Marcel Proust said, “The real voyage of discovery consists not in seeking new landscapes but in having new eyes.” This is inescapably true in the process of learning to sing, of learning repertoire, of learning to recognize and appreciate art, of learning to live richly. So very much is already in front of us, around us and within us! We need only to perceive it — actively, earnestly, deeply and more clearly.
A singer can expand his/her abilities by gradually perceiving what the notation on the page actually represents. For example, “Caro mio ben” (as arranged by Floridia, contained in the 24 Italian Songs and Arias anthology) has not changed on the page for approximately 100 years. At first glance, it contains a simple melody based on the diatonic major scale, with simple and balanced phrases — rather straightforward, a suitable study piece for beginning singers. Music and text of this song can be easily comprehended, so that essential vocal technique and musical/dramatic character are successfully explored in lessons, practice and performance. In other words, the piece is easy enough that many students will be able to find its essential character almost immediately, and it becomes a means for technical and artistic application and growth — not an overwhelming challenge.
When a singer is confronted with a song or aria that is more complex, with musical and/or textual language that is not immediately heard in the inner ear, basic accuracy is a challenge. To be insightful and authentically expressive with such a piece is a very tall order indeed. This is often the case with 20th and 21st century music, due to more advanced compositional language. Yet if the singer’s musical and literary skills are well developed, and if that singer is experienced in dealing with such challenges, he/she can see beyond apparent confusion on the page and hear the sound world of the piece. It becomes more and more clear that composer and author/poet actually have specific expressive ideas, and more details begin to emerge.
Over time, even the most ornate or severe printed music becomes more simple for the artist who invests the needed effort to convert ink into meaningful sound. Melody, harmony and rhythm on the page somehow relate to each other, and the artist is able to express truth that has been there all along. Familiarity with what at first seems incomprehensible on the page develops with time and focused observation.
In the same way, all singers — young and old, those who are developing their technique, and those who are maintaining and adapting their technique — discover capabilities that they already possess, but have not yet properly recognized or validated. The singer who desires to grow and improve must be willing to experiment, to sense the voice with new ears and keenly observant body and spirit.
I think Proust would agree.