ABOUT TEACHING Singing FW LYTVYN
My question to her, to which school and to any vocal direction she classifies herself, performing in many countries of the party in several languages, she did not hesitate and just gave me a very clear long- and deeply thoughtful response, exhaustively expresses both its technical and performance credo is inseparably merge. She uttered a phrase so truly and clearly expresses her artistic and teaching image, I remember her words to life. These are the words: «J'ai deja mon ecole to moi, I'ecole naturelle; enchantant je fais de la musique, en enseignant je tache de former une voix prompt th obeir pour faire de la musique dans toutes sortes de compositions». - "I now have my own school, the natural school, when I sing, I create music, and in teaching I strive to make a singing voice obedient to his will to create music in a variety of products. " Golden words: make voice obedient to singing, his voice not as an end in itself but as a means to create music and vocal image - that's what was behind this response and how many times I have conversations with Feliey Vasilyevna convinced.
Thus, the concept of "school" Feliya Litvin did not include some only technical phonation methods, but surely, and interpretive line "making music".
Sound separate from the music and its interpretation, and even the beauty of the abstract, no expression of sound, for Felii Vasilevny did not exist, it does not exist and the technology for technology per se, but only for music. Sound for music and its meaning she taught the first lessons. In teaching, for her main concern was not blind obedience to any one specific school, not a statement of the techniques school from which she dared not to retreat, and freedom of teaching creativity in its application of various desired her, had already tested it on myself and on students techniques useful in this voice, to perform artistic tasks. Feliya V. explained to me that there is truth in zvukotvorchestve Required for any school. This - the physiologically correct, by all means natural sound, resulting on a free-running apparatus of both cavities in the clear and clear speech, and to trained a long breath, stretch at the free coordination of all components of sound production, singing, inevitably giving the aesthetic effect - "the energy minimum, maximum results," the law, mandatory in any branch of science, technology, art and all creative work. In what must be express the maximum result in the teaching of singing: in force to vote? With an extensive range? In the glare of coloratura? The answer was: "to enable qualified sing the most diverse music that is music with all its national, semantic, emotional and artistic features of both in terms of technology, and content, that is, music of different eras and styles («toutes sortes de compositions » ). She claimed that her motto "esole naturelle » on the one hand includes all the features really qualified singing, but on the other - eliminates any shortfall due to unnatural sound (restraint of sound, shortness of breath, coup de glotte and more others) that the listener is perceived as something unpleasant and uncomfortable may not be natural.
a long time since there is a question of culture and talent of the singer, his ability to master different styles. I understood why the Italians, even the very famous, not all are taken to sing, for example, Schubert and Feliya Litvin with the same triumphantly sang in different languages and the classics of the XVIII century and the Romantics, and Mussorgsky, and the performance of the party by Natasha in "Mermaid" Dargomyzhsky singer's voice must According to her, fundamentally not sound for some school and be a "Slavic" ("la voir-meme doit etre slave» - p. 244 French edition of "Memoirs"). Indeed, when she sang "Hopak Mussorgsky, at what school she sang it? It would have been at the time an idle question stupid and unintelligent listener. Feliya Litvin in practice his performance proved that "school" - a relative term, since it "Hopak" was neither Italian nor French nor any other school, and were Mussorgsky and Feliya Litvin, and the singer's voice sounded in her creeds, it is quite natural for the music, because it gives the school the opportunity to sing the most diverse music, and if the sing Mussorgsky's the so-called Italian school, it will be distorted by Mussorgsky.
Feliya V. explained I have not always teachers, ranking to the same school, used during the singing of the same techniques and require students to the same principles that, performing the music of composers of different ages and nationalities, we must also use a wide variety of techniques. You can specify only the most general principles that unite and characterize this school and what are the principles that occur and Italian, and English, and French singers. In its "natural" school, they are generalized, and can not be ranked as one of only school. This - the free, mixed phrenic, GROUND breath, the inclusion of sound the entire range of both resonators to enhance the resonance (high position), a clear word and so on.
And, finally, in these conversations, we always come its «credo»: naturalness, freedom of sound, the search for the best voice quality and all that leads to the style of the music and its content. In teaching Feliya V. reserves the right to freedom of the indications and techniques. For example, she said: claim that the Italian school is based on cantilena on vowels, for vocalization, and the French - on diction, on a combination of vowels with consonants, that is, on the next ogah. I did apply and vocalization, and to study the role of consonants in singing (her work «Etude vocale des consonnes »), regardless of school, because I think those and other techniques and exercises useful in the search for better voice quality students." Do I have to this right or change their art?
The student should sing in different languages, as the national character of the speech of every nation requires the ability to perform this character and teaches a lot, a lot of the singer should be able, able to respond to these different characters of music: Puccini's impossible to sing like Debussy, though they lived in one and at the same time, as well as Gluck's impossible to sing Mozart, although both lived in the XVIII century.
develop clarity about the words she cared from the beginning of training, as well as the elaboration of breath. Work on the word became more complicated when her employment with the numerous foreigners, who have the defective French pronunciation, especially with speaking English language that is not conducive, in the opinion Felii Vasilyevna correct singing functions articulatory apparatus. These girls sang a lot in Italian, and it is explained in detail the position of the tongue and lips on the vowels and consonants. Foreign women who have the correct French pronunciation, such as Russian, in particular, to me it felt more productive to practice the French language as Italian, in her view, makes no difficulty in singing the function of pronunciation, and teaches French singer invent and develop the subtlety and flexibility movements of the tongue, causing tongue and lips to look for movement, not found in Russian speech, for example, the French «u», and "EN" and "Eu", different shades of sound the letter "e" and so on. The mobility of the lips she felt it necessary to develop to the limit, but the use of this mobility, without exaggeration, almost imperceptible to the viewer that she was in her usual originality in terminology is called "Fish» («petit poisson»), then there is a slight lip Pushing forward. She did not attach much importance to this reception and has not indicated it in their pedagogical work, she wrote about him in the memoirs of joking, which is why I do not dwell on it. In the instance I owned this device is marked in pencil her hand.
Another technique, called her "young lions» («petit lion»), applied it to the extreme brightness of the upper and consisted in a wide open mouth and throat, in a free pulling up the lower jaw back and open the upper teeth. The form of the mouth and lip position on the sounds of different heights designed it mainly for beginners. Catching up with the artists, the sound of which it is considered delivered, and worked out, it does not require precise application of its "fish", as the movements of their lips have already been properly automated and reflex slightly changes its form on bottoms and on the transition notes of the second octave, and the naturalness of it and then lent crucial: "do not disturb your mouth to do what he wants" - she repeated often.
As for the "lion", then this method is strongly recommended everything and writes about it in his memoirs.
to begin work on the sound in each exercise is usually held the following steps:
1. Original singing of the accompaniment - familiarity with the melody exercises, usually on the "a":
2. singing of several vowels, sometimes at all, cantilena;
3. Obligatory singing of a cappella for the purity of intonation and control their own sound on different vowels, as directed by the teacher;
4. Singing of with the names of the notes as preparation for studying the works of the words and checking timing to start those.
All steps were carried out on a joyous sound (as in exercise, there is no text that would give the material for the different color of sound).
artistic repertoire, it gave fairly soon after the start classes as soon noticed the release of the muscles and the appearance of a speaker. For at least move the investigation and handling of each piece is usually passed through the same stages:
1. familiarity with the melody, singing of the accompaniment is usually the "a" in podygryvanii;
2. singing of sites vowels for cantilenas, evenness of sound and the same position («son Iie»);
3. compulsory singing of a cappella for the purity of intonation;
4. singing of works with text and finish it with a mandatory color of sound in connection with the text.
more to move their students or are already working professionally It is sometimes forced vocalize to check the position of sound, often arias or ballads, but always bearing in mind the text. It was intended to develop vocal Imagination («imagination vocale»). I must admit, that at first I was not easy to sing the "a" or "o" out of Margarita or excerpts from the party Micaela, but the method gave their results, since the vocalization immediately identified minor flaws, imperceptible to the text.
Feliya V. showed greater sensitivity as a listener such exercises: "No, no. You think about words. You sing as if in other words, rather than those that exist in the party. " Or: "I do not understand on what word you sing. Sing, thinking the words that are in the party, and you sing with indifference. " It was not easy to perform, but as a joyful and pleasant to sing and then the same music in a familiar and beloved text, the more it sounded better and fresher.
Generalizing the final painting lesson Felii Litvin, I must say that it and pedagogy, as well as on stage, showed itself creatively, imaginatively, enthusiastically pursuing a life of their own thoughts and principles, rather than attempting to imitate someone else. The main feature of her method, regardless of the principles of pure vocal and technical plan was to get the psyche of the singer emotionally and intuitive to work on his sound in different ways, achieving a free, easy sound production with the obligatory sound coloration. So there was technology in isolation from the content of music, apart from the emotion imparted by her job in any, the most primitive piece of music, in any combination of sounds. She invented the word exercise, which had to be borne in mind, and sing an exercise in "a" or "on" or "and". She was convinced that the words which express joy, the singer will not make a busy person anxious, and under the influence of the text will automatically unlock the muscles of the face, neck, back, generally the whole body.
looking for a natural and convenient technical device was the main objective and the content of the first lessons, as well as in the singing of ezheurochnogo follow-up. Indications of it were quite varied. Here and "joie de vivre", and "the happiness to have a voice", and "hot day", and the difficult arias, if it was lyrics in Italian arias without much content, it was necessary to imagine that you do not eat, and a famous singer on a stage play that role look at itself from both other people's, but that sounds nice as it is necessary for this role.
And it did not seem either naive or strange, she was able to inspire singing, in her words lies some truth, artistic truth about teaching. Lesson starts usually with what sounds good, because she loved Feliya V. lead the student "in good spirits."
All this made the lesson with an unusually interesting, easy, filling the formal and artistic tasks.
Technical guidance given once in passing, "less wind", "let the sound comes through the eyes", "higher than the mask."
if you want to say or sing the words "I love to sing" - you do not do busy person and not wrinkled his brow. "
lesson she led a very active, with interest, I would say, cheerfully; the first part of the lesson: gymnastics, singing, usually standing at the piano next to the singing, with one hand sometimes gave a chord, sometimes accompanied herself, took a wonderful beautiful chords, and sometimes asked to play a pianist. Slowly and quietly she has devoted disciple of the principles of vocal technique, complicating the task, for example: After a joyful «Oh! Chanter - c'est vivre »5 notes down she suddenly demanded to sing these 5 notes on one vowel, which should sound the same location as on the first syllable, compare it forced a student to analyze the sound, it's easier that hard, that it is possible and what is not and why. She was able to endlessly varied and come up with These his job, mixing them with the instructions how to take a breath, which directed the sound, always against easy and enjoyable to the more difficult. The most interesting thing happened at the end of each lesson: Summing up the results and the present day. And very quickly learned the singer, its main principle: minimum energy - the maximum result.
Posche the issuance of the reminiscences Felii Litvin, we have precious agitated sincere confession of her creative ways of performing.
Only the singer can tell us what helps him to work, what excites him the experience when standing in the wings before going out, he listens to music, which is defined time will bring it, can not bring to the stage. And we should welcome, if the singer finds the desire and ability to make it to subsequent generations of singers and listeners. Feliya Litvin did it. She frankly and without reserve to reveal his desire and ability to listen and learn from the music its depth of content. - "But Is it necessary? - Can ask me .- It is important as it shows itself to the public. " In response, I will give a brief but convincing answer to the mouth of unquestionable authority: "... I'm never on stage at a \u0026lt;...>, scene two Chaliapin, one is playing, the other controls" - wrote Fedor Ivanovich. Do these few words do not is one of the keys to the psychology of creativity? There can be no doubt that such statements are instructive of its accuracy and unique and should studied psychology and professional scene as coming from the mouth of the big artists, creators.
Description petyh her party - the most precious thing in the book of memories Felii Litvin. Analyzing the step by step, poaktno from aria to aria of the opera, mainly for her role, presenting emotional development plan image it reveals to the reader his perception of music throughout the opera and the response of the mentality not only in its executable, but also on what she hears in the orchestra at the moment vocal pauses and sometimes even standing in the wings before exiting.
These pages are her statements not only denounce it as a fine musician, but characterize bright and deep its creative aspect. Two major stimulus owned by it on the stage: first and above all music, and secondly - as a consequence of this music, experience it as an interpreter, a voice reproducing the music in the form of the actor. For subsequent generations of singers in these statements Felii Litvin are unique unique treasure trove of wisdom, derived from the singer's world-scale, recounts how his perception music and about how the disclosure of this music with his voice. Singer, read carefully and vniknuvshey the essence of this method, it is useful for any party.
Unaware of the Stanislavsky system and did not mention in his book, his name, she speaks about the work of an actor with such depth, that our great reformer and thinker, presented an exhaustive analysis of such a creative process, the actor may be agreed would sometimes put his signature to it in words. For example: "Live! Your vote will follow your thought! («Vivez! Voire voix suivra voire pensee / 255, 145 /). - Focus on your grief, to suffer with Bruntildoy («Concenlrez-vous dans voire douleur, souffrez avec Brunnhild» / 260 /). And further: "I experienced this scene all the strings of my heart, I am dying of grief and my pain did my interpretation exhilarating» («Je vivais celle scene avec loutes les fibres de mon coeur, je mourais de chagrin el ma douleur rendait mon interpretation emouvante» ; / 260, 148 /).
Regarding the final scenes of "Götterdämmerung", describing its content, and describing the brightness of Wagner's music, she wrote: "All that you / passionate / noble, kind, must be expressed through the mouth of Brunhild, which his victim shows the world the true love and contempt for gold: this atonement love («Tout ce que vous avez d'ardent, de noble, de bon en vous doit etre exprime par les levres de Brunnhild, qui par son sacrifice oflfre au monde le veritable amour et le mepris de Goat; c'est la redemption par l'amour »/ 262, 150) *. "I was no longer Feliey Litvin, I was Bruntildoy (« Je n'etais plus Felia Litvinne; j'etais Brunnhild » / 262, l50 /)
reading her memoirs, made a strong impression on me: she gets them both alive. This is who I knew her, and her human qualities comes through between the lines of each page with its inherent honesty and integrity in life and work. Compromise on the issue of creativity for her did not exist: learning that in "Boris Godunov" docked a small stage with Marina Ruzey, she refused on principle even sing this party, which, of course, sacrificed his the success of the singer and actress.
sense of fellowship and camaraderie of honor in it was developed up to the limit: When in Madrid, her partner, tenor M. (she calls him name) brought the flowers from the mocking inscription "Au fen tenor M." ("The late tenor MA"), she was so offended by a friend that left Madrid and more there's never sang, in spite of excellent press reviews (p. 62). "Madrid from this moment seemed so sad that I could no longer play there."
Recalling his triumphs, she speaks of them modestly, does not hesitate, for example, stated that Moscow was "less successful than before," listing many of its partners, paying tribute to everyone, without flattery or excessive praise, she and minor finds kind words.
She loved people and to their enemies treated without malice, for example, without naming names, "well-known critic," she forgives him "unfairly strict feedback" about her early in her career to save him from "remorse" when he hit were not confirmed in the brilliant career of the singer, which became a world celebrity, so as her heart was appeased, and smooths out all the time. "
Once someone is unknown, tried to make her attempt, opening the stage hatch. Time seeing it and being able to avoid a catastrophe, it is not allowed to bring this fact to the police and very surprised by the chief engineer of the theater to its generosity. Its gentle good-natured disposition affected here in full force.
She was not afraid to humiliate himself, telling about his gratitude to the people who provided her service. Very touching the reader her story about the death of her beloved brother during the sea crossing from America to France. The commander of the ship made him an exception, authorizing not to betray the tradition of the Sea corpse sea, as it was the artist's brother, whom he, the commander heard sometime in the role of Alceste, and Feliya Litvin Yet she saw the deceased brother. When he learned of the deed of the commander, V. Feliya when we meet with him in a fit of gratitude she kissed his hand, forgetting that she is a woman and world-known personality (p. 124 French. ed). She was able to appreciate the people and for his devotion to his pay sincere friendship. That was her attitude toward its long-term concubine, the housekeeper and the head of her wardrobe Madame Elise, which she wrote in a memoir with tender affection and love. (For me, Madame Elise was a real "treasure" since I'm out of her room with the door open ever listened to the lessons Felii Vasilevny). Feliya Litwin was a woman with a poetic soul and beautiful thoughts. Really not captivating was the idea to send the coffin of the famous conductor Charles Lamoureux, a wreath of roses, intertwined with her white scarf gas Isolde, attributes, roles, so many once in triumph petoy it under his dirizherstvom (p. 90).
Transferring a theater full of frustrations and disappointments in terms of both artistic and theatrical and domestic because of jealousy and intrigue, she walked past the dark side of the theater of everyday life, although it tells about some episodes of grief and emotion, illustrating the facts of his life theatrical atmosphere of the time. Before the intrigue she becomes hard and tried to win them anything else as soon as his art.
Feliya V. was a thin-educated musician. Well owning a piano, she perfectly sight-read, very deeply felt and perceived music and amazingly quickly taught the party. In 1925 I brought in a Paris music repertoire of Russian romance my future programs. Listening to unfamiliar it works, it is always accurately and precisely (sometimes in the middle of the work) has expressed its opinion about it. Here's an example: Menuet Taneyev she appreciated enthusiastically, saying: «C'est sublime!» («This is amazing beautiful!"). On romance Taneyev "In the haze of invisibility," she said: "What a pity that so many reps words, it is because there is more music than text. " Is it possible to disagree!
She enjoyed playing guitar and at concerts wearing semi-formal character. She sang her own accompaniment English folk songs in English.
