Lotte Lehmann Master Class; 5; Lieder - Schumann

In the decade, following her retirement, Dr. Lehman, one of the great figures of the operatic in concert stage in the century, devoted much of her time to young students in a series of master classes in opera and leader. These were classes not in vocal production, but in expression and acting. These films are a record of the final Lehman master classes filmed on location at the Music Academy of the West, Santa Barbara, California, in Lake July, 1961. In this program, Madam Lehman works with students and songs by Robert Schumann. Helen Bolton sings, is constantly struck in this cloud and by Schumann.

I cannot grasp it, not believe it. This song is a part of Schumann's woman's life and love. The young girls who have adored a man from afar, never, never hoping that he would ever love her because he sees he is so high above her and he is not worthy of him. It's now quite overwhelmed when he asks her to marry him. She says that she will devote her whole life to him and will be his and will serve him. But it's the same time she says it cannot be true, it can only be a dream. And if it is a dream, then I want to die in this dream. I want to die in his arms, there could be not a better death, Helen Bolton. You know, I want to ask that you are very clear in your diction here.

I have to understand. He is constantly struck and he is glowing, and I thought I threw her on his room, he had a hole in his arms, and he told me to be good. Every girl wants to have a death, and rather breath, it is as if you come into your house running from the garden, perhaps there he just in this moment has told you that he loves me, and you overwhelm to unback into your home, and think of Christ, can I tell him without any breath, saying, oh my God, what has happened, he said to me, he loves me,

I cannot believe. It's not as difficult, I must say, to sing this song out of the whole cycle, to start the absolutely breathless, and you came up with great serenity, I must say, you could walk a little quicker, you'll have to sing this song, this song, this song, this song, and I want all time. You know Helen's very nice, but please don't do things with your left arm, and if one, if one is a great master of expression, one can also the hens should show, because

I belong to those who believe that one sings from head to toe, and that not only the voice, the instrument of your emotion, but as long as you don't master this, it is much better because what you did for another meaning, so instead you have your hens quiet. Do that once more, yeah? scenes, there areNo arcs in your eyes and lies, and you know as you might be willing to go under You know, Helen, I have all this time, this part, who lost in Germany, in a slower

temple, which gives to the whole time, often like a hymn, a hymn of thanksgiving, a hymn of the feeling, if there hadn't something to me, which is more than my will, can express. Who will ask him to draw over me still? You'll be good on the side of the roof. Indeed, he can talk me slow, but in turn I don't need to lose. I wish I could sing that better, but you know I have always in my life, don't think very thoroughly, so I lost all to my voice thoroughly. As much as I would like to do, did you have to keep up with me, forgive me? Well, after the show.

You know that you should be the bridge to what you think then. In turn, I know that in English I'll lose. If you don't sing in turn, I know that in English I'll lose. You use drum into the neck. I'll play. I'll ask him to offer, but you didn't do it slower. Do it a little slower. I'll ask him to offer. I'll ask him to offer me still, if we can find a fool. In turn, in turn, in turn, in turn, in turn, in turn, in turn.

I'll ask him to offer me still, if we can find a fool. I'll ask him to offer me still, if we can find a fool. I'll ask him to offer me still, if we can find a fool. Very good, Helen. Very good.

I teach at Meel relieved from words that she knows. The best way to express the truth negative is to it. it she breathes, but she drives me away with cool and hard work, and I leave thick in half-important, and I wander on knowing that soon I will find my death far away from her. I will find my death far away from her, and I will find my death far away from her, and I will find my death far away from her.

I will find my death far away from her, and I will find my death far away from her, and I will find my death far away from her. I will find my death far away from her, and I will find my death far away from her, and I will find my death far away from her. I will find my death far away from her, and I will find my death far away from her, and I will find my death far away from her.

I will find my death far away from her, and I will find my death far away from her, and I will find my death far away from her. I will find my death far away from her, and I will find my death far away from her. I will find my death far away from her, and I will find my death far away from her, and I will find my death far away from her.

I will find my death far away from her, and I will find my death far away from her, and I will find my death far away from her. I will find my death far away from her, and I will find my death far away from her. I will find my death far away from her, and I will find my death far away from her.

I will find my death far away from her, and I will find my death far away from her. I will find my death far away from her, and I will find my death far away from her. I will find my death far away from her, and I will find my death far away from her.

I will find my death far away from her, and I will find my death far away from her. I will find my death far away from her, and I will find my death far away from her. I will find my death far away from her.

I will find my death far away from her. All the cronies sing the last of the woman of woman love and life by human. Now you have given me the first dream in my life, the grief which fears is my heart, you are death.

I look for me, I don't see for the future anything for me, I will only live in memories of the happy time. Can you give them all my voice? You know, when you breathe out the moon, there should not be no heart to me. It should be together, it should be combined, combined with the kind of a sigh of the sighing breath.

Otherwise the moon stands there and then the next sentence. You will find my death far away from her, and I will find my death far away from her. I don't see you, I don't see you, I don't see you, that you really fear the emotion of this song. But you are not the woman who has lost her husband and tends before his coffee and looks into the future, which is absolutely empty, empty of joy,

even empty of life. You have to, you have to be this woman. You know, as a voice, it's only the instrument. To have the voice and have the good, vocal technique, it's only the ABC of things. The real artist develops only food being able to put yourself into the place of the person who you impersonate. And lift the system all the emotions, the joy, and to unhappiness. I am just to tell you there something quite interesting. I, I read in a paper from Europe, a British system offered a critic whom I knew very well in Vienna, about a singer in which he said that it is very wrong, it's a singer really impersonates as a person, sees the emotion. So that, for instance, after the end of found leave on labor of women's love and life, one has almost the feeling one has to save my deepest sympathy to this singer.

And he said at the same time that the singer has to be absolutely like an abstract painting he has to be cut, shame-sales entirely. Now, I couldn't bear that and I wrote him a long letter. And I wrote that if that what he says is right, then I have been a very bad artist through my whole life. Because the concept singer has in the same way to bring out the whole content of what he or she is singing as if he is on the stage. So, absolutely, there is the limit he cannot do justice, he cannot be theatrical, but emotionally he should feel and he should be the film. Otherwise, it is really a kind of, but certainly the kind of a spindle, if one sends there and is very ice cold, and the audience is in tears, I never have life that very much. But very often in tears, and I think it was quite right for that, isn't it? So, again, I'll let you do that once more. You have this great emotion.

You have this great emotion, and you have this great emotion, and you have this great emotion. You have this great emotion, and you have this great emotion, and you have this great emotion. You have this great emotion.

You have this great emotion. If you know Oraga, if you have German, your vowels are so very destructive that that is also a reason that you cannot really bring out what you want to bring out. What is the vowels are? It is a wonderful vowels which brings life into things. I think that you have to devote a lot of time to vocal production. I always hesitate to say anything vocal because that is not my job. But first of all, one has to be master of one's voice.

Perhaps this is a song which doesn't depend very much to you, that is possible to have to like something more dramatic. And now I want to show you the post-group, the post-group. Thank you very much. Thank you.

Thank you. Thank you. Thank you.

Thank you. Thank you. Thank you.

Thank you. Thank you. Thank you.