You can open your intuition by listening to your feelings and acting upon them. When you have an urge to do something, do it. Following your intuition requires a great deal of trust and faith. Thoughts and feelings are "signs and indicators." These are not willy-nilly momentary flights of fancy. Have the courage to listen to them. When I have not followed the indications my intuition has given me, I have paid for years!
"People sign contracts so that parties agree to the terms,
So that there are no snags, struggles, or hidden 'worms,'
And often this process of coming to an agreement
Generates a clarity anong people that is pertinent,
Promoting a love and a graceful harmony,
And increasing a valued and a genuine honesty." JM
Composer Gottfried von Einem's Slant
Gottfried von Einem, one of Austria's great composers, and from whom I sang three song cycles and World Premieres-with the renown accompanist Erik Werba and also the Vienna Symphony-had an interesting slant on Lieder and Lieder singing:
Einem’s thinking about songs was of interest, in that he felt that songs were the most tender of pictures-whatever their mood or color-in which the human voice would navigate the mood coloration and technical delivery of the composition. Einem felt that the centered relaxation and the guiding of a singer's breath were paramount to all great song delivery, and to that of all great recital singers. He felt an utmost hunger for word meaning and the colors of meaning were a necessity to song and to recital singers, and that an accomplished song was like a “picture with eternal grace.”
Anecdote-Testimonials to Conductor Rafael Kubelik
Anecdotes, requested by the Kubelik people, which document testimonials to conductor Rafael Kubelik, are found at this link: http://vagne.free.fr/kubelik/marsh.htm
Conductor Rafael Kubelik's magic was versatile and compassionate conducting, and colorful and passionate musical description.
Seldom have I worked with such a strong conducting leader without his offering threat to his surrounding world. This is a rarity. This man and his celebrated and great talents are missed!
Deutsche Oper vs. Bayerische Rundfunk
There’s a saying, which states that it’s “hell to be popular”. Well, I can tell you that circumstances arise where this saying really applies!
I had been asked to sing the original version (in Russian) of Stravinsky’s Les Noces, with Mo. Rafael Kubelik and the Bayerische Rundfunk in Munich, Germany. Mo. Kubelik was a superb conductor and a wonderful man, whom I honored and liked very much.
Three days before I was to be in Munich to start rehearsals for Stravinsky’s Les Noces, I received an S.O.S. call-offer to take over the title role in the Premiere of Weber’s little known opera Euryanthe in Berlin, Germany, at the Deutsche Oper Berlin. This was a very nice invitation, even if a bit life threatening time wise. They wanted me at the Deutsche Oper Berlin, because they all knew that I had previously sung Euryanthe in Dresden and at the Bruckner Festival in Linz, so they knew that this was something with which I could help them, if I were free to sing.
The Premiere of Euryanthe was in two days! I would be able to take over the Premiere of Euryanthe in Berlin and still arrive in Munich in time to start rehearsals for Les Noces with Mo. Kubelik. My only fear was that there might be problems if I were to be offered further performances of Euryanthe at the Deutsche Oper Berlin, creating conflict with the rehearsals and radio broadcast of Les Noces in Munich, at the Bayerische Rundfunk, and that contract, of course, had precedent. This concerned me, but I couldn’t think about it. I had to focus on the short time at hand, and I knew that everyone in Berlin and Munich was informed of the dates and elements involved.
Off I went to take over the Premiere of the production of Euryanthe, which was very well received and, indeed, I was immediately offered further performances of Euryanthe at the Deutsche Oper Berlin, the second performance of which conflicted strongly with rehearsals and the radio broadcast of Les Noces in Munich with Mo. Kubelik. Everyone at the Deutsche Oper Berlin tried to coax Mo. Kubelik to release me from my contract with him and the radio, but he negated that emphatically: “Seldom has there been a singer I have valued as much as Frau Marsh, and for whom I wouldn’t try to be of help in every way, but I will not release her from Les Noces and her contract with me and the radio. Number one, why should I have to…Number two, I will not find a singer I value, in this short time, who knows Les Noces in Russian. Jane Marsh stays with me and Bayerische Rundfunk in Munich! End of discussion!!
The performances of Euryanthe couldn’t take place at the Deutsche Opera Berlin, because another singer couldn’t be found who knew the role of Euryanthe, and the whole production had to be postponed
Do I have to say that sometimes, “it’s Hell to be popular!
Fact of Music - Music of Fact
The tone makes the music.
Media - Gourmets
"Media announcers and gourmets have much in common,
Each informs via the senses,
Zeroing in on combinations,
And assorted ingredients,
To exhibit their personal dominions." JM
One senses that love operates in, and transcends, the present. By focusing on it in the present, you send it into the future and release it to the past.
It Comes Down to Self-Image
Because of objective proof, it seldom occurs to an individual that any trouble he may be encountering lies in his own self-image or his own evaluation of himself. He might identify with failure and become it, instead of using it as a radar-feedback, which can guide him to improvement. His core beliefs need changing, which will alter his performance and the objective proof of his own living circumstance. He needs to change his belief system, so that all of his core beliefs are in consistent harmony with each other. It's the inconsistencies that are pulling him down.