FOR THOSE ABOUT TO SING

New Zealand Listener, Volume 13, Issue 334, 16 November 1945, Page 16

FOR THOSE ABOUT TO SING

| An Interview With Denis Dowling

". «++ Was the guest of honour at a farewell function last night. He is leaving for England, where he hopes to make music his career." Before the war a paragraph like that was seen occasionally in the daily newspapers. Sometimes all reference to the musically ambitious traveller ended with the paragraph. On_rare occasions it has been taken up by the London press with advantage to the New Zealander. The other day we met a New Zealander whose London successes qualify him to give advice to young singers of promise. He was Lieutenant Denis Dowling, baritone, who left New Zealand ten years ago and was back in his homeland on a brief spell of compassionate leave from the’ Armoured Division of the Army of Occupation in Germany. We asked him whether he would advise other singers of promise to go abroad, as he himself had done, to study. "The best answer I can make is to pass on a few observations based on my own experiences, Must Know Music "If you desire to study abroad to make singing your sole career, you require vocal equipment of exceptional quality. That is the foundation of any singing success, no matter what other abilities you may have. With many singers it is not discovered that they possess real singing ability till they are almost out of their ’teens. This being so, it is often found that many lack a musical education. Many singers with fine voices have been unsuccessful because they lack a knowledge of music." "What remedy," we asked, "do you suggest?" "No remedy for those who have left it too late, But young singing students going abroad should enter any one of the leading Colleges of- Music in London, In my own case, for example, I found that sight-singing classes were most beneficial. When preparing opera, oratorio, or recital programmes, and when time: is often limited, singers who are slow students because of poor musical knowledge are always at a disadvantage. The mental strain caused by slow study soon | begins to tell on the voice and, thus restricted, singers cannot make full use of their interpretative ability and can never give a finished performance." Expansion Through Radio , Radio, in Mr. Dowling’s opinion, was also having a great influence on professional singers, who were often called on to take part in major works at very short notice. "Does that thean higher standards?" "Oh yes," he said, "much higher than in the days when well-known singers, with a repertoire of a few sentimental ballads, a couple of standard oratorios, and one or two operatic arias could tour the country and make a very good living." Mr. Dowling went on to’say that England was a great oratorio country and that the standard of ‘singing in the vast number of choral societies, large and

small, was very high. "When I arrived in England my knowledge of oratorio and choral works was not great. I realised that to enjoy success as a soloist in big oratorio works I must have a thorough grounding in choral and ensemble singing," he said. "Fortunately, the Royal College of Music offers the enthusiastic student many opportunities in this field. The students’ choir performs a_ different choral work each term. These and all ensemble classes I never missed, and I found that when I had to prepare works for the various choral societies later my work was much easier through this good training." He Favours Opera We asked Mr. Dowling what branch of work he found most interesting at the College. "Opera," he said. "There are opera coaches and producers from all leading opera companies. In conjunction with the opera class we had a dramatic class and a very good theatre in which to work, as well as excellent wardrobe facilities. "We performed many full operas with such conductors as Sir Thomas Beecham, Dr. Malcolm Sargent, and Stanford Robinson. These performances gave opera students a great opportunity to show their abilities both as actors and singers." Opera, in Mr. Dowling’s opinion, is about the hardest of all studies. The student must be careful to remember he is not an experienced singer with a wellproduced and settled voice. "It does not pay to be too ambitious at the student stage. Much harm has been done to young voices through over-zealous students attempting roles beyond their capacity. Heré again musicianship helps the voice. The singer who can sit down and do the spade work in silence’ has a big advantage over the singer who has to do all his learning vocally." One Among Many We suggested that the competition while it would stimulate some must be disheartening to many others. "Oh well, that might be so, but on entering a school of. music a student should realise that he or she is only one of hundreds from all over the world with similar ambitions. Great competition must be expected." "And you must be tough to survive it?" f "Perhaps that is so. But many prove equal to the strain-singers and players with the personality to carry out their ambitions in the face of all difficulties. During my short stay in New Zealand I have heard young singers who, given opportunities, would compare favourably with their contemporaries in England." Private Tuition is Expensive "Can you give any direct advice for New Zealand singers hoping to succeed abroad?" "All I can say is that some young singers prefer, on arrival in London, to study with a private tutor. But, as I have already mentioned, voice production and actual singing are only a part (continued ‘on next page)

(continued from previous page) of a singer’s stock-in-trade. Therefore Several tutor specialists are mecessary, and this is expensive. "On the other hand College life is more conducive to study and affords the necessary competitive spirit and impetus to hard work. In the College there are also opportunities for gaining scholar-ships--an important consideration to students living in a very expensive city on limited resources, For the more brilliant students, scholarships used to be Satie

available for Continental studies, and no _ doubt, as the international situation improves, these will again be offered." The interview ended on a note of warning. "May I suggest to those who hope to go abroad to study that a little learning is a dangerous thing. Several years of hard work are necessary before students can hope to become equipped to carry out the duties of a successful career or become proficient teachers of singing. All must face that fact at the outset." Back to England For the last few weeks Denis Dowling has been visiting his people in Central Otago, but he is now on his way back to England to continue with the Army. Ten years ago he won the aria contest at the Melbourne Centenary and three years later the Tagore Gold Medal for the best all-round student at the Royal College of Music, London. He made his debut With the Sadler’s Wells Opera Company in the leading baritone role of Herr Von Faninal in Der Rosenkavalier, following this with choral work, including Elijah, at the Leithill Festival under Vaughan Williams. He entered the Army from the Forces Entertainment Service, was commissioned, and served with one of the armies which invaded France in June last year. He saw continuous action with the Armoured Division and was mentioned in dispatches. As soon as he is discharged he will take up his careér again, starting, he hopes, just where he left off.