A Conversation with Dominique Labelle, Part 1
2013; Routledge; Volume: 70; Issue: 1 Linguagem: Inglês
ISSN
2769-4046
Autores Tópico(s)Music History and Culture
ResumoLAST AUGUST, HAD A LOVELY conversation with soprano Dominique Labelle at my home in Wellesley, MA ...Leslie Holmes: have read that you really don't pay that much attention to your reviews-that you're much more interested in making music, and doing music. However, read all of your reviews. They were astounding. You were compared to Renata Scotto and her sound in Lucia, to Mirella Freni, for her Micaela, and to Teresa Stratas, for her Mimi. How does that make you feel?Dominique Labelle: Well, think it's very flattering, but I'm sure that it's Richard Dyer who said those things.LH: No, there were several critics who made these comparisons.DL: Really? Well, think it's their individual experience with my singing. How can it really influence me? try to be as honest as possible when sing. My voice is very unique. I've made peace with that. did not know what would happen to me, as an artist, when started. Even if it was not an easy road, I'm very happy with what I've been able to achieve, because didn't follow anybody's rules, as far as my singing is concerned. don't know if that is a good thing, or a bad thing, but it's really unique, think, and it's very much who am.LH: Do you read your reviews?DL: read them because my agent sends them to me. [laughter] think most singers remember if they were generous, and how they felt that night. You know if your gift was generous, if you were very present, if you sang well. And then, if you read a review you say, OK, he or she was Or, if you really hate the review, what can you do if you feel that you did the best that you could? Sometimes, sing and don't think I'm singing very well. A few days ago sang in Skaneateles [New York]. felt good. had had a steak in the afternoon; had good colleagues; it all seemed good. But, when got on stage, there was a big pole right in the center of it, and it took me about five minutes to try to figure out what to do with that huge stick in front of my face. was trying to go left. was trying to go right. was trying to communicate. It was very frustrating, and wouldn't have been surprised if had had a bad review. The situation affects the voice.LH: But, that's what makes singing so very special. We're not pianos. We're not trumpets. What are we? We're a mystery. What makes singing? Sure, the air, the vocal cords, the space ... but what really makes it? It's a miracle.DL: The soul, the heart, your genes, your family history, your intelligence, your passion are all part of your voice. Of course, you think about the technique and what makes the voice work. But, when it's time to sing, it's something completely different.LH: know. asked Stephanie Blythe how she thinks about breath. She said, I don't think about it.DL: Well, when you warm up-I really believe in warming up for twenty to twenty-five minutes-you really focus on making sure that, technically, you are ready. And then you can make the music.LH: How do you warm up? What do you do?DL: have a little breathing exercise that do. stretch my arms and fill the whole space with air. Usually, after five or so times filling the space, my chest is in a perfect position, my shoulders are in a perfect position. So, basically, the breath is ready to work. Then, start with an e. Do you start with an e or with an ah?LH: ? is the easiest-no pun intended-vowel for me. because it's forward ...DL:... focused.LH: think that's why like to sing French, because-if anything, have a tendency to sing too far back-it pulls the voice forward. You have sung many of the so-called traditional opera roles-Mimi, Micaela, Gilda, Violetta, the Countess-and, yet, they all seem to have been earlier in your career.DL: Yes.LH: What got you started down the Baroque path?DL: People hired me for that. That's how it happened. didn't really decide to do it. …
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