I usually shy away from hyperbole, but I think it is safe to say that Marilyn Horne, featured in this month’s cover story, is one of the greatest mezzo-sopranos of all time. And yet, many who turn the pages of this issue, while familiar with her name, may be unfamiliar with the sound of her lustrous voice and the details of her astounding career. In this information age, learning about and experiencing Horne’s legacy by reading, seeing, and hearing is just a mouse click away.
Horne dominated the operatic stage in the 1970s. A powerhouse in the Bel Canto repertoire, she and Dame Joan Sutherland brought down the house—or houses, rather—with their silky smooth legato and spot on coloratura. In the June 26, 1970 issue of Life magazine, Horne and Sutherland spoke with grace and humor about technique, the physical sensations of singing high and low, the fear of getting sick, and much more. You can find Richard Meryman’s interview at http://tinyurl.com/k4gp5om. The picture of the two “friendly divas” doing needlework backstage at the Met is priceless.
A few minutes searching “Marilyn Horne” on YouTube quickly turns into hours of listening fun. In her interview with Joanie Brittingham (p. 24) in this issue, Horne tells of her longtime relationship with pianist Martin Katz. Give a visual to her reminiscence by watching the two together in recital in 1981 at Milan’s La Scala. Horne shows her Bel Canto mastery in the lovely Rossini art song “Se il vuol, la molinara.”
Equally inspiring on YouTube are the myriad of operatic aria renditions available, including arias from Carmen and La donna del lago. And just as unexpected is a wonderfully fun outtake of Horne appearing on Sesame Street in 1993 singing Cookie Monster’s famous “C is for Cookie.” The overt nod to Verdi’s Aida will make you delightfully laugh out loud.
Horne’s days on the stage are now in the past, but as the singer celebrates her 80th birthday this month, she shows no signs of slowing down. She devotes the present to mentoring the next generation of singers at the Music Academy of the West (MAW) in Santa Barbara, Calif. Once a student herself at the Music Academy, she has a unique perspective on just how far the program has come since its founding in 1947.
Horne understands the importance of singers receiving good training both in and beyond the university setting. She is quick to tout what makes her program great—a stellar faculty, an emphasis on both art song and opera, and fine voice teachers. The latter, she contends, is really the most important aspect of any training program.
In this issue you can do your own research to find training programs for you. Start with the summer program directory on p. 68 and then read in depth reports on other programs like tenor Mark Thomsen’s two new summer programs (p. 36), Dolora Zajick’s work with dramatic voices (p. 40), the Daniel Ferro Vocal Program in Italy (p. 46), a 10-day program in France (p. 50) and finally, a variety of Baroque training programs (p. 52).
The summer training programs highlighted in this issue are but one resource. There are a variety of ways to obtain additional training. Horne says to look no further than the local French and Italian restaurants in your own community for language experiences. And, of course, using the vast resources of the Internet you can visually and aurally experience the lives of many great artists who have gone before, like Horne.
With the tools at your literal fingertips, a little creativity, and some temerity, the opportunities for learning are endless, including experiencing the unequaled voice, life, and majesty of a living legend.
