Mme. Soder-Hueck appears again on VOICETALK to reiterate where true resonance lies, the need for relaxation, and the avoidance of effort and grimaces—all necessary aspects of bel canto vocal production.

Relaxation was a big topic during the 1920’s and 1930’s. Of course, one has to wonder why. Was it every tenor alive trying to sing like Caruso (this still happens btw), the effect of social changes after the First World War, and the explosion of psychotherapy? All of the above? Whatever the reason, one might say that our climate crisis world is experiencing something similar with the proliferation of yoga, meditation, and “self-care.”

Relaxation aside, what interests this reader in the article below is the emphasis on correct placement of tone in tandem with Soder-Hueck’s assertion that “nature takes care of the breathing if the voice is properly placed.”

Why?

It’s true.

Muscular relaxation secret of vocal art

The secret of vocal art according to a recent article in the Musical Courier, in which Ada Soder-Hueck well known New York vocal teacher and coach, expresses her views on the subject, is muscular relaxation.

“Thousands of voices,” declares Mme. Soder-Hueck,” are being ruined by wrong diagnose of character and forced, unnatural tone production.

“In the work of building and artist’s voice, we have not only to deal with disposition and personality,” Mme. Soder-Hueck continues, “The true method of instruction is that adapted to the particular needs of the individual. The secret of the vocal art is relaxation, if production is to result in the true lyric quality (bel canto) or spinning of tone. Only then is the true timbre brought out, vibration given full play and the voice enabled to make its strongest appeal. A pleasant pleasing facial expression, stage presence and poise, all so important in holding an audience, result when the vocal apparatus is fully controlled and at ease. And so it is that the singer attains full artistic freedom and gains command of emotional effects. Resonance and volume of tone come not from effort but from relaxation.

“Tightening the lips muscles, which is a defect in speaking, is a hinderance to clear diction and must be overcome. A rigid jaw is another draw-back to smooth utterance. English is as beautiful and and singable as any other language, and to avoid these defects the singer should learn to speak in the mask of the face, where the true resonance lies. Proper breathing often confuses the young pupil. I have been amazed at professionals who fill the chest with actual effort and produce, instead of a musical tone, nothing but noise. Singing is a natural function, not to be accomplished with effort and grimaces. When one is speaking does he take a breath before each sentence or stop short in the midst of a phrase to breath? Nature takes care of the breathing if the voice is properly placed, and breath never controls the voice.”

Mme. Soder-Hueck also contends that “a singer on the threshold of a career is at the most critical stage of development. A promising debut may be turned into a future success or may fall into flat failure. The teacher of professional artists holds a position of great responsibility, and neglect at this time accounts from many failures that might easily be prevented. To understand these requirements the voice trainer should also be a singer. The real artist is never self-satisfied, and the best realist come to the young singer who remains under the eye of the voice-builder. Love and patience on the part of the teacher make the student unfold, and style and poise come as a result, and thus the perfect balanced artists is realized.

Among the artists that Mme. Soder-Hueck has trained, and who have had success in the musical field are: George Reimherr, Ellie Marion Elbeling, Walter Mills, Marion Lovell, Elsie Lovell Hankins, George Rothermell, Hardgrave Kirkbride, Marie de Calve, Bernard Schram, Rita Sebastian, Gladys Burns, and Cesar Nesti.

—”Muscular Relaxation Secret of Vocal Art,” Daily Sun, Friday Morning, September 4, 1931