Kathleen Ferrier (1912-1953)

[head-case]

As to how honesty comes through....difficult to convey, but there was a completely straight forward communication, powerful and with insight. I simply have never heard Bach as well or affectingly sung as on the extra tracks of the B Minor conducted by Karajan. (Maciek's choice.)

I suspect a singer can be taught how to produce an "honest" style by their voice teacher at a conservatory, I seriously doubt this characteristic is linked to a singers personal character.

[Tsaraslondon]

I suspect a singer can be taught how to produce an "honest" style by their voice teacher at a conservatory, I seriously doubt this characteristic is linked to a singers personal character.

What do you mean exactly? I would have thought that it was something no singing teacher could teach.

[Lilas Pastia]

Ferrier's voice was a strangely unwieldy instrument. On one hand she often gave the word "expressivity" a new level of depth one could not have imagined existed (as in that b minor Mass Agnus Dei). OTOH the vocal production was often marred by exactly the faults Hurwitz notes: tremulousness and pitch problems. I suppose by the time she became a world-renowned singer those vocal faults were part and parcel of the voice. It was simply impossible for her to weed them out. She sang and gave of what she had, not what she had not.

There was a 'phosphorescent' quality to her low register that immediately struck by its unearthly, subterranean glow. It's too bad that, as Mike mentions, she was encumbered by third-rate, plodding accompanists (the Orfeo is really an embarrassment in that regard). Compare that to her classic account of "Blow The Wind Southerly". She sings unaccompanied and, like Marian Anderson in "Were You There When They Crucified My Lord?" her singing gives goosebumps of a very special quality.

[Tsaraslondon]

Ferrier's voice was a strangely unwieldy instrument. On one hand she often gave the word "expressivity" a new level of depth one could not have imagined existed (as in that b minor Mass Agnus Dei). OTOH the vocal production was often marred by exactly the faults Hurwitz notes: tremulousness and pitch problems. I suppose by the time she became a world-renowned singer those vocal faults were part and parcel of the voice. It was simply impossible for her to weed them out. She sang and gave of what she had, not what she had not.

There was a 'phosphorescent' quality to her low register that immediately struck by its unearthly, subterranean glow. It's too bad that, as Mike mentions, she was encumbered by third-rate, plodding accompanists (the Orfeo is really an embarrassment in that regard). Compare that to her classic account of "Blow The Wind Southerly". She sings unaccompanied and, like Marian Anderson in "Were You There When They Crucified My Lord?" her singing gives goosebumps of a very special quality.

That particular song, always associated with Ferrier, is a great example of what endears her to her listeners; that gift for communication, which is a requirement of all great artistes. It is also a good example of the directness and honesty of her art, which strike right to the heart. Please also note that her diction is well nigh perfect, something that many of today's singers could learn a lot from.

[head-case]

What do you mean exactly? I would have thought that it was something no singing teacher could teach.

It is simply a matter of controlling the voice, they same way you would control your tone if you were playing the saxophone.

[Susan de Visne]

Personality does come across in singing, except perhaps in opera, where the singer is being someone else. There is all the difference in the world between someone "controlling the voice" for effect, and the real genuine thing that is recognisable in Ferrier and certain other singers. It's not just the voice - it's the effect they make on a concert platform in other ways. A phoney is obvious a mile off.

[Tsaraslondon]

Personality does come across in singing, except perhaps in opera, where the singer is being someone else. There is all the difference in the world between someone "controlling the voice" for effect, and the real genuine thing that is recognisable in Ferrier and certain other singers. It's not just the voice - it's the effect they make on a concert platform in other ways. A phoney is obvious a mile off.

Thank you, Susan. That's what I was trying to say, only you expressed it better.

[head-case]

Thank you, Susan. That's what I was trying to say, only you expressed it better.

I fail to see why one can control one's voice in an opera, but in a recital one's singing must reflect one's character.  When singing leider the 'character' you are playing is essentially the composer.  The only definite thing anyone's noted here the that Ferrier had trouble singing in key.   

[Susan de Visne]

Well, the quality we're talking about isn't definite or measurable. It's not science. It seems obvious to me, and apparently to Tsaraslondon too. I suppose you can argue that  lieder singers are being the composer, or the poet, or the character in the song, but they communicate more directly with the audience than a character in costume singing in "conversation" with other singers. Even in opera, though, I feel that singing is a more direct and personal form of communication than instrumental music, and therefore the personality comes across more strongly.

I'm reminded of a comment made by Peter Pears with reference to Ferrier, though it applies generally, I think.:

"A piano is a piano and a violin is a violin, but a voice is a person".

[Lilas Pastia]

Thanks, Susan for unearthing this pearl of wisdom from Peter Pears. I think it neatly sums up all that's been said so far on the subject.

[zamyrabyrd]

What do you mean exactly? I would have thought that it was something no singing teacher could teach.

Well, a singing teacher can encourage a student to be honest or be oneself rather than copy the styles of others.

ZB

[zamyrabyrd]

Ferrier's voice was a strangely unwieldy instrument. On one hand she often gave the word "expressivity" a new level of depth one could not have imagined existed (as in that b minor Mass Agnus Dei). OTOH the vocal production was often marred by exactly the faults Hurwitz notes: tremulousness and pitch problems. I suppose by the time she became a world-renowned singer those vocal faults were part and parcel of the voice. It was simply impossible for her to weed them out. She sang and gave of what she had, not what she had not.

There was a 'phosphorescent' quality to her low register that immediately struck by its unearthly, subterranean glow. It's too bad that, as Mike mentions, she was encumbered by third-rate, plodding accompanists (the Orfeo is really an embarrassment in that regard). Compare that to her classic account of "Blow The Wind Southerly". She sings unaccompanied and, like Marian Anderson in "Were You There When They Crucified My Lord?" her singing gives goosebumps of a very special quality.

Ferrier's expressiveness reminds me of Claudia Muzio's. One might call it a verismo approach from a different era. Performance traditions DO change over time.

Without mentioning names, there was a prominent local alto who TRIED to emulate Ferrier's lower range quite a few years ago. Instead of "being honest" and developing her own colour, she rather copied Ferrier's mistakes, the tremulousness coming from (I do believe) not using the lower register properly. When this area was sorted out in Ferrier's case, the Schubert recordings were and still remain a delight.

ZB

[zamyrabyrd]

"A piano is a piano and a violin is a violin, but a voice is a person".

That may be true but personality surely comes through with the great players. In fact, it is not so much the instrument but the material that instrumentalists have vs. singers. Songs are meant to be communicated as verbal messages. Sonatas, concertos, preludes and fugues, impromptus, etc., don't express the composer so much as the material itself.  The closer one comes to song, perhaps, the more possibilities of wooing the audience or leaving one's personal imprint. A Consolation by Liszt played by Horowitz is a perfect example of the romantic hero as performer. And this piece, like many others would be very different in the hands of other pianists.

This is worth a listen, very cantabile:
http://www.youtube.com/watch?v=zS5LRRsNYZk

ZB

[head-case]

Thanks, Susan for unearthing this pearl of wisdom from Peter Pears. I think it neatly sums up all that's been said so far on the subject.

One person's "pearl of wisdom" is another persons jibberish. 

[Tsaraslondon]

Well, a singing teacher can encourage a student to be honest or be oneself rather than copy the styles of others.

ZB

I agree, though that's not quite what I meant. There was a simplicity and directness to Ferrier's singing, which I warm to, and which was peculiar to her, and which comes down to her personality. That said, I also enjoy the more intellectual approach, favoured by such singers as Schwarzkopf and Fischer-Dieskau. I don't think they have to be mutually exclusive.

[knight66]

I have been listening through to one of Decca's Ferrier Edition discs, number 4 in the complete issue. It contains Schumann, Brahms and Schubert.

These were variously recorded between 47 and 52. The final two tracks seem to be stuck on as incongruent makeweights, the only orchestrally accompanied pieces, 'Silent Night' and 'O Come all ye faithful'...passing over these, let's look at the lieder.

The voice is as distinctive, three dimensional and welcome as could be. The major piece is an excellent 'Frauenliebe und leben'. This also has the best sound on the disc. It has a lot going for it, in that the pacings are natural, her approach brings in considerable expressivity and word pointing. She fines her tone to almost nothing but can use full tone effectively, even towards the top, never her strongest suit. The pianist is definitely an accompanist, not a partner. Ferrier conveys the light and shade, I notice no intonation problems, it is a treasurable interpretation.

Moving to Brahms and Schubert we are granted the much more assertive accompaniment of  Phillis Spurr. A really beautifully moulded Sapphische Ode is folowed by Botschaft, in this latter we can hear the comparative fragility of her top notes. Schubert's 'Gretchen am Spinnrade' is excellent at conveying the nervous tension and loss of peace declared within the song. 'Die junge Nonne' has the inwardness I look for, the piano clamant and bell-like, sinister in atmosphere. Again it does justice to such a great song. This is a contained interpretation with evident feeling, as against an outright attack that the song can equally take. Peace is ultimately and consolingly achieved. After several more songs Benjamen Britten takes over for two and a half songs, the BBC tapes of 'Du liebst mich nict' fade out.....frankly, it seems an odd completest mentality that insists on including the truncated recording.

In the two complete songs, she is more backwardly recorded and the colours of the voice not so evident, but the partnership works well. 'Ganymed' and 'Lachen und Weinen' are a real pleasure.

It was an hour of enrichment and having not heard the recording for a very long time, it affirmed again, she was unique, her performances enrich and continue to cast a spell over 50 years after her death.

The actual sound quality varies with some radio interference in the Britten, hiss during the Spurr. However, evaluating these against other renowned interpretors, they stand up well, despite what some might hope.

Mike

[Scion7]

Have been listening to her in Walter's rendition of "Song of the Earth" today - always an extremely satisfying experience.  R.I.P.