STUDIO RECITALS
Sir-Under the . caption "Radio Viewsreel-What Our Commentators Say," on Page 9 I cull the following excerpts: "One of the most intefesting sections in the Dunedin Competitions was the quest for a radio voice. After all, it is of little use for a singer to participate with success in competitions and examinations unless his or her voice is heard by an appreciative audience. But it requires a competent judge to select which of them are good enough to be heard on the air." Now I would like to know whygiven a competent judge-only one of two selected competitors was accepted for a studio recital following a similar contest two years ago? On that occasion there were 48 competitors in the Radio Voice section: only one point separated the two leading competitorsa baritone and a soprano-the latter having her diplomas for A.T.C.L., L.T.C.L., and L.R.S.M. The soprano contestant has been consistently: denied a studio recital from 4YA on the alleged grounds that "her voice is not developed yet." Obviously, there are other obstacles between the "competent judge" and the radio audience. What are these.obstacles? Does a "competent judge" determine who shall be given opportunities for studio recitals or are the selectors affected by "an old schooltie complex"? In the above circumstances we endorse the viewpoint that ‘it is of little educational use to ‘the community for a singer to participate with success in competitions and examinatio if some non-altruistic influence or vested interest can keep such trained ability off the air. ~
IMPARTIAL LISTENER
(Timaru).
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New Zealand Listener, Volume 17, Issue 435, 24 October 1947, Page 5
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254STUDIO RECITALS New Zealand Listener, Volume 17, Issue 435, 24 October 1947, Page 5
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Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
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