Vocals sung in a foreign language

[Diletante]

Hi there, folks!

How do you listen to works (be it symphonies, Lieder, opera...) whose vocals are in a language foreign to you? Do you have to get the lyrics with translation in order to enjoy them? Do you feel that not knowing the language sung is detrimental to your enjoyment of the piece? Do you try to sing along even if the words make absolutely no sense to you?

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In my case, I'm not familiar with much vocal music. Only some symphonies, Lieder and opera arias. Until recently everything I'd heard was either in a language I speak (German, English) or one I'm familiar with (French and Italian; I don't speak them but being a Spanish speaker makes them sound familiar).

However, some days ago I listened to a work with Russian vocals (Shostakovich's Third Symphony), a language totally foreign to me. I only knew that the chorus was about the First of May, but didn't have the lyrics/translation with me. But I enjoyed the vocal part very much! I focused on the sounds of the voices and the exotic Russian accent. But, sure, it must be different in a work where the vocals tell a story (opera, etc.)

So, how about you?

[some guy]

It's all about the music.

(I have stuff in Russian, Lithuanian, German, French, Italian, Hungarian, English, Swedish, Finnish, Latin, Czech--I more than suspect I'd like it less if I could make out all the words. (I can't even make out all the words in the English ones. (Our German teacher the year I studied there told us she could make out about half of the words in Wagner's operas.)))

[jhar26]

If there's no text with translation included it seriously interferes with my listening pleasure. If it's opera I don't even bother trying. No point in listening to opera if you don't know what's going on.

[Sergeant Rock]

However, some days ago I listened to a work with Russian vocals (Shostakovich's Third Symphony)

In this case you are far better off not knowing what they're singing about 

Me, I follow the printed translation in works I'm unfamiliar with; or in the case of opera, when I have a new recording of the work and want to judge how well the singer is "acting." When I've become familiar with work and performance, I listen without the crutch of libretto.

Our German teacher the year I studied there told us she could make out about half of the words in Wagner's operas.

The generation of Wagnerian singers active in the 1920s-40s had much clearer enunciation. It's one reason I enjoy those old recordings so much. And its the only Wagner Mrs. Rock (a German native) will listen to.

Sarge

[Coopmv]

It's all about the music.

(I have stuff in Russian, Lithuanian, German, French, Italian, Hungarian, English, Swedish, Finnish, Latin, Czech--I more than suspect I'd like it less if I could make out all the words. (I can't even make out all the words in the English ones. (Our German teacher the year I studied there told us she could make out about half of the words in Wagner's operas.)))

LOL.  I have over 1000 CD's/LP's by JS Bach and I certainly do not speak German, even if I do know a few German words.  Yet there are few Bach vocal works that I do not own, go figure ...

[Elgarian]

I have two ways (maybe three - see below) of listening to opera:

1. Sit down with the libretto, fully focused on the music and the drama - in which case the words and a translation are crucial.

2. Just play the music while I do something else (cooking, riding an exercise bike, or some other simple job). But then there are two modes of listening according to whether:

(a) I know the opera well; in which case I know pretty much what's going on, so there's a 'drama' component to the listening even though I don't know precisely what the words are.

(b) I don't know the opera at all (except maybe for a quick glance at the synopsis). So really, here, I'm just listening to the music and ignoring the drama. At the moment I'm finding Handel is brilliant for this because the music is so tuneful and easy to get into, even on a first listening, knowing nothing of the words.

[Grazioso]

Not knowing the language or having a text with which to follow along definitely hinders my enjoyment and understanding of the work. I want to understand the words and the way they're set by the composer and sung by the performers. If I don't know enough of the language to at least keep up with an English translation in the libretto/liner notes, then it's hard for me to get fully involved with the piece. I know German and a smattering of Italian and French, so I can follow much classical music without too much trouble, but I tried to listen to an opera on CD by Rimsky and got lost and frustrated, having no knowledge of Russian.

Needless to say, releasing vocal CD's without texts and translations is a pet peeve of mine 

[Sorin Eushayson]

I try to sit down with a text and translation when it comes to vocal music.  Most of the stuff I listen to is not in English and even the stuff that is requires a libretto to understand sometimes!  There are certain effects and ideas in the music that don't hit home until you know what everyone's talking about. 

This does bring up another interesting idea...  Robert Shaw is known for translating and resetting words into different languages, i.e. Brahms' German Requiem and Haydn's The Creation into English.  Some think this is an acceptable practice while other don't like it.  Now, talk amongst yourselves!   

[Coopmv]

This does bring up another interesting idea...  Robert Shaw is known for translating and resetting words into different languages, i.e. Brahms' German Requiem and Haydn's The Creation into English.  Some think this is an acceptable practice while other don't like it.  Now, talk amongst yourselves!   

I personally would not want to listen to St Matthew Passion sung in English or any other language other than German, period.

[techniquest]

I have the old Fritz Reiner / Chicago recording of Prokofiev's 'Alexander Nevsky' where the choir sing in English (American) and it simply does not work!
For the most part I have no idea what the choirs and soloists are actually singing about in some very key works (Shostakovich 13th, Mahler 8th, Orff Carmina Burana for example). I have an idea of the gist, but the actual words? No idea. But I still adore the pieces and can happily enjoy the choral and solo parts as integral to the music rather than sung poetry which demands my intricate comprehension. Does that make sense?

[jochanaan]

The first time I hear a composition, I try to have text and translation handy.  But on increasing familiarity, like Sergeant Rock, I tend not to use this crutch.

This does bring up another interesting idea...  Robert Shaw is known for translating and resetting words into different languages, i.e. Brahms' German Requiem and Haydn's The Creation into English.  Some think this is an acceptable practice while other don't like it.  Now, talk amongst yourselves!   

It's perhaps more appropriate for opera, but even there you lose a lot of sonic nuance.  That's one reason I enjoy the modern practice of "supertitling" a live opera performance.

Igor Stravinsky has specified that at least one of his vocal works, the Symphony of Psalms, should never be sung in translation.