"The voice is part of a musical flow that starts from the beginning and goes to the end" François Le Roux
After highlighting the difficulty of this work by Poulenc, undoubtedly a classic of the vocal repertoire, the master highlights one thing that is very important, which is that "what is written as silence is not a silence," and that the protagonist should think about it, as a dysfunctional person who goes through many different states (betrayed, abandoned, crazy, tender, disturbing, etc.). This state is a constant in the piece, and it must go through the singer, so that she is able to make a good interpretation of that challenging work.
"Also, the master emphasizes that this is a difficult work because of the length, which makes it very intense for the singer, and highlights a phrase by Denise Duval, who affirmed “you
have to have lived to be able to sing it."" The master does not agree 100% with this phrase, but he does believe that having gone through a similar experience to the one in the libretto (in this case, a breakup) can help the interpretation.
It is undoubtedly a very interesting class, focusing on the details on musical issues, linked in this case to phrasing, pronunciation, etc. They also work meticulously on the text, in what is said and in what has not been said in interpretations, different meanings, and so on."
- Ideally the conductor and the singer should be absolutely in the same tune and
manage to hold everything in length and on the piano
- The importance of musical continuity, even when it changes.
-Support is the hardest thing.
-It has an intense, sensual and lyrical character.