point of view. He adds: " Those, however, who, as I, do not know the Italian language, cannot judge absolutely and com­pletely the total value of her art. The shading, the