Toward Freedom in Singing

Toward Freedom in Singing

Singing is a noble art. Nowadays, we are often reminded that it can hold the mirror up to nature. Many songs reflect the psychological pain and dissonance of our age, and many voices are trapped by materialism. However, singing can also express a special kind of freedom from physical bondage. Then it becomes a joyous, light-filled art form expressive of Humanity as it moves toward freedom.

Contents:

1. Spiritual Aspects of Singing, by Dina Winter
2. The Singer as Instrument, by Theodora Richards
3. Toward Freedom and Joy in Singing, by Dina Winter.
4. Breathing, Coordination, Tone
5. A Journey
6. Fear of Singing
7. Singing Off Pitch
8. Rudolf Steiner and Singing
9. Singing with Children
10. Is Singing for Everyone?

About the Authors

Dina Soresi Winter has led a life filled with music, art, theater, education, and a love of Dante. At the age of fourteen, she discovered opera and never recovered from it. After seeing her first opera, La Traviata, at the old Metropolitan Opera in New York City, she began studies with Francesca Pasella, an Italian maestra in the Bronx. Under Ms. Pasella’s tutelage, she won several singing awards, one of which took her to Italy, where she made her debut as Santuzza in Cavalleria Rusticana. She was the first twentieth-century “Maria Stuarda” and sang leading roles in major theaters in Germany, Italy, and Holland.

Theodora Richards studied music for many years with her aunt, Gracia Ricardo, who worked directly with Rudolf Steiner on her approach to music. Theodora was a major supporter of anthroposophic work in the New York City area and has followed the suggestions of Rudolf Steiner to deepen her understanding of the nature of tone.