"It's called Regrets and it's not eternal regret, it's a regret with which you live as a kind of company that helps you maintain the memory. It's not something dramatic or dark." François Le Roux
"After listening to the student sing “Romance” by Claude Debussy, with a poem from Paul Charles Bourget, the master warns about some problems with the tempo: “You have to be confident enough in your tempo so that it doesn't stir up, it doesn't change, even if it's a melody of youth where there is no indication of change, because it was not published during Debussy's lifetime. Maybe he would have put some indications in, but I don't know anything about it. If we assume that if there is not, there is a tempo written at the beginning, do not change it”. Then, he highlights a certain character that reminds him of the dances ""a little lifted off the ground"", and affirms that, clearly, he is used to music much more complicated and modern than this.
"Then, the master emphasizes that the music owes its character to the title of the poem: “It's called 'Regrets' and it's not eternal regret, it's a regret with which you live as a kind of company that helps you maintain the memory”. He does not see it as something sad and dark, but highlights ""the happiness of staying in the tempo and delighting in this kind of liquidity that is spinning like this...""
During class, the master and the student go through the whole piece working on the importance of the text, and how, from the music, to help its understanding and expressive interpretation."
-Not to change the tempo that is written on the beginning
-The title of the poem is a key
-It´s not a sad or dark poem
-The attacks with a consonant need to be both precise and within the sound
-Sarah Bernhardt is a good reference for this piece