Streisland’s instinct

[Barbara Streisand’s] early voice training amounted to one lesson with a voice teacher. At that session Ms. Streisand sang “A Sleepin’ Bee,” the Harold Arlen song that she performed in her first television appearance, on “The Jack Paar Show” in 1961, just before turning 19.

During the lesson Ms. Streisand got as far as the first line: “When a bee lies sleepin’ in the palm of your hand.” The teacher stopped her. “She said, ‘No, no, you have to say bee-e-e-,’ ” Ms. Streisand recounted, prolonging the word and singing it with a rounded, quasi-operatic tone. “I thought that was unnatural so I told her, ‘No, I have to sing the word as an extension of my speaking.’ ” On her own, over a career of nearly 50 years, Ms. Streisand figured out just about everything there is to know about singing.

Source: Anthony Tommasini, “Streisand’s Fine Instrument and Classic Instinct”, The New York Times, 24 September 2009.
Click here to view entire article.


Featured Content

Widerstehe doch der Sünde (J. S. Bach)
Title: Widerstehe doch der Sünde (from Cantata BWV 54)Composer: Johann Sebastian BachArranger: Greg SmithInstrumentation: PianoProduct medium: PDF score Sample:
Wexford Carol (SATB and organ)
Title: Wexford Carol Text: 12th century Irish Composer: 12th century Irish, arr. Greg Smith Instrumentation: SATB and piano     Related products:     – Wexford Carol – SATB and piano (PDF score) Product medium: PDF score and parts Sample:
Never bore your listeners
Conductor and pianist Seymour Lipkin (born 1928) recalled piano lessons with his teacher, Bohemian-born pianist Rudolf Serkin: He said so many memorable things to me that I continue to pass on to my students.  A few examples: “The worst crime you can commit as an artist is to bore your listeners”; for another, “People who […]
Knowledge represents inner strength
“Knowledge is not a passion from without the mind, but an active exertion of the inward strength, vigor and power of the mind, displaying itself from within.” – Ralph Cudworth, Treatise Concerning Eternal and Immutable Morality (1731)
Heard but not seen
In 1926, conductor Leopold Stokowski inserted the following into the Philadelphia Orchestra programs: The great conviction has been growing in me that the orchestra and conductor should be unseen, so that on the part of the listener more attention will go to the ear and less to the eyes. The experiment of an invisible orchestra […]
Hilary Hahn on the “story” behind the music
I think the back stories [behind the creation of a work] are interesting … But for me the first aim is to look at the notes, and see how I might interpret them … No offence to the media, but I’ve seen stories told about people I know – and about me – that are […]
A carriage of flowers for Tchaikovsky
Tchaikovsky’s favourite flower was lilies of the valley.  The local musical society at Tiflis was extremely enthusiastic to have the presence of Tchaikovsky at a gala concert of his works at the Opera House: Ippolitov-Ivanov had thought of everything, even finding out by devious means what his favourite flower was.  This flower did not grow […]
Mozart and Beethoven
“Mozart has the classic purity of light and the blue ocean; Beethoven the romantic grandeur which belongs to the storms of air and sea, and while the soul of Mozart seems to dwell on the ethereal peaks of Olympus, that of Beethoven climbs shuddering the storm-beaten sides of a Sinai. Blessed be they both! Each […]
Conducting gloves
The practice of wearing white gloves whilst conducting was common in the nineteenth century. The Musical times reported in July 1884 that: “A German conductor,” we are told, “in order that the public may be more deeply impressed with the feeling of grief intended to be produced by the Funeral March in Beethoven’s ‘Eroica Symphony,’ wears […]
Writing music is easier than words
"I would rather write 10,000 notes than one letter of the alphabet."' Beethoven.  Letter, 28 November 1820.  Cited in: Kelly, Henry & Foley, John (1998) Classic FM: Musical Anecdotes.  London: Hodder & Stouhgtan, p.68.