(Singing)
(Potlesk)
(Spev)
(Singing ends)
(Applause)
(Potlesk)
Pep Rosenfeld: Folks, you've just met Claron McFadden. She is a world-class soprano singer who studied in Rochester, New York. Her celebrated operatic roles are numerous and varied. In August 2007, Claron was awarded the Amsterdam Prize for the Arts, winning praise for her brilliance, her amazing and extensively wide repertoire and her vivid stage personality. Please welcome Claron McFadden.
Hostiteľ: Diváci, práve ste videli Claron McFaddenovú. Je svetovou sopranistkou, ktorá študovala v Rochestri v New Yorku. Hrala mnoho operných postáv za ktoré dostala rôzne ocenenia. V Auguste 2007, bola Claron ocenená Amsterdamskou cenou za umenie, kde si získala priazeň za svoj nádherný, obdivuhodný a ohromne široký repertoár a živé vystupovanie na pódiu. Prosím privítajte Claron McFaddenovú.
(Applause)
(Potlesk)
Claron McFadden: The human voice: mysterious, spontaneous, primal. For me, the human voice is the vessel on which all emotions travel -- except, perhaps, jealousy. And the breath, the breath is the captain of that vessel. A child is born, takes its first breath --
Claron McFaddenová: Ľudský hlas: záhadný, spontánny, a jednoduchý. Pre mňa, ľudský hlas, je ako plavidlo, na ktorom sa plavia všetky pocity -- možno okrem závisti. A dych, dych je jeho kapitánom. Narodí sa dieťa, po prvý raz sa nadýchne --
(Inhales)
(Dýchanie)
Whah! And we behold the wondrous beauty of vocal expression -- mysterious, spontaneous and primal.
a my sa prizeráme tej nádhernej kráse hlasového prejavu -- záhadného, spontánneho a jednoduchého.
A few years ago, I did a meditation retreat in Thailand. I wanted a place where I would have total silence and total solitude. I spent two weeks at this retreat in my own little hut -- no music, no nothing -- sounds of nature, trying to find the essence of concentration, being in the moment.
Pred pár rokmi som odišla na meditáciu do Thajska. Chcela som miesto, kde by som mala úplný kľud a úplnú samotu. Strávila som na tomto mieste dva týždne vo svojej malej chatke -- bez hudby, bez všetkého, len zvuky prírody -- skúšajúc nájsť tú esenciu koncentrácie bytia v danej chvíli.
On my last day, the woman who looked after the place, she came and we spoke for a minute, and then she said to me, "Would you sing something for me?" And I thought, but this is a place of total quiet and silence. I can't make noise. She said, "Please, sing for me." So I closed my eyes, I took breath and the first thing that came up and out was "Summertime," Porgy and Bess.
V posledný deň, žena, ktorá sa o miesto starala, za mnou prišla a asi minútu sme sa zhovárali a potom mi povedala, "Zaspievala by ste mi niečo?" A ja som si pomyslela, ale veď toto je miesto úplného ticha; Tu rušiť nemôžem. Povedala, "Prosím, zaspievajte mi." A tak som zavrela oči, nadýchla sa a prvá vec, ktorá zo mňa vyšla bola "Summertime," od Porgy a Bessa.
(Singing) Summertime and the livin' is easy. Fish are jumpin' and the cotton is high. Oh, your daddy's rich and your ma is good-lookin'. So hush little baby, don't you cry.
♫ Summertime and the living is easy ♫ ♫ Fish are jumping and the cotton is high ♫ ♫ Oh, your daddy's rich and your ma is good looking ♫ ♫ So hush little baby ♫ ♫ Don't you cry ♫
And I opened my eyes, and I saw that she had her eyes closed. And after a moment, she opened her eyes and she looked at me and she said, "It's like meditation."
A ako som otvorila oči, uvidela som, že ona má tie svoje zavreté. Po chvíli ich otvorila, pozrela sa na mňa a povedala, "Je to ako meditácia."
And in that moment I understood that everything I had gone to Thailand to look for, to search for, I had it already in my singing -- the calm, but alertness, the focus, but awareness, and being totally in the moment. When you're totally in the moment -- when I'm totally in the moment, the vessel of expression is open. The emotions can flow from me to you and back. It's an extremely profound experience.
A v tú chvíľu som pochopila, že všetko, čo som prišla do Thajska hľadať a nájsť, som už dávno mala vo svojom speve -- kľud, ale i ostražitosť, sústredenosť, ale tiež vedomie a úplne bytie v danej chvíli. Keď ste v tej chvíli, keď som ja v tej chvíli, plavidlo vyjadrovania sa je otvorené. Pocity môžu plávať odo mňa k Vám a späť. Veľmi hlboká skúsenosť.
There's a piece by a composer, an American composer called John Cage. It's called "Aria." It was written for an amazing singer called Cathy Berberian. And the thing about this piece that's so special -- if you see it behind me -- it's not notated in any way. No notes, no flats, no sharps. But it's a kind of structure. And the singer, within this structure, has total freedom to be creative, spontaneous.
Existuje dielo od skladateľa, amerického skladateľa Johna Cagea. Volá sa "Ária." Bolo napísané pre obdivuhodnú speváčku Cathy Berberianovú. A čo je na tomto kúsku tak významné je -- ak to vidíte za mnou -- že to nie je nijako notovo usporiadané. Žiadne noty, čiary, zvýšené tóny. No je to štruktúra, v ktorej má spevák úplnú slobodu byť kreatívny, spontánny.
For example, there are different colors and each color gets a different type of singing -- pop, country and western, opera, jazz -- and you just have to be consistent with that color. You see there are different lines. You choose in your own tempo in your own way to follow the line, but you must respect it, more or less. And these little dots, these represent a sort of sound that's not a vocal, not a lyrical way of expressing the voice. Using the body -- it could be sneezing, it could be coughing, animals --
Napríklad, sú tam rôzne farby a každá farba udáva iný štýl spevu -- pop, country a western, opera, jazz -- a vy sa len musíte držať tej farby. Vidíte, že sú rôznych dĺžok: môžete si zvoliť svoju vlastnú rýchlosť a štýl ako sa ňou budete riadiť, ale musíte ju rešpektovať, viacmenej. A tieto malé bodky, tie predstavujú typy zvukov, ktoré nie sú vokalizované, nie spôsobom, ktorým vznikajú hlásky. Využitím tela -- môže to byť kýchnutie, môže to byť zakašlanie, môže to byť zvieracie -- (kýchnutie) presne tak --
(Audience member coughs)
Exactly. (Laughter)
tlieskanie, čokoľvek.
Clapping, whatever. And there's different text. There's Armenian, Russian, French, English, Italian. So within this structure, one is free. To me, this piece is an ode to the voice, because it's mysterious, as we can see. It's quite spontaneous. And it's primal. So I would like to share this piece with you, It's "Aria," of John Cage.
A je tam rozličný text. Je tam arménčina, ruština, francúzština, angličtina a taliančina. V rámci tejto štruktúry má teda spevák slobodu. Pre mňa je tento kúsok ódou na hlas, lebo je záhadný -- ako môžeme vidieť -- je vcelku spontánny, a jednoduchý. A tak by som sa s vami rada o toto dielo podelila. "Ária" of Johna Cagea.
(Singing in various languages)
(Spev)
Hampart-zoum
Dirouhi
Di questa Terra
Naprasno
Conscience et
(Barks)
(Singing) Arise
Tsk, tsk, tsk.
(Singing)
Vidiel’a
facilmente
E io sono per te
♫ No other way ♫
(Robotic voice) No other way
♫ Dans l'espace, so help ♫
Dans l'espace, so help
(Singing)
(Spev)
Si juste
Dvidzénya bistri
(Claps)
(Singing)
On pekrásen
idyot a k u
O a k ho a
Sivayoot eternal loosin
(Sneezes)
(Laughs)
Shh!
(Singing)
Gloobinoí più chiara
Si ceci est cela cela est ceci
Totalmente soi whom they sought to slay
To have the fruits gloire
♫ To have the fruits ♫
J’écoute ...
(Spev)
À la vie…
Leggermente snédznoi
Coo coo
P k t d
Banalité
K o e
(Makes the sound of a kiss)
(Singing)
In armonia
(Applause)
(Potlesk)