Truth, Music and Creation

When you sing serious music, you must understand that there is no intrinsic Truth in the musical form! The musical form needs something to bring it to Truth and that something is human experience. Singing is intrinsically human when it expresses deep emotions, but the musical form–even the melody–is not true, so don’t be so proud you can sing the notes to an operatic aria or a song from Lieder. If you have not brought human experience to the song, it is dead. Songs have to be sung. They cannot just be thought. So when you sing you must bring to the musical form human truth and let it be shown and felt. You must stream the truth to the music as you sing and this we call acting. All singing is also acting if truth has been brought to the music. Otherwise music is just a form that we use to create a block to the awareness of Truth. How often we see this. Some “great singer” sings a great piece of music–let’s say Schubert’s Die Winterreise–and we see him standing by the piano, his arms by his side, and as far as we can tell, there is no human truth being given to either the music or the audience, and there is always an audience for singing, even if it is just nature or God. No song is sung in obscurity!! He sings the music very well. His phrasing is good. His timbre is good. All the aspects of the musical form are good, but it is as dead as any lifeless form. The music has captured his mind and it sings through him as though on auto-pilot, as though a robot were singing. He has forgotten that his mental attention must be ahead of the musical beat so that he can present truth to the music as it comes. This takes a lot of concentration, of course, and so he contents himself with “just singing.” He tells himself a lie, that the music doesn’t need to be acted.
One of the best tools for a singer is oral interpretation of literature. One must take the text as a text and interpret it with human truth. Only then is he ready to “sing” that text with meaning in a song or aria. The “acting” will then be very easy and realistic. You won’t just stand there with your arms in one position and we will see on your face and in your body the human truth that you have brought to the music.
In the Stanislavsky Method, there are two “beats” involved in singing, the first “beat” is the awareness in the mind of a choice for how the phrase is being interpreted. The second beat is the musical beat. So, the dramatic beat must be before the musical beat or no truth is offered to the music. The music is very good at hypnotising the conscious mind into falling in line with its beat. If that happens, the singer is just a singing machine and there is no truth!! But if you know this you can also tell that the music is very good at giving the mind imagination out of which a dramatic beat can be chosen. It takes work! Creation takes work! We see little of it happening today. Singers struggle just with technique to sing the notes. They have no energy left over for human truth!!! But I also saw this in the singing of two generations ago among singers we now consider “golden age” singers. They just sang and added on some gesture here or there and called it truth, but such is as much a lie as we see today! Creation has always been difficult, and only creation can be called “art.”

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The Dumbing Down of America

If you are interested in this subject please read this article and view the video I mention.

https://www.psychologytoday.com/…/anti-intellectualism-and-…

THERE CAN BE NO DOUBT that this dumbing down is taking place. It is anti-intellectual which also means “anti-art.” I came into the world of opera when this was happening. Nobody seemed to know who was giving the orders or how high up they were. Agents claimed to have no control. They also said they didn’t know who was running things. Articles appeared in the New York Times talking about the death of real opera. THEY didn’t know who was giving the orders! General Directors and Artistic Administrators and stage directors all claimed to be in the dark as concerning who was controlling opera and changing it to a dumbed down version of itself. If anyone wants to look deeper into this you should view this video about the Cecil Rhodes secret society. https://youtu.be/FoMezGPkyzU It just may tell you what you want to know. The Rhodes secret society was first set up to support the British rule of the world and later changed to support globalization with the West in control. The society was organized into rings of power. In the U.S. the foremost ring was The Council on Foreign Relations which at first was a front for J.P. Morgan and later became dominated by the Rockefeller interests, strictly globalist. One of the needs of globalism is to destroy strong national interests so that unions, like the EU, can be formed. Dumbing down the American people was and is a strong interest for the globalists. There were times set for various phasing in of certain policies. The time set to dumb down the arts was in the early 1970’s. In my field of art, all of a sudden, directors, managers, et al, were no longer interested in great dramatic voices wielded by great personas, as had been the case since the beginning of opera in 1594. The New York Times even wrote enormous articles about this loss of greatness in opera. No one seemed to understand who was giving the orders for this change. The Rhodesians were giving the orders behind the scenes, and that means the Rockefellers. David Rockefeller was a long time Board member of the Metropolitan Opera and had been Chairman of the Board for a period.

I came into opera by winning the Metropolitan Opera Auditions of the Air. My voice was highly praised by the critics, comparing me to a young Lawrence Tibbett. But I soon found that there were blocks being set in my way. I had to fight hard for every role I got. The critics and audiences praised me, but the business of opera was not opening its door for me. Finally in 1981 I had a break through. I sang the lead role in a New York premiere of an opera with the small company called The Chamber Opera Theatre of New York. Critics from all over the country came and I had an almost unheard of level of success. I thought sure the “big boys” would let me into their closed club after that! They didn’t and they made sure The Chamber Opera Theatre of New York was put out of business! What was going on?

Shortly after that New York premiere success my agent called me and told me I was to go to a certain office building. He gave me the name of a man who requested a meeting with me. I have forgotten his name. Back then I was totally ignorant of what was going on. I walked into his large office. He greeted me like he had known me a long time. He spoke like someone with power, like he was at the top of something, though that was not revealed to me. He talked in a jovial way like, “We’ve been watching you now for quite a while. When you first came to New York you were pretty stiff and some people just wrote you off.” He laughed and asked if I wanted a drink. I declined. He made himself a whiskey on the rocks and continued. “Now that you’ve shown us all how good you are, this would probably be a good time for you to go to Germany. Sing your Tonios and Rigolettos. You are not going to be let in here.” I think my jaw dropped at that. It didn’t sink in what he had just said, and the power with which he said it. There was a little more polite conversation and I left. I didn’t even tell my agent what he had said. I had just been told by someone at the very top that they did not care how good I was. They were not going to let me into their closed shop. They no longer wanted big-voiced dramatic artists who could move audiences. They wanted “a certain type of mechanically facile young performer (a quick study and top reader, obediently flexible in rehearsal) whose singing is neat and unthreatening and who can be described with the oft-heard phrase,’attractive, moves well, excellent diction.’ But we cannot care about or believe in a note they sing or a word they say, for much the same reasons that in life we often do not believe or trust persons whose preoccupation is with being attractive, moving well, and possessing excellent diction.” (The New York Times, April 20, 1980)

The Rhodesians were in the process of dumbing down the arts, weakening a culture, for the on-going process of globalization. Around that time a very big agent told me, “We like your work and we respect your talent, but we don’t have the time and resources to beat down the doors for you. It’s a small, closed group. The same people get hired for everything.”

I was a Midwestern boy who believed if you worked hard you would be rewarded for it. To think that I was being excluded because I was TOO good just did not compute. By now this process in my art of opera is complete. The singers you hear today on the Met stage are mediocre at best. Everybody mourns the loss of great singers and nobody understands how it all happened!!!!! It was planned to happen as a way of weakening the American culture. During Bush’s reign they thought they were ready to make a union of Mexico, the USA and Canada and unite them with once currency, the Amero. Lou Dobbs, then on CNN, reported on it early. People rose up against it and it was squashed, but Lou became a non-person for reporting it. Watch the video and read the article below. Open your eyes and ears!